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6 Winter 2010 Museums Now 6 WINTER 2010 MUSEUMS NOW INNOVATIVE DIRECtoRS OF AMERICan MUSEUMS BY JAN GARDEN CASTRO How is the deep recession affect- ing the museum world? Many—or, A SHORT GUIDE TO THE INNOVATORS SERIES shall we say, most?—museums are downsizing staff, programs, The Innovative Directors and Artists series grew out of our passion for and otherwise cutting costs. art and desire to look more deeply into how disparate arts communities Curiously, there is also a high and artists are facing the most financially disastrous period since the turnover rate among museum Great Depression.To form our list, we polled foundation directors, directors. How is it possible, then, museum directors, and gallery directors to arrive at a non-scientific list that some museums are growing, of museum directors and artists with new ideas. Of course, there are too building, expanding, and smarten- many innovators to all be included here. We chose talented individuals ing-up their priceless collections? fully and passionately engaged in their fields and moving beyond cautious Several museum directors on our institutional models. Our list does not imply rank; rather, it is a group of list point out that now is the time people whose achievements and arts contributions we strongly admire. when we should turn to the arts to give us solace and pleasure; now is the time when new art infra- or new outdoor sculpture parks. before. Civilizations often track structures and programs stimulate They are transforming their indoor their histories through their arti- economic and cultural growth in and outdoor spaces, using bright facts, and these earliest mysteries their communities. concepts of design, conserva- and visions of life have much to tion, restoration, and installation. teach us. In this vein, innovative The directors we’ve chosen are Of course, this calls for creative museum directors give new life changing American museums by fundraising. In some cases, great to—and fight for—freedoms we creatively addressing shrinking patrons are stepping forward. can never take for granted. endowments, by embracing diver- sity, by attracting new and young- Just as photography was once Now, on to career highlights for er audiences, and by validating outside the bounds of museum each director and their answers to new technologies and art forms. spaces, these directors have one question: Given the economic In fact, most of the directors on added film, performance, instal- downturn and global strife, what our list are builders who have lation, and technologies. At the are some aesthetic, financial, and (Pictured): The lobby of the Asia recently supervised or are pres- same time, stewardship of ancient cultural issues you’re addressing at Society’s New York headquarters at ently supervising the construc- art from cultures around the world your institution? 725 Park Avenue. Image by Frank tion of light-infused architecture is more important today than ever Oudeman. Courtesy of Asia Society. ART AND LIVING 7 8 WINTER 2010 MUSEUMS NOW G R A H A M W.J. BEALDIRECTOR, DETROIT INSTITUTE OF ARTS CAREER HIGHLIGHTS STATEMENT not, has the opposite effect. “What the more traditional gallery Art has always been important to One of the most striking things to does this have to do with me?” experience. me and, as a child, I always want- come out of the extensive re- is the basic question people are Apart from its great collection, ed to be a painter. I turned to art search conducted over the years asking themselves. Explaining the DIA is known for its perennial history when I failed to get into leading up to the reinstallation of that the term “Baroque” derives financial problems, and, despite any of the universities in England our collections was the degree to from the Portuguese word for the great generosity of many, that offered studio classes but which general visitors looked to a deformed pearl is not a good these remain as bad as ever. Such was accepted by Manchester the museum as a place of solace place to start an exploration of the problems were not the driving University, that didn’t—I can take and confirmation. Call it what you profound faith and love of life that force behind the changes; they a hint. After a graduate degree will—a tiny vacation, a reaffirma- lie at the root of Rubens’ art. stemmed from the convictions and in 17th-century art from London tion of the good in humankind, Detroit is in permanent crisis, so passion for art shared by many of University’s Courtauld Institute the reassurance found in “Cultural current economic and political us. We hope, though, by reaffirm- and marriage to an American, I DNA”—people visit art museums conditions are par for the course. ing the value of the institution, moved to the U.S. I gravitated to to find out about themselves. But We wanted to make our collec- we will eventually be in a position contemporary art, working as a to pursue this quest, visitors need tions accessible to all and the to fix those financial problems curator at Walker Art Center and first to feel in control. Introducing institution a place to visit regard- permanently. £ SFMOMA. As director at Omaha’s them to the specialist terminol- less of special exhibitions. As the Joslyn Art Museum, I began to ogy/jargon of the connoisseur/ great majority of our visitors are grasp how removed our art his- art historian, more often than from our region, we want them torical framework was from what to feel a sense of ownership, general visitors expected from art to regard the museum as their museums. Two museums later, proverbial “Town Square.” After the result is the visitor-centered 18 months of the New DIA, I think installations at the DIA. most agree that we have done this without unduly disrupting (Pictured): Graham W.J. Beal. Courtesy of Detroit Institute of Arts. ART AND LIVING 9 10 WINTER 2010 MUSEUMS NOW JAMES CUNO PRESIDENT AND ELOISE W. MARTIN DIRECTOR, ART INSTITUTE OF CHICAGO CAREER HIGHLIGHTS Who Owns Antiquity?, and in his STATEMENT in the form of our bridge into edited collection Whose Culture? Millennium Park, our sculpture Dr. James Cuno became the Here at the Art Institute of For the past several years, he terrace, and our education center. President and Eloise W. Martin Chicago, we have taken a very has developed programming with All of these new spaces are com- Director of the Art Institute long view of the current economic other cultural institutions (such as pletely free and open to the public. of Chicago in 2004, halfway and cultural climate. Historically, Yo-Yo Ma’s Silk Road Project) to We aim to be at the center of the through the museum’s larg- museum attendance has increased present at the Art Institute year- cultural life of the city by offering est expansion project since the dramatically during periods of long themed seasons of exhibi- not just exhibitions and the display construction of its original 1893 economic stress, such as the tions, lectures, performances, of our permanent collection but building. In May of this year, the Great Depression or the recession and readings—all with the goal of also by offering musical perfor- city of Chicago celebrated the of the late 1980s and early 1990s. bringing together cultural produc- mances, lectures, poetry readings, opening of this Modern Wing This fact tells us that museums tion around such central ideas and, this year, even a residency and, with it, the completion of the provide solace, inspiration, and as American identities, cultural with one of the leading modern largest fundraising campaign in perspective during difficult times. exchange, “art beyond borders,” dance companies in Chicago. All the history of cultural institutions Now more than ever, it is of and, this year, the concept of the of these efforts are, of course, in the city. Dr. Cuno is an active paramount importance that we modern on the occasion of the accompanied by creative fundrais- advocate and scholar on the is- continue to uphold our mission opening of the Modern Wing. ing, but we are lucky that Chicago sue of cultural patrimony and on as a truly civic institution. Most has always been—and continues the role of museums in civic life, immediately, we are striving to to be—a city that generously and he has written and spoken remain as accessible as possible supports its world-class cultural extensively on these topics, most to all visitors, which we are able institutions. £ recently in his authored work, to do through offering more than 400 hours a year of free admis- sion and by consciously designing our new addition, the Modern Wing, to create more civic space (Pictured): James Cuno. Courtesy of the Art Institute of Chicago. ART AND LIVING 11 12 WINTER 2010 MUSEUMS NOW VISHAKHA N. DESAIPRESIDENT AND CEO, ASIA SOCIETY CAREER HIGHLIGHTS and Korea, inaugurating a new STATEMENT the arts of Asia. Our exhibitions center for U.S.-China relations, Hanging Fire: Contemporary Art Dr. Desai is the sixth President The financial crisis, more than and developing new initiatives on from Pakistan and the upcoming and CEO of Asia Society, a lead- any other in recent history, the environment, Asian women Arts of Ancient Vietnam (on view ing global organization committed comes at a time when a seismic leaders and partnership among Feb. 2-May 2, 2010) are both to strengthening partnerships shift in world order is underway. the next generation of excep- designed to provide new dimen- among the people, leaders, and For those of us who have been tional leaders in Asia and the sions to understanding countries institutions of Asia and the United committed to furthering greater United States.
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