I feel so lucky to be a collections and curatorial summer intern at the Gibbes Museum of Art! I have learned a lot about both curatorial and collections management work every day. I even got a chance to organize the Artist Spotlight exhibitions in Gallery H, which is located on the first floor next to the stairwell. I used to be a curatorial assistant in my undergraduate university’s museum, but this was my first time to actually curate an exhibition all by myself!
Molly installs object labels in the gallery, making sure they are hung at the correct height and spacing.
I started my work by researching the themes of the exhibition. Later on, I used PastPerfect, which is a powerful collections management software, to help me manage the exhibition details. I needed to consider a series of questions for preparation, such as the size of the art works, their condition, whether the works were framed, and if I would need exhibition furniture for display. I also needed to prepare all of the text materials for the exhibition. The logic and order of artworks are also of great importance. In other words, this time I was no longer an assistant, but a real “curator!” It was so exciting to have this chance!!
Measuring a display case.
As a student from architecture school, I also practiced what I had learned in my studio class when designing the exhibition. Google SketchUp is a very basic and easy-to-use software for architectural design. Architects never use it for professional drawings, but I found it perfect for curatorial work! It helped me measure and organize the works in the space quickly, and also provided me with a multi-perspective preview of the exhibition. I felt excited to put my school knowledge to good use!
A Google SketchUp drawing for the Art of the Print exhibition.
A schematic drawing of an exhibition of works by Edward Middleton Manigault.
By working on the two exhibitions in Gallery H for the coming fall, I realized the importance of details in curatorial work. For example, one thing to remember when writing for a museum text panel is many of my readers will be first-time visitors. Therefore, text materials should be clear, readable, and interesting. Another important method I learned was how to arrange multiple profile portraits. Visitors feel more comfortable when seeing two portraits facing one another rather than hanging back to back. In addition, it’s better to have a figure in a portrait staring at another image rather than staring at a corner or a wall. These types of details are carefully considered by a curator—hopefully the visitor won’t even think about it—and the impact on a whole exhibition can be huge. That is why sometimes we feel comfortable when visiting an exhibition, while other times we feel weird or unsettled. Art is to a gallery like notes are to a symphony—they are following harmony rhythms and melodies, and the “symphony” of a museum is carefully composed by its curators.
A current installation of works by George Biddle (1885–1973) in the H-Gallery.
I hope you will enjoy the upcoming Spotlight exhibitions about Edward Middleton Manigault and Gibbes’ outstanding collection of prints! Come and visit Gibbes Museum this fall!
—Molly Huang, collections and curatorial summer intern and guest blogger
Second Sunday on King Street is the brainchild of Susan Lucas of the King Street Marketing Group. If you haven’t come downtown for one of these events, you are missing out! With the streets closed off to traffic, King Street is transformed into a European city where strolling is a time honored tradition. Second Sunday draws tourists, locals, children, and even dogs who stroll in and out of delightful boutiques, stop for lunch at some of Charleston’s favorite restaurants, and of course, visit the Gibbes Museum.
The Gibbes offers three Free-Admission Sundays throughout the year. We have waived admission on select days for many years because it’s a way for us to open our doors and give back to the community. This is the first year that we have partnered with Second Sunday, and we want to encouraging strollers to continue down King Street, through the Gateway Walk next to the Charleston Library Society, and come into the museum.
This Sunday, July 14, visitors will have the rare opportunity to experience the stunning watercolor series, A Carolina Rice Plantation of the Fifties, by Alice Ravenel Huger Smith. This collection is not often on display because of the fragile nature of the watercolors. Curator of Exhibitions Pam Wall wrote an earlier post “A Commitment to Conservation” about the museum’s efforts to restore and preserve the vibrant colors of the watercolor series. In the recent article, “The Quandry of Alice Ravenel Huger Smith”Post and Courier Arts Editor Adam Parker writes, “Smith was a master manipulator of watercolor, creating images, landscapes mostly, influenced by Japanese printmaking and woodblocks and romantic English art that transformed the objects of nature into symbol, myth and memory.” This exhibition will close on Sunday so the free admission day gives visitors a final chance to see the works as a whole.
So this Sunday, take advantage of our free admission and stroll through the museum. One of the best parts about my job is that I get to do that on a daily basis. On my way into the office I am greeted by the Veiled Lady. On my way to lunch I walk past Ms. Johnson (Estelle) and on my way home at the end of the day, I pass Persephone bathing in the courtyard garden. I am so grateful to have this opportunity to surround myself with art, and am excited that our free admission days will give visitors that same opportunity. Stroll down King Street this weekend, and come say hello to Ms. Johnson.
—Amy Mercer, Marketing and Communications Manager, Gibbes Museum of Art
Upcoming Free Admission Days:
Saturday, September 28, 10am – 5pm: Smithsonian Museum Day Live! Must present pass, available on smithsonianmag.com, to be eligible for free admission.
Sunday, October 13, 1 – 5pm: Second Sunday Free Admission Day
February 9, 2014, 1 – 5pm: Second Sunday Free Admission Day
This summer the spotlight is on Philadelphia native, George Biddle (1885–1973). Biddle spent most of his childhood in New England. He went to the Groton School, where President Franklin Roosevelt was a classmate, and received both his undergraduate and law degree from Harvard. In 1911, upon graduating law school and passing the Pennsylvania Bar exam, Biddle left a career in law behind setting off for Paris, France, to study art at the Académie Julian. Over the next five years, Biddle also studied at the Pennsylvania Academy of the Fine Arts, learned printmaking in Madrid, Spain, and spent summers in Giverny, France, to study Impressionism. After serving in World War I, he traveled extensively, going to Tahiti, Haiti, Puerto Rico, Cuba, the West Indies, and France.
The Battery, Evening, 1931, by George Biddle
In 1928, Biddle traveled to Mexico with muralist Diego Rivera. He spent six months with Rivera, learning the techniques of mural painting and soaking up the social and political ideas embodied within the art of the state supported Mexican School. In 1933, Biddle wrote a letter to President Roosevelt, his boyhood friend, campaigning for a government funded arts program to use as a platform for “expressing in living monuments the social ideals [President Roosevelt] was struggling to express.” The letter was acted on almost immediately and by year’s end the Public Works of Art Project (PWAP) was established—the predecessor of the Federal Arts Project (FAP).
The Crowd, Folly Beach, 1930 By George Biddle
Biddle spent May and June of 1930 in Charleston, South Carolina, sketching a series of illustrations for George and Ira Gershwin, who were then developing the opera Porgy and Bess based on the 1925 novel Porgy, written by Charleston native Dubose Heyward. While Biddle was in town, Heyward encouraged him to explore downtown Charleston and the piers of Folly Beach. During those two months, Biddle created works reflecting the spirit and customs of everyday life and developed a large folio of drawings and watercolors recording the social and cultural landscapes of Charleston.
—Sara Arnold, Curator of Collections, Gibbes Museum of Art
Works by George Biddle are on view at the Gibbes Museum through September 29, 2013, in the H Gallery.
Still Life with Open Book, 1991, by Linda Fantuzzo (American, b. 1950).
So what do these numbers tell us? What can we learn about our collection through this experiment? It’s too soon to tell just yet, and it may be that voting is an ineffective way to poll the community’s taste in art. The pieces of art at the top of the leader board are favorites for many reasons, including the technical skill of the well respected artists, the attention to light and shadow, and the vivid and descriptive use of color. But as the marketing and communications manager at the museum, I also wonder if the leader board is influenced by familiarity? Many of the works on the leader board are works that are currently hanging on the museum walls. Are we more apt to “like” a work of art we’ve seen before?
126 Oak Street, McClellanville, South Carolina, 2000, by West Fraser (American, b. 1955).
Corene, 1995, by Jonathan Green (American, b. 1955).
A comment about Still Life with Open Book disputes the notion of familiarity: “I’ve only recently been introduced to Ms. Fantuzzo’s works. She has achieved a style of her own and her passion for her works is obvious!” While this comment on The Veiled Lady, who is #6 on the Leader Board, comes from someone who is familiar with the sculpture: “I have stood mesmerized by this piece many times. It is just exquisite, and enchanting. It has such an ethereal beauty, and the artistic execution seems astonishingly flawless.” Some of our Featured Voters lamented the challenge of choosing favorite artists. Darcy Shankland of Charleston magazine said it was “not a fair question! How to possibly choose?!?” That’s why we wanted to give the public the freedom to vote on as many favorites as they desired, because we know how difficult it is to choose one work of art over another. That is one of the challenges curators face when designing an exhibition.
Iron Man, 2000, by Mary Whyte (American, b. 1953)
So in these next few weeks we will tally the votes, and Sara Arnold, our curator of collections, will curate your top 40 “favorite” artworks into the upcoming People’s Choice exhibition. For the next 48+ hours, take advantage of the chance to vote until our polls close on Sunday, March 31 at midnight. We can’t wait to see what you’ve selected.
—Amy Mercer, Marketing and Communications Manager, Gibbes Museum of Art
In a city as vibrant and storied as Charleston, where history is said to live and artistic influence to breathe, it seems that we locals would be remiss to miss out on the enlightenment readily available in our own backyards. Lately, Charleston has proudly embraced a love of all things local, from local business to local produce. To me, it seems only logical that we equal-opportunity “locavores” should also indulge in the local cultural fare of our fair city. It was in this spirit that the History and English instructors of Ashley Hall’s 7th grade decided to orchestrate a local lowcountry exploration—leading our class on an adventure as “tourists” in their own town.
The Ashley Hall 7th-grade girls pose in front of the Gibbes.
After studying the fundamental elements of art and architecture, the girls departed on a walking tour of the peninsula to put their new knowledge to the test. Equipped with widened eyes for art and armed with iPads poised for documentation, the class set out on foot, bundled up and bound for the Gibbes Museum of Art.
Once dubbed an “ornament to Charleston,” the Gibbes Museum has long served as a bastion of fine arts in this picturesque city. Today, the museum houses over 10,000 objects. The majority of these are tied in some way to the culture and history of South Carolina’s Lowcountry, hence the permanent exhibit’s title, The Charleston Story.
On this first trip, the girls were taken under the wings of seasoned museum docents Pat Burgess and Elise Detterbeck, who regaled them with tales of art and adventure, style and scandal, trends and broken traditions in the world of art. They led the group from gallery to gallery, bringing to life a story of Charleston than spanned centuries. The collective past they described was a vast one, told from many different perspectives and set against multiple backdrops, from the Plantation to the Sea Islands. The Charleston they described was multifaceted and marked by both astounding privilege and staggering oppression. The shared message of the exhibit resounded: the authentic “Charleston Story” can hardly be reduced to a single tale.
At the end of the training, it was apparent that what goes into adorning the walls of the Gibbes is far more complex than just picking out the prettiest pictures. In a matter of hours, the students began to appreciate the full force within the frames, and several voiced curatorial aspirations.
A 7th-grader presents Mary Edna Fraser’s batik entitled “Charleston Runner.”
After the tour, students were given time to interact with the paintings individually. Stationed before a work of their choosing, each student mused about possibilities inspired by her favorite image and penned (or, rather, pecked out) a creative reflection to post and share on the class website. Soon enough, it was time to pack up and bid farewell to Charleston’s “ornament” of a museum and its spectacular contents.
The girls departed the Gibbes and set out on the second leg of their touristy romp: an architectural tour of the city led by Ashley Hall 7th grade history teacher Mary Webb that featured visits to the Edmundston-Alston House and the Charleston Library Society. With several miles—not to mention several centuries and countless facts—under our belts, we finally returned to Ashley Hall and the familiar territory of campus.
“Mrs. Johnson (Estelle),” by Barkley Hendricks, is the featured artwork in this presentation.
In the three short weeks that followed this inaugural visit, a transformation occurred: the once-tourists became the tour guides! After selecting a specific work from the Gibbes’s collection, the girls dove into a full-fledged research project, digging for information, evaluating sources, and piecing together their findings. Through resourceful research, several students were able to contact their more contemporary artists firsthand, and 7th grader Hannah was able to strike up a conversation with renowned photographer and environmentalist speaker J. Henry Fair that ultimately resulted in a visiting lecture for the entire Upper School. Finally, students were ready to present their research for their peers in preparation for the big show: a docent tour for a live audience.
On the presentation day, the students were joined by an enthusiastic audience that included family, friends, and an entire class of first grade buddies or “little sisters” from Ashley Hall. With this group, the junior docents shared both a wealth of knowledge and a fun-filled afternoon.
Grace presents “Highway Series, #9992″ to classmates and artist Eva Carter!
A particularly special moment occurred when featured artist Eva Carter showed up to watch 7th grade student Grace as she presented Carter’s exhibited painting “Highway Blues.” When Carter initiated a round of applause in approval of Grace’s presentation, it seemed to echo my own euphoric sentiments: They nailed it! The performances not only dazzled me, but also impressed museum educators: Pat and Elise called Ashley Hall’s docent work “eye-opening” and “confident,” and Gibbes Head Educator Rebecca Sailor reported being “blown away” by the tours.
The girls were also proud of themselves. Here’s what they had to say about the project:
“I was amazed by how confident everyone was while presenting. We really knew the information and it was fun seeing our little sisters’ reactions to the art.”—Ella, 7th grade
“Our presentations were to the point, informative, and interactive. Our little sisters seemed excited to learn more!”—Olivia, 7th grade
“The best part of my project was when I got to email my artist, Jonathan Green, and find out why he painted the way he did.”—Chasity, 7th grade
“The best part of the project was when I got to meet my artist, Eva Carter!”—Grace, 7th grade
“The best part of this project was going to the museum the first day because I love the pieces of artwork at the Gibbes and loved getting to go there.”—Brooke, 7th grade
“The best part of the project was getting to walk around Charleston because it is a beautiful city that we often take for granted.”—Lou Lou, 7th grade
In the wake of our Gibbes Junior Docent project experience, I hope these students continue to nourish the instinct they cultivated in the museum to always look again—to give a second glance to the things before them-whether this be a work of art, an idea, a person, a story, or even a hometown—and to greet the world around them with ever-widening eyes.
—Anne Rhett, Ashley Hall Upper School Faculty Member, English Department, and guest blogger
When you walk into the galleries of the Gibbes, you expect exquisite works of art beautifully framed, lit, installed, and interpreted for your visual and intellectual pleasure. And while this experience is what draws most people to the museum, sometimes the story of how these works arrived to the gallery walls is equally compelling. Such is the case with Alice Ravenel Huger Smith’s series of thirty watercolor paintings known as the Rice Plantation Series, currently on view at the museum.
Ever since Smith donated the Rice Plantation Series to the Gibbes in 1937, the watercolors have been among the most popular works owned by the museum. Unfortunately, the delicate works on paper were slowly deteriorating. The culprit: acidic boards mounted to the back of each painting. The acid was capable of discoloring the works and depositing brown spots known as foxing; and with many of the watercolors, the damage was well under way. Fortunately for the Gibbes, donors Ralph Blakely and the late Wilmer Welsh recognized the need to intervene, reverse the damage, and prevent future damage through professional conservation of Smith’s entire series of watercolors. To accomplish this, they established the Welsh-Blakely Fund, a substantial financial commitment that funded the five-year conservation project.
To complete the project, the Gibbes turned to the Straus Center for Conservation at the Harvard University Art Museums. The paintings were shipped to Boston in groups of five, with each painting requiring several weeks for treatment. Led by the late Craigen Bowen, the Straus Center’s talented team of conservators developed a treatment plan specifically for this group of paintings and undertook the highly technical task of removing the acidic mounting boards. Once the majority of the board was removed, conservators used an ethanol solution and various tools, including spatulas, bookbinders’ knives, scalpels, and tweezers, to remove extraneous paper backing and adhesive materials. Once all traces of the backing were removed, the reverse of each painting was cleaned with warm water. Following cleaning, each painting was housed in a humidity chamber to relax the paper fibers, and then sandwiched between blotters and secured with weights for one to three weeks to eliminate any buckling of the paper. The results are truly remarkable. Each painting returned to the Gibbes in pristine condition with more vibrant colors—Alice Smith herself surely would be thrilled with the results.
Completing the conservation of all thirty paintings was a monumental task of which the museum is very proud. Not only was damage reversed, the paintings were stabilized to prevent future deterioration. Such preventative conservation measures are key in the museum’s commitment to preserving the artistic heritage of the South. The current installation on the first floor of the museum is a rare opportunity to view the series as a whole and a great tribute to the many individuals who made this project happen.
—Pam Wall, Curator of Exhibitions, Gibbes Museum of Art
This week, we launched our People’s Choice website: www.gibbespeopleschoice.org. This website was created to allow the community to vote on their favorite artworks from a selection of 140 objects in the Gibbes Museum’s permanent collection. The top 40 choices will be included in People’s Choice: A Community-Curated Exhibition, opening at the museum on May 3.
The idea for People’s Choice began when we were discussing plans for the upcoming building renovations. This is the last exhibition of our permanent collection in the Main Gallery before construction begins, and we wanted to engage the public and give the community the chance to select, comment on, and share their favorite works of art. We thought the best way to achieve that goal would be through a community-curated exhibition. As the idea grew, we decided to reach out to a group of noted figures from diverse backgrounds in the Charleston community including Chef Mike Lata, news anchor Carolyn Murray, artist Brian Rutenberg and event planner Tara Guérard. We wanted to spark conversations about the impact of art in the lives of people in the community. Everyone responded with enthusiasm and agreed to answer five questions about art including:
1. Why is art important in your life?
2. What is your first memory of art?
3. What is your most memorable art experience?
4. Who is your favorite artist?
5. Why are museums important to you?
The responses have been overwhelming and inspiring! Carolyn Murray wrote, “Museums are libraries for the senses. I never leave a new city or town without stopping in a museum. It is inside local museums and galleries that you can allow images to tell the story of the community.” And Brian Rutenberg said, “A museum is a love letter to ourselves.” The messages are as diverse and thought-provoking as the art work.
All Featured Voter responses and favorite art works will be presented on the People’s Choice website leading up to the opening of the exhibition on May 3. We hope you will check back regularly to see their comments and news updates on the site. You can also register to receive weekly emails with updates about People’s Choice. The full list of works will be available on March 1, when public voting begins. For any question about this project, see our FAQ page.
—Amy Mercer, Marketing and Communications Manager, Gibbes Museum of Art
Image: Aesthetic Pleasure (detail), 1932, by Peggy Bacon. Lithograph on paper. Gibbes Museum of Art, Museum Purchase with funds provided by the National Endowment for the Arts Living Artist Fund (1977.010.0021).
Shorter days, warmer coats, and fewer leaves on the trees; these all come to mind when we think about fall and Thanksgiving. It’s a great time of year for traditions and for appreciating the things that are really important in our lives. The true meaning of the holiday can become lost sometimes in the busyness of the preparations though, which is why it is so important to slow down and give thanks for both the big and little things in our lives.
One thing I give thanks for everyday is the beautiful city of Charleston that I proudly call my new home. Not only can I walk out the front door of the Gibbes Museum and witness firsthand this vibrant city, but the works depicting Charleston within the walls of the museum are also cause for thanks. I feel blessed to work at the Gibbes each day where the city’s beauty and history have been captured by such talented artists. I’m reminded of all those who have come before us and called Charleston home when I look at John William Hill’s Panorama of Charleston and wonder how Charlestonians in years past marked the Thanksgiving holiday.
I’ve called many places home over the years, and the distance has kept me from being near family and friends on several occasions. I feel instantly closer to my family in New Hampshire though when I see the Gibbes Museum’s painting Autumn Foliage by William Aiken Walker . I can see them fighting over the last apple cider donut a few days from now as the remainder of the leaves fall from the trees. Emma Gilchrist’s painting On the Arno, Florence reminds me of the Thanksgiving I spent in Italy, where the occasion was marked with $10 cans of cranberry sauce and an unsuccessful search for a turkey. Art has the power make our memories more vivid when we see them come to life on the canvas. We each have our own traditions and versions of home that will always be uniquely special to us. This Thanksgiving, no matter where or how you celebrate, remember to slow down and appreciate those details you might otherwise miss.
—Amanda Breen, Membership Coordinator, Gibbes Museum of Art
“Mariner’s Poem on Hurricanes” June too soon.
July stand by.
August look out you must.
October all over.
-Published in Weather Lore by R. Inwards in 1898
Although not completely accurate (hurricanes can and do occur in June, July, and November) this mariner’s poem reminds us that August and September are the prime months for tropical storms and hurricanes. How do you prepare for hurricane season? Hopefully you have given some thought to this question since the North Atlantic Hurricane Season kicked off June 1, 2012. The National Oceanic and Atmospheric Administration (NOAA) has predicted the formation of 9 to 15 named storms, 4 to 8 hurricanes, and between 1 and 3 major hurricanes this year. Though the forecast number of storms is less than in previous years, even relatively slow hurricane years can leave a lasting impact. Thus far none of the tropical activity has pointed itself at Charleston (I am looking for wood to knock on) but we still have a few nervous months to go as the hurricane season does not end until November 30, 2012. For those of us whose job it is to oversee the care of museum art collections, that date seems a very long time away!
Hurricane Hugo approaches the South Carolina coast in this satellite photo taken on September 21, 1989. (Photo credit: NOAA)
Thankfully, the Gibbes staff has hurricane preparation down to a science. The building was put to the test in 1989 when the powerful Category 4 Hurricane Hugo barreled into Charleston. While the Museum suffered power loss and minor flooding, the artwork was unaffected due in part to a fledgling disaster plan and the efforts of a dedicated staff. Over the past twenty-three years, the Gibbes Museum of Art Disaster Plan for Collections has been revised, added to, tested, revised again, tweaked, practiced, tightened, and updated with such regularity that all those involved are confident the Museum could once again weather a strong hurricane. Major hurricanes such as Andrew (1992) and Katrina (2005) have strengthened the national museum community’s commitment to disaster planning and placed great importance on preparedness, communication, and salvage techniques. Museums are now required to have a comprehensive disaster plan to achieve accreditation by the American Alliance of Museums.
So how do we prepare for a hurricane at the Gibbes? The Museum has a hurricane plan that goes into effect the moment a storm is predicted to hit the Charleston area. This plan exists in written form, and the details are reviewed with the entire staff at the beginning of each hurricane season. The plan contains general information about different types of disasters and how to respond as well as information specific to the collection including object inventories, emergency contacts (conservators, art shippers, storage facilities, archival suppliers), insurance policies, and art salvage techniques. The plan also details pre-storm activity which involves securing artwork on exhibit, moving objects away from all windows (we still have a few!) and covering storage racks and archival containers with plastic sheeting; much of the plastic is in place year round and simply needs to be pulled down and secured. One of the greatest hurricane threats besides wind is potential flooding and loss from a storm surge. To prepare for this possibility, we make certain all artwork is stored at least 6 feet off the floor, the recommended industry standard. Advance planning will always be a necessary component of protecting the museum; staff will work to secure the museum until it’s time to evacuate.
A major concern museums face after a hurricane is loss of power which affects climate control elements and can cause rapid fluctuation in temperature and humidity. Abrupt changes in relative humidity (RH) can result in dimensional alteration to hygroscopic materials (wood, ivory, etc.) resulting in warping and splitting of many sensitive materials that comprise the art collection. High RH (above 65%) can also cause mold growth and metal corrosion in as little as 48 hours! In order to mitigate the risk involved with loss of climate control and rising humidity, the Gibbes maintains powerful fans that can circulate air (and run via a generator if necessary) in the event of HVAC loss. Museum staff stock other necessary supplies including flashlights, batteries, blotting paper for drying wet art, cameras, pencils and inventory sheets for recording damage, brooms, mops, shovels, a weather radio, paper towels, boxes and cartons, first aid kits and more. These supplies are stored on a special disaster cart; a complete inventory of the disaster cart is conducted at the start of each season to make certain all supplies are present and accounted for!
The disaster supply cart is on wheels for easy movement.
Fans are available to circulate air if the building loses climate control.
In addition to in-house disaster review, Gibbes staff also attends periodic disaster training workshops run through professional museum organizations. For example, in 2008 the South Carolina Federation of Museums (SCFM) staged a mock water disaster (with mock collection items) at Middleton Place Foundation for the workshop, Disaster Recovery for Museum Collections. Workshop participants spent the day learning how to respond to a water disaster and salvage and recovery techniques for paintings, furniture, textiles and a variety of objects. The workshop was led by Sharon Bennett, a veteran of Hurricane Hugo, who has taught numerous disaster preparedness workshops throughout the Southeast. A past-president of the Southeastern Museums Conference (SEMC), Sharon has served as the chair of the American Institute for Conservation Emergency Planning and Response Committee.
Workshop participants encountered this mock water disaster at a disaster-training workshop organized by the South Carolina Federation of Museums.
When participants arrived at the workshop they were greeted by three shelving units filled with wet art (framed prints and paintings), textiles, metal objects, ceramics, books, papers, and glass items. These objects were not just wet; they were thoroughly soaked (thanks to a very effective sprinkler and Mother Nature who added a little rain of her own). The water relocated some objects from their original shelf location to the ground and many were buried under a layer of Charleston’s sandy soil. It was a true disaster designed to mimic what an institution might face after a hurricane, flood, or man-made water catastrophe. After a long, wet, hectic day—sometimes frustrating, often satisfying, and overall informational and beneficial—participants left with a better understanding of how to create or update their own disaster recovery plan. By handling the various types of damaged collection items they gained experience in all aspects of a wet salvage and recovery efforts and left the workshop better prepared to write realistic and comprehensive response sections for their individual disaster plans.
The triage area at the SCFM disaster-training workshop.
Emergencies can come in many forms from treacherous weather to mechanical breakdown not to mention potential hazards such as fire, water, mold, and even insects. Museums need to be prepared before a disaster happens. Disaster planning events such as the SCFM workshop provide the resources and time to take on this important task.
So as you keep a watchful eye on the tropics over the next several months, rest assured that Gibbes staff are doing the same and will continue to do their very best to protect and preserve Charleston’s stellar collection of art of the American South.
—Zinnia Willits, Director of Collections Administration, Gibbes Museum of Art
Museum Educators Elise Detterbeck, Pat Burgess, Martha Criscuolo, Barbie Kratovil, and Mary Droge.
Once the school buses have parked, their exuberant passengers spill out onto Meeting Street and over the steps of the museum. We, their guides, are the first face of the Gibbes, and set the tone for their ensuing adventure. After negotiating 45–50 rambunctious students into 2 or 3 somewhat orderly lines, we’re ready to start the journey through our galleries. For most, it’s the first time they’ve been to the Gibbes, and therein lies the challenge. If this is to be successful—and hopefully spark an interest that may not be kindled were it not for this opportunity—how do you grab their imagination? How do you intertwine South Carolina and Charleston history, with its art and artists, in a memorable way in just 45 minutes?!
The collection is presented in chronological order, so usually we split groups: one starting with the earliest eighteenth century works; one in the nineteenth century; and one in the modern and contemporary galleries. It’s always so interesting to hear the children’s comments as they march along, gazing left and right down the hall of portraits; weaving around that dazzling silver soup tureen; entering the large room with the huge reclining figure of a woman in green; veering left, and finally heading up the stairs. Once settled in front of our first object, the fun begins when I ask the students questions to elicit their ideas about what they’re looking at.
Museum Educator Elise Detterbeck and students in the galleries.
Together we start a dialogue. Why is it important to actually see works of art up close and personal; to look at the brush strokes and notice how the paint or watercolor is applied, lines drawn, and shapes created? I ask the group to notice the subject’s face and hands: are they realistic or abstract? And what about the landscapes: do they appear detailed or impressionistic? We compare and contrast the different techniques. The hope is to instill in these young onlookers an appreciation for the everyday beauty of life. This visit may start the journey for some, who will discover a creative outlet to express themselves. For others, the experience may heighten their awareness of the artistry in one’s surroundings.
As funding for the arts nationwide has diminished, it is more and more difficult for schools to take field trips like these to museums. So this fall, some of the museum educators at the Gibbes will be heading out into surrounding South Carolina schools to take the museum on the road with the “Eye Spy” program, generously sponsored by the C. Louis Meyer Foundation. Each of us will be assigned to a different elementary school, where we’ll visit the third-grade art class once a month during the school year, ending with a visit to the museum. The concept is to familiarize students with art elements, techniques, and mediums by studying works of art from both the Gibbes collection and those of other museums. The hope is that multiple sessions with the same group of students will re-enforce and encourage an interest in art; and as I alluded to before, engender an appreciation of the artistry in everyday life. Sharing great works of art with young learners is both the joy, and the challenge, that makes what we do at the Gibbes so never-endingly rewarding.
—Barbie Kratovil, Museum Educator, Gibbes Board Member, and guest blogger