by Courtney Henson, Visitor Services Manager

St. Louis Art Museum docents are amazing.  For two full years the dedicated group has been planning and coordinating a huge effort: Hosting the 2011 National Docent Symposium. Over the past three days, docents from national museums have been in St. Louis and taking notes on the volunteer programs at multiple institutions here. There were guest speakers who rallied the group and breakout sessions that delved into wide ranging topics on how to assist your institution with the visitor viewing experience. “Docent”, “volunteer”, “gallery educator”. These are just a few of the names given at various institutions to the people who volunteer their time to help guests experience art. The Pulitzer had the great honor to co-host a dinner with CAM for about 100 docents and to run a workshop highlighting our Exploring Art program. 

I learned that the bulk of the docents from all over the United States and Canada had backgrounds as educators. They were not always art teachers and certainly not even always a traditional teacher, but their passion for education led them to pursue docenting. It became very clear that the job of a docent has changed over the past ten years, but each docent’s personal desire to encourage learning has evolved his/her process for interaction in the galleries. There seems to be a direct move away from didactic tours that are directly scripted and instead to engage the guests in conversations about the work. This is the approach taken at the Pulitzer. 

For our current exhibition we are trying something a little different. We are bringing together Buddhist practitioners and our PFA docents on the Mezzanine on the third and fourth Saturday’s of the month for a couple of hours in the afternoon. In Exploring Buddhism and Art , there are two minds for our guests to pick, one with expertise on the culture of Buddhism and one with expertise on the art and architecture of the Pulitzer. 

In 2013, the National Docent Symposium will be held in California, and I personally look forward to investigating how that city and the gathered docents have evolved their styles at that time. It was a truly rewarding experience to explain the Pulitzer’s methods as well as share ideas from around the country

http://www.vimeo.com/27209882

Theaster Gates and his students talk about Gate’s summer course through Washington University in St. Louis. During the class, students worked with Gates to rehab a house in Hyde Park and devise ways in which the house can be used as an arts hub for the neighborhood.

Community projects at the Pulitzer have always raised questions of sustainability. In understanding our institution’s ever-evolving role within the community arts of St. Louis, we are a catalyst, incubator, and (at our best moments) innovator. We work to enhance the already-impressive, effective, and inspiring work of our colleagues by bringing both the strengths of a cutting-edge arts institution dedicated to promoting the personal experience with all arts and social work practice. This means, however, that we are at risk of violating one of the founding principles of community practice by parachuting into a community then exiting quickly, without sustaining commitment to the communities with whom we worked. In principle, we are keenly aware of this and have attempted to balance our institutional identity with ethical community practice by forging partnerships with institutions that have the potential to carry the innovation forward. As this department is coming upon its fourth year, we are still in the process of learning what it means to “carry the innovation forward” and just how much continued support and involvement it might take from the “catalyst”.

Take Theaster Gates in Hyde Park for example. Theaster entered this community through our project, which was a collaboration between Holy Trinity Academy and Succeeding with Reading, a program that had existed at Holy Trinity Academy for a few years preceding Urban Expression, the Pulitzer-catalyzed program inspired by our exhibition, Urban Alchemy/Gordon Matta-Clark. He was captured by the community—particularly, the kids—and became committed to arts-infused community development in the neighborhood. While our exhibitions changed (and the programs with it), we were able to stay involved by co-sponsoring the CityStudioSTL (Somethingness: Ways of Seeing and Building) with the Sam Fox School of Visual Art and Design at Washington University in St. Louis. In so doing, we are figuring out our institution’s role in ensuring that Theaster’s commitment to Hyde Park (through Rebuild Foundation) has a better chance at success. It’s a work in progress, but the brilliant work of Theaster, his employees, and the students of this summer class have provided another huge step toward fulfilling the potential of a beautiful, if neglected neighborhood and doing so by forging partnerships between existing community members and those from the outside. We’ll keep you posted as his work evolves.

Regina Martinez and Emily Augsburger, from the Pulitzer’s Community Projects department, stand in front of The Heidelberg Project in Detroit, MI.

Two weeks ago we traveled to Detroit to attend the Rust Belt to Artist Belt III conference. The mission of the conference was “to create the foundation for a sustained dialogue that connects an entire creative supply chain; from creative practitioners such as individual artists and designers, to creative sector business owners, to advanced manufacturers and prototypers”. The mission alone piqued our interests, and once we glanced through the panel topics, we knew we had to go. The conference started two years ago in Cleveland, Ohio, a city also grappling with its post-industrial identity. The conference moved to Detroit as the city has some words to offer on the matter. As native St. Louisans, we have witnessed a similar identity struggle here. But as we learn to address the challenge and what it means to be a post-industrial city, we are provided an amazing opportunity for transformation.

Rust Belt to Artist Belt provided a framework in which we could view the myriad of issues facing rust belt cities and how these issues can be addressed by using the resources within the creative community.  As conference participants we were asked to re-think artists and the creative community by acknowledging their very active role in our future-making. We agree that artists play an essential role in the revitalization of landscapes and the vibrancy and cultural connectedness of a place. The conference, however, focused so heavily on building the creative community by calling for new individuals to cities, that we feel it did not fully recognize the creative assets already present. We must recognize, support and connect the creative assets already alive in our cities.

Individuals participating in a panel discussion entitled “The Power of Race in Placemaking and Community Development” shared our sentiments. Not only was this particular panel discussion vital to understanding a community, the conversation is key to many Rust Belt cities. We all have prejudices.  Art is a means of facilitating conversations and social issues that have destroyed and isolated us in the past.  Artists express, artists can be anyone, and art has the capacity to build bridges across all divides.  Art and life are not so separate, and it can be through our collaborative storytelling that we grow to greater connectedness and understanding of one another. 

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This Saturday at 1pm, Bill Wischmeyer, Architect of Record for the Pulitzer building, will share his personal knowledge of Tadao Ando’s St. Louis achievement for the second Exploring Art: Dreamscapes and Ando’s Architecture. Last month, Emily Pulitzer explained her vision of the building and the realization of that dream. Pulitzer docent Francesca Wilmott recaps that discussion here:

Speaking in front of the reflecting pool, Emily Rauh Pulitzer shared the lively deliberations that occurred between her and Tadao Ando, as well as artists Richard Serra and Ellsworth Kelly, whose work was commissioned for the building. Unlike the commissioning process in the United States, Mrs. Pulitzer explained, Japanese architects do not traditionally involve clients in each stage of their planning. However, Mrs. Pulitzer held to her vision, and together, she and Ando developed an art sanctuary that fulfilled both their aesthetic and practical needs.

Tadao Ando has discussed the tensions that often accompany a collaborative process, noting that: “Working collaboratively with such uncompromising artists was incredibly demanding. However, the numerous changes and modifications made with each visit to the construction site have given the works a vitality and reality unique to this place. For me, the exciting collaboration with these artists has provided a rare and stimulating opportunity to reconsider the architecture and to rethink what it means to create.” Ando made one such modification upon viewing Richard Serra’s plan for Joe, the enormous Corten-steel sculpture that occupies the outdoor courtyard. Rather than constructing wide vertical windows along the wall that looks onto Joe, as initially planned, Ando felt that narrow horizontal windows would better frame the sculpture from within the building. Read the rest of this entry »

Director Matthias Waschek explains why the Pulitzer doesn’t label the artwork in its galleries.

This past December, local architect John Pankey and I led a writing workshop for literary center StudioSTL, using the setting of Urban Alchemy/Gordon Matta-Clark as our muse. It was the second time the Pulitzer and this Grand Center neighbor have come together.

Over the summer, StudioSTL’s director, Beth Ketcher, read for A Marathon Metamorphoses and wrote on the event’s corresponding blog what she felt the marathon was about. Her attitude reflected a principle StudioSTL and the Pulitzer share: the arts are for everyone.

The goal of December’s workshop was not for the participants to produce refined art reviews but to get them to think comfortably, descriptively, analytically, and creatively by jotting down verbal sketches of what they saw in the galleries. Given optional cues in a worksheet, the young authors were asked to investigate the space, write down what they thought, and read their writing to everyone as a conclusion to the session.

Below, one of StudioSTL’s mentors reflects on the workshop.

Paula Davis is an Engineering student at Washington University and a mentor for StudioSTL.

On the twelfth day of the twelfth month, a few young writers–high school students–and a number of volunteers from StudioSTL, sat holding gray pamphlets, on the gray concrete floor of the Pulitzer Foundation for the Arts, in its gray concrete building, under St. Louis’ cold gray sky. It was quiet. Read the rest of this entry »

Realizing that I never finished my blog about Day 2 at the Harvard Art Museum’s Art and Medical Education conference, I thought I would add to those thoughts now. Coming off our visit to Detroit, where both the DIA and MOCAD sit in close proximity to the medical center, and headed to a visit to the Frist in Nashville, who maintains a strong relationship with Vanderbilt’s medical center, it seems as if there is growing energy and propelling those of us working in the art world to bridge the gap with those in the medical world. The points of intersection are numerous, whether they exist with engagement of patients, medical teams, students, residents, or otherwise.

As my position is jointly appointed with the Brown School of Social Work, who recently founded the Institute for Public Health, this is adding further fuel to this intellectual fire. For this particular partnership, my current mode of exploration, while broad in focus, continues to return to the theme of health disparities—how can art museums use an engagement around art to address health disparities? I would love your thoughts and comments about this particular train of thought.

Crew members from Earthworks Urban Farm in Detroit pose with their produce.

So my personal Detroit visit included conversations with Matt Sikora, head of evaluation at the DIA, and Jennifer Czajkowski, Direct of Interpretive Programs at the DIA. For those of you into evaluation, the DIA conducts what I consider to be an unprecedented amount of formative evaluation, or evaluation that is done during the formation of an exhibition (like market testing), which dovetails nicely with their strong commitment to innovative interpretive strategies, an effort in which Jennifer is highly instrumental. These interpretive strategies, the incorporation of which is based on the theoretical work of Abigail Housen and stages of aesthetic readiness, include thematic curation of exhibitions, specific language in wall text that isn’t necessarily rooted in art history, and other assistive devices, such as “I Spy” plaques and, my personal favorite, the table in their Fashionable Living exhibition that shows pieces on display being used in an 18th century dinner. The truly innovative model of how learning and interpretation (formerly, education) and curatorial interact to create one type of “optimal visitor experience” is somewhat antithetical to our approach, yet both of our institutions are striving toward the common goal of supporting the relevance of art in everyone’s lives. Read the rest of this entry »

Andrew Raimist, an architect, talks about Bingo for Frame of Reference. To watch video of part of his talk, and to read his thoughts on the Pulitzer and Gordon Matta-Clark, visit Architectural Ruminations.

On the first Saturdays of every month, the Pulitzer hosts Frame of Reference, discussions lead by special guests about specific artworks on display. It’s a wonderful opportunity to gain insight on the art and artist, as well as the chance to ask questions and engage in invigorating conversations.

A couple Saturdays ago, I listened to our Senior Curator, Francesca Herndon-Consagra talk in the Cube Gallery about the Matta-Clark piece Four Corners. About ten other people were  in the room, walking in and around the objects as we discussed and learned what these four corners of a now demolished house meant as a physical document and how we can mentally interpret this work in the present day.

Frame of Reference Saturdays are a great way to further explore the Pulitzer space and visual art.  It welcomes anyone and everyone to participate in a fun and interesting discussions about art, without making you feel like your in a class lecture. It’s great to see familiar faces in the art community and to share a viewing experience with a group of people.

Gallery Assistant Kay Renner talks about Conical Intersect and invites you to come to the Pulitzer.