{"id":1109,"date":"2021-07-26T08:20:29","date_gmt":"2021-07-26T00:20:29","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1109"},"modified":"2021-07-24T13:40:27","modified_gmt":"2021-07-24T05:40:27","slug":"how-lacma-and-asu-are-charting-a-path-to-the-top-for-the-next-generation-of-curators","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/how-lacma-and-asu-are-charting-a-path-to-the-top-for-the-next-generation-of-curators\/","title":{"rendered":"How LACMA and ASU Are Charting a Path to the Top for the Next Generation of Curators"},"content":{"rendered":"

Six years ago<\/b><\/span>, the Andrew W. <\/b><\/span>Mellon Foundation<\/strong> published a report on the demographics of staffs at American art museums<\/a>. It found that 84 percent of those surveyed\u2014among them curators, educators, conservators, and other senior staff\u2014were white. \u201cThe museum population was about 10 percentage points more racially and ethnically homogenous than the U.S. population,\u201d Mari\u00ebt Westermann, the foundation\u2019s former executive vice president for programs and research, wrote in a summary of the report. A follow-up report two years later, done again in collaboration with the research firm Ithaka S+R, the Association of Art Museum Directors, and the Alliance of American Museums, was not much better. It found that people of color and women had assumed a greater number of museum leadership roles in the intervening years, but that the \u201cprogress has been uneven,\u201d Westermann summarized, noting that \u201ccertain parts of the museum appear not as quick to change, especially the most senior leadership positions.\u201d<\/span><\/p>\n

Michael Govan, director of the Los Angeles County Museum of Art<\/a>, and Michael Crow, president of Arizona State University, noted that lack of diversity in the upper echelons of art institutions, and decided to take action. The two institutions had begun collaborating on James Turrell\u2019s Roden Crater project near Flagstaff, Arizona, and one night a few years ago, over dinner, the two men hatched the idea for a graduate program that would enable museum staff members at the ASU Art Museum and LACMA\u2014professionals at the outset of their museum careers\u2014to continue in their positions while earning master\u2019s degrees. Such a model, they believed, could help people who already held highly competitive, albeit low-paying posts elevate their position within their museums. The first cohort of fellows of the fully funded ASU-LACMA Master\u2019s Fellowship in Art History graduated this past May, and their experience sheds light on how such programs might be effective in opening up opportunities for a more diverse museum leadership.<\/span><\/p>\n

The fellowship is a response to a problem that exists in numerous fields: Since most senior positions require a postgraduate degree, the barriers to entry for young professionals include existing student loan debt and prohibitive tuition costs.<\/span>Govan had seen such issues up close through LACMA\u2019s alliances with academic institutions and programs\u2014a number of the institution\u2019s curators also teach at the University of California, Los Angeles, and the museum is one of six participating institutions in the Andrew W. Mellon Undergraduate Curatorial Fellowship Program\u2014and the museum\u2019s own research on the lack of diversity in the curatorial field. In Crow, he found a partner interested in exploring uncharted territory.<\/p>\n

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\"Michael<\/div>\n<\/div>
Michael Govan (left) and Michael Crow announced the ASU-LACMA Master\u2019s Fellowship in Art History at an event in Phoenix.<\/span>COURTESY ASU NEWS<\/cite><\/figcaption><\/figure>\n<\/div>\n

\u201cThe thing about Michael Crow and ASU is that they\u2019re incredibly entrepreneurial and interested in new ideas,\u201d Govan told ARTnews<\/i>, adding that the university considers \u201cmany different ways they can look at higher education, and their willingness to experiment is incredible.\u201d<\/span><\/p>\n

That experimentation comes at an inflection point for both institutions. Both ASU and LACMA, Crow pointed out, are \u201cmassive institutions in complete redesign mode,\u201d citing LACMA\u2019s $750 million building project and the University\u2019s commitment to \u201cmeasure ourselves based on the change and the opportunity that we\u2019re driving in the community.\u201d<\/span><\/p>\n

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\"Aurora<\/div>\n<\/div>
LACMA\u2019s conservation lab is one of the places where ASU-LACMA fellows learn the tricks of the trade. Here, Aurora van Zoelen Cort\u00e9s (center) and Ariana Enriquez (left) work with objects conservator Silviu Boariu.<\/span>PHOTO HILARY WALTER\/LACMA<\/cite><\/figcaption><\/figure>\n<\/div>\n

A key element in the ASU-LACMA program is mentorship. Program fellows are paired with mentors outside their home institution so as to provide advisement on their courses of study, theses, professional trajectories, and externships, which might typically include travel but, due to the pandemic, took the form of interview series, catalogue essays, and other projects. There are also lecture series, symposia, and opportunities to meet other scholars in the field. The new graduates report promising results.<\/span><\/p>\n

\u201cBefore the fellowship, I wasn\u2019t as aware of the ways that I can make transformative change within my department and \u2026 be attuned to these DEIA initiatives,\u201d said Ariana Enriquez, a recent graduate who got her undergraduate degree in painting and art history at ASU and has worked as assistant registrar at the ASU Art Museum since 2016. Enriquez\u2019s thesis focused on Mexican-American women artists, and she said that the fellowship offered opportunities that allowed her to start building a professional network as she continues her work in collections management and registration. She said her externship, which involved interviewing museum professionals about how social justice movements might shape art institutions, \u201copened my eyes\u201d to her potential impact on museums in the future.<\/span><\/p>\n

One of the fellowship\u2019s greatest strengths, according to Dhyandra Lawson, a recent graduate who also works as a curatorial assistant in LACMA\u2019s photography department, is that it enables students to nurture their professional and academic aspirations at the same time. Lawson first joined LACMA in a ticketing office position and subsequently moved into the development department and later, curatorial. When she first heard about the fellowship, she was looking toward a future as a curator, for which she would likely require a postgraduate degree, but was hesitant to leave her job, a foothold in the museum world where she works with museum objects and organizes exhibitions.<\/span><\/p>\n

In Lawson\u2019s view, her participation in the program also benefits her institution. She specializes in photography and video art after 1970, and her thesis examined Black diasporic art practices in the 21st century. The fellowship, she said, brought together the \u201ctwo worlds\u201d of her academic research and her work at LACMA to \u201caugment the museum\u2019s representation of artists of color in the collection and, specifically, artists of the African diaspora.\u201d She hopes the experience \u201ccan create a community for [present] and future cohorts so that we [can] all be in touch and in conversation with one another. I think that community is a really essential part of the program that I hope it will continue to cultivate.\u201d<\/span><\/p>\n

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\"Ana<\/div>\n<\/div>
Ana Teresa Fern\u00e1ndez\u2019s painting The Space Between Us<\/em>, 2020, hanging on her studio wall.<\/span>COURTESY THE ARTIST<\/cite><\/figcaption><\/figure>\n<\/div>\n

The LACMA\/ASU program is not <\/b>the only one taking on the pipeline problem, and its leaders are beginning to examine the possibility of a relationship with a similar program, the Atlanta University Center Art History + Curatorial Studies Collective. And the Mellon Foundation itself has taken action. \u201cWe expanded our undergraduate curatorial fellowship program, provided support to programs working to develop a broader bench of diverse museum professionals, including the Smithsonian Latino Center Institute for Museum Practice, and increased investment in our existing curatorial studies programs, including at the Spelman College Museum,\u201d said Emil Kang, the Foundation\u2019s program director for arts and culture. It\u2019s through all these initiatives, he said, \u201cthat we\u2019re going to see real transformation of the field.\u201d<\/span><\/p>\n

Previous programs have also made their mark. ASU Art Museum director Miki Garcia<\/a>participated in a leadership support group through the Smithsonian when she was in graduate school, in the 1990s. \u201cI have personally benefited from this kind of support,\u201d she said. \u201cIt proved to be incredibly vital to helping me continue on the path of the museum profession.\u201d She says that \u201cas a woman of color and one of the very few museum leaders in the country who identifies as a U.S.-born, Latinx leader,\u201d she has a \u201cunique perspective\u201d on the LACMA\/ASU fellowship. \u201cI myself have navigated many of the issues that our students are facing,\u201d she said, adding that the fellowship recognizes \u201chow many of the factors preventing people of color from pursuing professional leadership positions [have to do with] the idea that they may not be able to finance it, and that they have real world sacrifices and decisions that they have to make.\u201d The fellowship is two steps forward, zero steps back. \u201cThey are getting this degree at a top university that is supported, without having to riddle them with debt, and they\u2019re coming out with foundational career experience that doesn\u2019t have to put them at the entry level position right at the beginning,\u201d she said.<\/span><\/p>\n

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\"ASU-LACMA<\/div>\n<\/div>
ASU-LACMA fellow Ariana Enriquez, left, and artist Ana Teresa Fern\u00e1ndez during a Zoom interview conducted as part of Enriquez\u2019s thesis.<\/span>COURTESY ARIANA ENRIQUEZ<\/cite><\/figcaption><\/figure>\n<\/div>\n

How the ASU-LACMA program evolves will depend largely on its fellows. \u201cEach group of fellows brings a different expertise from their own backgrounds and perspectives, so I think that\u2019s what will keep the program growing in some ways,\u201d said program director Ang\u00e9lica Afanador-Pujol, who is also associate professor in the School of Art at ASU. It will also depend on future partners. Govan and Crow\u2019s program is expanding its network of museum partners beginning this coming fall with the addition of the P\u00e9rez Art Museum Miami, from which one of the fellows will come. The P\u00e9rez\u2019s participation, Afanador-Pujol said, will offer students access to robust collections of Latinx and Afro-Caribbean art, and curators from the Miami museum will teach one to two courses in the program each year.<\/span><\/p>\n

\u201cOur hope is that we would have a wider range of subjects that could be covered in classes and seminars,\u201d Afanador-Pujol said, adding that, while the leaders of the fellowship had discussed adding four or five new museum partners in the next few years, the pandemic may complicate that rapid a pace of expansion.<\/span><\/p>\n

Steven Tepper, dean of the Herberger Institute for Design and the Arts at ASU<\/a>, said that expanding the program\u2019s curriculum is a priority, and the development of that curriculum\u2014through adjustments to syllabi and the creating of entirely new courses\u2014is informed not only by new museums in the network but also feedback from students.<\/span><\/p>\n

\u201cI don\u2019t think there is a single art history program in the world that has a curriculum that is fully evolved for our current moment,\u201d he said. \u201cBut we want to make significantly more change in that area around decolonizing the curriculum and offering new kinds of courses that students are interested in that perhaps our faculty don\u2019t have expertise in.\u201d<\/span><\/p>\n

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\"Fellows<\/div>\n<\/div>
LACMA\u2019s conservation lab is one of the places where ASU-LACMA fellows learn the tricks of the trade. Here, fellows Ariana Enriquez and Matthew Miranda work with conservator Janice Schopfer (left).<\/span>PHOTO HILARY WALTER\/LACMA<\/cite><\/figcaption><\/figure>\n<\/div>\n

Govan sees the program as one indicator of a paradigmatic shift in the study of art history and the structure of museums, highlighting the steady \u201cdismantling of traditional categories\u201d and rigid constraints that have historically governed the academic and professional fields. The combination of new kinds of academic programs in art history and continued calls for structural change in art institutions, he said, will \u201chave a fundamental impact on the organization of art museums.\u201d<\/span><\/p>\n

\u201cThings are changing fast in terms of fields of study, in the art people are interested in showing, and I think we\u2019re going to see a rapidly evolving field of art history\u2014and that is exciting,\u201d Govan said. \u201cHopefully, programs like this will be one small piece \u2026 hastening the diversity of not just the people [holding leadership positions in museums], but also the ways of looking at art history.\u201d<\/span><\/p>\n

Lawson said that one of the most significant ways the ASU-LACMA Fellowship might impact the field is by serving as a model for other institutions to adopt.<\/span><\/p>\n

\u201cI really hope that it can be a provocation for other museums to be thinking about how they are addressing [getting] more diverse individuals into the highest ranks of their leadership,\u201d she said. \u201cI hope that more and more of these types of programs materialize around the country\u2014and around the world\u2014so that we can really effect change.\u201d<\/span><\/p>\n

 <\/p>\n

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Source: https:\/\/www.artnews.com<\/p>\n","protected":false},"excerpt":{"rendered":"

Six years ago, the Andrew W. Mellon Foundation published a report on the demographics of staffs at American art museums. It found that 84 percent of those surveyed\u2014among them curators, educators, conservators, and other senior staff\u2014were white. \u201cThe museum population was about 10 percentage points more racially and ethnically homogenous than the U.S. population,\u201d Mari\u00ebt […]<\/p>\n","protected":false},"author":5,"featured_media":1110,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1109","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nHow LACMA and ASU Are Charting a Path to the Top for the Next Generation of Curators - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Six years ago, the Andrew W. 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