Articles

Museum as Tool: Directors on How They Run Their Art Institutions

by Kyle Chayka on February 26, 2013

The SCAD museum directors' panel; from left to right: Thelma Golden, Michael Govan, Defne Ayas, Linda Yablonsky (Photo by author)

The SCAD museum directors’ panel; from left to right: Thelma Golden, Michael Govan, Defne Ayas, Linda Yablonsky (Photo by author)

SAVANNAH, Georgia — Curators organize groups of art objects into exhibitions. Might it be said that museum directors organize groups of exhibitions into an identity or an institution? The highlight of Savannah College of Art and Design’s deFINE Art conference last week came for me in the form of a panel gathering some of the most interesting art museums directors working today discussing how they thought about their jobs and responsibilities.

The Studio Museum in Harlem (Image via Wikipedia.org)

The Studio Museum in Harlem (Image via Wikipedia.org)

The panel featured Los Angeles County Museum of Art director Michael Govan; Thelma Golden, the director and chief curator of The Studio Museum in Harlem; and Defne Ayas, the director of the Witte de With Rotterdam. The trio of directors were moderated by veteran culture journalist Linda Yablonsky, who did an excellent job of keeping the conversation moving at a brisk pace.

The panel’s three directors come from very different museums. Govan’s LACMA is an encyclopedia institution, bringing together art and artists from every area of the globe and era of history. Golden’s Harlem museum actively engages artists, with studio space, education programs, and fellowships. The Witte de With, in comparison, changes directors every three to six years, and acts as a kind of urban lab for visual art and creative thinking.

Govan thinks of LACMA as a “civic museum,” an institution that “can impact a city.” He wants to adapt the form of the encyclopedic museum into a new era, emphasizing multiculturalism and forming a “contemporary point of view,” connecting with the city of Los Angeles. It’s a revision of the encyclopedic museum’s history. “Universal museums were the result of colonialism,” Govan explained. “The Metropolitan Museum’s narrative is false. It’s a creative act to assemble the narrative of the past.”

LACMA (Image via fabrik.la)

LACMA (Image via fabrik.la)

Golden also sees her museum as a reflection of its home. As Harlem changes, so does the institution. It becomes a space “in which the idea of change can be experienced” for a wide-ranging group of audiences. She is surprised by the diversity of the museum’s international audience and works to make the space’s specific programming universally applicable.

Ayas’s Witte de With exists in a relentlessly dynamic, international context. She noted that Rotterdam isn’t exactly nice to look at, but said that the city is “either the future or the collapse of Europe.” Bombed during World War II, Rotterdam has become a center for contemporary architecture. Inspired by the city, Ayas’s ethos is to “build a spirit, not a temple,” she said (the director arrived in Rotterdam from Istanbul via a lengthy detour in Shanghai). Rather than getting caught up in delivering a perfect canon, Witte de With embraces the “tension of the white cube versus the street.”

Witte de With Rotterdam (Image courtesy Witte de With)

Witte de With Rotterdam (Image courtesy Witte de With)

Though only Ayas specifically stated that she works with a “platform-driven art ecology,” it’s an attitude that Govan and Golden also use. Museums are no longer discrete spaces simply for the displaying of art. They are businesses, brands, party-hosts, caretakers, and archaeologists. Institutions exist in their buildings, online, in satellite locations, and in pop-ups. “Offsite can be as important as in the museum,” Govan said, noting LACMA’s taking on of the Watts Towers as a community landmark and work of public art.

The final theme of the panel was the “artist-citizen,” both the artist and the museum as activist entities engaged in reshaping their social, cultural, and political environments. Golden brings artists into the museum for residencies and professional training programs, turning the institutional space into a social arena for artistic production and learning. Her method of including artists into the museum’s programming also reflects on a comment Govan made that “art and artists are not contained by museums.”

We have moved far past the idea of the encyclopedic museum as the final arbiter of history, and the critical, reflective attitudes of the assembled directors at SCAD’s panel showed they understood that fact. Instead, the museum, as Ayas explained, is “a tool rather than a vessel.”

  • Subscribe to the Hyperallergic email newsletter!

Hyperallergic welcomes comments and a lively discussion, but comments are moderated after being posted. For more details please read our comment policy.
  • http://jdsiazon.wordpress.com/ JD Siazon

    It seems to me that these panels just bounce around the same weatherbeaten rhetoric without much incision into the problems that make the art world subpar to its supposed inclusionary platforms. Rather than speaking from personal experience these curators and directors tell you what you already know time and time again to seem credible though in reality they are cogs on a slow moving wheel that leverages nothing but money and power though not art.

    We experience only vague semblances of dynamism in an art world entrenched in commercialism and its bureaucracy. No one knows this more than me and handicapped people.

    Someday someone is going to buckle under the hypocrisy and cry “wolf.”

    • http://twitter.com/chaykak Kyle Chayka

      I’m curious to hear what you thought wasn’t credible about the panel or my article on it. Also very curious to know what makes you and “handicapped people” more sensitive to what you see as the miring of art in commercialism.

      • http://jdsiazon.wordpress.com/ JD Siazon

        Handicapped people and I live by our own personal terms and therefore pose a threat to status quo beliefs and practices. There is a rhythm to the art world which echoes the yes-man refereed hypnotic pace of the 9 to 5 capitalist work day and its fundamental supply and demand roots.

        Most arts journalism to me simply gabs on and on reading just like a Mad Libs page–so vague and general that you can substitute any name for any name and end up with the same boilerplate drivel that fills the gap but does little to create new gaps or fall off the map altogether to discover what is really cooking.

        Not that your writing is soft–I’ve actually told Kyle Petreycik numerous times how much I admire your journalistic abilities–but it is surprising that the one thing the panelists didn’t seem to do according to your article is bicker furiously with each other especially since their institutions must engage the public in very different ways.

        As directors of museums the panelists represent and by neccessity heavily regurgitate the commercial policies and industry directives of their respective monied employers. To mar in any way the supposed altruistic facade of their companies would be jeopardizing to their salaried careers.

        Only handicapped people and me needy as we are for love and attention seem able to say this well.

Previous post:

Next post: