I’m still working as a museum educator in Milwaukee, WI and my colleague is now a gallery director in New York City. We love this site and care deeply about it, but when you write about museums and art history all day long, it’s difficult to do so in your free time, too. That said, we’re thrilled that folks continue to come visit the site, and hope its archives continue to inspire, provoke, and further your thinking about art, art history, and museums.

For my day job, I frequently post about my profession and art history on our institution’s blog. Many of them are general enough to share with you here, so I hope you’ll check them out and find them useful.

On Tim Gunn and Gallery Teaching
A love letter to the profession of museum education and teaching art.

Hip-Hop in the Galleries, Inspired by Art
My fall teen program participants made hip-hop music in the middle of the art museum galleries, complete with bass and turntables. Don’t believe me? Watch the video.

Help Harmony Blossom: ArtXpress 2011
The Bus Unveiled: ArtXpress 2011
My summer teen program participants made a giant mural inspired by the art of the Qianlong emperor, complete with a social justice theme, that went on the side of a Milwaukee County Bus. The process, challenges, and successes here.

I’ve also written a number of explorations of works of art in our Collection that I call “slow art”–in which I sit with a piece for 45 minutes to an hour. (Credit for this powerful exercise go to the great Rika Burnham.) Afterwards, I wrote about my realizations, frustrations, and the joy of looking at art (cheesy, but true!) in reflection-style blog posts. Here’s a selection of my favorites:
Agnes Martin, Untitled #10
Howard Finster, The Youth of Abraham
William-Adolphe Bouguereau, Homer and his Guide
Ernst Ludwig Kirchner, Street at Shoneberg City Park

If you’re interested, you can read all of my posts on the Milwaukee Art Museum blog here.

Also, conversation continues to happen here on the Art Histoy Blog surrounding this nearly two-year-old post about the effectiveness of museums, inspired by Steven Colbert! Check it out, and please contribute your voice in the comments there, if you feel so inclined.

We’re sending you our best wishes for a happy holiday season and a peaceful new year. Thanks for reading!

We’ll pop in every so often with a post and will hopefully one day be back to posting regularly, so keep us on your bookmarks. Till then, you can follow either of us at our respective museums on Twitter at MAM_Chelsea (me) or NBMAA (Alexander), and check out some of the other art history blogs that won awards for being a top art/art history blog this year, below. In addition, feel free to get in touch with us if you like. Thank you so much for your support of this blog!

POP! A New Musical @ Yale Repertory Theater

BY ALEXANDER J. NOELLE

I was thrilled when I saw a poster promoting a new musical based on the life and art of Andy Warhol.

The world premiere run of POP!, underway at Yale Repertory Theater in New Haven, CT, through December 19, has been very well received and was glowingly reviewed in both the Boston Globe and New York Times. It isn’t everyday that an art-themed musical emerges, so I was both excited and apprehensive about seeing it. Warhol is such an iconic figure in the history of art, and I was unsure that a musical could really capture this infamous and mysterious person.

And that is exactly what the musical sets out to do. Instead of focusing on his art, POP! hones in on Warhol’s relationships with key people in his life, like right-hand man Gerard Malanga or transsexual muse Candy Darling. The six figures that flow in and out of the scenes define Warhol more concretely than he ever did, illuminating not only the mind behind the art, but also the mysterious person that they, as well as the art world, were captivated with. They are more than happy to tell volumes about the difficult genius–but Andy speaks his lines in enigmatic tones and hides behind his sunglasses, offering only an empty paper bag to solve any and every problem. He plays the role of the voyeur, much as he did in life.

Darling emcees this over the top murder-mystery musical that takes place in Warhol’s famous Silver Factory in New York City. Set in June of 1968, the show revolves around the attempted murder of Andy Warhol, an event I hadn’t realized had been a part of his life. The Factory is rendered as an industrial yet artsy playground for the cast and serves as a wonderful backdrop to the colorful personalities that epitomize the ’60′s. While there is definitely an art-inspired component to the set (mostly in the form of a large projections and live camera feeds), the focus remains on the personal relationships in Warhol’s life.

My favorite scene took place at a New York City bar where Warhol trespasses on the turf of some famous abstract expressionists: Robert Motherwell, Franz Kline, and Jackson Pollock. The “cowboys” of the art world, Motherwell, Kline, and Pollock are seen here as if they come straight out of a western movie, only they use paintbrushes instead of revolvers. The ensuing duel involves splatter painting, expressions of emotion, and the production of an abstract expressionist work of art on the back wall of the theater. A scathing commentary on this pivotal art movement, it was also incredibly hilarious. Upon seeing the work, Warhol simply comments, “I’ve always liked your little splatter paints. They look like so much fun!”

POP! is an experience not to be missed by any art historian or theater lover. The cast is extremely talented, the story is both fascinating and informative, and this unique study of modern art makes art history not only jump off the page, but also dance, sing, and perform the scandalous but true story of one of the most influential artists of our time.

The audience is left with one burning question: Who is Andy Warhol?

POP! at Yale Reperatory Theater through December 19
Visit their website for more information

(Left to right) Warhol-inspired perfume; Delftware boot vase; Lady Gaga in Vogue, December ’09.

• For $220, you can smell like Andy Warhol’s Money series with Bond No. 9 New York — Andy Warhol perfume. Apparently, the prints smell spicy and citrusy. Who knew?
• Here’s a really unusual gift idea from ELLE’s December 2009 issue… Delftware-inspired Wellington rain boots — that aren’t rain boots at all, but in fact porcelain vases.
• Award for most simultaneously awesome and bizarre fashion/art crossover yet: Lady Gaga’s feature in Vogue’s December 2009 issue, where she poses as the witch in Grace Coddington’s interpretation of Hansel and Gretel.  In her feature, Lady Gaga describes her performance for the LA Museum of Contemporary Art gala, at which she played a piano made by Damien Hirst. Here’s hoping her next music video not only features the craziest of runway fashion, but some contemporary art too–might I suggest a dance segment alongside one of Jeff Koon’s metallic balloon dogs?

Have I missed any happenings between art & fashion? Let me know in the comments!

It might be satire, but Colbert asks the big questions that everyone should be asking of museums: What is the point of art?  Is art only good if an art critic says it’s good?  Can “good” art exist without an audience? Who decides how much art is worth? Who decides what goes in a museum?  Colbert even begins by saying: “I don’t like art…and that’s mainly because I don’t get art.” So I ask a further question: How can museums help visitors feel more comfortable around the art — how can we make them feel like they “get it”? (Further, how can we help them feel comfortable with the fact that it’s OK to not “get it” — after all, isn’t that why art is studied: because we never feel like we’ve completely plumbed the interpretations of a work of art?)

These are huge, massive questions. I don’t really think that museum staff have the answer to most of them, and that’s probably why we do what we do — because we want to begin to answer them. I do think they’re questions we should ask ourselves and our visitors, because they can help us learn more about our audience and about our collections and institutions.  So as a museum educator, I’m asking all of you, how would you answer the big questions put to Campbell last night? How can museums help you “get art”? Comment away!

(PS: A final thought… Colbert ends by asking about the art housed in the Met: “Do they [the public] vote? Do you let them vote?” He’s met with a chuckle, but what an interesting web 2.0/feedback venture that would be… to ask visitors as they exit: do you think we should keep this work on view in the Museum; why or why not? Would you want to do something like that in a Museum?)

Like many museums in Europe, most of Rome’s most famous museums don’t allow photography.  (Or, if they do, I’m sorry to say I was unable to take pictures because I was in class while visiting them!)  As a result, most of the images in this installment of Art in Real Life are of famous Italian places, rather than paintings–which, to be honest, I sometimes find more immediately exciting than canvases on a wall in a museum.  These structures are almost all still exactly where they were hundreds of years ago when they were first built, and their size and age is mesmerizing.  Rome is one of the best places in the world to be wonderfully overwhelmed by how old everything is, to wander and lose yourself on the same cobblestones Renaissance greats did. As always, nothing can top actually being there, but hopefully these tourist-y glimpses into Rome will help you feel more like you’re in the city than an art history class’ slides or PowerPoints do.

Click on any of the pictures below to open the gallery; click next (or type “n” on your keyboard) to view the next photo.

TAHB’s Art in Real Life series: Paris | Brussels | Rome

Georgia O’Keeffe premieres September 19 at 9pm EST | Website

Now that I live in the Midwest, the Art Institute of Chicago will be popping up more and more on this blog, and I promise an extensive Art in Real Life dedicated to this huge institution once I have more than an afternoon to devote to it.  Until then, here are some preliminary thoughts after a whirlwind first visit to the museum…

We began with the brand-new Modern Wing, and though my group of friends and I didn’t get through nearly all of the new addition, I wasn’t as impressed as I thought I’d be. We all agreed it was a fairly predictable receptacle for Modern art, though it was light and airy.  We spent a fair bit of time in the contemporary photography gallery, whose curatorial choices I found somewhat baffling: one wall is covered in grey paper that has been folded over and over, upon which photographs and label text are hung or printed.  Though I wanted to like it (I love paper, after all) I could not for the life of me figure out why the choice of grey, folded paper over painting the wall–it didn’t click.  And while I liked the clear, deliberate juxtapositions the curator had made with the works themselves, the space was too small and had too many people zigzagging around the space to fully appreciate those choices.* 

Admittedly, I’m much more in love with art made before the 1900s than most later works, so for me what makes the Art Institute really worth a visit is their European and American art collection.  Among the highlights: famous Georgia O’Keeffes, American Gothic, Edward Hopper’s Nighthawks (see above), Cezannes and Monets galore, Toulouse-Lautrec’s Moulin Rouge, and of course, Seurat’s La Grande Jatte, among many others.  Rest assured: More of those to come on this blog! We ended our visit with the miniature rooms underneath the grand stairway, a collection of tiny, incredibly crafted historic spaces that are a lot of fun.

Finally, if you like anything to do with Japanese culture, calligraphy in general, or the beauty of a brushstroke, you must go visit Beyond Golden Clouds: Japanese Screens before September 27.  I loved the “greatest hits” of the Art Institute, but that show–from the work it showcases to the clear label copy to the huge room lined with screens–is truly stunnning.

*Edit—Today I spoke with an assistant curator at my own museum and she brought up two great points about the Modern Wing.  First, the architecture really does interact with the city of Chicago: the buildings, the railway, the parks are all visible from the many windows inside it, in a way that isn’t so in the older building, and it creates a much more welcoming atmosphere.  In addition, she mentioned that she thought the photography gallery was curated by an artist–which might explain its unusual setup.  That’s what I get for not having the time to read labels!

The Art Institute of Chicago | 111 South Michigan Avenue, Chicago, IL | Website