The partnership between the Pulitzer Foundation and the George Warren Brown School of Social Work was established in November of 2007. This past fall, near the second anniversary of the partnership, students at the George Warren Brown School of Social Work at Washington University (GWB) created a new student group. The Community Arts Initiative, or CAI, was born into a family of a dozen other active student groups. But CAI’s birth could not have occurred at a more appropriate time.

With an influx of admitted students interested in the relationship between arts and social work coupled with the partnership between GWB and the Pulitzer Foundation maturing, CAI’s inception seems to be written in the stars. CAI’s mission explores building awareness of the role of art in social work and public health practice by creating community connections and providing educational opportunities. Read the rest of this entry »

On Tuesday, Assistant Registrar Elise Hall and Community Engagement Manager Lisa Harper-Chang spoke to an Art and Civic Engagement class, at the University of Missouri in St. Louis. In addition to sharing their work experience and how they got their start in the art world, Elise and Lisa explained ways in which the Pulitzer reaches out, not only to its community partners but also to general Grand Center visitors. Although they mentioned Staging Old Masters and Let’s Look, they centered on the The Light Project and The Community Light Project as examples of community engagement.

The class professor, Mel Watkin, had e-mailed Visitor Services to see if a staff member could speak to her class about specifically The Light Project. The class was made of Seniors, with specializations in areas such as Library Science, Art History, Graphic Design, and Theater.

“They were very enthusiastic and asked a lot of really good questions,” said Elise. 

With a PowerPoint presentation of around 100 images, Elise reported working behind the scenes as a registrar, noting chief details such as the selection of artists and art sites, the insourcing of workers, and the securing of equipment (scaffolding, fencing, projectors, wiring, solar panels, an ice cream machine, sprinkles, etc). Can you imagine keeping track of that? She also emphasized the importance of working with a variety of local consultants: structural engineers, ironworkers, projection specialists, and dairy experts among others.

“I didn’t know anything about solar paneling, so I had to find the best possible authority on that topic.”

Lisa described the public’s overall reaction and the implementation of The Community Light Project. The latter involved partnerships with four neighborhood schools, Washington University, and the Saint Louis Symphony Orchestra.

Elise said the UMSL experience was positive for her; it gave her the opportunity to teach as well as to reflect and process all that went into that massive enterprise in the fall of 2009.

A photo from Elise’s PowerPoint presentation

Tim recently forwarded me a paper he received from a local university student.  She wrote about her visit to the Pulitzer’s Minimalism and Beyond exhibition for a class.  It’s a great description of her personal experience here — she did an amazing job of describing what it’s like to explore the galleries.   One of the latest projects Tim and Lisa are working on is how to measure the quality of a visitor’s visit vs. simply measuring the quantity of visitors coming through the door.  This paper gives some nice feedback on the quality of one student’s visit here, and I know there will be future posts from both Tim and Lisa as they delve into this issue more.  So here’s her paper.  It’s long, so this will be part 1 of 3:

Upon entering the Pulitzer Foundation for the Arts building, it is not quite clear what Tadao Ando’s intention was or how it was accomplished, and the only function you are aware of is that of displaying art.  The space seems so complex in that there are so many options, and you are not sure where to go or if you are even allowed to follow some of the paths available.  As you journey through this space, however, the purpose and function becomes evident. It is this journey that the viewer experiences that seems to fulfill the purpose and serve the function of this amazingly intricate space and it is only at the end of the voyage that the whole purpose is realized.  Through this journey you begin to understand that you experience each space in relation to another; what you perceive comes from what you have just seen before.  The building is imbalanced and asymmetrical and the effect is that you are forced to perceive everything in comparison to the others.  The Relationships between the art and architecture and between you and the art are what the journey is about.

At first things seem so simple with the building being composed of and filled with the basic materials of concrete, light, water, and metal, but their complex use is what provides the space’s with its overall feeling; the use of light and water bring a tranquil feeling to the space while the use of metal and concrete provide an urban feel.  So, right away the space sets the mood, but the purpose is still to be discovered.

As you make your way through the building you are led into a double-height, central space where a wall of windows reveals a soothing scene of a terrace and reflecting pool. Two doors supply entrée to this outer space. The main gallery in the east division presents a constant flow of space that travels nearly the full length of the building. Its light is natural and comes from a row of windows that face the pool and west branch of the building. From here, a stair descends to an impressive double-height area with a narrow skylight. The stairs face a wall that displays the two-paneled Ellsworth Kelly piece titled Blue Black, which was specifically commissioned for this space. The skylight is directly above the Kelly piece and as the light from the window changes so does the painting.  If one were to see this painting during the high point of the day they would see a bright blue panel contrasted with a dark black panel, but if one were to see this painting at night the entire piece would appear to be solid black.  This seemingly simple piece of art that appears to consist of nothing more than a rectangle and two basic and unchanging colors is really a complex member of a grander piece of art with a shifting appearance and range of colors.  This piece of art is not solid in form, but changing; its purpose is to materialize itself differently according to the light.

Part 2 coming soon…

Monday and Tuesday, June 11 and 12, the Pulitzer hosted an experimental symposium in relation to Portrait/Homage/Embodiment. It was essentially a series of conversations with professors and graduate students from five schools: Harvard, Princeton, Stanford, Wash. U. (departments of art history) and Ohio State (the department of art). The program–determined by students–allowed for some great moments of dialogue between art historians and artists. Not least among them: a discussion on “the performance of portraiture” followed by a kind of performative conclusion by Ann Hamilton.

We should have some textual and visual documentation in the “events and programs” section of our website in the coming weeks. Check back soon. In the meantime, I recommend you take a look at the documentation of our Sugimoto symposium on September 30, 2006. The interesting “reflections” on the symposium, written by four graduate students in attendance, had a considerable influence on our decision to invite so many more graduate students to this recent symposium.

As I’ve recently mentioned, each of our school programs has a culminating end-of-the-program event, where the students involved can showcase what they’ve been working on and everyone in the community is invited to come and participate.

Tonight is that event for our French program with Lindenwood University. They’ll be in our galleries, ready to talk about the art work on view. However, the catch is, you have to know (at least a little) French to discuss the works with them. My French is limited to being able to nod and say “oui” so if you can at least do that, you should come. The students put together French descriptions of each of the works they’ll be talking about. Here’s the one for Roni Horn’s Asphere VIII in our Entrance Gallery.

Roni Horn (née en 1955)
Asphère VIII, 1986-90

Acier solide
Collection Hauser et Wirth, Zurich

L’identité est une notion très importante à Roni Horn, qui définit Asphère VIII comme son autoportrait. Il ne s’agit point d’une sphère parfaite, même si la première impression suggère le contraire. Pendant les 5
ans de la création de cette œuvre, l’artiste a travaillé sur d’autres définitions de sa propre identité, comme The Odd Morphology of the Asphère. Horn s’intéresse à l’idée de l’androgynie, alors, quand vous regardez l’oeuvre, pensez à comment elle peut être vue comme masculine et/ou féminine.

If you could understand at least 20% of this, then we’ll see you from 5-7pm tonight.

This morning we’re kicking off our French program with the first official tour of this exhibition. This is a continuation of a program we started last year with Professor Nancy Durbin of Lindenwood University. Her students come to the Pulitzer and learn all about our exhibition and train to give tours. Except, there’s an added twist — the tours they give are completely in French.

The students have done a lot of research, prepared descriptions in French about the works on view, and have given each other lots of practice tours. Here are two of the students practicing a few weeks ago in the galleries:

Today, they are giving their first official tour to their peers from Lindenwood. In a few weeks, they’ll really be put to the test by giving tours to high school students enrolled in French classes. Not only will they be talking about art in French, but also they’ll need to communicate on a level so that both university and high school students will be able to engage in discussion with each other. It’s also a great opportunity for the high school students to try out their French skills and talk with older students about majoring in the language.

The Lindenwood students are going to be writing blog entries about the program, so check the University Programs section of our website for their thoughts and more photos soon.

After Sugimoto closes in October, the next exhibition on view at the Pulitzer will be Portrait/Homage/Embodiment and opens November 3rd. Therefore this summer we’ll be focusing quite a bit on what kinds of programming we would like in conjunction with this exhibition. One we will definitely be continuing is the French student docent program we started during Minimalism and Beyond (read about it here and here). The plan is to work with Nancy Durbin, professor at Lindenwood University, again but to expand the program to include more high schools and university classes throughout the St. Louis area. One of the students in the Minimalism French program, Rebecca, just sent me a great post about her experience in the program. Feedback is always helpful, and this post will definitely give us inspiration as we plan part deux.

When my French professor asked some of the French majors at Lindenwood University if we would like to learn how to study and give a tour of the Pulitzer Foundation for the Arts, I didn’t know what to think. I love art but modern art, especially in the line of Minimalism like the exhibition we were to learn about, was not my forte. I love most classic scenic paintings and statues of people one can recognize. I did not know anything about Minimalism and the ideas behind the art form. Nor did I know anything about the Pulitzer. However, I decided to be involved in the project knowing only that I love French, I love art, and I love an adventure. It turned out to be quite an adventure!!

Four students, including myself, arrived with our professor not knowing what to expect of the building, the people who work there, or the art. I only knew what the Pulitzer’s website told us about Minimalism and that didn’t allude to the breathtaking experience we had the first time, or the second time, or any of the following times.

The building is filled with light and every corner hides a completely different facet of the building, which one can only discover by exploring. Each gallery is drastically different and each has its own moods and emotions which it shares with the viewer. The art displayed in the galleries adds to the mood, but doesn’t take away from it or hinder the viewer from experiencing the character of the building. The structure is strong and the walls thick, but the light is free to move about the rooms, playing with reflections and shadows on the walls. One feels that the experience of merely being in the building is more than just being in a structure made for art. The structure of the building is art. The building complemented the Minimalist exhibition perfectly, sometimes physically supporting a work, sometimes serving as the space for the light of a work to play in. Studying the works of Flavin, Serra and others was amazing, but I will go back time after time to the Pulitzer to enjoy the building itself, which was apparently designed lovingly with careful thought given to every corner, bit of wall, floor and ceiling.

The wonderful people who work at the Pulitzer have an admirable sense of respect for the art displayed there. Those who can guide an observer on tours have ample knowledge of the art and the building, and respect even ideas that they might not have understood at first, but through careful study grew to respect. They made the Pulitzer the place of peace and aspiration that it is. A building with character is wonderful, but people with character are valuable beyond any structure. Without the people who work at the Pulitzer to keep it as a sanctuary for the arts, it would not be the place that I look forward to seeing again. Besides, without artists, who would have art? The workers at the Pulitzer care about society and helping people, and that is more important than even keeping art in society. Thank you for making our project a successful and beautiful experience! (Rebecca, Lindenwood University student)

Recently, I wrote about a program between the Pulitzer and French classes and the culminating field trip that took place. Students from Lindenwood University were trained as docents of our Minimalism exhibition and gave tours completely in French to high school students from Wentzville. We’ve had a lot of fantastic responses to this program. Read the original post here, and scroll down to read the comments — many of which were from the high school students and written in French! One of the college students, Lauren, reflected on her experience working as a French docent:

“Our opportunity at the Pulitzer giving tours in French has been such an enriching experience. I was intimidated by the whole prospect at first, but everyone was so helpful and encouraging. During our learning sessions, I was inundated with a ton of great information. By the time it was our turn to give the tours, I was very excited to share all that we had learned with the other students. It was even more rewarding to hear how much they also enjoyed the exhibit. I felt that by sharing the exhibit with others, I was engaging myself in the real experience of art”.

The whole experience has been enriching for us at the Pulitzer as well, and I’m looking forward to this program continuing and developing even further. I’ve updated the Photo Album section on our sidebar with more images from the field trip, so be sure to check those out.

A sidenote: We at the Pulitzer’s side of the blog are very sorry to see Mark at the Contemporary go, but know he’ll do well and spread the word of blogging wherever he goes. Hopefully he’ll comment here from time to time (maybe write a guest blog?) and I look forward to reading the blog he’ll surely start at his next institution.

Right now we are gearing up for our “After Hours at the Pulitzer” event tonight. Similar to our event with Saint Louis University, tonight student docents from Washington University will be on hand throughout our galleries to discuss the exhibition, this time with students from universities throughout the St. Louis area. We at the Pulitzer would like to be a place that students can use as a resource, show their family and friends, or just visit on a Saturday afternoon. Hosting an event in the evening will be a nice way to introduce (or re-introduce) us, and with the student docent discussions, includes an extra twist that extends the event beyond being just a party. My hope is that “After Hours at the Pulitzer” will become a tradition with each exhibition, and will open the door for even more student events and interactions in the future.

If you’re interested in reading more, here’s a story in this week’s Student Life, Washington University’s student newspaper. And if you’d like to check out what the Pulitzer is like “after hours” come by tonight from 5:30-8:30pm.

Below is a post from Julia, a SLU student docent who participated in “The Pulitzer by SLU”, with her reflections on the overall experience. Click here, here, here and here for past posts about the collaboration. (Rachel)

Over the past few weeks the American Studies class I am enrolled in has worked in very close contact with the Pulitzer, who is currently exhibiting work that falls within the realm of Minimal art. I feel that as a class, our goal was the gain a better understanding of the Minimalism movement that took place in America during the sixties. In gaining a better understanding of this style of art, we had a great opportunity to pass on this knowledge to the greater SLU community by organizing our very own open house at the Pulitzer.

In order to ensure that our open house ran smoothly and successfully, each individual student researched a different artist that has their work displayed at the Pulitzer. In addition, advertising techniques were organized and executed to guarantee that the SLU community would be aware of the open house. The SLU students also took part in docent training with the Pulitzer, so we would feel comfortable passing on the knowledge we have gained to the greater public.

Overall I think the event was a great success. Not only was it an amazing experience to work so closely with such a prestigious establishment, but a better understanding of this movement in American culture was gained as well. In addition, it was so gratifying, after doing research for personal endeavors, to share that information with other people. After discussing the art and minimalist concepts with various people, it was an amazing feeling when they showed a look of understanding and said “Oh, I see. That’s very interesting.” Of course art is subjective and not everyone is going to like or agree with the concepts of Minimalism, but it is still satisfying to know that as a class we were broadening people’s cultural horizons. (Julia, SLU student docent)