Art Scoping

Candor is a precious commodity in the cultural world. So often it’s just easier to keep your true feelings to yourself so as not to foreclose opportunity or risk ostracism. Candor is not in short supply for Mark Lamster, the architecture critic of the Dallas Morning News, among other perches in the academy. In this episode he calls out some of the legitimate societal pressures facing architects and architecture today, projects and firms that warrant his accolades, the waning authority of the Pritzker Prize—the so-called Nobel Prize of architecture—the Nazi past of architect Philip Johnson and his quest for redemption, and several other facets of the field.

Today’s arts philanthropy is being guided by new voices. Bahia Ramos shares her approach to funding, beginning with the fact that she collects art as a form of advocacy. A Brooklynite, she is director of arts at The Wallace Foundation, where she has sought to respond to the needs of artists and arts organizations of color during the pandemic. Part of a new $53 million grant initiative to develop the capacity of arts organizations of color is to develop a clear understanding of future needs. Before arriving at Wallace, Bahia served as program director of the arts for the Knight Foundation, where she led the organization’s strategy for a $35 million annual investment in arts funding across the country. She addresses the need for greater transparency in grantmaking, new alternatives to non-profit management, how the Biden administration has served the needs of arts organizations during the pandemic, and much else.

Social activism and museum directing---ICA Boston director Jill Medvedow manages to leaven her professional responsibilities with a conscience, and teaches us much in the process. We delve into her stewardship of the 2022 US Pavilion at the Venice Biennale, featuring artist Simone Leigh--and we learn why and how she put the ICA Watershed together, her selection as the subject of an MIT case study about how she aligned stakeholders to realize the ICA Boston by Diller Scofidio + Renfro, her optimistic predictions about progressive values being embraced by museums, the pressures of the art market, ICA Boston’s emergence as a collecting institution, and forthcoming exhibitions this autumn.

Global in outlook and experience, Dr. Dorothy Kosinski has since 2008 directed the storied Phillips Collection in Washington, DC. We are treated to her insights into how radically the art museum field has changed over the last year and a half, her commitment to diversity, equity and inclusion years before it became the norm, her views on the kind of training and background required for directing museums today, and her prior experience as a curator at the Dallas Museum of Art, buoyed by the peerless generosity of trustee, collector, and patron Margaret McDermott. We learn a little about her interests after a planned exit from the Phillips at the end of 2022, and reminisce along the way.

Public art is as challenging and rewarding as it sounds. Subject to the opinions of all, from passersby to art critics, there is ample room for debate about each and every installation. In our first episode this fall, we turn to Brooke Kamin Rapaport, the Madison Square Park Conservancy’s Deputy Director and Martin Friedman Chief Curator since 2013. With a distinguished curatorial career in museums, she took on the exciting opportunity to commission works for one of New York City’s most prominent settings for creativity, and we cover lots of terrain in how that works.

The last word goes to Patricia Marx. A staff writer for The New Yorker, she’s the unofficial voice of New York City, and was apparently seconded briefly to the Montana State Tourism Board. We are rewarded with her colorful travelogue of a recent trip to a friend’s ranch in or near Yellowstone (wholly unclear which), and her deep and abiding gratitude for the lockdown’s inducement of uninterrupted reading. We hear tales of literary betrayals, creative uses of empty office towers, NYC’s resilience and hermetic worldview, her appreciation of noise and pollution, Governor Cuomo’s situation, the ‘stars’ of the Republican Party, the likely tenor of the upcoming Met Ball, her love of masks, the fate of theater, the virtues of getting to places early, her appreciation of just waiting for things, a brief jury duty experience, adventures with hoarding, and antidotes to writer’s block. It’s our last episode of the summer—we’ll return refreshed and presumably re-vaccinated after Labor Day.

The Smithsonian American Art Museum (SAAM) is the flagship museum for our nation’s art, and Stephanie Stebich, its Margaret and Terry Stent Director, has led it since 2017. We touch on the two new museums recently authorized by Congress that will join the Smithsonian’s other 19 museums, why SAAM successfully attracts a large number of repeat visitors, the importance of creating a sense of connection and community for museum visitors, balancing local audiences with those from far away, how governance works with the unique membership of the Smithsonian's Board of Regents, SAAM's deep collection of work by African American artists and a preview of two upcoming exhibitions drawn from this collection, changes to how museums do business as a result of the pandemic, how she has prepared for a new directorship, her views on deaccessioning, and much more.

John Rossant is a globe-trotting polymath, an evangelist for thoughtful urban and transportation design, and author with Stephen Baker of Hop, Skip, Go: How the Mobility Revolution Is Transforming Our Lives. As Executive Chairman of PublicisLive he produced, among other things, the World Economic Forum’s Annual Meeting in Davos (yielding an address book with mobile numbers of the privileged and of potentates in far-flung capitals). He reprises facets of a career spent evaluating and influencing our options in improving civic life, cities, and mobility, and sheds light on what to expect in innovative transportation solutions.

Museum directors rely on lawyers to help their institutions address sometimes thorny issues. What if your museum’s director is a lawyer herself? Listen to the thoughtful approach of Dr. Jill Deupi to her job as the Beaux Arts Director and Chief Curator of the University of Miami’s Lowe Art Museum. Her doctorate in art history and facility with several languages add up not just to an impressive résumé but also wide-ranging interests and insights. We cover the distinctive features of university museums, discuss issues of importance to the field as a whole, Miami’s appetite for culture, and much else.

#Nashville is hot. Much larger than Atlanta, its metro population is surging, and this vitality is reflected in multiple ways. In this episode we hear from Susan Edwards, the director of its Frist Art Museum since 2004, and learn about the institution’s origins in an Art Deco post office and its trajectory to become of the South’s most vital museums, along with the city’s philanthropic culture, its stubborn identity as a democratic stronghold in a reliably Republican state, the challenges it met and addressed throughout 2020 to today, and the arc of her career—up to and including recent certification in art crime training. Equipped with a doctorate in art history and a knighthood conferred by the French Republic, she has flourished in a cultural milieu best known for a sister organization called the Grand Old Opry—and brought diversity and distinction to Tennessee without a hint of pretension.