© COPYRIGHT by Lesley D. Lundgren 2013 ALL RIGHTS RESERVED DEFENDING ARTISTIC EXPRESSION IN ACADEMIC MUSEUMS: A STUDY OF THE AMERICAN LIBRARY ASSOCIATION’S INTELLECTUAL FREEDOM MODEL BY Lesley D. Lundgren ABSTRACT Museum controversies compromise public access and appreciation of art as well as jeopardize arts funding. For this reason it is imperative that museum professionals develop comprehensive systems to manage and combat censorship disputes. The American Library Association’s Office for Intellectual Freedom has developed a model with framework and strategies proven to support professionals during censorship debates. The library model, if applied to academic museums and galleries would allow for a systematic straightforward approach in preparing, defending and promoting intellectual freedom and artistic expression in academic museums. ii ACKNOWLEDGMENTS The author wishes to thank Angela Maycott of the Office for Intellectual Freedom, Molly Raphael, former American Library Association President, Dewey Blanton, of the American Alliance of Museums and Kris Anderson of the Association of Academic Museums and Galleries for their assistance. Additional appreciation goes to the staff of the American University Library and the American University Museum. A personal note of gratitude is extended to mentors Stephen Fortreide, formerly of the Allen County Public Library and David Russick, of the Milwaukee Museum of Art as well as artists Jack Hannula, Karen Thompson, Kathleen Gregg and librarians Brian Brown and Nick Chiarkas. Lastly this paper would not have been completed without the support of Kay and Richard Lundgren, Sherrie Ambrose and the faculty of the American University Arts Management Program including Michael Wilkerson, Sherburne Laughlin and most especially members of my committee Jack Rasmussen and Ximena Varela. iii TABLE OF CONTENTS ACKNOWLEDGMENTS ................................................................................................................... iii LIST OF ILLUSTRATIONS................................................................................................................. vi GUIDE TO ABBREVIATIONS........................................................................................................... vii CHAPTER 1 ROOTS AND BRANCHES ..............................................................................................1 Introduction .............................................................................................................................................1 Part I: IdentifyinG tHe Need......................................................................................................................4 Part II: McCartHy and American Libraries ................................................................................................8 Part III: Obscenity and tHe Creation of tHe Office for Intellectual Freedom ..........................................10 CHAPTER 2 THE INTELLECTUAL FREEDOM MODEL .....................................................................15 Introduction ...........................................................................................................................................15 Part I: The OrGanizational Structure.......................................................................................................16 Part II: The Intellectual Freedom Network.............................................................................................19 Part III: Best Practices and Evaluation....................................................................................................21 CHAPTER 3 APPLYING THE MODEL..............................................................................................28 Introduction ...........................................................................................................................................28 Part I: CensorsHip in tHe Visual Arts.......................................................................................................28 Part II: Institutional Similarities and Differences....................................................................................33 Part III: ImplementinG tHe Model in Academic Museums......................................................................36 CHAPTER 4 SURVEY OF ACADEMIC MUSEUM AND THE INTELLECTUAL FREEDOM MODEL .......39 Overview ................................................................................................................................................39 iv Part I: FindinGs and Discussion...............................................................................................................39 Part II: Conclusion ..................................................................................................................................50 Summary................................................................................................................................................50 Appendices TIMELINE OF SIGNIFICANT EVENTS IN CENSORSHIP AND FREEDOM OF EXPRESSION IN LIBRARIES .....................................................................................................................................52 THE LIBRARY BILL OF RIGHTS .......................................................................................................54 THE FREEDOM TO READ STATEMENT ..........................................................................................55 SAMPLE COMPLAINT FORM.........................................................................................................59 SAMPLE RESPONSE TO COMPLAINT FORM..................................................................................60 RESOLUTION ON THE REMOVAL AND CENSORSHIP OF ARTWORK FROM THE SMITHSONIAN INSTITUTION’S NATIONAL PORTAIT GALLERY ..............................................................................61 NATIONAL COALITION AGAINST CENSORSHIP MUSEUM BEST PRACTICES FOR MANAGING CONTROVERSY .............................................................................................................................63 ONLINE SURVEY OF ACADEMIC MUSEUMS..................................................................................67 RFERENCES ...................................................................................................................................69 v LIST OF ILLUSTRATIONS Figures The ALA Intellectual Freedom Model..................................................................................................16 Libraries and Museums: Service and Product .....................................................................................34 Perception of Controversy ..................................................................................................................42 Challenges due to Controversy ...........................................................................................................44 CateGories of Complaints and Protests ...............................................................................................45 Range of Responses to Objections ......................................................................................................46 vi GUIDE TO ABBREVIATIONS AAM American Alliance of Museums AAMG Association of Academic Museums ALA American Library Association CCBC Cooperative Children’s Book Center IFC Intellectual Freedom Committee NCAC National Coalition Against Censorship OIF Office for Intellectual Freedom vii CHAPTER 1 ROOTS AND BRANCHES Introduction American public libraries are historic bastions of our civilization, advancing self-initiated education and providing life enrichment. Patrons, including school children and families visit libraries because the institution represents authority in knowledge; so too the American museum represents authority in quality art. Libraries and museums share similar goals and missions. They collect, conserve and catalog material. Both institutions present and interpret information while welcoming visitors of all backgrounds, economic status, creed and race. And both libraries and museums encounter controversy and censorship. It surprises library visitors that the wholesome institution housing Winnie the Pooh also collects copies of Little Black Sambo and Playboy. Generations of communities have insisted, petitioned, demanded and sued libraries over the inclusion of controversial books. Federal agencies have requested borrowing records and reference inquires in the name of patriotism and national security. Libraries are not new to controversy, book challenges or national smear campaigns. The American Library Association, (ALA) supports its professionals with proactive policies and ongoing support through the Library Bill of Rights and the American Library Association’s Office for Intellectual Freedom (OIF). This paper investigates social challenges to visual arts in American museums as well as strategies to secure and protect controversial art and artistic viewpoints from censors. Censorship restricts access to, damages or destroys what may be considered “objectionable” material. Visual art, like literature, is a form of communication explored through symbolism, abstraction and transformation. Throughout history, civic spaces, churches, schools and museums were 1 victims to government regimes or religious leaders desiring suppression or elimination of ideas and events presented through artistic expression. Unlike written language, images are often less concrete