Posted on February 17th, 2017 by Rachel
Opening March 5
The smell of fresh paint wafting from behind the closed gallery door is a tell tale sign marking the transition from one exhibit to another. In January we said goodbye to Beyond Chicken Soup, returned many of the artifacts and crated the text panels and interactives for shipment to its next venue. As soon as the gallery was empty, Mark Ward and his incredible crew were hard at work prepping for our next exhibition, Remembering Auschwitz: History, Holocaust, Humanity which is set to open on March 5.
This landmark initiative brings four separate exhibit projects together for the first time, each of which explores a facet of Holocaust history and commemoration. Together they shed light on the significance of Auschwitz – the town and the camp – and how it has endured as a symbol of the Holocaust for more than 70 years after its liberation. With three main camps and more than 40 sub-camps, Auschwitz-Birkenau was the largest camp within the Nazi prison system and served as the site where approximately 1.1 million people were murdered included nearly 1 million Jews.
Hotel Schmeidler, 1912. Courtesy of Miroslaw Ganobis. Image from A Town Known as Auschwitz.
Our exhibit takes visitors through a multidimensional tour of Holocaust history beginning centuries prior to the Nazi invasion of Poland. A Town Known As Auschwitz: Life and Death of a Jewish Community from the Museum of Jewish Heritage – A Living Memorial to the Holocaust reveals 400 years of the vibrant Jewish history of Oświęcim, Poland —the town the Germans called Auschwitz. Told through photographs, maps and oral history interviews, the exhibit focuses on friendships between Jewish and non-Jewish residents of the town and how the Jewish community flourished for centuries.
Architecture of Murder
Construction of the camp known as Auschwitz I began in 1940 in an abandoned Polish military barracks on the outskirts of the town. Architecture of Murder: The Auschwitz Birkenau Blueprints developed by Yad Vashem and on loan from the American Society for Yad Vashem, explores this darker period in the town’s history through blue prints, architectural drawings and other documents. To provide further visual evidence of the camp, the exhibit also features a model of the camp created by local high school student, Andrew Altman, to honor the experiences of his great-grandfather, Edward (Yehuda) Biderman who was sent on a transport to Auschwitz in August of 1944 from the Lodz Ghetto in Poland.
Image combining the train station at Buhosovice, near Terezîn (left) and Auschwitz (right). Image from Loss and Beauty by artist Keron Psillas.
Today, the Auschwitz-Birkenau Memorial Museum is visited by millions of visitors each year. Loss and Beauty: Photographs by Keron Psillas provides a contemporary perspective on the experience of visiting and documenting Auschwitz and other camps today. Psillas’s beautiful and haunting works consist of layered photographs that seek to commemorate and honor the lives of those murdered during the Holocaust. A catalog of her work that includes her poetry as well as her reflections on each photograph on display in the exhibit will be available for sale in our gift shop.
A collage made to honor and remember Gitta Nagel.
The Holocaust Memory Reconstruction Project is an original art installation developed in partnership with The Human Element Project that adds the voices and stories of Maryland’s community of Holocaust survivors. The plaques on display feature the collages that were created during the many different workshops that we held this summer and fall for Holocaust survivors and their families and highlight incredible stories of survival.
We look forward to marking the opening of Remembering Auschwitz with a special pre-opening brunch and tour for Holocaust survivors and their families in the morning on Sunday, March 5. We will then open the exhibit to the public at 12:00 that day. At 2:00, we have invited artists Lori Shocket of the Human Element Project and Keron Psillas to talk about their experiences documenting the Holocaust and other tragedies through the medium of art. We hope you will join us for what will surely be a moving experience. The exhibit remains on display through May 29.
A blog post by Deputy Director Deborah Cardin. To read more posts from Deborah click HERE.
Posted on February 10th, 2017 by Rachel
Performance Counts: February 2016
The JMM relies on many different funding streams to support our exhibitions, educational programs, public programs and ongoing operational needs. As our exhibits tend to be our most costly initiatives, we typically develop a multi-year fundraising strategy for each project that targets a mix of private and public prospects from individuals, foundations, corporations and government agencies. We have been especially fortunate over the past few years to have received significant federal support for our exhibits that have provided vital funds for such activities as planning, exhibit design and fabrication and have helped us leverage additional funding from private sources. Total government support in the FY 16 budget (including both federal grants and state funds through the Maryland State Department of Education SAI program and Maryland State Arts Council) was $493,000.
Happy 50th NEH!
Our two principal federal funders are the National Endowment for the Humanities (NEH) and the Institute for Museum and Library Services (IMLS). Through its Public Humanities Project initiative, NEH funds exhibitions that are grounded in the humanities and offers support for both project planning and implementation. The application process is rigorous and requires an intensive amount of staff time for researching humanities connections as well as writing detailed responses to each question of the narrative and preparing budgets and other supporting documentation in the form of letters of support, bibliographies, staff resumes and other relevant material. Applications are subjected to several rounds of review by both NEH program staff as well as a peer review process that involves museum colleagues from museums around the country. The JMM has a long history of successful applications including our most recent award of an implementation grant in the amount of $300,000 for Beyond Chicken Soup. We have recently submitted a planning grant application for our new core exhibit, Belongings and are hopeful that it, too, will be awarded. The NEH stamp of approval is a powerful tool for fundraising and also serves as a mark of distinction among the museum community.
Likewise, we have frequently been awarded grants from IMLS. Our most recent submission, through the Museums for America initiative, was awarded $150,000 in support of Scrap Yard: Innovations of Recycling. As with NEH, the grant application process is challenging and requires many hours of staff time to complete. The review process is also similar and involves several rounds of evaluation by program staff and peer reviewers. Having participated in panel reviews of other institutions’ applications, which requires many hours of reading applications and then debating their merits over the course of two days of meetings with colleagues from other museums, I can attest to the rigorous vetting process in which applications are subjected before a determination is made of whether or not to award funding. This makes our track record of success especially rewarding.
Robyn and Esther at Museum Advocacy Day 2013.
Because both NEH and IMLS are federal agencies, their budgets are authorized annually by Congress. In recent weeks there has been talk about defunding NEH and IMLS funding prospects are unsure as well. Clearly cuts to these agencies would be detrimental not only to the JMM but to the larger community of museums and historic sites that serve as vital communal educational resources. We are actively engaged in several advocacy efforts to make our voices heard in this debate. The Greater Baltimore History Alliance (GBHA), a consortium of forty local history museums, is developing a statement of support on behalf of the NEH. We will be represented at the American Alliance of Museums’ Advocacy Day, at the end of February, by JMM consultant and docent extraordinaire, Robyn Hughes. During the two days of meetings with congressional delegations, museum professionals and volunteers from around the country will convey the important message urging our representatives to maintain level funding of all federal arts and humanities agencies.
We encourage citizens who share the belief that history and heritage matter to let their voices be heard by their representatives on this important topic.
A blog post by Deputy Director Deborah Cardin. To read more posts from Deborah click HERE.
Posted on January 19th, 2017 by Rachel
“Professional development takes many forms,” says JMM director, Marvin Pinkert, “whether or not ‘Museum Hack’ represents a path we might follow, in the future it is without doubt a ‘best practice’ in the field of museum tours. I was delighted that the whole professional team had the opportunity to experience it.”
The Museum Hack logo
Tracie: When I saw Nick Gray, the CEO of Museum Hack, give the keynote address at the Mid Atlantic Association of Museums (MAAM) in the Fall of 2016, I was intrigued. I had heard of the company before, but this was my first in-depth view of what this irreverent organization (their motto is “Museums are F***ing Awesome”) actually does. Gray’s address at MAAM was full of passion for museums and art. He was funny and crass and smart. He reported meteoric growth of his crazy idea (from hobby tours for his friends 5 years ago to a multi-million-dollar business today). The ballroom was full of museum professionals on the edge of their seats.
The Museum Hack motto takes no prisoners and its bright colors are pretty indicative of the exciting and invigorating experience JMMers were about to have.
His presentation wasn’t perfect. At a meeting whose theme was about the importance of inclusiveness and accessibility, the $90 – $150 per person price tag of Museum Hack tours definitely gave folks pause. Gray was only able to say something like “we’re working on it” to the conference attendee who asked him about how very white and mostly male his staff seemed to be. Still, it was clear to me that this kooky guy was on to something. When I got back to Baltimore I told my colleagues about it. We decided that we wanted to learn more. I suggested that we take the whole staff to a Hack Tour of the National Gallery—the closest Museum Hack location. Last week, we finally made it happen.
JMMers are ready and rarin’ to go on our Museum Hack adventure!
The Museum Hack tour was like and not-like any museum tour I’ve ever been on. From the get-go, our tour guide told us that art history, composition, symbolism and all that are really interesting, but that if that’s what we wanted, we should buy a book, because that’s not what she was going to talk about. From there we did a group, hands-in cheer of “Mu-seum!” (down on the mu up on the seum) and then took off from there to the crown jewel of the collection. We spent a little time talking about the subject of the painting, and then got a lot of history about how the National Gallery acquired it.
Hannah is positively gleeful as she relates the melancholy tale of Ginevra de’Benci.
The focus of our conversation about the rare Da Vinci painting of Ginevra de’Benci was the intrigue that surrounded it—from the “platonic” love affair that was broken off by Ginevra’s marriage to the James-Bond-esque suitcase in which it was transported to the museum (not unlike one that, as I type, is returning the Friedenwald volumes to the National Library of Israel!). We were invited to play mental and creative games with the artwork we encountered and with each other. In short, it was really fun.
In the few days since our National Gallery Hack, JMM staff have been having an ongoing conversation in various areas around Lloyd Street: “what if we had visitors…” and “we could invite people to…” I don’t know what the Museum Hack inspired, irreverent version of the JMM tour will look like. In fact, it may never happen. But even if there isn’t a direct product we can point to as a result of our shared experience, it has us all thinking about the Museum, our collections and our buildings in different ways.
Devan: As an artist and educator, I enjoyed the Museum Hack tour because it provided an opportunity to explore the works within the gallery while giving more backstory and historical information. In addition, I would imagine that interactive tours like those would be beneficial for young people who are visiting cultural institutions like the National Gallery of Art as well as others around the country. Not only would it spark more interest but assist with retention of the information so there’s at least one conscious or subconscious takeaway from the visit for them.
One of Devan’s favorite pieces of the day turned out to be Tracie’s selection for her museum pose!
Karen: I’ve already retold some of the stories we heard from our tour guide, Hannah, on Friday. The long, sad story of Ginevra de’Benci had too much detail for me to remember, but I got some great mileage out of how Paul Mellon, art collector extraordinaire, was taken in by Han van Meegeren’s Vermeer forgeries. Hannah kept us interested, and moving for two hours and the time flew, although I have to say I was very grateful when she took a break—and broke the rules—and handed out chocolate.
Shoes were in the way so off they come as Karen participates in one of the more kinetic activities of the day!
Some deductions about Museum Hack’s “rules” for tours that engage: 1. Use naughty words: every comedian since Lenny Bruce (at least) knows it thrills the audience; 2. Tell naughty stories (ditto); 3. Follow the money: isn’t this part of art’s allure? 4. Talk fast and walk fast; 5. Break the rules (see above: we must never, NEVER eat in the museum); 6. Have a through line—a story or activity that can thread throughout the entire tour; 7. Foster a little friendly competition, but not so much that your group can’t bond. Bottom line: I had a lot of fun!
The Repentant Magdalen
Deborah: As a mother who has watched the Disney film The Little Mermaid far too many times to count, I was particularly taken with the story that our amazing tour guide Hannah shared in front of the George De La Tour painting of Mary Magdalene (The Repentant Magdalen). Aside from the fact that the painting is stunning, Hannah connected the painting to a major plot point in the Dan Brown books surrounding a conspiracy to keep secret the fact that Mary Magdalene and Jesus had a child together. She then asked us to think about how this painting might be related to The Little Mermaid.
A conspiracy in action or just a good piece of art theory in practice?
We were stumped until Hannah pulled out her trusty iPad and pulled up the scene from the movie where Ariel is singing “Part of Your World” about her longing to be human in a cave where she’s stashed all of her human treasures. Lo and behold, one of the things in her cave is a painting of Mary Magdalene from the same series that we were looking at! (Specifically, the painting Magdalen with the Smoking Flame.) This detail (along with the fact that both De La Tour’s Mary and Ariel have red hair) has led to an abundance of conspiracy theories involving Disney.
Deborah also won the “find a new lover for Ginevra de’Benci” contest, with her entry of Mary Magadelene, theorizing that these two put-upon women could find support and affectionate understanding with each other.
Marvin: I was impressed with the way that our guide engaged the audience. One exercise involved finding potential companions for the unhappy young subject of DaVinci’s painting Ginevra de’Benci and capturing their images on our cell phones. Another involved creating a tableau vivant of Copley’s painting of a shark. While an art museum is very different than a history museum (the Lloyd Street ark doesn’t really lend itself to a tableau), the thought process about how to put the visitor into the action is something that I hope will animate our future thinking about tour experiences.
Presenting selections for Ginevra’s new match.
Graham: While I have been to the National Gallery of Art many times, I have mostly explored the galleries on my own, so I was excited to go on Museum Hack’s tour. I enjoyed hearing some of the backstories about how the art was acquired and shipped to the NGA. I also liked learning about a forged Vermeer painting, international intrigues and exploring hidden corners of the Museum. I found the tour to be very high energy and interactive. It was fun re-enacting John Copley’s painting Watson and the Shark and posing in front of sculptures. It was also entertaining playing games like imagining romances between figures in artwork.
Joanna and Trillion present their best ballet legs in the Degas gallery.
I liked how our guide incorporated technology into her tour, such as with her iPad and our smart phones. I appreciated receiving chocolate halfway through the day as a way to help alleviate “museum fatigue.” I believe that these kinds of tours are a great way to reengage millennials at museums. I look forward to working with our team to see how we may be able to incorporate some of these elements into our tours of Lloyd Street and B’nai Israel synagogues.
Joanna: The Museum Hack tour was a lot of fun, and not only because it’s always better to be in an art museum on a Friday. I’m not usually a tour-taker, but Hannah’s style – presumably typical of the Museum Hack guides in general – was informative, funny, brisk, and colloquial, making for both an entertaining morning (any morning that involves a tableau vivant is likely to be a good one) and a nice validation of my own style of tour-giving, which if not brisk is definitely colloquial.
JMM does its best Watson and the Shark – what do you think, did we pull it off?
That’s not everyone’s cup of tea, of course, but used in combination with more traditional formats, I think this type of tour can bring in new audiences, and give us a way to tell other, less academic or “main theme” stories about artifacts, art, and documents. But please, no tableaux vivant in the JMM galleries without making sure there’s plenty of floor space!
Trillion: Working in public programs I was especially excited to attend the Museum Hack tour last week at the National Gallery of Art. I was hoping to find inspiration for future programs and I wasn’t disappointed. One of the things I found most enjoyable was the different ways in which we were encouraged to engage with the collection. Knowing a little about Museum Hack I anticipated posing beside art and recreating famous paintings as a team (technically referred to as tableau vivant) but what I found really interesting was our search for a suitor for Ginevra de’ Benci. It was a wonderful way of ensuring that we continued to explore and engage with the many pieces not featured ono our tour. As we shared our selections at the end of the day it was interesting to see artworks that hadn’t previously caught my eye.
Here’s Trillion’s selection for a new partner for Ginevra de’ Benci painted by Jean Siméon Chardin.
Rachel: I’ve been to the National Gallery many times before – it’s one of my favorite places in DC to grab a few moments of calm and delight (I particularly love the many fountains and their related, ever-changing plant accessories – this time there were tiny potted orange trees with actual oranges on them!). I’ve even been lucky enough to get a specialized tour from Art Services Manager Daniel Shay (his daughter, Ginevra Shay, now the artistic director at The Contemporary, was once my winter intern in the photography collection!). But it is always fun to get a new perspective on a familiar favorite – and Museum Hack did not disappoint.
Hannah and The Alba Madonna.
Being a “behind-the-scenes” type museum person, I especially enjoyed Hannah’s tales related to The Alba Madonna, including the Soviet sale of Hermitage paintings – and Russia’s desire to “borrow” the painting back at the end of the century. (If you meet Hannah, ask her about Titian’s Venus with a Mirror and its Russian reception!) Overall I loved the blend of facts about the pieces of art themselves with the stories of their journeys to the National Gallery.
Collections Manager Joanna blanches at the description of transferring The Alba Madonna from its original wooden backing to the canvas it lives on today – it was quite a piece of mad, experimental conservation science!
Based on our post-tour lunch conversations and the many murmurings around the office, I think we can declare our Museum Hack experience a success!