In addition to Tyler’s post, Ms. Genger’s installation was also discussed in Interior Design and Ana Finel Honigman interviewed Ms. Genger over at Saatchi Online. Don’t forget Ms. Genger herself wrote a post for this blog back in December.

Almost the whole installation

Anyway, you might be surprised to hear that we actually considered the possibility of someone trying to climb one of the pieces, and more specifically the possibility of someone bumping into one and toppling it. Be warned, though, Ms. Genger is awfully clever and with the help of Larry Smallwood (a freelance project manager), an internal support system was engineered to prohibit this from happening. Without going into the details I can say it’s highly unlikely that one of these pieces will topple. But, please trust me on this one: don’t come over and “test them out” for yourself.

I bring this up as an example of how we spend a lot of time around here considering things that our visitor may not be aware of. We take seriously the representation and care of our artworks. In fact, to focus on complex installations like Ms. Genger’s this institution developed an interdisciplinary team dedicated to the care and representation of artworks that we consider “variable.” In short, we say that variable art is a term that defines art that possesses changing observable state.

While Ms. Genger’s artwork likely will not vary considerably while on view as part of the “Whole” installation, we’ve been thinking about what it will mean to separate our newest acquisition, “Len,” from this installation, and then represent it in a new location. Remember, we didn’t acquire the entire installation, just our new friend Len. You can see him in the picture above in the bottom right corner.

Anticipating the possibility of the IMA acquiring one of Ms. Genger’s pieces, Lisa Freiman and I sat down with Ms. Genger the day after her excellent Artist Talk. We excerpted a segment of what conservators call an “artist interview” to hear Lisa talk about one of the reasons she was drawn to Ms. Genger’s work; you can here that excerpt on the “Whole” web page. The excerpt picks up in the middle of the conversation in which Lisa is talking about why she let out a loud laugh during Ms. Genger’s Artist Talk.

In case you’re really interested in the artist interview, here it is in entirety:
Download audio file (interview_with_orly_genger_and_lisa_freiman_and_richard_mccoy_11_21_08_32k.mp3)

In the interview I try to cover as many technical aspects of her work as possible. Art conservators are constantly researching from what and how art is made, and what better time to figure all of this out than just after art is made? Just think if there were recorded conversations with some of your favorite artists from the past. Those sure would help conservators out a lot.

But doing an artist interview is just one of the things we do to gather information about contemporary projects. While the project is being planned we’re constantly collecting information and images that describe and define it the process and final product. The hope is that this information will be useful the next time an artwork is installed, be that next year or 100 years from now.

Here’s something from the Genger project I find particularly interesting and helpful.

Artwork Installation Plan

It’s a plan drawing that illustrates the final placement of all of the pieces in the “Whole” installation. I won’t describe all of the details but it is important to point out that we worked hand and hand with Ms. Genger to make sure that the pieces were installed just how she wanted them, while at the same time insuring that we were providing proper access in the space for movement and egress. This is just a fraction of the information that the “Variable Art Team” collected during this project. In case you’d like to know more about this, I’d like to point you to a couple of great resources:

The Tate’s Media Matters project
The European Union project, Inside Installations
International Network for the Conservation of Contemporary Artworks (INCCA)

So, finally, I’d like to say, please be nice to Ms. Genger’s installation while it’s here at the IMA. And, I’d like to suggest one way for Tyler to get his hands on his own and very portable Orly Genger. He can go here and get one of her necklaces.

#6. IMA's Six Degrees of Separation

LACMA did it, everyone on Facebook is doing it, and now the IMA is turning it up a notch with blog “tagging”. Here it is…what you all have been waiting for…25 Random Things about the IMA. 

The Rules (according to Facebook, of course): Once you’ve been tagged, you are supposed to write a note with 25 random things, facts, habits or goals about you. At the end, choose 25 people to be tagged in your post.

1. General admission to the IMA is FREE!
2. Percival de Luce’s oil on canvas painting, An Anxious Mother, was the Museum’s first acquisition.
3. One person in all of Samoa visited our Web site in 2008. That person looked at five pages and stayed for just over two minutes.
4. Last year, 2,671 visited our site with an iPhone and 36 visited via a PlayStation 3.
5. One person visited the IMA Web site with a 1 bit screen resolution. How is that even possible?
6. Six Degrees of Separation: IMA staff member and blogger Anne Laker is cousins with the America’s Top Model Winner Adrianne Curry, who is married to Christopher Knight (aka Peter Brady), who once guest starred on That ’70s Show with Debra Jo Rupp (Mrs. Forman), who played Phoebe’s sister in-law on Friends, which starred Jennifer Aniston, who played a love interest of Kevin Bacon in the 1997 romantic comedy, Picture Perfect. Whew!
7. There are approximately 164 fluorescent lights mounted to the wall in the IMA’s Pulliam Great Hall. The lights are part of a three-story fluorescent light installation by Robert Irwin entitled Light and Space III, which was specifically designed for the museum’s main 60-foot atrium.
8. The largest painting in the IMA’s collection is Rosy Cardita by Larry Zox, measuring 69” 252”.
9. The smallest painting in the IMA collection is Portrait of Paul Peckham by Lewis Peckham. It measures 1 in. x 1 ¾ in.
10. Nancy Reagan and fashion designer Bill Blass (an Indiana native), donated a red silk, chiffon and taffeta evening dress worn by the former first lady to the Museum’s Textile and Fashion Arts Collection.
11. There was actually a vending machine in the building that sold art – Gallery of the Machine by Matt Eickhoff and Artur Silva. (The vending machine is making its way back to Artur’s studio at the Harrison Center for the Arts for some repairs.)
12. The IMA’s collection includes Vincent Van Gogh’s Landscape at Saint-Remy, which was painted during the final year of the artist’s life.
13. The IMA recently acquired the landmark Miller House and Garden in Columbus, Indiana. Designated as a National Historic Landmark in 2000, it is considered one of the country’s most highly-regarded examples of mid-century Modernist residences.
14. The IMA has its own in-house Nugget Factory which conceptualizes, films, produces and delivers high quality art video for ArtBabble.org.
15. The 52 acres of the IMA campus currently open to the public comprised the town of Woodstock in the early 20th century.
16. Encompassing 152 acres of gardens and grounds, the IMA is among the 10 largest encyclopedic art museums in the United States.
17. Last year, 508 IMA volunteers donated more than 26,000 hours of their time.
18. According to the Dashboard, the IMA’s Horticulture staff planted 30,443 new plants on the IMA grounds in 2008.
19. Martin Luther King Jr. Day is one of the most popular days for the IMA. In 2007, we welcomed 4,500 visitors on MLK day.
20. Within two years of beginning an engineering-based, detailed approach to reducing its energy consumption, the IMA’s average monthly demand for electricity and natural gas was reduced by about 40 percent. The energy conservations also reduced the IMA’s greenhouse gas emissions (CO2) by more than 6,700 tons.
21. The IMA’s Stout Reference Library has more than 100,000 items of information on visual arts including books, periodicals, museum publications, auction catalogs and individual artist files.
22. As one of the 10 oldest general art museums in the country, the Indianapolis Museum of Art was founded during American history’s most remarkable movement in creating museum institutions, starting in the 1870s when New York and Boston established their museums.
23. The Toby was built using 23,642 pounds of recycled material.
24. In 2010, the IMA will open 100 Acres: The Virginia B. Fairbanks Art & Nature Park, which will be one of the largest contemporary museum art parks in the country. The Park will feature artworks commissioned from both emerging and veteran artists, who will create temporary and permanent works in response to the site’s varied geography.
25. The Indianapolis Museum of Art offers FREE general admission! Oh, wait…did I already mention that?

If you missed last Thursday’s talk by Modern Art Notes blogger Tyler Green at the Central Library, presented by iMOCA, we’ve got you covered. Overall the talk was insightful–intriguing to those outside the arts world and passion-evoking for those intimately involved in the arts. “We all agree too much. Maybe we’re afraid to say the wrong thing,” said Green at the opening of his talk.

The afternoon before speaking, Green spent some time wandering the galleries of the IMA. The following are Tweets from Green’s visit to the IMA. You can “follow” Green on Twitter by clicking here.

• At Indy Museum of Art. Sweet.
• Digging Emile Bernard. Color, composition, his way of eliminating depth.
• Denis’ The Breton Dance from 1891 shows how important he would be to Bonnard and Vuillard and how they showed foliage/landscape.
• Rembrandt 20something self-portrait is fantastic and weird. Light. Diagonal of cap. Open mouth.
• Early Titian (20ish) portrait is creepy and soothing. Something odd about the eyes. And fur trim on coat is more painterly than hair.
• Fine Prints for Five Dollars at IMA is the most fun I’ve had in a prints gallery in eons. I hope the show is on http://imamuseum.org.
• Emile Bernard’s Yellow Christ: fascinating apostles. Mask-like: recalls later Picasso; simple, direct feature that recall very late Matisse.
• IMA Sandback space is haunting. Untitled diagonal going out window into beyond…
  

Green spoke to a crowd about the 10 (or more) things he hates about contemporary art, along with a brief explanation. Here is a short summary of what he had to say:

1. Mary Cassatt, American impressionist painter, 1844-1926: Green thinks her babies look unhappy and her children resemble horses. Judge for yourself by viewing Cassatt’s work in the IMA’s collection.
2. Sir Peter Paul Ruben’s “Daniel and the Lions Den”, c.1614/1616: To Green, the image just doesn’t make logical sense. How do the lions get in and out of there?
3. Jackson Pollock, American abstract expressionist painter, 1912-1956: Green feels the artist is more important than his art is great.
4. Political art such as work by Richard Serra: “It’s like a pop song you can’t get out of your head,” said Green.
5. We don’t have ambition for art like we did 100-200 years ago: The biggest thing we do is prevent $20 million from being cut from the National Endowment for the Arts budget. Green thinks we need to start thinking about what our nation’s priorities should be and how art can play a part. Increasing art education funding would be a good place to start.
6. The national/international landscape now: Green showed works that capture the ecological damage we are creating through consumption.
7. Art writing: Green played a game with the audience, asking them to differentiate between “real” published art critic and made-up language created from The Instant Art Critique Phrase Generator. He found himself confused, but the crowd seemed to get the difference.
8. Hypocrisy: Green hates hypocrisy but “love(s) how art can reveal it.” He showed examples that hung in Pastor Ted Haggard’s megachurch.
9. “I hate that big parts of America are left out of the art world.”: Green said that New York is not the be-all, end-all. Other places can be just as important. Green cited the IMA’s new “kick ass” Robert Irwin light installation saying, “It might be the best Irwin installed anywhere in America.” In the Q&A portion of his talk, Green went on to explain that in order for arts to flourish in a city, art schools, available studio space, people who buy art as part of the culture, and tremendous museum collections as visual community are all needed.
10. Letting the art market be a compass for what we think of art: Curators and collectors often follow the art market, placing value on artists and works that are most expensive. Green says to resist it.
11. “Artists statements suck.”

Green became a successful blogger by disagreeing with those around him and breaking news. We encourage open discussion on the IMA Blog and hope you will participate by commenting. And most especially, we thank the Indianapolis Museum of Contemporary Art for giving Indy the opportunity to meet Tyler Green.

Tyler Green

You may recall a few mentions of Tyler Green here on our blog.  He is the author of the distinguished art blog Modern Art Notes (MAN).  Waves of giggles and high-fives have radiated through IMA each time we get a mention among the national heavyweights featured on MAN (Except this recent one, which we internalized as an interesting challenge, emboldening our collective spirit).

So you can only imagine the excitement now that he is in Indy.  He will be giving a talk at the Central Library tonight entitled, “Ten Things I Hate About Contemporary Art.” This visit has been organized by the Indianapolis Museum of Contemporary Art.

To borrow a quote from IMCPL’s description of the program, the Wall Street Journal called MAN, “the most influential of all visual arts blogs.”  So I hope you are already checking your calendar, because this is an event not to be missed!  I hope to see many IMA blog readers there! Come say hi and collect a free IMA Blog t-shirt!  (While supplies last, of course!)

The details: Central Library (40 E. St. Clair St.), 7 PM, FREE  For more information visit IMCPL website www.imcpl.org.

Here’s the link to Lunder’s Twitter Site.  I’ve been following them since I first saw that blog post; I also follow a few other people: one of my brothers, a friend, an artist, and so on.  I’ve never posted anything to my Twitter account, but I do update my “status” on my Facebook account somewhat frequently, which is a lot like using Twitter.  Who knows why it so compelling to let my “friends” know what I’m up to, but I do it.

I hope by this point you’re asking yourself why the Lunder Center (or anyone) is tweeting or updating their facebook status.  Because that’s what I’ve been asking myself recently.  Why are we interested in doing this?  Are we deepening the way we communicate; or is the way we are communicating, searching, reading, and surfing on the internet changing us?  In the end I think this is the more interesting question: how is technology changing the way we think?

With Linda’s post last week and then Damon Darlin’s article, Technology Doesn’t Dumb Us Down. It Frees Our Minds in the NYT, which was a response to Nicholas Carr’s Atlantic Monthly article Is Google Making Us Stupid?, I’ve been kicking these thoughts around recently.

Of course, I don’t really have any answers, and I trust you weren’t expecting them from me.  To pair all of this down to a sentence or two: I don’t think technology is making us stupid, and, well, I really don’t think it’s making us any smarter.  But I am thrilled to be at this moment when technology is opening doors that were previously closed, showing us into parts of the museum (and every other part of society) that were previously off limits, and allowing us to collaborative work together on projects that are greater than each individual.

Listen to Clay Shirky at the 2008 Web 2.0 Expo talk about “waking up from the collective bender” we’ve been having on our free time and you’ll know what I mean.  I for one agree with him about the idea of “carving out a bit of the cognitive surplus” and putting it to good use.  And of course agree that it’s better to do something rather than to do nothing with “free time” (one of his arguments I find a bit tough: that playing World of Warcraft is more productive than watching a sitcom like The Office).

So, maybe this is why I’m so interested in following museum projects with Twitter, or why I’m willing blog for the IMA, read other conservation blogs, work on Wikipedia projects, or fool with Facebook (mind you I really don’t mess with any of these things while I’m here at the IMA, I’m just too busy with the “work” work I do. Honestly, that’s the truth.  I do all that stuff at home, on my free time.). I’m willing to do it because it’s doing something not nothing.  (Another side note here, the other weekend I made an application in Facebook that allows you to send art conservation tools to your friends – because they may need them.  I’ll let you be judge if this is doing something or doing nothing.)

I remember sometime ago when Tyler Green over at Modern Art Notes announced  that he was on Facebook, but then said “Not sure what I’ll do with it, but I’m open to suggestions.”  (Yes, he’s on also Twitter .)   Yeah, “open to suggestions.”  Me too.  I think that’s a big difference: it seems everyone and everything is now open for suggestions or discussion, or is just plain open. This is a change in thinking.  I think this proves that technology has the potential to free our minds, not make us more stupid.

I feel a need to bring this back to art conservation because, in the end, that’s what I do and what I’m nominally supposed to be writing about.  Using technology to talk about conservation or work on conservation projects has plenty of positives.  And doing it in an open way has the potential to get more people involved and make the work that we are doing in the museum more accessible.  Do I think using Twitter to let you have up-to-the-minute updates on what the conservators are doing on projects is a good idea?  I don’t know, and I don’t think I’ll be up for answering that anytime soon (unless, of course, the Nugget Factory decides to pony up the money to cover my cell phone data plan to let me experiment with it).

Finally, then, I’d like to take this post in a slightly different but related direction and end with another question: how does all of this technology and accessibility change our understanding of and interest in art?  I’m fairly certain that all of the art in the IMA’s collection has nothing to do with you sitting at home looking at a computer screen; you have to come here to see it.  Because I work in conservation, I’m reminded on a daily basis that art is a physical thing: it has dimension, occupies space, and in some ways is living a life here at the IMA.  A flat, glowing screen can’t relay this kind of information; art must be viewed and experienced in person.

Here’s my attempt to reduce this to a tweet: “Richard McCoy is unsure how technology influences viewing art.”

June at SFMoMA – I’m headed to San Francisco next week, and SFMoMA is on the top of my list for places to visit. There’s just something about that museum that makes me feel super hip when I’m in its presence. I’m fired up because I just discovered that I’m going to be there during the opening week of Frida Kahlo. I’m thinking about buying a membership to the museum just so I can hang out on Thursday night at the member reception. If that party is anything like what I’ve imagined, the cocktail hour is going to look like an opening of a Marc Jacobs store.

July at the MCA Chicago –I have to say, I am enamored by the MCA Chicago’s marketing team. Particularly the person that writes the eNewsletters. Even if you don’t live anywhere near Chicago you should sign up for their eNews. It is the perfect mix of wit and info. This July, I’m looking forward to a couple of things at the MCA. First, Jeff Koons opened last week and I can’t wait to see it. I’m also really looking forward to attending a First Friday event. Every month, the MCA brings in a DJ, features the work of local artists, and apparently has figured out a lighting system to make everyone at the party looking stunningly beautiful. Check out the pictures!

August at The Walker - My pulse raced when I read a headline from the Walker Art Center’s May enewsletter, “Walker on the Green: Artist-Designed Mini Golf.” Finally, my dream has come true! Before I was a museum professional, I was a golf professional. For a full summer after graduate school, I taught golf lessons at a country club. Other than meeting Leroy Neiman at a tournament, I have never found a way to incorporate my love for golf and my love for art. THANK YOU Walker Art Center for doing it for me! Thank you for making golf cool!

Folks at the Walker – I’m coming up this summer to play a round, and as a gesture of my appreciation, I’m offering free putting lessons to the entire staff!

]]> http://www.imamuseum.org/blog/2008/06/05/trying-to-stay-cool/feed/ 2 http://www.imamuseum.org/blog/2008/04/10/4-things-i-know-i-know/ http://www.imamuseum.org/blog/2008/04/10/4-things-i-know-i-know/#comments Thu, 10 Apr 2008 21:14:15 +0000 Meg Liffick http://www.imamuseum.org/blog/2008/04/10/4-things-i-know-i-know/ An homage to Tyler Green’s 5 Things I Think I Think.

Parades Are Really Hard Work -
On Procession is just 2 weeks away. This seems almost incomprehensibly imminent. After nearly 2 years of hard work, the IMA is ready to take art into the streets of Indianapolis for an exhibition on parade. From porta-potties to posters, participants to police the logistics of organizing a parade have been challenging and at times, overwhelming. And the real kicker is that the parade’s success is dependant as much on Mother Nature as it is on the last few months of hard work. Rain or shine, hell or high water we’re having this event. I’m certain that on April 26 we’re going to see the streets of Fountain Square flooded with people and not rain!

People Love Swag – The T-shirt contest is a real hit. In fact, it’s such a big success that we’re considering producing more IMA blog-related items. If you have thoughts as to what kind of additional swag you’d like to receive from the IMA, please comment on this entry. We’re open to any and all ideas – the cleverer the better. Oh and by the way, does anyone know where we can purchase a t-shirt gun?

Project IMA = Huge Crowd – Last Friday night we had almost 2,000 people attend Project IMA. It was exciting to see so many people at the museum in support of fashion art and local designers. Filled to the brim with the hippest folks in the city, the IMA was FIERCE (to borrow a word from the most recent Project Runway winner, Christian Siriano). In fact, the event was so well attended that we reached max capacity for the show almost 30 minutes before it actually began.

I Bummed I’m Missing MW2008 – I’m looking forward to a full report from my colleagues who are attending MW2008 this year in Montreal. Social Media, User-Generated Content, New Media Art AND CANADA…seriously, I’m a geek for this stuff. If you find yourself in Montreal near the Hilton Montreal Bonaventure, you should stop by. On Friday, the Nugget Factory’s very own Dan Dark will be part of a large group conducting a mini-workshop about YouTube.

Michael Kimmelman– Rocked my world in 2007! Last year I read his book The Accidental Masterpiece: On the Art of Life and Vice Versa and it changed the way I think about art, my job and my life. I’m also pretty sure he may have one of the coolest gigs in the world, as the chief art critic for the New York Times.

Tyler Green – First of all, he’s all MAN. I’m in awe of Tyler’s authoritative and often humorous blog postings for Artjournal’s Modern Art Notes (MAN). He keeps me in the know and constantly brightens my days with his prolific musings on the art world. I’m also completely in love with him because he just added the IMA to his blog roll.

Philippe de Montebello – Philippe is my original art crush. He’s been director of the Metropolitan Museum of Art since before I was born and I’ve always had a little thing for him. Not “little thing” actually…I’m talking Beatle’s Mania sort of “thing.” Honest to goodness, I might swoon if I ever meet him.

Kathy Halbreich – Not that there’s anything wrong with it, but I LOVE this woman. Actually, I don’t just LOVE Kathy Halbreich, I want to BE Kathy Halbreich. As former Director of the Walker Art Center, she was at the helm of one of the coolest arts organizations in the country. This woman is a visionary, a risk taker, and an enormous inspiration for me professionally.

Will Gompertz – This guy is as hip as they come. As Director of Tate Media at the Tate Museum in England, he has my ideal job. In addition to overseeing Tate’s Communications team and Tate’s magazine (TATE, ETC.), he also is the Director of Tate Online, a leader, if not the leader in Digital Media for museums. Check out those glasses. How could you not fall in love with this man?!