Category Archives: Director's Spotlight

Director’s Spotlight: Naming Opportunities

Colossal bust of Ramesses II, the 'Younger Memnon' From the Ramesseum, Thebes, Egypt 19th Dynasty, about 1250 BC. One of the largest pieces of Egyptian sculpture in the British Museum Weighing 7.25 tons, The British Museum, Room 4. Author/Photo by: Mujtaba Chohan. Source: British Museum Visit. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Colossal bust of Ramesses II, the 'Younger Memnon' From the Ramesseum, Thebes, Egypt 19th Dynasty, about 1250 BC. One of the largest pieces of Egyptian sculpture in the British Museum Weighing 7.25 tons, The British Museum, Room 4. Author/Photo by: Mujtaba Chohan. Source: British Museum Visit. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. Courtesy http://commons.wikimedia.org/.

In the early 1990s, my wife and I traveled to Egypt and spent three glorious weeks touring the ancient monuments. While there were many memorable sites and experiences, one discovery was of particular interest and connected to my work at the Michener Art Museum.

Ramesses II ruled Egypt for 66 years, from 1279 BC – 1213 BC, and was over 90 when he died. He was the great builder who filled the kingdom with monuments from Abu Simbel to Luxor. In almost countless locations all across ancient Egypt, you can find Ramesses’ cartouche prominently displayed. The graphic symbol of his royal heritage is engraved on many buildings and serves as an ever present symbol of his greatness.

I learned from this experience that the desire for immortality is a human trait that goes back thousands of years. The effort to put one’s name on a building has a long history and it is just as strong today as it was in ancient Egypt. We may no longer wrap our dead in specially treated cloth to preserve their physical being, but we are still attaching our names to buildings and institutions in an effort to be remembered and to be honored. Read More »

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Accreditation: A Measure of Excellence

American Association of Museums Accreditation LogoWhat does the word “museum” mean to you? What do you expect from an institution that calls itself a museum? There are many answers to those questions, but one of the most important qualities from my perspective is excellence, as a standard of performance in every aspect of a museum’s operation.

We all expect a museum’s collection to be excellent—what we have in our vault and on our walls. But there is much more to a museum’s work than building and maintaining a collection. Museums are complex organizations. They present exhibitions, they build buildings, they develop educational activities, they publish books and conduct research, they market themselves and invest in human capital, they raise money, they entertain us, and they protect and help to define our collective heritage. Museums serve their communities. They help to create community pride. In every one of those endeavors we should expect a museum to operate with finesse and skill.

We want to trust the museum as an institution of integrity, scholarship, professionalism, and style—a high standard for institutions that greatly vary in size, resources, mission, age and ability. With thousands of museums across America, how can the public know which museums can be trusted to uphold standards of excellence and which museums fall short of this important goal? Read More »

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Director’s Spotlight: Is the Museum for Sale?

Image of Exhibition Catalog, "Fern I. Coppedge: A Forgotten Woman."  James A. Michener Art Museum, Doylestown, Pennsylvania, 1990.

Image of Exhibition Catalog, "Fern I. Coppedge: A Forgotten Woman." James A. Michener Art Museum, Doylestown, Pennsylvania, 1990.

Maintaining ethical integrity has become a pressing concern in this time when trust in public institutions seems to be on the decline and the need for financial support has increased. A recent study by the American Association of Museums showed that the general public still holds museums to be among the most trusted institutions. Very shortly after I assumed my job as director of the Michener Art Museum in 1990, I faced the first of what would become a common ethical challenge as I strove to balance my responsibility to find the resources to maintain and grow the museum with my responsibility to uphold the institution’s independent artistic judgment and ethical integrity.

One of the first exhibitions I developed was the retrospective, Fern I. Coppedge: A Forgotten Woman. As part of that exhibit, the Museum wanted to publish an illustrated catalog as a permanent record of the exhibition. It was to be the first of many such publications the Museum would produce. The publication was to cost $28,000 for writing, editing, design, photography, printing and binding of 2,000 copies. One of my many jobs was to find the money to produce the book. I decided to ask collectors of Coppedge’s paintings who were lending works for the exhibition. One of the major collectors at the time was an individual who did not live in this community but who had the ability to help fund the book. I asked him for a $20,000 contribution, which unexpectedly generated my first true ethical challenge. Read More »

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Director’s Spotlight: Michener’s Earliest Acquisitions

William B. T. Trego (1828-1909), Battery, Forward! (also known as Bringing Up the Battery, Artillery to the Front, Civil War Battle Scene), 1887, oil on canvas, H. 19.25 x W. 29.5 inches, James A. Michener Art Museum. Museum purchase funded by Anne and Joseph Gardocki.

William B. T. Trego (1828-1909), Battery, Forward! (also known as Bringing Up the Battery, Artillery to the Front, Civil War Battle Scene), 1887, oil on canvas, H. 19.25 x W. 29.5 inches, James A. Michener Art Museum. Museum purchase funded by Anne and Joseph Gardocki.

The practice of museum directors spending their time in galleries and artists studios with fat institutional checkbooks to purchase artwork has long ago vanished. While there may be a small handful of very select institutions (The Crystal Bridges Museum is one example) with substantial acquisition funds, the current atmosphere is in sharp contrast to the early part of the twentieth century when directors from both large and small art museums would spend much of their time buying art.

Although a rare opportunity, I have always found the experience one of the most rewarding and interesting parts of my job at the Michener Art Museum. One of my earliest introductions to the pleasure of playing collector with institutional funds occurred in 1994 when the morning mail included a letter dated February 25, 1994 from a respectable gallery of American Art located in Connecticut. The gallery was given my name by a close friend, Peter Blume, who was at the time Director of the Allentown Art Museum. The gallery was offering a history painting by William T. Trego (shown above). Peter had been offered the painting which was not right for Allentown but he thought we might like the work. At the time I knew very little about Trego’s work but I found the picture of great interest. Read More »

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Director’s Spotlight: Discovering the Michener’s First Fake

(Attributed to) Franz Kline (1910-1962), Untitled, n.d., oil on canvas, H. 58 x W. 68 inches, James A. Michener Art Museum. Gift of Mari and James A. Michener.

(Attributed to) Franz Kline (1910-1962), Untitled, n.d., oil on canvas, H. 58 x W. 68 inches, James A. Michener Art Museum. Gift of Mari and James A. Michener.

When I first arrived at the Michener in 1989, the museum’s collection was virtually non-existent. The collection held fewer than 50 objects and most were not high quality. The only paintings of note were a small group of Abstract Expressionist canvases which Jim Michener had left in his Bucks County home. In the 1960s, Jim Michener had built an excellent collection of American paintings, the bulk of which had been given to the University of Texas at Austin. Among the works that had been left in Jim’s Pipersville home were paintings by Karl Knaths, Grace Hartigan, Kyle Morris, Helen Frankenthaler and the prized object, a large (58 x 68) untitled canvas by Franz Kline. Kline, who died in 1961 at the age of 51, was a giant of the New York School who, along with Jackson Pollock and Willem de Kooning, came to symbolize the power and vitality of postwar American Abstract Expressionism. Read More »

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