“Were it to become the fashion to patronize American artists, designers and craftsmen and to give them a free hand instead of insisting on conformity to the ancient ways as interpreted by the ignorant rich, we would have a larger art demand in America; the supply would raise prices and wages; art study would be encouraged; more men of genius skill and training would come here from abroad; and we would begin our own Renaissance.” – John Cotton Dana, The Gloom of the Museum, 1917.
The 2014 New Jersey Arts Annual, Ready or Not, was set out to activate unconventional areas in the Museum, in addition to the display of artworks in the rotating exhibition gallery spaces. Incorporating different artworks in sections that do not typically display or present art, several of artists in this year’s Arts Annual were invited to create site-specific works for this show. They observed various parts within the Museum’s structure as an “empty canvas,” and created works that responded specifically to the Museum’s architecture and environment. Treating the Museum’s physical space as a medium was the point of departure when I started planning this particular aspect of the exhibition, and the blogs that will follow this one will present more artists whose work, be it performance, sculpture, installation art, painting or time-based media, is everywhere but in the galleries. Corridors, stairwells, ceilings and other “none-gallery” spaces, which are often left empty and shun from artistic presence, became part of the curatorial premise for this exhibition so as to extend the dialogue between art and space. The artworks’ placement and location involved intriguing curatorial discussions between the artists and myself, regarding the work’s visibility and its relation to and transformation of the location it is consuming.
Outdoors, in Horizon Plaza, Dahlia Elsayed created a temporary installation, We Would Begin Our Own. Selecting this particular spot to display her work was a way to activate this site through Elsayed’s poetry. By erecting 29 yellow, bright flags attached to the fence surrounding the plaza, Elsayed repurposed the use of the fence in this public, outdoor space. Each flag is inscribed with a word or a phrase the artist appropriated from the Newark Museum’s founder John Cotton Dana’s notable essay The Gloom of the Museum (1917). Located right by the Museum’s entrance and visually prominent, these flags greet both visitors and pedestrians on Washington Street or Central Avenue. Elsayed, who often incorporates words and text in her artwork, reconfigured Dana’s essay and through this form of concrete poetry, shared her admiration to the site and the city. She explains: “In this poem, I reshape his [Dana] words to create something between a Newark artists’ manifesto, a love letter to a city, and a statement of solidarity with the institution that he profoundly shaped.” The brightness of the flags as well as their shape is reminiscent of a construction zone, alerting the viewer’s attention to their content and the site when read either as complete phrases or word by word.
In my next blog, I will discuss another site-specific work by Ariel Efron and Lucas
Vickers. Stay tuned.
- Shlomit Dror, Consulting Curator, American Art
The Newark Black Film Festival (NBFF), the longest-running black film festival in the United States, is celebrating its 40th anniversary this year with a blockbuster lineup of films and documentaries, including winners of the biennial Paul Robeson Awards. This year’s screenings include the 2013 Academy Award winners 12 Years a Slave and 20 Feet From Stardom, and a fun-filled schedule of youth films.
Since its introduction, the NBFF has provided a forum for writers, directors, producers, performers and film patrons who enjoy African American and African Diaspora cinema. The goal of the festival is to present programs that reflect the full diversity of the black experience both past and present, encompassing a wide range of forums and formulas from documentary to the avant-garde. In the past 39 years, NBFF has screened approximately 800 films to an audience of almost 180,000 adults and youth. Past films of note have included Ashes and Embers, Body and Soul, Do the Right Thing and Daughters of the Dust.
The NBFF started in 1974 with a touring black film festival that was put together by filmmaker Oliver Franklin who worked at the Annenberg Center for Communication, Art & Sciences at the University of Pennsylvania. The late Gus Henningburg, who was then the Executive Director of the Greater Newark Urban Coalition, learned about the festival and proposed it to the Newark Museum.
In 1976 when the touring festival was no longer available, the Museum made the decision to produce the Newark Black Film Festival and established a Selection Committee, whose volunteer members represented important institutions in the community.
In 1981, a Children’s Festival was added, which is now called Youth Cinema. In 1985, the Museum initiated the Paul Robeson Awards to honor excellence in independent filmmaking in five categories.
‘‘When we introduced the festival, few black filmmakers were successful in bringing their projects to the screen and those that made it, didn’t stay long,’’ said NBFF Chair Gloria Hopkins Buck, a charter member of the festival. ‘’The founders were sensitive to the need for creative expression and we did our best to make it happen. Challenges still exist but the quality of work and their artistic accomplishments on a global scale are changing the landscape.’’
‘’NBFF is a festival unique for its longevity,’’ said Rutgers professor and historian Dr. Clement Price, also a charter member, ‘’and the endearment in which it is held by patrons of more than a generation. It is also civic ritual that has witnessed the emergence of black film as a genre important to understanding multiple narratives about the human spirit.’’
Warrington Hudlin, President, Black Filmmaker Foundation said, ‘’The NBFF came into existence to fill the void left by movie theaters that were fleeing Newark and other inner cities throughout the United States. The real beneficiaries soon became the newly minted generation of young African American filmmakers who were graduating from film schools with films under their arms and looking for a place to screen them. And even today, if a filmmaker wants to put his or her film to a litmus test for authenticity, I say ‘screen it in Newark’.’’
Financial support for the festival from Bank of America for the past 14 years has allowed it to expand to venues beyond the museum, including NJ State Museum/Trenton, Rutgers/Camden and Monmouth Arts Council/Asbury Park.
‘’As the longest-running event of its kind in the U.S., the Newark Black Film Festival never fails to bring an impressive lineup of movies to the Newark area and beyond,’’ said Bob Doherty, Bank of America New Jersey president. ‘’Celebrating differences in culture, ethnicity and experience serves to create stronger, more vibrant communities.’’
The 2014 NBFF season began on June 25 with the documentary Freedom Riders. On July 2, the Museum screened 20 Feet From Stardom. 12 Years a Slave will be shown July 9 at CityPlex 12 Theatre. The film Big Words, will be shown on July 16 and Moms Mabley: I Got Somethin’ to Tell You will be screened July 23.
Winners of the 2014 Paul Robeson Awards will be honored at an award ceremony on July 30 at the Museum followed by the screenings at CityPlex 12 Theatre. Youth Cinema feature films will be screened both at the Museum and the Newark Public Library in July and August.
The complete festival schedule may be found at http://www.newarkmuseum.org/NBFF.html.
-Jerry Enis, Consultant
On Friday, June 13, 885 participants spent a night of learning at the Newark Museum.
A Night at the Museum is a three-hour family program for parents and their pre-school age children to participate in different curriculum-based activities. This year-end program reinforces the experiences that took place during the school year through trips to the Museum and classroom visits by museum educators, and demonstrates how children can experience the Museum out-of-school with their families. An emphasis is placed on introducing the range of family programs available for Newark families such as weekend drop-ins, Saturday workshops, festivals and family days, planetarium shows and summer camp.
A Night at the Museum features family tours, hands-on art and science workshops and planetarium shows. This year Thomas the Tank Engine and Friends participated in a meet and greet. The fire department, police department and EMS responders were also in attendance to teach safety. Each student left the event with a backpack filled with materials that will keep their minds engaged over the summer months.
“This was my first time participating at the A Night at the Museum. As a presenter, I was very impressed with the diversity of the lessons and activities, the overall organization of the program, and the impressive number of children and families that attended. Thank you for allowing me to be a part of this worthwhile program,” said Julia Wieners RN.
-Shirley Thomas, Senior Manager for School and Teacher Programs
The Monuments Men, directed by George Clooney and starting Matt Damon, Bill Murray, Cate Blanchett, and others, tells the story of the Monuments, Fine Arts, and Archives program, an Allied group charged with the task of saving art objects and other cultural items looted by the Nazis during World War II. The group consisted of soldiers who had experiences in museums and other cultural institutions as curators, registrars, and educators. One of the Newark Museum’s own staff members was a member of this important elite group.
Francis W. Bilodeau was a young graduate of Bowdoin College in his native Maine when he joined the staff of the Newark Museum in 1938. Initially assigned to the Lending Department (later the Education Loan Collection), he was soon transferred to the Registrars’ Department where he was in charge of the care and preservation of American paintings and sculptures. In 1940-41 he took of year off to study art history at Yale University, and in 1942 he was drafted into the U.S. Army.
During the war, Bilodeau served as Staff Sergeant with the Combat Engineer Battalion of the 8th Division, in which role he saw active duty in Normandy. Immediately after the war, he was assigned to the Monuments, Fine Arts, and Archives program and posted to the Marburg Collecting Point, which was one of three centers in the American zone of occupied Germany. His group was responsible for conserving artwork damaged during the war and returning it to its rightful owners. As director of the Marburg Collecting Point and later the Wiesbaden Collecting Point, he was instrumental in arranging a series of exhibitions displaying these masterpieces to a population that had been deprived of art for most of the war. These exhibitions were some of the first to be presented in post-war Germany, and some of them even traveled to the United States. One of his most unusual accomplishments was his oversight of the reburial of the bodies of Frederick the Great; his father Frederick Wilhelm, the “soldier king;” and Field Marshall Paul von Hindenburg, the World War I hero, and his wife.
After his service in the military government, Bilodeau returned to the States to finish his graduate studies at Yale University and to start a doctoral program at the Institute of Fine Arts at New York University. In 1951 he returned to the Newark Museum as the curator of the American art collection, but in 1952 he left to become the Education Supervisor at the New-York Historical Society. In his long career in the museum field, he also served as an administrator at the John Herron Art Museum in Indianapolis (now the Indianspolis Museum of Art); the Sheldon Swope Art Gallery in Terre Haute, Indiana; the R. W. Norton Art Gallery in Shreveport, Louisiana; and other cultural organizations.
In 1998 the Federal Republic of Germany honored Mr. Bilodeau for his “remarkable and successful efforts to save valuable works of art” by “protecting German property and works of art and preventing the perpetration of new wrongs.” “Your distinguished, indeed, exemplary service in this post remains unforgotten,” wrote the German Foreign Minister.
- William A. Peniston, PhD., Librarian/Archivist
The Newark Museum’s latest acquisition is a large-scale bronze sculpture of a meditative figure with head resting in hands. Look carefully and you see that the figure is composed entirely from the forms of women’s shoes. The knees and thighs are composed from a pair of clogs, the feet are Mary Janes, and several high heels, some folded over, form the head. Ordinary objects of everyday dress are revealed in new ways.
For decades, artist Willie Cole has creatively transformed used shoes and other found objects — including blow dryers, bicycle parts and ironing boards — into imaginative works of art. Sole Sitter is an enlarged version of a sculpture by Cole assembled from actual shoes. The title is a play on words: “sole” evokes both the everyday (worn shoe bottoms) as well as the exceptional, while its homophone “soul” connotes spiritual essence.
The work’s form and dark patina also reflect the influence of African sculpture, which the artist was introduced to as a child growing up in Newark and visiting the Newark Museum. When I first saw this sculpture — in a photograph the artist took shortly after the work was cast in a foundry in Georgia — I immediately saw resemblances to works of art from central Africa. While Cole doesn’t base his sculptures on a specific African tradition or aesthetic, he surrounds himself with images of African art which filter into his subconsious and re-emerge in his work. “I’m exploring the ‘African’ aesthetic in general,” Cole says, “and re-presenting it in a neo-pop art idiom.”
Sole Sitter is on view in the South Wing rotunda, just up the stairs from the museum’s entrance. You can see examples of African art, a source of inspiration for Willie Cole , in the African galleries on the second floor . Another work by the artist is currently on view in the exhibition Papyraceous, in the American art galleries, on the second floor of the Museum’s North Wing.
- Christa Clarke, Ph.D., Senior Curator, Arts of Global Africa
Museum Musings by Amanda
The role of a teacher is vital to any child’s learning. They help kids focus their critical reading skills with questions like: Who? What? Where? Why? How? The Dynamic Earth and emPowered exhibits answer all of these questions with ease and comfort while enhancing the learning experience with fun technology. From the Natural Selection finch racing game to the wild tornado simulator, visitors can engage with technology that is designed to help them focus on the educational aspects of the exhibit while having fun. There is a sound satellite that kids can rotate to find the sound of the animals, and there are sustainable energy wheels and throttles that engage visitors of all ages. By engaging the visitor with cool technology, this exhibit becomes a great hands-on learning tool for teachers, parents and kids. After visiting this exhibit and using with the interactives, kids will probably be more interested in finishing their science homework! All of a sudden, Darwin’s theory doesn’t seem so hypothetical and antiquated; by giving a taste of the real life implications and allowing kids to have a go at it, their interest is heightened and the subjects that once were lackluster come to life through the creative space and engaging stations.
Walking through the exhibits, I found myself remembering the science textbooks of my earlier school years. The covers of these textbooks were always eye-catching with colorful illustrations like rainforest frogs, bolts of lightening or the solar system. While these books were always entertaining the class with vivid illustrations and photographs between the lengthy paragraphs of dry information, these science textbooks were also always thick and heavy. The exhibits Dynamic Earth and emPowered, with engaging play stations and artistry much like the textbooks are a great place to go visit as your child’s science class learns about animal habitats, the food chain, energy and sustainability, and earth’s minerals and materials. Exploring the e is an engaging and seamless adventure through the different chapters of the science textbook. I came out understanding more about different topics and had fun using the cool technology that makes the exhibit modern and integrated, and fun and hands-on!
Museum Musings by Amanda
The theme this week at Camp Newark Museum is ‘Make a Sustainable Future.’ You might think that learning about hydroelectricity, solar, wind and geothermal power would be soporific to the indefatigable campers (don’t you wish they sold Little Kid Energy instead of 5-Hour Energy?—it would last a whole day!). But as I watched from outside the classroom of the 5 and 6 year olds, waiting to take pictures, the kids were fully attentive and eager to engage as the high school aged science Explorers explained to them the multitude of uses and importance of reusable energy sources. The reason for the campers’ full attention is the structure of each day at camp. A well oiled machine, Camp Newark Museum has been around for years serving families in the surrounding area, from Newark to Springfield. The staff is committed to making each day rewarding and fun for the campers at the same time keeping the kids safe and healthy.
A camper at Camp Newark Museum has a busy schedule every day. Special activities range from Art to Science, from Music and Movement to Maker Corp, and from Planetarium play to free time in the garden. The older groups even take weekly trips to the local Glassroots and come home with unique glass art that they have made themselves. The art projects made in class are based on pieces in the Newark Museum’s expansive art collection. The Camp Exhibition of Week One focused on the Chinese New Year. Each class created dragons to celebrate the holiday. Chinese culture is important to the museum because of the large Chinese art collection at the museum. If you visited the galleries that week you probably would have seen the camp classes walking through the Chinese collection looking for inspiration for their dragons.
Testimonials on the Newark Museum website speak for themselves. One parent wrote “It was our first summer camp experience—fun and educational at the same time…What a treasure in NJ! Thank you for such a positive experience.” Stop by the museum for a visit to the galleries and consider sending your child to have fun and learn at the same time at Camp Newark Museum! The Newark Museum proves to be a wonderful camp environment for kids ages 3 to 13! Send your child for one week-long session or sign up for the last three. The themes for the next three weeks are: July 29-August 2, Wild Weather; August 5-9, Space Rover; August 12-16, What Bugs You. Call 973.596.6637 or email campnewarkmuseum@newarkmuseum,org for more information.