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Things to do in Chicago April 1-7: The WNDR Museum, Art on theMart and more

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Immerse yourself

The WNDR Museum, an immersive artistic and technological experience, has reopened its doors with new exhibitions featuring unique new and ongoing installations created by local and international artists, collectives and studios. New exhibits include the Flux Room, a 360-degree multisensory immersive experience curated by Chicago artist Santiago X, and “I Heard There Was a Secret Chord,” a piece created by Montreal design studio Daily every year. days, which invites participants to participate in a virtual choir hosted by people from all over the world listening to Leonard Cohen’s “Hallelujah” at any time. Among the current exhibitions is the fabulous immersive work of Japanese artist Yayoi Kusama “Let’s Survive Forever”. In addition, “Untitled (FDR NY) # 23 and # 24” by Keith Haring is now on display outside the museum. Find out all about it at the WNDR Museum, 1130 W. Monroe. Timed tickets, $ 30, must be purchased in advance. Visit

Across the universe

Art on theMart returns with “Astrographics” from the Adler Planetarium.
Courtesy art on theMart

Art on theMART is collaborating with the Adler Planetarium to transform the facade of the Merchandise Mart into a blend of art and science. The new projection on the art deco building, entitled “Astrography”, consists of four movements – Earth, other worlds, stars and beyond – which take the viewer from Earth to planets and stars and into the depths of the galaxy. The projections were created using real data showing the scale of the universe as well as images from telescopes of the world and Adler’s paper works. The exhibition will be accompanied by music from the archives of Sun Ra Arkestra at the Experimental Sound Studio. The 30-minute “Astrography” takes place every evening at 8:30 pm and 9 pm from April 1 to July 4. For more information, visit

For Oscar votes

“A love song for Latasha”
Copyright ShortsTV

Get a head start in your Oscar pool by projecting the Short films nominated for the 2021 Oscars presented by ShortsTV. Documentaries include “A Love Song for Latasha,” a portrait of a young girl whose gunshot death sparked the 1992 LA riots, and “Do Not Split,” the story of the 2019 Hong Kong protests. . Live-action films include “Feeling Through,” about a teenager’s connection to a deafblind man, and “White Eye,” which follows a man as he tries to retrieve his stolen bicycle. Nominated in the animation category is Disney-Pixar’s “Burrow”, about a young rabbit’s desire to build the burrow of his dreams. The films are available from April 2 in various Chicago and suburban theaters and on their virtual platforms. The 93rd The Oscars take place on April 25. For more information, visit

Young circus artists


Dan Roberts

CircEsteem, the Uptown organization whose mission is to unite young people and promote self-esteem and mutual respect through the circus arts, presents Celebration of the social circus day, an online event featuring social circuses from around the world. In addition to live segments, the lineup includes performances recorded by the performance group Youth Acts of CircEsteem, Circus Harmony (St. Louis), ENC of Puerto Rico, Fern Street Circus (San Diego), Red Nose Foundation (Indonesia), Trenton Circus Squad (New Jersey) and Zip Zap Circus (South Africa). Broadcasts at 5 p.m. on April 3. Tickets: free or pay what you can. Visit

Color your world

“Maybe Something Beautiful” is a collaboration between the Chicago Children's Theater and musicians from CSO.

“Maybe Something Beautiful” is a collaboration between the Chicago Children’s Theater and musicians from CSO.

The Chicago Children’s Theater and the Chicago Symphony Orchestra’s Negaunee Music Institute collaborated on “Maybe something beautiful” a new virtual short film for children and families. Inspired by the award-winning book by F. Isabel Campoy and Theresa Howell, illustrated by Rafael López, the film brings together five CSO musicians performing classic works by Latino composers, bilingual English-Spanish narration and colorful puppets to tell a true story about the how art can transform a neighborhood into a world of hope and beauty. The free movie debuts at 10 a.m. on April 1 at an event co-hosted by CCT and CSO and available on demand thereafter. Visit or

biblical inspiration

The Conspirators present the

David Cerda (center) and his friends perform “This Jesus Must Die” from “Jesus Christ Superstar Do-It-Yourself Messiah Complex”.
Candice Conner

The Conspirators present the return of “Jesus Christ Superstar Do-It-Yourself Messiah Complex,” its annual Easter variety and sing-along extravaganza. The vaudeville-style show features performances of songs from the 1970 recording of the classic musical by Tim Rice and Andrew Lloyd Webber. Performances can range from a simple song on a karaoke track to a modern or burlesque dance piece. On the program: Saint Sparklebear, the Cryptid Kid, David Cerda & Friends, Mari DeOleo, Sid Feldman, les Vaudettes, Danielle Levsky, Nathaniel Fishburn, Carey Farrell & the Clamor & Lace Noise Brigade, Sarah Bullion, Gail Gallagher, Jeff Churchwell, Caroline Shaul, Cocktail Jordan & Pearly White, Brian Nemtusak and Rose Freeman, all hosted by Wm. Lingots. Stream for free at 7 p.m. on April 4. Visit

Virtual stage

Julian Parker will play the title role in the Chicago Shakespeare Theater production of I, Cinna, written by Tim Crouch and directed by Tyrone Phillips.  Photo courtesy of the Chicago Shakespeare Theater.

Julian Parker stars in the Chicago Shakespeare Theater production of “I, Cinna”, written by Tim Crouch and directed by Tyrone Phillips.
Courtesy of the Chicago Shakespeare Theater

In the filmed setting of the Chicago Shakespeare Theater by Tim Crouch “Me, Cinna (the poet)”, the apolitical poet Cinna from “Julius Caesar” seeks the subject of his new poem in this exploration of words and actions, protests and power. Broadcasts from April 5 to May 2. Tickets: $ 25. Visit … The Remy Bumppo Theater presents “Artist descending a staircase”, a first radio play by Tom Stoppard in which two elderly artists examine their emotional and artistic histories. Free broadcast from April 5 to 18. Visit … Ghostlight Ensemble’s launches its new reading series “For Your (Re) Consideration” with Margaret Cavendish’s “The convent of pleasure”, a play about a group of single women who create their own perfect, self-sustaining society. Broadcast live at 2 p.m. on April 4 and on demand until April 30. Tickets: $ 5 or pay what you can. Visit

Mary Houlihan is a local freelance writer.

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studio 10 adorns design of ‘shaped from nature’ exhibition in china with transparent elements

By Exhibition design No Comments

Studio 10 completed the spatial design for the “Made from Nature” exhibition, hosted by the Sea World Culture and Arts Center in Shenzhen, China. co-organized by the Victoria & Albert Museum (V&A), the China Silk Museum, the Design Society and guest curator Edith Cheung, the exhibition consists of two sections to tell the complex relationship between fashion and nature since the 16th century. century, with reflections like as well as the emphasis on sensitivity and preservation of the environment, in Western and Eastern societies.

all courtesy images chao zhang

with nature as the subject and the garden as the theme, the design of workshop 10 forms an abstract but poetic interpretation and comparison of eastern and western views of nature, as well as the evolution of classic to contemporary garden spaces. the first section of the exhibition is titled ‘Shaped from Nature’, focusing on the correlation between fashion and nature from the 16th century to the present day, while the second section, titled ‘Shaped from Nature’ nature in China: yesterday and today ”is an echo of the subject in the east.

studio 10 completes the exhibition

in this newly developed design, studio 10 hoped ‘explore the similarities and differences of the natural views embodied in eastern and western gardens’. with this in mind, the entrance arch is clad in tyvek which, when backlit, faintly reveals the vine-like fibers and forms an abstract ‘green corridor’. through this corridor, guests can access the first section of the exhibition, housing the classical period of the English section. translucent fabrics are used to create a classic abstract “western” garden, which is very geometric, axially symmetrical and perspective-oriented while connecting circular spaces and display cases of different sizes.

studio 10 completes the exhibition

then comes the last ‘garden’, formed from a set of acrylic tubes – the modern material implies that the narrative of the exhibition approaches modernity, when people began to contemplate and reflect on the relationship between fashion and nature. here the layout takes a more contemporary approach, the space instantly opens up, from classic confined circular storefronts to a continuous and flowing display area, echoing the flexible layout of the contemporary landscape and spatial design.

studio 10 completes the exhibition

the Chinese section serves as the final part of the exhibition, taking the form of a pill-shaped plane surrounded by translucent fabric, leaving only a slit for entry. visitors can vaguely see as they stroll through this space, while curiosity builds up. in this section, the design follows a natural approach – there is no fixed axis or linear flow. a translucent ramp settles inside, just like a mountain path or a stream winding from the sky, free and winding. mannequins dressed in highlighted pieces are placed on the ramp as if they were descending a hill.

studio 10 completes the exhibition

throughout the exhibition, visitors can explore the space intuitively and freely, as if they were in a natural setting. the design uses light and translucent materials such as fabric, TPU, tyvek, etc. to weaken the interposition of physical space and the existence of the entity. expressing the abstract and poetic views of the eastern and western, classical and modern garden through ’emptiness’ and ‘transparency’, the architects intend to encourage visitors to reflect and reflect on the relationship between man and nature, from a fashion point of view as well as a broader perspective.

studio 10 completes the exhibition

transparent elements adorn the design of the exhibition

transparent elements adorn the design of the exhibition

transparent elements adorn the design of the exhibition

spatial design of the exhibition shaped from nature organized by va and design society 7

spatial design of the exhibition shaped from nature curated by va and design society 8

spatial design of the exhibition shaped from nature organized by va and design society 12

project info:

Name: exhibition “shaped from nature”

conservative: design company, victoria & albert museum (v & a), china silk museum

guest curator: Edith cheung

design consultant: workshop 10

main responsible: shi zhou

design team: cristina moreno cabello, an huang, jiaying huang, meishi zhao, xin zheng, jiaxiao bao (project assistant), feifei chen (project assistant)

graphic design consultant: sanyi_lab

construction drawing consultant: shennan design

lighting consultant: jojo lighting

site: cultural and artistic center of the world of the sea, main location L1, 1187 wanghai road, shekou, nanshan, shenzhen, china

Region: 1280 m² (13778 ft²)

designboom received this project from our ‘DIY submissions‘, where we invite our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: myrto katsikopoulou | design boom

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The story of the Berkshire Museum art auction comes to the symposium circuit. Critics Denied Place on Panel | Local News

By Museum art No Comments

Berkshire Museum (copy)

At an online symposium this week, two former Berkshire Museum executives – Van Shields, its executive director, and Elizabeth McGraw, its board chair – are expected to discuss the institution’s art sale in 2018 .

PITTSFIELD – Although Van Shields and Elizabeth McGraw are no longer at the Berkshire Museum, they will come together this week to explain the museum’s drive to sell its most valuable art a few years ago. Those who opposed this sale may or may not be heard.

Shields and McGraw will appear on Thursday as members of an online panel in a symposium titled “Dismissal after 2020,” sponsored by the College of Law and the Graduate Program in Museum Studies at the University of Syracuse.

The Berkshire Museum sale predates the coronavirus pandemic. Claiming it needed to get its finances back on track, the museum fended off legal challenges and opposition from local group Save the Art to sell famous works by Norman Rockwell, Alexander Calder and Albert Bierstadt, among others, raising $ 53.25 million. dollars.

Almost three years later, Shields and McGraw will be part of a panel titled “Regional Museums Make Tough Decisions and Broaden Their Horizons”. It is believed to be the first time the two – Shields, the museum’s former executive director, and McGraw, its former board chair – have joined together to speak publicly about the controversial sale.

When Hope Davis of the Save the Art group learned of the panel’s existence, she asked her organizers to be included. The dean of Syracuse Law School refused, saying the panel was not supposed to debate the merits of the sale.

“This session is not a forum to debate the good or the bad – nor the good or the bad – of these decisions,” wrote Craig M. Boise, the dean, in an e-mail to Davis, declining his request. to join the panel.

Davis said in an interview that she believes the museum divestiture still deserves debate. And she believes the panel’s design, which includes the experience of a small Syracuse museum that sold an artwork in 2020, could distort the context for the Pittsfield sale.

Van Shields Elizabeth McGraw Mark Gold.jpg

Syracuse University Symposium panelists with links to the Berkshire Museum, from left to right: Van Shields, former executive director; Elizabeth McGraw …

“They are de facto trying to legitimize what they have done,” Davis said. “The Berkshire Museum remains very much in people’s minds. Even though it was an outlier, it was the forerunner of what we are seeing now. “

Boise could not be reached on Tuesday to comment on the composition of the panel.

In two messages to Davis, Boise said that an opponent of the Berkshire Museum art sale was pictured on another panel. This is Nicholas O’Donnell, the Boston attorney who represented three Lenox residents who sought, unsuccessfully, to block the sale.

Boise also said the symposium includes “at least two distinguished museum executives – Michael Conforti and Tom Campbell – who are very conservative in their outlook.” Conforti is a former director of the Clark Art Institute in Williamstown.

If organizers intended to foster debate at Thursday’s panel with Shields and McGraw, Boise said a group like Save the Art would have been included, along with people critical of a sale by the other museum represented on the same panel, the Everson Museum of Art. in Syracuse.

“We would certainly have reached out to those who opposed the actions of these two museums,” Boise wrote to Davis. Copies of their electronic correspondence were obtained by The Eagle.

In October, the Eversons sold a Jackson Pollock painting, “Red Composition, 1946,” for $ 12 million through Christie’s auction house. The museum said in a statement at the time that it would use the proceeds to diversify its collection “to focus on the work of artists of color, women artists and other under-represented, emerging and mid-level artists. -career”.

Some of the proceeds from the sale, he said, will also be spent on maintaining his 10,000-piece collection, a use sanctioned by the American Alliance of Museums and New York State Regents. .

Van Shields, supporter of controversial art sales, bows out at Berkshire Museum

PITTSFIELD – After taking over as head of the Berkshire Museum in 2011, Van Shields surprised his new colleagues by talking about “monetizing” the collection of the Pittsfield institution. It took six …

The sale of the Berkshire Museum, by contrast, has been criticized by directors of the Association of Art Museum Directors for violating its policy on art sales.

The group ordered its 243 members not to collaborate with the Pittsfield institution. The sale also met with opposition from the executive director of the Massachusetts Cultural Council and the American Alliance of Museums. This led the Smithsonian Institution to terminate its affiliation with the Berkshire Museum.

The museum is spending around $ 3.5 million on repairs to its home at 39 South Street, including a sewer line, waterproofing and installing a freight elevator and is now redeveloping the space from its second floor.

The panel

Thursday’s panel with Shields and McGraw is described by the symposium as a time to hear from people who “have been there and done this” and will share what went into their decision-making and experiences, providing important lessons for others involved in the leadership of similar institutions.

In addition to former Berkshire Museum officials, viewers will hear from Everson’s Executive Director Elizabeth Dunbar and Chairman of its Board of Trustees Jessica Arb Danial.

The symposium describes panel participants as people who have worked in smaller communities and on tighter budgets than museum executives in large cities.

“One could argue that museums in places like Syracuse, New York and Pittsfield, Massachusetts, are more closely linked – and perhaps more essential – to their communities than their counterparts in large metropolitan areas,” the panel’s program states. “Their volunteer councils are usually not people who can afford to fill structural deficits or fund bold and important initiatives. “

He continues, “These museums are where the ‘rubber hits the road’ in terms of professional standards and the ability of these museums to survive and thrive in the service of their communities, all within the context of their legal obligations to their institutions. . “

McGraw and Shields aren’t the only local names to participate.

Joseph Thompson, founding director of the Massachusetts Museum of Contemporary Art in North Adams, will participate in a panel Thursday titled “Allocation of Museum Resources: The Cost of Collection.”

And two people who have spent long hours on the disputed Berkshire Museum sale – from different perspectives – will sit on the same panel. A session titled “Legal Issues, Strategies and the Role of the Courts” includes Courtney Aladro of the State Attorney General’s Office, who worked in 2017 and 2018 to ensure the Pittsfield Museum follows the law.

On that same program will be the man who initially informed Attorney General Maura Healey’s office of the museum’s plan to sell works of art: Mark Gold, of the law firm of Pittsfield Smith Green & Gold LLP. They will be joined in the four-member panel by O’Donnell, the Boston attorney who filed a lawsuit against the sale.

Gold will also host a Friday morning panel on the ethics of museum sales of works of art. Its title refers to “direct care,” a term used to describe the proper use of proceeds from sales. The panel is titled “Direct care: a critical concept that still struggles to make sense”. And Gold and O’Donnell will be part of an “Ask the Lawyers” panel on Friday.

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Museum management’s appeal delays union vote result

By Museum management No Comments

The Dec. 22 ballots on unionizing the Portland Museum of Art Galleries Ambassadors have been temporarily impounded until the National Labor Relations Board responds to management’s request for a review. Brianna Soukup / Portland Press Herald

PORTLAND – The outcome of an organizing vote this month by 23 employees of the Portland Museum of Art remains unknown pending an appeal from museum management to the National Labor Relations Board (NLRB).

The postal election was held to decide whether employees should join UAW Local 2110 of the technical, office and professional union. New York-based Local 2110 represents educational and cultural institutions in New York and New England.

The ballots were due to be compiled on December 22, but Local 2110 president Maida Rosenstein said they “were seized instead of being counted because the museum formally appealed the decision of the labor council “.

Initially, 70 museum employees, including curators, registrars and educational staff, filed a petition to unionize with the NLRB. The September petition cited low wages and poor job security. The board ruled in November that 23 of the employees, the museum’s “gallery ambassadors” who provide education and interpretation of the exhibits to visitors, had the right to form a union.

“We continue to follow procedures established by the National Labor Relations Board in processing ballots at this point,” Graeme Kennedy, director of strategic communications and public relations for the museum, told Forecaster on Dec. 27. “We asked for review of a part of the unit’s decision that we sincerely believe to be wrong – specific to the responsibilities of gallery ambassadors with respect to the safety of our visitors and our works – and look forward to news from the board of directors about the request. ”

The museum, according to the NLRB ruling, sees gallery ambassadors as having a security role and therefore should not be part of a union representing other types of workers. The council said the ambassadors were not security guards.

Rosenstein said that typically such demands are never heard by the labor committee and are dismissed, which she hopes will happen in this case so that the outcome of the vote can be certified.

Kennedy told Forecaster in November that the “Portland Museum of Art cares deeply about its staff and its community and in no way seeks to delay or prevent a vote on organizing.”

“We have a bit of a bump in the road because of the pull,” said Michaela Flint, gallery ambassador. “But I hope the voices of museum workers will be heard. As workers, we have the right to a fair and uninterrupted vote.

Rosenstein said that if a union had been in place, workers would have had bargaining power when recently told they were “essentially on leave” for the month of January because the museum was closing to the public because of it. of the coronavirus.

Flint said the temporary shutdown gave her “a glimpse of what it’s like to have help from a union,” she said.

“They offered mutual aid, an unemployment briefing, carpooling and grocery delivery,” she said. “Local 2110 went above and beyond for the museum workers. They even offer help to those who oppose the union.

Kennedy said museum management is awaiting the outcome of the election and looks forward to “continuing to work in partnership with our staff for PMA’s mission rooted in diversity, equity, accessibility and inclusion.”

“Throughout this process, we have remained deeply committed to the institutional values ​​of transparency and mutual respect informed by our staff,” he said. “The election ensures that all voices are heard and we will work in good faith with all employees to ensure a strong, dynamic and sustainable PMA.”

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Defining Moments: Australian Exhibition Stories 1968-1999 – Announcements

By Exhibition histories No Comments

Australian Center for Contemporary Art (ACCA)

111, rue Sturt, south shore

Melbourne VIC 3006

Instagram / Facebook / #ACCAMelbourne / #ArtStartsAtACCA

ACCA’s two-year lecture series focused on ambitious, contested, controversial, genre-defining and defying contemporary art exhibitions and projects is now available in its entirety as free podcasts and illustrated video lectures.

The series began in April 2019 when Australian art collector and patron John Kaldor spoke of when he invited French artists Christo and Jeanne-Claude to Australia to walk two and a half kilometers of coastline to Sydney’s Little Bay, this which gave rise to the first monumental environmental work monument by the pair: Wrapped Coast – One Million Square Feet 1968-69.

Defining Moments: Stories from the Australian Exhibitions 1968-99 concluded this week with a talk by Dr Mikala Tai on the founding of Gallery 4A, a Sydney-based non-profit organization established in 1996 to showcase and promote the work of Asian and Asian-Australian artists.

Artistic Director / CEO of ACCA Max Delany said the fifteen lecture series traces the legacy of artists and curators, addresses the critical reception of important selected projects and reflects on a wide range of exhibitions and formats that have helped shape contemporary art and culture Australian more widely.

“We are happy to present now Defining Moments: Australian Exhibition Stories 1968-99 in its entirety, online. Presented by a diversity of commentators and protagonists, the series covers a number of topics and contexts, from the creation of murals at the Papunya School in 1971 that sparked the painting movement in the Western Desert, and the first Australian feminist artistic initiatives, up to the 1994 landmark. exhibition Don’t Leave Me Like This: Art in the Age of AIDS at the National Gallery of Australia, among other exhibits that respond to important moments and movements in the history of Australian art and culture.

“The Decisive moments is a rich resource, offering new perspectives and reflections on the game changers in contemporary art during the last three decades of the 20th century, ”said Delany.

The defining moments: Australian exhibition stories 1968-1999 the lecture series includes:

2019 season
Selected projects from 1968 to 1983 encompassing interventions in public space and remote communities, as well as projects in artist and institutional spaces. Available as a podcast on ACCA website and podcast platforms:

Jean Kaldor on Christo and Jeanne-Claude, Wrapped Coast 1968-69, with the respondent Rebecca coates
John kean to Digging for honey ants: the Papunya mural project, with the respondent Hannah presley
Ian millis to Object and idea, National Gallery of Victoria, 1973
Peter Kennedy to Inhibodress, multimedia interference, with responder Sue cramer
David Chesworth to Clifton Hill Community Music Center 1976-83
Julie ewington to Almost anything goes: Sculpturescape 1975 in Mildura
Janine Burke to A room of their own: creation of a space for the feminist collective, with the respondent Helen Hugues
Anne Marais to Post Object Art in Australia and New Zealand

2020 season
New institutional models and contemporary modes of exhibition emerging in the 1980s and 1990s. Presented digitally in the form of video conferences and podcast freely accessible on ACCA website and podcast and video platforms:

Judy Annear to Popism, National Gallery of Victoria, Melbourne, 1982
Peter Cripps to The art of recession and other strategies, Institute of Modern Art, Brisbane, 1985, with the respondent Channon Goodwin
Djon Mundine OAM to The aboriginal memorial, Sydney Biennale, 1988
Doug Hall AM on the First Asia-Pacific Contemporary Art Triennial, Queensland Art Gallery, Brisbane, 1993
Ted gott to Don’t leave me like this: art in the age of AIDS, National Gallery of Australia, Canberra, 1994
Stephane Gilchrist to Aratjara: art of the first Australians, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1993 and running: Emily Kame Kngwarreye, Yvonne Koolmatrie, Judy Watson, Australian Pavilion, Venice Biennale in 1997
Mikala Tai on the founding of Galerie 4A and the inaugural exhibition 1997.

Access podcasts and videos from the full two-year lecture series here.

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Defining Moments: Australian Exhibition Stories 1968-1999 – Announcements

By Exhibition histories No Comments

Instagram / Facebook / #accamelbourne / #definingmomentsacca

ACCA’s two-year lecture series Defining Moments: Australian Exhibition Histories 1968-1999 will be presented this year as illustrated video lectures online.

Designed to shed light on markers of change in Australian art in the last three decades of the 20th century, Decisive moments last year focused on key exhibitions and projects from the late 1960s and 1970s. This year the series will explore new institutional models and contemporary modes of exhibition creation that have emerged over the years. 1980 and 1990, including the Asia-Pacific Triennial and 4A Center for Contemporary Asian Art, as well as exhibitions and projects led by First Nations artists and curators in Australia and abroad, among others.

In 2020, the series will be presented online as podcasts and video lectures to expand the national and international reach of this ambitious and rich historical project, starting with an exploration of the 1982 exhibition at the National Gallery of Victoria. Popism, by an independent writer and researcher Judy Annear. Organized by Paul Taylor, then 24, editor and publisher of the influential contemporary art publication Art and text, the exhibit was a provocative and rhetorical manifesto for a new generation, including Howard Arkley, David Chesworth, Juan Davila, Maria Kozic and Jenny Watson, among others.

Judy Annear’s talk will be available on May 25 and will be followed in July by The art of recession and other strategies, a talk given by the artist and former director of the Brisbane Institute of Modern Art Peter Cripps, based on the IMA exhibition of the same name which he organized in 1985, in response to the social, political and cultural contexts of the time.

“The series takes a closer look at the exhibitions and projects that have shaped Australian art since 1968 – ambitious, contested, controversial projects, defining and challenging the genres that have informed and transformed the cultural landscape, as well as our understanding of this. which constitutes art itself, ”said ACCA Artistic Director / CEO Max Delany. “Presented by some of Australia’s leading artists, curators and academics, we are excited to launch the series as digital lectures, more widely accessible to national and international audiences. ”

Defining Moments: Australian Exhibition Stories 1968-1999 is presented in association with Abercrombie & Kent and the Research Partner Center of Visual Art (CoVA) at the University of Melbourne; and supported by Media Partners Art Guide Australia, The Saturday Paper and Triple R; and Event Partners the Melbourne Gin Company, Capi and the City of Melbourne. Each conference will be accompanied by a tailor-made cocktail recipe, created by the Melbourne Gin Company.

Monday 25 May
Popism, National Gallery of Victoria, Melbourne, 1982
Speaker: Judy Annear, writer and independent researcher

Monday July 13
The art of recession and other strategies, Institute of Modern Art, Brisbane, 1985
Speaker: Peter Cripps, artist and former director of the Institute of Modern Art, Brisbane (1984-86)
Respondent: Channon Goodwin, Director of Bus and Composite Projects: Moving Image Agency, Melbourne, and founding co-organizer of the conference

Monday July 27
The aboriginal memorial, Sydney Biennale, 1988
Speaker: Djon Mundine, OAM, curator, writer, artist and activist

Monday August 24
First Asia-Pacific Contemporary Art Triennial, Queensland Art Gallery, Brisbane, 1993
Speaker: Doug Hall, AM, writer, critic and former director of the Queensland Art Gallery | Modern Art Gallery (1987-2007)

Monday September 21
Aratjara: art of the first Australians, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1993 and Current: Emily Kame Kngwarreye, Yvonne Koolmatrie, Judy Watson, Australian Pavilion, Venice Biennale, 1997
Speaker: Stephen Gilchrist, Writer, Curator and Associate Lecturer in Indigenous Art at the University of Sydney

Monday October 5
Don’t Leave Me Like This: Art in the Age of AIDS, National Gallery of Australia, Canberra, 1994
Speaker: Dr Ted Gott, Senior Curator of International Art, National Gallery of Victoria, Melbourne; and curator of Don’t Leave Me Like This: Art in the Age of AIDS

Monday October 26
Creation of the “Galerie 4A” and the inaugural exhibition in 1997
Speaker: Mikala Tai, Director 4A Center for Contemporary Asian Art

For more information and podcasts from the 2019 series, visit

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In Los Angeles, the management of the contemporary art museum says yes to the union – No Profit News

By Museum management No Comments
Rob Young from UK [CC BY 2.0], via Wikimedia Commons

December 6, 2019; Los Angeles Times and hyperallergic

Last week, NPQ wrote about an effort by workers at the Museum of Contemporary Art (MOCA) to unionize with the American Federation of State, County and Municipal Employees (AFSCME). Friday, reports Carolina Miranda for the Los Angeles Times, management said “they would voluntarily recognize a new union made up of more than 100 visitor services workers.”

As NPQ, noted Kori Kanayama, MOCA was committed to “being an active institution, civic-minded, open and welcoming to our communities”. In making his decision to recognize the union, MOCA director Klaus Biesenbach accepted the union’s assertion that this commitment necessarily extended to its own staff. As Biesenbach said, “For over a year, we have been openly expressing our vision for the museum as a civic-minded public institution that supports the community. This is as important internally for our staff as it is externally. “

Biesenbach added that the desire to organize MOCA employees is “in full alignment with this vision that we have defined for our institution”.

On one level, MOCA simply made a common sense business decision. Last May, MOCA announced that it had received a donation of $ 10 million from Board Chair Carolyn Clark Powers. Last month, he announced that with this donation, he was set to implement free entry from January 11, 2020. A protracted battle with workers over unionization would surely have made it flourish. the rose of pressure from the museum to expand its community. to reach.

Always, Hyperallergic was not wrong to describe as “surprising” the decision of the MOCA leadership to recognize the union without demanding an election. After all, voluntary recognition of unions by management is extremely rare. Initially, notes Matt Stromberg, the MOCA leadership in response to the workers’ petition issued a standard, almost boilerplate response: “We don’t think this union is in the best interests of our employees or the museum. Management reconsidered their decision, however, as they considered what a fight with the union would mean in the context of the museum’s vision to seek to become and be seen as a civic-minded institution.

As Miranda notes, “The past year has seen a wave of campaigning to organize visitor services workers at the New Museum of Contemporary Art and the Guggenheim Museum in New York, as well as the New Children’s Museum in San Diego and the Frye Museum in Seattle.”

Part of what drives these union campaigns, adds Miranda, is the growth of the “visitor service associate” job category itself. Miranda explains that these workers “help monitor galleries, often work part-time and without benefits. Wages, for many, hover around the minimum. In recent years, the work has evolved, forcing gallery owners to not only protect art, but also to have knowledge of art and art history.

As Betsy-Ann Toffler, a part-time visitor service associate, told the Los Angeles Times last month, “We are paid minimum wage, but what is expected of us is more than a typical minimum wage [job]. “

With this recognition, MOCA becomes the second syndicated art museum in Los Angeles and one of more than a dozen nationwide. Last year, the management of LA’s first art museum to unionize, the Museum of Tolerance, in the museum’s first union contract, agreed to raise the salaries of visitor services associates by 41.6% over four years. At MOCA, Biesenbach is committed to moving forward “in good faith to establish a fair and lasting contract”.

Of course, not all art museums agreed to negotiate with the unions. Notably, last month in Los Angeles, the Marciano Art Foundation closed its museum four days after workers demanded recognition, laying off its entire workforce rather than agreeing to unionization. The foundation, according to Miranda, now says the museum’s closure is “permanent.” The AFSCME, which represents the workers of the Marciano Art Foundation as well as the workers of the MOCA, has filed a petition with the Federal National Council for Labor Relations alleging that the foundation “illegally discriminated against its employees by massively dismissing employees and / or by closing its factory. because the employees… are engaged in union and concerted activities. —Steve Dubb

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Hassrick is known as a “giant” in the world of museums and art | Local News

By Museum art No Comments

A true leader in the world of museums and art, Peter Hassrick died on Friday at the age of 78.

“Peter was truly one of the giants of the museum world,” said Peter Seibert, executive director of the Buffalo Bill Center of the West. “The world of museums, especially in the Rocky States, is small and there are many interconnected circles. He was regarded by everyone not only as a brilliant scholar, but also as a true gentleman in every sense of the word.

Hassrick began working as a high school history and Spanish teacher in the 1960s, but then found his true calling in art history.

“Peter was truly one of the most important art historians of his day and no one worked more passionately than he to bring international attention to West American art,” said Karen McWhorter , curator of the Whitney Western Art Museum. “This unprecedented passion combined with a singular intellect has inspired a multitude of influential exhibitions, conferences and publications.”

His career began in Fort Worth at the Amon Carter Museum as curator of collections. In 1976, Hassrick became director of what was then the Buffalo Bill Historical Center, a position he held for 20 years.

“During his tenure, he catapulted the Center into national and international spotlight, consolidated the institution’s finances, oversaw an impressive improvement in the physical facility of the museum, and fostered the growth of collections and staff,” said McWhorter said. “It is important to note that he oversaw the founding of the Plains Indian Museum in 1979, working hand-in-hand with an advisory board made up of representatives of the Plains Tribes to create an award-winning installation.”

Hassrick also helped establish a research library in the Center.

“Over time, he was responsible for encouraging large donations of rare books and unique archival collections to the library,” said Mary Robinson, Housel director of the McCracken Research Library. “Without his persistent efforts and generous contributions, the McCracken Research Library would not be what it is today, a solid and consistent resource for scholarship on the American West. Peter Hassrick was a unique person. In him we have lost a beloved scholar and colleague.

Hassrick also shaped the Whitney Western Art Museum through his acquisition of works of art; published articles, essays, books and online resources inspired by the collection, and organized numerous exhibitions including, most recently, Painted Journeys: The Art of John Mix Stanley (2015) and Albert Bierstadt: Witness to a Changing West (2018).

“Peter was full of ideas and was never without an exciting project,” said McWhorter. “He was the kind of person who could easily inspire a room full of people to join him in any business. When Pierre spoke, people listened. When Peter spoke, it was a difficult act to follow.

After leaving the Center, Hassrick became the founding director first of the Georgia O’Keeffe Museum in Santa Fe, NM, and then of the Charles Russell Center for the Study of Western American Art at the University of Oklahoma in Norman. He then established the Petrie Institute of American Western Art at the Denver Art Museum.

Since 2011, Hassrick has served as Director Emeritus and Principal Investigator of the Buffalo Bill Center of the West.

“We were so lucky that he decided to go back to Cody to retire in 2011, although to Peter retirement seemed a little different than it is for most. He kept an office at the Center and worked longer hours than many paid employees, ”said McWhorter. “Peter was my Google… really, he was better than Google. If I had a question related to museum work or West American art or history, I would ask Peter and be completely confident in his answer.

“He was the last word on countless subjects, and I was fortunate to count him as a friend and colleague for a decade, someone who would always take time for me and my questions.”

Seibert became executive director in November 2018 and said he spoke with Hassrick frequently.

“He was a great personal resource for me and was totally dedicated to the best interests of the institution,” he said. “Together, we found common ground on the story of Joseph Henry Sharp, the artist from New Mexico and Montana, who was Peter’s passion last year. I was honored in my first few months here that he asked me to write a foreword to the book he wrote on this subject.

Hassrick is widely acclaimed for his reasoned books and catalogs on Albert Bierstadt, Charlie Russell and Frederic Remington, George Carlin and Buffalo Bill, among others.

“He literally ‘wrote the book’ – in his case books (over 25 and contributed to over 50) – about many Western American artists, including Frederic Remington, Charles M. Russell, AP Proctor, Ernest L Blumenschein, John Mix Stanley and others, ”McWhorter said.

He also gave time to young academics equally enamored of the West, the so-called “Hassrick mentees”.

“While others might have rightly rested on their laurels, Peter has worked tirelessly to raise the next generation of West American art lovers,” said McWhorter. “He was a busy man, but he always gave generously of his time and advice and provided great advice and important connections to many people at critical times in their careers. I am one of this group of ‘Hassrick mentees’ and couldn’t be more grateful for the decade I spent learning alongside Peter. “

Hassrick leaves behind his wife Buzzy, his two sons and their families. Plans for a celebration of life are pending.

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Reflections on Museum Management • Southwestern University

By Museum management No Comments

Anna Balch ’21, an art history major, interned at the Witte Museum this summer, cataloging and maintaining the Texas art collection.I am intern this summer at the Witte Museum in San Antonio, Texas, as an intern in art collections under the direction of Witte Collections Director Leslie Ochoa. I started my 10 week internship by organizing the works on paper in the Texas Art Collection at the Witte Museum through the rehousing of artwork and updating the museum’s online database. I had many opportunities here and really learned a lot from my internship. I have gained a better understanding of the organization, management and maintenance of a museum’s collections since my time here with the Witte.

Working in a non-profit museum means everyone helps, no matter what their expertise, and for that reason I had the opportunity to help remove exhibits, clean exhibits, take care of preserving works on display in galleries, taking inventory of works of art in galleries and learning the process of lending art to other museums.

My goal during my internship at the Witte Museum was simply to learn the proper procedures for managing the museum’s collections, but what I learned here is far more important. I was able to connect with a multitude of staff, museum donors and the President and CEO, Marise McDermott, of the Witte Museum. I am extremely lucky and grateful to have had the opportunity to interact and speak with these people as they gave me great advice and different perspectives on running a museum. The collections department taught me a lot about the inner workings of an art museum and the importance of curating and organizing works of art and building strong links between donors and other museums. Thanks to these interactions, I have a better perception of the administrative aspect as well as the conservation aspect of what makes the success of a museum.

I overcame the obstacle of feeling too inexperienced to be entrusted with all these responsibilities within the care of the different collections. However, my supervisors are extremely nice and make every task an opportunity for me to learn, such as the proper procedures that take place in museum management and the vocabulary needed for the conservation of art, which has really benefited me. my storage reports. During my internship, a group of interns were able to sit casually with McDermott and we talked about leadership, passion and even feelings of doubt. McDermott gave us words of encouragement when he felt unskilled, stating that you can’t learn anything unless you try it yourself. She also encouraged us to surround ourselves with creative people who will know how to support you and help you overcome the obstacles of doubt.

McDermott gave us words of encouragement when he felt unskilled, stating that you can’t learn anything unless you try it yourself.

The biggest advantage of an internship at the Witte Museum is the passionate staff; all of the members I have met love their work at the museum because of how inclusive and creative each is. I have spent a lot of time working in the collections department, and although they are always busy, they never complain about the tasks at hand due to the passion they feel for their work. Working alongside these people strengthens my love for art, and I look forward to exploring other artistic opportunities.

My internship allowed me to deepen my knowledge of the history of Texan art and the way in which it has greatly contributed to the construction of Texan culture. Through different techniques, styles and genres of Texan art, I applied my previous knowledge of art history to my internship and learned new concepts about how Texan culture introduced new techniques in different artistic style movements. During my stay at Le Witte, I have met many different people who are in one way or another entangled in the art world, whether by choice or by accident. Two career paths that intrigued me the most happened when I discovered different art curators and art curators, each sounding like an incredible path that I would like to explore more after graduation.

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Fancy a career in museum management? This internship at DakshinaChitra could be what you are looking for – Edexlive

By Museum management No Comments

Hands-on training in museum and arts management where you will learn crafts, performing arts, organize and run an exhibition, all on your own. Sounds interesting, right? This is what DakshinaChitra will offer you if you are selected for an internship in museum and arts management which is taking place for the fourth year in a row. The number of places available this year is ten and it is a one-year internship. The deadline for submitting applications is May 31, 2019.

The interns would work with the different departments of the museum. “This is a unique type of learning. They will be trained on conservation, exhibition, education, cultural tourism, libraries, exhibitions, museum collection, guesthouses and also festivals. from South India, they will learn all about how a museum works, ”said Sharath Nambiar, Deputy Director of DakshinaChitra.

Besides the above training, there are other additional conferences that trainees can attend. “They have two conferences a week on art, history, Europe and art, Indian art and museology,” he said.

Interested applicants should submit an application and are asked to send a two-page Expression of Interest emphasizing their interest in the field. “We insist that the candidate has a minimum degree. But we really want people who are passionate about the arts and interested in making it a career choice,” he said.

There is no age limit. Applicants receive a stipend of Rs 10,000 per month. Transportation is provided from the Besant Nagar office in DakshinaChitra.

In addition, trainees will visit different museums, galleries and also attend workshops. The highlight of this internship is that they receive hands-on training which would be useful for their career as there are fewer qualified people in the field. “New museums and galleries are emerging. So there is a huge demand for qualified students and trainees. Many of our students have already gone to work in major museums in India and some are working abroad. Some have started to do their doctorates in the arts. A few of them have also created their own cultural institutions, ”Nambiar said.


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