The Warhol

 

 

Entrance to the Andy Warhol Museum in Pittsburgh, Pennsylvania

 

     Last month, during a college tour of the city of Pittsburgh, I had the opportunity to visit the Andy Warhol Museum in Pittsburgh, PA - a testament to this renowned artist in his very own hometown. All I really knew about Warhol was that he’s a pop art icon, a legend. “Warhol” instantly evokes images of a Campbell’s Soup Can or a neon Marilyn Monroe in your mind’s eye. The Andy Warhol Museum was certainly the place to learn more about the man behind these iconic images.  

 The experience:

     A larger than life Andy Warhol greets you at the entrance of the museum – a stunning yellow and black silkscreen self portrait, hair askew. The traditional and recognizable style is indicative of the many more famous works inside, but also contrasts with the array of Warhol’s work that I hadn’t know of. We were advised by staff to first explore the intro gallery – essentially a walk-through timeline of Andy’s life – and then to proceed to the 7^th floor, and work our way down. Of the many spaces and themes to explore, three spaces in particular stood out in my mind: a dark room full of small TV monitors, mounted to appear suspended in the space, a room of projected videos played simultaneously on several large screens, and lastly, a small space where Andy’s clouds were floating freely.  

      The first two spaces, ironically, pertain to video – a medium that is not easily displayed in the “static” manner that is typical in a museum setting. Both spaces created physical interaction between the viewer and the monitors or screens in space. As the viewer, it’s up to you to navigate through the space, where to direct your attention, and what to take out of the experience overall. Personally, I didn’t have any rhyme or reason to approach these galleries – I took a moment to survey the room, and led myself be drawn to the clips that interested me most. From both of these exhibits, we are able to taste Warhol’s passion for television and the concept of capturing life in real time. These snippets of life made “art” are perhaps examples of one of the most notable effects of Warhol’s work – his ability to recreate the mundane.  

     The third space that stood out in my mind also engaged the viewer in an interesting way – the room of Andy’s clouds. These silver pillow-like “clouds” float as if the air is heavy and the seconds are ticking by in slow motion – a visual experiences that is definitely untraditional, and quite honestly, difficult to put into words. For that reason, see it for yourself here!

http://youtu.be/SCWrc9ZUTC8

     Overall, my experience at the Warhol museum definitely redefined my perception of museums! I enjoyed the juxtaposition of the dynamic nature of video with the traditionally static displays in museums, and the way in which the museum captured the quirky spirit of Andy Warhol.

 

- Danielle

Relics and Reliquaries, New and Old

How do you remember or honor someone or something? Maybe you have that one special box full of ticket stubs and fortunes, or an urn of a loved one’s ashes sitting on the mantle. To Christian worshipers and pilgrims, the reliquaries or vessels that hold sacred contents were of utmost importance – almost as important as the sacred contents themselves and the saints and idols that they represent. Although modern practices may differ from those of Medieval Christians, the core of devotion and remembrance are the same. Two new exhibitions currently on view at the Walters explore these themes by means of reliquaries – both historic and contemporary.

A couple of weeks ago, WAMTAC had the opportunity to experience “Treasures of Heaven: Saints, Relics and Devotion in Medieval Europe” for the first time (on view through May 15^th). This exhibition explores Medieval Christians’ veneration of saints through reliquaries – ornate gold and jewel-encrusted vessels constructed beautifully enough to rightfully signify the status of the sacred items they contain.

To avoid that unfulfilling initial walk-though, overwhelmed by presence of the remarkable artifacts around us, we first walked through to hear the basic information, and then explored individually the second time through with questions in hand to discuss afterwards. As I walked through, I picked up on the rich royal blue and burgundy on the walls, the many shapes and forms that reliquaries take on, and the interactive aspects of the experience that allow visitors to become a part of the exhibit. I couldn’t help but consider faith, and the psychology of religion. Faith is an undeniable, underlying motif represented in every single piece – the common factor that brought people and these objects together. How could a tangible thing be so in tune with the divine? How did the ownership of such reliquaries hold so much political power and influence as well?

We discussed these impressions and thoughts as well as our personal stand-outs, which included a relic containing the tooth of Mary Magdalene, a golden arm designed hold a saint’s arm bone, and an intricate mosaic cabinet containing dozens of small containers. We discussed whether a vessel is as important as a relic inside, as well as reliquaries and relics in our own lives – baby teeth, crafts from second grade, various collections, and more. With our group, the weirder the better!

The relevance we were able to find in our own lives is the perfect segue to the second exhibition I mentioned: “Relics and Reliquaries Reconsidered”, on view at the Walters through May 22^nd. At WAMTAC’s meeting this past week, we had the opportunity to explore this exhibit as well, looking to our impressions of “Treasures of Heaven” to draw comparisons. The show consists of the works of eleven emerging MICA artists enrolled in the interdisciplinary sculpture course Relics, Reliquaries and Enshrined Materials – pieces created in response to the historic reliquary tradition, and a reliquary as not only a concrete object, but a representation of a greater power.

Thoughts to share? How do you think our experiences in these exhibitions compared? Are reliquaries as sacred as their contents? Is a “reliquary” of sorts an important part of your life?

I encourage you to learn more about “Relics and Reliquaries Reconsidered” and “Treasures of Heaven: Saints, Relics and Devotion in Medieval Europe” at http://thewalters.org/exhibitions/current.aspx.

-  Danielle

Technology & The Museum Experience

“Museums offer us an opportunity to be informed and inspired, to be enriched culturally, intellectually, emotionally. Without them we would be infinitely poorer as individuals and as a nation” – Marjorie Schwarzer

     “We” represents the members of the American society who have been fortunate enough to recognize the value and opportunity of the institutions we call museums – “we” are members of museum audiences. Museum audiences, as well as American society as a whole, are undergoing rapid transformation – demographic, economic, social, technological, you name it. In recent years, museums have been faced with the challenge of attracting more diverse audiences in order to adapt to these changes, a challenge which many museums are approaching through the utilization of technology.

     In both expanding and diversifying museum audiences, three key factors come into play: relevance, accessibility, and relationships. Knowing the nuances of the museum’s community and responding to that community, combating financial barriers with discounted events and entries, creating lasting impressions, and enticing today’s youth are crucial tasks in achieving each of these three goals. How can technology help them do this?

     Seeing as Americans of today’s society become a more technologically-advanced audience on a daily basis, it only seems appropriate that the institutions around us evolve to communicate and market on the same terms. There are approximately 17,000 museums in the United States, the majority of which have an established some sort of web presence. The internet has become the primary way to reach an audience who either cannot or will not physically visit places such as libraries and museums. Not only are museums creating an identity online, they are utilizing social media networks such as Facebook, Twitter and Flickr to promote events and to tap into new audiences.

     The technology-based strategies do not reach a standstill on the audience member’s computer screen – interactivity has become extremely important in creating accessibility, particularly to enhance the museum experience while physically visiting the museum. For example, interactive kiosks placed at museum entrances and strategic locations within the museums enable visitors to plan their visit, thus pre-determining their intensions and goals for the visit, as well as to access a wealth of information in a way other than reading wall labels. The machines are appealing to both young and old – the generation accustomed to video gaming, as well as those who just might be intrigued by the wealth of information available at the tap of their finger. Other popular interactive exhibits are those involving cell phone and audio tours. At the San Francisco Museum of Modern Art, museum-goers can trade in their driver’s license for an iPod Touch loaded with an ample supply of photos, interviews, videos, and more. Our very own Walters Art Museum has also been making recent efforts to “digitize” their collection to be made available online. So far, 9,000 works of art have been published to the museum’s website, and are available for an even larger audience to enjoy.  

But what does this all mean?

     Do you think these technologies enhance the museum experience or deduct from it? Is the museum experience being sacrificed or compromised in any way? And lastly, is this the way of the future, through which museums will transform hand-in-hand along with our changing society and museum audiences?

What do you think?

- Danielle

The Greatest Show on Earth

Step Right Up! TAC is transforming The Walters into a three-ring circus for this year’s Teen Night at the Walters: The Greatest Show on Earth. At our past few meetings, we have been planning and preparing to make our own circus come to life for a night, but how much do we really know about the circus? The word paints a picture of a magical, festive atmosphere where exotic animals and people dressed in extravagant makeup and costumes are in their element. “Freaks” and oddities are the norm underneath the circus tent. Yes, we think of these things, but where did the concept originate? What were the first circuses like? As it turns out, the Ringling Brothers and Barnum and Bailey weren’t the first to define what we now know as the circus.

The first circus, the Circus Maximus, established in Ancient Rome, was held in an open-air stadium in which spectators gathered from all around to witness horse races, staged battles, and chariot competitions, some of which were brutally violent and fatal. Spectators, both men and women, were entertained by jugglers, acrobats, and trained exotic animals in between acts. Upon the fall of Rome, however, the allure of the original circus was lost. Showmen and animal trainers traveled throughout Europe performing in small towns and at local festivals, but the establishment was not fully recovered for many years. It wasn’t until 1768 that Philip Astley revived the awe of the original Roman circus and laid the foundation for the modern-day circus. Astley, an ex-Major Sergeant, performed tricks on horseback in a roped-off circle in open fields, the early basis of the circus ring. As Astley’s popularity increased, he began to feature acrobats and jugglers, which eventually resulted in a traveling performing crew. The attraction made its way to America by way of English equestrian, John Bill Ricketts. The first American circus was held in 1792. From there, the circus evolved and took on a life of its own. William Cameron Coup, Charles and John Ringling, P.T. Barnum, James Anthony Bailey became household names, as these were some of the big wigs of the in industry. Today, we can experience the wonder of similar, but definitely more tame acts as the ancient Romans did when the circus rolls into town – clowns, performers, exotic animals, gymnasts and all! There are even present-day variations such as Cirque du Soleil which showcases the agility of human performers alone. Nonetheless, the awe of the Circus Maximus is still alive under the big tops today.

Want to see what happens when teenagers grab the reigns? Step into our circus-world for a free night of cotton candy, popcorn, music, a “Freak Show” Art show, performances, collaborative art, and discovering illusion, mystery, and wonder in the Walters’ collection – January 22, 2011, 6-9 pm at the Walters!

p.s. We are looking for teen performers and artists for the event. If you are interested in submitting artwork or an audition, check the Teen Arts Council’s facebook page or visit www.thewalters.org/teens for more info!

-Danielle

A Reason for the Season: Greek Coin of Persephone

As I was browsing the Walters’ collection online, a tiny little “artwork” caught my eye. Maybe I should refer to this little token as an “artifact” instead – it is a small Greek coin bearing the face of the Greek goddess, Persephone. Greek mythology has always been of personal interest to me, but as I thought about this little coin, I began to realize that I had plenty to learn, both about mythology, and coinage. What do you already know about Persephone? She is the goddess of beauty – or was it fertility? And why is her face on this little coin, anyway? What is its worth? What was its worth, rather, in 323-300 BC, the date range that it is dated? Whose hands has it been held in? What did Persephone’s image mean to them?

Although the type on the earliest of coins merely indicated the issuer’s guarantee that the coin was genuine and fit to circulate as money, the coinage of self-governing cities were often beautifully pressed with the public seal of the town, after the emblem of a local divinity. A local god or goddess may have also appeared on coins during periods that coincided with festivals held in that god or goddess’s honor. Periodic festivals, custom of the Hellenistic culture, created a demand for larger quantities of money. During festival years, it was common for the coins themselves to be indicative of the festivals for which they were created.

Either of these scenarios could explain the image of Persephone impressed on our coin. In Greek mythology, Persephone, the daughter of Demeter and Zeus, is known as the goddess of spring – a symbol of beauty and growth. She possesses a dual persona: the name “Persephone” stresses her role as the daughter of Demeter, the goddess of earth and fertility, whereas the name “Kore” stresses her role as Hades’ wife and queen of the underworld. The most prevalent myth about Persephone goes as follows:

Persephone's reunion with her mother in the spring

While picking flowers in a meadow, Persephone was abducted by Hades, king of the Underworld (and brother of Zeus), and crowned his queen. Demeter, the goddess of earth and fertility, is responsible for bringing forth the fruits of the earth, particularly grains, in the Upperworld. She searched and searched for her lost daughter in sorrow, and withdrew from her normal functions, allowing the crops to fail. A concerned Zeus intervened, and sent Hermes to persuade Hades to release Demeter’s imprisoned daughter. But before he did, Hades tricked Persephone into eating pomegranate seeds – a curse that would bind Persephone to the underworld for one third of the year. For the remainder of the year, she was released to the Upperworld to spend time with her mother. As the story goes, the months that Demeter spends with her daughter are happy and fertile, known to us as spring and summer. During the months that her daughter is with Hades in the Underworld, Demeter wallows in her grief, and fails to tend to the land. This time is known to us as winter.

Demeter and Persephone are imperative figures in the founding beliefs of the Eleusinian cult. Each year, during the month of harvest known as Boedromion (September), the Eleusinian Mysteries were held – an Athenian religious festival held in honor of Demeter and Persephone. 

Perhaps this little relic was once passed throughout the Greek world, stirring excitement for the upcoming festivities, or maybe Persephone symbolized a particular amount of grain. Nonetheless, it’s easy to overlook such a small piece of art, which holds so much meaning. As November is coming to a close and we’re delving into winter, perhaps Persephone is transitioning too into her time with Hades. Hopefully Demeter will oversee a fruitful and prosperous Thanksgiving before she retires for the season!

Happy Thanksgiving, everyone! Feel free to post any thoughts you may have.

- Danielle

A Second Look at “The Scarlet Letter”

 

Hester Prynne, Roger Chillingworth, Arthur Dimmesdale, and Pearl – are these names familiar? The thought of those names alone is probably enough to send some of your minds barreling back to your junior year English class as you read. Whether you are the student who rejoiced in the creation of Spark Notes or an enthusiastic reader enticed by Nathaniel Hawthorne’s tale of scandal, sin, and secrecy, I hope that you may find an area of interest within this “three-way comparison” of Hawthorne’s The Scarlet Letter, and two interpretations  that it inspired.  The first, a more traditional rendition in the form of a striking oil painting on display here at The Walters, and the second, a not-so-traditional interpretation in the form of the 2010 film, “Easy A” in which Olive Penderghast’s little white lie turns her reputation upside down – as she turns to Hawthorne’s Hester Prynne for inspiration.

The Book

For those of you who are not familiar with the novel, or simply have not had the chance to revisit it, Nathaniel Hawthorne’s The Scarlet Letter, published in 1850, is a tragic romance, regarded still today as Hawthorne’s most prominent work.  The Scarlet Letter, set in Puritan Boston during the seventeenth-century, tells the story of young Hester Prynne.  Hester bears an illegitimate child, and is consequently branded an adulteress and condemned to a life of public humiliation. She bears a scarlet letter “A” embroidered on her chest, a symbol of her shame and secrecy, and is bound to a life as an outcast.  This is a social punishment that leaves Hester to raise her infant child, Pearl, in isolation. Her lover, Arthur Dimmesdale, remains veiled in the eyes of the community, but suffers with his own guilt in silence.  On the other side of the conflict, Hester’s elderly husband, disguised as Roger Chillingworth, is consumed only with the pursuit of revenge.

Interpretation #1: The Painting

 

The Scarlet Letter, a painting by Hugues Merle, 1861

The Scarlet Letter by Hugues Merle (French, 1823 – 1881), 1861, oil on canvas

French painter Hugues Merle, born in 1823, lived in Paris throughout his young adulthood, where he studied under Léon Coignet at Ecole des Beaux Arts. The artist first exhibited his work at the Salon in 1847, and began to do so regularly thereafter. By 1859, Merle had developed a reputation for his portraiture and rendering of biblical themes, and had become widely popular, particularly among American collectors. William Walters of the Walters Art Gallery, by means of one of his agents, George Lucas, commissioned a rendering of Hawthorne’s The Scarlet Letter from Hugues Merle specifically for the first catalog of his collection. Merle’s painting, which was shipped to Baltimore after the Civil War, had been one of his five works exhibited at the 1861 Salon in the Palais des Champs, an exhibition for which he was awarded a Elysées 2^nd class medal. The artist’s ability to sympathize with the author is evident in the stunning portrait of adulteress Hester Prynne, holding her child, Pearl in a protective embrace. The composition references the Madonna and child tradition, an overt theme in Hawthorne’s novel. Beyond Hester’s right shoulder are two men – assumed to be Arthur Dimmesdale and Roger Chillingworth. Supposedly, William Walters shared a photograph of the painting with Hawthorne himself, who regarded it as the finest illustration of his novel to be produced. George H. Boughton, a correspondent for the American publication, “The Crayon,” wrote of Hester’s powerful gaze, describing her eyes as “eyes that seem to be the barred and grated windows of an imprisoned soul”. The painting now hangs in one of the Walters Art Museum’s 19th century galleries, where viewers still today can analyze and appreciate an artistic rendering of a literary classic.  Boughton’s words sum up its essence truly: “it seems as if Hawthorne’s pen alone could do it justice”.  

Interpretation # 2: The Movie

Emma Stone as "Easy A"'s Olive Penderghast

“Easy A”, released in theaters earlier this year, is a 21^st-century rendition of Hawthorne’s The Scarlet Letter, so to speak: the tale of the new Hester Prynne. Many years and miles away from Puritan Boston, in present-day California, Olive Penderghast (Emma Stone) is your ordinary high school girl with a quick wit, blonde bombshell best friend (Aly Michalka), and the apparent talent of being invisible. When the school’s goody-two-shoes (Amanda Bynes) overhears Olive’s little fib about her scandalous weekend, the rumor takes on a life of its own, shooting Olive’s formerly non-existent reputation through the roof. Having noticed parallels between herself and the “harlot” leading lady of her studies in English class, Olive seizes this newfound popularity by the reigns, fully clad in a risqué new wardrobe, complete with a scarlet letter “A”. Soon enough, the school’s outcasts and geeks find their way out of the woodwork, and line up with their gift cards and cash in hand to exchange for tales of phony status-boosting exploits. 

For all of you art lovers, avid readers, and devoted movie-goers, I hope that you found an approach intriguing, and are inspired to reevaluate a staple of the literary world in a new light. I encourage you pay a visit to Hester Prynne here at the Walters! Perhaps a visual rendition or a quirky re-telling is all it would have taken to compel you to lift your head up off the desk back in English class…

Food for thought:

Do you think that Hugues Merle’s Hester captures the character that Hawthorne intended to create? Why?

Is Olive Penderghast a modern-day Hester, or does her character undermine the fundamental emotions and symbols that Hester’s character is defined by? 

Can you find any parallels between the book, painting, and movie? Or similarities between two of the three? What about differences?

Let me know what you think!

-Danielle

What is going on with WAMTAC? Here, There, Anywhere: Public vs. Community Art

       At last week’s meeting, WAMTAC took a walking tour over to the Maryland Institute College of Art (MICA) area to take a look at the Here, There, Anywhere outdoor sculpture exhibition featured at Artscape 2010. Selected artists were asked to: “take an image of their sculpture that is featured in the exhibition and digitally add it to a location of their choice in the scale of their choice.” From waterfalls to fields to familiar sites in Baltimore, the artists certainly did take their artworks here, there and everywhere.

WAMTAC, however, utilized the physical, sculptural aspect of this exhibition to discuss the concept of public and/or community art. How exactly do we define public and community art? Are they used interchangeably? Should they be?

To the best of my ability, I have concluded the following: that “public” art holds the connotation that the artwork is simply located in a public location, to be viewed and enjoyed by the people who live and work there. Murals, sculptures, fountains. “Community” art often implies a collaborative element, such as WAMTAC’s Splatter Paint piece created by guests at our Teen Night last year, “Breaking the Rules at the Walters”. Where then, is this line drawn?

As a viewer of this exhibition, months after its debut at Artscape over the summer, I couldn’t help but wonder what, if any, influence the community and exhibition space itself had on the artists’ works. Did they consider the environment in which their art was to be displayed? Or did they focus primarily on the digital aspect of this show – the far-away Here, There, or Anywhere that their piece was to be interposed into? The other end of this relationship raises speculation as well – has the community or environment altered the sculptures in any way? Is the piece before me the same piece that stood before the artist in his or her studio?

Any thoughts? I encourage you to consider these things too, throw in your two cents! Check out the show yourself: to view the artists’ corresponding photographs, go to Here, There, Anywhere at Artscape 2010’s flickr page: http://www.flickr.com/photos/herethereanywhereatartscape2010/with/4772085315/ Go to the Walters Art Museum Teen Arts Council’s facebook page to see more photos from our meetings and to learn more about applying to join TAC. 

- Danielle

The Hackerman House, A Hidden Gem

When someone thinks of art at the Walters, the first image that comes to mind is probably of the Ideal City, or Rubens Vase; less often is an image of the Seated Buddha or Dancing Ganesha evoked. With so much Asian art under its roof, it’s a shame that the Walters is home to such an extensive collection of this interesting, diverse art that remains largely unseen.

Before you fall under the impression that I am accusing visitors of neglecting this part of the collection, you must know that I admit that I, too, hadn’t seen it before this summer. I’m not sure whether it was due to my excitement for Byzantine art causing me to rush past the hallway that leads to the Hackerman House, or if it was because I just simply didn’t know the extent of the artwork that was there for me to see, but either way I had never taken advantage of all it had to offer, and it is something that I wish I had been exposed to during an earlier visit to the museum.

The Hackerman House, home to the Walters’ collection of Asian art, is actually an extremely impressive part of the museum with an interesting history. Originally home to Willard and Lillian Hackerman, the couple donated their house in 1984 as a place to showcase Asian art. The area between the Hackerman House and the rest of the museum was originally a restaurant and is now the site of art from India, Nepal, and Tibet. 

The exterior of the Hackerman House

The Hackerman House provides a museum experience that differs greatly from that of the rest of the Walters. Particularly on the first floor, the Hackerman House generates a feeling similar to that generated by the Frick Collection in New York City; the architecture and design of the building is as impressive as the work itself, and one can’t help but marvel at the juxtaposition of the experience of beautiful artwork in a beautiful room.

Yet, for some reason or another, not many people have gotten to experience it. The museum has been forced to close this part of the Walters during periods of economic trouble because it consistently has the lowest number of visitors. I’ve talked to some people that don’t even know that the Walters has Asian art on display. It’s especially unfortunate because there is so much art to be seen.

While it’s possible to spend an entire day in the Hackerman House, I’m not even asking that of visitors; I just hope that on your next visit to the Walters, you at least do this impressive part of the museum justice by walking through its halls; be warned, however, that once you’re there, it’s difficult to resist being sucked in by the impressive artwork.

-Margaret

Music Videos as Art? I Guess So!

After following Karl’s link to Wikipedia (see the comments section from my last post), I found a list of Michel Gondry’s music videos. Expecting to find a brief list of obscure indie artists, I discovered that my expectations were quite incorrect; to my surprise, I found videos credited to Gondry by artists of many different music genres. Seeing as I didn’t have time to watch all 79 videos that were listed, I decided to get an idea of Gondry’s work by watching two videos of artists that I considered mainstream, and ended up watching videos by Kanye West and The Rolling Stones.

What I found was truly the work of an artist. Between the pencil animation of Kanye’s “Heard ‘Em Say” video, and the dynamic cinematography of the video for the Rolling Stones’ cover of “Like a Rolling Stone,” Gondry clearly demonstrates his ability to make a music video meaningful. If you read my previous post, you can probably understand my genuine surprise at this discovery.

I’ve embedded these videos so anyone else who had their doubts about music videos as art can be converted, too. Karl and Michel, I’m happy to say you’ve proved me wrong!

 

 

-Margaret

Music Videos As Art? I Think Not….

Several weeks ago, I was working at my computer when I overheard the idle conversation of two other people in the office. One person, thinking aloud, said to the other, “It’s weird that MTV doesn’t really play music videos anymore. They’re such a great form of art, but it doesn’t seem like there’s much of an outlet for them now.” I froze for a second while I thought about what my colleague had just said. Music videos as an art form? The videos that are really just the singers lip-synching while frolicking around a montage of different scenes? Based off of this impression that I had, I’d never really thought of music videos as an art form before. I always thought that they were just a way for commercial artists to promote their latest single, capitalizing on the increasingly appealing commercialized sexuality that has become popular and that has led to success for many singers.

I wasn’t sure if I agreed with this coworker. I first reflected on what had contributed to this admittedly shallow impression of the definition of music videos, and a slideshow of Britney Spears’ Baby One More Time video was juxtaposed by Fergie’s Fergalicious and Usher’s In This Club. Perhaps I wasn’t giving myself exposure to a very comprehensive collection of videos.

The beginnings of Britney Spears as a sex symbol

What, qualities, then, promote a music video from sales gimmick to art form? Maybe the key was that a video needed to demonstrate a deeper meaning to be considered “art;” the first video I thought of that could have a deeper meaning was Lady Gaga’s infamous Telephone music video. It is evident that the producers of this video wanted to convey more than the lyrics reveal, yet the intended message remains ambiguous even after nine minutes of film.

Then again, this music video sparked so much controversy and discussion, some might say that it also could have been the product of promotional motives. Lady Gaga is the embodiment of pop culture’s “shock factor,” and the Telephone music video conveniently falls into a series of other Lady Gaga music videos that have gotten progressively more and more strange and hard to understand over the course of her career.

One of the most controversial scenes from Gaga's "Telephone" video

I know I am generalizing, but from what I have seen, music videos are not so much products of art as they are of marketing in the music industry. Though my music preferences limit my exposure to a range of music videos, the ones that I have seen are more products of commercialism than they are of artistic inspiration. Lady Gaga, you’re not fooling anyone.

-Margaret

Small Museum, Big Impact

This past Sunday, there was an article in the Baltimore Sun newspaper about the Walters’ conservation efforts to preserve ivories in Iraq. For those of you who didn’t get a chance to read it, the article highlighted Terry Drayman-Weisser, the director of conservation and technical research here at the Walters. The article was brief, seemingly intended to give readers a general idea about how the Walters was involved in the conservation of the ivory pieces of art in Iraq. It also gave credit to the museum for being picked for such an important task.

Conservator Terry Drayman-Weisser

I feel that this second point, however, was not emphasized enough. While the Walters is an admired institution among residents of Baltimore, its name is not quite as well-known outside of Maryland. One may have thought that a bigger, more famous museum such as the Metropolitan Museum of Art in New York City, or the National Gallery in Washington, D.C. would have been selected for this international task. The ultimate decision to pick the Walters, in my opinion, puts our Baltimore museum on par with these other art powerhouses in terms of conservation expertise and international respect.

Perhaps the fact that the Walters Art Museum is relatively smaller was what made it a legitimate candidate for this very important assignment. The article talks about the personal relationships that Drayman-Weisser cultivated with the Iraqis while she was teaching them. The conservator was quick to make friends with those that she worked with, and gained the respect of her students early on in the week of teaching. It is this mutual respect between teacher and student, leader and apprentice, that the Walters prides itself on back in Baltimore. We interns here at the Walters, though the lowest on the pecking order of employees, are still encouraged to say “hi” to director Gary Vikan, something that we have been told is rare in other, larger museums. While Dr. Vikan is very highly respected and admired for all he does, especially by the wide-eyed interns, he isn’t placed on a pedestal as some demi-god that you aren’t allowed to make eye contact with. To us, and to everyone, he is a person, just as we are; and for that, he is respected even more than a god on a pedestal.

So, while there are some problems with being a smaller museum—difficulties with funding, a lack of space to showcase the entire collection—the smallness is actually a blessing in disguise. It promotes more of a liaison among the ranks of employees, which proves to benefit not only everyone at the museum here in Baltimore, but also those that care about art halfway across the world in Iraq.

-Margaret

The Chamber of Wonders: More Than an Exhibition

The Walters' Chamber of Wonders

When you walk into the Walters’ Chamber of Wonders for the first time, it’s hard to remember that you are still in an actual museum; this is my favorite room in all of the Walters, purely for that reason. While most exhibitions establish the visitor as a twenty-first century museum-goer merely standing in front of an old painting, the Chamber of Wonders brings the viewer into a gallery that could very well have been taken straight out of a Dutch nobleman’s home. These seventeenth-century domestic Dutch galleries, called wunderkammers, boasted the collector’s foreign artifacts and specimen that had been gathered during explorations to foreign lands. These collections became a sort of trend as worldly travel increased with the expansion of Dutch sea exploration and trade that was occurring at that time.

I will be the first to admit that I thought it was rather strange to find insects on the table and a huge alligator on the wall of an art museum. In my mind, I had always maintained a clear distinction between fine art and nature, and thought that the objects of these two realms were separate entities that could not and should not be housed in the same type of museum. Furthermore, I had always enjoyed the neat organization of pictures lined up side by side along a gallery wall. I felt that I could really focus and appreciate the works when they were arranged in this manner, because there was nothing to distract me from the one painting that I decided to stand in front of.

 Reflecting on the two types of exhibitions, however, makes me wonder about the effectiveness of my stereotypical idea of how a museum should be set up. Sure, a procession of paintings on a blank wall allows you to really experience each work of art individually, but should there be more to it? Shouldn’t there be some element of authenticity of how the artist intended and expected the works to be presented, where the exhibition takes into account how the works would have been displayed at the time of their production? I guess it really is a matter of preference; maybe people go to a museum because it offers the unique viewing experience of looking at an isolated painting. Either way, it is something to consider that I personally hadn’t really thought about before.

This Chamber of Wonders is a temporary exhibition (admittedly, it’s not going anywhere soon, since its installation is planned to stay put until 2020), but I think that something like this should be a permanent part of the Walters and of museums everywhere. It provides more than a wall of paintings to be looked at; visitors are granted an experience of going back in time by means of the artwork. And, after all, isn’t that what art should be all about?

-Margaret

Distractions in an Art Museum: Part II

I will be the first person to tell you how dull science can be, but if there is one thing that I have learned, it’s in the benefit of testing your theory.

Remember how I went on and on about how great it is to experience art for yourself without being bound by art information cards? Well, as it turns out, this theory sounds a lot better on paper. I recently led a group of seventh graders and assorted parents around the Heroes: Mortals and Myths in Ancient Greece exhibition at the Walters. I decided to test my theory out as we wandered around the exhibit twice; first for the “experience” and second for the information. First we had to figure our our personality as it corresponds to mythic Greek beings. It turns out that I’m a dramatic, social “Helen.” But since they were out of nifty metal clip on buttons that art museums have enthusiastically started carrying, I decided to wear an “Amazon” (the wild, free, non conformist type) button because Helen was still a Glamazon in and of her own right.

So what happened with our tour? Well, the adults and I valiantly tried to “experience” the art; we tried to encounter the pieces in a way in which we would then discover our inner beings, the cure for cancer, and the secret herbs and spices that are in KFC’s fried chicken. In short, we had some difficulties. A lot of the times we would be looking at a Grecian urn only to quizzically wonder if it actually was an urn (or maybe it was an amphora?). Perhaps that’s besides the point; perhaps it doesn’t really matter what the vessel held or when it was made or who the marvelously toned figures are. Unfortunately, we had to betray the method to figure out what on earth the piece actually was.

The students that I helped along were a bit unfamiliar and uncomfortable as to what to do, and so they seemed to lose interest at some points. They really taught me that you have to be in a good mindset to want to go to a museum. I mean, if you don’t like Art Nouveau brooches then please don’t let your presence be a burden to those of us who hyperventilate when we see quality Tiffany & Co worksmanship. If you’re new to visiting art museums, go to the sections that you know you enjoy. As you get more savvy, branch out to more unfamiliar sections of the museum (eg. Art Nouveau brooches). If you’re going to the museum to specifically learn something, then it’s best to use the cards to help guide you along. But if you’re spending a lazy day at the art museum, then try your best to experience the art in a meaningful and positive way (which means “don’t look at the cards!!”).

Finally, only attempt the “Gauntlet/Let’s spend the entire day looking at art!” trip if

a. You love art.

b. You’re really hardcore.

Anyway, I really learned from my experience at the Walters.

1. When you’re a male tour guide, skinny ties get you some major creative points.

2. You don’t have to stick to your “methods” entirely; sometimes you have to change them as the situation unfolds.

3. Visit the bookstore

Sincerely Yours, Tyler.

Distractions in an Art Museum Part I

          Do you like to take pictures in a museum?  When I went to the National Gallery a few months ago, I decided to take a seat in the popular Impressionist galleries and watch the people go by.  Since it was summertime, I was passed by harried housewives, their bored husbands, their screaming children, teenagers texting, elderly couples, security guards, and art lovers alike.  As I sat, my older brother Chris commented that people were taking more pictures of the art than actually looking at the art itself.  And so begins one of the most interesting topics that I have discussed with my friends lately: should people take pictures of art in museums?  What’s the point? 

          When I went to Moma (see previous post), I noticed the same phenomena that occurred at the National Gallery, but the photographers at the National Gallery had a markedly different technique than the ones at Moma.  Perhaps the most shocking part about the National Gallery visitors was the way they approached and experienced the art; most people quickly circled the gallery like a purposeful shark, making sure to read the placards and take some pictures of a quality vanGogh or Monet (these artists’ paintings are almost always photographed).  The Moma visitors were definitely less rushed as they viewed the art, but a great deal of them still took pictures, which led me to pose the question again to the group that I was with.  The answer was simple: Why on earth would you take a picture of a painting when you can find it on the Internet?  An art museum is about seeing and encountering art in a way that cannot be expressed by a simple photograph.  Seeing a piece of art up close helps you to discover its proportions, its colors, its scent, its meaning, and its message.  I usually only take a camera to a museum if I’m going with friends and we want to take some cool pictures of us in front of paintings, but in most cases bringing a camera is just another distraction that a museumgoer must combat.  In fact, most art museums are minefields that we must navigate to find those elusive “meaningful connections” with the art.

          I am always distracted by the informational tags that always seem to be next to paintings.  In many ways, approaching a piece of art is like meeting a person.  It’s great to know that person’s name, age, and Social Security number, but other than being great for filing their taxes, are you really a friend to that person?  Do you know that person’s inner feelings?  It’s tempting to adopt a “speed dating” approach to art, but I urge you not to fall into the trap as I have.  A helpful strategy is to make two rounds around a museum’s collection.  First, just walk around and just look at the art; just think about it and its message; what does it say to you?  Try to formulate your own opinions before you’re given perspective and analysis by the curatorial staff.  Then, once you’ve analyzed the art for yourself, go around the museum again and learn about the historical and social context of the art.  In many ways, an art museum teaches both art and history.  Or you could even go to a museum that doesn’t have those information cards!  The Barnes Foundation in Philadelphia not only has no information cards, but it has no organization whatsoever.  A Seurat painting can be next to a Pennsylvania Dutch cabinet and an African sculpture all at once.  It’s a fantastic museum, and I suggest you visit it sometime.  So go out and find a nice painting!  Make sure you bring it home for dinner, and it would be nice if it was a doctor…

          I will write another passage about this, so until then, please tell me what you think!  There was also an article about this in the New York Times.  Do you visit museums often?  What is it like for you?

WAMTAC Field Trip: MoMA Teen Night!

 

          A couple Fridays ago, the Walters Art Museum’s Teen Arts Council decided to embark on a trip to the Museum of Modern Art.  Needless to say, we were all very excited to see something other than Faberge eggs and Renaissance oil paintings!  We also had a chance to attend Moma’s Teen Arts Council’s Teen Night.  Not only did we get free admission, but we were able to watch a performance by Maria the Korean Bride!  Now, for the uninitiated, Maria is a Korean woman whose parents have been bugging her to settle down and marry a nice boy.  Well, Maria not only didn’t want to get married, but she wanted to show others the intense social pressures that she has faced from her parents and Korean society in general.  To do this, she has trekked across the United States for years to find a respectable suitor (or object), and she has married them or taken nice wedding pictures with them; then she turned it into a documentary!  Bear in mind the fact that this woman has been working on this project since the earlier part of this decade.  She only has a few more states left, but she is making sure that she marries someone in New York last.  Of course, we were ecstatic about the Naked Cowboy-Maria the Korean Bride wedding, and are currently making preparations to come back to New York with wedding gifts (in this case, blenders) in tow. 

          After the performance, we had a little bit of time to look at the collection.  Basically, we crammed in decades of modern art into the span of an hour.  < is absolutely phenomenal; it had a different vibe from the other museums that I’ve been to.  Moma was different because there was an excitement; an energy present amid the dimmed lights and idle conversations that really made an impression on me.  I felt as if I had been lifted from a realm of “don’t touch”, “don’t talk”, or “just look” to a strange place in where the visitors actually wanted to be there.  I wasn’t in a museum anymore, but a person’s home or a lighthearted party.  The energy of Moma helped me to recognize what makes museums fun to be in; it’s not the quality of the art, or the number of art books in the bookstore (however nice that is), but the enthusiasm of the museum goers. 

          Sadly, our trip ended much too soon, and I only got to spend a few minutes in the Design Store. From what I saw, you can buy lots of cool stuff for your loft!  Better yet, it looks really nice and sophisticated with modern furniture.  So if you’re a classy hipster, you’re in luck.

–Tyler Crowe, 11/29/09

What we do in WAMTAC 10/21/09

Today in the Teen Night planning group we actually made alot of progress. We began really slowly and could barely get any ideas, but then we decided to look back at the theme of scandals. So now we’re going to revive it by doing the scandals in the lives of famous artists and in our own teenage lives. We decided that we want to keep it in a contained space if possible and photocopies of art to draw our own versions on. Also a theme presented to teens for the art submission of…”Art you can touch.” Today was awesome.

van Gogh: The Epic Truth

What does a religious maniac, clingy brother, loving soul, great writer, mentally unstable, and truth-seeking individual have in common?  They all go by the name of Vincent van Gogh (I thought the “painter” clue would be too obvious, but yes of course he was a painter too).

Vincent lived by paradox, his most famous personal motto being “in sorrow yet ever joyful”.  He thrived on the goals he set for himself to achieve, goals that by most normal standards were impossible.  He worked most often in series; observing, documenting and recording his current fixation until he felt one with that which he was painting.  Peasants, farmers, flowers, loom workers, and landscapes were all among his studies.  He said that he worked up to masterpieces.  They came after long hard studies, the farthest thing from a moments inspiration.  In that sense, he was textbook Post-Impressionist.  He loved color.  Frankly, that’s an understatement.  Color was his lifelong obsession.  And, he did not find truth in the Impressionists belief that only the fleeting moments hold true value.

For Vincent, truth and love were inseparable.  Truth was not observational, not preceived by the senses.  Instead, truth was a connection, a relationship with one’s surroundings.  His famous earlier piece, The Potato Eaters, was criticized for being posed and untruthful, an awkward juxtaposition of separately occurring events.  Yet, upon a look at the painting, ones feels the dirt on the workers hand, feels the strain of their eyes as their only light is an oil lamp.  Maybe the deepest, most accurate truth is a combination of sensations and moments put together by one individuals perceptions.  Maybe it was van Gogh’s interpretation, which apparently dieviated from exact reality, that shed light on the most heartfelt of realities.  It was his bond, not surface level observations, that allowed him to understand what those Potato Eaters had to say.  Every brushstroke of van Gogh’s work seems to be searching.  The painting is a personal journey, the strokes a representation of his path that led to an undeniable, soulful truth.

van Gogh wanted to connect with everything he ever met.  From nature to his family, he wanted to know you.  Maybe he is one of the greatest painters of all time because he discovered how to find truth.  To him truth was not hidden.  It was present in little pieces across a variety of subjects, and he took it upon himself to find all the pieces and put them together, and what a job that must have been.

~Juliana Biondo

What do you think about old art?

Most people think that older art is boring, and all the same.  Some even dare to say it is lame.  Personally, I disagree!  But what do you think?

After you vote, explain yourself in the comment box!  If you think older art is lame you better have a strong argument!

Thoughtful Thoughts

Recently, WAMTAC (Walters Art Museum Teen Arts Council) has been hosting workshops for high school students about understanding art in today’s world and the various ways to interpret any artists work, classical or modern. Through some pretty intense debates and critiques, we received really awesome opinions.

So, to give you a little taste, here are some thoughts we gathered from the high school students who participated in these workshops:

What is art…

“Art is an expression of how you feel or what kind of image you have in your mind.”
…but wait, is it that simple? How about this…
“That’s my image. You can hate it or love it but that’s my opinion.” That sounds more like a true artist if you ask me…maybe?

What motivates artists?

“What you are responding to is exactly what was going on at that time period.”…so society NOT the artist molds their work?…some said it was this and only this: “All it comes down to is how the artist expresses themselves…so which is it?! Society or artist? Or both?

Today’s Art:

“A mixture of good intention but wrong outcome”

Artists today are “selling hope” with their work…selling hope, does that mean art is false?

“…based on opinions and politics”

Some final questions…

Is there harm in supplying too many details? Can art ever be too extreme? Maybe the reader needs to be able to fill in the blanks for themselves…

Is there such a thing as “art with no meaning?”

You finish this sentence:
“If I just drew something not everyone would know what it means. It may look interesting but­­­­_______________________.”

~Juliana Biondo

Modern Frescos

Fresco: a painting on a moist surface of plaster that uses pigment ground up in a limewater mix.

These advanced murals were most popular during the late 13th centuries to mid 16th centuries. Most often, frescos are associated with the Renaissance art period. Back then, these works of art were extremely important. They were the visual representation of a religion. Located in churches, they were highly didactic and narrative. They served to support the people’s faith. Frescos were also quite an artistic feat. They required patience and careful planning. Every single tone placed had to be intentional, because no color could be taken out completely. Could you imagine having to get the light and shadow of a painting correct on the first try? I don’t know about you, but that sounds difficult to me.

Nowadays, frescos can be seen as something done for fun, or even meant simply for interior decoration. How could something that was absolutely vital to the spiritual strength of a nation and the career of an artist now simply be something pretty to look at? As religion does not dictate our nation, I suppose I can understand that large paintings containing biblical references may in fact be obsolete. But isn’t it disrespectful to demean the craft that once sustained a culture? And what do we have that sustains our culture? Is it art, or is it technology? Where does true art fit into our rapidly changing universe? Maybe we should strive to find something like a fresco; something meaningful that can give our culture a permanent foundation…..But what could it be?

~Juliana Biondo

Why do you visit museums?

Some people are dedicated museum-goers, some go every now and then when a temporary exhibit peaks their interest, and some just don’t go at all.  Why do you visit museums?

Artistic History

Ever wonder why museums put so much effort into housing and displaying old art work? What exactly is the point of viewing work that was created by people that you know very little if anything about? In fact, is art history even that important?

Well, I hope about a million red flags are going up. The inner artist in you should be screaming “Of COURSE art history is important. The real question is: How is it not important?!” That’s more like it.

Many believe art is about creating something entirely new, something so totally unique that it breaks new frontiers. Art is supposed to be cutting edge. I disagree. I see art as a lineage; a progression that stems from centuries of people, ideas and cultures. Just as Newton stood on the shoulders of giants with his science theories, artists can only hope to beautifully modify the ideas of their predecessors.

Back in the day, especially the Renaissance era, art was a craft. It was a skill taught and learned. Work was commissioned and bought, usually by the wealthy or a church. Paintings served a societal purpose. Thanks to Pollock, the Father of Abstract Expressionism, today art is more about the artist’s personal process, not the end result. The purpose of art in society went from public to personal. Art is for the artist, not the viewer. The process is the most valuable part of any artistic endeavor. This transformation of the purpose of art speaks volumes about the values of today’s world.

So what? Well, art history tells every artist out there where they stand. It gives guidelines and context to any creative endeavor they begin. Visual art documents perceptions, without which no civilization could grow. Because art is so highly reflective of the culture from which it was produced, the understanding of it is invaluable. Art history is the fertilizer for any society.

I suggest you visit museums more often

~Juliana Biondo

Why do you like art?

Why make art?  What purpose does it serve for you?

Who Cares?

What’s the point of art? Does it change the world; does it even change one person? All throughout history artists are negatively categorized as “the crazy ones”. To address this all too familiar concept, we must establish the definition of the artist. Is it a person who puts things together, puts paint on a canvas? Or is it a person who sees the world differently, with a unique perspective? Or is it indeed someone who’s just plain crazy? How do you become an artist, what’s the job application look like?

All these questions with no answers.

As we all know, art is controversial. It seems to be a juxtaposition between reality and dreams. Oscar Levant went so far as to say that through his art he has erased the “fine line between genius and insanity”. So which is it? Is art a wondrous combination or a straightforwardly absurd concept?

Because art has no answers, it could easily be dismissed as an open ended free-for-all. But it is much more than that. It is a process that documents the evolution of a person, and a culture. Art history is priceless in today’s world. Art is the visual representation of royalty, struggle, personal triumph, and societal restrictions. From these we learn of the complex, webbed discoveries that landed us here today. Art gives us a glimpse into the world we live in.

Maybe art really does have all the answers.

~Juliana Biondo

Saving Sargent

Have you ever wondered what it means to restore art? Other than in museums, where does older art exist? As I was reading up on some recent conservancy projects, I came upon one that occured within the Boston Public Library.

Good old John Singer Sargent. He was quite the man. Born in on January 12 1856 in Florence, Italy, Sargent became one of the greatest portrait painters of his time. After producing over 900 oil paintings and 2,000 (two THOUSAND) watercolors, he gained himself an impressive reputation. He even painted the portrait of Theodore Roosevelt in 1903. Going beyond the portraiture repertoire, his work documented places from Maine to the Middle East.

One monumental project Sargent undertook was his mural cycle, Triumph of Religion, painted in the Boston Public library between 1890 and 1919. In the spring of 1890, Sargent began discussions with friend McKim about mural decorations within the Boston Public Library. McKim’s firm designed the library. After the trustees of the library came to an agreement, Sargent began work on these paintings. His murals were installed in three different stages. The cycle depicts the confusion of the children from Israel when turned away from the worship of Jehovah to that of the false Gods of the “heathen” nations.

As these murals were completed many years back, it was recently time for art conservators to do some sprucing up. In 2003, five to six conservators worked full time for a year to revitalized and remove the heavy dirt layers obscuring Sargents original intent of his work. Just to get a bit more complicated, conservators had to focus on his architectural and relief work within the museum as well. In order to begin this huge resotration task, conservators first examined the work. They looked for any outstanding problems with the condition of the paintings. They next began to take paint samples to better understand chemical makeup of the materials they would be handling. Using infared examination techniques, the conservators discovered under drawings to learn more about the mind and intentions of the artist. After further material analysis, treatment decisions were made and the cleaning process began. As they come across “losses” (areas with no paint), the conservators had to “inpaint” (or fill in the blanks with pigment according to the surrounding areas of the painting). As a final touch, a varnish (protective) layer was added. Now, Sargents original paintings can one again awe its viewers.

It’s a lot of work to save the masters, but how could it not be worth it?

Pretty cool huh? Check out more: http://www.sargentmurals.bpl.org/site/restoration/01_2003.html

~Juliana Biondo

Let it Flow

“When the artist is alive in any person… he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for better understanding. “
~Robert Henri

So, an artist is a rebel? Sounds good to me.

I go to a high school for the arts. Despite the emphasis on finding you artistic voice, its hard to break the mold with grades looming over your head. I have found myself strained by the expectations as a student. Last week, I was given an assignment: create a piece based on the color purple. That was it. At first, I was excited with the endless possibilities. But as I tried to get the creative juices flowing, I found myself coming up dry. I didn’t want to be straightforward in my approach, but how was I going to make an impact through this piece? I began to think a great deal, to the point of contriving ideas having little leaning to me. I began to consider how art becomes powerful. I found that I must simply be open to absolutely any source of inspiration.

So heres my question to you: How do you allow creativity to flow, in an unrestrained, rebellious, disturbing and inventive way?

~Juliana Biondo

My Summer at the Walters

Hey, I’m Laura and I have been working at the Walters for the past two summers.  I met Juliana, your loyal blogger, last year when we collaborated on the Dawoud Bey Portraits Re/Examined exhibit.  I had such an educational experience working in a museum and with an artist that I was eager to continue my relationship with the Walters, so as to continue to explore the many opportunities a young person has working in an institution most people my age don’t consider very often.

So, this summer, I searched for a way to make myself useful here at the Walters. Though I will probably (unfortunately) never get the opportunity to co-curate an exhibit again like I did last summer, I found another fun but different opportunity.  The summer camp program needed an assistant, so I volunteered.  Four days a week, I came to the museum from 12 to 4:30 to help keep the camp running smoothly, andto help the kids explore the different facets of art.  Some examples of the types of art we dappled with were Chinese ink painting, pottery, jewelry making, mosaics, weaving, architecture, performance art, and more that I can’t recall off the top of my head.  It was fascinating to watch kids attempt projects they had never done before, and to realize that if they put the time and attention in, they can accomplish artistic feats (though on a smaller scale) that they would have never thought that anyone other than a professional artist could do.  Even I was astounded that I could do some of the work they were doing!

Though the camp could certainly be tiring (it is not easy keeping 10-15 6 year olds occupied and satisfied all the time), I enjoyed being with them and the other “older people” I worked with: the instructors and the education assistants.  I would definitely recommend volunteering or working at this program if you like kids and doing creative art projects.

My next conquest: helping the Education department and spending more time on this website!  I’m excited for another way to be involved with the Walters.  I’m sure I’ll be back at the end of the summer to report on that work too!  Until then,

Laura Edelman