Leilani Lynch – Hixson-Lied Visiting Artist
Leilani Lynch, curator of The Bass Museum of Art in Miami, Florida, will present the next Hixson-Lied Visiting Artist & Scholar lecture on Wednesday, Oct. 28 at 5:30 p.m. CDT via Zoom.
The lecture is free and open to the public and available via Zoom.
Lynch has curated solo exhibitions with Mika Rottenberg (2017), Karen Rifas (2018) and Aaron Curry (2018), in addition to co-organizing exhibitions with Ugo Rondinone, Pascale Marthine Tayou, Laure Prouvost, and Paola Pivi.
Originally from the San Francisco Bay area, Lynch relocated to Miami in 2011 when she was chosen for an Art Table Summer Mentored Internship at The Bass, assisting the Knight Curatorial Fellow in planning the museum’s public art program Temporary Contemporary. After the internship, Lynch joined The Bass as Assistant to the Director/Curatorial Assistant. Before rejoining The Bass in 2015, she served as Exhibitions Manager at Locust Projects, Miami’s longest-running alternative arts space, producing site-specific experimental exhibitions with international artists.
Lynch has recently participated in panels for ArtTable and ICOM, as well as served on juries for Art Center, South Florida and Apexart, New York. She received a Bachelor of Arts degree in the History of Art from University of California, Berkeley, with an emphasis in modern and contemporary art.
The University of Nebraska–Lincoln School of Art, Art History & Design’s Hixson-Lied Visiting Artist & Scholar Lecture Series brings notable artists, scholars and designers to Nebraska each semester to enhance the education of students.
Event photo by Tiffany Sage.
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[00:00:02.010]Patricia Davis: Alright. Hi, everyone. I am your host this evening I'm Patricia Davis, the director of the eyes and trigger Howard gallery for the school of art, art history and design. This is another installment of the Hickson lead
[00:00:17.550]Patricia Davis: Artist scholar lecture series. And tonight's guest is curator Lani Lynch.
[00:00:25.050]Patricia Davis: Lonnie comes to us virtually from the bass museum and in Miami, Florida and Lonnie is going to go through
[00:00:36.930]Patricia Davis: A presentation with us sort of discussing their personal research as it relates to
[00:00:44.850]Patricia Davis: The themes that we're exploring in the lecture series this semester.
[00:00:50.340]Patricia Davis: Lonnie has a very diverse background and curation and I think that
[00:00:58.590]Patricia Davis: This is a beautiful moment for us as an institution to explore
[00:01:05.010]Patricia Davis: The transitions that we're all facing virtually culturally, socially on this very anxious eve of the election nationally. So we're all under a lot of change and
[00:01:20.820]Patricia Davis: Pressure and this will be an opportunity to continue conversations that we've all been having individually, but
[00:01:27.870]Patricia Davis: Hearing some exciting activities that are happening over at the bass museum and we will have the opportunity for
[00:01:38.010]Patricia Davis: discussion and dialogue at the end of the line these presentations. So if you have any questions at any point, you'd like to address. You're more than welcome to enter them into the chat and I will be opening that up for us at the end.
[00:01:53.220]Patricia Davis: So, Lonnie, I will turn it over to you and let you work your magic.
[00:01:59.250]Leilani Lynch: Thank you so much, Patricia I am
[00:02:03.120]Leilani Lynch: so pleased to be here talking to you all and thank you to
[00:02:08.730]Leilani Lynch: The Hicks and Leeds University, Nebraska, Lincoln for inviting me and you. Patricia, of course.
[00:02:15.030]Leilani Lynch: Yeah, I was so thrilled to be connecting with people virtually in a state that I've actually never visited. So we're kind of covering uncharted territory in that way.
[00:02:27.570]Leilani Lynch: So yeah, I'm going to go ahead and share my screen.
[00:02:33.720]Leilani Lynch: And yeah, as Patricia said please please think of and don't be afraid to
[00:02:42.390]Leilani Lynch: Share your questions in the chat. This is
[00:02:46.260]Leilani Lynch: By no means me coming in saying I've solved the problems or, you know, we're a museum, who has done it.
[00:02:54.390]Leilani Lynch: As you know, and I'm sure this has been your experience as you visit arts institutions or spaces, or you might be an artist. These are kind of things that we're working through
[00:03:08.220]Leilani Lynch: On a daily basis and continue to work through. I think throughout our lives and. And so what I wanted to talk about today as I
[00:03:17.520]Leilani Lynch: You know, receive this invitation to talk about Publix and Republic's and to really think about that and dig into it from my perspective as somebody working
[00:03:29.670]Leilani Lynch: In a museum and in a museum in South Florida. So, of course, all of these kind of like prefixes might be. You might think they're not important. But I think as we think about the idea of public
[00:03:44.910]Leilani Lynch: It's so important context is so key. You know, we're operating in the US. What does that mean we're operating in 2020. What does that mean we really have to end this is something that I'm thinking about on a daily basis.
[00:04:01.230]Leilani Lynch: Think about how all these contexts overlap, how they might have tension, how they buy and mesh and work together and how we from an art perspective, have a role in in shaping and cultivating our communities in that way.
[00:04:16.320]Leilani Lynch: So, so, yeah. So let's get started. So this is me, Lonnie I carry I'm on the screen.
[00:04:22.590]Leilani Lynch: And and a little bit about my background, just so you know. Yes, I'm coming to you as a curator at the bass and Miami Beach.
[00:04:31.320]Leilani Lynch: My path has been a little bit. Not so linear and that I came to museum work as an intern and then through administrative roles.
[00:04:42.600]Leilani Lynch: As well as grants management and then going into kind of what was my original thought when I started studying art history.
[00:04:51.330]Leilani Lynch: Of being a curator but. So this gave me kind of a holistic understanding of working in museums, so I'm kind of bringing that more broad view to to this lecture and thinking about
[00:05:04.740]Leilani Lynch: Not only the work that I do and collaborate with other curators as we present artwork and artists, but also just structurally, like how museums operate this is also have a lot of interest to me.
[00:05:21.060]Leilani Lynch: So so Publix Republic, I kind of liked this prompt that Patricia sent me. I was excited to think about this in this context.
[00:05:33.420]Leilani Lynch: Just bolding here. The, the re with the hyphen right re is a way of thinking of something going again and again. Or maybe going a backward motion. So this idea of
[00:05:46.680]Leilani Lynch: Perhaps rethinking and revisiting the idea of a public, how can we go back and and and really do some analysis on how as a museum.
[00:05:58.680]Leilani Lynch: We've been working with our community. What do they need, what do they want
[00:06:03.780]Leilani Lynch: And also the secondary idea of re as and we've all seen with our emails with the colon their Republic's, which re with the colon kind of means concerning or about
[00:06:14.940]Leilani Lynch: So it's not only how do we address and take care of the public. But also, who are they, how do we learn more about them and kind of what do we, what kind of curatorial strategies and institutional strategies. Do we have to address and include a broader audience a broader public.
[00:06:37.500]Leilani Lynch: So with this idea I wanted to kind of pause it some questions. I promise that most of my slides are not text, but there will, there are a few text slides in the beginning. So don't
[00:06:51.060]Leilani Lynch: Fear lot but some questions to plant in your mind and kind of think about that. I'm hoping to address. I'm working to address.
[00:06:59.100]Leilani Lynch: Some of which are you know talked about in this presentation, some of which are just kind of out there questions. But what is a public. Why are they important. How does this factor into the work of the museum curator.
[00:07:13.020]Leilani Lynch: Who is my public. I'm going to talk a little bit about, you know, my context in Miami Beach and working there. Who do we cultivate engage and how do we build new Publix, or how do we, yes. Cultivate engage in and build new Publix, as well as now, you know, how have the context of
[00:07:36.240]Leilani Lynch: And the global uprisings for Black Lives led to reconsiderations of our understanding of Publix
[00:07:42.870]Leilani Lynch: Looking at all of these questions, especially the last point, we're really we're really still in this year we're still going through it and reconciling the best ways to
[00:07:52.770]Leilani Lynch: To serve and care for our audiences. How do they want to work with museums do they want to. These are a lot of questions. But as someone you know who's working in this space. It's sort of core to to my mission and the mission of the museum to look at these questions.
[00:08:11.790]Leilani Lynch: A little bit more texts promise. Don't be scared, but I really wanted to invoke some words that yes so me Lolo brought up earlier this year in June. She is the Director and Curator of the Logan center exhibitions.
[00:08:30.030]Leilani Lynch: Sorry. She's the director of the Logan Center at the University of Chicago, and she penned this wonderful
[00:08:37.230]Leilani Lynch: Up and on the limits of care and knowledge 15 points museums must understand to dismantle structural and justice in June, so very fresh kind of in the beginning in the wake of the death of George Floyd
[00:08:50.790]Leilani Lynch: And uprisings, around, around the country. She took this chance to kind of dissect ways that that we have to recognize that museums are limited.
[00:09:04.470]Leilani Lynch: In the way that we can know and care about things and kind of the first step to addressing those limits is by acknowledging them.
[00:09:12.450]Leilani Lynch: So I just highlighted, of course, I'm not going to read all of these, but I highlighted some of my favorite points.
[00:09:19.050]Leilani Lynch: Number six, museums have always been exclusionary and for the privileged
[00:09:23.760]Leilani Lynch: They were built for the betterment of the Western subject and society at the expense of the other. This is something that I'll kind of dig into a little bit more later. And just kind of how thinking about how museums have were founded on these principles.
[00:09:39.810]Leilani Lynch: And how we are kind of trying to mitigate that now in the 21st century.
[00:09:47.160]Leilani Lynch: As well. These other points. Number nine if if museums and mass knowledge and care for things
[00:09:53.190]Leilani Lynch: Then we must ask ourselves in the midst of the social upheavals and global health pandemic of the recent days, months, and years, for whom do they do this. This is a big question. Who are we working for who
[00:10:07.080]Leilani Lynch: Is the audience. This is essential to the work I think of a curator and as well as the museum as a whole, who are we presenting this work to what is this project mean in my community.
[00:10:21.840]Leilani Lynch: Not just within my art world of people who know about art. It's also people who live there who will see it.
[00:10:28.950]Leilani Lynch: And number 14, which I think is kind of a call to arms. The task is to commit to practices of knowing and care that are that critically interrogate the fraud history of museums.
[00:10:40.290]Leilani Lynch: And their contemporary form up reading week foundations and rebuilding upon new healthy wants. So this is a bit of the work that I think that we're doing now is how do we look back and figure out a way forward.
[00:10:55.200]Leilani Lynch: Which is why I'm also so grateful to have the opportunity to speak with you all today in this context of university.
[00:11:02.700]Leilani Lynch: Because this is really you know you all are. I'm assuming
[00:11:06.810]Leilani Lynch: Of the mostly the student persuasion. But, you know, you're kind of in this thinking space of being the, the next generation of artists and
[00:11:16.770]Leilani Lynch: curators museum workers creatives and and these are really questions and I think and encourage you to think about together. And because you'll be entering the field soon hopefully
[00:11:29.850]Leilani Lynch: So let's, let's take a step back and I, as I promised, not too much text. Now we enter into the the image portion
[00:11:40.050]Leilani Lynch: But who was the early museums public just kind of to give ourselves a little more context so
[00:11:48.270]Leilani Lynch: I think many. Some of you are working in the museum studies or museum management gallery management field so
[00:11:55.890]Leilani Lynch: You learned a little bit about what what we're kind of the roots of of museums and on the left you see a painting actually have a cabinet of curiosities by friends.
[00:12:07.440]Leilani Lynch: From Franken and from 1636 and on the right we have William. William van Hecht. This is a painting of a gallery or private collection. So in both of these spaces. I think we can make some observations.
[00:12:24.840]Leilani Lynch: That these are spaces are sort of limited in terms of their capacity of people who's there. This is a European context, most likely a bourgeois context.
[00:12:38.490]Leilani Lynch: With limited access or even, you know, very private and and these places and spaces were sort of meant for displaying findings and you know the cabinet of curiosities kind of displaying kind of artifacts and other
[00:12:55.950]Leilani Lynch: Knowledge from around the world for the betterment as as the SME it's in the limits of care for the betterment of the Western subject for the audience in Europe.
[00:13:07.200]Leilani Lynch: And most times at the expense of exotic sizing and subjugating perpetuating stereotypes of non Western subjects, you know, leading to their they're being perceived as other or definitely excluded from these spaces to be to be there physically, if not on view.
[00:13:26.130]Leilani Lynch: And and we also see that most of the fingers in the paintings are notably white and we can presume they were an upper class. So in many ways.
[00:13:35.340]Leilani Lynch: These spaces were kind of echo chambers you what you saw in the space is kind of the people you knew around you, and these are that that kind of idea of the echo chamber is something that
[00:13:47.160]Leilani Lynch: As a contemporary museum worker is something that I'd like to continue addressing how can when we have these collections. How can we continue to reflect that our community within them, and with what we have on View and make sure that they see relevance in
[00:14:05.310]Leilani Lynch: In what we present and of course you know after even after revolution, you know, the revolutions in France and around Europe of the 18th century, the public museum was still hard to access
[00:14:16.620]Leilani Lynch: And the spaces were not really free for exploration like you might think of when you visit a museum today.
[00:14:23.700]Leilani Lynch: It was very much about controlling where people go and making sure that they weren't touching anything. I guess that's not really a new perspective, I guess. But, but just to know that you know these systems of control and surveillance were also part of the conception of museums.
[00:14:42.960]Leilani Lynch: And so a little bit about the history of my workplace and my location in Miami Beach. I think it's important to give you this this information and context. So I was saying context is so key.
[00:14:57.240]Leilani Lynch: Since most of you are. I'm assuming tuning in tuning in from Nebraska, you know, Miami Beach is part of the global style.
[00:15:05.100]Leilani Lynch: And this there is a distinction between Miami and Miami Beach, because they're two different cities, and I'm sure the the context of is familiar to send to most, you know, around the time that it was after it was kind of settled and
[00:15:22.650]Leilani Lynch: And the landscape was taken over by developers coming from the northeast, you know, these spaces where often
[00:15:32.490]Leilani Lynch: Not welcoming too many communities, you know, anti semitic. These were this was sort of a son downtown in which you know Jim Crow laws were enforced and the black community could not was not welcome to stay there after
[00:15:47.130]Leilani Lynch: After hours or after the work day
[00:15:50.340]Leilani Lynch: And and so the Miami that you might have in your mind of today is very different from from the actual history of the place. And I think this is something that even as somebody working there.
[00:16:02.790]Leilani Lynch: And I'm not from Miami originally. I'm from California. It's something I had to learn, but that was kind of important to the work and making sure that I understood what happened in this place, you know,
[00:16:17.430]Leilani Lynch: And the bass. That's what you're seeing here. So this is a gathering in this photo is happening in the late 20s, I think.
[00:16:26.550]Leilani Lynch: In the building, you see in the back is what is now the bass museum, but this was during the inauguration of the park and the building.
[00:16:35.220]Leilani Lynch: The park is called Collins Park, and it was honoring one of the founders and developers of Miami Beach and the the building behind it, what's now the museum.
[00:16:46.350]Leilani Lynch: Was originally the first art center and then it was a library before it became the museum itself. So it's sort of had many lives before it became a museum in 1964
[00:16:59.250]Leilani Lynch: But that was sort of, I guess we'll go back, but this is what I loved about this photo was that this is sort of in thinking about Publix, this is one of the probably the first capturing of a public in front of the museum space that we have in our archives
[00:17:12.450]Leilani Lynch: And particularly, I love to see here that somebody is wearing a coat, which is speaking about how places have changed.
[00:17:21.360]Leilani Lynch: Would not be fathomable in today's climate in Miami Beach. So just interesting to see there. And so more kind of more general things about museums, as we're thinking about these spaces.
[00:17:35.100]Leilani Lynch: This is from this is a graphic from the American Alliance of Museums that says museums are for everyone.
[00:17:41.340]Leilani Lynch: Museums are committed to ensuring that people of all backgrounds have access to high quality museum experiences.
[00:17:47.430]Leilani Lynch: In 2012 37% of museums were free at all times, or had suggested admission fees only
[00:17:54.000]Leilani Lynch: Nearly all the rest offer discounted free admission days. So the question here, I pose is, you know, our museum is really for everyone.
[00:18:02.220]Leilani Lynch: The statement, it is at the core of our mission as you know somebody working within the institution. However, I think it's a question that we have to continue asking ourselves and continue to work at because you can't solve
[00:18:17.700]Leilani Lynch: Every one meeting, you cannot. There is not one way to, to, to welcome people into a space and it requires continuing work as the community.
[00:18:29.310]Leilani Lynch: grows and develops and changes and there's ways of accessing a museum might change as well.
[00:18:35.820]Leilani Lynch: And this kind of can can take shape in different ways, you know, they talk about admission fees here, this also in you know filters into my work as a curator with
[00:18:46.860]Leilani Lynch: Making sure that the exhibitions are are accessible in a sense that is very broad, you know, not only two people have different physical abilities.
[00:18:55.920]Leilani Lynch: But in languages are we able to translate our texts we have a large Spanish and Creole speaking population in Miami Beach, are we are we reaching them with our texts, and do you need a
[00:19:08.640]Leilani Lynch: Master's degree or PhD to be able to understand the texts or exhibitions. These are things that are really important to address. And of course, I'm just saying this from my museum worker perspective I do value academia, for sure. As part of the art ecosystem.
[00:19:27.300]Leilani Lynch: Another kind of statistic and you know all of these values are great, but how do they measure up with the facts.
[00:19:34.770]Leilani Lynch: This is kind of why revisiting this conversation now and 2020s is all the more important. This graphic comes from an art net sir art NEW SURVEY FROM 2019 in which 30 institutional
[00:19:48.930]Leilani Lynch: 30 museums in in the West were surveyed and even still with these commitments 28% of exhibitions were devoted only 28% devoted to non white artists 10 almost 11 surveyed were devoted to black artists.
[00:20:07.860]Leilani Lynch: Kind of the list of somewhat, you know, not the best statistics.
[00:20:13.800]Leilani Lynch: Goes out here and this is really the work of reckoning of understanding the limits that I think I was stating earlier that that we need to do.
[00:20:26.040]Leilani Lynch: Okay, so back to the bass and I'm promise. So we're going to get into exhibition projects soon. So where are we now that I showed you the photo of late 20s before. This is the bass in present day. We still have you still see the light facade there and now we've added some artwork.
[00:20:43.200]Leilani Lynch: On the facade as well. That's a neon that we commissioned by Sylvia flurry called eternity. Now,
[00:20:50.040]Leilani Lynch: Which is there permanently. So it was one of the first public works of art that that we were able to put up on the museum. And it's been part of our practice of collecting and commissioning public work, which also comes into play, especially now, within the context of the Copa pandemic.
[00:21:08.790]Leilani Lynch: And and yeah so that's that's where we are now. And we went through this renovation in 2017 and reopened and that renovation was all about kind of refocusing on the visitor experience. This is me talking to a group of our visitors. You might notice that interestingly, mostly female
[00:21:30.870]Leilani Lynch: But this was one of our reopening exhibitions of by Google running on a
[00:21:36.420]Leilani Lynch: And and you might notice as we go through the exhibitions that a lot of our projects are kind of like encompassing and an immersive and that's sort of part of that experience that we want to
[00:21:49.230]Leilani Lynch: To bring to people. And this is just to say you know that we're as we work through these things I saw a talk earlier this month by
[00:21:59.700]Leilani Lynch: Lonnie bunch, who's the secretary, the head of the Smithsonian institutions, and he said, museums are not community centers, but our centers of the Community.
[00:22:09.060]Leilani Lynch: And this is really important. You know, we have to kind of recognize our place in the community and try to maintain it and we have to try to maintain relevance.
[00:22:20.040]Leilani Lynch: As as places where people want to be and where people feel welcome.
[00:22:27.210]Leilani Lynch: And that, that includes, you know, engaging with and embracing the incredible diversity and unique context through our exhibition. So this is
[00:22:37.500]Leilani Lynch: I'm showing you here to photos or recent show that just closed in early 2020 but at the artist is hey you Yang. She's an artist from South Korea.
[00:22:48.960]Leilani Lynch: And she, in particular, does a lot of exhibitions around the world and in each place that she visits. She likes to kind of as our same values as the museum.
[00:23:00.540]Leilani Lynch: She likes to be analyzed the context that she's working in. So she's not just coming in like inputting her work. She wants to understand the people that she's presenting to. So part of that was
[00:23:12.210]Leilani Lynch: Commissioning this wallpaper, which you see here which spans the first and second floor. The title of which is coordinates of speculative solidarity which I really love. And it's become all the more apt I think
[00:23:26.970]Leilani Lynch: And in this work. You know, we were talking with the artist about
[00:23:31.560]Leilani Lynch: And I say we because I curate co curator log the exhibitions with my director Sylvia kubina as well as other collaborators, so I will say most of the work I do is collaborative, so I do not take ownership for everything you see here.
[00:23:47.760]Leilani Lynch: But in our exhibition, you know, in our conversations with hey you, we were talking about, you know, what is the makeup of of Miami Beach. It's actually now as opposed to before it's 71% Latin next Hispanic identifying
[00:24:02.250]Leilani Lynch: With over 50% of the population born outside of the US and this was really important for Hey girl, because she as an artist from South Korea is now living in Germany.
[00:24:14.100]Leilani Lynch: And has herself had to kind of translate her work and her you know her person to a different context. And what does that mean for one's identity. So she really empathized and kind of tapped into that.
[00:24:27.480]Leilani Lynch: That kind of fact that the the most of the people living in the city or from somewhere else.
[00:24:34.290]Leilani Lynch: And and the everything that's going on in the wallpaper itself. We were also thinking about hurricanes and climate disasters.
[00:24:44.100]Leilani Lynch: That happened, not only in South Florida. But as we know, I think, a hurricane just hit Louisiana just moments ago. These
[00:24:51.630]Leilani Lynch: These, these occurrences are happening all the time and more frequently.
[00:24:56.460]Leilani Lynch: And and she was also simultaneously putting together an exhibition in the Philippines, where they were experiencing typhoons and so all these coordinates.
[00:25:06.450]Leilani Lynch: In which populations across the world were going through the same thing that that's kind of what she was getting at in this kind of like graphic collage.
[00:25:16.770]Leilani Lynch: So backing up a little bit. And, you know, talking about connectivity as something that that is important connectivity and making people feel welcome, is something that starts at
[00:25:28.560]Leilani Lynch: The front door. Honestly, of the museum, maybe even in the park. As you enter. But this work is is called welcome wall. It's by an artist named Pascal Martine tell you
[00:25:39.120]Leilani Lynch: And we commissioned it, it just before the reopening of the museum and it's called welcome while because it says Welcome and over 75 languages. And when we approach the artist to think about
[00:25:53.190]Leilani Lynch: Because he's kind of worked in this series of these ready made signs before
[00:25:57.990]Leilani Lynch: We said okay well what what word would you use for Miami and he said, Let me come back. Let me come back to him. Think about it and come back to you.
[00:26:06.570]Leilani Lynch: And he said it was welcome. So that was sort of really struck us as something that we wanted to be the tone that that greets people as they enter as they enter the museum space. And I think these kind of curatorial or
[00:26:23.970]Leilani Lynch: Decisions through exhibitions and art making can can really set the tone for what people experience as they enter the museum. And this is on
[00:26:35.670]Leilani Lynch: This isn't our collection now and it's sort of on permanent view. I mean, it can move, but we've added on view, since we reopened and its really become a fixture of the space.
[00:26:45.840]Leilani Lynch: And so I'm going to talk a little bit about some some other strategies, sort of, for that at at the museum that I've worked on.
[00:26:55.650]Leilani Lynch: That kind of work to engage different audiences and our visitors are public one of one strategy is through our collection.
[00:27:06.540]Leilani Lynch: I don't think I mentioned this previously, but so the bass started with a donation of
[00:27:13.710]Leilani Lynch: From the bass family john and join the best to the City of Miami Beach. So it was a private collection given to the city and B is comprised of mostly paintings some some tapestries and a little bit of sculpture, but from, you know, mostly European in the Renaissance baroque period.
[00:27:31.620]Leilani Lynch: You also see a mummy. There we have had some donations along the way. And so how does that work when we now as our mission our contemporary art museum.
[00:27:41.970]Leilani Lynch: So what we've sort of decided is that the Historical Collection is is really useful in terms of inviting artists to to curate it and kind of put their own
[00:27:56.100]Leilani Lynch: Spin and their own work and kind of their own critique into into the context of of the collection itself. So we invited Pascal the artists who made the welcome wall.
[00:28:08.040]Leilani Lynch: To to look at our collection and let us know what works. He was interested in, I should mention he is from Cameroon, but he's based in Belgium, so he was coming out this as somebody as an African artist who was very aware of his identity as an African artist and kind of that.
[00:28:30.630]Leilani Lynch: That balance between knowing one's sort of otherness, and also being part of a contemporary art world which is globally connected
[00:28:40.560]Leilani Lynch: And and so he he took us to task he he chose some of the best examples from the collection all of all of the works were by European mostly male artists and he put his own all of these, you see these dots here. These are actually alabaster eggs which kind of took over.
[00:29:04.650]Leilani Lynch: Took over the gallery space, almost like a virus. I think he referred to it as sort of infecting the space as well as the stacked pot columns and
[00:29:15.510]Leilani Lynch: And these small glass sculptures, would you see there on the right and it was his way of kind of being in dialogue with
[00:29:22.380]Leilani Lynch: Where the collection and calling us, you know, not calling us out. But really, calling to question the legacy of collecting and art institutions.
[00:29:31.620]Leilani Lynch: Within, you know, and the legacy of that have within the European and US collections and what kind of priorities, they had in the past and what what they're doing now and we thought this was a great opportunity to kind of bring out and have a refresh dialogue with the contemporary artists.
[00:29:50.850]Leilani Lynch: Within the space as we reopened.
[00:29:55.020]Leilani Lynch: Until we've also had some, you know, organized some smaller, I would say smaller gestures of bringing the contemporary in context with the historical
[00:30:06.480]Leilani Lynch: You know, kind of mobilizing our collections to center the viewer and contemporary conversations. This one in particular was called figuring self and and it was about, you know, thinking about how we how we build and sort of PORTRAY OURSELVES in the world.
[00:30:26.220]Leilani Lynch: You know and I paired this this painting on the right by Hyacinth workout Sir William bent, Nick.
[00:30:33.570]Leilani Lynch: Noble figure with photos by Miami based artists photographers at the time in the 70s working from about the 70s, 80s and 90s Marshall Wolkenstein and Andy sweet and they were capturing the the residents of Miami Dade County.
[00:30:52.080]Leilani Lynch: And and kind of just trying to pair how especially with the advent of photography, how that immediacy of communicating oneself or somebody else's identity.
[00:31:02.100]Leilani Lynch: Became more accessible and you know as people as we are all living in this world and we most of us have phones and cameras on our phones.
[00:31:13.320]Leilani Lynch: And we're communicating ourselves over social media. I think these questions of what goes into communicating identity are very are very appropriate and kind of like relevant to people coming to the museum.
[00:31:27.060]Leilani Lynch: And during coven we drive. I mean, it's still covered, but during the time when the museum was closed we we rent rehang, a lot of the collection and the museum.
[00:31:39.570]Leilani Lynch: Kind of all over the entire space. We have two floors and and this was another show that is mostly recent acquisitions, but kind of going into the similar or the same ideas figure itself and talking about identity.
[00:31:55.620]Leilani Lynch: With some new acquisitions that just joined the collection. So you see Alex Israel up top that profile head.
[00:32:03.780]Leilani Lynch: And his kind of
[00:32:06.330]Leilani Lynch: Examination of identity and self. I also came from the lens of a branding and creating a brand of sunglasses. It's very small. But you see there in the middle. The top image a photo buys in LA mohali artists from South Africa as well on the right, there's
[00:32:27.840]Leilani Lynch: A Miami Miami days artist named Naomi Fisher, along with Mo, mo aka boffo painter that some of you may be familiar with, and some other kind of objects in our collection. These hands that you see on the right here are these fingers, these kind of tell us men.
[00:32:47.370]Leilani Lynch: Objects that come from Brazil, and I, I just was really struck by these hands and kind of in the context of
[00:32:56.760]Leilani Lynch: You know of uprisings for black lives and, you know, Black Power movements, how that fist has kind of translated and might be perceived today.
[00:33:08.130]Leilani Lynch: And so some other strategies that have kind of, you know, I think most of the exhibition's I'm speaking of or projects are coming from since three opening and that's sort of been my tenure at the museum. So this is all we're talking 2017 to present
[00:33:25.440]Leilani Lynch: This, this was a really great as part of the opening day of the museum in 2017 we we borrowed a work by Laura and Kelsey idea, please excuse my hashtag. I took this from Instagram.
[00:33:40.620]Leilani Lynch: Lauren Casa de a collaborative artists do working in Puerto Rico.
[00:33:46.530]Leilani Lynch: That was these large pieces of chalk and people were free, the public was free to take them and break them down because they're actually quite heavy
[00:33:55.980]Leilani Lynch: And and draw on the the stone in front of the museum and this I thought was a great way to to really set the tone again for welcoming people back to the bass.
[00:34:08.340]Leilani Lynch: And interestingly, this work by lowering Casa de has been staged in a few different contexts and countries and
[00:34:17.070]Leilani Lynch: I believe it was in Peru, but I might be wrong but when they they had the work there. It was actually used as a tool to
[00:34:25.860]Leilani Lynch: to sketch out protests and it became quite a political act of course because we're talking about the freedom of speech.
[00:34:33.480]Leilani Lynch: Here in front of the museum. There were a lot of drawings. It was very whimsical. A lot of kids involved. But if you think about the potential for in this writing tool in a large space, the possibilities are quite amazing.
[00:34:48.990]Leilani Lynch: Other ways to other ways to think about Publix, because I think you know the public is not just who's visiting the museum, you know it's it's who's not visiting the museum as well.
[00:34:59.070]Leilani Lynch: But it's also the the community of artists that you know it's not just members and families and individuals living in the area. It's, it's a community of artists that we want to
[00:35:10.590]Leilani Lynch: Make sure that they stay engaged with our museum and that we are a resource for them. And part of that is through of course exhibition opportunities, among other things. And so this show. I just wanted to highlight because this
[00:35:25.830]Leilani Lynch: The issues or have not have artists in Miami, not having opportunities to exhibit their work in museums is is one that is not you know unfamiliar to other contexts, but it's something that
[00:35:38.580]Leilani Lynch: Is is a little bit lacking in terms of the opportunity. So we've been trying to of course make more of a concerted
[00:35:47.520]Leilani Lynch: Thrust at at engaging and working with artists in the community and giving them exhibitions of this this show with Karen Rufus.
[00:35:56.280]Leilani Lynch: Who's an older artists, but had never really had a solo show at a museum in her own hometown.
[00:36:02.940]Leilani Lynch: This happened in 2018. And what I really loved about her work as well you know was that she was also working with the architecture and dimensions of the space.
[00:36:13.080]Leilani Lynch: With her sculptures and abstract geometric work. So even though it's a little bit more of a subtle gesture. She's still working with the context of museum.
[00:36:22.770]Leilani Lynch: And this may be, you know, to those of you know it now in the coven times this image might be a little bit triggering but this work is a commissioned by
[00:36:33.510]Leilani Lynch: By Pella PV which we commissioned in 2018 for her show and and it was a 40 by 40 foot bed SCULPTURE CALLED world record because it really did feel like a world record and we were building it.
[00:36:48.510]Leilani Lynch: That invited members of the public visitors to to spend time in the exhibition on these bed on these mattresses and anybody could enter you had to take off your shoes generally
[00:37:00.810]Leilani Lynch: But it made you really think you. How many times have you been horizontal in a museum. And I was thinking about that earlier and I can't really say that many
[00:37:13.320]Leilani Lynch: Except for this one, maybe, you know, one or two others but you know this this process of also commissioning work with an artist is something that
[00:37:22.560]Leilani Lynch: Is is a great way to make sure that your public is being addressed, you know, by creating this new work within the context of that space and that time has been one of the best ways that
[00:37:37.230]Leilani Lynch: That exhibitions have come together that really include and involve the public of the museum.
[00:37:47.430]Leilani Lynch: And this is a this is another smaller project, but one that is really near and dear to my heart this artist Giovanni Gonzalez, who lives in Miami.
[00:37:57.660]Leilani Lynch: Made this sculpture, which was more than a sculpture was sort of a pavilion a venue within the venue of the museum.
[00:38:06.750]Leilani Lynch: Called play, and it was a modular sculpture that examine the way public art can be used to create spaces that are more inclusive and queer
[00:38:16.200]Leilani Lynch: And so she's a queer artists and was noticing that you know there aren't so many sometimes the queer community doesn't feel welcome within the museum, they're not seeing artists that represent them. There's not dialogues and engage them. Of course it's a wide ranging
[00:38:33.030]Leilani Lynch: Community, but she wanted to, to kind of create the space via sculpture that that could have programming that would invite this community. And so she staged over the span of a few weeks.
[00:38:45.720]Leilani Lynch: poetry readings. There was a Vogue off with a local voguing true and and it was really a great kind of very succinct. I think and smart way of an artist kind of using this strategy of sculpture to to think about ways to include more people
[00:39:05.340]Leilani Lynch: And this is something that sort of carried in a little bit. Now, I apologize. There is some videos that might just start randomly. So please be advised
[00:39:16.080]Leilani Lynch: But this is an exhibition. That's actually still up it's by McLean Thomas. I'm an artist, based in New York.
[00:39:23.490]Leilani Lynch: And this is another interactive sort of space. It's changed a little bit with the pandemic, you know now sitting on furniture and kind of gathering is a little bit is problematic. So we're working through
[00:39:36.930]Leilani Lynch: These questions and issues, but she was also interested in creating a space that was for the black community that was welcoming them. That was also for the queer community, which is part of
[00:39:51.000]Leilani Lynch: And this was through this very immersive installation, which you see two images of on the left.
[00:39:57.870]Leilani Lynch: It was kind of this recreation of her memories of her childhood home or her mother's home.
[00:40:03.360]Leilani Lynch: And and sort of this nightclub space, which was activated by intended to be activated by musicians and performers and so I have a video here of one of the performances that happened during our Basel last year. And because the show close
[00:40:21.270]Leilani Lynch: Was supposed to close actually just before we reopened in September. We've extended it through January. So just a little bit of sound.
[00:40:41.790]Leilani Lynch: Yeah, so, and what was great about this was also this exhibition wasn't just McLean, and her kind of like vision and work.
[00:40:49.530]Leilani Lynch: It or her own artwork. She was inviting and musician. She invited other artists to be part of get curated into the installation itself. So in that kind of community building work, she was already starting it from from the start of the exhibition
[00:41:08.520]Leilani Lynch: And and just another work that's sort of internet had its interactive components as well, you know, Hey gang, I showed you the wallpaper by her
[00:41:19.500]Leilani Lynch: That she that she made earlier in the presentation. And this is, this is one of the works in the show that was involves these these blind structures and lights and these lights are activated by by the playing of drums, that the public could play
[00:41:50.190]Leilani Lynch: So yeah, so kind of, I think it's definitely a theme within the exhibitions that we bring to the bass in wanting to make sure that the audience also
[00:41:59.970]Leilani Lynch: Feels like they are welcome. They're given, you know, in that they can enter interact with the works.
[00:42:06.690]Leilani Lynch: This is sort of integral. And what I didn't talk about earlier was that you know our audience is not only people living in the area, but it's also tourists people who you know it started to rain and they have to come to the museum, like we're not always
[00:42:20.880]Leilani Lynch: We're very cognizant of the fact that we're perhaps not always like the first choice of a place to visit. But the gives you kind of this interesting task.
[00:42:29.910]Leilani Lynch: Of needing to interest people and keep them engaged. And so this kind of interactivity has been really key to to the success. I think of our of our shows
[00:42:42.240]Leilani Lynch: And so moving kind of into public space because this is something that's at the top of mind. I think for a lot of a lot of people, the public space is one of the only places that feels safe right now, except for maybe your home.
[00:42:56.700]Leilani Lynch: And these Walgreens windows. These a Walgreens is a drugstore, of course, and they offer up their window spaces to art institutions. These are a very kind of simple way of that we've been engaging the public
[00:43:11.430]Leilani Lynch: Outside of the museum for for quite a while. This is not a new to new to co bit idea.
[00:43:18.450]Leilani Lynch: And this has also been for me was kind of one of the first ways I was able to curate shows
[00:43:24.660]Leilani Lynch: Most of these are Miami based artists and they're creating new work in this storefront setting and it kind of is a different dynamic than the museum. You know, you enter the museum, you
[00:43:35.160]Leilani Lynch: At least you know you're walking into a museum and somewhere you wanted to be, or you decided to go to
[00:43:41.190]Leilani Lynch: In this context, when you're walking by these windows, you don't necessarily might not think that's what you're looking at, especially some of the artists like in this top right hand corner. We're playing with ideas of branding and commercial commodities.
[00:43:56.760]Leilani Lynch: That were, you know, interacting with this idea of being in the Walgreens space. So it's a little bit different of a context. But what I love is that it's accessible from the street. And of course it's free.
[00:44:09.420]Leilani Lynch: And this is just the during, during the pandemic. This is our most recent exhibition in the space. It's by an artist named Nicole saucedo and she's really thinking through these
[00:44:19.680]Leilani Lynch: These textiles and drawings that talking about, you know, the abstract cosmic forces that are sort of binding entangled and tying us together the very poetic installation.
[00:44:32.850]Leilani Lynch: And so another way that that
[00:44:36.360]Leilani Lynch: The basses sort of
[00:44:38.640]Leilani Lynch: Worked in public space is through the digital. This is this Instagram account that's called the bass square at the bass squared and encourage you to visit it.
[00:44:51.990]Leilani Lynch: Of course, no one needs an excuse to go on and on Instagram. But if you need another fall another account to follow this came about because of a grant from the Knight Foundation.
[00:45:03.360]Leilani Lynch: Which has a hub in Miami, and they were asking us to think about
[00:45:09.840]Leilani Lynch: You know, museums and technology. And what, how can museums better use technology. What are the technological advancements that will help museums.
[00:45:22.200]Leilani Lynch: And we were thinking long and long, long and hard, you know, not wanting to maybe put
[00:45:28.230]Leilani Lynch: Not wanting to build an app, because nobody wants another app, right, why don't we, but we were also thinking about how can we build and engage with new audiences that maybe don't come to the museum.
[00:45:40.380]Leilani Lynch: Maybe a similar audience who's walking by the Walgreens or just somebody who's, who's not not coming into that space, and how can we get them.
[00:45:50.370]Leilani Lynch: And maybe that's THROUGH INSTAGRAM, because I, you know, most of us have Instagram accounts and have it on our phone and it's something we engage with every day.
[00:45:59.940]Leilani Lynch: But what would it mean to have an Instagram account that is a gallery in which you stage exhibitions and have it not be just about like promoting what the museum's doing but actually to have work that is native to the digital realm be shown there.
[00:46:18.240]Leilani Lynch: And and that's what we did. And we premiered this with the first exhibition called joyous dystopia in last summer of 2019 and it really became
[00:46:28.590]Leilani Lynch: quite relevant, I think, in, in the, in the current situation that we are in and just thinking about different ways to present our work. So I'll just play a short video of how you can engage with it.
[00:46:43.740]Leilani Lynch: Sort of show you some of the works that
[00:47:42.180]Leilani Lynch: Gives you a little bit of an idea of how it works to to interact to see the to visit the gallery, it's even just talking about it. It's
[00:47:53.670]Leilani Lynch: It's a little bit counterintuitive. And we were thinking through ideas or issues of, you know, how does one install in an Instagram gallery do all the works go up.
[00:48:03.900]Leilani Lynch: All at once do but then we decided. No, that wouldn't be that wouldn't be successful because, of course, the nature of Instagram is the scroll
[00:48:11.880]Leilani Lynch: So you sort of want works to come out periodically so that people continue to be engaged and that continues to come up in their feed. So that was joyous dystopia. And then just to have the artists that I showed, or a BA Papa Marguerite de and Jeremy cool yard.
[00:48:30.840]Leilani Lynch: And in during the pandemic. We revisited we we came back to the best squared and sort of we had thought about it as more of an experiment back in 2019 and it really became
[00:48:44.040]Leilani Lynch: Another gallery space in 2020. And so what we did, because we didn't, we were trying to react quickly to the need for virtual
[00:48:52.860]Leilani Lynch: Programming. Once the museum closed, we decided to use works from our collection that
[00:49:00.540]Leilani Lynch: That were videos, perhaps not digitally made are meant for this digital space, but that might find a new audience or new context on Instagram. So one of the first ones we did was Tracy Moffitt these montage is
[00:49:16.590]Leilani Lynch: Tracy is an artist from Australia who with these with these video works with choosing sort of a theme so mother lip. There's another one called doom.
[00:49:29.910]Leilani Lynch: Revolution and and using clips from Hollywood movies kind of exploring these tropes. So the trope of motherhood and how that's been portrayed
[00:49:39.690]Leilani Lynch: And so this was a little bit of a different approach in terms of the works were not made for the for the digital realm but
[00:49:46.470]Leilani Lynch: In in discussing with her kind of like the need for the immediacy and these works being in our collection.
[00:49:52.110]Leilani Lynch: We wanted them to be on views. So how could we extend the museum behind beyond our walls and she was thankfully very open to to that kind of translation.
[00:50:03.390]Leilani Lynch: And then most recently, a couple of works by the Brazilian collaborative assumed a bit Astro focus. These works are often kind of like bleeding into
[00:50:15.450]Leilani Lynch: Music Video their abstract. They bring in traffic Alia and then this one in the middle is is more of an animation. So we're really playing with what the platform might do. So I encourage you to
[00:50:27.180]Leilani Lynch: To follow if you want and and stay tuned because we'll definitely be having premiering or commissions on that platform and
[00:50:36.210]Leilani Lynch: And yeah, it could be a nice kind of disruption to your Instagram. If you're interested in that. Another project that's come about, or more of an initiative has come about in the pandemic is is called art outside
[00:50:50.370]Leilani Lynch: And this
[00:50:53.010]Leilani Lynch: This is about, you know, sort of as as a museum was closed and even now is we're open public space the outside open air is one of the only places that people feel comfortable. And so what happens when
[00:51:06.210]Leilani Lynch: When they don't feel comfortable coming inside we needed to, to think about strategies for
[00:51:12.840]Leilani Lynch: For utilizing our outdoor space. Also in Miami Beach and Miami in general, you're able to kind of go around outside for most of the year. Sometimes it's really hot or raining. But in general, it's quite outdoor spaces very accessible. So we decided to
[00:51:30.120]Leilani Lynch: Not only you know building upon the work. So we have in our park already that are permanently on view to commission some new works and put some temporary works.
[00:51:40.500]Leilani Lynch: In and around the park, but also building up this area in miami beach with more public art that people can experience either biking or walking or that some of them even driving by and sort of it sort of becomes this sort of civic
[00:51:57.000]Leilani Lynch: Project celebrating public art in Miami Beach and inviting people to experience that and kind of experience joy because I think we're also leading that right now.
[00:52:08.430]Leilani Lynch: And we have, we were able to build this platform that
[00:52:11.940]Leilani Lynch: Allows you to, to, kind of, like, look for each of the works and and tap into them and see where they are and choose where you want to go, what you want to see and kind of create your own because it's all on Google Maps.
[00:52:25.380]Leilani Lynch: You can make your own path. So it's not something that's like a guided tour, it's it's at your own will and you can do it all by just going to the website.
[00:52:35.880]Leilani Lynch: So it gives people a little bit more freedom. And these are just some of the works that we have on view that are some yeah that are from to from our collection on the left, Lawrence winner.
[00:52:48.030]Leilani Lynch: This is a work that we've shown inside before and I just love that we were able to put this on the facade of the museum.
[00:52:55.110]Leilani Lynch: And then this new iPod is for the bad phone. It's a process photo. The middle work as by an artist name are to go ahead and hit data.
[00:53:04.620]Leilani Lynch: from Venezuela and then on the right is the same artists who had the show inside before Karen Rufus.
[00:53:12.240]Leilani Lynch: We commissioned this flag works using the banners with 31 banners that are the perimeter of the park and she was responding to the the architecture and surrounding environment using her language of abstraction.
[00:53:27.630]Leilani Lynch: And going outside of the park. We are in the middle of installation. So a lot of these photos and I'm going to show you our process or renderings
[00:53:36.420]Leilani Lynch: So we sort of get into the speculative part of the last part of the presentation. This is a work by Lexus Nova who works a lot with Wall drives and a femoral projects and really looking at
[00:53:49.080]Leilani Lynch: Architecture and the architecture of power and politics and he's doing this this drawing this painting on our sidewalk near the museum.
[00:53:59.100]Leilani Lynch: This is a workplace and LM a holy who I pointed out earlier in the presentation a small photograph. They are an artist from South Africa. They're a visual activist.
[00:54:10.140]Leilani Lynch: And photographer and this is them in the in the image and they're really an advocate for for black lesbian, gay, bisexual, transgender intersex people specifically in in South Africa, but really kind of the project extends around the world and in these
[00:54:27.090]Leilani Lynch: In these images they are taking a self portrait and playing with
[00:54:33.210]Leilani Lynch: With color and kind of like deepening the darkness of their skin tone. Also, you see might see in the title here and see
[00:54:40.590]Leilani Lynch: They're, they're taken in different locations as artists travels around. So in North Carolina and also just taking oftentimes props and costume and dress from from the immediate surroundings and this will be this will be on Miami Beach City Hall. So it's quite a, I think a statement of
[00:55:03.360]Leilani Lynch: To have this work there on the civic building
[00:55:07.590]Leilani Lynch: Another project that I'm that I'm working on that will be up in November is. It's called work from home.
[00:55:15.810]Leilani Lynch: This utilizes you see her on the right, there's a there's a longboard but walk that extends, you know, along the beach way.
[00:55:23.490]Leilani Lynch: That kind of bridges the gap between the city and the beach and the each kind of each block. There's an entry way these kind of like liminal spaces and so we will be installing the works of nine Miami based artists.
[00:55:37.740]Leilani Lynch: Using these sort of stand structures to and they're really looking at in the in this show the idea of home and kind of the domestic either from from very different perspectives and different mediums, you know, photography,
[00:55:52.320]Leilani Lynch: Have some samples here but photography
[00:55:55.950]Leilani Lynch: Also digitally created works, an artist who's working on actually building a video game and thinking about future landscapes and interiors and ideas of home as well as translations of
[00:56:09.990]Leilani Lynch: Of artworks that are hand drawn and things like this just briefly some some images. I know I've actually been talking for a while.
[00:56:19.260]Leilani Lynch: But Mark Florida or is a wonderful artists. These are all artists based here and he's using
[00:56:24.810]Leilani Lynch: digital collage to really look at topics around his patient background and his family's religious experience. And that's through collage and bolting and performance.
[00:56:35.700]Leilani Lynch: Another artist Roscoe be thick. He's a photographer based in Miami, born in Miami gardens and he he's really capturing the domestic spaces of Miami that aren't might be unfamiliar to tourists.
[00:56:52.530]Leilani Lynch: Amanda Bradley's and other artists working in photography and thinking a lot about home homeland along in a
[00:57:02.430]Leilani Lynch: Sort of sorting out of what home can mean she's originally from believes, but she grew up in Miami and sort of has this
[00:57:11.130]Leilani Lynch: complicated relationship with, you know, like history memory and and and where she came from.
[00:57:19.410]Leilani Lynch: This is condello when my or and other artists based he's using charcoal. A lot of times, and drawing and and kind of looking at Latin American culture and the ways it's been displayed and
[00:57:32.940]Leilani Lynch: commodified perhaps internationally and so thinking about like these bananas and the palm leaves and kind of signifiers of his home where He's originally from Colombia and how those might be, you know, in motion changing or perhaps destructed
[00:57:52.290]Leilani Lynch: And this last one. Nice and easy there a collaboration. That's actually the two artists there. And this is this work is going to be both the the image, but the number that you can call into its kind of tapping into tropes of
[00:58:06.120]Leilani Lynch: Pharmaceutical ads, you know, kind of taboo. But once you call the number, it will lead you to a walking meditation that is thinking about anxieties around this time. And as you walk and kind of like just really kind of shaking up your expectation of what what that experience might be
[00:58:26.850]Leilani Lynch: And lastly, I want to talk about two projects that are that are also upcoming that are even more speculative in that I can't really say who the artist is yet because we haven't announced it but
[00:58:39.900]Leilani Lynch: But this is a project that will be happening in Collins park in front of the museum in which the artists will be working with native plant species over over 1000 native plants and kind of re
[00:58:55.620]Leilani Lynch: Taking over the park and not very manicured landscape with with indigenous species plant you know plants that were also used for healing and have medicinal qualities
[00:59:06.690]Leilani Lynch: And there's a person whistling here because there will also be sort of this performative aspect in which a person who's mimicking need a bird sounds will be
[00:59:16.140]Leilani Lynch: Walking throughout the park at various times, so stay tuned for that. That's coming in the end of November.
[00:59:23.760]Leilani Lynch: And then lastly, another initiative that I'm really excited about, you know, and talking about Publix
[00:59:30.630]Leilani Lynch: And engaging with the community. I think a lot of a lot of that is being able to start conversations and have conversations via the exhibition and the museum platform.
[00:59:42.600]Leilani Lynch: So we launched this open call to Miami artists Miami based artist called New monuments, which is really thinking about the global conversation.
[00:59:54.090]Leilani Lynch: About you know contest environment monuments legitimacy legacy of monuments around our country.
[01:00:03.510]Leilani Lynch: Whether or not they should be there who they are memorializing. These are just some images I pulled from online. This is from about on the Robert E. Lee statue in Virginia, you know, artists are already thinking about this. This is a work recent work by Nicholas golan in
[01:00:22.680]Leilani Lynch: Called shadow of the land and excavation and Bush burial. That was part of the 22nd.
[01:00:28.140]Leilani Lynch: Sydney biennial that just closed so this isn't related to the work that we're doing just the to say that, you know, artists are
[01:00:35.310]Leilani Lynch: Not only is the country thinking about this in the world, thinking about what monuments are of course monuments are sculptural they are in, in many ways, artistic so artists are also interrogating these
[01:00:47.400]Leilani Lynch: These ideas as well. And so what we did was have an open call to to artists in the in the community. It's you really want to start this conversation about what is a monument in 2020 mean to you what conversations are relevant.
[01:01:03.540]Leilani Lynch: And then the work will be the photo on the left is of existing there are five busts in the park in front of the museum that are existing currently. They're all of
[01:01:15.090]Leilani Lynch: Men that various thinkers, philosophers and scientists to where are relevant to the communities of Miami Beach, but we are adding a six or a fifth plans.
[01:01:31.920]Leilani Lynch: You know, similar to in Trafalgar Square in London. There's the the empty plan. The fourth plan project, which also invites artists to put
[01:01:40.170]Leilani Lynch: Sculpture on top of it, but this one is very specific in that we would like for it to be a monument and it was. Yeah, it was a really interesting process of working with
[01:01:50.550]Leilani Lynch: Getting RECEIVING OVER 85 submissions and and kind of reviewing that and just a sneak peek of the selected work which will be
[01:02:02.340]Leilani Lynch: made of glass and and it's dedicated to mothers and they'll have a sound component
[01:02:08.130]Leilani Lynch: So I'm looking forward to realizing that with the artist very soon, and next year, but this is part of an ongoing
[01:02:17.460]Leilani Lynch: It. Oh, it doesn't even say that here. I don't know why I skipped for that for but it's a five year program. So it's, it's something that we hope will, you know, kind of create a dialogue that's ongoing and the community.
[01:02:29.160]Leilani Lynch: And that's almost it. I just wanted to end with with this last piece, you know, a reminder kind of
[01:02:36.990]Leilani Lynch: That we need to know how to know and care for the other ourselves and society at large and equal measure. Without prejudice. Let us know and care about bodies and their politics and this is again from your so means text.
[01:02:52.470]Leilani Lynch: And I think it's just when we talk about Publix, we want to talk about knowing and welcoming people and within all the context. So, so that's that's the note to end on. Thank you.
[01:03:07.920]Leilani Lynch: I hope that wasn't too long.
[01:03:11.730]Leilani Lynch: I guess I'll stop sharing my screen.
[01:03:15.300]Patricia Davis: Not too long at all.
[01:03:17.370]Leilani Lynch: Thank you.
[01:03:20.430]Leilani Lynch: And I hope that we have some questions.
[01:03:25.200]Patricia Davis: Looks like we do.
[01:03:29.550]Patricia Davis: Thank you, Erin holds for your question.
[01:03:33.150]Patricia Davis: Um, so out. I can read aloud. That way you can think Lonnie
[01:03:39.270]Patricia Davis: And all can follow along as well, so I'm
[01:03:41.520]Patricia Davis: Not reading you to sleep or anything.
[01:03:45.300]Patricia Davis: So we have question public space and social media. So the tape suspended a curator this week for criticizing their decision to delay the Gustaf exhibition
[01:03:56.700]Patricia Davis: The criticism took place on this person's Instagram page. And I think it was probably smart to pause on Gustaf but as a curator does this kind of institutional reprimand frighten you
[01:04:10.380]Leilani Lynch: Hmm, that's a good question and very recent news I'm frankly me. I don't know if I would say it frightens me, I think.
[01:04:19.620]Leilani Lynch: You know, the role of a curator is has morphed a lot in in recently, you know, in the advent of social media. And I think that we just speaking personally are often expected to have
[01:04:35.070]Leilani Lynch: A stance and an opinion that might be even separate from like not always aligning with generally what the museum says
[01:04:44.880]Leilani Lynch: So it's, it's something that could happen i mean i i have my own personal Instagram. I say all of us are my own, but
[01:04:54.930]Leilani Lynch: You know as having not been in that situation before where I felt the need to openly criticize my own institution. I can't say. But I do feel that generally I feel very welcome to share my opinions, so
[01:05:11.940]Leilani Lynch: I think this is a very specific. It's a specific case, for sure.
[01:05:18.630]Patricia Davis: Thank you.
[01:05:19.410]Patricia Davis: Yeah. Aaron looks like I had another question. So this one is about controversial dis assassins.
[01:05:27.240]Patricia Davis: Sorry, this assessments. So meaning when museums let go of works of art from their
[01:05:33.210]Patricia Davis: Collection. Okay. I mean, I know you know that, but not everybody listening of sorry folks, I'm a man, explaining to you.
[01:05:40.590]Patricia Davis: Know museums and Syracuse and Baltimore AR D assessing works to create budgets in part to acquire underrepresented artists.
[01:05:49.110]Patricia Davis: From a curatorial perspective. What are the benefits and dangers of this approach to managing a collection
[01:05:54.900]Leilani Lynch: Hmm. Yeah, I think you access running is is
[01:05:59.070]Leilani Lynch: It's really tricky as we yes the you know the points. The cases that you brought up there that are happening right now, especially with relation to
[01:06:11.220]Leilani Lynch: How that affects you know staffing and the overall health sort of an organization in general, I would say, you know, da de accessing is a an accepted ethical way of kind of working with the collection. That's sort of accepted but with very kind of stringent.
[01:06:33.570]Leilani Lynch: Parameters by the, the American Association of museums and museum directors and so there are various usually very strict
[01:06:42.000]Leilani Lynch: Uses and kind of like ways that that can be done and, namely, usually, you know, usually want to work as D accessed.
[01:06:51.570]Leilani Lynch: It's because either. It doesn't kind of align anymore with the with with what's going on in the museum's mission or what they're able to present in the collection.
[01:07:05.250]Leilani Lynch: Or perhaps it's the audience wants it back or it's kind of disintegrated beyond repair repair some, you know, these are kind of like more conventional aspects and I could just be explaining things people know but
[01:07:20.580]Leilani Lynch: And with those kind of sale. Sometimes there is through a sale. Sometimes they're through like you know repatriation with artists or they might have to be destroyed. For some reason, if they're again like damaged, as I said,
[01:07:34.110]Leilani Lynch: But usually those funds have to go back into collecting so they're not so free to support other parts of the collection or of the museum itself. But, I mean, I think.
[01:07:49.470]Leilani Lynch: It's tricky, you, you have the ability to to you to use that tool to kind of refine who you're who you want to be in the collection and that's certainly the case with, you know, D accessing more
[01:08:02.550]Leilani Lynch: White European artists and trying to build in more underrepresented artists. It's a way of really cultivating that collection.
[01:08:10.320]Leilani Lynch: But I think it's also very, you have to do you have to evaluate every work and ask, like, is this what are the specific reasons why we want to do this for this work. It's very, it should be various a very slow process.
[01:08:26.790]Leilani Lynch: But yes, for sure. Tricky.
[01:08:30.930]Patricia Davis: Thank you. Did that answer everything. Okay, Aaron.
[01:08:33.600]Leilani Lynch: I hope so.
[01:08:36.060]Patricia Davis: Um, alright. Our next question is from amethyst. So can you talk about the role of touch within your museum and how you address
[01:08:48.390]Patricia Davis: That within with the public in a space where touches normally not acceptable. And I think if I can add to that, like, not only under the circumstances of the pandemic. But in general, it's sort of like this folk hot to touch art due to the oils on our skin or
[01:09:04.890]Leilani Lynch: Whatever. Yes, I think.
[01:09:09.150]Leilani Lynch: It's, it's definitely something that, well, it's sort of interesting. I think some people come to the museum and they already have like an apprehension that they shouldn't be getting too close to things.
[01:09:19.740]Leilani Lynch: I mean, in a very, you know, kind of like logistical way we have guards, you know, we have people in
[01:09:25.590]Leilani Lynch: In the gallery spaces, but they're also informed on the show. So when a work as interactive, they
[01:09:32.310]Leilani Lynch: Their power to let the audience the visitors know like, oh, by the way, like you can spin this like you can play the drums. You can climb into the bed.
[01:09:40.770]Leilani Lynch: And and that's part of the kind of like the visitor experience that we want that we've tried to kind of have that the guards are not just guarding and they're like silent, but they also know about the shows and they encourage you to interact when
[01:09:56.280]Leilani Lynch: When is appropriate. Of course, they also tell you, like, Please don't touch that when when you can't
[01:10:02.640]Leilani Lynch: Now you know with the pandemic. It's a whole other ballgame. And it's something that we've definitely had to work through you know the week had to postpone shows that were quite interactive because the artists needed time. And really we needed time to to set like protocols.
[01:10:22.590]Leilani Lynch: Because they just didn't exist. You know the artist, the project. I was just showing you with the garden outside
[01:10:29.340]Leilani Lynch: That was initially supposed to be a project that have an inside that was different, like not a garden but in through the process of of the pandemic we develop this product outside because that was the only way that we could maintain the interactivity, but
[01:10:46.080]Leilani Lynch: Yeah, that it's something we want people to feel welcome curious about doing but of course it's it's a little bit tenuous
[01:10:57.750]Patricia Davis: All good points.
[01:10:58.950]Patricia Davis: Thank you. Aaron and Amethyst for your questions. Those were awesome.
[01:11:02.700]Patricia Davis: Anyone else have anything they would like to ask of the Lani or
[01:11:08.010]Patricia Davis: Would like to discuss in general. I'm, I'm willing to go ahead and Fulani Lani if you're cool with this I can open up so that we can unmute everyone
[01:11:16.020]Patricia Davis: Sure that's preferred
[01:11:18.810]Patricia Davis: OK, so now you're unmuted. If there's anything you'd like to just speak up and ask, you're welcome to do
[01:11:27.660]Leilani Lynch: Don't be scared.
[01:11:34.320]Patricia Davis: I would like to take a moment and ask a question.
[01:11:39.960]Patricia Davis: I think I'm
[01:11:43.590]Patricia Davis: Working as, as in a curatorial capacity myself.
[01:11:49.500]Patricia Davis: Some of the things that I've encountered with this experience during coven specifically are just having to completely shift around the schedule of what's happening and
[01:12:02.250]Patricia Davis: And in our particular roles. There's so much planning that has to be done, not all of it is just like fly by the seat of your pants even really fun. Sometimes
[01:12:14.040]Patricia Davis: So like, it's, it's, you know, we all understand what it's like to have put plans in motion. And then all this happen and then it's just like, Nope. Stop reevaluate. You know, the whole like 2020 experience that's like, haha.
[01:12:30.930]Patricia Davis: So I guess kid could you kind of give us a little bit more insight. Like you just said that that one show in particular that one part of the experience was meant to be inside, so how how
[01:12:42.930]Patricia Davis: How many more things like that are happening. I mean, like, I'm sure you guys are trying to plan stuff two years in advance or so and then like you have to stop halt reevaluate just because of cove ID. And then, you know, there's other ramifications going on.
[01:12:58.050]Leilani Lynch: Yeah, no, I mean to be honest, it was
[01:13:02.640]Leilani Lynch: I mean, of course, while the whole world was sort of shutting down and and reevaluating how life would function we were doing that in the microcosm of
[01:13:12.540]Leilani Lynch: Other museums. So everything that we had planned for let's say like our spring exhibitions was either cancelled or or postponed, and we
[01:13:25.140]Leilani Lynch: And not only from a standpoint of like timing, but also something that, you know, I didn't really bring up too much but you know budgets money like we should also talk about, you know, funding.
[01:13:39.270]Leilani Lynch: Because we all have our fundraisers and things were cancelled and so there wasn't we sort of had to reevaluate what we could do, but it that way. And, and so we did have to then pivot and plan a number of exit.
[01:13:52.110]Leilani Lynch: Collection related exhibitions, because those are things that we already own they're nearby.
[01:13:58.200]Leilani Lynch: And that was one way that we sort of shifted
[01:14:02.130]Leilani Lynch: But the other was to outdoors and what what things could we bring into public space and what using the money that we did have instead of focusing that more on the inside.
[01:14:14.610]Leilani Lynch: How can we use those resources out out and about in in the city. And so that's how art outside and those other projects that I was talking about, kind of like spurt. You know, came to life. Those were all
[01:14:28.260]Leilani Lynch: Just coming about in the last six months. So it's been, you know, a transition of, like, you know, some usually trying to work two years in advance to then working like a month in advance, it's, it's a, it has its, its benefits and it's it's all you know
[01:14:45.450]Leilani Lynch: pitfalls.
[01:14:47.520]Leilani Lynch: But yeah, I think it was necessary. I think we needed. We needed to re rethink all those things. We can just go about like as business as usual. Didn't make sense.
[01:14:57.300]Patricia Davis: No, I agree, it was like a very good like pull the band aid off moment for
[01:15:02.520]Leilani Lynch: Yeah yeah i think you know people across the board. And we're all reevaluating like what's what's essential and that that really has carried through for us to, like, what, what can we do, and and what how do we want to do it because we don't have that much. So, yeah.
[01:15:21.090]Patricia Davis: Brilliant. Thank you so much. Lonnie for sharing your experiences with us and perspectives and just giving us more insight into the role of the curator within the sort of contemporary context and
[01:15:37.980]Patricia Davis: Sharing some sneak peeks at some new projects that are so
[01:15:42.480]Patricia Davis: Lighter insider views.
[01:15:44.790]Leilani Lynch: Yeah insider info. Yeah, please stay tuned. Thank you so much for having me and
[01:15:52.170]Patricia Davis: Thank you everyone for attending and spending your afternoon with us. So this will be recorded. Obviously it's being recorded. Now,
[01:16:01.200]Patricia Davis: We are working to find a place to post the recording so that you can come back and watch them for your viewing pleasure and I'll make posts about that via social media.
[01:16:13.560]Patricia Davis: The School of Art art history design will make those posts as well. The Hickson Lee college to find a performing arts. So stay tuned.
[01:16:21.540]Leilani Lynch: Amazing.
[01:16:22.800]Patricia Davis: All right, thank you everyone.
[01:16:25.320]Patricia Davis: Have a great evening.
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