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LeandroErlich:TowardsaCollaborativeRelationshipBetweenArchitectureandArt

Keywords:contemporaryart,museumstudies,architecture,interactiveinstallation,internationalartist,artexhibition,BuenosAiresArgentina,ContemporaryJewish

Museumby

IsabelTassara

CapstoneprojectsubmittedinpartialfulfillmentoftherequirementsfortheDegreeofMasterofArtsinMuseumStudies

DepartmentofArt+ArchitectureUniversityofSanFrancisco

_______________________________________________________________________FacultyAdvisor:MarjorieSchwarzer

________________________________________________________________________AcademicDirector:PaulaBirnbaum

December15,2016

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AbstractForthisMuseumStudiescapstoneproject,IpresentedanddevelopedaproposalandprojectplanforanexteriorinteractiveexhibitionofanArgentineanartist,LeandroErlich,attheContemporaryJewishMuseum(CJM)inSanFrancisco,California.Afterresearchingdiverseconflictsbetweenarchitectsandartistsintheartmuseumcontext,mygoalwastoshowanapproachinwhichartcan“dialogue”withtheexteriorfeaturesoftheCJM’scuttingedgebuilding.TobepresentedonthecourtyardentranceoftheLibeskindconstruction,theexhibitionthatIproposewillpotentiallyprovethataneffectiverelationshipcanbeestablishedoutsidethecommoninteriorgalleriesofthemuseumbyembracingeachother’swork.Furthermore,theaudiencewillbeinvitedtointeractwithinthepiece.Theinteriorexhibitionwillbecomplementedwithaneducationalprogramandanafterlifepublication.Includedinthisdocumentismyprojectdescriptionandproposal,mygoalsandobjectives,athoroughactionplanincludingdepartmentaltasks,timelinesandmilestones,anannotatedbibliographyandsixappendicesthatbringthisprojecttolife.

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TableofContents

Acknowledgments..............................................................................................................4

Chapter1:IntroductionandExecutiveSummary..............................................................5

Chapter2:ProjectBackground........................................................................................10

Chapter3:ProjectProposal.............................................................................................23

Chapter4:ActionPlan......................................................................................................31

Chapter5:SummaryandConclusions..............................................................................43

AppendixA:AnnotatedBibliography...............................................................................50

AppendixB:ProjectStakeholders....................................................................................61

AppendixC:AdditionalReferences..................................................................................63

AppendixD:AndyGoldsworthy–DrawnStone...............................................................67

AppendixE:TheChristos–Reichstag..............................................................................69

AppendixF:LeandroErlich–LaTorre..............................................................................70

AppendixG:LeandroErlich–DalstonHouse...................................................................72

AppendixH:LeandroErlich–PulledbytheRoots............................................................74

AppendixI:LeandroErlich–SwimmingPool...................................................................75

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AcknowledgmentsAfterfivemonthsofwritingduringmostweekends,Icanfinallysaythatmycapstoneprojectthesisformymuseumstudiesmaster’sprogramisfinished.Iwouldliketomentionthepeoplewhohavesupportedandhelpedmethroughoutthisperiod.First,Iwouldliketothankmyclassmatesfortheirsupportandrespect.Iwouldparticularlyliketothankmyfacultyadvisor,MarjorieSchwarzer,whohasalwaystrustedandhelpedme,supportedandguidedmeineveryway.Inaddition,IwouldliketothankalltheprofessorsIhavehadduringthisMaster’sprogramwhohavegivenmetheknowledgetowritethisthesisandtheirfullsupportconstantly.Finally,IwouldliketothankmyparentsandJusto,whohavealwayssupported,helpedandguidedmeineverypossibleway.Theyhavealsogivenmethestrengthtostandheretodayandnoachievementwouldhavebeenpossiblewithoutthem.

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Chapter1:IntroductionandExecutiveSummary

Introduction

FormyCapstoneProjectIdecidedtostudytheenduringtensionbetweenartand

architectureintheartmuseumcontext.Therivalrybetweenasinglearchitect’s

intentionsandthemuseum,andtheneedsofthemuseum’spublicandtheartists

exhibitedwithin,hasbeenacontroversialissueespeciallysincethe1960’s,generating

debateandoftendividingwhatissupposedtobeacohesive,complementaryand

fruitfulculturaldialogue.Someartmuseumsinparticular,intheirdesiretocreateanew

attractivebuildingfortheircommunity,generateastrugglebetweentheartists,whose

worktheinstitutionshowcases,andthearchitects,whodesignthesebuildings.Onthe

onehand,artistsmayfeeldisregardedbothphysicallyandemotionally,byaneye-

catchingdesignthatpotentiallyovershadowstheirartwork.Ontheotherhand,

architectslookforwardtocreatingnewbuildingsthatmightenhancethemuseums’

offerfortheirmanycommunities.Severalcasestudieshavesuccessfullyproventhatan

effectiverelationshipcanbeachievedamongthemuseum,thearchitectandtheartists

wherecommunicationprevailswithintheinteriorsofthebuilding.However,fewcase

studieshaveshownhowanembracingrelationshipbetweenbothdisciplinescanbe

achievedoutsidethecommonmuseumgalleriesafterthebuildinghasbeencreated.

ThisiswhyIcreatedaprojectmanagementplanforasite-specificinteractive

installationdevelopedbytheArgentineanartistLeandroErlichtobepresentedinthe

exteriorentranceoftheContemporaryJewishMuseum(CJM),inSanFrancisco,

California.Theexhibitionaimstoshowanapproachinwhichartcan“dialogue”withthe

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exteriorfeaturesoftheCJM’scuttingedgebuilding.Atthesametime,itwillpotentially

provethataneffectiverelationshipcanbeestablishedoutsidethecommongalleriesof

themuseumbyembracingeachother’sworkandinvitingtheaudiencetoparticipate

within.

TheContemporaryJewishMuseumwasfoundedin1984,andisintheheartofSan

Francisco’sBayArea,736MissionStreet,betweentheFinancialDistrictandtheSouthof

Market(SOMA)neighborhoods.In1994,themuseumselectedarchitectDaniel

Libeskindtodesignitsnewbuildingandin2005,thenewbuildingopeneditsdoors.Asa

non-profitorganization,theCJMisanon-collectingculturalinstitutionwhichpartners

withnationalandinternationalinstitutionstopresenttimely,relevantandhighlyartistic

exhibitionsforitspublic.Themuseum’smissionstatementis:“TheCJMmakesthe

diversityoftheJewishexperiencerelevantforatwenty-firstcenturyaudience.We

accomplishthisthroughinnovativeexhibitionsandprogramsthateducate,challenge,

andinspire.TheMuseum’sDanielLibeskind-designedfacilityenablesandinspiresits

mission.Dynamicandwelcoming,it'saplacetoexperienceart,music,film,literature,

debate,and—mostimportantly—people.”LeandroErlichisanartistofJewishheritage

whoseworkandthisparticularprojectalignwiththeCJMmissionbecausetheycontain

asignificantmessagewhichgeneratesdialogueandaudienceinvolvementalongwitha

ground-breakinginteractiveexhibition.Thisprojectfullysupportsasocialjustice

commitmentaboutculturalinclusionanddiversitywhichthemuseumalreadyaimsto

accomplishduringmostofitsexhibitions.

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Myroleinthisprojectwouldbeastheprojectmanager.Iwouldnotonlyworkwiththe

artistcreatingtheprojectproposaltobesubmittedtotheCJM,actingasaguideand

collectingallnecessarymaterialstobepresented,butalsowiththecurrentmuseum

staffmembersdevelopingandcreatingtheexhibitionpieces.Otherkeysources

informingtheprojectwillbethedirectorandthechiefcuratorofthemuseum,the

collectionsandexhibitionsdepartment,theeducationaldepartment,thePublic

RelationsTeam,thedevelopmentdepartment,themarketingdepartment,the

productionteamandthemediateam.

Thissite-specificinteractiveinstallationwillserveasamethodofpubliclyshowing

howtherelationbetweenarchitectureandartcanbesuccessfullyenvisionedoutside

thecommonmuseumgalleriesestablishinga“conversation”betweenartandthe

architectonicfeaturesofabuilding.Theprojectwillbeaccompaniedwithan

educationalprogramfosteringactivitiesanddialoguewiththeaudience,explainingthe

messageoftheexhibitionandgeneratingdialoguebetweenarchitectureandart.Lastly,

theexhibitionwillhaveanafterlifepublication.

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ExecutiveSummary

Thefirstchaptertothiscapstoneprojectstartsbydescribingahistoricalbackground

oftherelationshipbetweenarchitectureandartandpresentsdiversefactorsthathave

influencedtherelationshiptheyhavetoday.Particularly,itexploresdiversecasestudies

inwhicharchitectureandarthavebeenconfrontedintheartmuseumcontext,and

variousproblemsthathavearisen.Thechapteralsoexplorestheparticularworkof

differentarchitectswhocollaborated--ornot--onhavingeffectiverelationshipwith

artistsrepresentedwithinthewallsofthemuseumbuilding.Thechapterfinally

describestheworkofthreedifferentartistswhoseworkslooktodialoguewithan

existingcutting-edgebuilding.Ipresenttheirworktoexplainhowaneffectivedialogue

canbegeneratedafterthebuildinghasbeencreated.

Thenextchapterpresentstheprojectproposal.ITexplainsindetailthevision,goals

andobjectivesoftheproject.Italsodescribeswheretheexhibitionwillbelocated,an

approximateideaonwhattheexhibitionwilllooklikeandwhytheprojectrespondsto

theproblemstatedbetweenarchitectureandartintheartmuseumcontext.

Thefourthchapterdescribesindetailtheactionplantobedevelopedinorderto

createtheexhibition.Thischapterpresentshowtoachievetheobjectivesstatedinthe

previouschapterandallexistingtasks,timelinesandmilestonesformuseum

department.HereIalsoproposethekeypoints,departmentsandteamsthatwillbe

neededinordertocreatetheexhibition:museumdirector,chiefcurator,project

manager,curatorandchiefcuratorassistants,designteam,educationaldepartment,

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mediateamandpublicrelationsteam.Lastly,Iestimatethetotalbudgetneededto

createtheexhibition,developtheeducationalprogramandcreatetheafterlife

publication.

ThefifthchapteristheconcludingchapterwhereIpresentdiversewaysinwhichmy

projectcanbeevaluatedconsideringqualitativeandquantitativemethods,andinternal

andexternalsourcesofinformation.Afterthis,Iconcludemycapstoneprojectby

sharingunansweredquestionswhichhavearisenafterresearchingandwritingmy

projectproposal.Finally,Iallocatedifferentthoughtsandreflectionsabouthowthis

projectcaninfluencethemuseum’sfutureoperationsanddescribeinwhichwaysit

compelstosocialjusticeissues.

Appendicesincludemyannotatedbibliography,thedifferentstakeholdersforthe

project,additionalsources,andaseriesofphotographsoftheworksoftheartists

presentedinmyprojectbackground,whichincludepastworksofLeandroErlich.

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Chapter2:ProjectBackground

In1943HillaVonRebay,firstdirectoroftheGuggenheimMuseuminNewYorkCity,

alongwithartcollectorandphilanthropistSolomonR.Guggenheim,decidedtocreatea

permanentbuildingforhis“non-abstract”artcollection.Rebaysaid“Iwantatempleof

spirit,amonument”(quotedinWolf,n.d.),andthatiswhatRebayandGuggenheim

commissionedarchitectFrankLloydWrighttodo.Atthatmoment,choosingFrankLloyd

Wrightwasrisky.Ontheonehand,Wrightwasknowntodislikeurbansettings(Wolf).

Ontheother,itwasriskyduetohis“futuristic”andmoderncreations.In1956,the

designofthebuildingwaspublishedandtherepercussionwasimmediatelyevident.

WhileRebay’sdesirewasto“createanaturalandorganicrelationshipbetween

artworksandarchitecture,”artistsreactedagainstitoncetheysawthenewbuilding

design(Bianchini,2015,n.p.).Agroupof32artistsincludingWilliamdeKooningand

AdolphGottliebexpressedtheirdisapprovalandconcernthatthenewdesignwas“not

suitableforasympatheticdisplayofpaintingandsculpture”(Bianchini,2015).

Nonetheless,Wrightdidnotlosefocusonwhatheaimedtocreate.Hisresolutepoint

ofviewcontinuedtogeneratemoreopposition.Somecriticswonderedwhetherthe

museumwasmadetoshowcasemodernartorLloydWright’sego(Kalb,2016).

Nevertheless,othercriticsconsideredthebuildingthesupremeartworkintheentire

Guggenheimcollection.AsauthorGuilfoylestates,“thereisanoldsayingaboutthe

Guggenheim,youcometoseeKandinskyandPicasso,butyoustaytoseeFrankLloyd

Wright”(1992,n.p.).

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ThebiggestcontroversyarisingfromWright’sdesignwasthebuilding’sinterior.It

containeda“hugeinvertedconcretesnailshell,withitsquartermileofinternalramps

fromwhichtoviewthesculpturesandpaintings”(Guilfoyle,1992,n.p.).Thecurved

walls,thecontinuousrampandthenaturallightthatcamefromtheceilingweresome

oftheartists’concerns.Therewerefewhorizontalwallsandthismadethehangingof

thepaintingsaproblem.Additionally,thereducedceilingheightmadeitchallengingto

exhibitlargerpaintingsanditwashardtoplacesculpturesonafloorbasethatwasnot

horizontal.Conversely,therampallowedthepublictoseetheentirespacewhilethey

walkedthroughit.Finally,Wrightcreatedadomedlightentranceplacedinthemiddle

oftheshellstructurewithothercontinuouswindowsalongtherampwhichallowed

naturallighttoilluminatetheartworks.Wrightbelievedthatartworksshouldbe

illuminatedwithnaturallightwhich,hesaid,wasthebestwaytoperceiveobjects.

However,asLubowexplainedinhisarticleforSmithsonianMagazine,“ineverythinghe

undertook,thegoalofenhancingandelevatingthehumanexperiencewasalwayson

Wright’smind”(Lubow,2009,n.p.).

ThebuildingopeneditsdoorsonOctober21,1959,andalthoughmostartistswere

againstit,manypeoplefeltintrigueandadmiration.Itwas,andoverahalfcenturylater

stillis,anewrevolutionarymuseumdesignthatcreateddifferentwaysofperceiving

andexperiencingart.Wrightstated“doawaywiththestilted,pretentiousgrandmania

oftheoldfashioned‘art-exhibit’”(Kalb,2016,n.p.).Nevertheless,amoderndiscourse

betweenarchitectureandarthadbegun.

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TheTensionBetweenMuseumArchitectureandArt

Aroundthenineteenthcentury,asauthorSusanHolthamstates,“someofthefinest

buildingswhereartandarchitectureworkedinperfectharmonywerecreated”(2013,

n.p.).Problemsamongthesetwodisciplinesstartedtoariseasbothfieldsevolved.After

twoworldwarsandmanytechnologicaladvances,themodernistmovementappeared,

suggestingnewmaterialsforcreation(Holtham,2013,n.p.).AuthorRiccardoBianchini

explained(2015,n.p.),“theconfigurationofmuseumbuildingsremainedunchangedfor

almostthreecenturies:afixedsequenceofroomswherepaintingswerehangedonthe

perimeterwallsandlargesculptureswereplacedonapavement”(2015,n.p.).

Nowadays,thevisitor’sexperienceissometimesmodifiedduetonewcreationson

cuttingedgemuseumbuildingsmadefortheirmarketingpotentialtoattractmore

visitorsand/ortorenovateandoffernewexperiences.Consideringthecontroversial

aspectsthataregeneratedbecauseoftheconflictbetweenarchitectureandart,most

recentinnovativedesigns,suchastheDenverArtMuseumandtheGuggenheimBilbao,

havebroughtseveralissuesamongwhichtwocanbedistinguished:anexternal

problem,involvingegosandpositioningandaninternalissue,regardingtheinterior

designswhichsomeartistsexplainaffectsthewayinwhichtheirartisexhibitedand

perceivedbyvisitors.

Thefirstproblemisaboutegoandpositioning.Thisrivalryraisesthequestionabout

themuseum’sartisticstatement:whichstatement,architectonicalorartistic,willhave

moreweightonthepublic?AsauthorLarryShinerexplainsinhispaper(2007,n.p.),

“manycriticshaveworriedthattoooftentheartendsupplayingasecondfiddletothe

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architecture”(2007,n.p.).ShinersharesinhislectureareviewfromthedeYoung

Museum,in2005,onceitwasopen(2007):“Itseemsthatarchitectshavebecomethe

bigbadwolfofthemuseumworld.Toooftenflashandbravurawinover

contemplation…andarchitecturetriumphsoverart”(n.p.).CriticslikeShinerbelievethat

somearchitectsarecreatingarchitectonicaldesignsthatimpressthepublic,generating

acompetitionwiththeartthatisexhibitedontheinside.Americanartcriticand

historianHalFosterstatedthatnewartmuseumbuildingswitheccentricarchitecture

liketheGuggenheimofBilbao,Spain,“inflatethecontemporarymuseumintoagigantic

spectacle-spacethatcanswallowanyart”(Shiner,2011,n.p.).Insomecases,whatis

supposedto“contain”artisbecomingtheartworkitself.Artistswhoseworkispartof

themuseumcollectionfeltdiminishedbythenewbuilding.PerformanceartistAndrea

Fraserfeltdisappointedwiththemuseumaudioguide,whichspentsixminutestalking

abouttheincrediblenewbuildingandthewayitupliftsthevisitors’experience(Shiner,

2009,n.p.).

Egosbetweenarchitectsandartistssometimescompete.FrankLloydWright

famouslysaid“I’veheardalotofthattypeofreactions,andI’vealwaysdiscounted

themasworthless,andIthinktheyare”(Lifson,2009,n.p.).Likewise,otherarchitects

suchasStevenHoll,architectoftheBlockBuilding,Nelson-AtkinsMuseuminKansas

City,comparearchitecturewithartbysaying:“Totheextentthatarchitectureis

connectedtothecity,tothelandscape,tourbanissues,itisastrongerartthanifit

becomesandobjectthatsitsinthecity”(Shiner,2007,n.p.).Ontheonehand,some

peopleseemuseumarchitectureasawayofenrichingtheartcontainedwithin.New

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YorkTimesarchitecturecriticPaulGoldbergerwrote“Anarchitectcandosomething

that’spowerfulinitselfandthatenhancestheexperienceoflookingatart”.

Nevertheless,someartistsfeelarchitecturesometimescompeteswiththeirworkand

overshadowsit.IntheGuggenheimMuseuminNewYork,forexample,“manyartists

feltthattheirworkswereempoweredbythearchitecturalstrengthoftheir“container”

andworriedthattheirartworkswouldnotreceivethenecessarysympatheticattention

fromtheviewers”(Bianchini,2015,n.p.).Meanwhile,thecommunitysometimesfeels

inspiredbythebuilding,andothertimesthebuildingdoesnotembracetheir

experienceandartappreciation.MartinPedersen,editorofMetropolismagazine

explained:“Youfeelalwaysslightlyoff-killerwatchingartthere”,talkingaboutthe

GuggenheimMuseuminNewYork(Lifson,2009,n.p.).

Thesecondprobleminvolvesinteriordesign.Insomecases,architectscreatenew

buildingswithcomplexinteriorsthatinterferewiththeartinside.Sometimes,artworks

donothavetheidealspacetobeseen,andartistsexpresstheirdiscomfortthatvisitors

donotunderstandtheartexhibited.LetusreturntotheexampleoftheGuggenheim

MuseuminNewYork.Itscurvilinearwallsandtherampinclinationmadeitdifficultto

showcasepaintingsandsculptures,whichneededasmallplatform.Infact,theonly

placewithahorizontalbasetostandwastheentrancehall,whichWrightdesignedfor

socialpurposesandnotforexhibitingart(Bianchini,2015,n.p.).Theinteriordesignby

FrankGehryfortheGuggenheimMuseuminBilbao,alsohasunusualgalleries

specificallydesignedonalargescaletoexhibitcontemporaryart.However,questions

ariseaboutwhethertheseimposingwallsdistractthepublicfromviewingartand

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becomeanewattractiontobeperceived(Shiner,2007,n.p.).Anothercaseisthe

HamiltonBuildingintheDenverArtMuseumwhichopenedin2006.ArchitectDaniel

Libeskindcreatedanemblematicexternaldesignwhiletheinternaloneis“another

matter”(Shiner,2007,n.p.).Theproblemwasthatthearchitectfollowedthesame

externaldesignintheinterior,bymakingitverydifficulttodisplayart(Shiner,2007,

n.p.).Conversely,thisisnotalwaysthecaseandmanytimes,architectscreateanedgy

exteriordesign,whiletheinterioroneisaccordinglyadaptedtothecollection

showcased.AnexampleisthePulitzerFoundationinSt.Louiswhichopenedin2001.

ArchitectTadaoAndowasaskedtoworkalongwithtwocontemporaryartistswhose

workisexhibitedinthemuseuminordertoservetheartwithin(Shiner,2007,n.p.).

Shinerconsidersthisoneofthefewcasesinwhichartandarchitecturearesuccessfully

combined.Thearchitect’sdesignenhancedtheartworksbyprovidingspecific

dimensionsandlighteffectgenerating“anunusuallyintegratedexperience”(Shiner,

2007,n.p.).AnotherexampleisthenewbuildingfortheWhitneyMuseuminNewYork

City(2015)createdbyRenzoPiano:“anangular,asymmetrical,ship-shapedbuildingat

thebaseoftheHighLine”(Saltz,2015,n.p.).JerrySaltzexplainsthat“theaudacityof

thebuildingshowsthattheWhitneywillsurvivethenewera[inmuseums]”(n.p.).Saltz

describesthemainreasonforitseffectiveness:morespaceforarttobeexhibited.The

buildinghasmoreandbiggerspacestoshowcaseoldart,whichinstorage,andnewart.

Additionally,thelight,theviewandthefreelobbygalleryareotherpositiveaspects

aboutthenewbuilding.Finally,andmostimportant,itisconsideredtohavebeenbuilt

forartandartists(Saltz,2015,n.p.).However,JustinDavidsonsuggeststhatthebuilding

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containsanexcessoflightingandthat“itisawonderfulplaceforpeoplewhogeteasily

boredbyart”,referringtothenumberofwindowsithas(Davidson,2015,n.p.).

Allinall,sometimesproblemsresultfromthefactthatsomearchitectscreatenew

artmuseumbuildingswithcutting-edgeexteriorsthatenduprelegatingtheart

containedand/orhavecomplexinteriorsthatinterferewiththecollectionwithin

creatingaslightcompetitionamongtheworksofeachpart.Ontheotherhand,

KatherineSchwabexpressedanotherperspectiveregardingthis“conflict”.Thenew

BROADMuseuminLosAngeleshasacutting-edgedesignwith“universalcollection

staplesthatshowthatTheBROADisold-fashionedratherthanforwardthinking”

(Schwab,2015,n.p.).Schwabbelievesthatthecollectionshouldaccompanyand“make

room”forthe“underknown,offbeat,lessthanneat”artworks.(Schwab,2015,n.p.).

Oftennotconsideredthis“conflict”betweenarchitectsandartists,remainthevisitors

andthecommunity,whosemuseumexperiencemightalsobeimpacted.Aconfusing

newbuildingdesignmightdisorientthemwhilewalkingalongthegalleriesand

perceivingart.Furthermore,theconflictbetweenarchitectsandartists,mightdistract

themuseum’sfocusonitscommunity.Ibelievethatartmuseums,architectsandartists

shouldworkcohesively,enrichingoneanother’sworkandmakingthebestmuseum

experienceforvisitorsandtheircommunities.Toillustratethispossibility,Iintroduce

theworkofthreeartists--AndyGoldsworthy,TheChristos,andLeandroErlich--whose

workshaveinteractedeffectivelywiththeimposedarchitectureofanartmuseum

building.

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AndyGoldsworthy:DrawnStone(2005)

BritishartistAndyGoldsworthycreatedasite-specificcommissionforthenewde

Youngmuseumbuildingin2005(Foraphotographofthework,seeAppendixC).The

workislocatedatthecourtyardtothemainfloorofthebuilding,evokinganearthquake

crack.Thisissignificantnotonlybecausethebuildingissitednearanearthquakefault

butalsobecausethe2005buildingforwhichitwascommissionedexistsbyvirtueofthe

factthatthepriorbuildingwassignificantlydamagedinthe1989LomaPrieta

Earthquake.AscriticJesseHamlinexplains,Goldsworthyusuallycreatesartworksthat

arerelatedtotheplacewheretheywillbeexposed(Hamlin,2005,n.p.).ThecriticRuan

explainsthatDrawnStonemixes“sevenbigstonesandcracks”includingYorkshire

stone,broughtexclusivelyfromEngland,theartist’shometown.Ruandescribesthe

projecttwoparts:“oneisthegroundwithcracks,andtheotherpartissandstones”

(Ruan,2013,n.p.).

Theworkisconsideredtoaccompanythearchitecturephysicallyandsymbolically,

throughitsmeaning.AsauthorJkimexplainsaboutthework:“itissuccessfullyableto

blendintothesurroundings”;perfectlyintegratedintothemuseumexterior(Jkim,

2014,n.p.).However,manyvisitorsdonotnoticethework.Ruanexplained“whenI

enterintothemuseum,Ineglectedthematfirst...sevenstoneswithnosequenceon

thecourtyardandothertwolinesonthemainentrance”,andstonesareusuallyusedby

visitorsforsitting(Ruan,2013).SomevisitorsdonotseeGoldsworthy’sartproject;they

donotrealizeitisthere.Conversely,oncetheydo,theyareabletoappreciatethework

andideabehindit,whichtendstoaccompanytheexteriorofthebuilding:“Itintegrates

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theenvironmentperfectly.Thereasonwhytheworkisuniqueisthatthesculptureis

imposingoutsideandistouchable”(Ruan,2013,n.p.).

ChristoandJeanClaude

Christoandhiswife,JeanClaude,havecreatedseveralrevolutionarysite-specificart

projects.AsauthorAlbertElsenexplainsinhisarticle(2016),“itisinthepopulistnature

oftheirthinkingthattheybelievepeopleshouldhaveintenseandmemorable

experiencesofartoutsidemuseums”(n.p.).Theirworksinvokeserviceandfreedom,as

wellasinteractionanddialogue(Elsen,2016,n.p.).Elsenexplainsthattheirprojects

were“permanentlyidentifyingwithdifferentplacesthroughtheirartandcreating

‘gentledisturbances’”(n.p.).ChristoandJeanClaudehavealwayslookedforconnection

amongthingsandamongpeople,“theartists'personal,moralandartisticimperative

seemstobetoonlyconnect:connecttheelementsofartandnature,connectartand

engineeringtoshowthattheyarenotenemyfaculties,connectpeoplewithbeautiful

materialsandstructures”(Elsen,2016,n.p.).

Amongtheirworks,thecouplewrappeduptheinteriorandexterioroftheChicago

ContemporaryMuseumofArtin1969,abridgeinParisandattheReichstag

(Richardson,2016;Elsen,2016,n.p.;WilderNorton,2009,n.p.)Foraphotographofthe

work,seeAppendixD.AuthorElsendescribes,“bywrappingtheoldestandmost

handsomebridgeinParis,throughcenturiesoffamiliarityandneglect,TheChristos

restoreditsvisibility,drewattentiontothesimpleeleganceofitsform”(Elsen,2016,

n.p.).However,theirimpactwasnotalwayspositive.Forexample,whentheartists

19

wrappeduptheChicagoContemporaryMuseumofArt,asastatementthatartcould

coveramuseumbuildinginmuchthesamewayasamuseumbuildingcoversart,

“reactionsweremixed”(Richardson,2016,n.p.).AsRichardsonexplained,

“Understandably,somepeopledidn’tknowwhattomakeofit.Someassumedthe

wrapswerefunctionalwhileotherswerebaffledbyitslackoffunctionality”

(Richardson,2016,n.p.).Ontheotherhand,therewerethoseamazedbytheidea:

“contemporaryartwasbroughtoutofthemuseumandontothestreet”(Richardson,

2016,n.p.).Althoughtheyreceivedmanycriticismsupontheirwrappings,theiraimto

connectandgenerateadialoguewas,manytimes,effectivelyachieved.Theseartists

wereabletointerveneinapositivewaywithdifferentstructuresbycreatinga

connectionandasuccessfuldialoguebetweentheirartworkandthebuilding.

LeandroErlich

LeandroErlichisanArgentinianartistwhocreatessite-specificinteractive

installationswhichrelatetoperception,illusion,ideasandconcepts(Guazzonedi

Passalacqua,2016,n.p.).Hisworksaremanytimesrelatedtoarchitecture,sincehe

buildsupurbanisticinterventionswhichcomplementthesurroundingbuildings,and

invitethecommunitytointeractwiththem.Petruelestatesthattheartistlooksfora

“surprising”experienceamongthecommonthingsinourdailylife(n.p.).Interestingly,

Erlichseeksadifferentinteraction,onethatcreatesatruemeaningonthevisitor.He

explainsabouthiswork:“whentheexpectationdoesnotaccompanythereality,the

visitor’sinterpretationactivates”(GuazzonediPassalacqua,2016,n.p.).Althoughhis

20

projectsmightbeseenasarchitectonicpiecesandcomparedtoarchitectureitself,his

aimistocreateastoryratherthanautility,whichhestatesasthemainobjectiveof

architecture(Petruele,2016,GuazzonediPassalacqua,2016,n.p.).Remarkably,sincehe

usuallycreatesinstallationsthathavearchitectonicfeatures,theydonotcompetewith

thesurroundingenvironment,butrathercreateanewrealitywherethepubliccan

participatewithin.Inaway,Erlichprovidesthepossibilityofcrossingrealityboundaries

andsubmergingintohisarchitectonicinstallations.Amonghismanyworks,LaTorre

(2009)wasveryimportant(Foraphotographofthework,seeAppendixE).Underthe

programmingofmakingmoreexteriorinstallations,themuseuminvitedtheartistto

inauguratethecycleandcreateaninstallationforthecourtyardoftheReinaSofia

MuseuminMadrid,Spain.JournalistBurgueniocalleditasuccess,“duetothehigh

interestamongthevisitors,theinstallationremainedfourmonthsmore”(n.p.).The

artistdescribestheimportanceofprovidinganemotionalandvividexperienceto

architecture,andthatiswhathelooksforinthesetypesofworks(Burguenio,2009,

n.p.).Borja-Villel,themuseumdirector,highlightedErlich’sworkasfinearchitectonic

piecesthatgenerateadialogueratherthananenforcement-asarchitecturetendsto

do-.(Burguenio,2009,n.p.).Moreover,inLondon2013,theartistcreatedanoff-site

installationcalledDalstonHouse,whoseaimwastoinvitethecommunitytointeract

anddialoguebyshowcasingarepresentationofaVictorianstyleconstruction(Fora

photographofthework,seeAppendixF).Moretdescribedtheinteractionas,“defying

thelawsofgravity,literallywalkingacrossthefaçadeofarathercuriousVictorian

building”(n.p.).Theinstallationwasvisitedby18,000peopleinitsfirsttwoweeks

21

(Moret,2013,n.p.).ItwascomposedbyagroundfloorofafaçadeofaLondonbuilding

andaperpendicularmirror.Theassistantcuratorexplainedthatthework“fostered

dialogueaboutthebuiltenvironmentandtheprocessofregenerationinDalston,which

hasundergonedramaticchanges”(Moret,2013,n.p.).Lastly,inGermany(2015),the

artistpresentedPulledbytheroots,asite-specificcommissionwasintendedtoinvoke

thepublictothinkaboutthenaturethatsurroundedtheconcreteconstructions(Fora

photographofthework,seeAppendixG).TheDeezenmagazineexplainedthat“the

installationisdesignedtochallengetheresidents’perception”,andtoremindthe

communityaboutthenaturethatremainsbelow.(n.a.,2015,n.p.)Throughthiswork,

Erlichwantedtomakethecommunityreflect:“Thespeedoftechnologyandthe

increasinglyvirtualdimensioninwhichweliveencourageustoseparateoutinventions

fromtheearththatsustainsus”(n.a.,2015,n.p.).Thearticleconcludesbystating:“As

weconsiderourimpactonthenaturalworld,climatechangeandthefateoftheoceans,

thispieceremindsusthathumancultureandnatureareintimatelylinked”(n.a.,2015,

n.p.).(Forphotographsofmoreofhisworks,seeAppendixH).

TowardaCollaborativeRelationshipbetweenArchitectureandArt

Asdiscussedinthischapter,thereisaconflictbetweenmuseumarchitectureandart

whenthesetwodisciplinesareforcedtohavearelationshipinacontextthatpitsand

artisticvisionseachotherratherthanallowingthemtoworktogethertoevokegreater

meaning.Manyquestionscanarisewhilediscussingissuesthatinvolvethesetwo

disciplines,aswellasmanypointsofview.Communicationanddialogue,asopposedto

22

egoandshowmanship,haveproventoachievebetterresultswhenimplemented.

However,whichpartis“supposed”tostartadialogueafteracutting-edgebuildingis

constructed?Thecurator,whoissupposedtocreatecontentforthemuseum,the

directorofexhibitionsofthemuseumortheartists?Andthenthequestionsarisetoo,

wouldn’titbemoreeffectivetomakeanewbuildinginwhichallpartshavebeen

successfully“included”ontheideasinsteadoffeelingthatthebuildingwasimposedto

them?

Consequently,inthenextchapter,thiscapstoneproposesaprojectofasitespecific

installationoftheArgentinianartistLeandroErlichattheContemporaryJewish

Museum,designedbytheabove-mentionedarchitectDanielLibeskind.Itwillnotserve

asasolutiontotheconflictbetweenarchitectureandart,butratherasanapproachto

startadialogueproposedbytheartist,withthearchitecturethatisalreadyestablished.

Itwillemergefromaclosedialogueoftheartistswiththearchitecturalfeaturesofthe

building,consideringthesocialhistoriccontextoftheplaceandlookingforwardto

interactwiththepublic.Theprojectwillserveasamethodologytoestablishamore

fluidconversationbetweencontemporaryartmuseumarchitectureandsite-specificart.

23

Chapter3:ProjectProposal

Thisprojectemergesfrommystudyofthehistoriccontextconcerningartmuseum

buildings,visitors’museumexperiencesandexamplesofhowartistshavecreatedworks

thatencouragepositivedialogueandbetweenarchitectureandart.Fromdiverse

examplesthatIhavepresentedinmyliteraturereview,suchastheDenverArtMuseum

andtheGuggenheimMuseuminBilbao,Ihaveshownhowarchitectureandartinthe

artmuseumcontexthavesometimeshaddifficultiestointeractandworktogether

cohesively.Ontheotherhand,Ihavepresentedsomepositiveexamplesonhowthese

twodisciplineshaveworkedeffectivelywhilethenewbuildingisbeingdesigned,and

therefore,achieveconstructiveoutcomesforallpartsinvolved.Forexample,inthenew

buildingoftheWhitneyMuseuminNewYorkCity,thearchitectworkedwithartiststo

createaneffectivestructureforallbyembracingeachother’sworks.Inathirdscenario,

whenthebuildingisalreadycreatedandtheartistsshouldadapttoitsnewstructure,I

presentedtheworkofthreeartists-TheChristos,GoldsworthyandErlich–whoseworks

Ibelievehaveessentiallyfoundawaytoexpandarchitectureinasymbolicway.

Therefore,IproposeacommissionoftheworkofLeandroErlichintheexteriorpublic

spaceoftheContemporaryJewishMuseuminSanFrancisco,whichhascutting-edge

architectonicfeatures,todemonstratehowarchitectureandartcanworktogether

successfully,evenafterthebuildinghasbeenconstructed,andhowanartisthasproven

tosucceedwhilecreatingtheseinteractions.

Mycasestudiesdemonstratedthatconflictsappearedwhensituationswereimposed

onartistsbyarchitects.Forexample,intheGuggenheimMuseuminNewYorkCity,

24

conflictsbetweenthearchitectandtheartistsaroseoncethebuildingdesignwas

presented.Asituationwasimposed,inthiscasetoartists,andtherewasnoprevious

communication.Theproposalbelowaddressestheneedforcreatingfluiddialogue

betweenarchitectureandart,andmakingthisdialoguevisibletoeveryoneinan

interactiveexhibition.Atthesametime,theworkwilleducatethepublicbyexplaining

andspreadingthemessagebehindtheworkandunifyingbothdisciplinesinwhich

everyonewillcollaborate.Additionally,theexhibitionwillinvoketheaudience’s

participationtocreatestronginteraction,solidcommunicationandaconnectionamong

thearchitect,theartist,thepublicandthecontemporaryartmuseum.Thesite-specific

projectcreatedbytheArgentineanartistofJewishheritage,LeandroErlich,atthe

ContemporaryJewishMuseuminSanFrancisco,Californiawillbepresentedinthe

exteriorentranceofthebuilding,onthecourtyard,wheretheperpendicularwallofthe

buildingislocated.Thisworkwillbepresentedasameansofconductingandcreatinga

dialoguewithDanielLibeskind’scuttingedgebuildingwhichhappenedin1998,

establishinganinteractionamongthelocalcommunities,theartist’swork,the

architectureofthebuildingandthemuseumasaculturalinstitution.Itwillserveasan

approachtostartadialogueproposedbytheartistwiththearchitectureoftheCJM

building.Atthesametime,itwillworkasanexampleforotherculturalorganizationsto

lookfordifferentwaysto“unify”throughprojectsthathavepowerfulmessagesand

thatprovokeaconversation.Theworkwillconsistofcreatinganexhibitionthatwill

worktogether,physicallyandsymbolically,withthearchitectonicfeaturesofthe

building.Furthermore,theaimofmyprojectistocreate“dialogue”outsidetheordinary

25

exhibitioncontext,intheformofasite-specificproject,anduseexteriorspacestore-

createtherelationbetweenthesetwodisciplinesandmakeitvisibleinapublicplace.

Astatedpreviouslyintheintroductionofthiscapstone,theContemporaryJewish

Museummissionstatementisasfollows:

TheCJMmakesthediversityoftheJewishexperiencerelevantforatwenty-firstcentury

audience.Itaccomplishesthisthroughinnovativeexhibitionsandprogramsthat

educate,challenge,andinspire.

TheMuseum’sDanielLibeskind-designedfacilityenablesandinspiresitsmission.

Dynamicandwelcoming,it'saplacetoexperienceart,music,film,literature,debate,

and—mostimportantly—people.(ContemporaryJewishMuseum,2008)

TheprojectthatIamproposingcomplieswiththemuseum’smissionstatementin

mostways.First,itwillconsistofadynamicandwelcomingworksinceitwillnotonlybe

locatedontheoutsideofthebuilding,invitingeveryonetointeractwithit,butitwill

alsoconnectthefaçadeofthemuseumbuildingwithanexhibition.Second,itwillbean

innovativesite-specificexhibition,adaptedtotheplacewhereitwillbepresented.

Third,itmightworkasaninspirationforotherculturalinstitutionstoseekdifferent

innovativewaystopresentafluidconversationbetweenarchitectureandart.

Moreover,itwillcontributetoCJM’sstatementof“experiencingartandpeoplethrough

anartisticstatement”involvingtwoimportantdisciplines:architectureandart.Finally,

theprojectwillbeaccompaniedbyaneducationalprogramthatwillfollowitsmessage

ofconnectingandembracingarchitectureandart,andstimulatethepublicandthe

26

communitytotalk,debateandproposeotherapproachestoavoidpotentialconflicts.

Thus,theeducationalprogramwillbeagoodadditiontomyprojectproposalasitwill

enableallpartsinvolvedtoworkaltogetherandcommunicatewithoneanother.

LeandroErlichstartedcreatingthesetypesofsite-specificinstallationsmanyyears

ago.Hisworkstendtocausesurpriseandgeneratepositiveoutcomestowardsthe

museumandthepublic,twoofhisasanartistgoals.ThemuseumdirectoroftheReina

SofiaMuseum,inMadrid,Borja-VilleldescribedErlich’sprojectsasameansof

generatinganopendialogue.Infact,theinstallationconsistedofabuildinginthe

courtyardofthemuseum.Erlichtendstoeffectivelyusediverseexternaland

accessorizedspacestorepresentaconversationbetweenhisworksandthesurrounding

architecture,andinvitethepublictointeractwiththework,andtherefore,withthe

meaningbehindit.

OneofhismostemblematicworkswasLaTorreexhibitedintheReinaSofiaMuseum

inMadrid,Spain,andanotheroneisSwimmingPoolpresentedintheTwentyFirst

CenturyMuseumofContemporaryArtinKanazawa,Japan.LaTorre,whichwas

showcasedfromNovember26,2008toJune1,2009atthePlazaNouvelcourtyard

insidethemuseum,hadbeenexpectedtobeondisplayforsixmonthsbutthemuseum

decidedtoextendthetimeduetoitspopularityandthepositiveoutcomesitgenerated

inthepublic.JournalistBurgueniocalleditacompletesuccess,“duetothehighinterest

amongthevisitors,theinstallationremainedfourmonthsmore”(n.p.).Erlichexplained

abouthiswork,“architecturedoesnotworkifit’snotinanemotionalorexperiential

27

sensetocommunicatecertainreflectionsaboutourownexistence”(GarciaMoreno,

2008,n.p.)SwimmingPool,isapermanentexhibitionatthe21CenturyMuseumof

ContemporaryArt,Kanazawa,Japan.Itwascreatedin2004,andthemuseumexplains:

“theworkinvitesouractiveinvolvementinitsspaces—oncewecatchontoits

deception—andproducesasenseofconnectionbetweenpeoplelookingateach

other.”(n.p.,2004)Asareviewofthework,authorBeckyPevertonwroteforTheDaily

Mail:“Thetrappedwaterconfusespeople'ssensesastheygazedown,withvisitors

clearlymesmerizedbywhatthey'relookingat.”(Peverton,2016,n.p.)Theconceptof

thisworkwaspreviouslypresentedin1999inthetemporaryexhibitionspaceatNew

York'sMoMAPS1andtheVeniceBiennale.

Bothworkshavedemonstratedpositiveoutcomesamongallpartsinvolved,including

themuseum,thebuilding’sarchitectureandmostimportantly,theaudience.The

commissionthatIamproposingwillhighlightthatarchitecturedoesnotendupwhere

thearchitectonicfeaturesfinish,butrathershouldcreateamoresymbolicand‘spiritual’

relationwithartthatgoesbeyondthephysicalstructure.Inthisway,artwillexpandto

dialoguewitharchitectureoutsidethecommonmuseumgalleries.Theprojectalsoaims

atdemonstratingthatartcanalsohaveasymbolicweightandpowertodialogue

effectivelywitharchitectonicstructures.Anotherideabehindthemeaningofthe

projectistoshowtheessentialsymbolismofeachdisciplineratherthanonlyperceive

thephysicalfeatures.Moreover,itwillbeawayofshowingtheartists’othercontextsto

presenttheirworksandhowartistscan‘use’architectureasawayofembracingthe

meaningoftheirprojects.Inmyproject,theartistwillworkdirectlywiththe

28

architecturalfeatures,asheusuallydoeswhilecreatingworksthatsuccessfully

accommodatetothesurroundingstocreateaninteractiveexhibition.Oneofits

objectiveswillbetoeducateandtransmitthemeaningofunificationbetween

architectureandarttothepublicandthediversecommunitiesofSanFrancisco.

Furthermore,theprojectwillcontributetosocialjusticeissuesregardingculturaland

religiousdiversitybystimulatingequitabilityandaculturalinclusivesociety.

Additionally,thiswillbethefirstexteriorinteractiveinstallationofaninternational

artistthattheContemporaryJewishMuseumwillpresentoutsidethebuilding,thefirst

timetheCJMusesitspublicspacetoshowcaseanexhibition,andtheartist’sfirstsite-

specificprojectinCalifornia.Theprojectmightalsoinspireothermuseumsand

organizationstolookfordifferentmethodstogeneratedialoguebetweenarchitecture

andartinanon-traditionalmuseumsettingandinvitemoreinternationalartiststo

sharetheirworkinSanFrancisco.

GoalsandObjectivesfortheProject

Myvisionistofindanartistic“solution”toaddresstheconflictbetweenarchitecture

andartthroughdialogue.Ihaveidentifiedfourmaingoalsthatwillhelpfulfillthis

vision.Thesegoalscorrespondtothetwopartsofmysitespecificexhibitionproject:to

createanexhibitionandtodevelopaneducationalprogramtocreatemeaningful

outcomesregardingtheconflictaddressedbytheexhibition.Aftersettingthemain

goalsofmycapstoneproject,Idescribedifferentinitialobjectivesthataccompanyeach

29

goalsuchascoordinatingandproducingtheexhibition,definingcostsandcreatinga

budget,andestablishingprogramobjectivesaccordingtoeachpublicsegment.

Goal1:CreateanengaginginteractiveinstallationintheexteriorentranceoftheContemporaryJewishMuseum(CJM)buildingObjective1:Developandcreatetheprojectproposalwiththeartisttakingintoaccountthemissionstatementofthemuseum,howto“dialogue”withthearchitectureandthemessagethattheprojectaimstotransmit.Objective2:PresenttheprojectproposalthateffectivelyalignswiththeCJMmission(whichwillincludeWhat-Why-WhenandHowstatement,theartist’sbiography,checklistandtheamountofspaceneeded,etc.)Objective3:Establishtheexhibition’sscheduleforimplementationalongwiththeDepartmentofExhibitions,theDepartmentofEducationandtheartist.Note:Iestimatethatitwilltake12monthstofundraiseandplantheexhibitionObjective4:ObtainthenecessarypermitstodeveloptheprojectinthespacebelongingtotheYerbaBuenaGardenFestival.Objective5:IdentifyresourcestobecontractedtoproducespecificpartsoftheinstallationObjective6:SuccessfullyinvolvetheartistinthecuratorialandproductionprocessObjective7:Completeallaspectsoftheexhibition’sdesignoutsidethebuilding(actionitems:exhibitionlayout,fontandformatofpanelsandinformativeposters,lighting,publicity)Objective8:GuaranteethepropermaintenanceandfunctioningoftheexhibitionObjective9:De-installplanGoal2:DevelopasuccessfuleducationalprogramsinsidetheCJMforallaudiencesObjective1:Developalleducationalprogrammingandmaterialsforchildren,teensandadultsbyestablishingobjectivesanddefininginteractiveandengagingcontentadaptedtoeachgroup’sinterest.Objective2:CoordinatewithlocalpublicandprivateelementaryschoolsanduniversitiestosetuptoursObjective3:Reachouttoschoolsanduniversitiesinstructorswithcoursesrelatedtothemesintheexhibition(i.e.architecture,arthistory,environmentalstudiesetc.)Objective4:Performacomprehensiveevaluationoftheexhibition’ssuccessGoal3:DevelopaneffectivepublicityandpromotionoftheexhibitionbyincorporatinglocalcommunitiesObjective1:Developamarketing/publicrelationsplanfortheexhibition(actionitems:writepressrelease,developcross-institutionalpromotionalmaterial,etc.)

30

Objective2:CreateandimplementasocialmediacampaignfortheexhibitionObjective3:Developallpromotioneventsandprogramming(openingevent,artists’talk,Q&A,debatesandpanels,pressinterviewsandinterviewsinlocalradiostations)Objective4:Establishmeaningfulconnectionsbetweentheartistandthelocalcommunities(i.e.bycoordinatinginterviewswiththeartistandtalks)Goal4:DeveloptheafterlifeexhibitionintheformofapublicationObjective1:Createacomprehensivepublicationthattracestheprojectfromitsconceptionuntilhisfinalexhibition.Includingartworksthathasservedasprecedentforthisparticularpiece,interviewswiththeartistandculturalagentsthathelpalongtheprocess.(i.e.Extensivephotodocumentation,curatorialtexts,etc.)Objective2:DeterminecontentofthepublicationanddefinephotographsObjective3:Includetheartist’sandthearchitect’s,ifpossible,voiceandperspectiveinthetext

31

Chapter4:ActionPlan

Overview

TheContemporaryJewishMuseum(CJM)inSanFrancisco,California,presents

approximatelytenexhibitionseachyear.Thesite-specificinteractiveshowofLeandro

ErlichwillhypotheticallyrunfromJuly10,2018toFebruary19,2019,inordertotake

advantageoftheprimarytouristseason.TheCJMplansitsexhibitionsfromonetotwo

yearsinadvance.Theproject’sactionplanandtimeline,featuringtheprojects

milestones,areexhibitedinthefollowingspreadsheets.Bothchartsarebrokendown

thematicallywithoverlappingactionitemsandnotedmilestones.Theactionplanis

dividedintodifferentphaseswhichrepresentthedifferentdepartmentsthatwillbe

calledupontoworkinsidethemuseumtodeveloptheexhibition.Theactionplanalso

allocatesresponsibilityandatimeframetoeachstrategictask.Particularly,thephase

fortheCollectionsandExhibitionsdepartmentisdividedintointernalphasesthatneed

tobedetailedandexplainedseparately.Inmostphases,itisstipulatedthatthechief

curatorandtheprojectmanagerwillmeetperiodicallywiththerespectiveteamstoget

updatesandmakesureeverytaskhasbeendonesuccessfully.Thiswillalsohelpsolve

anyproblemsorextraordinarysituationseffectively.Finally,theartistwilloccasionally

participateinthesemeetings,specificallyinthosewiththeCollections&Exhibitions

department,EducationDepartmentandtheproductionteamcreatingthepiecesofthe

exhibition.

32

KeyPointPeopleandResponsibilities

1. MuseumDirector

• Topleveldecision-makerandadministrator.S/herepresentsthe

ContemporaryJewishMuseum’sinterests,cultureandmission.S/hewill

alsoapprovetheallocatedbudgetandoccasionallymeetwiththechief

curatortoreceiveupdatesfromalldepartmentsandinallphases

involved.

2. ChiefCurator

• Mainresponsibilityforthedesign,implementation,installationanddes-

installationoftheexhibition.Hewillalsooverseenegotiatingamonthly

rentalfeeforthepublicspacewiththeYerbaBuenaGardenCity.Last,he

willmeeteverytwoweekswithhisteamandtheprojectmanagerto

overseeupdates,checkproductionoftheprojectandmeetwiththe

EducationDepartmenttodefinetheaspectstobeexplored,curatorial

contentandmessagethatwillbereflectedintheprogram.Theartistwill

constantlybeincontactwithhim/herandhewilloccasionallyparticipate

insomemeetings.

3. ProjectManager

• Responsibleforoverseeingtheactionplan,ensuringtheeffective

completionofprojectmilestonesandeffectivelysolvingissuesthatmay

arise.

33

4. CuratorialandProjectManagerAssistants

• Theywillaidthechiefcuratorandtheprojectmanagerwithall

administrativecapacitiesandwiththeirdailyagendas,keepingarecord

ofwhatisbeingdoneandupdatingthemasneeded.

5. DesignTeam

• Theywilloverseethedesignofalldigitalandprintedinvitationsthatwill

besent.Theteamwillalsoberesponsibleforcreatingcreativeand

innovativewallpanels,posters,newslettersandinformativepostersthat

willguidethepublicinsideandoutsidethemuseum.

6. EducationDepartmentincludingeducatorsanddocents

• Theywillberesponsiblefordevelopingandimplementingaccompanying

programseducatingthemuseum’spublicbyexplainingthemeaning

behindtheexhibition,pastworksoftheartist,andhistoricalcontext

abouteachdiscipline,amongotherthings.ThemaingoaloftheCJMisto

educatetheiraudiencecomprehensivelyandeffectivelyusingdifferent

interactivewaysandsuccessfuleducationalmethods.

7. MediaTeam

• Themediateamwillberesponsiblefordocumentingandrecordingall

typeofeventsandsituationsthattakeplaceinsideandoutsidethe

museum.Theywillalsomanagetherecordingandthephotographsfor

theafterlifepublicationaswellascreatinginnovativevideosthatwillbe

postedonthemuseum’swebsiteandsocialmediatoinvitetheaudience

34

totheexhibition.Finally,theteamwillrecordalltalks,debatesand

Question&Answerpanelsthatwilllaterbetransmittedthroughdifferent

platformsthatthemuseumpossesses.

8. PublicRelationsTeam

• ThePRteamwillberesponsibleforgloballycommunicatingthe

exhibition.Theywillsendanddistributethedigitalandprintedinvitations

aswellaslocatingpostersaroundthecity.Moreover,theywillcontact

thelocalandinternationalpressandarrangetalksandinterviewswith

theartistandthecuratoroftheexhibition.

Budget

Thebudgetforthedurationsite-specificprojectwillbedividedintotwomaingroups:

theproductionbudgetandtheprogrambudget.Thechiefcuratorhasestimatedthatto

produceapiecebyLeandroErlichwillcostapproximately$500,000.Regardingthe

programbudget,theCJMestimatesthatitwillrequire$50,000.Whatwillbeincluded

inthesefiguresisdetailedbelow:

ProductionBudget:

• Artistfeeandtravelexpenses

• Artistassistants(2)

• Engineering

• Insurance

35

• Materials

• Security

• Licenses

• Laborandmaterialsforbuilding

• Publicity

• De-installation

EducationalBudget:

• Trainingofeducators/docents

• Feesforguestspeakers

• Techniciansforsoundandvideoforevents.

TotalBudget:$550,000

Regularstaffhoursareincludedinthemuseum’sannualoperatingbudget,and

thereforearenotreflectedintheexhibition’sbudget.

Note:Tofundthetotalamountofthebudget,theDevelopmentDepartmentoftheCJM

willlookforoutsidefinancialsupport.Theywillneedapproximately12months.During

thisperiod,thechiefcuratorwillstartplanningtheexhibitionalongwiththeeducation

department,theexhibitionsdepartmentandtheartist,whowilloccasionallytravelto

36

SanFranciscotooverseeandparticipateofimportantdecisionsregardingtheexhibition

itself,theproductionofthepiecesandtheeducationalprograms.

ProjectMilestones

Thetimelineforfundraisingthemoney,implementingacompleteexhibitionplanand

startingworkingontheeducationalprogramswillbe18months(fromMarch2017to

March2018).Duringthisperiod,themuseumwillalsonegotiateandlookforthe

necessarypermitstosetuptheexhibitionintheexteriorentranceofthemuseum,

whichbelongstotheYerbaBuenaGardenCity.Theproductionofthepiecewilltake

approximatelyfourmonths,fromApriltoJuly2018.Theexhibitionitselfwillcoversix

months(fromJuly2018toFebruary2019).Thisistheidealtimetableplanconsidering

allthedifferentaspectsthatshouldbecoveredtocreateandsetuptheexhibition.

However,ifanyoftheseaspectsisalteredforanyextraordinaryreason,thetimetable

mightbeadjustedfollowingthesameschedule.Thespreadsheetfortheproject

milestonesineachdepartmentcanbeseeninthefollowingpages.

C&ECollectionsand

ExhibitionsDepartment

D DirectorC Curator

M&PMarketing&Promotion

EEducationalDepartment

A ArtistMS MuseumStaff

DDDevelopmentdepartment

F FacilitiesCA CuratorAssistantPM ProjectManagerDT DesignTeamEd EditorialMT MediaTeamPR PRTeamMI MuseumInstallers

MAMantainanceand

cleaning

Key

37

Phase1:Collections&Exhibitions/DevelopmentDepartment Start End Duration Resources Notes

Coordinatewithartistpossibledatestovisitthemuseum 12/17/16 12/17/16 1day C

Issueticketplaneandhotelreservation 13/17/2016 13/17/2016 1day CA

MeetingbetweentheChiefCuratorandtheartist 1/3/17 1/3/17 1day C,A,PM

Artistreturntohishometown 1/4/17 1/4/17 1day A

Brainstormingofideasanddefinethemessageoftheexhibtion 1/5/17 2/5/17 4weeks A

Ocassionall

y,the

Project

Manager

willbein

contactwith

theartistin

Drawsketchesofhowitwilllook 2/6/17 2/10/17 5days A

Definehowtheaudiencewillinteractandrelationtomuseummission 2/11/17 2/20/17 10days A

Describediversewaysinwhichadialogueamongbothdisciplinesisstated 2/11/17 2/20/17 10days A

DefinetemptativeWHAT-HOW-WHENandWHYofthepotential 2/21/17 2/28/17 8days A,PM

Estimatetheamountofspaceneeded 2/11/17 2/11/17 1day A

Writedownthefinaldraftoftheprojectproposal(Projectmilestone) 3/1/17 3/3/17 3days A,PM

Doublecheckallitemsthatmustbeincludedforsubmission 3/1/17 3/3/17 3days A

SubmitprojectproposaltotheCJM(ProjectMilestone) 3/3/17 3/3/17 1day A,PM

InternalMeeting1attheCJM-Evaluationandanalysisoftheproject 3/3/17 3/8/17 1week C,D

OutreachtoCEO,Board,otherdepartments 3/8/17 3/8/17 1day D,C

Deliberationandformalannouncementtotheartist 3/8/17 3/10/17 3days C,D

Schedueleameetingbetweentheartist,andtheCollections&

exhibitionsdepartmenttodefineprojectimplementation3/10/17 3/20/17 10days C,A,C&E,PM

Issueticketflightandhotelreservationforartistandartist'sassistants 3/10/17 3/10/17 1day CA

MeetingsbetweenChiefCurator,Exhibitionsdepartment,Education

department,projectmanagerandartist3/17/17 3/17/17 1day C,A,C&E,PM

Allday

meetings

Defineprojectprioritiesandresponsabilities 3/17/17 3/19/17 3days C,PM

Establishinstallationanddesintallationplans(procedure,datesand 3/20/17 3/24/17 5days C,A,C&E,PM

Talkwiththeproductionteamtodefinetheworkandestablisha

timetableforworking3/22/17 3/24/17 3days C,PM

Communicatetheexhibitionsideatothemarketingteamtostart

thinkingstrategies3/22/17 3/22/17 1day PM

Estimatetimesforobtainingpermits 3/23/17 3/23/17 1day C,PM

Createadigitalchartwithalldetailstosharewithalldepartments 3/24/17 3/27/17 4days PM

Callforameetingwithalldepartmentsinvolvedandcommunicate

definedscheduele,planandtimetable3/27/17 3/27/17 1day

C,A,PM,

C&E,DD,ED

Theartist

mightor

mightnot

jointhis

meeting,

dependingif

heisstillin

Phase1A-Proposalcreation,presentationandevaluation

LeandroErlich:TowardsaCollaborativeRelationBetweenArchitectureandArt

38

Callforameetingwithalldepartmentsinvolvedandcommunicatedefinedscheduele,planandtimetable 3/27/17 3/27/17 1day

C,A,PM,C&E,DD,ED

Theartistmightormightnotjointhismeeting,

dependingifheisstillin

MeetingwiththeDevelopmentdepartment(Projectpresentationplanandestimativeofamountofmoneyneeded)

3/8/17 3/8/17 1day C,DD,PM

Developmentdepartmentstartstofundraisemoney 3/8/17 3/8/18 48weeks DDMeetingwiththeexhibitionsdepartment 3/8/17 3/8/17 1day C,C&E,A,PMPresentexhibitionsplans 3/8/17 3/8/17 1day C,C&E,ACreateanexhibitionlayoutandestablishexhibitiontimeline(Project 3/8/17 3/14/17 1week C,C&E,PMDefinespecificlocationoutsidethebuilding 3/14/17 3/14/17 1day C,AContactpersonresponsiblefromtheYBGC(inchargeofthepublicspacebelongingtotheYerbaBuenaGardenFestivaloffice(YBGF)

3/27/17 3/27/17 1day C

Meeting1withMrs.Lucero-Presentationoftheprojectideaand 4/3/17 4/3/17 1day CInternalmeetingattheCJM 4/7/17 4/10/17 4days C,DMeeting2withMrs.Lucero-Presentationsanddiscussionoftermsandconditions

6/9/17 6/9/17 1day C

Createacontractstatingagreedtermsandconditions 6/10/17 7/10/17 4weeks C

Thisstagewillbedone

bythemuseum'satorney

schedulingweeklymeetingswiththe

ReviewinternallythecontractwithCJMlegalatorney 7/11/17 8/20/17 5weeks C,DMeeting3withYBGC-Contractreviewandfinaldiscussions 8/22/17 8/22/17 1day CInternalworkwithmuseum'satorney 8/23/17 9/28/17 4weeks CMeeting4YBGCtodothefinalrevisionofcontractandsignit(ProjectMilestone)

9/29/17 9/29/17 1day C

Scheduelebi-weeklymeetingswitheachdepartmentresponsibleinvolvedtohaveanaccurateupdateoneachtask.Implementaneffectivewaytocommunicateandsharematerials(GoogleDrive)(ProjectMilestone)

3/8/17 6/10/18 12weeks C,A

Theartistwill

occasionallyparticipateinthese

Phase1B-Fundraising,planningandobtainingpermitsfortheexhibition

39

Scheduelebi-weeklymeetingswitheachdepartmentresponsibleinvolvedtohaveanaccurateupdateoneachtask.Implementaneffectivewaytocommunicateandsharematerials(GoogleDrive)(ProjectMilestone)

3/8/17 6/10/18 12weeks C,A

Theartistwill

occasionallyparticipateinthese

Meetingwithallpartsinvolved 4/1/18 4/1/18 1day C,C&E,P,A,PMConfirmproductionlocation 4/1/18 4/1/18 1day C,C&E,PMDesignpiecestocreatetheexhibition 4/1/18 4/4/18 4days C,C&E,A,PMDeterminedimensionofthepieces 4/3/18 4/4/08 2days C,AConfirmmaterials 4/1/18 4/4/18 4days C,A,PT,PMMeeting2-approvalofdesignedpieces 4/4/18 4/4/18 1day C,AProductionofpiecesstarts 4/4/18 6/4/18 8weeks PT

Scheduelebi-weeklymeetingwithproductionteam 4/1/18 6/4/16 12months C,C&E,PM

Artistwillocassionally

jointhismeeting

Phase1D-Installation,mantainanceanddesinstallationEstablishsecurityandcrowdcontrolplanandmeetwiththesecuritystaffofthemuseumtocommunicateit

4/1/18 4/4/18 4days C,A,F

MeetingwithFacilitiestodefineresourcesneededwhileinstallingtheexhibition

4/7/18 4/7/18 1day C,F

Definequantityandtypesoflightneeded 4/2/18 4/2/18 1day C,C&E,AIntallpublicitypostersinlocationandaroundthecity(strategichotspots) 5/1/18 5/5/18 5days PR,M&PConfirmarrivaldateoftheexhibitionpieceswiththeproductionteam 5/29/18 5/29/18 1day C,C&E,PTMeeting3-Executeinstallationplanandconfirmallresourceswill 6/8/18 7/6/18 4weeks C,C&E,MI

Receivethepiecesandstartinstallingtheminthepublicspace(ProjectMilestone)

6/8/18 7/6/18 4weeks C,C&E,MI

Theproductioncompanywillhelpinstallthepiecealong

withmuseumspecialisthandlers.Theartistwillalsobe

Executesecurityandcrowncontrolplan 6/5/18 7/6/18 4weeks MIEstablishdailycleaningschedueleandcommunicateittothemuseummantainancestaff

6/5/18 7/6/18 4weeks MC

Lightplacementsandadjustment 7/6/18 7/8/18 3days F,MIInstallinformationboxesandpostersinsideandoutsidethebuilding 7/6/18 7/6/18 1day C&E,FInstallbrochurespace 7/6/18 7/6/18 1day C&E,FInstalldonationbox 7/6/18 7/6/18 1day C&E,FInspectandrestorebrochures(daily) 7/10/18 2/19/19 28weeks C&E

Dailymantainance,securityandcleaning 7/10/18 2/19/19 28weeks MC

ExhibitionOpening(exclusivepreview) 7/10/18

ExhibtionOpeningEvent(ProjectMilestone) 7/11/18

Executedeinstallationplan(ProjectMilestone) 2/19/19 2/25/19 1week F,MISendpiecestostorage 2/19/19 2/25/19 1week F,MI,C&E

Phase1C-Production

40

Phase2:EducationalDepartment Start End Duration Resources NotesMeetingbetweencurator,headofeducationdepartmentandartisttostateaspectstobeexploredandlearned

9/4/17 9/8/17 5days C,ED,A

Definequantityofprogramsforeachaudience 9/4/17 9/8/17 5days C,ED,AMeeting2:Confirmanddefineeducationalprogramsthatwillbe 9/11/17 9/13/17 3days C,ED,AConfirmcontentforeachaudience 9/4/17 9/13/17 5days C,ED,ADevelopcontentforeachprogram 9/8/17 11/8/17 8weeks C,ED,AConductexhibitionsresearch 9/13/17 11/8/17 8weeks EDHireeducators 3/8/18 3/23/18 16days C,EDSchedueletrainingforeducators 3/27/18 5/30/18 4weeks EDDefineworkinghoursforeacheducator 3/8/18 3/9/18 2days EDMeetwithresponsiblefromtheexhibitiondepartmenttocreatelabelsanddefinemessagelabel

3/28/18 3/28/18 1day C,ED

Createdesignforlabelsandwallpanels 4/2/18 4/6/18 5days DT,EDIdentifypotentialprivateandpublicschoolsanduniversitiesfortoursandartiststalksandQ&A's

5/15/18 5/22/18 1week ED

Reachouttoschool,universitiesandlocalcommunities 5/22/18 5/25/18 4dyas ED,CDetermineeducationaleventsforschools,universitiesanddiverselocalcommunities

5/30/18 6/1/18 2days C,ED

Phase3:PublicityandPromotion Start End Duration Resources NotesMeetwiththedesignteam 3/12/18 3/19/18 8days C,A,DTWritepressrelease 4/2/18 4/4/18 3days M&PCreatedesignforthedigitalandprintedinvitationsforthegrandopening 4/2/18 4/6/18 5days DTConfirmfinaldraftsfordigitalandprintedinvitations 4/9/18 4/10/18 2days CPlaceorderfor500printedinvitationsforexhibitionpreview 4/10/18 4/10/18 1day CADevelopcross-institutionalpromotionalmaterials 4/3/18 4/6/18 4days M&PDevelopsocialmediastrategytopublicizeexhibtiion 4/10/18 4/17/18 1week M&PDefinepanelformatanddesignwiththedesignteam 4/1/18 4/3/18 3days DT,CReceivesamplesandchoosethefinalones 5/1/18 5/1/18 1day CDesignexhibitionflyerandpostcards 4/4/18 4/6/18 3days DTPlaceorderforflyerandpostcards 4/10/18 4/10/18 1day CA,CEDesignandaddexhibitiontowebsiteofthemuseum 4/4/18 4/6/18 3days DTMeetwithPRteamtosendinvitationsforthegrandopening 4/6/18 4/6/18 1day C,PRSenddigitalsavethedatetomembersandspecialguests 4/20/18 4/20/18 1day PRMailprintedinvitationsfortheopeningpreview 5/1/18 5/4/18 5days PRDistributepressrealesetoCJMmembersandaudience(Project 5/1/18 5/3/18 3days PRContactlocalradiostationsandmagazinestoarrengeinterviewstoartist 5/1/18 5/4/18 4days M&P,CCoordinatewiththeartistpotentialinterviewsanddates 5/1/18 5/4/18 4days PR,C,AAskmediatosendquestionsforinterview 5/4/18 5/4/18 1day PRSocialmediaposts(ongoing) 7/10/18 2/19/19 28weeks M&P

41

Phase4:Programmingandspecialevents Start End Duration Resources NotesMeetwithartisttoplanandselecteventsdates,potentialtalksanddebates 5/1/18 5/1/18 1day C,M&P,PRSchedueleeventinterviewsbetweenartistandlocalcommunities 5/4/18 5/4/18 1day PREstablishdaysandtimesfortechniciasandphotographersoftheCJM 5/4/18 5/4/18 1day C,F,MTConfirmguestspeakersandtalkdates 5/15/18 5/15/18 1day C,EDReservespaceinsidethemuseumtoperformtalks 5/15/18 5/15/18 1day CACommunicatetofacilitiesspecificdaystoaccommodatethespace 5/15/18 5/15/18 1day F,CA

Phase5:Developdeafterlifepublication Start End Duration Resources NotesMeetingwiththeeditorialanddesignteam,exhibitionsdepartment,thecuratorandtheartist

1/3/18 1/5/18 3days Ed,DT,CE,A,C

Definecontent 1/8/18 1/12/18 5days C,ADefinetimelineofcontentproduction 1/8/18 1/12/18 5days C,A,CEAssignresponsabilities 1/8/18 1/12/18 5days CDeveloprecordedinterviewsandtalksabouttheexhibitiontochiefcuratorandartist

1/15/18 4/15/18 12weeks MT

Assignphotographertodocumentprocessofcreationofexhibition,audienceinteractionandinterviews

1/15/18 7/25/18 24weeks MT

Assignwritertowritedownrecordedinterviews 1/15/18 4/15/18 12weeks MT,CConfirminformationandphotographieswiththeartistandchiefcurator 4/18/18 7/25/18 12weeks CA,C,AEdittext 4/15/18 5/15/18 4weeks EdDetailedreviewofallcontent,spellingandgrammar,quotations 5/15/18 7/25/18 8weeks C,APlaceorderoffirstafterlifepublicationroll 8/1/18 8/25/18 4weeks Ed

Firstgroupofpublicationavailable 8/25/18 12/1/18 16weeks C,CA,D

16weeksisthe

estimatedtimethatthefirstgroupofprinted

publicationwilllast

beforethey

Phase6:Evaluation Start End Duration Resources Notes

Interdepartamentalfeedbackontheexhibitiondevelopmentandsuccess 7/10/18 2/19/19 32weeksE,CE,F,P,PM,DD

ArtistfeedbackandexperienceofworkingwiththeCJM 7/10/18 2/19/19 32weeks AChiefcuratoranddirector'sfeedback,evaluationandanaylisisontheexhibitionimplementationandsuccess

7/10/18 2/19/19 32weeks C,D

Solicitfeedbackontheeducationalprogramandtheexhibitionitselftoschoolsanduniversitiesthatcametotourtheirclasses(throughsurveyssenttosupervisors)

7/10/18 2/19/19 32weeks D

Socialmediarepercussion,evaluationandanalysisoffeedback 7/10/18 2/19/19 32weeks DA,CAAmountofsales-Afterlifepublication 7/10/18 2/19/19 32weeks GiftShop

42

LeandroErlich:TowardsaCollaborativeRelationBetweenArchitectureandArt/Timeline

Collections&ExhibitionsDepartmentEducationDepartmentPRDepartmentAfterlifepublicationEvaluationDevelopmentDepartment

Q1MAR APR MAY JUN JUL AUG SEP OCT NOV DEC JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC JAN FEB MAR

Writedownthefinaldraftoftheprojectproposal(Projectmilestone) 1/3/17 3/3/17SubmitprojectproposaltotheCJM(ProjectMilestone) 3/3/17 3/3/17Internaldeliberationandformalannouncementtotheartist 8/3/17 10/3/17Developmentdepartmentstartstofundraisemoney 8/3/17 8/3/18Createanexhibitionlayoutandestablishexhibitiontimeline(Projectmilestone)

8/3/17 03/14/2017

Confirmanddefineeducationalprogramsthatwillbedeveloped 11/9/17 09/13/2017MeetingwithResponsiblefromtheYBGCtodothefinalrevisionofcontractandsignit(ProjectMilestone)

09/29/2017 09/29/2017

Productionofpiecesstarts 4/4/18 4/6/17Receivethepiecesandstartsettingthemuptheminthepublicspace(ProjectMilestone)

8/6/17 6/7/17

Mailprintedinvitationsfortheopeningpreview 1/5/18 4/5/18Distributepressrelease(Projectmilestone) 1/5/18 3/5/18Confirmguestspeakersandtalkdates 5/15/18 5/15/18ExhibitionOpeningEvent(ProjectMilestone) 11/7/18Solicitfeedbackontheeducationalprogramandtheexhibitionitselftoschoolsanduniversitiesthatcamewiththeirclasses(throughsurveyssenttosupervisors)

11/7/18 02/19/2018

Firstgroupofpublicationavailable 08/25/2018 1/12/18Executedeinstallationplan(ProjectMilestone) 02/19/2019 02/25/2019

Q2 Q3 Q4Year2:2018 Year3:2019

TASK/PROJECTMILESTONES START END Q1 Q2 Q3 Q4 Q1

43

Chapter5:SummaryandConclusions

Thesuccessoftheinteractiveexhibitionpresentedintheexteriorentranceofthe

ContemporaryJewishMuseumwillbemeasuredinseveralways:formalinternaland

externalevaluations,theuseofmetrictools,internalandexternalquantitativeand

qualitativeevaluations,andsocialmediaandinternetrepercussion.

Thefirstevaluationsofsuccesswillbeconductedinternallybythemuseumto

analyzeoutcomesfromaprojectmanagementperspective.Internallyandfollowingthe

actionplan,timelinesandprojectsmilestonesestablished,theevaluationwillconsistof

analyzingeachtaskandphasefromeachdepartmentanditseffectivenessand

productivenesstoachievetheproposedobjectivesandgoals.Likewise,thisinternal

evaluationwillserveasareflectionaboutcoreworkandhowtoimproveandcreate

betterindividualandgroupworkpractices.Fromaprojectmanagementviewpoint,this

willhelppolishandcreatenewworkmethodsandguidanceforfuturemuseum

projects,makingeachdepartmenthavemoreexpertiseandimprovedaily.These

evaluationsregardingdepartmentalproductivityandefficacyareextremelyimportant

togrowwithin,whichwillbeseenexternallyprovidingagreateroverallexperienceto

themuseum’spublic.

Secondly,successwillbemeasuredbyevaluatinginternalandexternalsourcesthat

willshowqualitativeandquantitativeinformation.Theexternalsourcesincludemedia,

communities,schoolsanduniversities,andthegeneralpublic.Thequalitative

informationwillbereceivedthroughsurveysandwrittenfeedbackfromtheexperience

44

ofprofessors,communityleadersandthegeneralpublicwhileinteractinginthe

exhibitionand/orparticipatingintheeducationalprogram.Thenumberofvisitorswho

engageansweringthesurveyscombinedwiththedifferentactivitiesthatthe

educationalprogramprovideswillbeanotherquantitativemeasurethatwillallowthe

institutiontomeasuretheeffectivenessoftheexhibition.Additionally,thequantitative

informationwillbeevaluatedthroughthenumberofattendeesineachevent,talksand

debates,theamountofpressrepercussionmeasuredbythedifferentarticlesreleased

abouttheexhibition,numberofinterviewsrequestedtotheartistand/orthecurator

andbyanalyzingthetotalnumberofnewmuseummembersthattheinstitution

obtainedafterthistypeofculturalmeetings.Asfortheinternalsources,the

developmentdepartmentisanotherimportantquantitativesourceofinformationsince

itwillprovideanevaluationofsuccessthatwillexaminetheamountoffinancialsupport

fromdiverseorganizationsthatthemuseumobtainedtofundraisetheexhibition.This

willprovideaclosesenseonhowtheprojectwasperceived,understoodandtrusted.

Ontheotherhand,successwillbeevaluatedthroughdifferentfiguresthatthegiftshop

managercanprovide.Thesefigureswillbeevaluatedfromtheamountofsalesthatthe

afterlifepublicationhadandtheamountofsalesfromobjectsthatarerelatedtothe

exhibition.

Thethirdmethodthatthemuseumcanusetoevaluatethesuccesswillbeusing

GoogleMetricsandothersimilartoolsthatproviderelevantinformationregardingthe

trafficofthewebsiteandthenumberofclicksthatapublicationreceives.Thiswillbean

interestingsourceofinformationinordertoanalyzesuccessthroughdiversemass

45

media.Whileexaminingtheinformation,themuseumstaffshouldobserve,for

example,iftheamountoftrafficisreflectedrespectivelyonthenumberofattendees

thattheexhibitionreceived.Inthisway,iftheamountoftrafficforcertaindayishigher

thanthenumberofattendeestothemuseum,whatcouldhavehappenedandhowto

revertoravoidthissituationforfutureprojectsshouldbeconsidered.Thesetools

provideinterestingandrelevantinformationifthisinformationiseffectivelyevaluated

andmetricsarecross-analyzedproductively.

Thesetoolsprovideacloseandin-depthqualitativeandquantitativeevaluationof

theexhibition’srepercussion.Thequalitativeevaluationwillbeseenexamining

commentsandfeedbackonpictures,publicationsandvideosthatuserspostonsocial

media.Thequalitativeevaluationwillbethroughthenumberof“likes”and“shared”

clickseachpicture,videoorarticlehas.Lastly,themuseumwillcreateandencourage

thepublictousedifferenthashtagswhilesharingpicturesonsocialmedia.Thenumber

ofhashtagswillalsobeawayofmeasuringthequantitativeeffectivenessofthe

exhibitionwithinsocialmedia.

Allthesedifferentgroupsthatwillbe–intentionallyandunintentionally––providing

informationandfeedbackabouttheexhibitionandtheeducationalprogram,willbe

previouslydefinedandselected,tolaterbeinternallycombinedwithinter-

departmentalreflectionsandseveralmethodsofaccomplishment.Thekeytoevaluating

thistypeofprojectsreliesoncombiningquantitativeandqualitativeinformation

consideringtheextentofeachdepartmentinvolved.Myprojectwillinvolveinformation

46

comingfromthecollectionsandexhibitionsdepartment,educationdepartment,

marketingandpublicrelationsdepartmentandthepressteam.Thisinformationwillbe

effectivelyappraisedwhilebeingpairedwithinternalfeedback.Inthisway,theproject

willbeanalyzedfromallpossibleanglesandpotentiallyeffectiveconclusionsandresults

willbeobtained.

Formycapstoneproject,Ihavedevelopedaprojectmanagementplanforanexterior

site-specificinteractiveinstallationcreatedbyanArgentineanartisttobepresentedat

theContemporaryJewishMuseum(CJM).Theexhibitionwillbethefirstexterior

interactiveinstallationofaninternationalartistthattheContemporaryJewishMuseum

willshowcaseoutsidethebuilding,thefirsttimetheCJMusesthepublicspaceto

presentanexhibition,andtheartist’sfirstsite-specificprojectinCalifornia.Theshow

aimstoestablishafruitfuldialoguebetweenarchitectureandartinanon-traditional

museumspace,invitingthepublictoparticipatewithin.Inmyliteraturereview,Ihave

discusseddiverseconflictsthatthesetwodisciplineshavefacedintheartmuseum

contextinwhichthefeelingofexclusionandenforcementcombinedwithpoor

communicationprevailedandpotentiallygeneratedaproblembetweenbothparts.The

projectwillinvitetheaudiencetoparticipatewhileinteractingwiththeartworkthatwill

bedialoguingwiththearchitectonicfeaturesofthebuilding.Theeducationalprogram

aimstoprovideadeeperyetrichunderstandingoftheproject’sgoalsthroughactivities,

debatesanddialogues.Lastly,theafterlifepublicationwillshowaphotographicand

writtendocumentationoftheevolutionoftheproject’sideawhichwillbenarratedby

theauthorandthechiefcuratoroftheCJM.Thecombinationofaninteractive

47

exhibitionwithaneducationalprogramandanafterlifepublicationlooktoengagethe

publicphysicallyandsymbolically.Hopefully,theprojectinspiresotherartmuseumsto

discoverdifferentwaystoestablishanefficientdialoguebetweenarchitectureandart

whileinvolvingtheaudiencewiththeartisticstatement.

Myprojectstillhassomeunansweredquestionsregardingtheeffectivenessofthe

projectitself.However,thesequestionswillbeansweredoncetheprojectisdeveloped

inreal-life:

• Wasthedialogueeffectivelyachievedbetweenbothdisciplines?

• Wasthe“dialogue”betweenbothdisciplinescommunicatedsuccessfullytothe

audience?Wasitunderstoodbythepublicwhileinteractingwithinthe

installation?

• Willtheprojectbecapableofinspiringotherartmuseums,institutionsand

organizations?

Ontheotherhand,whileresearchingdiversecasestudieswhichinvolveaproblem

betweenarchitectsandartists,Iconcludedthataconflictbetweenbothdisciplinesis

generatedwhenasituationisimposedandthereislackofcommunication.Aneffective

approachfromthemuseumwillbefundamentaltocreatesynergyandproductivity

betweenbothpartstoworktogether.Ibelievemostcasestudieswouldhavehad

differentresultsiftheyhadbeentreatedandconducteddifferently,encouraginga

conversation.Thisissomethingimportanttopertain,notonlyinthemuseumfieldand

betweenapotentialconflictbetweenarchitectureandartbutalsoinourdailylives.

48

Manyproblemsarisewhenthereislackofcommunicationandpeopledonothavethe

spacetoprovidetheiropinionaboutcertainsituations.Wheneverthereisaspaceto

stateavoice,apositiveandembracingsituationwillreign.Communicationisthekeyto

successandinthesecases,museumsthemeanstoachieveit.

Thisprojectmayimpacttheorganization’sfutureoperationsbyopeningthescope

andmakingmuseumstaffmembersthinkmorewidely,outsidethecommonmuseum

spacesthatareusuallyused.TheCJMhasasignificantspaceintheexteriorcourtyard

notusedbeforeuntilthisprojectwasproposed.Itwillhopefullyencouragethemuseum

andotherlocalinstitutionstostartofferingalternativewaystopresentafruitful

dialogue,invitingdifferentdisciplinestointeract.Atthesametime,itwillbeaunusual

waytoreachouttothepublic.Theseshowswillopentheirextentbyshowcasingnon-

conventionalexhibitions.Furthermore,thisprojectmayactivateeducationalprograms

thatcanfocusongeneratingactivitiesanddebatesconcerningpersistingunsolved

issuesinthemuseumfield.Ontheotherhand,theexhibitionalsoinvokestosocial

justiceissuesconcerningculturediversityandreligiousheritage.Theimportanceof

fosteringculturalexchangeandmakingitpublicisfundamentaltocreatebetter

societiesandpromoteunity.TheCJMworkscloselywithitspublicandoffersan

educationalprogramwhichinvolvessocialjusticeissuescalled“ArtWorkshop:Outside

theBox”.Thiswillbeadistinctivewaytocommittosocialjusticeissues.

Toconclude,whenIstartedthinkingaboutdifferenttopicsIwantedtoexploreand

developformycapstoneproject,Iwassureabouttwothings:Iwantedtoshowthe

workofanArgentineanartistandtodevelopaprojectwhichinvolvedinteractionwith

49

thepublic.Hereafter,Ithoughtaboutimportanttopicswhichwouldfulfillmeasa

MuseumStudiesstudentandpotentiallycontributetothemuseumfield.Finally,I

decidedtoexplorethepotentialrivalrybetweenarchitectureandartintheartmuseum

context.Bycreatingthisproject,Iwantedtoestablishadiplomaticsolutionforrelevant

problemsintheartmuseumcontext.Inthiscase,museumsshouldencouragea

genuinepartnershipbetweenarchitectandartisttoembraceeachother’swork

accordingly.Asawayofmeetingandgeneratingdialogue,mycapstoneprojecthopesto

unifypeople,merginganartisticstatementcreatedbyarchitectureandart.

50

AppendixA:AnnotatedBibliography

Bianchini,R.(2015,June25).TheGuggenheim,AnAmericanRevolution.Retrievedfromhttp://www.inexhibit.com/case-studies/the-guggenheim-museum-an-american-revolution/InthisarticlewrittenforInExhibit,awebsiteaboutart,architecture,designandcreativity,RicardoBianchiniexplorestheproblematicstoryabouttheGuggenheim

Museum’sbuildingthatopeneditsdoorsin1959inNewYorkCity.Bianchinistartsby

providinghistoricalcontextaboutartmuseumsandthemaincharacteristicsabouttheir

buildings.Later,theauthoraddssupportivequoteswhilespecificallytalkingabout

differenteventssuchasthemomentwhenhewasaskedtodesignthenewbuildingand

theconflictwiththeartists,amongothers.Healsosharespicturesthatallowthereader

tovisuallyunderstandhowthebuildinglookedandhowitlookstoday.Inthesetypesof

historicalstories,Ibelieveit’sfundamentaltoprovidevisualexamplesforthereaderin

ordertounderstandinabetterwaywhatwashappening.Furthermore,thearticleis

dividedbyseveralsubtitlesthathelpthereadercomprehendthemostimportantissues

andprovideananalysisabouteachproblem.Forexample,inthesectiontitled“A

RevolutionaryExhibitionSpace,”Bianchinidescribestheinteriordesignproblem,which

wasthemainreasonfortheconflictbetweenartistsandthearchitect.

Thisarticlewillbeagoodsourceofinformation,sincetheauthornotonlyprovidesus

withworthyhistoricalcontext,butalsospecificallyanalysesseveralproblems,whichI

willaddresswhiledevelopingthesection“ArchitecturevsArt”.

Burguenio,M.(2009,May17).“LaTorre”deLeandroErlichamplíasupermanenciaenelMuseoReinaSofia(video).RevistaDeArte-Logopress.Retrievedfromhttp://www.revistadearte.com/2009/03/17/la-torre-de-leandro-erlich-amplia-su-permanencia-en-el-museo-reina-sofia-video/

MariaJesusBurguenioisaSpanishjournalistanddirectoroftheonlinemagazine

RevistaDeArte.ShehasalsoworkedasaprofessorindiverseculturalinstitutionsinMadrid,Spain,aswellasgivenartcoursesinlibrariesandschools.Inthisarticle,

Burgueniotalksaboutthesuccessoftheinstallationin2009,thatLeandroErlichdidfor

theReinaSofiamuseum,inMadrid,underthecontextofamuseumprogramnamed

“Productions.”Burguenioexplainstheideawastosharetheworkofselectedartists

51

outsidethestandardmuseumgalleriesandLeandroErlich’swaschosentoinaugurate

theprogram.

Theinstallationwaspresentedinthemuseum’scourtyardnamed“JeanNouvel”and

thewriterexplainstheconnotationbehindtheartist’sworktitled“LaTorre.”Maria

JesusBurguenioaddressesseveralthoughtsconcerningthisparticularwork(“LaTorre”)

andwhyitwassucharealizationforthepublicandthemuseum.Moreover,thearticle

sharestheopinionofthemuseumDirectorManuelBorja-Villellwhoexplainswhythese

typesofinstallationsarepositiveforthemuseum.Also,theauthorstatesinteresting

andcompellingthoughtsabouttheartist’swork,hisobjectives,andtheimportanceof

creatinginteractiononabiggerscalewhileitoffersadifferentperspectiveforthe

viewer.

AsitoffersinsightsaboutthisparticularinstallationwhichIplantoaddressinmy

writing,thisarticlewilldefinitelycontributewithsupportingmaterialtomyproject

exhibitionattheContemporaryJewishmuseumandasasourceofinformationabout

theartist’spreviousworks.

Elsen,A.(2016,August27).TheFreedomtobeChristoandJeanne-Claude.ReadingpresentedatStanfordPresidentialLecturesandSymposiaintheHumanitiesandArts.Retrievedfromhttps://prelectur.stanford.edu/lecturers/christo/elsen.html

AlbertElsenwasaprofessoratStanfordUniversity,Rodinscholarandarthistorian.In

thisessay,ElsendescribestheworkoftheartistsChristoandhiswifeJean-Claudeas

beneficialandunrestricted.Heexplainsthattheirartwasrelatedtoanaesthetic

intuition,tonature,andmainlyfocusedonbuildinganddevelopingintheexterior

environments.Elsencontinuestoexplainthattheartists’workispermanently

identifyingwithdifferentplacesthroughtheirartandcreating“gentledisturbances.”

ElsensummarizeshisessaybystatingthatChristo’sworkfocusesoninteraction,service

andgeneratingmemorableexperiencesinordertocreatechangeanddifferentpoints

ofviewamongpeople.

ThisessayhelpsmeunderstandChristo’smeaningfulworkbypresentinghis

principlesandobjectiveswhilecreatinganartwork.Besides,thistextcouldbeeasily

incorporatedinChristo’ssection,wheretheirworksaddresshowtopresentanartwork

thatpushesboundariesandbringsnewperspectivesapartfromtheartmuseum

context.

GuazzonediPassalacqua,V.(2016,May6).LeandroErlich:“Unaobraprofundanodeberíaseraburrida”.RevistaNoticias.Retrievedfrom

52

http://noticias.perfil.com/2016/05/06/leandro-erlich-una-obra-profunda-no-deberia-ser-aburrida/

InthisinterviewforRevistaNoticias,oneofthemostimportantprintedmagazinesin

Argentina,journalistVictoriaGuazzonediPassalacquadescribesthemaincharacteristics

ofartistLeandroErlich.GuazzonediPassalacquatalkswithErlichabouttherelation

betweenhisworksandarchitectureandtheimpactthatErlichworkshaveonthepublic.

Moreover,sheaskshimabouthisobjectiveswhilethinkingandmakingsuchimposing

installations,whilesheexploresthemeaningofhisworksregardingtheirparticular,yet

involving,focus.Erlichstatestheimportanceofgeneratingmeaningandsurprise,and

describestheprocessofanideatransformingintoaconcreteproject.Healsoexplains

thereasonwhyhecreatesartworksthathavealargerscaleanddescribeshisearlydays

intheUnitedStateswhenhestartedcreatingworksthatexploredarchitecture.

Additionally,theydiscusstheartist’segoandhowhemanagesthisfeelingwhile

creatinghisworksandduringhisdailylife.Finally,theartistsharesparticularitiesabout

certainworks,howtheyweredevelopedandwhatreallyhappenedasidefromwhat

wasseen.

ThisinterviewisagoodadditiontomypaperforthesectionwhereIwilltalkabout

theartistandhiswork’s.Sinceitisaninterview,itwillbepositivetostatetheartists

ownwordsandwhathewantstotransmitwhilecreatingtheseinteractiveandlarge-

scaleinstallations.Consequently,itwillprovidegoodinformationwhileadaptinghis

worktotheexterioroftheCJMbuildingneartheentrance.

Guilfoyle,U.(1992,July28).Architecture:ExtensionofaNewYorkcontroversy:TheGuggenheimisnoordinarymuseum.UltanGuilfoylelooksatthelegacyofFrankLloydWright.Independent.Retrievedfromhttp://www.independent.co.uk/arts-entertainment/art/news/architecture-extension-of-a-new-york-controversy-the-guggenheim-is-no-ordinary-museum-ultan-1536218.html

AuthorUltanGuilfoylerecountsthestorybehindtheproblemoftheGuggenheim

museum’snewbuildingdesign.Theauthordescribesthehistoricaleventsandsituations

fromthemomentthatthearchitectwascalledbyHillaRebay,firstdirectorofthe

SolomonR.GuggenheimFoundation,untiltheconflictwassettledandthemain

characters(architectandartists)wereconfronted.Healsoprovidesameticulous

descriptionregardingtheproblemsabouttheinteriordesign:theramp,thelightning

andthecurvedwalls.Inaddition,ausefulaspectaboutthissourceisthatGuilfoyle

describesthewaysitwassolvedbythemuseumduringtheyears.

53

Iconsiderthisarticlebeneficialforthesectionofmypaperexplainingtheproblem

amongartistsandthearchitect.Likewise,itishelpfultounderstandwhattheissues

wereandanalyzethepositionandargumentsofeachsideeffectively.

Hamlin,J.(2005,April28).FollowthefissuretothenewdeYoung--Andy

Goldsworthywillleadtheway.Retrievedfromhttp://www.sfgate.com/entertainment/article/Follow-the-fissure-to-the-new-de-Young-Andy-2637545.php

JournalistJesseHamlinisawriterforTheSanFranciscoChronicle.InthisarticletheauthordescribesthesitespecificcommissionthatAndyGoldsworthycreatedforthe

courtyardofthenewbuildingofthedeYoungmuseumin2005.Additionally,Hamlin

sharespreviousworksachievedbyGoldsworthywhilehedivideshisworksintotwo

groups:theephemeralandthepermanentones.Thisdivisionprovidesagood

understandingonGoldsworthy’sworksandhowtheycanbeidentifiedandcategorized.

TheauthoralsodescribesindetailtheprojectcreatedforthedeYoungmuseumby

Goldsworthynamed“DrawnStone,”suchasthe“effortless”ideaofthecracking,which

theartistexplainsthedifficultiestodothat,andmaterialsusedandtheonesthathadto

bereplaced.Moreover,Hamlinpresentssomeimportantideasthatcharacterize

Goldsworthy’sworkandhisideologiesforcreatingthemsuchastheimportanceofthe

contextwheretheprojectswillbeexhibited,andtheirconnectiontonature,among

otherthings.

Thiswillbeagreatadditiontohaveadetailedoverviewoftheartist’scommission

workforthedeYoungmuseum.Italsocontributesspecificideasonthemain

componentsofhisworks,howitsprojectscanbeanalyzed,andhowhebecame

inspiredtocreatethisspecificprojectforthemuseum.Theprocessofcreatingthis

projectswillcontributeunderstandingandknowledgewhileconstructingmyprojectat

theCJM.

Hotham,S.(2013,April11).TateDebate:Whatistheimpactofartonarchitecture?

Retrievedfromhttp://www.tate.org.uk/context-comment/blogs/tate-debate-what-impact-art-on-architecture

SusanHothamhaswrittenseveralreviewsandmadeartcriticsfortheTateModern

blog.Inthesectioncalled“TateDebate”,Hothamstartsbydescribingtheimpactof

architectureonartandhowartworks,andthereforeartists,overcomethissituation.

Hothamraisesquestionsregardingthisissuebystimulatingthereadertothinkabout

54

theconflictamongthesetwodisciplinesandhowhistoricaleventsinfluencedthe

situationtomakeitwhatitistoday.Theevolutionofmachineryandtheappearanceof

newconstructionmaterialshavebeentwofactorsthathavemadearchitectureevolve,

andtherefore,increasetheconflict.

Interestingly,itgeneratesquestioninganddebatebymakingthereaderthinkabout

certainissuesregardingthearchitecturevs.artstruggle.Usuallythesetypesof

questionshelpthereaderhaveabetterunderstandingofthetopicsincetheyare

challengedtoreflectaboutdifferentaspectswhichmightleadtointerestingdebates

andeffectiveconclusions.Bypointingoutdifferentfactorsthatinfluencedpastevents,

thisreviewprovidesabetterknowledgeoftheconflictnowadays.

Jkim184.(2014,October23).DrawnStoneattheDeYoungMuseum[Weblogreview].

Retrievedfromhttps://jkim184.wordpress.com/2014/10/23/drawn-stone-at-the-young-museum/

ThispublicationstartsbyprovidingspecificinformationabouttheworkofAndy

GoldsworthylocatedinthecourtyardofthenewdeYoungMuseum.Itdescribesin

detailtheexperienceofvisitingthemuseumandhowthewriter“perceived”thework

ofAndyGoldsworthyandhisprocesstofullyunderstandit.Italsoexplainsthedifferent

feelingstowardwhathethoughtitwasandwhatitreallywas,andheshareshisopinion

ontheartwork.Thewriteralsoprovideshispointofviewtowardsseveral“problems”

thathefindsregardinghowitisperceivedbymostofthevisitors.Heconcludesby

statingwhytheworkisagoodadditiontothemuseumandhispositiveoutcomes.

Ithinkthisisaninterestingpointofviewfromavisitor,describingwhathefeltand

whathisthoughtsabouttheworkare.Iaminterestedinthewayhestatestheproblem

andlatershareshisopinion.ThissourcewillbeagoodadditiontothesectionwhereI

discussGoldsworthy’sworkandtheoutcomesregardingthepublicandthecommunity.

Lifson,E.(2009,August5).TheGuggenheimat50:ALegacySpiralsOnFifth.Retrievedfromhttp://www.npr.org/templates/story/story.php?storyId=111434035

AuthorEduardLifsonwritesaboutthecontroversialproblemintheGuggenheim

MuseumconcerningthecreationofthenewbuildingbytheemblematicarchitectFrank

LloydWright.Lifsondescribesseveralattitudesofthemaincharactersinvolved,

includingthearchitect,thenewlydesignatedmuseumdirectoratthattime,James

JohnsonSweeney,theartistsandthepublic.Bystatingtheiropinionsandquotes,the

authorhelpsthereadercreatethestoryeffectively.Inthisarticle,Lifsonsupportshis

writingbyaddingseveralquotesregardingthearchitect,thepublicandtheartists,

55

whichhelpthereaderunderstandinaclearsensethelevelofconflictand

repercussions.Henarratesthedifferenteventsthatconsequentlyweregeneratedand

divideshisarticleintothreesections:introduction,thenewbuildingbyWrightandthe

futureGuggenheimbuildingtocomeinAbuDhabibythearchitectFrankGhery.

Ibelievethisarticlewillbeagoodadditiontomyintroductorystory.Notonly

becauseitprovidesdirectquoteswhichwillsupportmylecture,butalsothewaythe

writerseparatesandfocusesonthesmallconflictsinsidethebiggerproblem.Finally,it

alsooffersabetterunderstandingoftheoverallconflict.

Lubow,A.(2009).TheTriumphofFrankLloydWright.Smithsonian,40(3),52-61.

InhisarticlefortheSmithsonian,theauthorArthurLubownarratesthestoryoftheGuggenheimMuseumanditsnewbuilding.Thearticleismainlyfocusedon

rememberingthearchitect’swork,sinceitwaswrittenintheyearthemuseumturned

50yearsold.Thenarrativeisfocusedondescribingwhathappenedandremembering

theworkofFrankLloydWright,andhisfuturisticvisionforthattime.Theauthor

remarksthatthebuildingwasandwillbeoneofthemostimportantartmuseum

buildings.Lubowdescribeswhathappenedandremarksthepositiveresponsethatthe

publichadoverWright’snewdesign.Infact,thearticleistitled:“TheTriumphofFrank

LloydWright.”Lubowclearlyassumesapositionovertheconflictbylettingthereader

knowthatbesidesalltherepercussionsandconflict,thebuildingandthearchitectstand

outovertheartcontainedinthebuilding.

AlthoughIbelievethattheauthorfocusesontheremarkablethingsWrightdid,Iam

interestedinconsideringapointofviewthatfullysupportsitsdesignandthearchitect.

Besides,Lubowalsotalksaboutthepositiveattitudethepublichadtowardsthenew

building,andthisisanotherimportantissueIaddressinmypaper.

Moret,A.(2013).LeandroErlich:WelcometotheDalstonHouse.Installation.

Retrievedfromhttp://installationmag.com/leandro-erlich-dalston-house/

ThisarticleaboutLeandroErlich’sinteractiveinstallation“DalstonHouse”wasmade

bytheco-founderandeditor-in-chiefofInstallationMagazine,arespectedonlinemagazineaboutcontemporaryartthatprovidescuratorialanalysisandartcritique

aboutglobalcontemporaryartinstallationsandexhibitions.Theauthor,A.Moret,isan

artcollectorandwasacontributorfortheLosAngelesTimesMagazine.ItdescribestheinstallationmadebytheArgentinianartistLeandroErlichinLondonin2013.By

presentingtheprojectassomething“unusual”thatwashappeninginthestreetsof

London,theauthordescribesindetailhowitwasconstructedandinwhichwaysthe

56

projectengagedthecommunity.Theimportanceofgeneratingaconnectionwiththe

publicissomethingfundamentalinErlich’sworks.Moretcontinuesbyexplainingwhy

theworkhavebeensuccessfulwiththepublicandasanartworkitself.

ThisarticleprovidesimportantfeedbackontheimpactofLeandroErlich’sworkona

globalaudience.Itcanclearlybestatedthatalthoughthecultureandcountrymight

change,hisobjectiveisstilladdressed.Thislecturewillprovideinterestingsupportto

showtheeffectivenessandpositiveoutcomesofErlich’sworkswithindiverseaudiences

andindifferentcountries,besidesArgentina.

Petruele,M.(2016,May20).LeandroErlich:"Elmisterioproduceatracción"Infobae.Retrievedfromhttp://www.infobae.com/2016/05/20/1812808-leandro-erlich-el-misterio-produce-atraccion/

InthisinterviewforInfobae,oneofthemostimportantonlinenewspapersin

Argentina,journalistMartinaPetrueleexploresLeandroErlich’saimstocreatedifferent

experienceswhilegeneratinginteractionswithhisworksamongthevisitors.Petruele

statesthattheartistlooksfora“surprising”experiencebetweenthecommonthingsin

ourdailylife.Erlichtalksaboutthegamehecreateswhilegeneratinganastonishment

experience,leadingtoinvolvementandinterpretationoftheworkthatisbeing

perceived.TheauthorstatesthatErlichcreatesworksthatarenotalignedwiththe

visitors’reality,andconsequently,theystartcreatingtheirowninterpretationsaboutit.

MartinaPetrueledescribes,inaprofoundway,themeaningandunderstandingof

Erlich’sideasthroughtheartworkshecreates.TheauthoralsocomparesErlich’s

opinionregardingarchitectureandhiswork.

Thisarticleaddsthoughtsandperspectivesabouttheartist’sopinionconsideringhis

projectsandtheimportanceofmakingthevisitorsthinkanddeconstructtheirreality.It

willpresenttheartist’sideatothinkwidely,createsignificantartworksthatgobeyond

thetraditionalspacesandgenerateadialoguewithitscontextandthepublic.

Richardson,M.(2016,March1).AsktheAMC:ChristoWrapstheMuseum.Retrieved

fromhttps://mcachicago.org/Stories/Blog/2016/03/Ask-The-MCA-Christo

AuthorMaryRichardsonisthelibrarydirectoroftheblogforthewebsiteofthe

MuseumofContemporaryArtinChicago.Inthisreview,Richardsonwritesaboutthe

workofartistChristoandhiswifeJean-Claudewhentheywrappedthemuseuminterior

andexterior,manyyearsago.Richardsontalksaboutthe“aesthetic”reasonswhythe

artistsdecidedtodoit,howitwasperceivedbythemuseumstaffandvisitors,and

whichcomplicationsandrepercussionsithadduringandaftercompletingthework.

57

AsChristowillbeoneofthreeartiststhatIwillanalyzebeforepresentingmyproject,

Ibelievethisarticleprovidesagoodunderstandingofhiswrapupworks,andtheir

meaning,ideasandthoughtsbehindthem.Furthermore,itwillberelevanttoanalyze

thereasonstheyhadandtheoutcomesitproduced.Thiswillbeanotherexampleofan

artistwhoworksoutsidethecommonspacesofatypicalmuseumgalleryandona

largerscale,lookingtoconnectandimpactthecommunity.

RootstrailfromhousesuspendedaboveaconstructionsitebyLeandroErlich.(2015,July22).Retrievedfromhttp://www.dezeen.com/2015/07/22/pulled-up-by-the-roots-suspended-house-installation-leandro-erlich-construction-building-site-crane-karlsruhe-germany/

ThisarticlefortheDeezenmagazineoffersadescriptionandanalysisofthe

installationmadebytheArgentinianartistLeandroErlichinGermanyin2013.Titled

“Pulledbytheroots”,theinstallationwasdesignedtochallengetheresidents’

perceptionandtoprovidespecificthinkingregardingthenaturethat“lives”underneath

eachconcretebuildingandconstruction.Onceagain,Erlich’sworkpursuestogenerate

diversefeelingwhichinvolvingarchitectureandart.Thearticleemphasizesthe

singularityofhisworkandtheeffectiveimpactithadonthelocalcommunity.Bystating

diverseaspectsabouttheworkanddescribingitsmeaningandideasbehindit,the

installationhaddifferentaspectsthatcalledtheattentionofthelocalcommunity.

AsawayofprovidingotherreviewsaboutLeandroErlich’sworks,thisarticleisa

goodsourceofinformationtoexplainhowadifferentwork,withseveralmeaningsand

adifferentform,stillreducestheconflictbetweenarchitectureandart,while

generatingaconnectionwiththepublicandcreatingameaningfulmessage.

Consequently,thisarticlealsoproveshowsuccessfulhisprojectscanbeindiverse

contexts.

Ruan,S.(2013,October19).CriticalWritingAboutAndyGoldsworthy:DrawnStone

[Weblogreview].Retrievedfromhttps://steveruan.wordpress.com/2013/10/19/critical-writing-about-andy-goldsworthy-drawn-stone/

ThisblogreviewbyStevenRuanprovidesadetaileddescriptionofGoldsworthy’ssite

specificcommissionforthedeYoungmuseum.Theauthordescribessomespecific

informationaboutthematerialsusedandhowthe“piece”wascreated.Additionally,

Ruanprovidesabackgroundoftheartist’spreviousworks,andlater,heshareshis

experiencewhilewalkingalongthemuseumandobservingthework.Thisparticular

58

workofAndyGoldsworthyissomewhatcontroversial.Althoughitrespondstoagroup

ofartiststhatcreateworksthattrespassthetypicalboundariesofthemuseumgalleries

andthatmightcreateadialoguewiththebuilding;inthisparticularcase,itis

sometimesnotperceivedbythepublic.IbelievethatGoldsworthy’sworkisagood

example,oncepeoplereallynoticeit.Inthisreview,theauthornarrateshisexperience

whilevisitingthemuseumandexpresseshisfeelingsabouttheworkandthedifferent

stageshewentthroughwhilediscoveringitsmeaning.

Thissourcewillbeaninterestingadditiontoknowtheexperienceofatypicalvisitor

withthework,whattheyperceiveandhowsuccessfulitis.Italsosupportstheideaon

howacommissionedartprojectissuccessfulonceitisnoticed.Thiswillbethesecond

visitorreviewregardingGoldsworthy’swork.

Shiner,L.(2007,October1).Architecturevs.Art:TheAestheticsofArtMuseum

Design1.ContemporaryAesthetics.Retrievedfromhttp://www.contempaesthetics.org/newvolume/pages/article.php?articleID=487

AuthorLarryShinerisanemeritusprofessorofphilosophy,arthistoryandvisualarts

attheUniversityofIllinois.InhispaperArchitecturevsArt:TheAestheticsofArt

MuseumDesign,theauthordiscovers,analysesandpresentseightdifferentcasestudies

thatshowtheconflictbetweenarchitectureandart.Helaterexploresandstudiesthe

differentreasonswhytheseconflictsarise.Interestingly,hehasfirst-handexperienceof

thesemuseumsbecausehetouredmostoftheminperson,ratherthananalyzingfrom

thedistance.Afterexplainingtheseproblems,hedarestoprovideasolutiontothis

issuebysharingthoughtsonitscausesandexaminingasasolutionthedifference

betweenfunctionalarchitectureandartsymbolismwhiletryingtofindpeaceand

communicationamongthesedisciplines.

Thispaperhasbeenoneofthemostrelevantsourcesofinformationregardingmy

project.TheauthordirectlytalksabouttheconflictwhichIamgoingtopresentand

evenanalyzesdifferentcasestudiesthatprovidemeawiderperspectiveaboutit.

Furthermore,thediverseissuesregardingeachcasestudyhavehelpedmecreatetwo

mainproblemsthatIwillpresentinmypaper:anexternalproblem(egos,leadership

positioning)andtheissuesregardingthe“new”internaldesignofthebuildingandthe

artwithin.

Shiner,L.(2011).OnAestheticsandFunctioninArchitecture:TheCaseofthe"Spectacle"ArtMuseum.TheJournalofAestheticsandArtCriticism,69(1),31-41.

59

ThisessayforTheJournalofAestheticsandArtCriticismescribesdiversearchitectonicalfunctionsaboutartmuseumbuildings,therelationtotheartexhibited

andthesocialinteractioninsidetheconstruction.Shinerwritesabouthowthesymbolic

aimsofartmuseumshavechangedovertime,andhowsocialfunctionsinfluencethe

visitorexperience.Shinersuggestsawaytoresolvetheconflictbetweenartand

architecturebydevelopingtheconceptof“moderatefunctionalism”.Thisconcept

embodiesseveralimportantissuesregardingarchitectureintheartmuseumcontext:

symbolicfunctions,socialfunctions,aestheticfunctionsandiconicityfunctions.Shiner

explainsthatforartmuseums,theaestheticsandpracticalfunctionsarefundamental

butthesocialandsymboliconesarethemostimportantintheartmuseumcontext.

Thisessaysupportsmyanalysisoftheconflictbetweenartmuseumarchitectureand

art.Theauthorexplains,usingseveralexamples,howinteriordesignaffectstheart

withinandhowotherarchitectonicalexamplesembraceit.Itwillbeinterestingto

analyzetheconflictfromanarchitectonicperspectiveandpropervocabulary.Itmight

behelpfultoexplaintheimportanceoffindingthebalancebetweenallthesefunctions

inordertogenerateadialogueandnotaconflictwithintheartmuseumsetting.

WilderNorton,A.B.(2009).Site-specificartgetsabumwrap:illustratingthelimitationsofthevisualartsrightsactof1990throughastudyofChristoandJeanne-Claude’suniqueart[Review].CumberlandLawReview,(39).

Inthispeerreviewavailableonline,authorAnaBelleWilderNortondescribesthe

storyoftheartistcouple,ChristoandJeanClaude,andhowtheystarteddevelopingand

creatingemblematicsite-specificartprojects.Theauthoralsowritesabouthowsome

peopleperceivedtheirworkandwhatnegativethoughtstheyhadinthetimetheywere

presented.Moreover,WilderNortonexploresdifferentprojectsthatthecouplecreated

includingthewrappingoftheReichstaginBerlin(1971-1995)andValleyCurtain,Rifle,Colorado(1970-1972),amongothers.

Additionally,thesetwoprojectscomplementtheideaofprovidingasolutiontothe

conflictofleadershipamongarchitectsandartists.Bydescribingsomeparticularitieson

eachproject,itwillcontributetominebyprovidinganunderstandingofthepositive

outcomesofthesetypesofworks.Theseprojectsmightbebrieflyintroducedinmy

capstoneinordertohaveanideaoftheirmaincharacteristics.Theinterestingaspect

aboutthissourceisthatinordertotalkaboutanartist’swork,itisnecessarytoget

involvedinwhattheyhavedonetounderstandtheirfocus,ideasanddirection.

Wolf,J.(n.d.).TheSolomonR.GuggenheimMuseum.Retrievedfromhttp://www.theartstory.org/museum-guggenheim.htm

60

InthisstoryfortheonlineplatformTheArtStory,JustinWolfexploresthe

backgroundandrelevanteventsconcerningtheGuggenheimMuseum,itscollectionand

thenewbuildinginauguratedin1959.Wolfspecificallyinvestigatesthehistoryofthe

museum,theincidentsconcerningthedecisiontomakeanewbuildingandthe

evolutionofitscollection.Inhiswriting,theauthoralsodescribesthechallenging

relationshipbetweenthenewmuseumdirectorSweeneyandFrankLloydWright.

Ibelievethissourceofinformationisinterestingtoaddsinceitprovidesafocuson

themuseumitself.Bytalkingaboutthebuilding,thecollection’sgrowthandevolution,

andseveralsignificanthistoricalevents,itprovidesaremarkableoverviewofthevital

thingstoexaminewhileanalyzingthismuseum.Iconsiderthisarticleasseenfromthe

museumside,asawayofmentioningthethingstheGuggenheimmuseumachieved,

andhowitcontinuestobeoneofthemostimportantmuseumsoftheworld.

61

AppendixB:ProjectStakeholders

• ContemporaryJewishMuseum

History:

Sinceitsfoundingin1984,theContemporaryJewishMuseum(CJM)hasdistinguished

itselfasawelcomingplacewherevisitorscanconnectwithoneanotherthrough

dialogueandsharedexperienceswiththearts.

Everchanging,theCJMisanon-collectinginstitutionthatpartnerswithnationaland

internationalculturalinstitutionstopresentexhibitionsthatarebothtimelyand

relevantandrepresentthehighestlevelofartisticachievementandscholarship.

MissionStatement:

TheCJMmakesthediversityoftheJewishexperiencerelevantforatwenty-firstcentury

audience.Weaccomplishthisthroughinnovativeexhibitionsandprogramsthat

educate,challenge,andinspire.

TheMuseum’sDanielLibeskind-designedfacilityenablesandinspiresitsmission.

Dynamicandwelcoming,it'saplacetoexperienceart,music,film,literature,debate,

and—mostimportantly—people.

Location:736MissionStreet,SanFrancisco,CA94103

StaffingOffices:Chair,VicePresident,Secretary,Treasurer,MuseumDirector,ChiefCurator

Trustees:41members

• YerbaBuenaMuseum

• YerbaBuenaGardenCity

• Teenagers(13-17yearsold)

• Adults(18-up)

• Children(5-12yearsold)

• PublicandPrivateschoolslocatedinSanFrancisco

• PublicandPrivateuniversitieslocatedinSanFrancisco

• Educatorsanddocents

• BookEditorial

• CJMMembers

• CJMDonors

• EducationDepartment

• DevelopmentDepartment

• CollectionandExhibitionsDepartment

62

• MediaTeam

• PublicRelationsTeam

• JewishHeritageCommunity

• LatinAmericanCommunity

• SanFranciscoBayAreaandSOMACommunity

63

AppendixC:AdditionalReferences

• Baan,I.2010,June.Retrievedfromhttp://www.archdaily.com/66619/m-h-de-

young-museum-herzog-de-meuron

• Bianchini,R.(2015,June25).TheGuggenheim,AnAmericanRevolution.

Retrievedfromhttp://www.inexhibit.com/case-studies/the-guggenheim-

museum-an-american-revolution/

• Burguenio,M.(2009,May17).“LaTorre”deLeandroErlichamplíasu

permanenciaenelMuseoReinaSofia(video).RevistaDeArte-Logopress.Retrievedfromhttp://www.revistadearte.com/2009/03/17/la-torre-de-leandro-

erlich-amplia-su-permanencia-en-el-museo-reina-sofia-video/

• Davidson,J.(2015,April19).RenzoPiano’sNewWhitneyBuildingIsFilledwith

Light–andContradictions.Vulture.Retrievedfrom

http://www.vulture.com/2015/04/whitney-museum-architectural-review.html

• Elsen,A.(2016,August27).TheFreedomtobeChristoandJeanne-Claude.ReadingpresentedatStanfordPresidentialLecturesandSymposiainthe

HumanitiesandArts.Retrievedfrom

https://prelectur.stanford.edu/lecturers/christo/elsen.html

• GarciaMoreno,B.(2008).“LaTorre”deErlichenelReinaSofia,noesloque

parece.RevistadeArte.Retrievedfrom

http://www.revistadearte.com/2008/11/25/la-torre-de-erlich-en-el-reina-sofia-

no-es-lo-que-parece/

• GuazzonediPassalacqua,V.(2016,May6).LeandroErlich:“Unaobraprofunda

nodeberíaseraburrida”.RevistaNoticias.Retrievedfrom

http://noticias.perfil.com/2016/05/06/leandro-erlich-una-obra-profunda-no-

deberia-ser-aburrida/

• Guilfoyle,U.(1992,July28).Architecture:ExtensionofaNewYorkcontroversy:

TheGuggenheimisnoordinarymuseum.UltanGuilfoylelooksatthelegacyof

FrankLloydWright.Independent.Retrievedfrom

http://www.independent.co.uk/arts-entertainment/art/news/architecture-

extension-of-a-new-york-controversy-the-guggenheim-is-no-ordinary-museum-

ultan-1536218.html

• Hamlin,J.(2005,April28).FollowthefissuretothenewdeYoung--Andy

Goldsworthywillleadtheway.Retrievedfrom

64

http://www.sfgate.com/entertainment/article/Follow-the-fissure-to-the-new-

de-Young-Andy-2637545.php

• Hotham,S.(2013,April11).TateDebate:Whatistheimpactofarton

architecture?Retrievedfromhttp://www.tate.org.uk/context-

comment/blogs/tate-debate-what-impact-art-on-architecture

• Jkim184.(2014,October23).DrawnStoneattheDeYoungMuseum[Weblog

review].Retrievedfromhttps://jkim184.wordpress.com/2014/10/23/drawn-

stone-at-the-young-museum/

• Lifson,E.(2009,August5).TheGuggenheimat50:ALegacySpiralsOnFifth.

Retrievedfrom

http://www.npr.org/templates/story/story.php?storyId=111434035

• Lifson,E.(2009,August5).TheGuggenheimat50:ALegacySpiralsOnFifth.

Retrievedfrom

http://www.npr.org/templates/story/story.php?storyId=111434035

• Lubow,A.(2009).TheTriumphofFrankLloydWright.Smithsonian,40(3),52-61.

• Moret,A.(2013).LeandroErlich:WelcometotheDalstonHouse.Installation.Retrievedfromhttp://installationmag.com/leandro-erlich-dalston-house/

• N,a.2007.Retrievedfromhttp://www.leandroerlich.com.ar/works.php?id=17

• Pemberton,B.(2016).Don'tworry,they'renotdrowning!Thefakeswimming

poolthatcreatestheillusionvisitorsaresubmersedinninefeetofwater.

MailOnline.Retrievedfrom

http://www.dailymail.co.uk/travel/travel_news/article-3393808/Don-t-worry-

not-drowning-fake-swimming-pool-creates-illusion-visitors-submersed-nine-

feet-water.html

• Petruele,M.(2016,May20).LeandroErlich:"Elmisterioproduceatracción"

Infobae.Retrievedfromhttp://www.infobae.com/2016/05/20/1812808-

leandro-erlich-el-misterio-produce-atraccion/

• PowellEvans,G.2013,June.Retrievedfrom

http://www.dezeen.com/2013/06/26/dalston-house-by-leandro-erlich/

• Richardson,M.(2016,March1).AsktheAMC:ChristoWrapstheMuseum.

Retrievedfromhttps://mcachicago.org/Stories/Blog/2016/03/Ask-The-MCA-

Christo

65

• RootstrailfromhousesuspendedaboveaconstructionsitebyLeandroErlich.

(2015,July22).Retrievedfromhttp://www.dezeen.com/2015/07/22/pulled-up-

by-the-roots-suspended-house-installation-leandro-erlich-construction-building-

site-crane-karlsruhe-germany/

• Ruan,S.(2013,October19).CriticalWritingAboutAndyGoldsworthy:Drawn

Stone[Weblogreview].Retrievedfrom

https://steveruan.wordpress.com/2013/10/19/critical-writing-about-andy-

goldsworthy-drawn-stone/

• Saltz,J.(2015,April19).TheNewNewMuseum:TheWhitneyMayJustWon

NewYork’sMuseumArmsRace.Vulture.Retrievedfrom

http://www.vulture.com/2015/04/jerry-saltz-on-new-whitney-museum.html

• Schwab,K.(2015,September16).AttheBroadMuseum,theArchitectureRivals

theArt.TheAtlantic.Retrievedfrom

http://www.theatlantic.com/entertainment/archive/2015/09/at-the-broad-

museum-the-architecture-rivals-the-art/404584/

• Shiner,L.(2007,October1).Architecturevs.Art:TheAestheticsofArtMuseum

Design1.ContemporaryAesthetics.Retrievedfrom

http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=48

7

• Shiner,L.(2011).OnAestheticsandFunctioninArchitecture:TheCaseofthe

"Spectacle"ArtMuseum.TheJournalofAestheticsandArtCriticism,69(1),31-41.

• Smith,M.2013,April.Retrievedfrom

http://mitchellsmith.weebly.com/research/wrapped-reichstag-by-christo-and-

jeanne-claude

• TheSwimmingPool.(2004).Retrievedfrom

https://www.kanazawa21.jp/data_list.php?g=30&d=7&lng=e

• Watanabe,O.2004.Retrievedfrom

https://www.kanazawa21.jp/data_list.php?g=30&d=7&lng=e

• WilderNorton,A.B.(2009).Site-specificartgetsabumwrap:illustratingthe

limitationsofthevisualartsrightsactof1990throughastudyofChristoand

Jeanne-Claude’suniqueart[Review].CumberlandLawReview,(39).

66

• Wolf,J.(n.d.).TheSolomonR.GuggenheimMuseum.Retrievedfrom

http://www.theartstory.org/museum-guggenheim.htm

• ZKM.2015.Retrievedfromhttp://www.designboom.com/art/leandro-erlich-

house-pulled-by-the-roots-karlsruhe-07-01-2015/

67

AppendixD:AndyGoldsworthy–DrawnStoneAndyGoldsworthyDrawnStoneDeYoungMuseum

Permanentcollection

Jkim184.2014,October.Retrievedfromhttps://jkim184.wordpress.com/2014/10/23/drawn-stone-at-

the-young-museum/

68

Harris,A.2013,August.Retrievedfromhttps://www.famsf.org/blog/summer-art-comes-en

Baan,I.2010,June.Retrievedfromhttp://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-

meuron

69

AppendixE:TheChristos–ReichstagChristoandJeanClaudeWrappingtheReichstagReichstag,Berlin

1971-1975

Smith,M.2013,April.Retrievedfromhttp://mitchellsmith.weebly.com/research/wrapped-reichstag-by-

christo-and-jeanne-claude

70

AppendixF:LeandroErlich–LaTorreLeandroErlichLaTorreReinaSofiaMuseum,Madrid,Spain

November2008–June2009

N,a.2007.Retrievedfromhttp://www.leandroerlich.com.ar/works.php?id=17

71

N,a.2007.Retrievedfromhttp://www.leandroerlich.com.ar/works.php?id=17

72

AppendixG:LeandroErlich–DalstonHouse

LeandroErlichDalstonHouseBarbicanArtGallery

Hackney,London

June2013

PowellEvans,G.2013,June.Retrievedfromhttp://www.dezeen.com/2013/06/26/dalston-house-by-

leandro-erlich/

73

PowellEvans,G.2013,June.Retrievedfromhttp://www.dezeen.com/2013/06/26/dalston-house-by-

leandro-erlich/

74

AppendixH:LeandroErlich–PulledbytheRootsLeandroErlichPulledbytheRootsKarlsruhe,Germany

June–September,2015

ZKM.2015.Retrievedfromhttp://www.designboom.com/art/leandro-erlich-house-pulled-by-the-roots-

karlsruhe-07-01-2015/

75

AppendixI:LeandroErlich–SwimmingPoolLeandroErlichSwimmingPool21stCenturyMuseumofArtofKanzawa,Japan

Permanentcollection

Watanabe,O.2004.Retrievedfromhttps://www.kanazawa21.jp/data_list.php?g=30&d=7&lng=e

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Leandro Erlich: Towards A Collaborative Relationship ... · Isabel Tassara Capstone project submitted in partial fulfillment of the requirements for the Degree of ... various problems

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