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Judith H. Dobrzynski on Culture

Trouble In Paradise: Santa Cruz’s Museum Loses Its Way

Maybe my “Experience Museums” opinion piece in The New York Times last month has emboldened others who equally disturbed by some goings-on in art museums to speak up.

Over the weekend, I learned of one Bruce Bratton, in Santa Cruz, who took on that city’s Museum of Art and History and cited my article. He wrote:

SantaCruzMAHMAH’s NEWEST MEANING…Mostly Attendance and Happenings. Other folks among the numerous local residents sugggested Mostly Attendance and Hobbies. Then there’s Mediocre, Humdrum and all kinds of clever ways to re-name our gone to hell Museum of Art and History. We’ve lost the “Museum”, “The Art”, and “The History” concepts of what was once a professional institution with professional standards….

…Remember …when you could sit or stand and just think about the art pieces you were able to see in person? Think how many thousands/millions of students and artists were influenced by seeing circulating masterpieces or from the local collections…not now. Consider the impact on the next generation of art and history-lovers; the kids. Where can we take our kids now to learn how to experience a real museum; a place that challenges the attention span a little? There are experiential activities everywhere, as I mentioned but the former MAH was our only real museum environment that offered art in a museum context; a respectful place that created the sense that what you’re seeing is important, and worthy of your consideration. Not just something you whip through as you’re doing activities.

Bratton is, by some lights, a “Santa Cruz institution,” a columnist who has been “getting Santa Cruzans all riled up on a weekly basis” for decades. Now he has a presence online, which is where he published that opinion.

I commend him for mentioning another aspect of this whole issue: mission statements. Apparently, under newish executive director Nina Simon (who, he said, did not like my article), “The actual mission statement of MAH has changed and now we have what should be called our “second community center”. MAH Board members have been quitting over this, professional historians, curators and staff members have either left or are completely devastated by the community circus that Nina Simon has created in the two and a half years she’s been executive director,” he writes.

Later, he says:

The new mission statement is so stunning in its exclusion of any cultural references that you should read it… From the website; “Our mission is to ignite shared experiences and unexpected connections”. What does that mean?? Where’s History, where’s Art, where’s Tradition, most important where’s any statement about inspiration and education???

The whole statement is here, and in fairness, the “vision” does contain those words:

Our vision is to become a thriving, central gathering place where local residents and visitors have the opportunity to experience art, history, ideas, and culture. We envision engaged members and visitors who are increasingly passionate and knowledgeable about about contemporary art and local history that celebrate our diverse community.

In contrast, however, the 2010 strategic plan for the museum says as its mission statement:

The Museum of Art & History promotes a greater understanding of contemporary art and the history of Santa Cruz County, through its exhibitions, collections, and programs, for the benefit of residents and visitors to Santa Cruz County.

It’s not hard to see the difference in emphasis between the two.

Simon, of course, has built her career on advocating participatory museum experiences. The MAH board must have known that when they hired her (if not, they were derelict — it was plain to everyone in the museum world). Why then, did they hire her, or why are they resigning now?

Bratton wrote: “Historians have told me many times in the last two and a half years that there are no longer any qualified historians cataloguing and curating and handling our MAH’s collections. Future generations will suffer from this.”

I can only agree. I urge others, in other cities, to speak up now before it is too late.

 

So You Skipped Art History?

RembrandtFear not. Something called The Meta Picture has a cheat sheet for several of art history’s masters. If you’d like a laugh, or at least a smile, have a look.

Here’s a sampling; perhaps you can fill in the blanks:

  • If the images have a dark background and everyone has a tortured look on their faces, it’s ______.
  • If all the men look like cow-eyed, curly-haired women, it’s ______.

You get the drift…now post your examples as comments below.

Solidarity With Detroit

It’s just a gesture, but it is nevertheless an excellent one: Today, the Association of Art Museum Curators announced that they will hold their next annual meeting in Detroit. At least one day of programs in the three-day conference will take place at the Detroit Institute of Arts. Said Emily Ballew Neff (at right), President of the AAMC and curator of American painting and Emily-Neff-168x300sculpture at the Museum of Fine Arts, Houston:

We have watched the situation in Detroit and at the DIA very closely this year. We believe that moving our conference to the DIA affirms our support of one of the most outstanding museum collections in the world.  And, we thought, what better way to show this than by bringing hundreds of curators to its doors next May?

Graham W J Beal, DIA’s Director, is obviously delighted, and said so in a statement.

Ever since this mess with the Detroit bankruptcy began last spring, art-world people have struggled with the means of showing meaningful support. We’ve liked the DIA on Facebook (go here, where its friends now total 246,434) and signed petitions; we’ve blasted officials and Christie’s, and sent letters to the Michigan governor.

At the end of the day, it’s all symbolic. But we cannot give up; the pressure must be maintained. I’m glad the AAMC added their part to this today.

Photo Credit: Courtesy of GlassTire

Renoir On The Block: Remnants Of His Life

lf (2)Renoir died some 94 years ago, but tomorrow Heritage Auctions is offering what it calls “The single largest archive of Pierre-Auguste Renoir’s personally-owned objects — from his signature polka-dot scarf to the original plaster maquette of La Grande Venus Victrix, recently discovered in a shed in France” for sale. The auction is titled “The Unknown Renoir: The Man, The Husband, The Father, The Artist Signature Auction.” Here’s a link to the catalogue. It will be a live auction, but Heritage is also taking bids online now.

I browsed the catalogue, and found Renoir’s marriage license and minutes of the marriage, as well as his funeral receipts. There’s what it believed to be his last painting (left), a small still life of two dead birds that he is believed to have painted just hours before his death. His spectacles are there, as well as ledgers for his home decorating, his family expenses, his jewelry box, his cigarette holder, his medals, lots of letters, photos, some plaster maquettes, and personal items that belonged to his wife. I love that he kept a personal notebook of critics’ reviews (below).

Some of these items — e.g., letters with Monet, Manet, Rodin and Vollard — might be useful to scholars. Perhaps they belong in museum or university collections. The press release suggests that the trove “reveals volumes about the man and his art.”

The 143 lots have been estimated to fetch about $3 million.

But there is a bad-vibe story behind this sale: the items have been on the block before. In 2005, most of these items, consigned by Renoir’s heirs were offered as a single lot at Hantman’s Associates of Rockville, Md., according to Antiques Trade Gazette. It said:lf (1)

When the archive (offered as a single lot with a $250,000 low estimate) failed to attract a bid, Hantman’s marketed the collection privately and received a $135,000 offer. The ‘buyer’ insisted Hantman’s had accepted their offer and filed a lawsuit asserting their right to the collection, while the [Renoir] Trust sought damages from the auctioneers after receiving a cheque for just $100,100, reflecting the proceeds of the sale less Hantman’s commission….

That the case was not settled until 2008 ensured it was Hartman’s last sale – the 2005 catalogue is still prominent on the home page of a now redundant website. Heritage say their vendor, the buyer at the sale in 2005, offers the material with ‘free and clear’ title.

Assuming that is true, I hope Renoir scholars have done their homework on these items, and keep the important ones in the public domain. Renoir, after all, is beloved by so much of the public.

Photo Credits: Courtesy of Heritage Auctions

 

School Days At Crystal Bridges: Ring That Bell!

For those of you who questioned the decision of Alice Walton to plunk down an art museum in what to city-dwellers seemed the middle of nowhere — which I never did, being from someplace that didn’t have all that much art — it’s time to eat some crow.

PloughingItUnderNot only has Crystal Bridges exceeded attendance expectations — more than 1 million people have shown up since its opening on 11/11/11 — but also the museum has now released results of a study that is an indication of its positive impact on schoolchildren.

Researchers from the University of Arkansas College of Education and Health Professions conducted the study, tracking 10,912 students and 489 teachers from 123 schools. Announcing the results, the museum said:

Each school visit includes a one-hour guided tour of the museum’s permanent collection, a discussion and activity session around a theme, and a healthy lunch prepared by Eleven, the museum’s restaurant. Teachers are able to choose from several themed tours, each designed to connect with Common Core standards at a variety of grade levels in art, history, social studies, language arts and sciences.

“Since Crystal Bridges is in an area where an art museum had not previously existed, and because the field trip is free to schools, we had high demand for the tours and decided to select participants via a random lottery,” said Anne Kraybill, Crystal Bridges’ school programs manager. “In initial meetings with the University of Arkansas, it became clear that this lottery system would provide the right conditions for conducting research.”

Surveys of paired treatment and control groups occurred on average three weeks after the treatment group received its tour. The surveys included items assessing student knowledge about art, as well as measures of student tolerance, historical empathy, and desire to become cultural consumers….

The team also collected critical thinking measures from students by asking them to write a short essay in response to a painting that they had not previously seen. Finally, they collected a behavioral measure of cultural consumption by providing all students with a coupon good for free family admission to a special exhibition at the museum to see whether the field trip increased the likelihood of students making future visits.

KerryJamesMarshallOurTownAnd what happened? Researchers discovered that the kids remembered a lot of factual information. A few exampled:

  • 88% of those who saw Eastman Johnson’s At the Camp—Spinning Yarns and Whittling recalled that it depicts abolitionists making maple syrup to undermine the sugar industry which relied upon slave labor.
  • 82% of those who saw Norman Rockwell’s Rosie the Riveter remembered that it was about women aiding the World War II effort by entering the workforce.
  • 79 % of those seeing Thomas Hart Benton’s Ploughing It Under recalled that shows a farmer destroying his crops as part of a Depression-era price support program.
  • 70% who saw Romare Bearden’s Sacrifice knew it is part of the Harlem Renaissance art movement.
  • 80% who saw Kerry James Marshall’s Our Town recognized that it offers an African American perspective of real and idealized visions of the American dream.

What about critical thinking?

All students from the 3rd through 12th grade were shown a painting they had not previously seen and asked to write short essays in response to two questions: “What do you think is going on in this painting?” and “What do you see that makes you think that?”

“We then stripped the essays of all identifying information and had two coders rate the essays using a seven-item rubric for measuring critical thinking,” said [Jay P.] Greene, [Century Chair in Education Reform and head of the Department of Education Reform]. “We express the impact of a school tour of Crystal Bridges on critical thinking skills in terms of standard deviation effect sizes. Overall, we found that students assigned by lottery to a tour of the museum improved their critical thinking skills about art by 9.1 percent of a standard deviation relative to the control group. Rural students, who live in towns with fewer than 10,000 people, experienced an increase in critical thinking skills of nearly a third of a standard deviation.  Students from high poverty schools (those with more than 50 percent receiving free or reduced-price lunches) experienced a 17.9 percent effect size improvement in critical thinking about art, and minority students benefit by 18.3 percent of a standard deviation.”

Researchers found similar results when assessing tolerance and historical empathy, and — here’s a good ticket — students who received a tour went back to Crystal Bridges at a higher rate than those who did not.

Now, there are few questions about this — are the measures used perfect? I am no expert, but probably not. What about this incentive — “each control group was guaranteed a tour during the following semester as a reward for its cooperation.” Did that have an inevitable impact on the results? Is three weeks long enough after a visit to make the results worthwhile?

On the other hand, the researchers say that “the first large-scale, randomized controlled trial measuring what students learn from school tours of an art museum.”

Whatever you may think, it’s a good start at answering these critical questions.

For more information, you can read the report in Education Next, review a supplemental study here, see the methodology here, and view the press release here.

 

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About Judith H. Dobrzynski

Now an independent journalist, I've worked as a reporter in the culture and business sections of The New York Times, and been the editor of the Sunday business section and deputy business editor there as well as a senior editor of Business Week and the managing editor of CNBC, the cable TV

About Real Clear Arts

This blog is about culture in America as seen through my lens, which is informed and colored by years of reporting not only on the arts and humanities, but also on business, philanthropy, science, government and other subjects. I may break news, but more likely I will comment, provide

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