Mark ~
Thanks for the thoughtful reply. I have read David Butler's excellent article in Museum News. At the end of the article, it says that the Ulrich would have to think hard about hosting another exhibition that elicited that much controversy. Can you share your current thinking now that some time has passed? Many thanks.
Barbara
Barbara Case
Currier Museum of Art
201 Myrtle Way
Manchester, NH 03104
603.669.6144 ext 131
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-----Original Message-----
From: Mark Janzen [mailto:[log in to unmask]]
Sent: Friday, March 31, 2006 3:04 PM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] controversy in exhibitions
Barbara,
Great question, and I hope opinions will be expressed. Here's mine...
I personally believe the answer to that dilemma is clear and present. Art
museums in particular tend to show works specifically because they have
some significance beyond the general mass of mundane work out there. Often
said works are simply good examples of a certain genre, but just as often
they are held up as good examples of a genre that was itself very
controversial at the time. Some continue to be so. We should continue to
present the material as it develops and refuse to limit or censor ourselves
or the field simply because we know it might draw some community heat.
I am not necessarily advocating specifically choosing exhibits that seek to
be controversial in political or popular culture senses, but rather that we
do not intentionally shy away from something because some set of our public
might take issue. It might also behoove us to mull the mix with some
non-controversial exhibitions as well.
We recently had a photography show by an artist who identifies both in her
work and her politics with the Palestinian cause. The work was interesting
and the political dialogue was rather muted in comparison to some of her
other pieces. None the less our Jewish community was up in arms. Much more
about the artist and her past than about the work itself, which many of
them refused to come and see. Many of our long-time supporters(museum and
university) were outraged and became quite threatening. After some
negotiation, and an intense e-mail protest we did it anyway, and all is
ultimately well. The community feathers have unruffled and lines in the
sand have been erased for the time being. All agree that we are better for
having shown the exhibition, and that we would have diminished ourselves by
refusing it on controversy grounds. There was a Museum News article on it,
but I forget the issue.
Situations will certainly vary, but I do not personally believe we can
afford to adjust what we show and how we present the art world to our
constituents every time something becomes a political hot potato. In my
view, the art world is itself one of our major constituents.
Mark Janzen
Registrar/Collections Manager
Edwin A. Ulrich Museum of Art
Martin H. Bush Outdoor Sculpture Collection
Wichita State University
(316)978-5850
Barbara Case
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controversy in exhibitions
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A question particularly for regional art museums:
We are dealing with how best to address issues of controversy in our
exhibitions, particularly as we are trying to attract new community
audiences who may be inexperienced art museum visitors. Can you share
whether you shy away from controversy in your exhibition or program
selection, particularly since the culture wars of the last decade, or
instances where you think you have handled controversy well or poorly?
Thanks.
Barbara
Barbara Case
Currier Museum of Art
201 Myrtle Way
Manchester, NH 03104
603.669.6144 ext 131
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