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Highlights of AG’s Argument to Block Berkshire Museum Art Sale | Archives

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PITTSFIELD – Legal briefs make it clear how the Attorney General’s office views the Berkshire Museum art sale.

His lawyers oppose it in eight ways from Sunday.

Although the office lost a big Tuesday in Berkshire Superior Court, it could seek to be heard in a higher venue, even as hours pass until Monday’s first sales.

As of late Thursday afternoon, the Massachusetts Magistrates’ Court online record showed no action in the case, two days after Judge John Agostini dismissed appeals for an injunction ending the auction.

If the office continues, Deputy Attorney General Courtney M. Aladro and his colleagues would likely build their argument based on material from the 15-page response and counterclaim they filed on November 2.

Their case, as the state overseer of public and nonprofit charities, rests on the notion of a “charitable trust”. Aladro and his colleagues cite a 1943 case, Wellesley College v. Attorney General, arguing that the assets of charitable companies, of which the museum is a part, are subject to the purposes for which those assets were donated.

That goal in Pittsfield, the bureau said repeatedly in its Nov. 2 submission, is to promote the study of art for the people of Berkshire County.

The trustees of the Berkshire Museum, in short, were obligated to honor their institution’s charitable purpose, the office says.

Since the passage of a law of 1932, the aim has been to supervise “in the town of Pittsfield an institution to help promote for the inhabitants of the county of Berkshire and the general public the study of the art, the sciences. natural, culture [and] the history of mankind and related subjects by means of museums and collections … “

The following are highlights of the arguments Assistant Attorneys General have presented – so far unsuccessfully – in a Massachusetts court and how others view these allegations.

WORKS ACQUIRED BEFORE 1932 ARE RESTRICTED: The Attorney General’s office maintains that an 1871 law of the legislature continues to prohibit the removal of gifts from the Pittsfield collection.

That’s because charitable trusts apply, depending on the purposes for which the art was donated, the office said in its brief. Those restrictions remained in place thanks to the founding of a museum in 1903 as part of the Berkshire Athenaeum, according to the office.

Additionally, although another act of the legislature separated the museum as a separate entity in 1932, this step did not erase the slate, according to the memoir. The legislature does not have the power to terminate a charitable trust, lawyers say.

The attorney general’s office made this clear to the museum even before it was involved in litigation on October 20. This is believed to be the reason 19 of the 40 original works that the museum planned to sell no longer appear on auction calendars. The office says it held 20 conference calls with museum lawyers and met in person with its officials.

WHAT THE JUDGE SAID: Because works donated to the museum before 1932 did not list the intentions of donors, they are only limited by decisions made by the charitable trust that looks after them – in this case, the museum, writes Agostini.

After a long reminder of the wording of the law of 1871, the judge concludes that the measure does not intend to impose a geographical restriction.

WHAT THE MUSEUM SAYS: William F. Lee, the Boston attorney representing the museum, argued in his October 26 response that because the Pittsfield restriction is not mentioned in the 1932 law, it does not exist. He cites the case law on this point and maintains that, while a limitation existed previously, it was lifted in 1932.

NORMAN ROCKWELL ALSO RESTRICTED WORKS: The term “charitable trusts” recurs in the Crown’s submission with respect to Rockwell.

The bureau argues that the artist intended his work to remain in the museum’s permanent collection. He maintains that the two paintings the artist donated cannot be sold.

The attorney general’s office argues that the terms of charitable trusts restrict sales. On top of that, the office says if any of the paintings donated by the artist were to be sold, the proceeds could only be used for the good of the permanent collection.

WHAT THE JUDGE SAID: Agostini did not accept this argument, writing that museums use the term “permanent” while eliminating work that no longer meets their needs. “The evidence of Rockwell’s intention to create a restrictive and self-sustaining trust… is insignificant,” the judge wrote.

WHAT THE MUSEUM SAYS:The museum presented Agostini with copies of 38 membership forms. Those for Rockwell’s gifts show no restrictions, Lee’s response notes. “The plaintiffs seek to raise a restriction from a letter” from the director of the museum at Rockwell, he wrote, then added: “Nothing in this letter indicates that the donation was conditional …”

SALE OF 40 “PREMIERES” ART WORKS IN ORDER TO RAISE MONEY FOR OPERATIONS BREACH OF TRUST: Unsurprisingly, the state’s statutory office of protecting charitable trusts argues that the sales violate the terms under which the museum holds the work.

By removing the monetary value of the work from its collection, the lawyers argued in their brief, the museum would violate its central purpose as an art museum.

In addition, the bureau lists the negative effects of such a sale, including the loss of relationships with museum groups and discouraging future donations.

WHAT THE JUDGE SAID: Agostini dissects the definition of “trust” and finds that the attorney general’s reference to “implied trusts” did not fit the circumstances of the case.

While the judge grants that the donation to a charity “generally creates some kind of charitable trust”, he ruled that case law allows a public charity to use a donation “in the manner that those controlling the charity. company consider the best… ”

WHAT THE MUSEUM SAYS: The “new vision” of the museum, writes Lee on behalf of the institution, is in keeping with its long-standing mission, even though he approves of the sale of works from his collection. The administrators would be failing in their duty to “maintain … an institution”, he argues, if they did not react to a financial crisis and allow the museum to close its doors.

THE MUSEUM ENCLOSED THE REQUIREMENTS OF THE “DUTY OF PROTECTION”: This is where the attorneys general’s office attacked the museum’s current leaders.

Under state law, members of the boards of charities, according to the brief, “must exercise the degree of caution that a prudent person would normally use in a similar position and act with intelligence. reasonable “.

Case law adds this definition: Prudence requires “complete good faith and the exercise of reasonable intelligence”.

According to the office, the directors and directors of the museum did not comply with these measures.

They did so, the brief states, with a goal of raising more money than the museum needed; by acting despite the likelihood of losing relations with other museums; by violating their own collection policy; and by not notifying the GA office before committing to Sotheby’s sales.

The magnitude of the demise, argues the office, has moved the museum to a whole new purpose and places it in an untenable status in the museum community. Changing its mission in this way, state attorneys say, requires the museum to seek court approval first.

WHAT THE JUDGE SAID: The Trustees have reasonably considered several options over two years. Reaching a deposit of $ 40 million in its endowment shows “the board’s commitment to the community in keeping the museum operational,” writes the judge. Regarding the collections policy, Agostini said that no law obliges the museum to respect ethical guidelines. Nothing in the museum’s charter, statutes or statutes, the judge noted, compels it to use the proceeds of the transfer solely for the good of the collection, as the museum world thinks it is the best.

WHAT THE MUSEUM SAYS: According to Lee, the plaintiffs have failed to demonstrate that the trustees breached any duty of care. “For nearly two years, the Board of Trustees embarked on a comprehensive and diligent process to develop and fund a new vision for the museum,” he writes. They only “reluctantly” decided that selling works of art “was the only way to not only maintain the museum in the short term, but also to maintain its existence and mission in the long term.”

Larry Parnass can be reached at [email protected], @larryparnass on Twitter and 413-496-6214.

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Moses Lake Museum Art Center begins lecture series with The Gamble: The Washington Potato Story | Columbia Basin

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MOSES LAKE – The Moses Lake Museum and Art Center has kicked off their fall lecture series with Dave Tanner and their latest film “The Gamble: The Washington Potato Story”.

Dave Tanner is the CEO and partner of a digital studio in Spokane that focuses on video production and web development, North by Northwest.

The studio was commissioned by the Washington State Potato Commission to create a documentary about local farmers and the hardships they faced when they moved to east-central Washington with the idea of ​​growing potatoes.

The film is 60 minutes long and features the voices of Emmy award-winning Peter Coyote and local farmers in the Columbia Basin.

“I’m delighted to be here to show the documentary ‘The Gamble’ to local audiences, because that’s where it all started here in Moses Lake with the Washington Potato Commission. They are from all over the state, but I think a lot of them are from that area and much of the story goes about how the water brought the desert to life and made it the apple growing region of most productive land in the world, ”says Tanner.

If you missed the screening, you can catch the film airing on Spokane and Seattle PBS stations.

The next event in the museum’s fall lecture series is the American Green Berets in Vietnam with Hank Cramer on October 12.

The event starts at 7 p.m. in the auditorium and admission is free.

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Protesters against the Berkshire Museum: Art is ‘not for sale’ | Archives

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PITTSFIELD – There was a significant percentage of people at Saturday morning’s protest outside the Berkshire Museum who admitted to being angry. Others said they were frustrated with the museum’s plan to sell a total of 40 works of art to fund a renovation and create a permanent endowment for the organization.

But Thomas Reardon was there because he didn’t understand the museum’s plan.

“I’ve worked with museums all over the North East,” said Reardon, who previously worked in the printing industry. He is now retired, but part of his job was to create printed replicas of museum art. “The Guggenheim, the Clark, museums everywhere. And I’ve never heard of a museum doing what these people do. I’ve never heard of a museum selling their art to make money. . I just don’t understand it. “

Reardon is clearly not alone.

Last month, the 22-member Berkshire Museum board approved the sale of 40 works of art from its permanent collection. The sale was planned, in part to finance renovations to the structure, as well as to create an endowment. The art, mainly paintings by artists such as Norman Rockwell, Albert Bierstadt and George Inness, will be auctioned at Sotheby’s. The museum administration has indicated that part of the sale is because the pieces do not necessarily correspond to the proposed new direction in which the museum plans to go.

The sale sparked a lot of commentary and controversy. On Saturday, a group of organizers held a “Save the Art” rally on the sidewalk outside the museum. The number of protesters increased and decreased, as people came and left the rally for a variety of reasons – many because they had to get to work. But crowds grew from around 40 to over 75 throughout the four-hour protest.

Protesters were peaceful and made no attempt to prevent patrons from entering the museum.

But their signs and comments clearly illustrated their position.

“This museum is the custodian of this work of art,” said Susan Lockwood of Richmond. “This is for the Berkshire community, not for the museum board. It is not for them to sell.”

“The protests are important,” said Florence Mason of Stephentown, NY. “The museum needs to know that they are being challenged, that the community is not happy with this arbitrary decision.”

“No one,” Adams artist Ken Shaw said, “has put a work of art in this museum with the intention of finding it in someone’s living room in India or elsewhere. gift of his art for this purpose. “

Throughout the morning, protesters held up placards calling for the conservation of art. A woman held up a sign listing the 40 works of art for sale. All morning long, the demonstration gleaned support from passing cars, honking their approval.

“Most truck drivers seem to be in favor of this,” said local artist Winfield G. Horner.

Contact editor-in-chief Derek Gentile at 413-770-6977.

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Eric Rudd: Selling art at the Berkshire Museum is no solution | Chroniclers

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NORTH ADAMS – I enter the discussion about the Berkshire Museum with great sympathy as I continually struggle to pay for the annual deficit of my own Berkshire Art Museum in North Adams. Although I have a 100-year plan, there are everyday practicalities. Therefore, I can understand the Berkshire Museum’s attempt to reinvent and re-energize its museum for decades to come while trying to quickly resolve its monetary issues.

All museums struggle to pay their bills. It is also difficult to be a small museum, especially since it is next to gigantic world art attractions. Yet all artists and museum executives are appalled at the prospect of an assignment. Often times, not only does the divestiture not solve the basic problems, but I have seen terrible choices made about what to sell and what to keep.

A lot of questions

In the case of the Berkshire Museum, the 40 works of art for sale are not known, except for the mention of two canvases by Rockwell. As in government, secrecy invites suspicion. (The museum plans to release the names soon, which will generate even more reactions). The museum states that it developed this plan with input from the community, but it seems every museum and artist I know was completely surprised by their announcement.

Several questions arise:

* Should the museum practically abandon its art department and art mission? Should she focus only on her science and her natural collection?

* Are the Berkshire Museum exhibits / art collection a ‘non-entity’ compared to its neighboring large museums that specialize in art – Rockwell Museum, Clark Art and Mass MoCA to name just the three most big?

* Will renovating and relocating its exhibits bring a wider audience and future security to the museum?

* Have these works just gathered dust in recent years, and if so, is it due to poor exhibition decisions?

* Are there other ways to fundraise if it is determined that art should not be sold?

* What is the overall mission of the Berkshire Museum? What kind of museum is it really – or should it be?

I suspect his argument is that without a divestiture, the drop in attendance / income will put the museum on the path to bankruptcy sooner rather than later. Given such a choice, it is easy to see how the board of trustees, unable to bail out the museum by writing the checks themselves, accepted the idea.

There is a flip side – that museum art is valuable, donated for cultural and not monetary reasons, and that selling (a / k / a cession) is an act of treason. This has been the reaction in the art districts.

Plus, the optimistic plan still might not work. The museum can sell art, renovate its space, set up incredible “Disney” -type exhibits, and yet that could be a failure.

* Having completed a number of reallocation projects, I guess his renovation estimate of over $ 20 million is more than necessary. Sometimes being a fugitive brings better solutions than having an unlimited checkbook. Really, how can a chic lobby attract more visitors? I bet another design company could offer a better solution for just $ 5 million. Would that change the museum’s insistence on selling its art collection?

* I am convinced that the museum can find a role to include the arts which will always present a very different experience than other museums in the region.

* The museum can find partnerships. A while back I started the idea that maybe the museum could find more locations in Berkshire County (the best defense is a good offense) – so create a Southern County satellite and a northern county satellite. It does not have to be a single location museum. For example, he might partner with my Berkshire Art Museum in North Adams, or he might find a “MoCA-like space” in one of GE’s abandoned buildings. It worked for the Guggenheim, so why not for the Berkshire Museum?

Lack of big picture

There is a part of this debate that reflects a problem that I have observed for almost three decades. The county of North Berkshire is like a cultural theme park. Mass MoCA and the Clark are the greatest “roller coaster” rides, but there are many other attractions. The problem is, we lack a “fleet manager”. In any theme park, if people only go to the big “rides,” a park manager will boost traffic to other sites.

We need to invite museum / arts leaders and activists to broaden the discussion. We have to think outside the box and envision a future for our cultural county – say 40 years from now – and then work backwards to get there. The big ones have to pay more attention to the little ones. Think like Amazon and not like Sears.

Imagine the day when everyone who visits Berkshire County chooses a “week ticket” which gives the tourist access not only to the great museums, but to many other places as well. We will need different incentives, different types of passenger transport, and different tourist packages.

Thank the museum for trying to redefine itself. However, it’s pretty clear that he hasn’t found the best solution. Logically, the discussion should take place after the development of a plan.

Eric Rudd is an artist and founder of the Berkshire Art Museum in North Adams.

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Outside the museum: art on the islands of Helsinki

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Contemporary artists like to see themselves as working against the grain. Art challenges established ideas, institutions and systems of power. But what happens when the grain changes? What role then do the arts play?

A fascinating exhibition recently opened at the Seurasaari Open Air Museum in Helsinki. This small island to the west of the city center was established as a “people’s park” in 1890 before the museum was founded in 1909. It consists of dozens of old wooden buildings, taken from all over Finland and reassembled among rocks and trees. Today the island belongs to the city of Helsinki and is free, but the museum is run by the National Museum of Finland and admission costs € 9. Management lines are often difficult to discern: one example is an old phone booth, left unloved by the city, but well maintained now that it has been recognized as historic and moved to the museum.

‘Finnish Landscape’ (until August 31) was curated by Checkpoint Helsinki (featured in January column) and curated by Joanna Warsza of Manifesta 10. This is the first time that contemporary art has been exhibited at the Isle. From a media perspective, Warsza described the exhibition as “a way of thinking both about an idealized and fantastic version of nature and about the reality of the landscape as something social and political”. There are works by 10 Finnish and foreign artists: almost all of them have been specially commissioned to respond to this strange museum landscape.

The result is a series of subtle but effective interventions: Annika Eriksson’s video draws attention to Seurasaari’s constructed identity through the use of two Finnish cosplayers; Natascha Sadr Haghighian, Haig Aivazian and Jumana Manna stress the violence inherent in the uprooting and displacement of houses or homes. My personal strong point is Remains, by Liisa Roberts. Roberts placed archive boxes in the bedrooms of a number of Seurasaari homes. In doing so, she underlines an aspect of Finnish life which has now disappeared: the setting aside of a room for the specific purpose of welcoming foreign travelers. According to journalist Wendy Hall’s 1953 book on Finland, Green, Gold and Granite, this tradition continued until the 20th century.

Valkeat (2016), Ahmed Al-Nawas and Minna Henriksson. Photo: Noora Geagea

Roberts’ work provides a clue to the cause of the decline: Inside each box is a photograph taken in a different apartment on the same street in Tapiola, a 1950s utopian garden city just west of Seurasaari. The functionalist suburban apartments of Tapiola formed the model for post-war reconstruction in Finland. Today Finns are rightly proud of their 20th century architects (the apartments of Remains were all from Pentti Ahola). But Roberts makes us question what has been lost: could this social atomization be a factor in Europe’s failure to welcome those who now need our help?

Elsewhere, Ahmed Al-Nawas and Minna Henriksson bite the hand that feeds them (as artists usually do), calling attention to an ugly aspect of Seurasaari’s own story. Next to the official sign that tells us about a pretty neo-Gothic summer house, the artists have made their own sign on the family who owned the house and bequeathed it to the museum in 1912. The text tells the story of the house. wealth and power of the family and how they used both to promote not only culture but also eugenics. This makes reading difficult and it is admirable that the museum accommodates it. There was even talk of this text becoming permanent. If so, then the institution’s acceptance of art would represent a small political victory.

But what about cases where the status of outsider of art is fundamental for its independence? Last month, I interviewed artist Jussi Kivi. He lamented the loss of Finland’s wilderness and sought freedom in the wasteland left by industry or the military. But there is a danger that this aesthetic will now lose its political advantage.

This summer, the Helsinki Island of Vallisaari was opened to the general public for the first time in decades. The island has long been a site of military activity and was under the authority of the Finnish Defense Forces for almost a century until 2008. Uninhabited since the 1990s, it is littered with ancient military ruins, today half submerged in plants and trees. It has the richest biodiversity in the region.

But what was once a psychogeographer’s dream is now inundated with tourists. There are wide gravel paths and picnic tables. Signs tell us where we can and cannot go. Hotels and a marina are planned. Unsurprisingly, Kivi visited Vallisaari in secret a few years ago. The same place: but how different it must have been.

Bad Gateways, installation view at the Helsinki Art Museum.  Photo: Sauli Sirviö

Bad gateways view of the installation at the Helsinki Art Museum. Photo: Sauli Sirviö

Exploring this same dynamic, ‘Bad Gateways’ (until July 24) at the Helsinki Art Museum (HAM). In addition to a fascinating little publication (which includes a text by Kivi) are three works by artists Johannes Rantapuska and Sauli Sirviö. Sirviö is a former graffiti artist who served a prison sentence and lived for a year in a disused train car in Turku. Together, the duo explore interpretations of place that go against official narratives of regeneration. But what happens when this kind of counter-cultural expression ends up in a publicly funded museum?

The strongest work, entitled Unnecessary exercise, consists of a video projection occupying an entire wall of the gallery. The video takes us along a dark, graffiti-lined railroad tracks beneath the streets of Athens. In front of it stands an old exercise bike; video only progresses when someone sits on it and pedals. Witty, engaging and surprisingly fun: Unnecessary exercise also stages the very processes that his presence here dictates.

it reminds me of a passage from the book Spirit of adventure, in which Rebecca Solnit describes the gymnasium as “the interior space which compensates for the disappearance of the exterior”. HAM, moreover, is installed in a former Olympic tennis center. Are Rantapuska and Sirviö suggesting that today’s museums are just gymnasiums for the mind? There is certainly a similar aesthetic of infertility.

We are told that art, like exercise, is good for our health. But is art in fact only a “useless exercise”? Even the most politicized art can be co-opted by the institutions it seeks to challenge. Maybe being useless is really why art matters.

More from this series.

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Youth Camp teaches French museum, art, language | Business

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Kathryn Hickman, 9, of Nazareth Academy, will be able to speak to her great-grandmother in their shared love language, French.

As a participant in the STEAM Explores the Louvre! Team, Kathryn will learn basic French within the framework of the concepts taught.

Every time Kathryn visits her great-grandmother, she says, it’s another chance for her to learn the language she speaks.

“I love you beautiful Paris,” said Kathryn in perfect French. This translates to “I love beautiful Paris.”

The weeklong camp is one of four in the STEAM Team Adventure series hosted by the Children’s Discovery Museum.

STEAM stands for science, technology, engineering, art, and math.

This week’s trip to the Louvre, one of the world’s largest museums in Paris, began Monday at the Nave Museum.

Campers learned about Sally Maxwell’s current exhibit and the art of scratching while working on their own pieces, said Tanya Wilkinson, education coordinator at the Children’s Discovery Museum.

A YouTube video guided campers through the Louvre, so they could feel like they were there, Wilkinson said.

In the camp, children learn about artists and pieces in the Louvre, local museums, being an artist, the relationship of science to art and architecture, she said.

“A building itself can be a work of art,” Wilkinson said.

A variety of prints have been installed at the Leo J. Welder Center for the Performing Arts where art from campers can be showcased alongside the collection of STEAM panel member Jill Fox, Wilkinson said.

“It’s fun to feel like you’re jumping into this painting,” she said.

About 100 children participate in the series with 35 participants at this week’s camp.

Wilkinson said the camp’s mission is to foster lifelong learning for children and families through vibrant educational experiences.

Campers will receive a sticker to add to their camp badge collection at the end of each camp.

Participants have the opportunity to become junior CDM ambassadors, who will introduce the museum before it opens in September and share their ideas with staff, Wilkinson said.

Next week’s camp is The STEAM Team Takes on the Big Apple, where campers will experience New York’s transportation, skyscrapers, people, and Broadway.

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New Curator Joanne Stober Brings War Museum Art Into The Digital Age

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The art object you see at the Canadian War Museum will increasingly draw you into the world of photography and the digital age.

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Museum Director General Stephen Quick wants to put more emphasis on collecting and exhibiting photographs, films and new media to offer visitors more than just traditional paintings of battlefield scenes from World War II. which currently dominate the rooms of the museum.

The planned shift in focus also means collaborating more with other major photo collections, including those of the National Gallery of Canada, Library and Archives Canada, and the Imperial War Museum in Great Britain.

“We’re on the edge of a whole new world in terms of interpreting our visual world,” says Quick. “So we have to be part of it. “

Hence the hiring of Joanne Stober, historian of photography and cinema at Library and Archives Canada, to replace Laura Brandon, who retired two years ago after spending 22 years organizing numerous very media coverage of the museum.

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Brandon’s title was Historian, War, and Art. Stober’s title is Historian, Warfare, and Visual Culture, to underline a broadening of responsibilities.

“I’m really excited; I’m having a blast,” Stober said on Friday, his first day on the job.

At Library and Archives, Stober was mainly involved in the acquisition of film and photos. Her new job will allow her to use her collection management and curatorial skills, she says. Stober holds a doctorate in communication, focusing on the history of cinema. She teaches the history of film and photography at Carleton University and the University of Ottawa.

Stober says the paintings that most people consider art of war will still be seen in the museum, but they will no longer be the sole focus. The museum’s collection already includes a considerable number of photographs and these will also be increasingly highlighted. And expect to see more emphasis on warzone photojournalism.

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According to the picture painted by Quick, Stober will be somewhat of a diplomat and negotiator “connecting” the war museum with other institutions and bridging the various ways of presenting “visual culture”, whether he is. be it the heroic paintings of Vimy Ridge or the latest Internet art.

Stober’s own online Linkedin page lists the very skills Quick says he wanted. “She has experience in building relationships with creators, artists, photographers, donors, collectors, curators, academics and historians,” the Linkedin page says.

Quick says that many of the museum’s exhibits that were previously curated in-house, by Brandon and other museum historians, will be curated by outsiders who may have a different approach to exhibiting particular aspects of the collection.

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The shift to a more digital world is the way war is documented by artists today. The Canadian Forces Artist Program, which allows artists to integrate into the military for short periods of time, increasingly sends photographers and filmmakers to accompany the troops.

Leslie Reid of Ottawa is an example of an artist who created memorable photographic art during a two-week residency with Canadian soldiers in the Arctic in 2013. Her exhibit, Mapping the Cold War, is on display at the Military Museums from Calgary. Reid’s multimedia exhibit contains videos, photographs (both contemporary and archival) and paintings, documenting environmental and cultural changes in the North. Some of these changes are seen through a military lens.

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At the war museum itself, expect to see the growing influence of the digital world in an exhibit titled War and Media for 2019. The exhibit was originally only intended to cover the two world wars, but the exhibit was revamped and will take us directly into the digital age and Canada’s recent involvement in Afghanistan, a war primarily documented through film and photography.

Quick had reported these kinds of changes to the museum last September when he first became director, replacing James Whitham. Museums need to find new ways to tell stories, he said in an interview last fall. As an example, Quick cited Louis Palu’s documentary film Kandahar Journals which premiered last September at the War Museum. The film explores both the horrific experiences of fighting in Afghanistan and the management of life at home afterwards. Showing Palu’s film is a matter of being “relevant,” Quick said at the time.

Hiring Joanne Stober, Quick hopes, will also make the museum more relevant in this digital age.

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