museummuseumVIEWSVIEWS A quarterly newsletter for small and mid-sized art museums Spring 2007 CONTEMPORARY

MUSEUM DESIGN by Scott J. Tilden The first American art museum building of architecture and art. Some was erected by painter Rembrandt Peale and ATTRACTING THE PUBLIC 465,552 people visited the new museum building in his father Charles Willson Peale in 1813. n 1943, José Luis Sert, Fernand Léger, and 2002, the year of its comple- Subsequently, Peale’s sons founded small I Sigfried Giedion spoke of the need for public tion. This compares to museums in Baltimore, New York City, and building design to move beyond simple func- approximately 165,000 visi- Utica. Spectacles and musical performances tional considerations. “The people want the tors in 1999 and 2000. These accompanied the exhibitions of art and natural buildings that represent their social and commu- figures are all the more impressive when com- history. P.T. Barnum purchased these museums nity life to give more than functional fulfill- pared to the population of Milwaukee, which is later and brought to them his unique style of ment. They want their aspirations for monumen- 597,000. showmanship. However, the major growth of tality, joy, pride, and excitement to be satisfied.” Of course, this rise in attendance was precise- American art museums awaited the end of the Few contemporary museums illustrate this ly the goal of the Milwaukee Art Museum 19th century. The Metropolitan Museum of Art concept of monumentality as well as the trustees. In fact, the broader goal of local busi- opened in 1872 and the Museum of Fine Arts in Milwaukee Art Museum, Santiago Calatrava’s nessmen and politicians was to use the building Boston and the Philadelphia Museum of Art, magnificent winged structure beside Lake to re-brand the museum and the city itself both in 1876. Today over 1300 American Michigan. Given its scale and highly imagina- where “beer, brats, and Laverne and Shirley” museums display their own collections and tive design, the Milwaukee Art Museum has had been the prevailing image. “The art muse- mount temporary shows. In addition, American become an international Mecca for worshipers um has put us in a new league,” museum directors and trustees have used the Continued on page 3 very architecture of the museum to attract visitors. Initially the larger museums created monu- EXPANSION:EXPANSION: A COMPLEX PATH TO SUCCESS OR FAILURE mental structures inspired by the Beaux Arts [Information for the following was taken from an plans and estimates of space needs and fund- movement. Then, beginning in 1938, many article by Martha Morris, associate professor of raising possibilities, and conduct competitions museums built structures reflecting the ideals Museum Studies at George Washington University for the best architect for the job. of “Modern” architecture. (DC) for a 2004 issue of AAM’s Museum News.] As their institutions grew and prospered, actors that lead to successful building pro- American museum directors and trustees relied F PROGRAM PLANNING grams begin with a simple idea: “We need to more and more on the marketing value of do something about this!” The drama then Developing a program plan takes time cutting-edge architectural design to draw unfolds. and care. It should involve all department visitors. Lengthy competitions produced an Building programs that are strategically heads, senior staff, and the board’s building international array of architects who were planned, support the museum’s vision and the committeeÐa coming together to determine retained to create structures with aesthetic value community’s needs, and are exactly the needs of the as important as the collections inside. built to face down the chal- museum. “All assump- The museum designs that emerged represent lenges of funding and imple- tions regarding pro- some of their architects’ most innovative work. mentation are more likely to gram needs, space The challenges are enormous, mainly because succeed than those that don’t. requirements and adja- museums have two diametrically opposed func- Success requires a master plan, cencies, and human and tions: to display art and to conserve it. Museum feasibility studies and business technical requirements visitors typically want to approach a painting or plans, the use of consultants, should be explicitly sculpture closely and want high levels of light. and the involvement of stake- listed and then tested Conversely, curators and conservators seek to holders. In addition, it requires and re-tested for validi- limit light and the public’s proximity to the art, flexibility in the consideration ty, with the help of out- while also controlling temperature, humidity, of what is possible and what is not, side experts, including and air quality levels. and openness to a variety of new experienced museum In addition to the display of art, there are ideas. Complete and total commit- professionals…. The many other design problems that relate to muse- ment to the project is crucial. well done program um visitors: attracting the public; developing a Otherwise, it’s very simple. plan will simplify and functional plan for galleries and public spaces; guide architect selec- integrating the museum into the neighborhood; tion, design, and con- achieving luxury, tranquility, and voluptuous- STRATEGIC PLANNING struction. It will also ness; and enhancing the visitor’s aesthetic expe- help control costs by Strategic plans support long- reducing the need to rience. Equally important, but not discussed in term visions of improved facili- this essay, are intra-museum considerations such change orders,” said ties, more accessible locations, better collec- Dan Monroe, president of the Peabody Essex as creating working space for museum staff and tion showcases, larger educational facilities, complying with municipal codes. Museum (MA) which was engaged in a major bigger auditoriums, and more. It could take a building program. year or more to develop a program, collect Continued on back page

Top left: Solomon R. Guggenheim Museum (NY): Detail of façade. Wright, Gwathmey. Right: National Gallery of Art, East Building (DC): South side. Pei. DIRECTORS’ CORNER ❖We are guardians HAT OES of the museum’s W D reputation. We nur- ture the museum’s A MUSEUM image among all constituencies: the IRECTOR O staff, the trustees, D D ? and the public. We by Frank Robinson are responsible for ensuring that the Above all, we are guardians. museum’s public face is open and ❖We are guardians of the museum’s fiscal honest, that it is integrity. We keep watch over balanced budgets, prominent and protect the endowment, pay attention to respected in its col- fundraising and other revenue sources, are fru- lege or university, gal with expenditures, make long-range plans, in its community, and, most important, have honest and open deal- and among muse- ings with colleagues, friends of the museum, um professionals in and the general public. Milwaukee Art Museum (WI): Bridge to museum (wings are opened and extended when wind speeds general. are safe). Saarinen, Kahler, Calatrava. ❖We are guardians of the staff. We promote exhibitions, its respect for people—staff, ❖We are guardians of the museum’s profes- and protect our personnel, their morale and their donors, and visitors, and its commitment to sional standards. We maintain the ongoing sense of community; we raise their salaries service and scholarship. The director is paid to scholarship of the institution and its staff, and when we can; we avoid favoritism and cliques; think about the future, and to worry about it we encourage their professional growth and we make continuing contributions to our fields of expertise. At the same time, we insist on high their ability to do their jobs successfully. We try ❖Above all, we are guardians of our collec- standards in every aspect of the museum, from to be a positive force in helping them to be tions, our acquisitions (and deaccessions), human relations to facilities management to happy and productive. our exhibitionsÐwhat is on the walls of our security. And we help our profession as a whole galleriesÐand the quality of care, management, ❖ to maintain those high standards. We are guardians of the museum’s mission. and publication of those objects. In the most We keep the museum focused on core functions: immediate, everyday, and practical sense, if the ❖We are guardians of our trustees. We help to preserving and presenting the objects in the director is a success in all his responsibilities, choose them and keep them; we make sure they museum’s care, educating and serving our vari- but fails in this one, he or she has failed. This are informed about and involved in the museum; ous audiences, and maintaining the museum as a is the coreÐ and the pointÐ of all the other we take them on as partners in the effort to place of intellectual excitement and fun. activities of the museum. maintain a thriving institution. We protect them from distractions such as irrelevant issues Sadly, all of the above has very little to and staff squabbles; and we protect do with how we allocate our time on a typical our staff from too much trustee involve- day or year. The majority of our time, of course, 2006 STATS ment in the day-to-day running of the is spent on fundraising, and the social responsi- museum. We serve as a bridge between bilities connected with that part of the job. ON CAPITAL CAMPAIGNS trustees and staff, helping each to com- ON CAPITAL CAMPAIGNS Nevertheless, what is outlined above is how municate with the other. We protect and The following statistics, published by the we will be judged (and how we should judge nurture this precious resource. American Association of Museums, were drawn ourselves). If we do everything right, the money from canvassing 186 museums that are actively will come. People—staff, trustees, donors, visi- ❖We are guardians of the visitors’ engaged in capital campaigns, building improve- tors, and the general public—recognize quality. experience. We see to the rights of visi- ments, and expansions. tors to clean bathrooms, polite and help- • 23 percent are engaged in a capital cam- ful guards, clear and accurate labels and [Frank Robinson is the Richard J. Schwartz paign with a median goal of $10 million (three other information about the displays, Director of the Herbert F. Johnson Museum of Art ❏ times the size of the corresponding endowment). and an eager and accessible professional at Cornell University (NY)] Both the likelihood of engaging in a capital staff. campaign and the size of the campaign goal increase with the age of the institution. ❖We are guardians of the building, all the physical facilities, and the gardens • 50 percent have begun or completed building and grounds. This is a key part of the construction, renovation, or expansion in the visitors’ experience, as well as a source past tree years. of pride. Sometimes, the building itself mmuseumuseumVVIEWSIEWS is one of the most important works of • The median costs of new building construc- Editor: Lila Sherman tion, renovation, and expansion are $3.6 mil- art in the museum’s collection. Attention Publisher: Museum Views, Ltd. lion, $1.2 million, and $362,000 respectively. to it includes its care behind the scenes 2 Peter Cooper Road, New York, NY 10010 where people work and the collections 212-677-3415 • The median costs per square foot of new are stored. building construction, renovation, and expansion museumVIEWS is supported by grants from the are $232, $234, and $94 respectively. ❖We are guardians of the museum’s Horace W. Goldsmith Foundation • The median size of new building construc- future. We must be concerned with not and Bloomberg. tion, renovation, and expansion is 17,000, only five-year plans and new wings, 15,000, and 5,000 square feet respectively. charitable remainder trusts, bequests, museumVIEWS is published 4 times a year: long-term fiscal health, donors, and Winter (January 1), Spring ( April 1), Summer • Respondents collectively spent over $3.5 bil- potential donors, but also the museum’s (July 1), and Fall (October 1), Deadlines for lion on building construction and renovation in values, its dedication to its special field, listings and art work are November 15, the past three years. to the quality of its acquisitions and February 15, May 15, and August 15. 2 CONTEMPORARY MUSEUM DESIGN continued from page 1 says business executive and trustee Donald were painted stark white, the canvases were Baumgartner. DISPLAYING THE ART hung bolt upright, and high levels of artificial Yet entering the major leagues came at a very lighting were used. Later the upper ramps were rtists, curators, art historians, architects, and high price. The project’s budget rose from $35 A converted to storage. The drive-through entrance museum visitors all have their distinct view- million to $125 million, based on higher-than- was glazed in for a restaurant and gift shop. The points on the perfect way to display art. German anticipated construction costs and major addi- café was converted into a storage and restoration Neo-Expressionist Georg Baselitz, in his essay tions like the wing-like sunscreen or brise soleil, area. Even with the recent restorations of the “Four Walls and Light from Above or Else No underground garage, and landscaping. The building, we do not have the opportunity to Painting on the Wall,” described his require- resulting fund-raising drive nearly drained the experience Wright’s vision of the display of art. philanthropic coffers of the city and saddled the ments for gallery spaces: “High walls, few doors, museum with $29 million in debt, which was no side windows, light from above, no partitions, retired in 2006. no baseboards, no base moldings, no paneling, INTEGRATING THE MUSEUM no shiny floors, and finally, no color either.” Alternative solutions to the display of art and INTO ITS NEIGHBORHOOD DEVELOPING A FUNCTIONAL PLAN gallery design have come from a variety of sources. German art historian Heinrich Wölfflin Today architects often speak of context in the rchitect Philip Johnson observed, “Looking A noted, “The most important relationship of art is development of their designs. Some are inspired at pictures is quite easy, and museum architec- to the historical evolution of its predecessors. by and respond to the architecture surrounding ture should be a matter of arranging spaces for The relationship between a painting and another their building site. Some emulate the scale, mate- seeing art. This was done well by Stirling and painting is more important than the relationship rials, or details of adjacent buildings. Frank Schinkel. If you just follow their example, you’ll between a painting and its subject matter.” Gehry, for example, described the genesis of the be all right. Hang them in a simple room, and Wölfflin’s approach is applied spatially at the design for the proposed addition to the Corcoran create an enfilade of rooms so you know which Solomon R. Guggenheim Museum. Visitors to Gallery of Art in Washington, D.C.: “One of the way you are going. The sense of orientation is the Frank Lloyd Wright-designed museum can main goals of the project is to harmonize old and absolutely essential.” view artwork of a particular period on the nearest new, respecting the integrity of the original Well-designed museums have a number of wall or look across the atrium space and view Beaux-Arts building designed by Ernest Flagg visual cues such as outside windows, inner court- the past or the future of an artist or movement. while leading the Corcoran architecturally into yards, or a gridwork of the twenty-first hallways that orient the century. The visitor. Karl Friedrich design composi- Schinkel incorporated a tionally unifies variety of these orienta- the city block by tion cues in his 1823 deriving the design for the Altes language for the Museum in Berlin. His response from model of museum con- Ernest Flagg’s figuration called for a hemicycle on the rectangular-shaped corner of New building with a central York Avenue and rotunda, grand stair, a 17th Street.” string of galleries, inner Perhaps a more courtyards, and windows convincing exam- and skylights. His plan ple of a museum influenced museum being sensitively typology for over a cen- integrated into a tury. An excellent neighborhood is American example of the Yale Center Schinkel’s typology is for British Art by the original National Des Moines Art Center (IA): I.M. Pei building from central courtyard. Saarinen, Pei, Meier. Louis Kahn. He did not blindly copy the cam- Gallery of Art building, Wright wanted visitors to view paintings the way pus’s Gothic revival architectural style. Instead designed by John Russell Pope. the original artist did: tilted, unglazed, unframed, he responded subtly to the scale of the surround- Quite different but equally rational in plan is and in changing light conditions. In his museum, ing buildings and the business and social context I.M. Pei’s East Wing of the National Gallery of given the outward slanting walls, the paintings of the neighborhood. Art. In a sense, he updated elements of and building would combine into an organic While stylistically distinct from its neighbor- Schinkel’s plan. Instead of a central rotunda with integrity. The primary light source would be the ing buildings, Kahn’s museum is similar in a stone domed ceiling, he designed a large open light dome with limited artificial light as needed. height to its neighbors. The Chapel Street façade space at the museum’s entry with a metal space- Wright abhorred stark white on gallery walls. He is broken into ten distinct but repeating bays, frame ceiling. He used both a staircase and esca- preferred a soft ivory, considering it “luminous- making the building appear less massive and lator with an intriguing scooped-out wall detail. receptive, sympathetically self-effacing, instead monolithic. On a bright day, other Yale buildings, However Pei’s design for the gallery spaces dif- of competitive or antagonistic.” especially the 1927 Art Gallery, are reflected in fered greatly from Schinkel. Wright’s design was as controversial at its the Center’s windows. Unlike Gehry’s choice of Armed with the discovery that the optimal conception as it is today. During the museum’s shining titanium, Kahn specified that the steel time for viewing art is about 45 minutes, which design phase, 21 leading artists, complained to surface of the Center be non-reflective—like translated to a comfortable stroll through about Director James Johnson Sweeney: “The basic “lead” or “pewter,” 10,000 square feet of gallery space, Pei’s archi- concept of curvilinear slope for the presentation Street-side shops incorporated into the build- tectural team came up with a highly novel solu- of painting and sculpture indicates a callous dis- ing most strongly integrate the museum into the tion. They created three hexagonal-shaped gal- regard for the fundamental rectilinear frame of campus and the city. The windows and doors leries on each floor at the corners of the triangu- reference necessary for the adequate visual con- along the sidewalks welcome passersby inside. lar-shaped building. Orientation and relaxation templation of works of art. We strongly urge the A garden and restaurant below grade also invite spaces were provided between the corner gal- trustees of the Guggenheim Museum to re- visitors to linger and enjoy the use of building leries and by the entrance atrium space, so consider the plans for the new building.” and grounds. Kahn commented, “The shops important in the Schinkel model. Three months before his death at the age of along the sidewalk were inspired by the general 91, and over his objections, the museum walls feelings of the students of Yale. Continued on page 4 3 CONTEMPORARY MUSEUM DESIGN

CONTEMPORARY MUSEUM DESIGN continued from page 3 I felt that they had a wonderful point in not Modern and contemporary exhibit space and its spaces suffused with energy, light, and life. forgetting the continuity of the shopping charac- meaning. “A gallery is constructed along laws as As architect Tadao Ando observed, “You want to teristics of the street. I therefore dedicated the rigorous as those for building a medieval church. be able to help sustain the life of each work by lower floors to commercial activities, and the The outside world must not come in, so windows giving it a living condition, a sense of spatial building is above.” In addition, civic leaders are usually sealed off. Walls are painted white. energy that can include nature and natural light, demanded shops to help restore a city that had The ceiling becomes the source of light. Art exists things that are not always perfectly controllable. been decimated by attempts at “urban renewal.” in a kind of eternity of display, and though there A museum is not simply a display case, but a is lots of ‘period’ (late Modern) there is no time.” space that brings life to what is inside it.” Raphael Moneo dramatically applies these [Scott Tilden is an author and editor of books on architec- ACHIEVING LUXURY, TRANQUILITY, principles in his design for the galleries of Old ture. His latest is Architecture for Art: American Art Masters, Impressionists, and Post-Impressionists Museums 1938-2008, Harry N. Abrams, Inc., 2004. AND VOLUPTUOUSNESS in the Audrey Jones Beck Building of the He has also lectured extensively on contemporary museum architecture at many museums across the country.] Like Matisse with Museum of Fine Arts in Houston. “I put all of his paintings, Ernst Beyeler sought “luxury, calm, and voluptuous- ARCHITECTURE ness” in Renzo Piano’s design for his museum FOR ART in Basel, Switzerland. Few architects have Architecture for Art: American Art achieved these goals Museums 1938-2008, edited by Scott J. with such grace as Tilden, photography by Paul Rocheleau Tod Williams and (Harry N. Abrams, 2004) documents the Billie Tsien with their evolution of museum missions, functions, design for the and design over a seventy-year period. By American Folk Art means of insightful narrative and dramatic Museum in New York. photography, it explores the exceptional Although a relatively architecture of thirty-nine American art small structure at 40’ museums located in cities and small towns. wide, 100’ long, and The book begins in 1938 with the cre- 85’ high, this “house of Museum of Fine Arts, Houston (TX): Northwest corner of Moneo building (light towers ation of the MoMA (NY) and ends in 2008 art” attracts considerable on roof). Watkin, Franzheim, Mies van der Rohe, Morris, Moneo. with what was to be the completion of the expan- attention for the beauty sion of the Corcoran Gallery of Art (DC). (The of its materials. As the architects have stated, “It my interest in the interior. I wanted it to be dra- plans for the Gehry expansion were canceled in is important that the façade of the building have matic and scenographic, with each sequence of 2005.) The criteria used in the selection process a powerful presence, because it is surrounded by spaces and images being different.” Light towers included quality of design, geographic breadth, the much larger Museum of Modern Art.” After illuminate the galleries which are enhanced with and span of styles from Modernist to Post- much experimentation, they selected for the rich materials: bronze for the door jambs; oak, Modern and beyond. façade, tombasil, an alloy of copper, zinc, man- limestone, terrazzo, and granite for the floors; For each museum, Tilden provides basic facts, ganese, and zinc that is commonly used for boat and walls painted muted shades of peach, green, critical reviews, and statements by both the direc- propellers, fire-hose nozzles, and grave-markers. and gray. There is a sense of isolation from the tor and the architect on the collection, the The color of the 63 tombasil panels varies by world that allows visitors to enter into a medita- programs, and the building. The result is a book time of day and differences in atmospheric con- tive state and develop an intimate relationship reflecting the multiple perspectives of directors, ditions. The walls catch the light of the sun as it with the art. In Moneo’s galleries people remain architects, scholars, and critics. rises and sets, east and west along 53rd Street. silent or talk in hushed tones. In his preface, Tilden explains:“The United “Our desire was to clad the building in a material In glaring contrast is Zaha Hadid’s new States truly suffers from an embarrassment of that was both common and amazing, and that Contemporary Arts Center in Cincinnati, Ohio. riches in regard to its art museums. Since 1970 would show a connection with the handmade Hadid breaks through the box. She creates con- more than six hundred new art museums have quality of folk art. We wanted the building to crete forms that extend beyond the rectangular opened in the country, bringing the total reflect the direct connection between heart boundaries of the building with its narrow site in to more than thirteen and hand.” downtown Cincinnati. She designs galleries and Other materials selected for the building are public spaces with slanting walls and floors. She equally common, but in their application lend seeks to integrate the museum and the world, the richness to the interior spaces. Concrete slabs street, and the gallery. Her “urban carpet” brings throughout the building are terrazzo, ground to the street and concrete sidewalk inside the build- produce a smooth finish that reveals the stone ing and allows it to curve up the inside wall and aggregate. Poured-in-place concrete walls are ramps. It celebrates movement as it winds its bush hammered. Douglas fir, with its warm way throughout the museum. The artwork is reddish hue, was used for the gallery floors. located in public spaces and galleries, which fos- Solid wood rails run along steel handrails. This ters continuous interaction of the visitors with the same wood is also used in a woven manner as a objects. Openings and balconies allow visitors to balustrade wall. Cherry wood was used for the look at art and other visitors. The design fosters a custom-made benches in the gallery and tables collective, public encounter of art as opposed to a in the library. private, meditative aesthetic experience.

ENHANCING THE THE IDEAL SETTING: hundred. ISPLAYING THE RT Major art muse- AESTHETIC EXPERIENCE D A ums reported a growth in the 1990’s of 113 percent in museum endow- rtist and writer, Brian O’Doherty in his Architects of museums strive to design ideal A ments, 483 percent in capital improvements, 50 book “Inside the White Cube” provides an settings for viewing art. The most successful percent in donated artwork, and analysis of perhaps the most familiar form of transcend technical considerations and create Continued on page 9 4 springtimeVIEWSspringtimeVIEWS California Museum” (June 10) Twigs, grass, roots, Museum of Fine Arts, St. Petersburg Illinois Berkeley Art Museum, University of ferns, and bark transformed: the variety ❐ “Florida Collects Folk Art” (July 8) Museum of Contemporary Art, California, Berkeley ❐ Through June of materials and techniques from tribe A who’s who in folk art, including Chicago ❐ “Rudolf Stingel: Painting” 24: “Measure of Time” Artists’ to tribe. ❐ “Zip, Bop, and Whir: Toys many African-Americans. (May 27) Retrospective of an artist attempts to capture time in various of the 20th Century”(July 8) Playthings who seeks to defy the system, demysti- forms—compressed, frozen, fragment- that roll, float, fly, and construct. Cornell Fine Arts Museum, Winter fy the artist, and involve the viewer. ❐ ed, accelerated, and slowed down. ❐ Park ❐ Through May 20: “African “MCA EXPOSED: Defining Moments “Selections from the Collection” Wadsworth Atheneum Museum of American Artists in the Jacqueline in Photography, 1967-2007” (July 29) Rubens, Rothko, Smith, and some new Art, Hartford ❐ “Connecticut Bradley and Clarence Otis, Jr. The artistic evolution of photography, acquisitions. Contemporary” (July 15) Eight artists Collection” Modern and contemporary from Sherman’s untitled film stills to each select one artist who in turn painting, photography, sculpture, and Boltanski’s Les Enfants de Dijon, and Palo Alto Arts Center ❐ Through Apr. selects one artist: a show of 24 contem- mixed media; “Henry Matisse’s Jazz” Streuli’s Chicago ’99. 29: “Correspondence: Masami Teraoka porary Connecticut artists. The illustrated book, each page begun & Ukiyo-e” Watercolors by Teraoka as a cut-out: a masterpiece in modern Smart Museum of Art, University of alongside woodblock prints that Yale Center for British Art, New printmaking; “Diverse Africa: Chicago ❐ “Cosmophilia: Islamic Art inspired him; “Actor! Actor!” The Haven ❐ “Paul Mellon’s Legacy: A Ambassador and Mrs. Ulric Haynes, Jr. from the David Collection, intersection of art and theater, with Passion for British Art” (July 29) For Collection” Tribal art and jewelry Copenhagen” (May 20) A millennium emphasis on Asian artifacts: Noh the centennial of the museum’s from the Bedouin and Berber tribes of of work exemplifying cosmophilia masks, Ukiyo-e prints, Indonesian founder, a show of treasures from his Tunisia, the Benin Kingdom of (“love of ornament”) from Spain to shadow and French paper puppets, collection: drawings and watercolors Nigeria, and the Ashanti of Ghana, India. ❐ “Exported Visions: Early set and costume designs, and more. by Hogarth, Rowlandson, Blake, and among others. Twentieth-Century Japanese Turner; prints; rare books; 15th-20th- Woodblock Prints” (June 10) Images of Crocker Art Museum, Sacramento ❐ century manuscripts; and more. Vero Beach Museum of Art ❐ “The Japan made for Western consumption. Through May 6: “Yosemite 1938: On Reality of Things: Trompe L’Oeil in the Trail with Ansel Adams and Mill Museum, Willimantic ❐ America” (May 6) From 19th-century Northern Illinois University Art Georgia O’Keeffe” From an album “Gingerbread Gems of Willimantic, hyper-real through contemporary illu- Museum, DeKalb ❐ Through May 12: crafted by Adams after a trek with Connecticut” (July) Victorian architec- sion. ❐ “George Rickey Kinetic “The Uncertainty Principle: Drawing in O’Keefe and friends, including some ture. Sculpture: A Retrospective” (May 14) the Golden Age of Worry” of his most famous images; “Palkee: 50-year survey of indoor and outdoor Contemporary artists expressing their Wedding Conveyances of North India” District of Columbia sculptures. (and our) uncertainties; “Josef Albers: Carved wooden panels used to carry Smithsonian Institution ❐At the Formulation: Articulation” Serigraphs brides in wedding ceremonies of the Sackler Gallery: “East of Eden: Georgia provide an overview of his theories. Santal tribe in Northern India; 1st Gardens in Asian Art” (May 13) Georgia Museum of Art, Athens ❐ showing in the West. ❐ “Homes for the Garden imagery in hand scrolls, hang- “The Jackleg Testament” A dark tale Krannert Art Museum, University of Disembodied: An Installation by Mary ing scrolls, folding screens, manuscript told in graphic woodcut prints that then Illinois, Urbana-Champaign ❐ Tuma” (May 24) Honoring Palestinian paintings, lacquer objects, and ceramics come alive in an animated film. “Commerce and Consumption: Works women who have died and those that and textiles, 12th century to the present. from the Permanent Collection” (May carry on: 25-foot-tall black chiffon Hawaii 13) A companion exhibition to the prior dresses. Textile Museum ❐ “Red” (July 8) Honolulu Academy of Arts ❐ “A “Branded and On Display.” Textiles from the Americas, Africa, Vision of the World: The Anna Rice Museum of Photographic Arts, San Asia, and the Middle East that commu- Cooke Collection at the Honolulu Indiana Diego ❐ “Tell Me a Story: Narrative nicate with the color red including an Academy of Arts” (May 27) The South Bend Regional Museum of Art Photography Now” (May 13) AIDS lapel ribbon and a Peruvian bor- founder’s collection, especially Korean ❐ “African American Arts Association Contemporary artists using fable, der fragment from 300 BCE - 500 CE. ceramics, celebrating 80 years in at the SBRMA” (May 6) Emerging, fiction, and cinematic conventions. established, and non-mainstream artists.

Cantor Arts Center, Stanford Kansas University, Stanford ❐ “In the Ulrich Museum of Art, Wichita ❐ American West: Photographs by “Marsden Hartley: American Modern” Richard Avedon” (May 6) Reprise (Apr. 29) Retrospective. of the 1985 Amon Carter Museum exhibition: the results of an odyssey Kentucky through 13 states and 199 towns from Speed Art Museum, Louisville Texas to Idaho. ❐ “Bare Witness: “Building Books: The Art of David Photographs by Gordon Parks” (July 1) Macaulay” (May 13) Interactive for the Retrospective: the 1940’s urban and family: original works of art, studies, rural poor, the Civil Rights movement, sketchbooks, book dummies, manu- works for Vogue and Life magazines, scripts, correspondence, and artifacts. film shots. and finally, writings. ❐ “From Folk to Modern: Kentucky Pottery, 1900-1950” (June 24) Colorado Utilitarian crocks, jars, and vessels Sangre de Cristo Arts Center, Pueblo and decorative objects. ❐ “Ay, México!” The art and culture of Mexico in three exhibitions: Through Maine May 12: “The Legend of the Chromes” Portland Museum of Art ❐ “2007 Mexican calendar legends; “Viva La Kentucky Gateway Museum Center. Coxe Allen & Assoc., architect. Photo by Louis Browning. Portland Museum of Art Biennial” Revolución!” Coin collection that (June 11) New work by Maine artists. tells the story of the Mexican Florida operation. ❐ “Paintings by Kirk Revolution of 1910; “Tradición Boca Raton Museum of Art ❐ Kurokawa” (May 29) Portraits. ❐ Maryland México” (May 5) Mexican and Through June 3: “Jeanne Hilary: Eden” “Ukiyo-E Exhibition” (May 20) Baltimore Museum of Art ❐ American painters and photographers. Large scale photographs of small towns Japanese wood-block prints. ❐ “Pissarro: Creating the Impressionist ❐ “Encuentro: A Leo Tanguma across America; “Ernest Trova Through May 6: “Lost Maritime Landscape” (May 13) The transforma- Community Sculptural Mural Project” Retrospective” Forty years of varia- Civilizations of Ancient China: 8000 tive decade (1864-1874): from tradi- (Apr. 27) 30-foot mural in three panels tions on the theme of the human jour- Years” Archaeological discoveries that tional French landscape to that feature the mythological La ney through life, in paintings, graphics, link Southeast China to modern Impressionism. Llorona, a woman weeping for assemblages, and sculpture; “The Polynesia, Melanesia, Micronesia; her dead children. Isadore and Kelly Friedman Bequest “Hawaii Quilt Guild Exhibition” Walters Art Museum, Baltimore ❐ Memorial Exhibition” Paintings, sculp- Annual showing of a variety of styles “Untamed: The Art of Antoine-Louis Connecticut ture, and photographs by modern mas- and techniques. ❐ Through May 10-31: Barye” (May 6) 19th-century animal Bruce Museum, Greenwich ❐ ters: Dubuffet, Leger, Marsh, Rivers, “The Moon Show” Paintings with sculptor and teacher to Rodin shown “Weaving a Collection: Native Steiglitz, Cartier-Bresson, and Newton. lunar themes; “George Wollard” for the first time in many moons: American Baskets from the Bruce Solo exhibit. bronze sculptures, oil paintings,

5 springtimeVIEWS continued watercolors, and sketches. ❐ “Floral Flint Institute of Arts ❐ “Oscar New York ture; “Scattered Gold and Midnight Still-Life Paintings from the Collection Bluemner” (May 27) Works on paper. Albany Museum of Art ❐ Through Gloss: Japanese Lacquer from the of Jane and Robert Meyerhoff” (June ❐ “Artists of the Great Lakes: 1910- May 27: “Paul Cushman: The Work and Anbinder Collection” Boxes with gold 10) Delacroix, Cézanne, Klimt, 1960” (Aug. 19) Paintings, prints, and the World of a New York State Potter, designs; “Performing Desire: Magritte, Matisse, Nolde, and others. drawings. 1800-1850” An historical look at this Constructs of Feminine Beauty and Sexuality in Japanese Art” Massachusetts Lauren Rogers The role of the feminine in Institute of Contemporary Art, Museum of Art, art. ❐ “Ursula von Boston ❐ “Momentum 7: Misaki Laurel ❐ “Jaune Rydingsvard” (July 15) Kawai” (July 8) Pop works created Quick-to-See Recent works with gouged from papier-mâché, wood, fabric, Smith: Made in wood surfaces. ❐ “A stickers, and yarn. America” (Apr. 29) Focused Collection: The Survey in paint- Hudson River School” Fuller Craft Museum, Brockton ❐ ings, drawings, (June 17) Cropsey, Church, Through May 6: “Carter Smith: and prints; Native Heade, Bradford, Sonntag, Shibori Treasures” Fiber installation; American life and others. “Drawing with Fire” Glass sculpture; contrasts with “RISD Routes” American Bard Graduate Center, consumerism. New York City ❐ “Bruno McMullen Museum of Art, Boston Mathsson: Designer and College, Chestnut Hill ❐ “A New Key: Missouri Architect” (June 10) Modern Belgian Art from the Simon Laumeier Furniture, architectural Collection” (July 22) Late 19th century Sculpture Park, drawings, photographs, and to World War II: Magritte, Ensor, St. Louis ❐ “Karen models by this key figure Delvaux, Claus, Smet, Permeke, Oliver: A Closer in 20th-century Modernism. and others. Look” (May 13) Pedestrian objects Block Museum of Art (IL). Dirk Lohan, architect. Photo courtesy of the museum. El Museo Del Barrio, New Peabody Essex Museum, Salem ❐ in use sculpturally. York City ❐ “The Through June 3: “Epic India: Paintings upstate potter who operated a small Disappeared (Los Desaparecidos)” by M.F. Husain” Works brought togeth- Montana ceramics business; “Clay Connections: (June 17) Visual responses to the er from three undertakings (in 1971, Missoula Art Museum ❐ “Native What Ceramics Tell Us” Objects that kidnapping and killing (the “disappear- 1983, and 1990) to paint the Indian epic Identity in Flux: Reflections from the connect Albany to the rest of the world: ance”) of thousands by repressive Mahabharata; “A Sense of Place: An MAM Contemporary American Indian Dutch Majolica, English faience, military dictatorships in Latin America Artist’s Tribute to the Seven Continents” Art Collection” (Apr. 28) Quick-to-See Chinese export porcelains, and English from the 1950’s through the 1980’s. Seven large hand-painted textiles. Smith, Stewart, Ambrose Smith, Pepion, transfer-printed tableware; “Containing and others. ❐ “Unwrapped II: New History: Contemporary Ceramics from Grey Art Gallery, New York Mount Holyoke College Art Museum, Gifts to the Permanent Collection” (May Regional Potters” Modern takes on the University, New York City ❐ “Beyond South Hadley ❐ “Excavating Egypt: 5) ❐ “Women Beyond Borders” (June past in pottery. the White Cube: A Retrospective of Great Discoveries from the Petrie 7) Assemblages made from an identical Brian O’Doherty/Patrick Ireland” Museum of Egyptian Archaeology, small box form by women artists from Hillwood Art Museum, Brookville ❐ Paintings, sculpture, installations, and University College, London” (July) around the world. ❐ “Blake Haygood” “Paul Villinski: Air Chair” (July 3) ❐ drawings from an artist with multi Egyptian works of art found by British (June 30) A printmaker’s paintings. “Art of the Americas: The Collection pseudonyms, the most famous, Patrick archaeologist Sir William Flinders Revealed” (Spring) Pre-Columbian Ireland, used as a political protester Petrie: one of the world’s earliest dress- Montana Museum of Art & Culture, objects of stone, clay, wood, and textile. and then assumed for his subsequent es (circa 2400 BCE), gold mummy University of Montana, Missoula ❐ artwork. masks, photomurals of excavations in “Marilyn Bruya: Recent and Past Kupferberg Center for the Arts, progress, rare archival materials, video Works” (June 30) Work exploring social Queens College, Flushing ❐ “Islamic Guggenheim Museum, New York City presentations, and more. justice, culture, and environmental Art in Image and Object” (May 31) ❐ “The Hugo Boss Prize 2006: Tacita issues. Photographs of Khalili Collection of Dean” (June 6) Drawings, sound, found Rose Art Museum, Brandeis Islamic Art and objects from other photographs, and 16mm films by the University, Waltham ❐ “John Armleder: New Jersey collections. recipient of this award for significant Everything is not Enough” (July 29) Hunterdon Museum of Art, Clinton ❐ development in contemporary art. First U.S. exhibition of furniture sculp- Through June 3: “Barbara Klein” Hofstra University Museum, tures, paintings, light installations, wall Abstract art; “Feminist Art Project” Hempstead ❐ “Twardowicz & Dodson: Jewish Museum, New York City ❐ paintings, and large-scale installations Contemporary American women artists. Artists in Parallel” (May11) “Dateline Israel: New Photography and by the eclectic founder of the artistic Retrospective of husband and Video Art” (Aug. 5) Works made after group Ecart in Switzerland. Monmouth Museum ❐ “Marsh wife artists. the year 2000 show how political reali- Meditations: A Celebration of the ties in an evolving country influence Michigan Hamilton-Trenton Bordentown Marsh Heckscher Museum of Art, creative endeavor. ❐ “Landslide” University of Michigan Museum of with the Works of the Princeton Artists Huntington ❐ “Ansel Adams and Shifting geographic borders, like those Art, Ann Arbor ❐ “Imagining Eden: Alliance” (June 10) Local artists look at Edwin Land: Art, Science, and in the Middle East, are the subject of Connecting Landscapes” (June 3) the marsh in a variety of mediums. Invention—Photographs from the this animation installation involving Images of parks, golf courses, gardens, Polaroid Collection” (June 25) Adam’s software, video projection, and sculp- and cemeteries demonstrate the human Rutgers-Camden Center for the Arts, part in the development of the Polaroid. ture. impulse to shape the landscape and Rutgers University, Rutgers ❐ “From strive for order and harmony. Generation to Generation” (May 14-25) Islip Art Museum ❐ “Surface Museum of American Illustrators, Graduating art students, professors, and Impressions” (June 3) How contempo- Society of Illustrators, New York City Jacob Gallery, Wayne State University, alumni artists. rary artists treat the surfaces of their ❐ “49th Annual Exhibition” (Apr. 28) Detroit ❐ “Where We Come From” canvases, sculptures, and mixed- Juried. (May 25) Text, photos, and video New Mexico media works. assembled in answer to the question to UNM Art Museum, University of New Museum of Arts & Design, New York other Palestinians throughout the world: Mexico, Albuquerque ❐ Through June Herbert F. Johnson Museum of Art, City ❐ Through June 17: “Radical Lace “If I could do something for you, any- 10: “Private Reserves—Art of the Cornell University, Ithaca ❐ Through & Subversive Knitting” Needle- and where in Palestine, what would it be?” Imagination” Where the driving force is June 24: “Ningyo: Japanese Dolls from hook-work that makes political or per- invention rather than mirroring of the Goldstein Collection” Festival dolls sonal statements; “Contemporary Kresge Art Museum, Michigan State worlds; “A Familiar Marriage: made for show, not play; “Listening to Netsuke: Masterful Miniatures” An old University, East Lansing ❐ “Circus: Connecting Pictures and Words” Bamboo: Japanese Baskets from the art form flourishes once more. The Art of the Strange & Curious” (July Illustrated texts, including Hockney’s Harris Collection” From the Meiji era 27) Carved and painted wooden scale Grimm’s Fairy Tales. ❐ “Deliberate (1868-1912) to the present. ❐ Through Metropolitan Museum of Art, New models of performers, wagons, circus Gestures/The Photographic Portrait” July 8: “Walk in Beauty: Discovering York City ❐ “Louis Comfort Tiffany banners, and more. (May 20) The relationship between American Indian Art” Contemporary and Laurelton Hall—An Artist’s portrait photographer and subject. Native American painting and sculp- Country Estate” (May 20) Remnants

6 and designs from the 84-room, 8-level the Meiji period (1868-1912). house, all of which were designed by Tiffany: windows, panels, fountains, George Eastman House, Rochester ❐ vases, portraits, prints, pottery, exotic “Ghosts in the Landscape: Vietnam objects, and a never-before exhibited Revisited” (May 6) Platinum prints by Steinway piano. ❐ “Barcelona and ex-combat Marine who was stationed Modernity: Gaudi to Dali” (June 3) in Vietnam and who then later returned Work created in Barcelona between as a photographer. 1888 (Barcelona Universal Exposition) and 1936 (Fascist regime of Franco): Hudson River Museum, Yonkers ❐ Picasso, Miro, Dali, Gaudi, and others. “Contemporary Photography and the ❐ “Venice and the Islamic World, 828- Garden—Deceits and Fantasies” (May 1797” (July 8) Objects of art, glass, 20) American and European takes on metalwork, carpets, textiles, manu- the garden, from tranquil to dangerous. Kimbell Art Museum (TX): Southwest corner. Kahn. scripts, and luxury goods brought to ❐ Venice from Islamic lands in the eastern North Carolina Dayton Art Institute Through June: Hoyt Institute of Fine Arts, New ❐ Mediterranean, and how they influenced Asheville Art Museum ❐ “Black “Around the Bend: Monumental Castle “34th Annual Hoyt Regional Venetian art and design. ❐ “Frank Mountain College: Collaborations and Steel Sculpture by Bret Price” Outdoor Juried Art Exhibition” (May 18) Stella: Painting into Architecture” (May Interdisciplinary Dialogues” (May 13) exhibit surrounding the museum, 1-July 29) Drawings, models, and relat- Third and final exhibition in a series related documentary photos inside. Institute of Contemporary Art, ed paintings and sculpture from struc- that explored collaborative work at the University of Pennsylvania, ❐ tures the artist designed over the last college, this time with Cage’s Theatre Southern Ohio Museum, Portsmouth Philadelphia “Karen Kilimnik” First ❐ 10 years. Piece #1 and Fuller’s geodesic dome. “Slow Time: The Folk Art of Noah major survey: “scatter” sculptures, and Charley Kinney” (June 30) Farm drawings, paintings, photography, and Museum of Modern Art, New York Mint Museums, Charlotte ❐ At the boys, brothers, each of whom produced video. City ❐ “Jeff Wall” (May 14) Survey of Mint Museum of Art: “VantagePoint his own vision. photographs taken from 1970’s to the VI: Tom Hunter: Contemporary Philadelphia Art Alliance, Pennsylvania ❐ present. ❐ “Image-Breaking, Image- Narratives” (July 8) Large format pho- Philadelphia Through May 6: Allentown Art Museum ❐ “Realms: New Ceramics by Bean Making” (June 11) Contemporary tographs, often with historical refer- “Chushingura: Loyalty and Revenge in abstract art that uses cartoons and ences, that tell contemporary tales; Finneran” Abstract sculptures evocative Eighteenth-Century Japan” (May 27) of animals and nature; “Gravity: A comic-book images to comment on “Twisted” (May 27) Works associated 18th- and 19th-century woodblock social issues. ❐ Through May 21: with the word twisted, either physically Glass and Multimedia Installation by ❐ artists, including work by Kuniyoshi Jon Clark and Angus Powers, with “Artistic Collaborations: 50 Years at or psychologically. “Personal and Toyukuni, all depict a famous Universal Limited Art Editions” Artists Preferences: Paintings from the Jim Sound by Jessie Daniels” A “cycle of Japanese tale. ❐ “Knights in Shining time and energy evolution”; “Game from the mid-1960’s ventured to this Craig & Randy Johnson Collection” Armor: Myth and Reality, 1450-1650” Long Island print-making workshop to (June 3) Also pastels, works on paper, Boys: Photographs by Shauna (June 3) Armor, swords, and daggers; Frischkorn” Portraits of teenage boys explore an unfamiliar medium, and antique stained glass, antique American paintings, prints, and tapestries. others from the mid-1980’s who and English furniture, silver, crystal, immersed in gaming; “Bachelor ❐ Portraits: Photographs by Justyna experimented further; “Live/Work: and porcelain. “Mirth and Mayhem: Lehigh University Art Galleries, Performance into Drawing” Drawings Staffordshire Figures, 1810-1835” Badach” Men pictured with their most Bethlehem ❐ “Area Artists 2007” (June valued possessions; “Tara O’Brien: 8) Multimedia works, paintings, photog- Entelechy” Books as living things; raphy. ❐ “Where’s Joe? The Ghost of “Of Memory [and Listening]: New Bethlehem Steel, Part V: Theo Work by Brenton Good” Architectonic Anderson” (June 30) Color digital pho- 2-dimensional works documenting the tography. ❐ “Works on Paper from the artist’s choices through the process of LUAG Collection” (July 28) A wide creating. variety of works and new acquisitions. Philadelphia Museum of Art ❐ Berman Museum of Art, Ursinus “Thomas Chimes: Adventures in College, Collegeville ❐ “A Sense of ‘Pataphysics’” (May 6) 50-year retro- Place: Photographs by Bob Reichley” spective: early landscapes, abstract (June 15) Images of America and the paintings, crafted metal boxes with world. hidden messages, sepia-toned portraits of writers and artists, and 3”x 3” white Michener Art Museum, paintings. ❐ Through June: “Fantastic Doylestown/New Hope ❐ In and Functional Animals in Indian Art” Doylestown: “Aging in America: The Miniature paintings, both natural and Years Ahead” (June 24) B/W photo- Corning Museum of Glass (NY): Steuben Glass studio building. Harrison, Birkerts, Smith-Miller. supernatural; “Conserving a Tibetan graphs by photojournalist Ed Kashi Altar” Late 19th- early 20th-century ❐ ❐ shatter the stereotypes of aging. In altar restored. ❐ “Ike Taiga and that document specific performance (April 29) At the Mint Museum of New Hope: “Wild by Design: 200 Years works, and those that speak to the phys- Craft + Design: “Observations— Tokuyama Gyokuran: Japanese Masters of Innovation and Artistry in American of the Brush” (July 22) 18th-century ical process, materials, or practices Works by Ann Wollf” (July 29) Quilts” (June 3) From early 1800’s to through which they were created: Retrospective: watercolors, drawings, ink painting: screens, hand scrolls, the present: innovations in color, hanging scrolls, albums, and fans. Acconci, Beuys, Cage, Pollock, and sculptures in bronze and glass. abstraction, figuration, and more. Oldenburg, and others. ❐ “Abbas Klarostami: Image Maker” (May 28) North Carolina Museum of Art, Carnegie Museum of Art, Pittsburgh Williams Center for the Arts, ❐ Iranian film director’s meditative mov- Raleigh ❐ “Temples and Tombs: “Gritty Brits: New London Lafayette College, Easton ❐ “Armour Architecture” (June 3) Photographs ing image installation projected in a Treasures of Egyptian Art from the d’Armor: Fear, Fantasy, and Fashion in synchronized loop on five different British Museum” (July 8) Sculptures, and models from a new generation of the New Age” (May 6) Inventors and London architects. ❐ “Mezzotints in screens. reliefs, papyri, jewelry, cosmetic objects, artists create modern-day protection. and funerary items from before the 3rd 18th Century Life” (May 20) The part ❐ played in society by the 18th-century Rubin Art Museum, New York City Dynasty (c. 2686 BCE) to the 4th- Lancaster Museum of Art ❐ “The Art “Illumination, Lynn Davis” (July 16) century Roman occupation. medium (mezzotints) of the day and its of the Brick” (May 20) Works created subsequent revival. ❐ “Forum 59: Phil Photographs paired with selections from LEGO bricks. ❐ Through May 20: from the museum’s collection. Ohio Collins” (July 1) Third and final video ❐ “Full Circle” Studies of the circle and installment in a series entitled the world Taft Museum of Art, Cincinnati semi-circle on canvas, and in glass and Loeb Art Center, Vassar College, “Hiram Powers: Genius in Marble” won’t listen, filmed on location in Asia. ❐ stone sculptures fashioned with a dia- ❐ “Lighting from the Collection” Poughkeepsie “Chikanobu: (May 18-Aug 12) 19th-century mond saw and hand chisel; “Feathers, Modernity and Nostalgia in Japanese sculptor from Cincinnati. (June) From 18th-century candlesticks Fins, Fur, and Folks” Carved and paint- to Modernist aluminum lamps. Prints” (May 13) Woodblock prints ed wood and metal sculptures of fish, and a painting by a popular artist from animals, and people.

7 springtimeVIEWS continued

Frick Art & Historical Center, Dixon Gallery and Gardens, and now: Evans, Lange, and many oth- Herbarium” (June 24) Specimens, pho- Pittsburgh ❐ “The Powerful Hand of Memphis ❐ “Modernism in American ers. ❐ Through May 30: “Fab Ab: New tos, and botanical illustrations of George Bellows: Drawings from the Silver: 20th-Century Design” (July 15) Acrylic Abstraction” The latest; Virginia’s flora, including medicinal Boston Public Library” (June 17) Flatware, compotes, cocktail shakes, “Eileen Doktorski: Domestic Arsenal” plants found by early colonists. ❐ At Preparatory work for paintings and lith- and other unique objects spanning the Installation on domestic violence. the Joel and Lila Harnett Museum of ographs and finished illustrations for entire spectrum of American modernist Art: “Arise! A Suite of Prints by Fred magazines and newspapers show silver and silver plate. Virginia Wilson” (July 15) Works that focus on American life and Bellows’ inner circle. University of Virginia Art Museum, the artist’s concerns about race, percep- Texas Charlottesville ❐ “Collecting Heritage: tion, and relationships. ❐ “A Slave Mattress Factory, Pittsburgh ❐ Old Jail Art Center, Albany ❐ “Clay Native American Art at the Museum” Ship Speaks: The Wreck of the “Neither Here Nor There: Indian and Ash: New Work by Sandria Hu” (June 24) A look at native people in the Henrietta Marie” (May 18) Artifacts Artists in America” (June 23) Part of a (May 13) Paintings—handmade con- early 20th century. ❐ “The Art of from an 18th-century sunken ship: the year-long celebration of the Indian structions signifying rain, wind, soil Martin Hardie: Prints and Drawings largest collection of slave shackles and experience in the global community. movement, fire, and other environmen- from the Collection” (May 23) The cre- English-made pewter-ware ever found tal occurrences. ative output of a scholar, curator, writer in one place, Venetian glass trade Reading Public Museum ❐ “Recent on art, and printmaker. ❐ beads, stock iron trade bars, basins, Acquisitions” (June 17) A pre- Kimbell Art Museum, Fort Worth ❐ “Bazzle/Brown-Epstein/Jones: Alumni bowls, bottles, and the ship’s bell. ❐ Columbian Mayan ceramic vessel, “Drama and Desire: Japanese Paintings in the Arts” (June 3) Three UV alums “News of the Colonies: Prints, Maps, etchings by Whistler and Millet, marine from the Floating World, 1690-1850” and their work. ❐ “Perfected and Perceptions of the New World” prints, sculpture, and more. ❐ “The (Apr. 29) Scrolls, banners, theatrical Landscapes: Views from the (Apr. 28) On the 400th anniversary of Nature of Holography” (April 29) signs, even lanterns capturing moments Collection” (June 8) Prints, drawings, the founding of Jamestown, early Natural and wildlife images, and the from the pleasure centers of 17th- and photographs exploring the land- impressions by explorers and colonists. history of holography. ❐ century Edo (present day Tokyo). scape and how it can express the social “Contemporary Latin American Folk climate of an era. Art from the San Antonio Museum of Washington Art” (July 15) Folk art produced over Daura Gallery, Lynchburg College Henry Art Gallery, Seattle ❐ the last 100 years. ❐ Through May 12: “Of Course I “Elusive Signs: Bruce Nauman Works Can! The Effect of Advertisements in with Light” (May 6) From early neon Palmer Museum of Art, Pennsylvania World War II” Posters, cookbooks, works to later clown drawings limned State University, University Park ❐ and other objects that motivated in neon. ❐ “Carsten Höller: Neon “Early Soviet Photography” (May 6) women to go all out for the war; “The Circle” (May 13) Multi-sensory 1920’s and ’30’s: the idealized collec- Social and Cultural History of the interactive installation. tive state. ❐ “Old Master Prints from Tattoo” From tribal society to modern the Permanent Collection” (May 20) times. Wisconsin Dürer, Beham, and Rembrandt, and Kenosha Public Museum ❐ “Life’s lesser lights. Piedmont Arts Association, Work: The Woodblocks and Prints of Martinsville ❐ “Expressions” (June Mona Noe” (June) Retrospective: South Carolina 29) Paintings, drawings sculpture, hand-carved printing blocks. Gibbes Museum of Art, Charleston ❐ fiber works, and photography by “Grandeur Saved: Photographs of the regional artists. Charles Allis Art Museum, Aiken-Rhett House by Michael Milwaukee ❐ “Language of Eastman” (May 13) Large scale photos Chrylser Museum of Art, Norfolk ❐ Composition: Works by Ralph of the most intact townhouse from “From Goya to Sorolla: Masterpieces Selensky” (April 29) Painter/photogra- antebellum Charleston. from the Hispanic Society of pher inspired by restaurant life. ❐ America” (June 11) Spanish contribu- “Nocturnal Nature: Works by Elizabeth Columbia Museum of Art ❐ Through tions through the ages, from Austin” (June 10) Mystical landscapes July 17: “From Pissarro to Picasso: Classicism to Impressionism. mounted on plastic panels. ❐ “Survey European Works on Paper” of Wisconsin Art NOW” (July 29) Griswold House (CT). Restoration by Interdesign, Ltd. Watercolors, pastels, and drawings; Photo by Joe Standart. Art Museum, Radford University, Contemporary regional artists. “A Foreign Affair: American Artists Radford ❐ “Alison Weld” (May 11) Abroad” Scenes by American artists, McNay Art Museum, San Antonio ❐ Expressionistic brushwork highlighted Kohler Arts Center, Sheboygan created as they traveled abroad: Through July 29: “ARTMatters 11: with fake fur, vinyl, and artificial flow- “Laced with History” (May 20) Cassatt, Chase, Henri, Marin, Lynda Benglis” Two- and three-dimen- ers. ❐ “Selections from the Permanent Contemporary sculptures, drawings, Prendergast, and others. ❐ “Jacob sional works; “Madame Butterfly: Collection” (July 27) Recent acquisi- paintings, and jewelry using (or Lawrence: The Migration Series” (June From Puccini to Miss Saigon” tions and old favorites. referencing) lace and a history of the 24) Sixteen panels tracing the journey Manuscripts, posters, playbills, craft. ❐ Through Apr. 29: “Joe Fig: of African Americans from the South to costumes, and programs marking the University of Richmond Museums ❐ Studio Visit” Detailed miniaturized the North during and after WWI. ❐ 100th anniversary of the opera. At the Lora Robins Gallery of Design versions of other artist’s studios; “Fiber “The Birds of America: Audubon Prints from Nature: “Parian Porcelain: A Optics: Fine Art Quilts” Contemporary by Julius Bien” (May 13) Five prints Utah Nineteenth-Century Passion” (May 27) notions on quilting. ❐ “Kehinde Wiley: made of Audubon’s paintings using Brigham Young University Museum The impact of these European and Made in China” (June 17) Altering Bien’s original copperplates. of Art, Provo ❐ “Beholding Salvation: American waresÐfrom busts to figures historical stances: Mao’s propaganda Images of Christ” (June 16) The life of to decorative pitchersÐon popular cul- posters overlaid with young black men Tennessee Jesus in paintings, prints, icons, illumi- ture and decorative arts; “Traditions in re-evaluate stereotypes. ❐ Frist Center for the Visual Arts, nated manuscripts, and sculpture. ❐ Miniature: The Louise Westbrook Nashville ❐ Through June 3: “Matisse, “Paths to Impressionism: French and Collection of Chinese Ceramics” (May Picasso, and the School of Paris: American Landscape Paintings from 27) Pieces from 3000 BCE to 1911; Masterpieces from the Baltimore the Worcester Art Museum” (July 8) “Native Plants of Virginia: Selections Museum of Art” The artists who made Corot, Inness, Monet, Sargent, Sisley, from the University of Richmond Paris the center of modern art and and others who spurned the aristocratic culture; “Hiraki Sawa: Going Places, and historical in favor of depicting Sitting Down” Video dreamscapes realistic rural and, later, urban land- using toys, books, and household scapes and ordinary working people. objects as props. ❐ “Brushed with “The Quiet Landscapes of William B. Light: Masters of American Watercolor Post” (May 28) Platinum prints by a from the Brooklyn Museum” (May 4- contemporary of the American July 22) Chronological survey of Impressionist painters. watercolor landscapes, late-18th through mid-20th centuries: Moran, Salt Lake Art Center ❐ “Resonance Homer, Sargent, Hopper, Zorach, and Return: Social Documentary Avery, and others. Photography, 1935-Present” (May 19) Photographers for social change, then Art Museum of Western Virginia (VA). Randall Stout architect. Rendering courtesy of the museum.

8 65 ARCHITECTURE FOR ART continued from page 4 20 percent in museum attendance. Nowhere was Guggenheim, Kimbell, Whitney, Getty, and East today is how to generate a cutting-edge exterior this prosperity more evident than in the creation Building of the National Gallery of Art. design, that stimulates the imagination of the of new museum buildings. These structures cap- “…What characterizes this period is not sim- viewer. Neighboring hotels, businesses, and tured the public’s ply a large number of new local governments often encourage museums imagination, stirred or expanded museums by to create buildings that appeal to tourists and debate, and became great architects but a sig- residents…. In addition to designing a striking one of the principal nificant change in the mis- façade, the architect must develop an interior reasons for museum sion of many American art plan with spaces that perform the specific func- visits. museums. Like living tions and meld into a coherent building. The “Starting in 1938, organisms, museums have difficulties are multiplied if the architect has to with the Museum of evolved and grown func- work with existing structures and create new Modern Art in New tionally more complex…. wings…. Controversy surrounds plans that York and continuing Most museums are now call for tearing down and replacing existing through the present seeking to meet not only museum structures…. ” ❑ day, museum direc- the aesthetic needs of their tors and trustees have customers but also their retained Modernist dining, shopping, educa- and contemporary tion, entertainment, and architects to create social needs…. Except where structures with aes- “Each of [these] muse- otherwise stated, thetic values as signif- um functions requires a all photographs in icant as the collec- shared or distinct space this issue were taken tions they were and represents a corre- by Paul Rocheleau for Architecture for designed to hold…. sponding new design prob- Art: American They designed muse- lem for the architect. Art Museums 1938- ums that have become Perhaps the most pressing 2008, Harry N. architectural icons, problem confronting the Abrams, 2004. including the architect of a museum American Folk Art Museum (NY): Façade. Williams, Tsien. GREEN GROW THE MUSEUMS

[The AAM publication Museum News featured an exten- After completion in late 2007, the new build- bamboo, plywood) leaves intact those materials sive article by Sarah Brophy and Elizabeth Wylie enti- ing’s high performance features, which include a that take years, even centuries, to replace. tled “It’s Easy Being Green: Museums and the Green geothermal heating and cooling system, will Looking into the future at possible replace- Movement.” The authors’ wide-ranging research into save more than $100,000 annually in energy ment costs can be hugely cost effective. Brophy the growing phenomenon of environmentally-conscious costs. It was a collaborative decision to go and Wylie cite carpeting as a prime example: construction projects indicated the increasing commit- green.” “Using carpet tiles instead of single-piece instal- ment to greenness in the museum community.] A new trend in museum design has thus lation allows single-area replacement for stains begun. In fact, in the last ten years, more than instead of a complete re-installation, which “In 2004 the Brooklyn Children’s Museum 20 museums or museum-like institutions have reduces your cost and reduces the environmental (BCM) began construction to double the size of added green buildings or were “born green.” demands of both manufacturing and disposal.” the museum. During the initial planning process, Others follow green practices in their day-to-day Who would have thought! the building owner, the City of New York, was operations. Integrated design methods, bringing archi- ‘looking for ways to promote environmental Some of the techniques that make for tects, engineers, lighting and landscape design- quality, contain future energy costs, and save greenness are derived from sheer necessity. For ers, and other consultants together to work col- taxpayers money by making a special effort to example: High-performance, energy efficient laboratively, is the best way to control project pursue high-performance buildings,’ says Paul systems reduce energy costs. It is a given that costs. “Team” efforts produce the best results Pearson, vice president of programs at BCM. high utility bills can hinder program allocations, both economically and environmentally. staff positions, The green project in progress—a green even major museum aborning or a green addition to a tradi- exhibitions or tional building—can become the center of envi- other projects. ronmentally focused marketing and fund-raising, Sustainable sys- made easier by the civic/community/world tems, services, importance of environmental issues. Witness the and materials experience at BCM: “It was much easier than can help to we expected from a funding standpoint. We had reduce those tremendous enthusiasm among our stakeholders escalating costs. that helped carry it along. Private funders recog- Choosing nized that our project was more than just a durable materi- building expansion, but a model project: one als reduces that demonstrated a commitment to addressing replacement environmental issues, advancing innovation in costs as well as design and increasing public awareness about the demand on sustainable design. City, state, and federal legis- the environ- lators recognized that our project supported their ment. And, efforts and recent legislation promoting energy choosing sus- conservation.” tainable and More and more, state and local govern- quickly renew- ments support green initiatives. Many states and able materials private foundations have clean-energy funds that (fast-growing encourage the use of renewable Continued on page 11

Yale Center for British Art (CT): North end of building showing sunken commercial plaza. Kahn. 9 NEWSBRIEFS – and other items of interest MET UNVEILS NEW GALLERIES MET DROPS REPRO CHARGES Art at Boston College from Sept. 1-Dec. 9. After 5 years of construction and 15 years of In a letter to The Art Newspaper, a happy ARTNERSHIPS planning, the Metropolitan Museum of Art (NY) scholar reported that the Metropolitan Museum of P has announced the opening of its “museum within Art has dropped charges for reproductions of many The partnership between the Miami Art the museum,” new Greek and Roman galleries that of the works in its collection when they are being Museum (FL) and Miami Art Central, an alterna- will display an unrivaled collection of Hellenistic, used for “scholarly publications with print runs of tive art space, has resulted in MAC@MAM. MAC Etruscan, South Italian, and Roman art, much of it less than 2,000 copies.” Bravo! will produce exhibitions and contemporary art pro- unseen for generations. gramming that will be displayed at MAM. Their first collaboration took place earlier this year, a WAR ON CANVAS show of works by Peter Friedl and Tacita Dean. VIRTUAL GALA REPLACES The Museum of Fine Arts, Houston (TX) and Following a tradition that goes back to World the National Museum of Korea in Seoul announced TRADITIONAL FUNDRAISER War I, U.S. military artists have documented the a partnership that produced a two-year loan of 45 The McNay Art Museum (TX) has eschewed war in Iraq, augmenting a collection of some Korean works of art dating from 3000 B.C. to the the traditional fundraiser for the virtues of a virtual 15,403 works that are held in a basement occupied present, some of which will be seen for the first gala. Tickets for the non-party go for $500 per per- by the Army Art Collection in Washington DC. time outside Korea. The group will inaugurate a son, or $5,000-$15,000 for a table. “Stay at home With no acquisition capability, the collection relies new, 2,200-square-foot Korean gallery, supported in and party” in your pj’s to enjoy “an evening NOT on donations. part by a grant from the Korea Foundation and The works painted in Iraq are, for the most part, worth attending.” scheduled to open in December. It is the first move realistic, but limited. in a long-term plan to increase the focus on Asian They show no ancient art with other new galleries for BOTERO SPURNED sites, Islamic symbols Chinese, Indian, Indonesian, or clerics, casualties, or Southeast Asian, and Japanese IN U.S. MUSEUMS Iraqis. Army artists are art. Fernando Botero’s series of paintings and mandated to “paint The French government has drawings depicting the torturing of prisoners at the what you can, please joined the efforts to help New Abu Ghraib prison in Iraq, though spurned by many make it something Orleans, France’s former colo- art museums in the United States, were on display that’s recognizable,” nial capital, recover economical- in the Doe Library at the University of California, says combat artist ly and culturally from the devas- Master Sergeant Berkeley. Sponsored by the university’s Center for tation of Hurricane Katrina by Christopher Thiel, who Corcoran Gallery of Art (DC): Renderings of organizing and financing two Latin American Studies, the show will go on to the addition and remodeling. Flagg, Platt, Gehry. paints from photographs. museum at the American University in Washington, major art exhibitions. “Femme, “They don’t appreciate cubism.” DC, for November and December, 2007. femme, femme: Paintings of Women in French Works from the Army Art Collection can be Botero has offered to donate the series of some Society from Daumier to Picasso from the Museum seen at www.army.mil/cmh-pg/art/A&I/artwork.htm of France”—works by Manet, Degas, Toulouse- 80 works to a museum in the U.S. or Baghdad will- or at the Defense Information School website at Lautrec, Picasso, and others from museums all over ing to accept them, but has had no takers. None are www.dinfos.osd.mil/dinfosweb France—is on view at the New Orleans Museum of included in the Botero retrospective currently on Art through June 2. “Four Hundred Years of French tour in the U.S. Botero plans to include a selection Presence in Louisiana” featuring historical docu- of them in upcoming European exhibitions FRACTALS OR NOT FRACTALS? ments that pertain to the state’s colonial history The 32 small paintings discovered in the opened at the Historic New Orleans Collection in SOLD PAINTING RETURNS HOME storage locker of Herbert and Mercedes Matter the French Quarter in March. and attributed to Jackson Pollock have been under The Italian government has made an agreement Asher B. Durand’s Kindred Spirits, sold by scrutiny for their authenticity by scholars and with the Museum of Fine Arts, Boston, after the the New York Public Library in 2005, is back in scientists alike. return in January of 13 ancient artifacts that Italian town—on display at the Brooklyn Museum in a University of Oregon physicist Richard Taylor authorities claim were illegally excavated. The solo Durand exhibition (through July 29). It will contends that Pollock’s bona fide drip paintings museum and the Ministry of Culture say that the travel also to Washington (DC) and San Diego conform to the fractals in nature—a self-replicating accord provides for the loan of “significant works (CA). geometry on multiple scales (large shapes replicat- from Italy to the MFA,…establishes a process by New owner and Wal-Mart heiress Alice Walton ing the small shapes created at the edges of the which the MFA and Italy will exchange information purchased the painting for $35 million, beating out paint splatters). This phenomenon, he says, does with respect to the museum’s future acquisitions of the combined buying power of the National Gallery not occur in the small Matter paintings. Italian antiquities,…and envisions collaboration in of Art and the Metropolitan Museum. In its future, Researchers at Case Western Reserve University the areas of scholarship, conservation, archaeologi- the painting will be loaned to a New York City (OH), however, dispute his findings. Pollock’s cal investigation, and exhibition planning.” museum while awaiting the projected 2009 comple- paintings, they say, do not show fractal characteris- The University of California Berkeley Art tion of the Crystal Bridges Museum of American tics. This, in agreement with an art historian and Museum and Pacific Film Archive has partnered Art in Bentonville, Arkansas, Ms. Walton’s current Pollock expert at Case Western who believes that a with the Museum of Contemporary Art, San preoccupation. fractal analysis should not be a factor in the attribu- Diego to jointly acquire major new video works by In another attempted purchase of Thomas tion of the paintings. Joan Jonas and Eija-Liisa Ahtila. The terms of the Eakins’ The Gross Clinic for her museum, Ms. And from another source, Harvard University’s joint purchase include evenly sharing costs associat- Walton was foiled by the last ditch efforts of the Straus Center for Conservation, carbon dating, elec- ed with acquiring and maintaining the works, and Philadelphia Art Museum and the Pennsylvania tron microscopic and spectroscopic examinations an agreement that each work will only be shown in Academy of the Fine Arts (where Eakins taught) to revealed that in several cases the materials and pig- one location at a time. Costs for conserving and raise $68 million. They did so in a phenomenal 45 ments used were not available prior to 1950, some storing them will be split between the two institu- days in order that Eakins’ painting remain in not available until after Pollock’s death in 1956. tions. In a joint statement the directors of the two Philadelphia where it has hung at the Thomas More to come. Fractal or not, the first public museums commented: “As the international market Jefferson medical school since 1878. showings of the Matter collection will take place at for contemporary art continues to flourish, this the Everson Museum of Art in Syracuse, NY from unusual joint acquisition marks an increasingly June 16-Sept. 2, and the McMullen Museum of important trend for small and mid- Continued on page 11 10 NEWSBRIEFS continued from page 10 Fair “Tips” size institutions seeking to add works by leading director of the Museum of Modern Art (NY), making The annual art fair season artists to their collections. It also demonstrates how, the practice “almost impossible to use” and affecting the ability of donors to make gifts. can be pleasure or pain, depending in a competitive field, collaborations can offer muse- on how you play the game. Arts & ums an innovative opportunity for growth.” Antiques magazine published an EAR LD ACTORY advisory on how to maneuver the 30-Y -O “F ” mass movement into armories, gal- CELEBRATES INDIA leries, openings, events, and so on. Here are seven suggestions: In its 30th years of displaying and fostering “cutting-edge” art, the 1. “Just Go.” Despite the prolifera- Mattress Factory (PA) has grown from tion of these events and the incursion a small artist collective to a recognized into your life, you may be missing museum that exhibits new work by over something if you don’t. 300 artists in an integrated residency 2. “Travel Savvy.” Travel packages and exhibition program. New since its are offered through designated travel inception are the education program agents to the major fairs. If not book- that schools visitors in new ways to ing through an agent, go to the hotels experience art; an archive that serves as that have relationships with museums an art-historical resource; and eight sep- or galleries in the city: they could get arate properties, all rehabilitated build- you complimentary tickets. And don’t ings within walking distance, that house forget to schedule the biennials, or the galleries, artist apartments, offices, and every-five-or-ten-year events. an education studio. Still, it remains a 3. “Develop Relationships with haven for contemporary artists. And, Dealers.” As they travel around the J. Paul Getty Museum (CA): Central courtyard those asked to participate in an exhibi- world, they become your eyes on the from exhibitions pavilion. Meier. tion are provided with travel expenses, a place to marketplace, but they need to know live, a per diem allowance, any materials needed, what you’re looking for, how much technical assistance, and an honorarium. you want to spend, and your long- JUDD STUDIO AND HOME To celebrate its anniversary the Mattress Factory term goals, collection-wise. presents “India: New Installations.” During a junket 4. “Think Outside the Box” New, TO BECOME MUSEUM to India, Curator Michael Olijnyk and Director unexpected discoveries can happen, Barbara Luderowski selected ten artists to participate inimalist aficionados will be pleased to learn despite a fixed mind-set; fairs often M in two exhibitions throughout the year. The partici- offer lectures from which you can that the SoHo (101 Spring Street, NYC) home of pants will travel to Pittsburgh, live in residence at the learn; fairs are places where you can Donald Judd has opened for tours limited to a mini- museum, and create new work on site in the gallery. be bowled over by a work of art malist eight people each Friday at $30 each ($15 for A full year of educational programs, cultural activi- unexpectedly. seniors). A five-story industrial building that Judd bought ties, family programs, and a film festival in partner- 5. “Seek Advice.” Many fairs offer and refitted for his purposes in1968, it houses hun- ship with the Museum of Modern Art (NY) and advisory services. dreds of objects including his own works and those the Indo-American Arts Council will compliment 6. “Splurge on Benefit Tickets.” It of his contemporaries whom he admired— “New Installations.” pays to view the fair first. At some Oldenburg, Flavin, Stella Reinhardt, and countless “More and more, India is having a great influence fairs, benefit tickets will buy VIP others. According to his own precept that the place- on world economics and politics. It is an interesting status; at others a VIP is a VIP by invi- ment of a work of art is vital to a viewer’s under- time to invite these artists to come to the States and tation only. standing, the house, operated by the foundation estab- provide a window into one of the oldest cultures in lished in his will, is a permanent installation. The 7. “Don’t Be Shy.” Even if you’re the world as it goes through a rebirth on a global not in the buying mode, you will learn Spartan décor is as he left it: the furniture that he and scale,” says Curator Olijnyk. ❏ others designed, aluminum and plywood floor pieces, something from talkative dealers; they aluminum and plexiglas wall installations, and paint- love to discourse on their wares. ed works on walls and floors. Other venues maintained by the foundation are located in Marfa, Texas, properties that display Judd’s own work as well as installations by other artists GREEN GROW THE MUSEUMS continued from page 9 energy (solar, wind, water), and are predis- accomplishes and its renewable resources on posed to fund green enterprises. exhibit. A GIFT IS A GIFT IS A GIFT Another by-product of greenness is the The bottom line has been proven, say In making a partial gift to a museum—the donor intrinsic educational Brophy and Wylie: giving only a percentage interest in an artwork—the opportunity provided “Sustainable practice in muse- donor has been allowed an equivalent tax deduction by the mere fact of ums serves our whole commu- with the proviso that the museum has the right to being environmentally nity—not just the audience exhibit the work for a period of time equivalent to its savvy. Pittsburgh’s inside…but those all around us. current interest in the work. In past practice, the work Children’s Museum It is service to the whole com- of art generally stayed with the donor indefinitely, created “Be a Green munity we inhabit, with all its since each year another donation of another fraction Sleuth,” a booklet and members benefiting from of the work would result in a larger tax deduction. program that encour- museums even if they don’t Recently, the rules have changed. Now, a partially ages visitors to search walk in our doors. It’s the ulti- donated work must be turned over within 10 years of for green aspects of the mate programmatic outreach: the original gift. In addition, after the first gift is building—recycled connecting with an expanded made, the value of the work is frozen, thus prevent- objects, solar power, or audience by reaching them ing donors from profiting from a rising art market. even slow-flowing literally where they live.” ❏ The tightened rules have been criticized by both plumbing. The BMC University of Wyoming Art Museum: donors and institutions. They remove many of the plans to put its solar East end of museum from upper level, showing outdoor sculpture court. Predock. incentives for fractional giving, says Glen D. Lowry, power and what it

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Non-Profit Org. museumVIEWS U.S. Postage PAID 2 Peter Cooper Road Permit No. New York, NY 10010 9513 New York, NY

Contemporary Arts Center, Cincinnati (OH): North side of main lobby. Hadid.

Expansion continued from page 1 a new facility can soften the blow of lowered the new facility. Closing, however, can lead to ARCHITECT SELECTION attendance by estimating future attendance and loss of income from admissions and retail oper- Well known architects, though often an operating costs. ations and result in staff cutbacks. incentive to funders and audiences, can some- Creative thinking can bring new sources of One museum that closed developed a times take their expertise as law. This is not earned income; mixed-use development, for “wellness program” for its concerned staff of good. Whoever designs the building must com- example, can finance a building program and 80. Perks such as massage therapy, yoga, lan- mit to collaboration with the museum and its establish long-term stability. guage classes, and peer education (staff sharing staff. skills with each other) were effective in keeping moral high and enhanced team building. PROJECT MANAGEMENT COST ESTIMATING Some museums develop steering commit- tees comprised of board and staff members to GOOD COMMUNICATION Operations costs must be tied to design monitor progress and adherence to the building The Internet is an excellent tool to keep decisions. The scope and the quality of the program. Others hire professional project man- project determine the costs, both the first costs board, staff, funders, and public informed agers. And still others use consultants not only throughout the building program. Highlighting of construction and the long-term operational in the planning stage, but also for estimating, costs. Quality of spaces, finishes, and building progress via project timelines and live design, staffing, market research, post-opening Webcams, and appealing for funds for the capi- systems all have an impact on maintenance and evaluation, and/or fund raising. utility costs. tal campaign can all be effective with clear and After selecting an architect, a museum consistent messages. ❏ should select a general contractor. He or she will provide a check for the architect on cost FUNDING SOURCES estimates and constructability. Independent Board members, matching grants from firms can also review lighting, and mechanical foundations, state and local government grants, and electrical plans and specifications. bond issues, corporate sponsorships, member- ship solicitations, retail development partner- ships are a few sources to be tapped. Funds STAY OPEN? OR CLOSE? should be sought not only for capital expenses, To balance ongoing public service against but also for start-up staff, marketing, and ongo- a prolonged project that entails additional costs ing operations, which often translates to and inconvenience to public and staff is diffi- increasing the endowment. cult. Some museums move to alternative spaces But, the cost of additional square footage with scaled back programs. Others close com- often surpasses earned revenue and attendance. pletely, freeing staff to focus on planning for Feasibility studies in advance of the opening of Denver Art Museum (CO) expansion. Model photo courtesy of the museum.