As this academic year draws to a close, Kelsey, Amanda, and I are preparing to hand over the reins of this blog to our wonderful new editors who will be introducing themselves to you shortly. In the past year we’ve been able to explore museums …
Often when a museum is dealing with tight margins, dropping interest from local visitors, and growing infrastructure concerns, they are inclined to draw inward, hunker down, and try to weather the storm by protecting the visitors, donors, and physical spaces they need to survive. Unfortunately, …
The American Land Museum: Places as Cultural Artifacts
Curatorial Innovations Lecture.
Free and Open to the Public.
Menschel Hall, Harvard Art Museums, 32 Quincy Street
Wednesday, April 17, 6:00 pm
Matthew Coolidge, Director, Center for Land Use Interpretation
The Center for Land Use Interpretation explores how land in the United States is apportioned, utilized, and perceived. Through exhibitions and public programs, the Center interprets built landscapes—from landfills and urban waterfalls to artificial lakes—as cultural artifacts that help define contemporary American life and culture. Coolidge will discuss the Center’s approach to finding meaning in the intentional and incidental forms we create and also talk about the Center’s efforts to develop the American Land Museum, a curated selection of locations across the country that exemplifies our relationship with the American landscape.
Matthew Coolidge is Founder and Director of the Center for Land Use Interpretation (CLUI) in Los Angeles, a non-profit research and education organization founded in 1994 that is interested in understanding the nature and extent of human interaction with the earth’s surface, and in finding new meanings in the intentional and incidental forms that we individually and collectively create. He has a background in contemporary art, architecture, and film, and studied environmental science as an undergraduate at Boston University. He has been a teacher in the Curatorial Practice Program at the California College of Art, and has lectured and worked with students at universities around the U.S. and abroad.
Free event parking at the Broadway Garage, 7 Felton Street
Presented by the Harvard Museums of Science & Culture in collaboration with the Harvard Art Museums and the Harvard Graduate School of Design
Back in January, we mentioned that Chicago’s Field Museum had recently announced a major overhaul to their Native North American Hall. The exhibit largely dates back to the 1950s, and is sorely in need of cosmetic updates to their displays and better interpretive labels. However, …
The spoon is massive, 800 pounds of steel, with a bent shaft that forms a handle and a blackened center suggesting prepared heroin. Built by artist, fabricator, and person in recovery, Patrick Lynch, this sculpture was recently given to Massachusetts Attorney General, Martha Healy, whose …
This week the Museum of Modern Art (MoMA) announced that they will be closing their doors for four months later this year to complete their ongoing renovation and completely rehang their collection. When the museum reopens in the fall, they will rotate their collection more frequently, juxtapose works in different mediums, and, crucially, include more works that emphasize the contributions of women, people of color, and non-European artists to modern and contemporary art. They will also partner with the Studio Museum in Harlem, an American art museum that focuses on African American artists, to display their collection while that museum is being renovated.
This is a massive and much needed undertaking. Women and people of color have historically been included in MoMA’s exhibits in marginal ways. A 2015 Artnet survey of solo exhibitions from 2007-2014 at major American art museums found that only 20% of MoMA’s shows featured women artists. Not that these types of exclusion are limited to MoMA. Artnet recently looked at exhibitions of work by black artists at 30 major museums from 2008 to 2018 and found that they accounted for a mere 7.6 percent. So full-throated attempts to remedy these biases and gaps are welcomed. But not every museum can afford to close for months to revamp their space or aggressively collect work from marginalized artists. What can workers at those institutions do?
I recently attended a workshop on Social Justice and Museums run by Nicole Claris, Manager of School Programs at the MFA, Boston, and Sara Egan, from the Isabella Stewart Gardner Museum. The workshop was put on by the Young Emerging Professionals group of the New England Museum Association. Its focus was on how to marshal resources to create exhibits, programming, and other experiences that surface marginalized lives and multiple points of view. Examples of real life successes were shared, like revamping a volunteer training program to give docents the knowledge and tools they needed to tell inclusive and truthful stories. Then step by step instructions for how to apply these intentions to your institution were shared:
We don’t all work at MoMA, but we can all make changes that tell wider, more robust stories about art, history, science, and the world. Do you have resources for doing this sort of work? Share in the comments!