Real Clear Arts

Judith H. Dobrzynski on Culture

At A Time Like This, You Want to Talk “Still Life”? Yes.

At times like these, when not only the United States but also the world is a-twitter–no, forget the pun, much more than a-twitter–seriously concerned about the political direction of so many countries, it may seem trivial to spend time on issues of art. Or even looking at art.

Not really–readers know that I have always fostered the idea of museums as a place to think, to seek knowledge and revelation. I was cheered by the news that Angela Merkel, instead of watching the inauguration of Donald Trump, went to the opening of the Barberini Museum in Potsdam. Far from a dereliction of duty, it was admirable. She can catch up with the speech–and probably already has.

I’ve been looking myself, as you have been. Several days ago, I went to Houston, to see “Two Centuries of American Still-Life Painting: The Frank and Michelle Hevrdejs Collection,” a recently announced gift to the Museum of Fine Arts there. As I write in a review published in today’s Wall Street Journal,

It’s a Texas-sized goal. And if the exhibition doesn’t quite attain it, well, it does succeed on other levels. For one, that private collectors have amassed such a wide range of American still lifes at all is a “unique” feat, writes renowned scholar William H. Gerdts, himself a collector of the genre, in the exhibition catalogue.

The collection doesn’t meet its goal because it’s too small to hit every point in the story. But, as I write at the end, it’s growing, and maybe someday it will.

Meantime, go see it if you can.

Photo Credit: Courtesy of the Museum of Fine Arts, Houston

A New One on Me: What To Call Art

Branding is important, and language matters. Let’s start from that point.

Last fall, I was privileged to speak to the Private Art Dealers Association, which used to be made up largely of Old Master dealers, about getting more people interested in the art they sell. And language came up.

Apparently, some people today don’t want to buy “Old” Masters. Have you noticed that Christie’s, while still labeling its department “Old Masters,” has created a week called “Masters” week, dropping the old. And, when it existed, the spring fair at the Park Avenue Armory was called “Sping Masters,” no reference to the dreaded “old” word.

In the fall, some people suggested “historical art” or “traditional art.” Others proposed “classic art.”

But I was truly surprised by the word last week from the Worcester Art Museum: it received an $825,000 grant from the Luce Foundation “in support of pre-contemporary American art.” Huh? Are we now dating art of the past by referencing today’s art?

The grant has an excellent purpose–here’s ArtForum:

“Since its earliest days, the museum has prioritized the acquisition of American art and, as a result, we have an exemplary collection of paintings, prints, drawings, and decorative arts from the 1600s to the present day,” said Jon L. Seydl, director of curatorial affairs and curator of European Art at WAM, in a statement. “However, many of these works have received less attention for research and exhibition in the last twenty years as the museum focused on presenting its colonial and 20th Century holdings. This crucial support from the Luce Foundation makes it possible for the museum, led by our curator of American art, Elizabeth Athens, to re-engage vigorously with many of these compelling works and explore new ways to present them to the public.”

But I am still shocked by the terminology. I think we have a branding problem.

Photo Credit: Audubon Print Courtesy of the Worcester Art Museum

Brace For More Bad News From The Metropolitan Museum

It’s coming–possibly Wednesday or Thursday of this week, though I doubt there will be any “announcement.” Rather, employees will learn of the museum’s financial outlook at a town hall meeting in the museum.

I don’t have any numbers, but the gist of the message coming from management–Director Tom Campbell and President Dan Weiss–will be that the museum’s financial difficulties have not been resolved, are unlikely to be in the near future. The original plan announced last spring, for a two-year financial restructuring, created hopes that staff cutbacks, pay freezes, a “soft” hiring freeze and other trims would make up for the revenue lost to lower admissions, poor retail sales, the rebranding campaign, the cost of the Breuer building and other items.

Now, more measures seem likely and the restructuring will last five years, not two.

Morale among the museum’s staff is also very low, I’m told by several sources, and recently got worse.

In December–I have not seen this news anywhere else–the Met cut employee benefits. Specifically, it lowered the contributions it has been making to employees’ 403(b) retirement funds. In the past, the Met had been known for its generosity in matching employee contributions and, I’ve been told, full vesting took only two years. (The museum have also have changed medical benefits; I’m not sure on that one.)

Consequently, an internal group known as the Forum of Curators, Conservators and Scientists, has complained. Currently headed by Soyoung Lee, the curator of Korean Art, the group voted on and then sent a protest letter to Campbell, Weiss and Daniel Brodsky, the board chair. I could not obtain a copy of the letter, however. It was not circulated widely, presumably so that it did not fall into the hands of the press.

For all these woes, though, the exhibits continue to be stellar. Jerusalem, Beckmann, Valentin, Kerry James Marshall are just a few of the best right now. How long this can continue, with staff leaving and going unreplaced, is a big worry.

 

What About The “Art Strike”? It’s Not So Simple

A group of artists, critics and gallerists have called for an art strike on Jan. 20. Inauguration Day. Names like Cindy Sherman, Barbara Kruger, Julie Mehretu, Richard Serra, Joan Jonas and Lucy Lippard have asked for a shutdown of museums, galleries, studios, etc. (see picture) They have every right to do so, and I have no quibbles if they want to. These are extraordinary times.

But I do quibble with the idea that museums should join in–at least public museums. It’s going to be counter-productive in the long run. Museums will need public support in the four years–the broader the better.

Besides, it sends the wrong message. If the arts are to be inclusive, museums have to welcome people of all ideologies. Otherwise, they are just as bad as the other side.

Jonathan Jones, in The Guardian, makes other points, including:

…the notion that museums will help anything by closing their doors, or students will scare middle America into its senses by cutting art classes, tastes not of real hard-fought politics but shallow radical posturing by some very well-heeled and comfortable members of a cultural elite. These eminent artists come across as people who are used to being listened to without having to try. Worse, there is something nostalgic about the petition, as of this were the 1960s all over again.

Rather than close their doors, they should open them wide. Take the high road.

In fact, I admire what Adam Weinberg, the director of the Whitney Museum, told the press last night at a press reception (also a nice touch)–the Whitney will remain open on Jan. 20 and it will be free.

Perhaps others, if they are in a fit fiscal position, might follow his lead.

 

The Museum That Gave Third Graders A Holiday Present

Ok, it happened last month–in mid-December–but you probably missed it too, and it’s too lovely a gesture, one with potential impact, to overlook. So….

The Cleveland Museum announced gifts of “Create It Kits” to all third graders in Cleveland public, charter and parochial school in Cuyahoga County. Technically, they weren’t holiday gifts–they were “one of the final celebrations of [the museum’s] centennial year,” according to Cleveland Scene. That’s 14,000 kits.

The kits include art supplies, a custom-made “Get Creative” sketchbook with art-making activities, a free children’s “Art Explorers” membership to the museum, five Collection Cards featuring objects from the museum’s permanent collection and a DIY paper glasses cutout inspired by the museum’s prized Portrait of Nathaniel Olds by Jeptha Homer Wade.

Splendid idea–read more about why here; kudos to the Cleveland Museum.

Photo Credit: Courtesy of Cleveland Scene