Buffalo Public Schools and Mark Bradford: Five Buffalos

We’ve had a gorgeous exhibition up this summer called Shade: Clyfford Still/Mark Bradford.

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Knowing that this exhibition was in the works, Eric Jones from the Public Art Initiative started a project with the Buffalo Academy for the Visual and Performing Arts earlier this year. Students from this high school created a work of art inspired by the work of Bradford, and Bradford visited the school to talk with the students back in May. I got a chance to visit BPS192 and to talk with the students and their teacher about the project:

The project has made me think a lot about what kinds of opportunities there are when you can work with the artist. This wasn’t always as present an opportunity when I was working in encyclopedic museums where contemporary art was part of the collection, but one of a larger pool of collections. This project also highlighted some challenges– people have their own, very full schedules and aligning institutional schedules, public school schedules, the schedules of a dozen museum staff members, and the schedule of the artist is something of a moving target. That you’re trying to hit with a bow and arrow. From a thousand yards. While riding a galloping horse. Backwards.

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Shark Girl’s Birthday Party

So we did a little experiment with a program pretty unlike anything we’d tried before, and it turned out pretty well. Not perfect, but pretty darn good.

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We had a birthday party for Shark Girl.

DJ! Temporary tattoos! Sparkly birthday cupcakes!

Definitely had a couple of discoveries along the way (the sculpture garden is DARK at night), but also had a pretty good time with some happy participants, and we’re working on what we might do in the future to celebrate the Public Art Initiative.

And since doing things halfway is for wimps we rolled right into a brand new event on Monday– yoga on the portico:

img_1416We started things off with a tour of the collection, focusing on the theme of balance. It was a great group of participants (even if 61 is a bigger group than I’m used to touring), and the class that followed was fantastic.

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And the week kept right on rolling along with a fantastic visit from Interpretation peeps from Cleveland. I miss you guys! So good to see you!

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CMA + AK with Jim Hodges

 

 

 

New Projects: Outspoken

Right now things are still new enough that absolutely everything feels like a new project, but one has really started to take flight and I’m pretty excited about it.

The Albright-Knox’s is an institution focused on modern and contemporary art– I like to say that it’s the oldest art museum (founded in 1862) in the U.S. dedicated to the art of the now. They’ve been collected contemporary art since the start, and continue to do so. One of the things this means is that there are regularly artists coming through the building, installing or giving talks, so this new project is all about catching them when they are there to talk about their work. And since we always have another artist lined up to come through we’re planning for it as a series, which we are calling Outspoken. (Kudos to Tom Loonan for coming up with that title).

The first Outspoken video is now out, cut from great discussions with artist Amanda Browder

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and Public Art curator Aaron Ott about the project Spectral Locus.

More Outspoken to come!

 

Art as Play

Yesterday the interpretation team took a field trip to the Toledo Museum of Art to check out Play Time. Associate Curator of contemporary art Halona Norton-Westbrook, who co-curated the exhibition along with Associate Director Amy Gilman, spoke with us about the origins of this experimental exhibition as we visited the included works installed throughout the museum.

Harmonic Motion by Toshiko Horiuchi MacAdam and Charles Richard MacAdam

We had visited Harmonic Motion first thing upon entering the museum and it was interesting to hear how the museum’s original vision, and interactive space for all ages, tended to be more attractive to, or at least more actively engaged with, by children than adult visitors.

Anything Can Break by Pinaree Sanpitak

Anything Can Break was another work in the exhibition some of us had encountered before meeting up with Norton-Westbrook. This was one of my favorites because I had been lucky enough to spend some time in the room with it completely alone. The work contains small cameras that are installed in hanging boxes, which capture visitor movements that then trigger musical sounds to play through speakers. When multiple people interacted with it simultaneously, sounds played in combination with one another creating a completely spontaneous and dynamic experience. My solitary interaction with Anything Can Break was both an unexpected and satisfying experience as I felt I had conversed with the artwork itself.

Animation by Stina Köhnke

Another one of my favorites was Animation – a work by American artist Stina Köhnke that seemed to be a wall of stuffed toys that grew out of a chair. Actually, I had discovered this work on the TMA’s website the day before so I was looking forward to seeing it in the galleries and it did not disappoint. Mountains of plush toys and furry animals brought back memories of arranging my own substantial collection of stuffed animals in my childhood bedroom after hours of play. While standing in front of the work, we witnessed a little girl sprint toward it to touch the animals only to be pulled away by an embarrassed mother. Norton-Westbrook explained this was a common occurrence with this particular work and it was something that had come to be expected and staff in the galleries were continually refining the best ways to balance the need to protect artworks with some of the visceral responses. What other response could one expect from child when they encountered such a magical sight!

Swing Space by Jillian Mayer

Swing Space by Jillian Mayer

Swing Space was a group favorite as the act of swinging elicits the same feeling of joy from adults as it does from children. Four swings installed in an unfinished gallery space was paired with projected patches of blue sky for anyone who wanted to recreate the experience of an endless summer day spent on the playground. The swings were full up when we entered but once the children gave up their seats, the adults milling around in the background (us) quickly took their place. As one of our team said later, what could be better than swinging in a museum?!

Photo: Toledo Museum of Art Glass Pavilion, Toledo by SANAA, 2006

Our experience with Play Time next took us over to the magnificent Glass Pavilion where Norton-Westbrook introduced us to Glass Mountain and Masking Tape Installation, works that resulted from two artists’ onsite creations. She noted it was key that Play Time continued to evolve over the course of the exhibition so that it was, like many of the works themselves, constantly in motion.

Blubber by Mark di Suvero

Blubber by Mark di Suvero

As an interpretation team working in an art museum, we often find ourselves grappling with how to facilitate opportunities for visitors to meaningfully engage with art. I’d say with Play Time Toledo got it perfect with an innovative idea—unlock the child-like wonder that lies dormant in most adults by offering up opportunities to connect with art through the activity of play.

Museum Reconnaissance Missions

Our department went on a couple of really fantastic research trips last year, and I’ve had the folder with my notes in it in the to do pile for an embarrassingly long time with all sorts of plans for writing about what we saw.  No better time than the present, right? Each of these trips was so incredibly valuable for us as we think about projects that we have coming up and the direction we would like to head towards with interpretation in the future.

Detroit Institute of Arts

The team visited DIA to meet with the Interpretation team, as well as some members of Education, Exhibitions, and Curatorial. It was a fantastic visit–it is always such a boon to have the chance to talk with colleagues at other institutions, learn how they are organized, and to see the culmination of their work in the galleries. Interpretation departments and teams are all grappling with so many of the same issues, it gives tremendous food for thought to hear about what processes and solutions are being put into play at other institutions– particularly ones with long-established histories in interpretation. This is particularly true when it offers the opportunity to spend the day with awesome people– and the DIA has an army of awesome people.

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Interpretation team field trip!

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There were quite a few takeaways from this trip, but I think the biggest one for me was hearing about how they were using visitor research, and how much it informs the work they do. We love having visitor research data, and do use it to inform our thinking about projects, but it was so great to hear about some of the ways in which the folks at DIA had used their data, how it had influenced decisions, and how it informed conversations around the work.

(I actually got to visit the DIA twice in the last year, most recently for a VTS practicum in March,  I visited the Diego Rivera & Frida Khalo in Detroit show while I was there, which is gorgeous and so worth the visit).

Portland Museum of Art

We were able to take a whirlwind trip out West to the Portland Museum of Art to meet up with their Education Department (as well as a number of folks from several other departments).

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Interpretation museum adventure! #pma

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We have been working on a storybooth prototype, and the PMA’s Object Stories project offers a well known  museum storybooth example, and one that we’ve been very interested in learning about as we’ve been thinking about our own project.

Object Stories Booth at PMA

Object Stories Booth at PMA

We had such great discussions with everyone at Portland– from hearing about the fantastic programming that they are doing to what they learned from Object Stories and more.

Kevin checking out the Object Stories stories at PMA.

Kevin checking out the Object Stories stories at PMA.

They are doing some amazing things at the PMA, and it was really inspiring to hear about the ways in which they are connecting to a variety of communities in Portland.

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Our discussions about Object Stories were incredibly helpful for thinking about our upcoming project, and that was just one of the great takeaways from the visit. It was great to hear about projects they are working on, and inspiring to hear about the ways that they have experimented with making connections with visitors. In particular, I really admired how much of their work was informed by the community at large, and the really important ways they are thinking about the many audiences and potential audiences there are in Portland. We were also excited to hear how the museum was tackling social media, in which many departments are directly involved.

Denver Art Museum

On the way back from Portland we stopped in Denver to visit the Denver Art Museum.

We happened to get there not long after they released their report on creativity and community, so I had some really interesting reading material for the flight. For example:

But although irreverence is good, irrelevance is not. When polled, visitors consistently express a preference for rich, meaningful, object-based content.

DAM was full of surprises– at least for me. As a (probably over-) seasoned art museum visitor I walk into museums with a framework of expectations (as do many of us).

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At the Denver art museum

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DAM had many of the things that one would expect in an art museum visit.

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Excited for our day at the Denver Art Museum today

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But it also had some surprises tucked into spaces throughout the galleries– maker spaces that give visitors the opportunity to create themselves.

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We spent a lot of time in the maker spaces.

For me, having the opportunity to create something– even something simple (or perhaps especially something simple and low stress) was a great experience. I left thinking a lot about creativity and ways that supporting visitors’ creativity (even those who don’t think of themselves as creative) can expand and enhance visitors’ experience in the museum. We’ve been exploring ways that we can do even without having dedicated maker spaces, including programs like writing workshops and the storytelling workshop that Bethany wrote about recently).

We were also able to visit one of their special exhibitions, Matisse and Friends, which included unique interpretive elements, such as a single audio stop designed to facilitate contemplative looking, super comfy seating to encourage longer engagement with the paintings, and the opportunity to share a journal response to the works in the exhibition. We watched visitors interact with each of these elements, engaging with each one.

These visits and discussions were amazing and we will be thinking about what we’ve seen for a long time to come. I want to extend a huge thank you to all of our colleagues at the DIA, PMA, and DAM, who were all incredibly generous with their time, their knowledge, their ideas, and their experiences. We came away inspired, impressed, full of ideas, and completely wowed by the amazing things happening in the field.

Senufo, Shiva, and the Jar of Awesomeness

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Shiva probably never had to dance in the snow in India. (This particular bronze has been in Cleveland since the 1930s, so perhaps he has acclimated?) Dancing, driving, walking, and sliding through the snow is a pretty standard part of how things roll in wintertime Cleveland. Usually. (It’s been a light winter for snow this year, but we’ve been making up for lost time in the last couple of weeks.)

We’ve put the finishing touches on the Senufo: Art and Identity in West Africa multimedia tour, which has been exciting. The app is now in the iTunes store (which is even more exciting– did I mention that it’s free? It’s free!), and there’s lots of work is going on in the exhibition space this week.

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Today I had the rare moment of having lots of things that need doing, but none that are due in the next 24 hours. Huzzah! It also gave me the opportunity to open up a folder of raw pieces for some ArtLens segments that I’ve been hoping to get to for a Very. Very. Long. Time. Double Huzzah! (Also? some of these raw bits are reeeeally interesting, and I think will lead to some great final outputs). *And* one of those bits-of-flarn projects that has been hanging out for months and refusing to get done basically got done this morning. Triple Huzzah!

We cover a lot of ground in our department. (I mean a *lot* of ground).

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We do heaps of programs and videos and lots and lots and lots of app content and gallery interpretation and interactives and things with docents and many, many things. It is exciting to have such  varied work, and I feel really fortunate to be able to do interesting, meaningful work, and to be a part of a team of talented, fantastic people. Toward the end of 2014 I was talking with someone that I don’t get a chance to talk with all that often and they asked how my year had been. And I said, “oh it was great, we did great things, and worked on great stuff, and had great projects.” To which he said, “Oh, yeah? Like what?”  And I said, “………..”

Because in that moment I couldn’t really think of an example of the great things we’d been doing throughout a great year. Of course there were challenges along the way (definition of every year), but there were also great things that we accomplished in 2014 and I didn’t have any of them on the tip of my tongue.

I think a big part of it is that it is sometimes hard to find a moment to step back, even briefly, at the end of a project and to really think about what worked, what didn’t, what you’d do differently, what you would like to do again. In some ways the nature of how the work our department works: we are always working on multiple projects simultaneously. And many of our projects are ongoing (we’re always creating something for ArtLens, so it’s never really done). The end of one project doesn’t necessarily lead to a natural moment of reflection.* More often, it leads to freeing up the time you were putting into project A to let you put it toward project B. In the end it sometimes makes it difficult to delineate what was accomplished in a given period of time (like, you know, last year). Which is ridiculous and needs fixing. If not for 2014, then for 2015.

To wit, The Jar of Awesomeness:

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The plan? To fill the jar with all things awesome, large and small as a reminder to ourselves (and me in particular!) of all of the great things that happen, the moments of good fortune, and the hard-earned achievements that come from the dedication of the team. The bottom of the jar is already covered with more to come.

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* Which is why we schedule post project discussions after big projects.

Congratulations, Bethany!!

We have a winner!!

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Bethany, who is  the Audience Engagement Specialist member of the Interpretation team, has been named the winner of 2015’s Cleveland Emerging Museum Professional of the Year Award. GO, BETHANY!! Bethany first came to the CMA as the Nord Fellow in 2010, later joining Interpretation in 2012 as Audience Engagement Specialist, where she focuses on public programming for adult audiences. And program she does! Lectures, gallery talks, plus a whole heap of new programs from Art Bites tours to mediation in the galleries, art making activities at MIX events,

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dozens of (very popular) yoga classes for last summer’s Yoga exhibition (she wrote about her experience back in December), and the large scale fashion shows for the Wari and Forbidden Games exhibitions.

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This award also signals her nomination for the Ohio Museum Association’s Emerging Professional of the Year, which will be announced at the OMA Conference in March. Congratulations, Bethany, much deserved!

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