Upstairs, Downstairs…

As the Ackland’s Museum Administrator—the person responsible for finance, HR, security, and facilities—most of my time is spent handling the administrative side of museum operations in the upstairs offices. Planning and mounting exhibitions as ambitious as our newly-opened one, The Sahmat Collective: Art and Activism in India since 1989, is so complex and requires so much in the way of lead time, logistics, paperwork, etc., that it is sometimes hard for me to get away from my desk, wander in the galleries downstairs, and discover what the exhibition will be all about. Continue reading

All Ages (and Critics) Welcome

9.4-urban-archeologyI chuckled when I saw Lisa Sorg’s “Urban Archaeology” column in the September 4th issue of IndyWeek. From our 2008 exhibition Circa 1958, Lisa had saved a piece of paper that she’d found in one of the galleries with notes from an elementary school student who had visited the show. Continue reading

Felt Time: Gonzalez-Torres and Degas

In a small passageway between galleries in the middle of the Ackland Art Museum, two identical clocks by artist Felix Gonzalez-Torres—placed side by side and touching—hang on the wall just to the left and above the Ackland’s sculpture Spanish Dance by Degas. It is a quiet presentation, but clearly part of the exhibition More Love: Art, Politics, and Sharing since the 1990s. I suspect that many visitors do not see it, favoring the larger and more actively engaging installations and art works in the exhibition’s main galleries. Nevertheless, when More Love closes on March 31st, I will miss this installation most of all.

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