Collecting Knowledge Pittsburgh

Supported by the Andrew W. Mellon Foundation, Collecting Knowledge Pittsburgh is a consortium of local museums, galleries and archives working together to share information and expertise, and foster collaboration in research, teaching, and public engagement.

Here, at the HAA Constellations blog, you can read about some of the outcomes of these partnerships. Learn more about Collecting Knowledge Pittsburgh at https://haa.pitt.edu/ckp.

 

Collecting Knowledge Pittsburgh

  • Dawn Kriss displays the operation of multi-band imaging equipment to student Jon Kobert (pc: Alec Story)
     

    The Intersection of Science and Art: Multi-band Imaging and the Carnegie Boat

    Author: Alec Story, Museum Studies Intern at the Carnegie Museum of Natural History – Fall 2018

    At the CMNH, not all is as it appears. Conservators are working with new methods of scientific imaging in order to recover pigments lost from objects within their ancient Egypt collection. 

    New scientific methods and technologies can lead to discoveries that completely challenge our assumptions and perceptions of historical artifacts and museum collections, including photographic processing method called multi-band imaging. 

    The setup for multi-band imaging is quite simple: all that is required is an object, a camera, filters, lighting, and a reflectance and color standard. Therefore, multi-band imaging is a technique that can be performed with relative ease, and theoretically, in any location. 

    Through both a presentation given by conservator Dawn Kriss and hands-on work at the Carnegie Museum of Natural History, we learned about the diversity of wavelengths within the electromagnetic spectrum and their varied uses in artifact imaging and analysis. Of particular interest to Dawn Kriss was visible-induced infrared luminescence (VIL), which displays a black-and-white image of an object. The clear contrast of black-and-white VIL images were - ironically enough - useful for discovering a very colorful pigment: Egyptian Blue. 

    Egyptian Blue, as well as other pigments, tend to fade with time or become completely invisible to the human eye, but luckily even trace amounts of pigment can be detected with multi-band imaging. In the Carnegie Museum of Natural History, Dawn gave a demonstration of how VIL photographs would be taken of one of the museum’s own artifacts, the Egyptian funerary boat, also known more commonly as the Carnegie Boat. 

    As art history students, it was absolutely fascinating to experience the way in which human understanding of artifacts improves as new technologies are introduced to archaeological and museum practice. We look forward to hearing about the results of the analytical imaging at the Carnegie Museum of Natural History and what it can tell us about the Carnegie Boat and ancient Egyptian civilization.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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  • Gallery discussion: Art History in the #MeToo Era

     

    From #MeToo to What Now?: Coping with Sexualized Violence in Art History

    Author: Nicole Scalissi, HAA graduate student

    In mounting This is Not Ideal: Gender Myths and Their Transformation the curatorial team wisely produced a slate of public programming to create space for community processing, discussion, dissent, and response to the challenging and often difficult content in the exhibition. The first of these events was an open discussion for us—students, instructors, curators, artists, and members of the public—to talk about what it means to engage with artworks that show gender-based and sexualized violence in the era of #MeToo.

    In 2017, #MeToo became a viral hash-tag following high-profile and celebrity disclosures of sexual abuse, and spawned a public referendum on sexualized violence. Me Too was originally founded by Tarana Burke and had been helping survivors, especially women and girls of color, find pathways to healing since 2006. Our open discussion was intended to be a space for offering up questions and sharing knowledge about how can we rethink how we (or do we) include—in our galleries, research, and classrooms—artworks that directly engage with gender-based and/or sexualized violence in the Me Too moment? With contributions from Sylvia Rhor, Curator and University Art Gallery Director, and artist Sarika Goulatia, the discussion was provoked by the sophisticated curation process of the Museum Studies students who produced This is Not Ideal, and it’s a big question that some museums, artists, and universities are only starting to grapple with publically. 

    On the one hand, that seems like an over-due question: isn’t it about time? On the other hand, this is a profoundly difficult question to take on for people who curate, teach, or learn about art history: throughout time, and especially in the Western tradition, the history of art is full of images of naked women and scenes of their victimization—sexual and/or otherwise. Women’s bodies have been pressed into service not just in but asnational histories and identities, myths and cautionary tales. Thinly veiled as “allegory,” women’s bodies have been made vulnerable, exposed, restrained, and consumed as art history. So, how then, are we as students and instructors, curators and artists, to deal with a culture of images that so often takes the female body not as subject but as object—i.e. not as people but as things—as a material, form, or concept to be mined and manhandled, gazed upon and fetishized? If we understand #MeToo or #TimesUp to be a reckoning, a cultural point-of-no-return where survivors, especially women—anatomically and not, cis-gendered and otherwise—can speak up and be believed, then what do we do with works of art that illustrate or are the real world product of actual gender-based violence or oppression?

    We panelists got the conversation started with our own research and concerns. As the historian on the panel, I wanted to get a few things to the surface and sketch out the recent national dialogue surrounding sexualized violence, especially as it has intersected with the universities and art world since over the past 5 years: 

    • controversial changes to Title IX under Secretary of Education Betsy DeVos (more ‘protections’ for those accused of sexual assault, closeddoor adjudication processes) [1]
    • remember Emma Sulkowicz, who carried a 50lb mattress around Columbia University campus for their 2014 senior year in artistic dissent of how CU (mis)handled their rape case? [2]
    • a listing of men’s names, including artist Chuck Close, who have been publically shamed and/or fired—or should be—for sexual misconduct [3]
    • and on the day after the portentous midterm elections and just days after Dr. Christine Blasey Ford’s testimony in the US Senate (that the nominee to the Supreme Court Brett Kavanaugh had sexually assaulted her), it was right to note the ways in which we have recently witnessed what are perhaps the highest stakes for this nation’s understanding of sexualized violence and its ability, or inability, to believe its bravest survivors. [4]

    Sylvia and Sarika shared with us how presenting Prosecuterix, an interactive exhibition based on real disclosures of sexualized violence, in a university setting impacted upon their work as curator, artist, and as citizens. Sylvia showed us how wading into the difficult territory of public display and sexualized violence produced new questions, ethical considerations, and the building of empathy and support networks, and how that experience shaped how she imagines an audience and her work most broadly as both a educator and curator. For example, how to envision and install an exhibition that allows for varying levels of engagement with problematic content, or how to loop in the Title IX office to support viewers and student curators at different levels in the exhibition process. Even still, the question arose again of how to handle problematic or potentially triggering images in the classroom.

    The discussion was built and shaped by members of HAA at all levels, undergraduate students in HAA and/or Museum Studies, graduate students, and faculty—including the Chair of the department. Undergraduate students who co-curated This is Not Ideal shared the debates they had in selecting objects and writing wall captions, and making decisions about which images would represent the exhibition to the public—issues that emerged from close—and sustained looking in this current social context. Most important, they provided feedback to the instructors in the room about what they felt would help them grapple with such images in the classroom, including what has worked and how they felt they could be better supported. (For this, we are grateful.)

    As new ideas emerged, so too did new questions: if content warnings are utilized on the walls of the UAG to support a diverse audience in navigating the difficulty in This is Not Ideal, might we also use these at the start of lectures, on a syllabus? How specific a warning? How to do we prepare as a learning community to handle unforeseen, unwarned triggers that emerge in a class? How can we help our students beyond the “warning,” how can we direct them toward survivor resources, and build a community of support that outlasts the class? How can we as a university community embed this in our culture, not just in specific lectures that engage with this content? 

    Maybe it is not just warnings and support, but enriching our content. For example, if we teach Alexandre Cabanel’s Birth of Venus (1875), or any of the thousands of female nudes in the collection of the Metropolitan Museum, then perhaps we must also teach The Guerrilla Girls Do Women Have To Be Naked To Get Into the Met Museum? (1989)—and also that the Met does not own it or any work by the Guerrilla Girls.[5] If we teach the paintings of Chuck Close or Pablo Picasso, ought we also teach about the multiple allegations of sexual misconduct made against them, and the art made in response such as Emma Sulkowicz’s nude performances in front of their paintings at the Met and MoMA? 

    Sylvia and Ellen Larson, Curatorial Assistant at the UAG, convened a panel surrounding a knotty and difficult question, one that is perhaps not answerable in one, final way. A way to begin answering it, however, and to continue the reckoning #MeToo set into motion is something like this discussion: it is navigating this terrain together, responding to the question with more questions, drawing on ideas from other fields, and dialoguing as a community across and through different roles at the university. 

     

    [1] See Megan Cerullo, “Betsy DeVos Proposes Sexual Misconduct Rules that Would Protect Alleged Offenders,” Los Angeles Times (August 29, 2018), https://www.latimes.com/ny-news-betsy-devos-sexual-misconduct-rules-20180829-story.html

    [2] Note: Sulkowicz has used gender-neutral pronouns publically since 2017. See Soraya Nadia McDonald, “It’s Hard to Ignore a Woman Toting A Mattress Everywhere She Goes, Which is Why Emma Sulkowicz ss Still Doing it,” The Washington Post (October 29, 2014)https://www.washingtonpost.com/news/morning-mix/wp/2014/10/29/its-hard-to-ignore-a-woman-toting-a-mattress-everywhere-she-goes-which-is-why-emma-sulkowicz-is-still-doing-it/?utm_term=.3b684c7e19fb

    [3] Claire Voon and Jillian Steinhauer, “For More Women Allege Sexual Misconduct by Chuck Close,” Hyperallergic (January 16, 2018), https://hyperallergic.com/420538/four-more-women-allege-sexual-misconduct-by-chuck-close/

    [4] See published transcript, “Christine Blasey Ford’s Opening Statement for Senate Hearing,” npr.org [National Public Radio] (September 26, 2018), https://www.npr.org/2018/09/26/651941113/read-christine-blasey-fords-opening-statement-for-senate-hearing

    [5] As the Guerrilla Girls pointed out in the artwork—which surely seemed overdue in 1989, too—“Less than 5% of the artists in the Modern Art Sections [of the Metropolitan Museum] are women, but 85% of the nudes are female.”

    _______________________________________________________________________________________________________________________________

    If you feel you are a survivor of sexual harassment or assault, the University of Pittsburgh has support resources, some of which can be obtained anonymously. For more information and to report, see the Office of Sexual Harassment and Assault Response and Education (SHARE) https://www.studentaffairs.pitt.edu/share/

     

     

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  • Illustration in the exhibition Paddington Comes to America at the Eric Carle Museum

     

    Embodying Empathy: Summer Internship at the Eric Carle Museum

    Author: Annie Abernathy, intern at the Eric Carle Museum – Summer 2018

    This summer I worked as an intern in the Collections department at the Eric Carle Museum of Picture Book Art in Amherst, MA. I worked closely with the Carle’s extensive collection of over 5,000 pieces of Eric Carle’s work and 6,000 works made by other notable illustrators. I grew up reading The Very Hungry Caterpillar and Brown Bear, Brown Bear, What Do You See?, so this experience was deeply meaningful as an opportunity to develop my career and to relive some of my most cherished childhood memories.

    On my first day at the museum in early June, I accompanied two of the museum’s registrars to return some of Carle’s art work to his studio in nearby Northampton that had recently returned from a touring exhibition in Japan. Seeing his workspace and drawers of colorful tissue paper ignited a joy that lasted the rest of the summer working at the Carle.

    As an intern in the Collections department, I worked closely with the registrars of the museum to organize and consolidate the museum’s vault, whether this meant rehousing illustrations or rearranging whole shelves of boxes. I wrapped a hand-painted chess set with care. I returned works to their proper storage from the recent Caldecott Award exhibition. I handled original illustrations from books I memorized as a child– Shrek by William Steig, The Polar Express by Chris Van Allsburg.

    More important than any famed artwork were the people who make up the Eric Carle museum. Beyond learning best practices in art handling and collections stewardship, I learned how to embody the deep empathy and inclusion cultivated by children’s books as a museum professional. Treating every object and visitor with the utmost care and respect creates a welcoming environment. At the Carle children yell and play in the galleries, breaking down the idea of the museum as a place of restraint, decorum, and quiet contemplation in order to celelbrate illustration art,  a medium that has historically been treated as lesser than fine art. 

    Making the museum a warmer and more welcoming space for all visitors is essential. Inclusivity and kindness are steps against centuries of institutional cultural appropriation, inequality, and elitism.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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  •  

    Touching Correspondence: Archive Visit during Making Advances Mellon Workshop

    Author: Paula Kupfer, PhD student in History of Art and Architecture and Making Advances Workshop participant

    One of the postcards shows a hunky man with dark eyebrows and long black hair, dressed in a vibrant red sweater. His left hand grasps his belt, the intensity of his gesture matched only by the fiery look in his eyes. The backdrop—a pink wall with three small pictures in kitschy frames—crowns the humorous earnestness of his pose. The other postcard depicts a hand-colored black-and-white reproduction of Jesus: his hair, highlighter orange; his sleeves, highlighter blue; his torso, highlighter pink. A caption reads: Sagrado Corazon de Jesus (Sacred Heart of Jesus). 

    These postcards were sent by artist and photographer Nan Goldin (b. 1953) to her friend, the artist Greer Lankton (1958–96), and are part of the Greer Lankton archive at the Mattress Factory, which we visited during the Making Advances Mellon Workshop in early May. Lankton is remembered for her hand-sewn dolls, installations, and autobiographical work reflecting her life experiences as an artist and a transgender person who also struggled with drug addiction. Goldin is best known for her Ballad of Sexual Dependency, a series of personal photographs mostly from the 1970s and 1980s, of her life and friends in Boston, New York, Berlin, and elsewhere. The pictures reflect moments of ecstasy and pain, in particular highlighting the ravages that the AIDS crisis inflicted on her community. Ballad offers an intimate, diaristic view of Goldin’s life; she would present it as a slideshow, often in nightclubs, accompanied by a soundtrack created by her and her friends.

    On the back of Jesus, Goldin wrote, from Mexico, in 1982: 

    Dear Greer, a belated valentines card for you, my sweet. . . . Still living a lazy existence, reading a lot, swimming, cooking + cleaning, eating only fruit + veggies for a while. It must be a modern Mexican miracle—this sudden domesticity I’ve fallen into. Still, it’s difficult to be a woman down here. It’s like walking past one enormous construction site all the time. It’s very repressed sexually especially this area. . . . Women can’t drink in the cantinas or play pool in the halls or do much alone. But actually there seems to be a new breed of woman coming up seems more independent. Mardi gras carnival is starting so we’ve been going to all these town events—the crowning of the child queen, the crowning of the lady queen. Marceled hairdos à la colonial Spain, banana curls with tiaras or else Carmen Miranda drags. . . . We’re still planning to come back March 10. Will write if changes. Love to Michele. Miss you! Want word from NYC.” 

    On the back of the handsome man in red, sent from Germany in 1984, Goldin wrote: 

    Dear Greer, this is one of the sex symbols of Turkey. We stayed in Little Turkey in Berlin—like the Lower East Side. Lived in a house with 40 people, a printing press, carpentry factory, dinners for 40 every night. A real little socialist state. Spent all the $ I brought on sekt—the link between wine and champagne—so I have not much to show for it and not even sure how many memories. Did make some good connections workwise. . . . Did 2 slideshows at cinemas, one in Berlin, one here in Wuppertal—sort of like Pittsburg [sic] except w. Pina Bausch company here. No amour this trip. Coming back in time to do the Diane B shot so get ready! Can’t wait to see Art Forum and yr new work. Love xxx Nan” 

    Although I knew of links between the two artists—Lankton appears in many of Goldin’s photographs from the 1970s and ’80s, perhaps most famously in Greer and Robert on the bed, NYC, from 1982—the discovery of these two postcards was particularly affecting. Doubtless it was the sweetness of the tone in both, but also the surprise of reading first-hand words by an artist who so often speaks through images. Reflecting the sort of intense personal character of both Goldin and Lankton’s work, these postcards embody a material link between the two women, a form of tenderness relayed through handwriting, a traveling piece of cardboard that speaks of their connection, trust, and a form of care that spanned geographic distance.  

    Goldin is credited with inaugurating a new aesthetic in photography—her off-the-cuff, bright-flash, richly colored representations of her own life represented a new possibility within the realm of fine art photography. Her life was her art—raw, joyous, painful, sexual, tender. She had this in common with Lankton, whose work and archive—a deeply moving, deeply human collection of photographs, photo albums, diaries, and letters—bears testament to the troubles and joys of her unusual life and its translation into artworks. These postcards fall into the same spirit: they are sincere, disarming, and funny. 

    Thinking of Greer Lankton and Nan Goldin feels urgent today. Not only because of new threats against the lives and rights of transgender people. Or because of Goldin’s admirable and ongoing activism in response to the opioid crisis in the United States—of which she herself has been a victim—and the complicity of art institutions. But also because the radical vulnerability they offer the world through their art and archive is deeply political and necessary today. The more stories of pain and alterity—but also joy and euphoria—are shared with others, the more art may serve a form of much-needed empathy. Sometimes such reminders come in inconspicuous forms, such as that of postcards. 

    Learn more about the Making Advances Workshop here

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    Kim Fox's installation

     

    Gendered spaces, materials, forms ... and their transformation

    Author: Brooke Wyatt, HAA graduate student and HAA1030 Museum Studies Exhibition Seminar student – Fall 2018 

    Handwork is an exhibition of new work by Pittsburgh artist Kim Fox, currently on view in Contemporary Craft's BNY Mellon Satellite Gallery in the lobby of the Steel Plaza T-Station downtown. Six works are presented, ranging in size from the large-scale Eight-Pointed Star Quilt II (2018), a work that employs two salvaged wooden barn doors for its support, to the more intimate Log Cabin Quilt Block (2018), scaled to the size of the reclaimed wood lath that frames the composition. Fox engages a range of found materials, including vintage tin, paper dress patterns, and a tabletop that was used to cut glass in a hardware store, as seen in Blue Honeycomb (2018). In some cases, Fox links these materials to their previous location and function in manufacturing towns around Pittsburgh. Through wall-text information, we learn that the tabletop came from Clairton, PA, home of U.S. Steel's Clairton Works, the largest coke-producing facility in the United States. The salvaged wood used in another work, Honeycomb (2018), was found at the Jeannette Glass Works, defunct since 1983, but once one of Pennsylvania's premier consumer glass manufacturers. 

    In conjunction with these echoes of the region's industrial history, Fox's use of forms and patterns drawn from the world of quiltmaking reflects parallel traditions in the area's production of housewares and crafts. In Handwork, references to mechanized industry and factory production interface with the aesthetics of homemade, hand-stitched textile work to evoke a complicated reading of gender. Materials and techniques associated with masculinized spaces such as the factory floor and the realm of hard labor intersect with interior, domestic spaces often coded as feminine. The works allow layers of meaning to accumulate as found objects join together with the mark-making, collaging, and repetitive ordering that reveals the artist's working process. Fox combines materials and techniques from craft practice with more conventional fine art approaches, effectively playing with embedded hierarchies about which forms are most valuable or visually provocative. Through her material exploration of these binary constructions —masculine/feminine, public/private, fine art/craft, work/hobby — Fox's work unravels dichotomies to present a composite, layered meditation on labor, place, and the convergence of past and present.

    Bringing new interpretations to traditional paradigms of gendered space, material, and form is central to Fox's visual language, and reverberates with the work of Katie Ott, another Pittsburgh-based artist whose work is currently on view in the University Art Gallery (UAG) at the University of Pittsburgh. Part of the student-curated exhibition This is Not Ideal: Gender myths and their transformation, Ott's work makes a queer and intersectional feminist intervention into the historically masculine domains of woodworking and furniture-making, literally turning the tables on established gender norms around art and craft practice. 

    Handwork is presented in conjunction with Contemporary Craft's biennial show Transformation 10: Contemporary Works in Found Materials, the Elizabeth R. Rafael Founders Prize Exhibition and is on view from September 14, 2018 to January 5, 2019

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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  • Xander describing his exhibition

     

    Politics, Propaganda, And The Steel Industry

    Author: Xander Schempf, Museum Studies Intern at Rivers of Steel National Heritage Area – Fall 2017

    Spending over six months working with Rivers of Steel Arts taught me more about the history of Pittsburgh and its role in the development of the United States than being born and raised here. As part of my internship, I had the opportunity to develop a new exhibition for the traveling “Steel Case” – a mobile display case that functions as a miniature gallery on wheels. In preparation for the exhibition, I began by sifting through Rivers of Steel Arts’ vast archive to create a list of possible themes. None of them were quite right, so I always ended up scrapping them for something else. Eventually, I stumbled upon some old magazines created to spread information about union rights. Searching for related materials led me to an array of interesting artifacts and documents that taught me a lot about the WWII era, a moment in US history that until now, I did not know very much about. 

    With the guidance of Director of Historic Resources and Facilities, Ron Baraff, and the Chief Curator, Chris McGinnis, I developed a Steel Case exhibition that examines the political propaganda produced before, during, and after WWII in response to the rise of the steel industry in the United States. The rise of the steel industry ushered in new political ideas, my case considers how the political climate of the period was shaped by two major competing ideologies. There were left-wing groups who sought to attract steel industry workers to the socialist ideology, and in response, there were large corporations who quelled and attempted to maintain the existing capitalist working state. Themes such as the “common man” and the “greater good” were staples for each side in discrediting the other and strengthening their own views. Yet, hidden beneath corporate language was a continued effort to quell movements that threatened their status. The objects on view are only a small selection of the materials that can tell this story, but the ones I have selected seek to illuminate the progression of these interactions from unions, the industry, and popular culture, exploring how their influence made its way throughout many facets of twentieth-century America.

    The exhibition is on display at Carnegie Library of Pittsburgh in Oakland through April 30, 2019.  

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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  •  

    Students Shaping Zine Collections

    Author: Kate Joranson, Head, Frick Fine Arts Library and Making Advances workshop co-leader

    On October 14, undergraduate gender studies students met up with me at the PGH Zine Fair at the Union Project to purchase zines for our growing collection at the Frick Fine Arts Library. This activity grew out of my partnership with Julie Beaulieu, faculty in the Gender Studies and Women’s Studies Program. Our partnership began during the Making Advances workshop in May 2018, when we spent a week exploring local collections, considering how we might activate these collections through student engagement.

    As a librarian, I believe that library and archival collections are strengthened when they are shaped by many voices. I invited Julie’s students to join me in building the collection to ensure that a diverse range of LGBTQ+ perspectives, narratives, and imagery are the foundation of the collection. 

    When purchasing zines, we purchase 2 copies whenever possible, so that we have one copy that can be checked out like a traditional library book, and another copy that is preserved for future scholars and artists. We want to honor zines as democratic multiples that connect people and ideas through wide circulation while also preserving zines as locally-produced artifacts of this moment in history. By engaging students in this process, they learn about the history of zines and alternative publishing, participate in unpacking the power dynamics that are at work in traditional collection practices, and see their vision shape the materials that will be available to future scholars and artists. 

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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    Photography: Bryan Conley, Carnegie Museum of Art
     

    Finding Detail in Dimension

    Author: Erin Patrick, Inside the Carnegie International 57th edition, 2018 Student - Fall 2018

    Artist Rachel Rose challenged students to explore the theme of “Depth and Durability” at a recent Tam O’Shanter Drawing Session hosted by the Carnegie Museum of Art, asking everyone to participate in an interval drawing exercise. We began with Rose sharing her struggles as a young artist attending Yale University, and the influence of professor Robert Reed, who inspired the session’s theme. Rose put forward the idea that art can be done in any time frame and with layers of depth. Her idea was a session based off an exercise routine with varying time constraints and focuses.

    After Rose’s introduction, the group moved to the Carnegie Museum of Natural History’s Hall of Minerals where we were each given the opportunity to select a gem and draw it repeatedly for different intervals of time. Rose started with short intervals, increasing to ten minutes, and then back down to thirty seconds.  The process required a great deal of focus yet let us expand and express our relationship with the objects. Although slightly anxiety provoking, the task proved to be a great exercise in mental endurance and flexibility. How can you complete a drawing of a three-dimensional object in thirty seconds?   How does your interpretation of an object change between thirty seconds versus ten minutes?  Rachel’s process made us think through the dimensions of the object, which was reflected in the evolution of our drawings. Students’ works varied in texture, shape, size, and value throughout the process. 

    After the session, Rose allowed time for debriefing. We were encouraged to share our art and discuss how the time intervals affected our expression. The Tam O’Shanter session was a challenge in the best way possible:  we were allowed to let our creative process free, just as Rose has in her upcoming work in the Carnegie International, 57th Edition, 2018.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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  • A 1908 Overland model on display at The Car and Carriage Museum

     

    Driving the Disenfranchised

    Author: Meghan Lees, HAA1030 Museum Studies Exhibition Seminar student – Fall 2018

    Organized by one of our partners, The Frick Pittsburgh, Driving the Disenfranchised: The Automobile’s Role in Women’s Suffrage explores how the automobile served not only as a turning point for modern life, but also as an iconic symbol for female suffragists during the Progressive Era. Through the installation of a range of women’s fashion and vintage vehicles, many in the trademark yellow of the suffrage movement, the exhibition sends the visitor on a journey through the early twentieth century activism. The creation of the automobile allowed women a form of escape from the confines of the home. It was a symbol of individual mobility and social change. Vehicles were used in activist rallies and decorated in the suffragist’s message for independence and equality.

    This history closely connects with the ideas raised by our exhibition This is not Ideal: Gender myths and their transformation, opening at the University Art Gallery on 26 October. But one way that these exhibitions differ is in their overall tone. Since it commemorates the journey of activism towards giving citizens the right to vote regardless of sex from the first Women’s Rights Convention in July 1848 to the ratification of the 19th Amendment, The Frick Pittsburgh’s exhibit has an appropriately upbeat tone. It is conveys a feeling of pride in documenting the work of these early-twentieth century activists, and shows how a technological innovation, such as an automobile, can produce profound psychological changes in society. This is not Ideal, on the other hand, is less straightforwardly positive. With the title – This is not Ideal – we are taking a stand on issues of gender. The viewer is not meant to look fondly on the narratives told by many of the works we have selected from the UAG collection. Our exhibition asks the visitor to reflect not just on the changing nature of gender myths, but also on the progress that remains to be made.

    The Frick Pittsburgh’s Driving the Disenfranchised: The Automobile’s Role in Women’s Suffrage is currently being held at the Car and Carriage Museum and will continue to be displayed through October 21. This is not Ideal: Gender myths and their transformation opens October 25.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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    Guerrilla Girls, Do women have to be naked to get into the Met. Museum?, 1989, offset laser or inkjet print poster. The Carnegie Museum of Art, Pittsburgh, © Guerrilla Girls

     

    Guerrilla Girls and the CMOA

    Author: Annie Abernathy, HAA1030 Museum Studies Exhibition Seminar student – Fall 2018

    “Only 4 of the 42 artists in the Carnegie International are women.” So declares a message by the Guerrilla Girls in 1986, produced as part of this feminist art collective’s sustained attack on the inequalities of the art world. As Pittsburgh prepares to welcome the 57th edition of the Carnegie International, the situation is thankfully much better. This year, 17 out of 32 artists included in the International are women.

    The Guerrilla Girls are also making their presence felt in the permanent collection displays of the Carnegie Museum of Art. As part of Crossroads, the museum’s recent rehang of the contemporary galleries, a collection of their posters are currently on display in the Scaife Galleries. What would the Guerrilla Girls think of This is not Ideal: Gender myths and their transformation, the student curated exhibition at the University Art Gallery that opens a few weeks after the Carnegie International? Given their own iconic billboard designs of the 1980s, what might they make of our inclusion of Tom Blackwell’s print I-610 North? Where the Guerrilla Girls use art to protest the art world itself, Blackwell’s work appears to merely repeat and reinforce traditional gendered imagery. Both women in these works are reminiscent of classical depictions of the female nude such as Manet’s Olympia or Titian’s Venus of Urbino. Drawing upon a history in which women have consistently been presented as passive objects, the Guerrilla Girls take a stand. The group of their posters on show in Crossroads at CMOA use the traditional female nude to call out institutional sexism.

    This is not Ideal also uses a historical lens to confront contemporary issues, reinterpreting artworks in the collection to expose their sexist content. The CMOA has often collected works through the Carnegie International, such that the decisions of its curators make a lasting impact on the museum’s collection. As the students curating This is not Ideal have discovered, it is a constant struggle in exhibition making to acknowledge the limits of the collection you are drawing upon. The UAG collection also has its disparities: the statistics are difficuly to calculate, but only about 8% of the works in the collection were created by women. In This is Not Ideal, sexist and traditional histories are challenged through their dialogue with non-normative images. By using a biased history to tell a new narrative, we hope that viewers will see how the past still resonates in the present, and what transformations must occur to effect lasting change.

    Crossroads is now open in the Scaife Galleries at the Carnegie Museum of Art. This is not Ideal: Gender myths and their transformation opens October 25.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

    Categories: 
    • Undergraduate Work
    • Collecting Knowledge Pittsburgh

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