Hasta La Ideas

The discussion over the National Portrait Gallery‘s decision to bow to political pressure and pull David Wojnarowicz‘s piece “A Fire in My Belly” still continues, being as it’s likely going to turn out to be the biggest museum, and perhaps even art, story of the year. We’ve tried to catch all the most important bits along the way, with two in-bulk posts about it, from the initial piece-pulling and reactions, to the two largest museum associations who have taken opposing views of the Gallery’s move. However, if this story interests you and you’re not following ArtInfo throughout all of this, you really should be, since they’ve been all over it from the start. Most recently they interviewed the two protesters who went into the museum, one with an iPad strapped to his chest playing Wojnarowicz’s piece, the other filming the inevitable retaliation (both were released, but banned from the building for life). Even more remarkable, just yesterday the site got its hands on a leaked early draft of the official statement made by the Gallery’s director, Martin Sullivan, before it was revised and published. We called out Sullivan’s letter in our first post about the controversy, being as polite as possible when calling it “a timid response.” Thanks to a peek at this earlier, much longer version, one that openly states Sullivan’s disappointment that the piece had been removed, that gives a look into the dissent over the matter that’s clearly caused some friction at the Smithsonian recently. A juicy as this all is, we’ll be continuing to follow the site’s coverage and encourage you to do the same.

New Career Opportunities Daily: The best jobs in media.

The conversation is still going full-bore surrounding last week’s controversial move by the Smithsonian when they pulled a piece by David Wojnarowicz from a National Portrait Gallery exhibition following outcry from several groups who believed it was anti-Christian. Two large museum groups have entered the fray, the Association of Art Museum Directors, who issued a statement (pdf) chiding the Smithsonian for bowing to these outside pressures, and the American Association of Museums, who went the other direction and also issued a brief statement on their site, saying they stand by the museum’s decision. Later their president, Ford Bell, told the Washington Post, “We concur that it should not distract from the other thoughtful and provocative work in this important exhibition. However, we regret the controversy surrounding the excellent show.” That quote appears in a larger piece about the on-going controversy, which includes information on last Thursday night’s protest put together by the Transformer Gallery, who had gotten permission to show Wojnarowicz’s piece after it had been booted from the National Portrait Gallery. The gallery’s site has a great deal more information about the protest, as well as a few photos and video of the event, as well as a statement of their own to the Smithsonian. Here’s a portion of the message from the Association of Art Museum Directors:

The AAMD believes that freedom of expression is essential to the health and welfare of our communities and our nation. In this case, that takes the form of the rights and opportunities of art museums to present works of art that express different points of view.

Discouraging the exchange of ideas undermines the principles of freedom of expression, plurality and tolerance on which our nation was founded. This includes the forcible withdrawal of a work of art from within an exhibition—and the threatening of an institution’s funding sources.

New Career Opportunities Daily: The best jobs in media.

Artists, ready your muffin baskets! The Whitney Museum of American Art has named the curators of the 2012 Whitney Biennial, its signature survey of contemporary American art. Following in the footsteps of 2010 curators Francesco Bonami and Gary Carrion-Murayari will be the Whitney’s Elisabeth Sussman and independent curator Jay Sanders. The Biennial will go on view in March of 2012.

“Over the past three decades, Elisabeth has distinguished herself as one of the premier curators in the field,” said Donna De Salvo, the Whitney’s chief curator and deputy director for programs, in a statement issued by the museum. “Her recent historical exhibitions have had tremendous impact on a younger generation of artists whom she has also been actively acquiring for our collection.” Sanders, a former gallery director at Greene Naftali and Marianne Boesky Gallery, brings deep experience in performance art, as well as film and video works. “Through his writings and exhibitions, Jay has demonstrated a highly innovative sensibility, championing the work of emerging artists and older figures who feel newly relevant in our time,” noted Salvo. The countdown is on for the release of the highly anticipated list of artists selected for the Biennial. Can Sussman and Sanders top Bonami and Carrion-Murayari’s charming video announcement? We’ll have to wait until late next year or early 2012 to find out.

New Career Opportunities Daily: The best jobs in media.

Yesterday we posted the news that the Andy Warhol Museum‘s longtime director, Tom Sokolowski, had announced that he was stepping down from the role. A day later and already we now have another high-profile exit at another large institution (three this week and we get the hat trick). After 30 years at New York’s The Jewish Museum, Joan Rosenbaum has announced that she will be leaving next year at the end of June. Far less mysterious than Sokolowski’s exit (even if that just lasted a day), though occurring for largely the same reasons, it appears that Rosenbaum just decided it was time to hang up her hat. In a much longer-than-usual press release announcing her departure, the museum lays out the whole of her accomplishments while in the role, from her coming aboard in 1981 to her growing their finances to additions to their building to beefing up the collection into “one of the three finest of its kind in the world.” So we think it’s safe to say that Rosenbaum’s exit likely isn’t very acrimonious. Here’s her statement:

“I feel 30 years is a very good run for any museum director. I am now ready to take on new projects, having had the education of a lifetime at The Jewish Museum. I have learned from each new exhibition and acquisition and have gathered a world of invaluable experience from a wise and devoted Board and a brilliantly talented staff. Now is the time for a new generation to build on the success we’ve achieved together.”

New Career Opportunities Daily: The best jobs in media.

Speaking of the goings-ons at the museums of famous artists, a sudden development at the Andy Warhol Museum in Pittsburgh this week had lots of people in the industry abuzz. The Carnegie-affiliated museum has announced the unexpected departure of its director of the past fourteen years, Tom Sokolowski. Though Philadelphia Post-Gazette initially reported that it had been rumored that he might be leaving, all parties involved had stayed mum until earlier this week, when it was announced without explanation, again from either side. Was it another ugly Hope Alswang vs. RISD debacle? Or the mysterious and sudden exit of Bill White from the Intrepid Sea, Air and Space Museum (which turned out to be all about finances and subpoenas)? Or just a graceful exit with all the reasons coming out in due time? Turns out it was all the latter and none of the former. According to the Post-Gazette a day after all that “What does it all mean?” speculation, it’s come out that Sokolowski simply decided that it was just time to step away and move on. Furthermore, they also provide some great detail on what he brought to the museum during his long tenure there. Phew.

New Career Opportunities Daily: The best jobs in media.