In Focus (Galleries)

            This past weekend I visited the Virginia Museum of Fine Arts in Richmond, Virginia.  The museum boasts an impressive permanent collection as well as a few special exhibitions.  One really great aspect of the museum is that it contains several focus galleries; one gallery is situated off of the main atrium of the museum and the other two are within the European and Mid to Late Twentieth Century sections.  Focus galleries are great ways for people, perhaps somewhat unfamiliar with museums and artwork, to have an initial, non-overwhelming, introduction to art. 

Jean Schlumberger Focus Gallery

The initial focus gallery off of the atrium is comprised of two rooms and presently contains artwork from a singular artist, Jean Schlumberger.  Schlumberger began his career designing costume jewelry for Elsa Schiaparelli and then transitioned into making “objets de lux” – real jewelry and decorative objects, the latter of which are on display at the VMFA.  The second focus gallery within the Mid to Late Twentieth Century section contains an exhibition entitled, “Apocalypse: Monumental Paintings of the 1980’s” and is a large room with three massive canvases on each wall.  This exhibition is dedicated to three artists emerging in aftermath of the Vietnam War and the Watergate scandal.  These two exhibitions demonstrate that focus galleries can either be used to provide an introduction to a singular artist and a facet of his or her work or to a certain style or era of art in which a few artists are emphasized.

Objets de Lux by Jean Schlumberger

The benefit and attraction of having a focus gallery in a museum is quite evident.  A focus gallery contains only a few pieces of artwork, which allows for visitors to fully digest and appreciate the work that they are seeing. Having a focus gallery also addresses Adam Gopnik’s claim in Mindful Museum that visitors only have a certain amount of energy to expend on viewing artwork.  Walking into a room with only a couple of pieces of artwork on view psychologically indicates to a visitor that it is unnecessary to rush through and merely glace at each work; that there is time to take in each work individually.  A focus gallery is also ideal for someone who only has a certain amount of time to spend at the museum.  Instead of running though trying to hit all the big names, a visitor is able to leisurely stroll though a room filled with either a carefully selected portion of the museum’s permanent collection or a presentation of newly acquired artwork and is still afforded a fulfilling museum experience. 

In Case of World War III

            The Nineteen Seventies was a time of turmoil for America – the Vietnam War, the Iran hostage crisis.  It was during this time that Andrew Robinson, curator of prints, watercolors, drawings, and rare illustrated books at the National Gallery in Washington, DC was approached by his boss and asked to fill a container with the works in his collection that had the highest value.  This was all in preparation for, perhaps, World War III.  Robinson still has a “top-priority” list of 74 works which fit into 7 boxes – only 27% of the works on the list today are what were in the original container.  It seems that Robinson is not the only curator who plans for emergencies; Brent Glass, the outgoing director of the National Museum of American History, admits that his curators also have these types of lists.

So, this begs the question: what are the qualifications for a work to receive top honors and get placed in the ‘to be saved’ box?  The merit system Robinson and his team use is as follows:

1)      Aesthetic – is this work well made in both concept and execution?

2)      Historic – does this piece fully explain when it was made and by whom?

3)      “Power” – does this work have a pronounced psychological impact? 

The criteria of power seems to be synonymous with resonance so, then, should wonder not be a fourth criteria?  And what about quality?

4)      Wonder - does this object have the power to stop a view in his or her tracks? Does it command attention? 

5)      Quality – is this the best example of this artists/genre’s work?

Maybe, like a dinner menu, fewer criteria make it easier for a curator to choose what should be included in the box.  What is of note is that Robinson does not rely on the art market to decide what should and should not have a spot in his boxes.  Instead, this list helps Robinson discover the value of the works in his collection. 

It had never occurred to me that curators would make this type of preparations.  However, now that it has been brought to my attention it seems quite logical.  I would be interested to know the criteria of Brent Glass’ curators’ lists and also if other curators have similar lists for, perhaps not World War III, but at least for a catastrophe – fire, natural disaster, etc.

http://www.courier-journal.com/apps/pbcs.dll/article?AID=2011308210014

Out with the old, in with the new

Once a year I stand in front of my closet and steel myself for the task of assessing every item of clothing’s usefulness in my current wardrobe.  Sometimes when I place things in the “discard” pile it comes with hesitation: “surely I can find somewhere to wear this top!”  However, once the pile of clothes has been dropped off at Goodwill I am never regretful and I know that this purge has made room for new purchases.

Much like my own personal ‘spring cleaning,’ museums must also assess their collections.  More often than not this assessment of a museum’s collection is superficial; limited only to the exhibitions on display.  Around ninety percent of a museum’s collection is housed in storage and will never be displayed again.  

An article on BBC News introduces Jeremy Knight, curator of the Horsham Museum in Sussex, England.  Over the years Knight has been pruning his museum’s collection, both on display and in storage, in order to revamp and expand its displays.  As a result of Knight’s efforts, six new galleries were created from old store rooms.  He says, “I take the view that objects have to work and earn their living by making them relevant to the people and showing the people the past through those objects.”  Objects sitting neglected in storage are neither seen nor enjoyed by anyone.  By allowing these objects to be sold not only benefits the museum but also adds to the life and worth of the object. 

Just as the culling of my wardrobe creates an internal struggle; the reevaluation of a museum’s collection can sometimes cause a public and professional outcry.  Fear over the public’s reaction can cause a museum to forgo selling its collection in storage and, thus, hinder the strength of its collection on display.  It is essential, then, that a museum has open communication with the public about its decision to reassess its collection and share with them how they will use the profits.