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Art at Vassar, Spring/Summer 2014
A publication for the members of The Frances Lehman Loeb Art Center • Spring/Summer 2 014 FROM THE DIRECTOR A Sense in Belonging Vassar’s art museum has existed for 150 years yet it has only been part of the official community of art museums for a tiny fraction of that time, having received accredita- tion from the then American Association (now Alliance) of Museums in 2004 and election to the Association of Art Museum Directors a mere two years ago. What took us so long? In the first case of AAM, it was dependent on the arduous process of bring- ing our museum’s organization and management in line with a broad array of profes- sional standards. Over the course of 140 years we had developed many quaint, endear- ing yet idiosyncratic methods and procedures that tend to develop on college campuses such as the liberal use of works from the permanent collection to “decorate” faculty offices and public spaces on campus. Certainly these were benefits to the quality of life of certain portions of the campus population but stood in sharp contrast to sound stew- ardship of gifts meant to enhance the educational mission of the College. In the second case of AAMD, it was always a question of money. Membership in AAMD tradition- ally depended on maintaining a certain level of operating budget to be considered. In spite of the strength of our collection and the historic importance of Vassar’s role in the visual arts in America, our operating budget was always just shy of the AAMD threshold. -
Jerome Robbins Dance Division Including Jerome Robbins Archive of the Recorded Moving Image
JEROME ROBBINS DANCE DIVISION INCLUDING JEROME ROBBINS ARCHIVE OF THE RECORDED MOVING IMAGE ANNUAL REPORT FISCAL YEAR 2013 COVER IMAGES First row: Her Royal Highness Princess Norodom Buppha Devi; photo by Darial Sneed. Second row: Robert Farris Thompson, Master T; photo from video shot by François Bernadi for the Jerome Robbins Archive of the Recorded Moving Image. Royal Ballet of Cambodia, 1927; photo courtesy of the National Museum of Cambodia. Maxixé Brésilienne, ca. 1914; postcard by Aimé Dupont. Third row: Merce Cunningham and Carol Sumner rehearsing Summerspace for New York City Ballet, 1966; photo by Martha Swope. Margot Fonteyn as Princess Aurora in the Royal Ballet’s Sleeping Beauty; date and photographer unknown. Fourth row: David Vaughan, dance historian. Arcell Cabuag, Clarice Young, Ronald K. Brown, and Otis Donovan Herring; photo by Dance Division staff. Fifth row: Djoniba Mouflet, Lamine Thiam, Mangue Sylla, Sekou-Dembele Pablo, and dancer; photo from video shot by François Bernadi for the Jerome Robbins Archive of the Recorded Moving Image. Carlota Santana; photo by Victor DeLiso; courtesy Flamenco Vivo Carlota Santana. Jerome Robbins Dance Division Annual Report 2013 Design by Arlene Yu Printed by GHP (Gist Herlin Press) Printing costs graciously provided by The Committee for the Jerome Robbins Dance Division © 2013 The New York Public Library, Astor, Lenox and Tilden Foundations Table of Contents Letter from the Curator 4 1 Profile of the Division 9 1.1 Staffing ....................................................................................................................................................................... -
Fall 2011 Complete Coverage UPCOMING EXHIBITIONS
A publication for the members of The Frances Lehman Loeb Art Center Fall 2 011 FROM THE DIRECTOR Deaccessioning Revisited On this page exactly six years ago I sketched out the conditions and procedures for when and how to review art collections with the purpose of judiciously removing works from the collections (deaccessioning) for public sale in order to promote the acquisition of new works of art. The process that began with that explanation has now reached its conclusion with a list of approximately one hundred paintings that will soon be deaccessioned from the Art Center collection and returned to the art market. This number represents one half of one percent of the total number of objects in our care. All professionally managed museums should periodically take stock of their collections with an eye toward improving the overall quality by culling some works based on their condition, redundancy, or limited service to the program. All accredited museums have very specific procedures in place to guide the deaccessioning process replete with many consultations of stakeholders and checks and balances all along the way. Our procedure reads as follows: Works of art to be considered for deaccessioning will be proposed by the curator(s) to the director. These proposed works will be discussed with representatives from the department of art. At least one outside expert (preferably a museum professional) in the field will then be consulted and asked for recommendations in writing. The works will then be proposed formally for deaccessioning to the Collections Committee (of the Advisory Board) and the College Board of Trustees, who will be asked to vote for approval.