Installation view of Jenny Holzer: War Paintings, Museo Correr, May 7–November 22, 2015. Photo: Heidi Hirschl
Traveling to the Venice Biennale and Milan for the first time, I expected to find myself exposed to a variety of curatorial approaches and institutions in an international setting. From a massive global biennial to private museums and foundations, my destinations would offer a very different perspective, approach, and geography for exhibitions.
“The world is a mass of intractable ills on which art must shed light…. This is not the time for art as an object of contemplation or delight, much less a market commodity—certainly not in a public exhibition whose chief responsibility is to stimulate debate.” –Roberta Smith
Prominent artists and scholars enjoy a reception on a Colombian party bus following the 2009 contemporary art forum Transpedagogy: Contemporary Art and the Vehicles of Education.
A museum’s public programming schedule is perhaps its most fleeting offering. Almost as soon as you hear about it, it’s already gone. Lectures, symposia, and panel discussions come and go with marathon-like speed. In the Adult and Academic Programs area of the Education Department, we are often thinking six months ahead, which also means that current programs exist psychologically for us in the past, while past programs are deep in the background of ancient history. But it is important to always remember the remarkable individuals that came throughout the year to enliven the Museum with their perspectives and debates, sometimes making history.
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