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TASKS THIS WEEK:
Take down Exhibit
Survey
NO LATE WORK ACCEPTED AFTER 5/25/17!

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5/22-5/26
DUE typed to me on 5/25.
This week you have a meeting period 6 with Katherine and Sarah from the Autry, Ms. Kleifield, and me.

Prepare for this.These are the talking points they will be covering so that you can come prepared with questions. It will be helpful to bring any notes, visitor feedback, or anecdotal evidence of the planning process and exhibition opening so they can use that information to guide our discussion.

1.       What is evaluation and why is it important?

2.       Why do museums use evaluation?

3.       How do you decide what and when to evaluate?

4.       How do you create an evaluation?

5.       What do you do with the information you receive?

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DUE: Friday, May 12th

The Guggenheim Museum Shares Over 200 Free Art Books Through the Internet Archive:

Over the last few years, the Guggenheim Museum has slowly released an impressive library of modern and historic art books in collaboration with the Internet Archive. The rare and out-of-print titles include books about Pablo Picasso, Roy Lichtenstein, Paul Klee, Jenny Holzer, Joseph Cornell, as well as several exhibition catalogs and books about the museum itself. You’ll also find publications on wide ranging topics from the Russian and Soviet avant-garde movement to collections of Chinese and Aztec art.

Many of the books first books appeared online in 2012 and the collection has grown to include over 200 titles that can be viewed online or downloaded in PDF or ePub formats. You can see the full collection here
or on the Padlet below.

Choose a book in the Guggenheim's collection and peruse it. Imagine that you needed to curate a show around the narrative of that book.

1. What would the show look like?
2. What objects/ art would be assembled? Include at least 10 images. Consider 2D/ 3D.
3. What would the narrative be? Write it.
4. What museum (in the LA area) would you put the show in? Justify your response.
TYPED

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Can You Chip In?

Dear Patron: Please don't scroll past this. The Internet Archive is growing rapidly, and we need your help. As an independent nonprofit, we build and maintain all our own systems, but we don't charge for access, sell user information, or run ads. Instead, we're powered by donations averaging $27.64. We'd be deeply grateful if you'd join the one in a thousand users that support us financially.

We understand that not everyone can donate right now, but if you can afford to contribute, we promise it will be put to good use. Access to knowledge is more important than ever-so if you find all these bits and bytes useful, please pitch in.

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Can You Chip In? Dear Patron: Please don't scroll past this. The Internet Archive is growing rapidly, and we need your help. As an independent nonprofit, we build and maintain all our own systems, but we don't charge for access, sell user information, or run ads. Instead, we're powered by donations averaging $27.64.

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DUE 4/28 FRIDAY

1. Read the NPR Article below.
It addresses two sculptures and highlights a potential lawsuit by one artist.
2. Then discuss the article in your group of three.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where you respond to the following:
a) Explain each artist's position.
b) What is your interpretation on the positioning of these two sculptures, especially in relation to Women's Day?
c) How do feel about Bill De Blasio's reaction?
d) If you could create two sculptures and juxtapose them in a similar fashion, what would they be? Where specifically would you place them? What would be your intended message?
Typed

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So far in her young life, New York City's Fearless Girl has drawn countless tourists, a metric ton of media coverage and its fair share of praise as a symbol of the fight for gender equity - so much, in fact, that the statue staring down the financial district's famous Charging Bull recently got a new lease on life, at least through 2018.

For at least one person, though, the Girl has offered less than welcome company.

"The girl is standing there like this in front the bull, saying, 'Now, what are you going to do?' " the bull's sculptor, Arturo Di Modica, said at a news conference Wednesday, according to CNN.

He maintains that Fearless Girl - sculpted by Kristen Visbal and commissioned by the firm State Street Global Advisors, which intends to call attention to a lack of women leaders on Wall Street - at once distorts the intent of his statue from "a symbol of prosperity and for strength" into a villain, and does so for the firm's own commercial gain.

He put a finer point on the matter in a March interview with the New York Post and MarketWatch: "That is not a symbol! That's an advertising trick."

And he's prepared to fight for its removal.

"There are issues of copyright and trademark that needed to be - and still need to be - addressed," Di Modica's attorney, Norman Siegel, said at the news conference. Siegel, a longtime civil liberties lawyer, carefully emphasized that they, too, support the fight for gender equality and that they do not want the Fearless Girl banned entirely.

"Remove her and place her somewhere else in the city," he said. "We've got lots of ideas. And damages must be awarded to Arturo for violation of his legal, statutory rights."

Siegel said a lawsuit has not been filed, but left the door open to the possibility, according to The Guardian.

The statue at the heart of the dispute went up last month in celebration of International Women's Day, and though MarketWatch notes its temporary permit originally lasted only until April 2, the city renewed that permit through 2018.

But Visbal has made no secret of her admiration for her statue's massive counterpart: "The bull is beautiful," she told The New York Post in March. "It's a stunning piece of art."

Even the method of the statue's installation - dropped unheralded in its spot overnight - paid homage to the bull it confronts.

Di Modica himself plopped his 3 1/2-ton bovine beneath a Christmas tree in front of the New York Stock Exchange in December 1989 without a permit. The Italian immigrant intended the work to bolster American traders' spirits after the stock crash of a few years before - though the NYSE, it must be said, was not pleased with its holiday gift, hefting away the bull by the end of the day.

The Charging Bull eventually found a home two blocks away, at its current resting place just south of Wall Street.

New York City Mayor Bill de Blasio has shown no inclination of moving the intrepid girl from the bronze bull's path any time soon: "Men who don't like women taking up space are exactly why we need the Fearless Girl," he tweeted Wednesday morning.

Visbal, at least, feels some sympathy for Di Modica - "poor Arturo," she told the Post - but she, like her statue, doesn't appear ready to back down either.

"The world changes and we are now running with this bull."

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Sculptor Of Wall Street Bull Says 'Fearless Girl' Horns In On His Work

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So far in her young life, New York City's Fearless Girl has drawn countless tourists, a metric ton of media coverage and its fair share of praise as a symbol of the fight for gender equity - so much, in fact, that the statue staring down the financial district's famous Charging Bull recently got a new lease on life, at least through 2018.

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FIELD ASSIGNMENT #3               The Fowler Museum (@ UCLA) Field Assignment                        

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FIELD ASSIGNMENT #3               The Fowler Museum (@ UCLA) Field Assignment                        

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DUE: MAY 9, 2017

Plan to visit the museum and write up a 2-4 (including images, but images should not take up more than 1 ½ pages total)  page typed report that addresses the following:
What is the mission of the museum; what is the vision? Does the museum live up to its mission? If yes how? If no, Why not? Give SPECIFIC EXAMPLES FROM YOUR VISIT. How does this museum fit in this geographical area of LA? How does the museum deal with the issues of displaying culturally sensitive material? What exhibit was most engaging to you? Why?
What 1 or 2 pieces speak to you and why (employ vocabulary from the elements of art and principles of design); considering its meaning, medium, and message? How is the museum laid out architecturally; how does it flow? Besides the art, are there any design aspects of the museum that are significantly connected to the museum’s mission/ vision? Compare the Fowler to ANY other LA museum you have been to.
CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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Fowler Museum | Free Admission. Easy Parking. | Homepage

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The Fowler is a museum on the campus of the University of California, Los Angeles. Visit the Fowler to explore art and material culture primarily from Africa, Asia and the Pacific, and the Americas, past and present.

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1) Final Marketing Mock up Due (postcard and Poster) on the drive, USB, and emailed to me and Ms. Hanson.
2) Images uploaded to a USB.
3) Justifications sent with image (same as images on USB) via Google Docs by 3/30.
4) Call DLA to see their hours on Friday. Do we need to go to give files or is email okay?
5)Possible Friday meet up at DLA.
6) All images in for printing by Friday 3/31.

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Due: 4/21 Friday

1. Listen to the NPR article taking notes. Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article together.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where you EVALUATE the value (for the public) of creating virtual reality exhibits. Be sure to use textual evidence (see transcript) and be sure to make connections between your thoughts and the thoughts of you peers. Explain how you did or did not shift your perspective based on your peers' points of view.
CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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Between the megamouth shark, the bison diorama, and gangs of excited school kids, the Natural History Museum of Los Angeles County has added a virtual reality exhibit called theBlu.

For an extra $10, on top of the $12 general admission fee, visitors can strap on a headset and explore the virtual ocean. A blue whale swims overhead. A school of silvery fish darts by. Visitors use virtual flashlights to explore the abyss.

"I definitely think it appeals to younger audiences," said Jennifer Morgan, senior project manager and exhibit developer at the museum. The organization is experimenting with the technology as a way to get more people in the door and interested in the broader collection.

The appeal, said Morgan, isn't just limited to tech-savvy teens. She said many older adults have also checked it out. "It's the first time they've ever done anything like this and they seem to be thrilled," she said.

That exposure is something the virtual reality industry as a whole is chasing.

In spite of VR's promise as the-next-big-thing-in-tech, it still isn't that mainstream.

"We think that out of home venues such as museums are a terrific space for the public to have their first experience in virtual reality," said Neville Spiteri, CEO of Wevr, the company behind theBlu.

Wevr loaned the museum the computers and headsets. Spiteri wouldn't disclose the rest of the financial arrangement.

But, the company's broader goal is to make fans of the technology. "Perhaps at some point, you'll be inspired to buy your own headset," said Spiteri. And, yes, subscribe to the VR content Wevr produces.

For users already comfortable with virtual reality, other museums are experimenting in a different direction. Institutions like the Smithsonian are creating VR tours that allows users to explore their galleries in 3-D and 360-degrees.

"Having something like VR enables us to go to where people are," said Sara Snyder, the head of the Media and Technology Office at the Smithsonian American Art Museum.

She's not worried that VR visits will replace the real thing. Snyder said the same anxiety existed back when museums started posting pictures of artwork online. "In fact, it's had the opposite effect," she said. "The more digital images we publish online, the greater our attendance is."

People learn something exists, said Snyder, maybe something they didn't know about before, and want to see the original in real life.

And that feeling of "real life" is something VR isn't yet able to replicate.

"The experience is so clearly partial," said museum futurist Elizabeth Merritt from the American Alliance of Museums. "It's a hint, it's a glimpse. It's like seeing a little bit of stocking, which only makes you want to see more."

In many VR tours, we miss the sounds of museums. The echoes of footsteps. The whispers of conversation.

And, said Merritt, the smells: "You go into a natural history museum, and you may not know it, you're smelling little bits of naphtha from the specimens that have been in mothballs." Fine art museums have what she called a "cleaner and brighter smell," with "its own tang."

There may be a day when virtual reality is so immersive, the digital experience rivals the experience of real life - that I can't tell the difference between being at my desk or at the Louvre.

But no time soon.

There's still a lot of tech that has to be created, including good quality smell-o-vision.

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Between the megamouth shark, the bison diorama, and gangs of excited school kids, the Natural History Museum of Los Angeles County has added a virtual reality exhibit called theBlu. For an extra $10, on top of the $12 general admission fee, visitors can strap on a headset and explore the virtual ocean.

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MARCH 13

IN ORDER TO COMPLETE NEXT STEPS, WE NEED ALL OF LAST WEEKS TASKS COMPLETED.
ADDITIONALLY, YOU WILL CALL THE DIGITAL LEARNING ACADEMY AT THE YWCA AND ASK TO SPEAK TO THE PRINT SHOP. YOU WILL NEED TO LET THEM KNOW WE HAVE AN ART SHOW POST CARD WE NEED PRINTED; WE ARE A PUBLIC SCHOOL; AND WE WANT AROUND 300.
THEY WILL WANT TO SEE A DIGITAL FORMAT TO PRICE IT FOR US. SEND THEM ONE AFTER SHOWING ME.
ASK FOR PRICES.
ALSO LET THEM KNOW WE WILL NEED SCANNED IMAGES ENLARGED (PAPER SIZE), MATTE/ GLOSSY?, QUANTITY?

ASK THEM THEIR TURN AROUND TIME FOR EACH.
CONTACT INFO IS ON FILING CABINET.

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MARCH 30

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"Losing the N.E.A. would mean that many smaller, mid-American arts companies couldn't weather a recession," he said, noting that the endowment supports both state and regional arts councils. "Losing these companies would mean fewer jobs, a lower quality of life and less local spending in the small towns that need it most."

Stephen Kidd, executive director of the National Humanities Alliance, a nonprofit advocacy group that represents dozens of beneficiaries of N.E.H. grants, said there was a real sense of alarm that the Trump administration was moving closer to embracing the elimination of the endowment. But there is also real confidence, he said, in continuing opposition from congressional Republicans because of deep support for many N.E.H.-funded programs in conservative areas of the country.

"A big area for the N.E.H. is its programs that aid veterans in their transition back to civilian life," Mr. Kidd said, mentioning programs like the Warrior-Scholar Project, an "intensive humanities boot camp" that began as a pilot program in 2012 at Yale University and helps veterans prepare for college.

"The N.E.H. also provides funding for museums around the country to help preserve collections that are critical to the heritage of lots of communities," Mr. Kidd added.

Many arts officials said they were gravely concerned that the programs were back on the chopping block.

"It's another example of our democracy being threatened," the actor Robert Redford, the president and founder of the Sundance Institute, which helps filmmakers, said in a telephone interview. "Arts are essential. They describe and critique our society."

President Trump is already facing pressure from some of his allies to preserve the programs. Daryl Roth, a prominent Broadway producer ("Kinky Boots," "Indecent") whose husband, Steven Roth, is a Trump adviser, said that she opposed eliminating the programs and that she had expressed her view to the Trump administration and would continue to do so.

"The concept of ending federal funding to the N.E.A. and to the many nonprofit arts organizations, artists, writers, cultural institutions, museums and all recipients that would be affected is of course of grave concern to me," Ms. Roth wrote in an email. "Arts education in the schools, theater groups, music and dance programs help revitalize local communities, both spiritually and economically, across the country."

The fate of the three organizations is still far from clear: An internal memo that circulated within the Office of Management and Budget last week, which was obtained by The New York Times, noted that the list of programs targeted for elimination could still change. Officials at both of the endowments said they had not received any official word from the White House. But the programs have long been in the cross hairs of conservatives.

Romina Boccia, a fellow at the Heritage Foundation, a conservative think tank, said Congress should eliminate federal arts grants altogether. "The minuscule portion of art funding that comes from the federal government does not support the arts in any meaningful way; rather, it distorts the art market toward what is politically acceptable," she said. She also questioned the need for the federal government to support public broadcasting.

But arts administrators around the nation said in interviews that culture had enjoyed bipartisan support in recent years, and that they were hopeful their elected officials could be persuaded to keep the programs. They began planning last month to make the case for the arts to their audiences, their well-connected board members and Congress.

Mr. Gelb, the general manager of the Met, had planned to tout the company's recently announced 2017-18 season during the intermission of Saturday afternoon's broadcast of Bellini's "I Puritani," which was heard on more than 500 radio stations and in 46 states. Instead, he began by speaking of the possible cuts - and noting that many of the radio stations carrying the broadcast would face serious cuts if the Corporation for Public Broadcasting were eliminated.

"I think it's really important that people be aware of this: The possibility of losing the arts on the radio, losing the arts on television, losing the arts altogether is very real if these cuts were to go through," Mr. Gelb said.

Marie-Hélène Bernard, the president and chief executive of the St. Louis Symphony, said the orchestra had drafted a letter to its board members urging them to call their elected officials. "We asked them to let them know why it's important," she said.

And Andrew Kipe, the executive director of the Louisville Orchestra in Kentucky, a highly regarded ensemble recovering from a recent bankruptcy, said that orchestra officials had already planned to go to Washington on March 20 for an advocacy day organized by Americans for the Arts, a network of cultural organizations, but that now the trip had taken on greater urgency. He said that the orchestra had received $15,000 from the National Endowment for the Arts to support its Festival of American Music, and added that he hoped to meet with members of the state's congressional delegation, including Senator Mitch McConnell, the majority leader, to explain why the orchestra is vital.

"When we get to D.C. next month, we will have some real facts and figures - on job creation, economic impact - besides just arguing that funding the arts is good because it's a good thing," Mr. Kipe said, adding that the arts had bipartisan support in Kentucky. "The return on a relatively small investment is pretty great."

Some administrators alluded to reports that the Trump administration might be seeking the cuts to the arts in part so it could increase spending on the military. Janne Sirén, the director of the Albright-Knox Art Gallery in Buffalo, said in an email: "As a museum director and as a reserve Finnish special forces paratrooper, I see no conflict when a government supports both the armed forces and the cultural forces of a nation."

But as some top administrators geared up for battle, they acknowledged a feeling of déjà vu - recalling the battles over arts funding that raged decades ago during the Reagan administration, and later when Newt Gingrich was the House speaker.

"It's fascinating: Now I've been working in this field for so long that we've gone full circle and gone right back to again defending the role of the N.E.A.," said Deborah F. Rutter, the president of the John F. Kennedy Center for the Performing Arts in Washington, who previously led the Chicago Symphony Orchestra and the Seattle Symphony.

"The funding is important, and it's symbolic," she said. "It is art and culture which defines us."

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John F. Kennedy Center for the Performing Arts

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Michael Cooper, Michael Paulson, Graham Bowley, Robin Pogrebin and Randy Kennedy

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Arts Groups Draft Battle Plans as Trump Funding Cuts Loom

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"Losing the N.E.A. would mean that many smaller, mid-American arts companies couldn't weather a recession," he said, noting that the endowment supports both state and regional arts councils. "Losing these companies would mean fewer jobs, a lower quality of life and less local spending in the small towns that need it most."

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MARCH 30

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Some of President Donald Trump's planned budget cuts appear to be targeted more at undercutting Democratic priorities than at shrinking the national debt.

A host of planned funding cuts to federal agencies, reported last week by The Hill, are part of the Trump administration's desire to eliminate roughly $10.5 trillion in spending over the next 10 years -- nearly all of the federal government's discretionary spending.

Yet Trump has vowed not to cut entitlements, such as Medicare and Social Security, and promised to beef up military spending, which represents the lion's share of federal spending -- making it hard for him to do more than chip away at the margins of the nearly $20 trillion national debt.

What, then, would the reported cuts accomplish? The answer appears to be defunding a number of projects seen as liberal darlings -- including groups aimed at preserving and supporting the environment, civil rights protections, the arts, minority-owned businesses, and public broadcasting.

To put this in context: The total cost, per American, of the following 17 programs said to be on the chopping block is $22.36 per year-- of which more than a third comes from a single clean-energy program. By contrast, housing subsidies, like the mortgage interest deduction, which are disproportionately used by the wealthy, cost $296.29 per American.

Here's a list of the various federal agencies reportedly on the chopping block, along with some of their key initiatives -- and some of the jobs supported.
Corporation for Public Broadcasting
Republicans have long been known to want to kill government funding for Big Bird. But the CPB is more than Sesame Street.

For instance, the CPB is backing a program through Wisconsin Public Television called " Veterans Coming Home" -- which includes a series depicting what some of the 2.5 million veterans endure as they reenter society, but also funds services, such as job fairs, for returning vets.
National Endowment for the Arts
The NEA supports art, and those who make it, across the country. Eliminating funding would kill hundreds of programs, like Art 365, which grants five Oklahoma artists $12,000 to support their work. Past grantees photographed "remote portions of our National Parks and wilderness areas," and used aerial photography to look at churchgoing demographics in Oklahoma.
National Endowment for the Humanities
The NEH offers research funding to institutions like museums, colleges, and libraries. The agency has backed 16 Pulitzer winners and Ken Burns' The Civil War series, among other notable endeavors. One recent grantee is Michael Bernath, an associate professor at the University of Miami, who received $6,000 for his project "In a Land of Strangers: Northern Teachers in the Old South and the Emergence of American Sectional Identity, 1790-1865."
Minority Business Development Agency
This federal agency helps minority-owned businesses "with the capital, contracts, and markets they need to grow," according to its website. The agency also advocates and promotes "minority-owned business with elected officials, policy makers, and business leaders."

The MBDA says it helped a minority-owned construction company in Phoenix, for instance, secure $60 million in loans -- which allowed the company to expand operations and hire more employees.
Read Next: Karen Finley: Donald Trump Owes All of His Wealth to Arts and Culture Economic Development Administration
The EDA supports "distressed communities with their infrastructure needs that will help drive regional growth," promotes "economic development projects that spur entrepreneurship and innovation at the regional level," and "provides direct technical assistance to firms negatively impacted by global trade."

What does this mean? Seven years ago, the EDA gave a $2 million grant to the Pacific Northwest Diabetes Institute to buy new scientific equipment, in turn providing lab space that would support other high-tech companies in the area. The EDA says the grant ended up creating 184 jobs, saving another 110, and attracting another $500,000 in private investment.
International Trade Administration
The ITA helps American businesses sell more products to overseas markets. One beneficiary was the Iron Fist Brewing Company, located in Vista, California. A representative of the San Diego U.S. Export Assistance Center connected with the brewery at a convention in 2013, and helped them export to Australia, Canada, Finland, Hong Kong, among others. Iron Fist hired two more employees thanks to new export revenue, the ITA reports.
Manufacturing Extension Partnership
This is a so-called public-private partnership that helps small to medium-size manufacturers become more efficient, build new products, and improve sales and marketing techniques. Missoula, Mont.-based organic soap wholesaler Botanie used their local MEP affiliate to help keep pace with their growing business -- by, for instance, using more sophisticated technologies to track inventory. The MEP says it helped Botanie save $280,000 and retain six jobs.
Office of Community Oriented Policing Services
The majority of COPS' annual budget is dedicated to hiring more police personnel to help local communities improve their policing. Last October, the Justice Department announced $119 million in grant funding for 184 law enforcement agencies across the country -- resulting in 900 created or saved jobs, the office reports. Among the recipients was the Dallas Police Department, which had lost five officers in an ambush a few months earlier; it got $3.1 million to hire 25 officers.
Office of Violence Against Women
The OVW runs 25 grant programs created through the 1994 Violence Against Women Act, in an effort to reduce domestic violence, sexual assault and dating violence. The police department and city government of Andalusia, Ala., for instance, received a $450,000 grant over three years that will cover domestic violence training for officers as well as the hiring of three additional police officers.
Legal Services Corporation
The LSC helps poor Americans afford legal services, currently funding "134 independent legal aid organizations with more than 800 offices" in the U.S. For instance, the Atlanta Legal Aid Society -- which served nearly 33,000 people in 2015, including about 15,000 children -- received $3.8 million last year, supporting 109 positions. Two-thirds of clients served were African-Americans.
Civil Rights Division of the Justice Department
The Civil Rights Division, a part of the Justice Department that employs 750 positions, works to fight discrimination and protect Americans' voting rights. Recently a Civil Rights Division investigation of the Chicago Police Department found that "CPD officers' practices unnecessarily endanger themselves and result in unnecessary and avoidable uses of force." The city of Chicago and the Justice Department reached an agreement to improve the city's policing practices.
Environment and Natural Resources Division of the Justice Department
The ENRD brings cases against those who break pollution-related laws. In one recent case, the division levied a $160,000 penalty against Iowa's Meadowvale Dairy for violating the Clean Water Act.
Overseas Private Investment Corporation
Using both loans and loan guarantees, OPIC works to help businesses with annual revenues below $400 million invest in "large scale" operations, such as airports and water systems. "Over the past five years, 71 percent of OPIC projects were in partnership with U.S. small businesses, accounting for over $600 million annually in U.S. exports," according to the State Department. One recent OPIC effort, for instance, provided an $87 million, 17-year loan, to a U.S. company, Al Tamweel Al Saree, to extend loans to micro and small-sized Iraqi businesses.
UN Intergovernmental Panel on Climate Change
The IPCC issues reports from the world's leading climate scientists on the state of global warming, and its impact on human populations. According to NASA, 2016 was the hottest year on record.
Office of Electricity Deliverability and Energy Reliability
Created after the 2003 blackout left nearly 50 million Americans and Canadians without power, the OE invests in the electric grid to make it more modern, reliable and secure. The agency recently released a comprehensive report on how America can improve energy allocation.
Office of Energy Efficiency and Renewable Energy
The EERE works "to create and sustain American leadership in the transition to a global clean energy economy." What does that look like? In one recent demonstration project, the EERE helped a South Carolina-based BMW plant use bio-methane gas from a nearby landfill to power some forklifts.
Office of Fossil Energy
With projects like the development of clean coal technology, this office works to reduce the carbon footprint of fossil fuels. Its Petra Nova project, based in Thompsons, Texas, is now "the world's largest post-combustion carbon-capture system." Petra Nova received $190 million from the Department of Energy, and has the potential to capture "1.6 million tons of CO2 per year from an existing coal-fired power plant."

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International Trade Administration The ITA

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Office of Energy Efficiency and Renewable Energy

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National Endowment for the Humanities The NEH

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Office of Community Oriented Policing Services

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Emergence of American Sectional Identity

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Office of Electricity Deliverability and Energy Reliability Created

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Office of Violence Against Women The OVW

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Justice Department The Civil Rights Division

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Arts and Culture Economic Development Administration

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UN Intergovernmental Panel on Climate Change

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Overseas Private Investment Corporation Using

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President Trump Wants to Kill These 17 Federal Agencies and Programs. Here's What They Actually Cost (and Do)

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Some of President Donald Trump's planned budget cuts appear to be targeted more at undercutting Democratic priorities than at shrinking the national debt. A host of planned funding cuts to federal agencies, reported last week by The Hill, are part of the Trump administration's desire to eliminate roughly $10.5 trillion in spending over the next 10 years -- nearly all of the federal government's discretionary spending.

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MARCH 30     Due: 3/31 Google Docs

Read the THREE articles and take notes. Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article and your notes in your group of three.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where you discuss the role of the NEA, what groups it supports, and the impact if funding is cut.
5. CREATE a plan for alternative funding for a program affected by cuts in NEA finding. Use the 5 Ps.
1. Explain the PROBLEM.
2. Describe the PROGRAM.
3. Relate one other person's PERSPECTIVE.
4. Share a PERSONAL STORY from someone who benefits from this program.
5. Share your PLAN FOR ACTION.

Send to me via Google Docs by 3/31
8 pm.
CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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The director of New York's Metropolitan Museum of Art resigned this week. His departure underscores financial difficulties the museum is facing.

STEVE INSKEEP, HOST:

The Metropolitan Museum of Art in New York City seemed to be starting this year strong. Tripadvisor called it the number one art museum in the world. Attendance has reached record highs. That happened under the direction of Thomas Campbell. But suddenly, he's stepping down. Here's Charlie Herman of our member station WNYC.

CHARLIE HERMAN, BYLINE: His resignation comes as a shock. Campbell came to the museum 22 years ago as a curator in the tapestry department and became director and CEO in 2009. Since then, he's been expanding the museum's offerings. But it's come at a price.

ROBIN POGREBIN: Over the last year, it found itself in financial difficulty.

HERMAN: Robin Pogrebin is a culture reporter for The New York Times who's been digging into the museum's finances. It turns out the Met's been spending more than it's been bringing in. This year, it's looking at a $15 million deficit.

POGREBIN: There has been sort of a growing sense of concern and discontent within the museum about Mr. Campbell's leadership. And I think that it came to a head.

HERMAN: During Campbell's tenure, the museum spent $16 million renovating another building so it can exhibit modern and contemporary art. Managing that new location costs an additional $21 million each year. And at the same time, revenue hasn't been growing as fast. A year ago, it settled a lawsuit over how much visitors should pay for admission, changing the word recommended to suggested. Now, about 1 in 5 visitors pay full price - $25.

Andrew Taylor is an associate professor of art management at American University. He says leaders of world-class museums like the Met have to take bold actions to get people's attention. They also need to pay for those plans.

ANDREW TAYLOR: The things that get them in trouble are walking the tight rope a little too far to one side or the other. They are on a delicate balance about doing bold programming but also being conservative in spending.

HERMAN: The director of the Met is perhaps the most prestigious art leadership position in America. It comes with a million dollar-plus salary and an apartment across the street from the museum. It's unclear who will replace Campbell. But nearly all the museum's leaders have come from the ranks of the curators. For NPR News, I'm Charlie Herman in New York.

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New York's Met Museum Director Resigns Amid Financial Troubles

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The director of New York's Metropolitan Museum of Art resigned this week. His departure underscores financial difficulties the museum is facing. STEVE INSKEEP, HOST: The Metropolitan Museum of Art in New York City seemed to be starting this year strong. Tripadvisor called it the number one art museum in the world.

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MARCH 13               DUE 3/17

TOPIC: STAYING RELEVANT
You will do an analysis of what makes a modern art museum "modern." The Pompidou is 40 years old.  How is it staying current?  Or do "contemporary" museums eventually become passe´?
1. Read the NPR article and take notes. Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article and your notes in your group of four.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where you discuss how The Pompidou maintains relevance today.
Additionally, make a connection to the exhibit you are curating for the art show on 4/19-4/20. How are you creating an exhibit of "old things" that are relevant to students who see the show today.

*Consider adding the idea of relevance to your narrative on your postcard and on your signage for the show.

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This year, the Paris museum that looks like a jumble of giant, colored pipes with an escalator in a clear plastic tube zigzagging up its side turns 40.

Nowadays, that museum - the Pompidou Center - has a secure place in the heart of Paris and in Parisians' hearts. But it wasn't always the case.

"When it was first built, the reaction was one of horror," said Serge Lasvignes, president of the Pompidou Center, who recounted the museum's beginnings at a recent meeting with the Anglo-American Press Association of Paris, of which NPR is a member.

" Le Monde newspaper called the museum's construction the 'rape of Paris,' and city politicians thought their money had been totally wasted," said Lasvignes. The 10-floor museum required 15,000 tons of steel and cost millions to build. Critics said it looked like an oil refinery.

France's first museum entirely devoted to contemporary art saw the light of day thanks to the obstinacy of one man - Georges Pompidou, an art lover who served as France's president from 1969 to 1974 and prime minister from 1962 to 1968.

"Pompidou thought there was a real gap at the time between the progressiveness of French industry and the country's conservatism when it came to cultural matters," said Lasvignes. "And he thought that gap partially explained the social explosion and student revolts of 1968." Pompidou was widely credited for resolving those revolts when he served as prime minister.

In 1971, Pompidou launched an international competition to build the museum, originally known as the Centre Beaubourg. "The idea was to have a complex for contemporary art and with new architecture," said Lasvignes.

The winning team, which included three young architects from Britain and Italy, was completely unknown at the time. Renzo Piano and Richard Rogers, the two architects who saw the project through, made their provocative plan a reality, putting the museum's working guts - its plumbing and electricity - on the outside, to leave more space inside for art.

Their design took everyone by surprise.

"They didn't think they had a chance to win," Lasvignes said. "So they thought they might as well do exactly what they wanted and be entirely original."

But there was a real philosophy behind their design, he said.

"Someone said to Piano, 'Your thing is horrible - with the escalator on the outside, it looks like a supermarket!' And Piano replied, 'Well, that makes me happy, because it means no one will be too intimidated to come inside.'"

Forty years later, the museum still strives to make culture accessible to everyone, Lasvigne said. He calls the Pompidou Center a museum like no other.

"Our mission is pluri-disciplinary, so we are not only a museum," he said. "We have concerts, debates, performances, a library ... and everything flows together."

Pompidou felt putting up walls between different forms of art - compartmentalizing it - was detrimental.

"So we are a house of culture where people return again and again," Lasvignes said. "Most of our visitors come more than once a year, which is different from other Paris museums."

After the 2015 terrorist attacks in Paris, Lasvignes said the Pompidou Center was the only museum in the city where the number of visitors actually increased. The museum received 3.3 million visitors in 2016, a 9 percent increase over 2015.

"Many Parisians refused to stay home and wanted to continue to live after the attacks," he said.

Some 60 percent of the Pompidou's visitors are French. Lasvignes calls it the "museum of Parisians." At the Louvre, in contrast, almost 70 percent of visitors are foreign.

The Pompidou Center is Europe's biggest modern art museum; New York's Museum of Modern Art is the biggest in the world. But the two museums have totally different strategies, Lasvignes said.

"The MOMA's strategy is to collect masterpieces, and we try to represent an entire epoch," Lasvignes explained. "For example, we have an incredible surrealist collection. They're not all masterpieces, but it's a complete collection and you can see the nuances."

Lasvignes said that's how the Pompidou Center was able to stage a recent exhibition on surrealism in Egypt.

"No one even knew [surrealism in Egypt] existed!" he said.

Lasvignes said visitors to the Pompidou experience an exhibit in a way that's entirely different than at other museums.

"We find an original angle of attack and the works are displayed differently. They're often accompanied by music or literature. It's like an unexpected trip. And this is what attracts people," he said.

To highlight the work of Swiss-German expressionist artist Paul Klee, who Lasvignes said some may be a bit tired of, the Pompidou mounted an exhibit highlighting irony and humor in Klee's work, something Lasvignes described as "a totally new itinerary that helped people rediscover Paul Klee."

Nadine de Grandsaigne, visiting the Pompidou Center from the Paris suburbs on a crowded winter day, says she comes back again and again. She says the Louvre is too big.

"And," she says, "I love the view here."

Visitors who ride the escalator to the top of the museum are rewarded with a panoramic view of Paris. Particularly visible are the hill of Montmartre and the white domes of the Sacré Coeur church.

Grandsaigne says she remembers the uproar when the museum first opened. While she liked it, she feared it would become ugly with time.

"But it doesn't get old," she says. "It is still exceptional."

Now that it's 40, the Pompidou's goal is to continue to cultivate originality and remain cutting-edge, Lasvignes said.

"We want to be in tune with the intellectual tendencies and international currents of 2017," he said, "and not become a conservatory of nostalgia and history."

Lasvignes said the Pompidou Center will remain "a safe place for unsafe ideas."

With a presidential election this spring, and far-right populist leader Marine Le Pen currently in the lead, Lasvignes mentioned no names but said his museum could take on "an activist role."

"We are not involved in politics," he said. "But we recognize that sometimes culture needs to be pushed to avoid a sclerosis of society."

Access to culture and art is crucial to opening minds and learning how to deal with what's different and foreign, he said. If there were to be any attempt in France to shut people's minds and break the bridges between cultures, "Then yes," he said, "the Pompidou Center would step in to play a role of resistance."

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Anglo-American Press Association of Paris

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At 40, Paris' Pompidou Center Is Still 'An Unexpected Trip'

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This year, the Paris museum that looks like a jumble of giant, colored pipes with an escalator in a clear plastic tube zigzagging up its side turns 40. Nowadays, that museum - the Pompidou Center - has a secure place in the heart of Paris and in Parisians' hearts.

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COMPLETE ALL WEEK 7 AND 8 APPLICATION/ GROUP ASSIGNMENTS.
AS OF 3/13, STILL INCOMPLETE:
1) Go to the alumni room (or 3rd floor) and select other items (no more than 20, so you can edit) that also fit the narrative.
2) Write a justification for including each piece you select (from the 20) for the ICAP exhibit-remembe to show how it is interconnected to other pieces and thee narrative (theme).
3) Place all pieces for the show in first top brown cabinet.
4) Select images for enlarging for exhibit.
5) Make edits on postcard to prep for printing.
6) Use grid paper to plan space for the exhibit (Remember we should exhibit in an unusual/ interesting (not just book on table...) way.

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February 27                   DUE: 3/7

1. Email me specifics for Katherine Krieger letter. Locate 88, 89, 90 yearbooks (extras)
2.  Move all museum studies supplies to Harrison Hall.
3. Check if 98 key works on 3rd floor door.
4. Write a justification for including each piece you select (from the 20) for the ICAP exhibit-remembe to show how it is interconnected to other pieces and thee narrative (theme).
5. Place all pieces for the show in first top brown cabinet.
6. Select images for enlarging for exhibit.
7. Make edits on postcard to prep for printing.

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February 27 DUE: 3/3

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It was 1913, and the Civil War had been over for 48 years. The United Daughters of the Confederacy, an organization that worked to populate the South with Confederate war memorials, decided such a monument should be erected in Rockville, Md.

The bronze statue, a soldier standing with folded arms, was constructed by a local granite company for the sum of $3,600. A plaque at the bottom read, "To Our Heroes of Montgomery Co., Maryland, That We Through Life May Not Forget To Love The Thin Gray Line." It was dedicated in a June ceremony in front of the courthouse, with 3,000 spectators listening to a band play "Dixie" and the "Star-Spangled Banner," according to the account of a local historian.

Supporters of the statue saw it, and continue to see it, as a historic symbol of heritage that acknowledged a painful past. The statue's detractors saw it, and continue to see it, as deeply offensive, honoring an institution that had honored slavery. One hundred years after the statue was installed, some residents lobbied to take it down.

In the past year, debates such as this have burbled in town meetings across the country. Mostly, discussions are related to Civil War monuments - in Louisiana, Maryland, Virginia and Texas - following the 2015 mass shooting at a historically black church in Charleston, S.C. But sometimes the discussion is broader: Last fall a cohort of Princeton students lobbied the administration to remove likenesses of Woodrow Wilson from the school's campus because of his segregationist beliefs. And last month, Andrew Jackson was toppled by Harriet Tubman off the front of the $20 bill; supporters of the swap cited, among other reasons, Jackson's wretched treatment of American Indians.

Ignoble history happened in America. It defines us; it is ours.

And now we are wrestling with how to claim it - publicly, in granite, iron and bronze - or reject it, by consigning Confederate statues to scrap.

[Fight over Confederate monuments turns ugly]

How should Rockville, for example, address the fact that Maryland was a border state in the Civil War - more of its citizens fought for the Union than the Confederacy - and yet there are no Union monuments in front of the courthouse? How should New Orleans address the fact that, the day after it hired a contractor to remove four of its Confederate statues, the man received death threats and his car was torched? Is a statue in Alexandria, Va., in which the soldier is weaponless and downcast, more acceptable than a Civil War general on a horse - as some supporters of the controversial statue argue?

The problem is not going away. America has a lot of statues.

A few years ago, W. Fitzhugh Brundage, a history professor at the University of North Carolina at Chapel Hill, launched a research project whose goal was to determine how many statues and memorials his state had. There were no comparable national databases, and Brundage hoped his could become a model for other states. He assumed there would be a few hundred representing all wars and conflicts; instead, his team found nearly 200 for the Civil War alone, mostly Confederate.

"One reaction is that these statues aren't a substantial issue, it's just symbolism," Brundage says. But the sheer volume of them made him realize that the symbolism was weighty. Confederate monuments weren't something that citizens stumbled upon occasionally. They were part of the daily map of people's lives. Some proposals for what to do with them would flop on a large scale. A mass tear-down could cost millions, as would another common solution: building an equal number of pro-Union statues.

"We live in a landscape that is cluttered with monuments," Brundage says. "Even if the Confederate past could be erased" - which it can't, he says; removing monuments wouldn't do that - "the actual mechanics of that would take decades."

Building them, to begin with, took decades, too. In the early days of Reconstruction, federally funded veterans' cemeteries were reserved for only Union soldiers. Southern women founded the United Daughters of the Confederacy to raise money for Confederate soldiers to have their own modest cemetery memorials.

Over time, though, these markers got larger and more specific, says Jane Censer, a George Mason University professor who studies Southern women of the 19th century. Rather than the memorials appearing just in cemeteries, the UDC began putting them in public spaces: parks, legislative buildings, courthouse lawns. There were plenty of statues to go around - many were made en masse and sold in catalogues, by women who received marble cutting boards for meeting their sales goals.

The ballooning number of Confederate statues around the turn of the 20th century, some historians argue, was a reflection of the changing narrative of the Civil War. It was no longer seen as a grievous loss but a noble rebellion, a "lost cause." Many of the statues that cause conflict today weren't built in the years following the Civil War but in the decades following it, and not by widows or daughters of Confederate veterans, but by defiant descendants.

[The ugly truth about Confederate memorials]

"You can really see this progression in the three major statues of Robert E. Lee," says Gaines Foster, a historian at Louisiana State University and author of " Ghosts of the Confederacy. " In Lee's earliest post-Civil War statue, placed on the campus of Washington and Lee University in Lexington, Va., in 1875, Lee is lying in repose. In the second, dedicated in New Orleans in 1884, Lee, the top Confederate general, is standing erect. "By 1890 in Richmond," Foster says, "Lee is riding his horse again." The South had re-risen, at least in the stone representations of its leaders.

The narrative of America's history has never been solely about what happened, but how we remember what happened. And memories change: An entrance to the U.S. Capitol used to be flanked by a pair of statues depicting American Indians as savages, saved by their white invaders. Both statues were removed in 1958, a measure of America's changing understanding of its horrendous behavior.

Now when some people see a solitary Confederate soldier standing on a pedestal in a public area, they see historic and important artwork that should not be taken down because of the risk of history-washing. When some people look at the same statue, they see a mass-produced symbol of racism for which an industrious sales clerk received a marble kitchen utensil.

Of course, sometimes a statue can be both of those things. The newly dethroned Andrew Jackson was both a talented strategist in the War of 1812 and an architect of genocide. And historic representations can exist on a continuum. Few would argue that likenesses of American forefather George Washington should be removed from public spaces, although he, too, owned hundreds of slaves. It's more complicated to defend a statue of, say, Nathan Bedford Forrest, Confederate general and prominent Ku Klux Klan member, whose racist beliefs are part and parcel of his legacy.

[We can celebrate Harriet Tubman without disparaging Andrew Jackson]

This year, at the American Historical Association's annual meeting in Atlanta, the organization's attendees debated the problem of Confederate monuments and statues during a plenary session. Censer, the George Mason professor, remembers proposing the relocation of some publicly placed monuments back into private cemeteries - reclaiming the memorialization that was the original goal of the monuments.

"In public spaces, we're saying, 'This is something we honor,' " Censer says. "There's a triumphal, celebratory aspect." In cemeteries, she says, the mood is more subdued and more historic.

The Atlanta History Center offers an entire page on its website with suggestions to help local historians, including adding placards with detailed information about the monuments' original intent. As a template, the History Center offers the following wording: "This monument was created to recognize the dedication and sacrifice of Americans who fought to establish the Confederate slaveholding republic. Yet this monument must now remind us that their loss actually meant liberty, justice and freedom for millions of people."

A monument to a cause ends up criticizing that cause.

Meanwhile, in Rockville, the county executive had asked the city, in 2015, to take possession of the statue, removing it to the grounds of the city-run historical society. The city council declined in February 2016. They didn't want to deal with the statue, either. For now, it still stands outside the courthouse and has suffered at least one graffiti attack. The bottom half is encased in a wooden box, though, and unless visitors intentionally sought it out, they may have no idea what they are looking at.

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The South's Confederate-monument problem is not going away

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It was 1913, and the Civil War had been over for 48 years. The United Daughters of the Confederacy, an organization that worked to populate the South with Confederate war memorials, decided such a monument should be erected in Rockville, Md.

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February 27           DUE: 3/3

1. Read the NPR Article: Code Switch
It addresses pieces/exhibitions that become controversial (the article focuses on a mural of Bill Cosby that is going to be painted over).
2. Then discuss the article n your group of four.
3. Take notes on others' opinions, clarifications, and assumptions.
4. Send an email to: Richard Wyatt Jr. because he has a clearly developed philosophy and practice regarding involving the community in the decision making and creation of his public art pieces.  Share the article with him and ask his philosophy. (You can ask him to come in, communicate with all four of you via phone, or email).
4. TYPE a 1 page response in paragraph format where you respond to the following:
Should they be changed/removed?
Then-Read the other Week 8 article. Think about the American South and the complicated history of the Confederacy.
Should statues/monuments honoring Confederate leaders be removed?

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Ben's Chili Bowl, a D.C. restaurant famous for its half-smokes, celebrity drop-ins, and ties to the civil rights movement, is preparing for some redecorating. This week, the restaurant painted over the giant mural of Bill Cosby, Donnie Simpson, Chuck Brown and President Barack Obama that has lived on its outside walls since 2012.

Kamal Ali, one of the restaurant's owners, said his customers have been talking about that mural for a long time, arguing over who should or shouldn't be featured. Now, he said, it's time to let the public decide. "We'd like people to tag the mural with positive sentiments of healing the country. And the world," he said. "We just had the inauguration, lots of protests, the Women's March, which was huge, and then there's the Black Lives Matter movement, with police brutality and those things going on. So it just seemed like an appropriate time."

The beloved restaurant is asking fans and customers to vote on who should be depicted on the new mural. The list of new possibilities includes 59 artists, celebrities, activists, athletes, politicians and chefs: everyone from Gandhi to Kevin Durant to Nikki Giovanni to Rachael Ray. There are some local D.C. heroes, too, like Charlene Drew Jarvis, a longtime public servant and former president of Southeastern University. There are international superstars, like Michael Jackson and Oprah Winfrey. Voters can also write in their own suggestions if they aren't inspired by anyone on the list.

Already, over 5,000 people have voted in the online poll, which will stay open through the end of February. Fans have begun to weigh in on Twitter, with a strong contingent pushing to keep Obama on the wall. Some want women to finally be represented - a fact that Ali said is reflected in the poll, which includes 21 women.

The owners of Ben's Chili Bowl hope to have a decision made in March, and the new mural is slated to be up by April 1. But even after the public has spoken and the new mural goes up, Ali expects the discussions to continue. "All over half-smokes," he said.

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You Can Vote On Whose Face Goes On This Famous Mural Next

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Ben's Chili Bowl, a D.C. restaurant famous for its half-smokes, celebrity drop-ins, and ties to the civil rights movement, is preparing for some redecorating. This week, the restaurant painted over the giant mural of Bill Cosby, Donnie Simpson, Chuck Brown and President Barack Obama that has lived on its outside walls since 2012.

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February 21           DUE: 2/28

Now that you have determined your theme and have a solid draft of your narrative, you will need to complete next steps. Remember the show must be set up by 4/18/17.
1) Write up sample (draft) exhibit cards for the four books you chose (like those found in a gallery/ museum).
2) Go to the alumni room (or 3rd floor) and select other items (no more than 20, so you can edit) that also fit the narrative.
3) Design a postcard (using indesign/ illustrator/ photoshop) that markets the exhibit (there should be some buzzwords from the narrative). Mr. Rosenthal can help with this on Wednesday.
4) Use grid paper to plan space for the exhibit (Remember we should exhibit in an unusual/ interesting (not just book on table...) way.

TURN IN: 4 SAMPLE DRAFT INFO CARDS, TYPED; 20 OR FEWER ITEMS; A DRAFT OF A MARKETING CARD; THE EXHIBITION GRID MOCK UP (ARIEL VIEW/ PERSPECTIVE VIEW

CATEGORY: TEAM ROLE PARTICIPATION

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February 21     DUE: 2/24

1. Read the New York Times article
"Protest Art in the Era of Trump" and take notes. View several pieces of protest art (all in different mediums and reflecting different ideals). Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article and the art and your notes in your group of four.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where YOU EVALUATE the IMPACT of these pieces.
5. CREATE: Imagine you are asked to curate a show of six pieces that reflect the concept of protest. Write a one paragraph narrative for your "protest show". You could actually protest ANYTHING. DO NOT CHOOSE THE RECENT ELECTION. Choose 6 pieces in different mediums that reflect your narrative of protest. Attach them with their information into the report. Describe the exhibit.  Be AS DESCRIPTIVE AS POSSIBLE

CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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Six boundary-pushing artists talk about protesting current events through their work. The intention is to galvanize and educate, but reactions to the art can be as thorny as the issues the work addresses.

Pope.L

The Chicago-based artist Pope.L began making his series of paintings called "Skin Set" two decades ago. In the beginning, they examined the absurdity of racial stereotypes through the use of crude, occasionally inscrutable slogans like "Black People Are Cropped" or "White People Are Angles on Fire." This painting, " Sunny Day White Power," an entry in that series, was started during the administration of George H. W. Bush, and returned to shortly before the time Trump announced his candidacy.

"I was excited about Obama, but at the same time I was wondering how the machine of conventional politics would nullify his impact. You could say I was suspicious. I'm the kind of person who sees clouds on the horizon. Or smoke. There's always this sense that there's more to do. And we became complacent. Otherwise I don't think what happened on Nov. 8 would have happened. It's almost as if we thought black people - or President Obama - could solve everything. It's about some fantasy we had - this Caramel Camelot. And so now we are where we are.

"When George W. Bush was re-elected, that really threw people. It galvanized them. In some ways we're in the same place with Trump. His election might not be the worst thing in the world in that it will cause people to stop being so lazy, myself included. It's a choice to be energized, because the other choice is a depressing, pointless way of looking at it. I choose to think we can actually do something with this material called failure." The Chicago-based artist Pope.L began making his series of paintings called "Skin Set" two decades ago. In the beginning, they examined the absurdity of racial stereotypes through the use of crude, occasionally inscrutable slogans like "Black People Are Cropped" or "White People Are Angles on Fire." This painting, "Sunny Day White Power," an entry in that series, was started during the administration of George H.W. Bush, and returned to shortly before the time Trump announced his candidacy.

Betty Tompkins

In 2002, Betty Tompkins sent a message to her mailing list asking for words and phrases that described women. She received more than 3,500 responses in 10 languages, equally split between men and women. The answers became the series "WOMEN Words, Phrases and Stories," which will eventually include 1,000 individual word paintings. " Heck, People Just Don't Like Women " is a recent addition.

"In 2002, three of the most common replies were 'mother,' 'bitch' and 'slut.' In 2013, I sent out the message again, and this time I said the answers would be anonymous. I was curious if that made a difference. It did. People didn't just send me a list of words, they told whole stories, which were fascinating and sort of awful to read. And those three words that were repeated in 2002 were repeated again. I thought that was amazing. Basically, this is the way the world thinks about women. The difference now is that we've become more sensitive to the words and how they play out in real life. We've never seen such an example of plain-old misogyny - as well as embedded misogyny from women - as we did in 2016. You can't escape the political implication of this piece."

For Freedoms

For Freedoms, a New York-based super PAC founded by the artists Hank Willis Thomas and Eric Gottesman, commissioned artists to create political ads in the run-up to the 2016 election. " Make America Great Again " was installed a few weeks before Election Day in Pearl, Miss.

Willis Thomas: "The billboard in Pearl featured a famous image by James 'Spider' Martin of unarmed protesters - including John Lewis, now a United States congressman - facing off against the Alabama state troopers on March 7, 1965, a day that became known as Bloody Sunday. The activists in the civil rights era stood up against injustice, even when that meant standing up against the government; they made America great. The intention was to empathize with those men and women, but many people were confused about the sign and who put it there. At first, they thought we might be a right-wing group. A local liberal activist called after the election and said, 'You might think that you're doing something that's good and interesting, but for people on the ground here, you're putting lives at risk. With the uptick in hate crimes since the election, you might be inciting and empowering white supremacists, saying it's O.K. to go beat up on black people.' That threw me off - that people thought we were empathizing with the state troopers!"

Gottesman: "An iconic civil rights image went from the protesters being seen as heroic wards of American values to now people associating with the police. Ambiguity is really dangerous, because it promotes the idea of having a conversation where you don't know all the answers. Artists do this all the time, right? But many people feel uncomfortable if they aren't told how to feel about something, or if they don't know what the message is."

Postcommodity

The Arizona- and New Mexico-based collective Postcommodity consists of Raven Chacon, Cristóbal Martínez and Kade L. Twist. The group spent three years working with the local governments in Douglas, Ariz., and Agua Prieta, Mexico, to create an installation, " Repellent Fence/ Valla Repelente," completed in 2015, of so- called scare-eye balloons - emblazoned with indigenous iconography - that crossed the U.S./Mexico border. A video that expands upon the project will be in the 2017 Whitney Biennial.

Martínez: "Most politicians making decisions about the border have never been there - they don't know what it looks like or what they're creating. They don't know who the people are. We felt like there was an indigenous perspective missing from the immigration debate, and a lot of the reason for this is that many of those immigrants are indigenous people of color. We see ourselves in them, in other words. Our work is not about nations in the sense of what federal governments are up to. It's more about local community and indigenous self-determination. If the human spirit is there, and there are needs and desires in a community, if it can organize, it always has the opportunity to transcend federal policies. There's always a way."

Rirkrit Tiravanija

Some of the most famous works of the Thai artist Rirkrit Tiravanija eschew traditional art objects in favor of social interventions, including cooking large meals in galleries and at events like Frieze Art Fair. This painting, " untitled (the tyranny of common sense has reached its final stage, new york times, november 9, 2016)," was made directly following the election, and debuted at Art Basel Miami Beach last December.

"I've been using newspapers for a long time now, and I draw from long lists of quotes floating in my head. It is an ongoing project at this point. In newspapers, I see the contradictions of reality and fiction play out. 'The tyranny of common sense has reached its final stage' is a quote from Aldo van Eyck, perhaps taken out of context, but in the wake of the recent election, the quote resonates."

Andrea Bowers

Andrea Bowers makes use of materials found at protests - cardboard placards, pithy slogans. She has been an activist for 15 years - helping Teamsters unionize Frieze art fair, for example, and attending various actions across the country, including the Standing Rock Reservation protests in North Dakota. This work was made following the election, and debuted at Art Basel Miami Beach last December.

"I've always been in love with cardboard protest signs - I think they are beautiful sites of creativity. I was so blown away by the signs of the Occupy Movement, and almost envious of that as an art form. So I thought how can I use those materials, but make it into something that I do. I'm a feminist. I feel outraged that Donald Trump was elected after what he said publicly about women and decided to make that sign as a feminist gesture. I thought it was funny, too, in terms of an artwork that says ' Don't Touch Me.' I love the poetics of activist slogans.

"The election made me more committed than ever to protest art, to figuring out how to step up my game. Maybe I need to be more aggressive and talk directly about the issues. Maybe I don't need to be so delicate or subtle in the way I talk about my work."

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Six boundary-pushing artists talk about protesting current events through their work. The intention is to galvanize and educate, but reactions to the art can be as thorny as the issues the work addresses. The Chicago-based artist Pope.L began making his series of paintings called "Skin Set" two decades ago.

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February 13    DUE: 2/17

Read the NPR article and take notes. Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article and your notes in your group of four.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where you discuss what dyslexia is and the extent to which dyslexia has impacted specific artist's works.
5. CREATE: Imagine you work in a museum and asked to create an exhibit that uses words as a narrative. Choose 6 or more pieces from different artists (they do not have to be dyslexic) spanning time that uses words in their art. The show could be 2D and 3D. Describe the exhibit and write out the narrative YOU SEE in the pieces. This narrative must be suitable for a marketing postcard/ website. Be AS DESCRIPTIVE AS POSSIBLE.

CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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"I understand things visually, by finding them in paint. I don't know if my dyslexia causes me to be this way, but I have a feeling it does." - Rachel Deane, painter.
We know lots of facts about dyslexia: It's the most common reading disorder. It changes the way millions of people read and process information.

But we know much less about how it feels to people who have it. How it shapes your self-image, your confidence and how people see and react to you.

And so I reached out to some really creative people - artists who have dyslexia - to talk about this.

One of the most fascinating things I heard is that dyslexia plays a big role in their creative process. Some said their struggle with written words informs their art, and that the struggle to express ideas they can't in writing makes their art unique.

I asked six of these artists to show me through their work what dyslexia is like. Here's what they came up with.
Gudrun Hasle, fine artist
Copenhagen, Denmark

School was a daily nightmare. Teachers thought I was lazy rather than dyslexic, and at that time if you were dyslexic you were considered plain stupid. I was given books for 6-year-olds when I was 10-12. Finally, I sort of just gave up on the whole thing and began to injure myself by cutting into my skin. I never graduated school, which is very unusual in Denmark.

I use my dyslexia in everything I do. It's my technique. It began as an accident. When I started to attend the Art Academy in Denmark, I painted a painting and added some texts. I had no time to correct the spelling, so the next day all the other students and professors were trying to read their way through my uncorrected text, and suddenly they were dyslexic. They were having a hard time reading my words. I thought to myself, hmm, this is a very interesting and effective tool. I turned the whole thing around. But it was a giant leap for me to make this change. Since then, I never correct anything. And sometimes the wording is correct - by accident.
Ash Casper, designer and illustrator
New York

My struggle with dyslexia doesn't define me, and I have never felt defined by it. It was just something that I dealt with and overcame to get where I am today. Art was the answer for me. Many people deal with dyslexia on a daily basis, but they don't let it define them. Dyslexia isn't some disability that makes you a struggling student for the rest of your life, it is simply a hurdle that some people must jump in order to succeed.
Rachel Deane, painter
Providence, R.I.

I think that my relationship to my dyslexia manifests itself indirectly in my work. My paintings represent the way I see and process the world, the way I learn information. I learn visually and through narratives rather than by memorization or other standard education practices.

I saw a large retrospective exhibition of (the artist Pierre) Bonnard at the Musée d'Orsay a couple of years ago and was blown away by his use of color and texture. I could not walk away from the exhibition without purchasing the large, heavy catalog. My Bonnard book protects me visually and emotionally. I think this example shows the way I think, the way I process. I understand things visually, by finding them in paint. I don't know if my dyslexia causes me to be this way, but I have a feeling it does.
Nick Fagan, fine artist
Columbus, Ohio

COME COME represents an attempt to find the area where communication breaks down into something more abstract. For me, language has always been somewhat of a struggle. The inability and difficulty to express myself through writing has been a particular struggle. In my work, I try to see these flaws as a new way of showing language by breaking it down into the physical lines to demonstrate how words are actually made. I collapse letters and words together and break them apart into a new way of expression.
Leslie Chavez, photographer
Austin, Texas

This piece represents my emotions toward my dyslexia. Every day I am stressed, dispirited and fed up because I never feel satisfied with my work - whether it's academic, my campus jobs or an artistic project. In the back of my mind, I have a voice telling me, "You're not enough, you can't fit in with the others." That's when those emotions rise up and overwhelm me. I work twice as hard as other students to understand what they were able to pick up quickly. Thankfully, my professors are flexible with my learning disability, but once I'm done with school, I won't have that help. I have to blend in with everyone else and pretend my learning disability won't affect my job. Those feelings will always be there with me, by my side.
Mel Jarvis, illustrator
Detroit

This little piggy didn't need to read the book to know how to outwit the Big Bad Wolf! I wish people didn't think dyslexia was only about mixing up letters. There are other frustrating effects, like memorizing verbal tasks, difficulty learning though written text, even the emotional frustration that comes with the whole package (just to name a few). I feel dyslexic creatives aren't much different than other creative people, but all dyslexic people are very creative.

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Finding Words in Paint: How Artists See Dyslexia

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"I understand things visually, by finding them in paint. I don't know if my dyslexia causes me to be this way, but I have a feeling it does." - Rachel Deane, painter. We know lots of facts about dyslexia: It's the most common reading disorder.

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Extended Week 4-Due Tuesday 2/14

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February 6    DUE: 2/10

Read AND Listen to the NPR article and take notes. Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article and your notes in your group of four.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where YOU EVALUATE the the methods used to present art to the blind.
5. CREATE: Imagine you work in a museum and are asked to curate a show for the blind. Choose 6 pieces for the exhibit that would BOTH be suitable for the blind and have a discount narrative. Describe the exhibit and tell the narrative. Be AS DESCRIPTIVE AS POSSIBLE

CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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Dorlyn Catron's cane is making its radio debut today - its name is Pete. ("He's important to my life. He ought to have a name," she says.)

Catron is participating in one of the America InSight tours at the Smithsonian American Art Museum in Washington, D.C. The museum offers twice-a-month tours, led by specially trained docents, to blind and visually impaired visitors.

Docent Betsy Hennigan stops the group of nine visitors in front of Girl Skating, a small bronze sculpture from 1907 by Abastenia St. Leger Eberle. The roller-skating girl is full of joy. The visitors - of varied ages, races and backgrounds - stand close together, hands on top of their long canes, facing Hennigan as she describes the artwork: The little girl careens forward, arms outstretched, her hair and her dress flow behind her.

Carol Wilson trains the 12 volunteer docents. "Sight isn't the only pathway to understand art," she says. Wilson suggests the docents invite visitors to imitate the pose of a sculpture and use other senses in their verbal descriptions.

"There's a red in one of the paintings and I've said it's like biting into a strawberry," says docent Phoebe Kline.

William Johnson's painting Café depicts a man and a woman sitting side-by-side, having a drink in a jazz cafe. "There's no way you can see music in this piece," says Hennigan, "but I ask them to imagine hearing jazz. ... Can you smell cigarettes? Can you smell the alcohol?"

Docent Edmund Bonder uses real music to help bring to life a painting of a young woman at a piano. He describes her fingers on the upper right part of the keyboard, and then plays some classical piano music on his smartphone right in the middle of the gallery. No one shushes him.

"I check with security personnel beforehand and let them know this is what's going to happen," Bonder says with a laugh.

Sometimes low-vision and blind visitors can actually touch the art - in Latex-free gloves. Kline learned something herself, when a sixth-grader felt Hugo Robus' sculpture Water Carrier.

"She ran her hands down the body of this female figure, and her first remark was: Oh, she's pregnant," Kline recalls. "And I had never thought about that. But in fact, the figure does look like a pregnant woman. Here was a kid really showing me something that I had been looking at for 35 years, probably, and had never noticed."

The visitors move slowly through the museum, some "seeing" in their imaginations, others, with low vision, getting really close to the artwork to see it better with magnifying devices. The docents take questions about the art and the artists. Visitor Kilof Legge listens intently. He's taken lots of these tours. He has had macular degeneration since childhood and has deeply missed art.

"For the longest time I really felt angry when I came into a museum," he says. "And hurt and insulted, almost. Because these are public places and I felt I was denied access." He says he is "grateful and excited" to have the art world opened back up to him through tours like these.

This was visitor Cheryl Young's second American InSight tour. She was born sighted, so she has color memory. "This experience ... brought back another piece of my life that I haven't been able to explore since my vision loss," she says.

Twice a month, the Smithsonian's American Art Museum helps blind and low-vision visitors to see art in their minds' eyes - and demonstrate that there are many ways to experience a work of art.

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Blind Art Lovers Make The Most Of Museum Visits With 'InSight' Tours

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Dorlyn Catron's cane is making its radio debut today - its name is Pete. ("He's important to my life. He ought to have a name," she says.) Catron is participating in one of the America InSight tours at the Smithsonian American Art Museum in Washington, D.C.

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January 30   DUE: 2/7

After reviewing your Week 3 assignment, you will need to DIG DEEPER into the theme of culture. What aspects will you highlight? Why? Will you only use yearbooks? Select a sample range of yearbooks and review them to identify your narrative.
Write a more descriptive narrative for the sample collection you plan to exhibit as a whole. Then work together to choose 4 different books and select a spread from each that reveals your narrative. Do some research into the spread itself, the people, and the time to write up a an exhibit card (like those found in a gallery/ museum).

TYPE out your narrative as you imagine it being publicized.
TYPE out each exhibit card (copy) as you imagine it placed next to the book.

Knowing the exhibit will be in the library, discuss ways to exhibit that are unusual/ interesting (not just book on table...) Add that to the typed text above.

CATEGORY: TEAM ROLE PARTICIPATION

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January 30   Due: 2/3

1. Read AND Listen to the NPR article and take notes. Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article and your notes in your group of four.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where you discuss the way art is chosen for the White House. Do you think the WH should have a curator position? Why or why not? Then discuss how the Bush/ Clinton/ Obama administration's art choices reveal about them. Considering the fact that Trump is planning to defund/ drastically reduce funding for the National Endowment for the Arts (NEA) what art do you think the Trump administration might exhibit? Find a piece of art that is fitting for the WH and the Trump administration. Include the image in your write up citing the artist. Explain why you chose this piece.

CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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On his first day on the job, President Trump made some changes to the Oval Office; he installed gold drapes and moved some statues. First Families have some leeway to make changes to the White House, and that includes changes to its art collection.

It can take many hands - or eyes - for one work of art to make it into the White House. Take, for example, the large painting the Obamas hung in what's called the Treaty Room.

"It's an unbelievably energetic, beautiful sort of thing, in which a black horse whose body is only somewhat defined is seen running across a kind of crimson field," says curator Mark Rosenthal.

Titled Butterfly, the painting is one of a series of horse paintings by American painter Susan Rothenberg. Rosenthal had admired it since the mid-1970s, and when he became a curator at the National Gallery of Art 20 years later, he remembered the painting and set out to acquire it. But for that, he needed money. So he convinced Texas donors Nancy and Perry Bass to purchase it for the museum.

"I had met them once or twice - barely knew them," Rosenthal says. But what he did know was that they were "revered conservationists."

Rosenthal thought the picture of the horse might speak to them. It did, and the painting entered the National Gallery's collection.

So how did the painting end up in the private quarters of the White House nearly 15 years later? The National Gallery's current staff preferred not to be interviewed. But Rosenthal says, typically, the new first family sends someone there, and to other museums, to pick out art for their private living quarters.

"It might be a friend, it might be a decorator ... but it was someone designated by the president and first lady to come to the National Gallery of Art and choose work ... " Rosenthal explains. "It's very much [like] a kid in a candy store."

When it comes to the public spaces in the White House, the rules are different. In the early 1960s, First Lady Jacqueline Kennedy helped bring some order to the process of how art should enter the White House and be paid for. For decades, it was pretty haphazard, says art historian William Kloss.

"In the 19th century in particular, one of the ways Congress had to express their unhappiness with a particular administration incoming was to give them little or no funding for new furniture or new rugs or anything that was needed," Kloss explains. "So on more than one occasion, they held a big sale on the White House lawn so they could raise funds for new furnishings."

Today, those funds come from The White House Historical Association, a non-profit that raises money from private donations and the sale of merchandise such as books and Christmas ornaments.

Former White House curator Betty Monkman started out at the White House in 1967, a few years after President Lyndon Johnson signed an executive order establishing the curator position. She says the goal is to collect work by and about Americans, and there were gaps in the collection.

"We only had copies of a lot of 19th century paintings," Monkman says. She was always on the lookout at auctions for rare life portraits of people like John and Abigail Adams. ("Which we still have not acquired because there are so few of them out there," she says.)

As curator, she was also looking for paintings that represented the nation's different regions. A New Mexico gap, for example, was filled in during the Clinton administration with a painting by Georgia O'Keeffe.

First ladies Laura Bush and Michelle Obama also modernized the collection. Obama acquired a vibrant abstract work by the late Alma Thomas, the first African-American woman in the permanent collection. Bush acquired a painting by African-American artist Jacob Lawrence for the White House Green Room.

In 2008, Bush told C-SPAN that the White House should showcase American traditions, but also stay relevant.

"The White House goes on, and history continues to be made here," she says. "I also want the White House to reflect more modern presidents and more modern times."

It's too soon to say what impact Donald and Melania Trump will have on the White House art collection. But former curator Mark Rosenthal says these decisions are worth watching.

"What a person or family chooses to live with is incredibly telling about their openness to visual experiences," he says. "One ought to be expanding one's horizons all the time."

The White House is actually an accredited museum, with a curatorial staff and a committee dedicated to its preservation. So if the Trumps do decide to add to its collection, they'll have plenty of help.

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How A Work Of Art Makes It Onto The Wall Of The White House

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On his first day on the job, President Trump made some changes to the Oval Office; he installed gold drapes and moved some statues. First Families have some leeway to make changes to the White House, and that includes changes to its art collection.

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January 23 Due: 1/30

Consider the idea of doing a mini Museum Studies exhibit at the ICAP Art Show (I mentioned this at lunch last week). Begin the project planning for this. Discuss as a group and turn in one write up-Typed.
1. What narrative could you tell?
2. Consider the audience. It will be the week of 4/17-21 Students and Open House.
3. What steps need to be taken to put together this exhibit?

CATEGORY: TEAM ROLE PARTICIPATION

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January 23  DUE: 1/27

1. Read the Wall Street Journal article and take notes. Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article and your notes in your group of four.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where YOU EVALUATE the value (for the public) of  exhibiting work solely through olfactory senses How successfully will the exhibit draw people in?
5. CREATE: Imagine you work in a gallery and are asked to curate a show solely on smell. What would the exhibit be like? What narrative would you tell using this sense. Be AS DESCRIPTIVE AS POSSIBLE

CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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Grab a dollar bill and sniff. What does cash smell like, really?

Customs agents and chemists around the world have long been curious about the exact aroma of the U.S. greenback. The hunt is complicated by the fact that a dollar's scent evolves as it circulates-from an inky-cotton fragrance fresh from the bank to an earthier, greasy-palm smell...

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What Gives Money Its Distinctive Smell? One Chemist Tried to Find Out

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Grab a dollar bill and sniff. What does cash smell like, really? Customs agents and chemists around the world have long been curious about the exact aroma of the U.S. greenback. The hunt is complicated by the fact that a dollar's scent evolves as it circulates-from an inky-cotton fragrance fresh from the bank to an earthier, greasy-palm smell...

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Info for visiting

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Regular updates from The Broad's Visitor Services Associates about how long the wait is to get into the museum via the onsite standby line by @TheBroadStandby

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The  Broad Museum Field Assignment

(Also in the Google drive)

Due March 17, 2017

Read the article attached.

Plan to visit the museum and write up a 2-4 (including images, but images should not take up more than 1 ½ pages total)  page typed report that addresses the following:

1. What is the mission of the museum; what is the vision?

2. Does the museum live up to its mission? If yes how? If no, Why not? Give SPECIFIC EXAMPLES FROM YOUR VISIT.

3. How does this museum fit in this geographical area of LA?

4. How does the museum deal with the issues of displaying culturally sensitive material?

5. What 1 or 2 pieces speak to you and why (employ vocabulary from the elements of art and principles of design); considering its meaning, medium, and message?

6. How is the museum laid out architecturally; how does it flow?

7. Besides the art, are there any design aspects of the museum that are significantly connected to the museum’s mission/ vision?

8. If you were able to ask Eli Broad a question about his art collection/ space what would you ask?

9. If you were to give Broad a suggestion (about his artworks or space, what would it be?

10. Compare the Broad to ANY other LA museum you have been to.

CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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The line is long and chatty, thick with restless, tattooed twentysomethings. A food truck dispenses vegan ice cream to the selfie-snapping crowd while a young man, with a bushy beard and glasses, reads beat generation poetry beneath an olive tree.

The scene is outside downtown L.A.'s Broad museum. Since opening six months ago, it has attracted a decidedly youthful crowd.

The average visitor age is 32 - a full 14 years younger than the national average for art museum attendance in the U.S., according to the National Endowment for the Arts' most recent study.

The collection of postwar and contemporary art assembled by genteel, octogenarian philanthropists Eli and Edythe Broad has, out of the gate, won over millennials.

The Broad's appeal to young people starts with colorful edgy art, such as Jeff Koons' glaring, gold-hued sculpture of Michael Jackson and his chimp, Bubbles, and Takashi Murakami's psychedelic-looking, dancing mushrooms. The museum is also located downtown, increasingly an entertainment and nightlife hub. And it's free.

(Gina Ferazzi / Los Angeles Times)

Young people - munching on hot dogs in line, touring the galleries and gathering on the grassy lawn outside - say they were drawn by the museum's reputation as anything but stuffy.

Instead of security guards, the Broad has "visitor service associates" who roam the galleries and are happy to chat about the art as well as to point people to the nearest restroom. And instead of centuries-old paintings, there are the bold color blocks in Ellsworth Kelly's "Green Blue Red."

"I identify more with pop art than other types of art," says pink-haired Marisol Rodriguez, 28, visiting from Mexico City. "It's just fun."

Then there's the fact that timed tickets to the Broad are sold out months ahead of time. Young people such as Rodriguez seem to be more willing to wait hours in line than their elders.

"I don't mind waiting, even one hour, because it's worth it," Rodriguez says, eyeballing the line unfazed. "And maybe I can find some cool people in line to talk to."

Indeed, the standby line - typically a 45-minute wait on weekdays, twice that on weekends - is a bustling social scene, with spirited attendees exchanging snacks, gossip and cellphone numbers with new friends.

"We got food at the trucks, talked. We waited about an hour, but it only felt like 10 minutes," says Tiffany Ming, 27, of Long Beach.

Many of the young people in line say they found out about the Broad from social media. Seeing the fun that friends were having from afar, in pictures and videos, they didn't want to fall prey to "FOMO" (fear of missing out). According to an on-site survey, conducted by Morey Group for the Broad, 1 in 4 visitors heard about the museum through someone else's social media feed.

Hayley Alnaal, 24, and Selena Borrayo, 23, both of Garden Grove, didn't have to brave the standby line. They say there's been such buzz about the Broad on their friends' social media accounts that they made their reservations months ago.

"I've heard a lot of friends talking about it," Alnaal says. "On Facebook, Instagram you see pictures. It looked fun, interesting, cool."

"I came because she told me about it!" Borrayo jokes, pointing to Alnaal. "She showed me pictures on Instagram and Yelp. It looked fun."

Juan Prieto, a 21-year-old waiter from Montebello, had also seen a blitz of Broad museum imagery online. But he ventured to the museum, despite little knowledge about art, he said, "because of my girlfriend. It's really, really nice. I like it so far."

(Rick Loomis / Los Angeles Times)

The social media star at the Broad is undoubtedly Yayoi Kusama's "Infinity Mirrored Room - The Souls of Millions of Light Years Away," with its colorful blitz of glimmering outer-spacelike lights. Like the Los Angeles County Museum of Art's "Rain Room" exhibit, the installation has become an art-selfie magnet and a viral meme on Facebook and Instagram.

"I have a lot of artist friends and they're all talking about it," says 25-year-old Lindsey Jakstis, who's visiting the museum from Orange County. "It's pretty much what everyone's been posting."

Murakami's vibrant, 82-foot-long painting, "In the Land of the Dead, Stepping on the Tail of a Rainbow" - featuring demons, dragons and ships roiling in a tsunami - is also one of the Broad's biggest youth attractions. The museum says Glenn Ligon's neon sign "Double America 2," Koons' multicolored, metallic "Tulips," Robert Therrien's towering dining room set "Under the Table" and the works of Jean-Michel Basquiat are social media hits as well.

The Broad has also been a draw for celebrities - they in turn have fueled millennial interest. Katy Perry, Kate Hudson, January Jones, Reese Witherspoon and James Franco have visited and posted photos on their social media.

British singer-songwriter Adele filmed a video inside the Kusama room for the backdrop of her February Brit Awards live performance of "When We Were Young." A photo of the singer inside the exhibit, posted on her Instagram account, generated more than 665,000 likes.

"I saw an Instagram snap from Katy Perry from awhile ago, and I was so blown away by the photograph - I had no idea what it was - and then I showed it to my creative director and it happens to be by her favorite artist," Adele said in a video interview with the Broad.

The museum posted the interview on its Facebook page, generating more than 180,000 views and hundreds of comments along the lines of: "When are we going to goooooooooo," Farah Thustra posted.

"I wanted to go before, but now I need to," Jenny Dally commented.

Of the more than 400,000 people who have streamed through the Broad's doors so far, 6 out of 10 said their ethnicity was other than Caucasian and 70% were younger than 34.

"It has always been our mission to introduce contemporary art to the broadest possible audience," Eli Broad says. "As a result, we've succeeded in attracting a diverse and young audience."

Among other local museums, LACMA says its average age is 40 (still below the national average). The Hammer Museum doesn't collect visitor data, but officials there say it's become a hangout for students from nearby UCLA. The Museum of Contemporary Art, across the street from the Broad, also doesn't collect visitor data, but a spokeswoman said the visitors skew young.

That goes against the national trend. Youth attendance at art museums and galleries has declined over the last decade, according to the National Endowment for the Arts - it's dropped at a roughly 20% rate among 18- to 34-year-olds from 2002 to 2012. Art museums, however, draw younger audiences, on average, than performance-oriented events, such as classical music concerts, the ballet and opera.

The National Endowment for the Arts attributes that to the way art museums are embracing technology.

At the Broad, for example, guests can make reservations on iPads for timed entry to special exhibits, and the museum will text people back when they may enter.
See more of our top stories on Facebook >>
That the Broad is nestled among other downtown museums, art galleries and restaurants, says American Alliance of Museums' Elizabeth Merritt, doesn't hurt.

"Unlike traditional forms of performance arts, museum visits can be relatively spontaneous and unscheduled. And we're very much in an of-the-moment social environment right now - people want to use their mobile devices to decide what they want to do right now, and then meet up with their friends and do it," she says.

Unless, of course, there's a line.

Late in the afternoon, Jakstis and Ming were still waiting - more than an hour now - to see the Kusama exhibit that their friends had been raving about. But they were undaunted.

"When art is this intriguing and generating this much conversation," Jakstis says, "I think it's worth it."
MORE: Why does DTLA's huge new Hauser Wirth & Schimmel art complex underwhelm? It's a familiar story Why theater owners are rejecting Sean Parker's controversial Screening Room Museum of Broken Relationships puts heartbreak on display Meet the philanthropic couple behind the Musco Center for the Arts Art exhibits featuring Marilyn Minter, Roman mosaics and Agnes Martin highlight the spring

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What's drawing millennials to downtown L.A.'s Broad museum

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The line is long and chatty, thick with restless, tattooed twentysomethings. A food truck dispenses vegan ice cream to the selfie-snapping crowd while a young man, with a bushy beard and glasses, reads beat generation poetry beneath an olive tree. The scene is outside downtown L.A.'s Broad museum.

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January 17th   DUE: 1/24

**Added***
Have Mr. Madali see if he can help code collective access.
Write an email to Katherine Krieger as per meeting.
Research the following and how they are to be stored.

MUSEUM COLLECTIONS
Books
Photos
Objects-machines-cameras
Clothing

1. Create a 1 page stepsheet for EACH TYPE OF OBJECT for future MS students (in consistent format). Print and put in a plastic sleeve in a new binder. Also, Post it to this Padlet with a Title (example: How to Handle, Store and Preserve Books). The site below may help you, but there are lots of others.
2. Go to Collectiveaccess and enter 4 artifacts (be sure to photograph them). then store them properly in the cabinets provided.

CATEGORY: TEAM ROLE PARTICIPATION

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INTRODUCTION

By itself, any single paper item or book would seem easy to store and simple to preserve. However, most collections present challenges based simply on their size and the number of items they contain. When combined with considerations about storage space, storage methods, and shelving, the challenges of storing one item among many become complex.

Storage and handling methods have a direct impact on the useful life of collections and the accessibility of information. Damage to collections can be avoided by preventing overcrowded, careless, or haphazard storage conditions. Chemically unstable and improperly fitting shelving and storage enclosures accelerate the deterioration of materials they are intended to protect. Normal use causes wear, but inexpert and rough handling can quickly lead to extensive damage to collections requiring expensive repair or replacement. The longevity of collections can be extended significantly by putting into practice the guidelines discussed here.

BOUND VOLUMES

Hardcover books appear to be the most robust of the paper-based materials because of their hard covers and complex construction. Careful viewing of any book collection, however, will reveal that those very properties work against the items when improperly stored. To prevent damage to books while sitting on the shelf and while being used, a few relatively simple steps should be taken: adequate air circulation, proper shelving practices, housing books in custom protective enclosures where needed, and encouraging safe handling practices for staff and users.

To prevent damp or stagnant pockets of air (that can lead to mold growth) good air circulation should be maintained in storage areas. To help promote circulation:

do not block or deflect heating or cooling vents;

store books at least three inches away from exterior walls, especially when in below-grade storage areas; and

periodically open closed cabinets, especially those housed against exterior walls or those that are fireproof.

Shelving Bound Volumes

The first step in safely storing bound volumes is to ensure adequate shelving. Shelving that is too shallow allows books to extend beyond the edges of the shelf, which exposes them to book trucks, backpacks, vacuums, and feet. If the shelving is not sufficiently strong, shelves can bow and the entire unit can become unstable. Finally, some shelving units contain by-products that contribute to the deterioration of collections or have rough surfaces that can be abrasive. For information on selecting quality shelving for paper-based collections, consult NEDCC leaflet 4.2 Storage Furniture: A Brief Review of Current Options.

To avoid damaging bindings, books need to be shelved upright and supported. Non-damaging bookends with smooth surfaces and broad edges prevent bindings from being abraded and leaves from being torn or creased. Wire bookends that are built into shelving are less desirable as they are frequently an incorrect size and often damage short and tall books.

In a relatively static collection, it may be possible to arrange volumes so that shelves are full, preventing books from leaning. In actively growing and changing collections-in addition to providing support-it is also important to provide adequate space for expansion of the collection. Books should not be shelved so tightly that they are damaged when they are removed from the shelf.

If books are too tall to fit appropriately on the shelf, they may be moved or shelves rearranged so that the books fit on the shelves standing upright. If moving or rearranging is not possible, store volumes with the spine down (storing a book with the spine up may cause the text to pull out of the binding due to its weight). Call numbers can be moved from the spine to the upper right corner of the cover for oversize volumes (height is determined by an individual institution's shelf height) to allow for identification when shelved in this way. As much as can be managed, shelve books by size since small volumes cannot adequately support larger ones.House very large or heavy volumes lying flat, because upright storage can result in heavy books pulling away from their bindings. When books are stored horizontally, stacks should only be 2-3 volumes high to make retrieval less intrusive. As for upright books, shelves should be wide enough to support oversize books completely so that they do not protrude into the aisles. Bindings with special value should be boxed to prevent abrasion to the bindings when stored flat. Take care to ensure that call number flags or titles are visible so that the books can be identified on the shelf.

Custom Protective Enclosures

Custom protective enclosures provide books with structural support and protection from dust, light, and mechanical damage. Detailed information on boxes can be found in NEDCC's forthcoming leaflet 4.5 Custom Protective Enclosures. For the best level of protection, enclosures should be constructed of permanent, durable materials and custom made to fit the book's dimensions exactly. Enclosures come in many varieties and each has its strengths: drop-spine boxes, phased boxes, wrappers, slipcases, book shoes, dust jackets, and pamphlet binders. Candidates for protective enclosures include:

volumes with fragile bindings of special value that should be retained in their present condition;

damaged books that have low value or are rarely used and do not warrant treatment or repair of the binding;

thin, small, fragile, limp, or oddly-shaped volumes; and

parchment bindings.

Drop-spine boxes provide rigid support and restraint, especially for parchment bindings, which can easily warp in fluctuating environments. Phase boxes can provide support and protection to larger books. Both drop-spine boxes and phase boxes are available from a wide variety of vendors and library binders. Wrappers provide support and protection for small books and can easily be constructed in-house with minimal equipment. Slipcases are not recommended because they abrade the surfaces of bindings when the book is removed or replaced (note: many volumes were issued with slipcases and these should be kept together). A book shoe may be appropriate for volumes that require structural support but cannot be placed in a box (for example, books on display in an historic house that are part of a permanent exhibit). For books that have red rot or otherwise could affect other books stored around them, polyester dust jackets provide simple and inexpensive protection. Envelopes are sometimes used for the storage of books but do not provide the support required by damaged volumes and should ideally be replaced with one of the previously mentioned enclosures. Envelopes can also damage materials when physically removing or replacing items through abrasion or tearing. Rubber bands and string are damaging and are not appropriate means of holding books together. Instead, volumes can be boxed, wrapped in paper, or tied with a flat and undyed cotton, linen, or polyester tape. Tape should be tied at the top or fore-edge of the textblock to prevent bows and ties from damaging adjacent volumes.

Handling Bound Volumes

Poor handling procedures can cause significant damage to books, resulting in restricted, delayed, or discontinued use, or requiring expensive treatments before the volume can be used again. Pulling a volume off the shelf by the headcap can damage the spine and joints of the book.

Do not pull on the headcap of a book when removing it from the shelf. Instead, there are two alternatives. The first is to put a finger on top of the pages (rather than the headcap) and gently tilt the book out. The other is to push in the books on either side of the desired book. Then pull out the desired book by gently grasping it on both sides with the thumb and fingers (or pull the book out by using the textblock as leverage, not the headcap). Once removed, the remaining books on the shelf and the bookends can be shifted so all books are supported. When the book is replaced, the bookend should be loosened, the books moved on the shelf to make a space, and the book reinserted in the space. The bookend should then be repositioned.

For special collection materials, placeholder blocks can be used to reduce shifting that can lead to damage. Placeholder blocks can be made from Ethafoam, cloth covered wood, or foam core and should be labeled and stored throughout the storage area for easy access.

When oversize books that are stored flat are removed, transfer the upper volumes to a permanently dedicated and labeled empty shelf or book truck. Lift oversize volumes with both hands, and once the desired volume is reached, return removed volumes to the shelf. Putting the book back on the shelf should be done in the same way. For very large or heavy volumes, two people may be necessary to reduce the risk of injury.

Using book trucks to move volumes is strongly recommended. When using book trucks, use bookends as if the books were on the shelf, or stack volumes according to size so they do not extend beyond the edges of the truck. Keep the center of gravity of the loaded truck low to help stabilize it and use extra caution when wheeling trucks into and out of elevators or over thresholds to prevent items falling off the cart.

When special collections volumes are used in a reading room, cradles, snakes, and page-turners should be made available to researchers to support stiff and fragile bindings. A helpful video produced by University of Glasgow Archive Services and Special Collections department entitled "Handling Bound Volumes" http://www.youtube.com/watch?v=UHcx6pZ57Pc and for general handling of special collections materials at "Handling Harvard's Special Collections" http://www.youtube.com/ watch?v=UOv0SOQ8B68.
NOTE: Page-turners can be anything thin to slip in between pages, including microspatulas, thin Teflon folders, or simple items made out of stiff paper.
Staff training for safe handling practices is important to ensure that materials will be preserved during processing and also when being used by the public. Users should be instructed in the careful handling of bound volumes and in the use of the cradles and snakes in an initial orientation, as well as when formats change and require different handling practices.

Photocopying or Scanning Bound Volumes

Books are often unnecessarily damaged during copying. Photocopy machines and flatbed scanners encourage pressing the binding flat in order to get a good image. Overhear scanners are better for public use because they allow a book page to be copied with the book open less than 180 degrees.

Copying or scanning of books from special collections should be done by staff members (if the materials are particularly fragile). If materials are stable and an overhead scanner is available, researchers can be trained to make their own copies. Digital cameras can also be used with the proper policies in place. For guidance in using digital cameras in special collections and archives, see "Capture and Release": Digital Cameras in the Reading Room at http://www.oclc.org/research/publications/ library/2010/2010-05.pdf.

Marking Special Collections Materials

When marking special collections materials, the best practice is to use non-damaging methods. Interior markings should only be made in pencil. Painting call numbers on spines or attaching labels with pressure-sensitive tape can be permanently disfiguring or damaging, and may discolor the binding. Call numbers can either be typed onto text-weight, alkaline paper flags placed inside the volume, or placed on a box containing the volume. Flags should be about two inches wide and two to three inches longer than the book is high. Avoid the flags with cut out tabs that fit over the page as they can be damaging. For volumes with powdery leather bindings, a dual solution can be to construct polyester film jackets and place call number labels on the jacket, thus labeling the volume and protecting adjacent volumes from the red rot.

Attaching bar code labels to special collections materials is not recommended because the books may be damaged by the adhesives or during future removal of the label. If bar codes, RFID tags, or any other adhesive label must be used, the tag can be attached to a flag, on the box, or on a polyester film jacket as mentioned above.

If bookplates are used, they should be made of acid-free, lignin-free, buffered paper and attached with a stable, reversible adhesive, such as starch paste or methyl cellulose.

When possible, remove ephemera such as bookmarks, scraps of paper, and pressed flowers. This will prevent acidity in unstable inserts from migrating into book pages and damaging them, and reduce strain on the structure. If inserts need to be kept in place, house items in small polyester or acid-free, lignin-free, buffered sleeves in the book. If there are too many items to safely store in the book, label the pieces to record the location in the book, and store boxed in folders. Paper clips and staples should also be removed. To learn about proper removal of paper clips and staples, see NEDCC leaflet 7.8 Removal of Damaging Fasteners from Historic Documents.

For books that do not have special value, care should be taken to ensure that the label adhesive will remain effective over time. It is especially important that the adhesive does not desiccate, which causes labels to come loose or fall off, and does not ooze, which causes stickiness on the book that will attract dirt and may damage other materials that come into contact with it.

Pamphlets

Pamphlets are small texts not bound in hard covers, yet often stored with hardbound texts. Because of this, pamphlets sustain considerable damage unless they are stored in a protective enclosure. One of the most common enclosures is a pamphlet binder. When using binders, select those that do not require gluing the pamphlet in but those that allow the pamphlet to be sewn in, or have pockets or 4-flap enclosures built in. Binders with pre-glued hinges will obscure information and damage the paper of the cover and pages of the pamphlet over time. Modern pamphlets can be stapled in to binders if stainless steel staples are used. Historic or brittle pamphlets are best housed in binders with 4-flap wrappers or in folders in boxes.

Pamphlets can also be housed in acid-free, lignin-free, buffered folders. If pamphlets are in stable condition, contain fewer than 50 pages, and are similar in size, they can be housed spine down in groups of up to five items in one folder, with optional wrappers of buffered paper to protect from abrasion. Pamphlets that are brittle, torn, otherwise fragile, or especially thick should be foldered individually. Folders can be housed either in document storage boxes or in buffered hanging files in metal file cabinets.

Groups of pamphlets that are the same size and title can be housed together in custom boxes or wrappers. This strategy is economical and practical for pamphlets that are physically and chemically stable, and for titles that are accessed infrequently. Another affordable alternative, "shelf files" (e.g., open magazine/pamphlet boxes,) unfortunately provide little support or protection from light and dirt, and may damage pamphlets as they are accessed from these open, stiff-sided enclosures. As such, they are not recommended for paper-bound materials.

Scrapbooks

Many historical collections include scrapbooks which pose challenging preservation problems because they often contain a variety of components and media. They may have raised surfaces, three-dimensional decoration, or moving parts. They are frequently unique, fragile, damaged, and of significant associational value. The scraps themselves often cause the binding to bulge and be unduly stressed. Scrapbooks should not be stored on shelves with other bound materials because damage may result from the different sizes, shapes, weights, and conditions.

Scrapbooks can be individually stored in custom-fitted boxes. This is especially true for those of special historic value in their original form. Boxes of this type can be purchased economically from a variety of vendors. When measuring for custom boxes for scrapbooks, the most important thing to remember is to measure the widest width, the tallest height, and the thickest point in the binding.

For scrapbooks that are very damaged and do not have value to the institution as an object, pages can be numbered and put into individual folders and boxed, which will protect the contents and provide easier access.

Unbound Documents

Manuscripts and other unbound documents are vulnerable to damage from inappropriate storage and handling practices because of the commonly brittle or fragile nature of the paper. To protect loose sheets during storage and handling, there are some basic practices to follow, including: foldering and boxing with chemically stable materials, removing corroded fasteners, storing materials by size and type, and encouraging safe handling practices for staff and users.

Storage and Boxing

Unbound documents should be housed in acid-free, lignin-free, buffered file folders. When the paper is stable, several sheets can be stored in one folder by creasing the bottom of the folder to accommodate the thickness of the papers. Fragile paper may require fewer sheets per folder or an individual polyester sleeve.

Documents and manuscripts should be unfolded for storage if this can be done without splitting or fracturing them. If a fragile paper resists unfolding, or if unfolding may result in damage, a preservation or conservation professional should be consulted before proceeding. Letters should be stored with their corresponding envelopes.

Ideally, every fastener on historic documents would be removed during arrangement or cataloging. If the institution has chosen to follow More Product, Less Process (Mark A. Greene and Dennis Meissner, The American Archivist 68, no. 2 (2005): 208-63. http://archivists.metapress.com/content/c741823776k65863/fulltext.pdf), a discussion needs to be held with staff and administration to stress the importance of at least removing already corroded staples, paper clips, and pins to prevent further damage. Any non-stainless steel fastener that will be stored in an uncontrolled or unstable environment should be removed as well, to prevent inevitable future corrosion. To learn about proper removal of paper clips and staples, see NEDCC leaflet 7.8 Removal of Damaging Fasteners from Historic Documents. If papers need to remain clipped together, use an acid-free, lignin-free, buffered paper or polyester (Melinex) barrier between the papers and the clip or use stainless steel paper clips or staples. Never use plastic clips as they cause considerable deformation.

For paper collections, objects of the same size and category should be stored together. Differences in size and thickness within an enclosure create a potential for physical damage, so it is not advisable to store flat sheets in the same box with books or pamphlets. For the same reason, heavy objects should be stored separately from lighter ones, as should bulky objects, which cause uneven pressure inside boxes. In addition, because acid migrates from chemically unstable paper to any other paper with which it comes into direct contact, it is important to isolate chemically unstable papers such as Diazotype architectural drawings, mimeographs, and other printing processes that require chemical processing or solvents.

Folders should be kept in chemically stable document-storage boxes. All folders inside a single box should be the same size and should fit the size of the box and not the size of the sheet. There are both flat and upright boxes that are suitable for document storage.

Flat boxes should be stacked only two to three high to facilitate access and prevent crushing of boxes. In upright storage boxes, documents and folders should be well supported to prevent slumping, which will deform the contents. Spacers made from chemically stable materials can be used to fill in empty space to support the folders.

Care should also be taken not to overfill boxes as this can cause damage when items are removed or replaced.

Handling Unbound Documents

Careless or inattentive handling of documents and manuscripts can cause damage resulting in the loss of information or requiring expensive treatments to allow the items to be used again. When working with documents in folders, work on a flat table and keep items in the folder to maintain order. If papers are brittle or difficult to separate in order to turn, use a page-turner. As mentioned, page-turners can be microspatulas, thin Teflon folders, or simple items made out of stiff paper, basically, anything thin to slip in between pages. When using documents and manuscripts, try to handle only blank areas of the page. After use, pages should be stacked neatly in the folder and the folder returned to its proper place in the box. When handling oversize materials, be sure to have adequate room for handling, viewing, and unrolling.

Staff training for safe handling practices is important for ensuring that materials will be preserved during processing and also when being used by the public. Users should be instructed in the careful handling of unbound documents and works of art on paper in an initial orientation, as well as when formats change and require different handling practices.

Photocopying or Scanning Documents

Unbound documents and manuscripts can be damaged during copying or scanning. Care should be taken when handling any brittle materials to prevent tears or losses. Page-turners should be available to help lift fragile paper and the paper should not be allowed to slide under the frame of the platen. Multiple page documents should never be sent through the form feed on a copier or scanner.

Unbound Oversize Materials

Oversize materials-such as architectural drawings, blueprints, maps, large prints, and wallpaper samples-are best stored flat in the drawers of map cases or in large covered boxes of acceptable quality. These materials should be housed in acid-free, buffered folders inside the drawers. Because unbuffered folders are difficult to find, alkaline-sensitive materials, such as blueprints, should be stored in folders interleaved with unbuffered tissue or in polyester sleeves. All folders should be cut to fit the size of the drawer or box. Undersized folders may become lost in a stack and or even jammed at the back of a drawer. Ideally, only one item would be placed in each folder, although several may be stored together in a folder if they are similar in size and weight and they are interleaved with acid-free paper. There should be adequate space where oversize materials are stored so that they can be safely removed from drawers or shelves, and there should be a place to put them down once they are removed and prior to replacement in drawers or on shelves.

As a special note, Diazotypes should not be stored with other materials, especially VanDyke prints (for example), that are sensitive to sulfur or ammonia compounds.

If they are flexible and strong enough, oversize materials that are too large to fit in the drawers can sometimes be rolled for storage. Some items need to be rolled individually; others can be rolled in groups of four to six similar-size items, the exact number depending on the size and weight of the paper. Roll items on the exterior of a tube several inches longer than the largest item being rolled and at least four inches in diameter, larger diameters are preferable. If the tube is not made of low-lignin, pH-neutral materials, it should be wrapped in polyester film (Melinex). The rolled materials should be wrapped with neutral or buffered paper, Tyvek, or polyester film to protect them from abrasion, dust, and pollutants. The outer wrapper should be tied with flat linen, cotton, or polyester tape. This assembly may then be stored inside a larger tube for added protection, if desired.

Tubes should be stored horizontally, rather than vertically, to prevent items from getting crushed on the edges. Tubes can be stored on shelves, on racks, or using any other method that prevents them from rolling away or being bumped on the ends. For further information on this topic, refer to the NEDCC leaflet 4.9 Storage Solutions for Oversize Paper Artifacts.

Ephemera

Many historical collections include scrapbooks and ephemera (e.g., trade cards, valentines, patterns, paper dolls). Unbound ephemera should be grouped by size and type (photographs, printed material, manuscripts, and so on), individually enclosed to protect items from acid migration and mechanical damage, and stored in a way that will support them structurally. Some vendors of archival supplies offer standard-size storage boxes and sleeves for common ephemera such as postcards and stereo views. Others can produce custom-sized enclosures in quantity to meet special needs.

Photographs

For information on storing photographs, please consult the NEDCC leaflet 5.5 Storage Enclosures for Photographic Materials.

Use of Gloves to Protect Special Collections during Handling

In many research libraries, users are required to wear white cotton gloves when handling archival and library materials in special collections. This practice has fallen out of favor because white gloves provide limited protection for collections and reduce tactile sensitivity making it difficult to handle collections carefully and ultimately increasing the chances of physical damage. Cotton gloves have many small hairs that can easily catch on brittle edges or worsen an existing tear. Cotton is also very absorbent and thus easily soiled, picking up dirt, dust, and other materials that can then be transferred to the item being handled. Photographs, film, and metals are the exception to this rule. Users should wear gloves when handling photographic materials, since these can be damaged by fingerprints. Objects made from metals that will tarnish such as regalia, silver bindings, and any bindings with metallic boss or embroidery threads should also be handled using gloves. When gloves must be worn for the protection of the user or the collections, lint-free cotton or nitrile (in case of latex allergies) gloves should be worn. See Cathleen A. Baker and Randy Silverman's "Misperceptions about White Gloves," in Resources for more detail on the arguments against using white cotton gloves.

NOTE: Instead of wearing gloves, it is recommended that users be required to wash and dry their hands carefully before using collections, and to rewash them whenever they begin to feel dirty. Hand washing is preferable to using alcohol-based hand sanitizing gels. While these products may be effective in killing germs, they do not remove dirt and leave behind lotions and oils that can be damaging to collection materials.

As stated above, users of library and archival collections should always be instructed in proper handling procedures for the collections they are consulting.

CONCLUSION

Knowing how storage and handling methods will impact the useful life of collections and the accessibility of information will lead to improved policies and procedure. By avoiding overcrowded, careless, or haphazard storage conditions, improperly sized shelving, and chemically unstable storage enclosures, the longevity of collections can be extended significantly. While even normal use causes wear, rough handling can cause extensive damage that requires repair or replacement. Adopting improved storage methods and handling procedures will enable large collection to be preserved with systematic care particular to the many individual items.

Revised 2012.
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4.1 Storage Methods and Handling Practices

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The Northeast Document Conservation Center specializes in paper and book conservation. NEDCC performs conservation treatment for photographs, books, prints, documents, maps, and globes. NEDCC's professional conservators also treat architectural plans, parchment, papyrus, wallpaper, and works of art on paper including charcoal drawings and watercolor paintings.

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January 17th  DUE:1/20

1. Read the LA Times article and take notes. Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article and your notes in your group of four.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where YOU EVALUATE the value (for the public) of  LA "winning" the George Lucas Museum. How will it impact the area it is to be built in? Locate a couple more websites that show the architectural plans for the museum. Share your perspective on the design plans architect Ma Yansong has created

CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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For months, "Star Wars" creator George Lucas held the art world in suspense: Would he put his $1-billion Museum of Narrative Art in Los Angeles or San Francisco?

On Tuesday came the answer.

Lucas' personal collection of fine and popular art, including ephemera related to his "Star Wars" franchise, will fill a futuristic-looking new museum planned for L.A.'s Exposition Park, which beat out a competing design for Treasure Island in San Francisco Bay. The rivalry had pitted the two cities in the competition not only for Lucas' collection and the tourism it will bring, but also for the thousands of jobs that backers said the project will create.

Lucas has said he will fund the project to the tune of about $1 billion, including building costs, his art and an endowment of at least $400 million.

The Lucas Museum will further expand the art museum landscape in greater L.A., which has become a global hot spot for art production. The Broad museum opened in late 2015 in downtown L.A., across the street from the Museum of Contemporary Art. The museum-scale Hauser Wirth & Schimmel gallery opened in L.A.'s Arts District less than a year ago, and the former Santa Monica Museum of Art will reopen in the Arts District this fall, renamed the Institute of Contemporary Art Los Angeles. The Marciano Art Foundation, the contemporary art museum from Guess co-founders Paul and Maurice Marciano, is aiming to open in Koreatown this spring. Meanwhile, the non-collecting Main Museum made a soft debut in downtown's Old Bank District in October.

Ma Yansong's Exposition Park design for the Lucas Museum of Narrative Art would have parkland at the museum's feet. (Lucas Museum of Narrative Art )

"It feels like this incredible gift has come home. I always thought Los Angeles was the natural place to spread the vision of George Lucas and Mellody Hobson, to make art and creativity accessible and inspirational to the next generation," Mayor Eric Garcetti said of the filmmaker and his wife. "It's a natural place to have this museum in the creative capital of the world and in the geographic center of the city. It's a banner day for L.A."

Garcetti said the 275,000-square-foot museum will lead to tens of thousands of jobs in construction, and he estimated the number of permanent jobs created by the museum at more than a thousand - "and that's a lowball estimate."

"People will visit from around the world to see the original Darth Vader mask and Norman Rockwell paintings," he said.

Entertainment and cultural leaders including Los Angeles County Museum of Art Director Michael Govan, Academy Museum of Motion Pictures leader Kerry Brougher and DreamWorks Animation Chief Executive Jeffrey Katzenberg gathered before the L.A. County Board of Supervisors in November to show their support for Lucas' project.

"This is a real triumph for the city of L.A., and this will be a transformative opportunity for L.A.," Katzenberg said Tuesday after learning of Lucas' decision. "First and foremost for our residents, who are going to have an outstanding cultural, iconic new force here - the force will be with us - and I think for tourism, and for the continued, extraordinary transformation of downtown Los Angeles, and for Exposition Park and the other museums it will be joining."

Lucas' Treasure Island plan, for the middle of San Francisco Bay. (Lucas Museum of Narrative Art)

Lucas, 72, has spent years trying to erect a museum for his art collection, which consists of about 10,000 paintings and illustrations including works by Rockwell, N.C. Wyeth and R. Crumb, along with Hollywood memorabilia from films such as "Star Wars" and "The Ten Commandments." In 2009 he set his sights near his home turf in San Francisco but faced community opposition from the city's Presidio Trust about building in the historic park. Lucas then aimed for Chicago, Hobson's hometown, but encountered resistance from Friends of the Parks about a downtown site along Lake Michigan.

The newest proposals, both featuring designs by Chinese architect Ma Yansong, were aesthetically similar but seemingly opposite in other respects. One was a remote, four-acre site on a breezy island in the middle of San Francisco Bay, beautiful but accessible only by bridge and ferry; the other was a seven-acre location in public transit-friendly, museum-heavy Exposition Park near Lucas' alma mater, USC.

Lucas declined to comment for this article, but the museum board's announcement said he chose L.A. largely because Exposition Park positions the museum to "have the greatest impact on the broader community, fulfilling our goal of inspiring, engaging and educating a broad and diverse visitorship."

Exposition Park could become the Central Park of Los Angeles, Garcetti said, adding that Lucas has expressed interest in helping to guide a master plan for the swiftly evolving area, already home to the California Science Center, Natural History Museum of Los Angeles County and the California African American Museum. Plans for the new museum, which will rise along Vermont Avenue on land now covered by parking lots, will include underground parking.

"We have a new football stadium being built, the Coliseum being redone with more than $200 million in upgrades, and the science center is building a whole new building to permanently house the space shuttle and its rockets," Garcetti said, also noting the proximity to the Expo light rail line and bus lines. The Lucas Museum, he said, "will be the jewel in the crown."

The Lucas Museum proposal for Exposition Park, with the Coliseum lying beyond it. (Lucas Museum of Narrative Art)

The museum board called Exposition Park "a magnet for the region and accessible from all parts of the city." It also cited the location "surrounded by more than 100 elementary and high schools, one of the country's leading universities as well as three other world-class museums."

"There's an understanding of L.A.'s growing cultural influence and growing and diverse audiences for museums here," LACMA's Govan said Tuesday. "We ended 2016 with over 1.5 million visitors." He said the Lucas Museum will present visual culture from a different point of view, one that "makes so much sense in a city known equally for art and for film."

Philanthropist and Broad museum founder called the Lucas Museum "one of the most important cultural and tourist additions to our city in the last 25 years."

"I spoke to both George Lucas and Mellody personally about our great success at the Broad," the philanthropist said. "We've had over 1 million visitors since we opened in 2015, and I'd expect the attendance at the Lucas Museum will be equal or even succeed that."

Art historian Don Bacigalupi, formerly president and executive director of the Crystal Bridges Museum of American Art in Bentonville, Ark., will serve as founding president of the Lucas Museum. He and Lucas still face the possibility of the kind of community scrutiny the project encountered in San Francisco and Chicago, but officials remain optimistic. Groundbreaking is planned before year's end, a spokesman said, with the opening targeted for 2021.

"We have exciting work ahead," Bacigalupi said.
deborah.vankin@latimes.com Follow me on Twitter: @debvankin ALSO George Lucas' museum designs for L.A. and S.F.: A first look at competing plans Editorial: George Lucas should pick Los Angeles for his new and unconventional museum UPDATES:
5:58 p.m.: This article was updated with details about the groundbreaking and target opening.

5:09 p.m.: This article was updated with comments about museum plans and more context about Los Angeles' art museums.

4:06 p.m.: This article was updated with additional reactions to the museum announcement.

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Los Angeles will be home to George Lucas' $1-billion museum

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For months, "Star Wars" creator George Lucas held the art world in suspense: Would he put his $1-billion Museum of Narrative Art in Los Angeles or San Francisco? On Tuesday came the answer.

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January 9th DUE: 1/13

MATERIALS
1. Print the order lists that Paige emailed me.
2. Retrieve the shipment from the main office.
3. Highlight each item that was received on the list.
4. Deliver all materials to the designated location for cataloging. (forthcoming)

TECHNOLOGY
1. Read the site page below.
2. Take the object provided and explain exactly what you will do to properly catalog it. What is the process? How will you preserve/ store this object? Write out your plan for me to see. Each of you should do one (you may discuss).
3. After having your plan approved/ revised by me and Ms. Hanson, you will use my computer (IMAC), to catalog the object according to the museum industry standards.

Provide evidence as a team that both tasks have been completed.
CATEGORY: TEAM ROLE PARTICIPATION

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January 9th  DUE:1/12

1. Listen to the NPR article taking notes. Notes should reflect the Who, What, Where, When, Why, and How as well as your thoughts/ opinions/ questions you have.
2. Then discuss the article and your notes in your group of four.
3. Take notes on others' opinions, clarifications, and assumptions.
4. TYPE a 1 page response in paragraph format where you EVALUATE the value (for the public) of replicating the cave and the processes used to replicate it. Be sure to use textual evidence (see transcript) and be sure to make connections between your thoughts and the thoughts of you peers. Explain how you did or did not shift your perspective based on your peers' points of view.
CATEGORY: WRITING AND RESEARCH PRESENTATIONS

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On a September day in 1940 while much of Europe was engulfed in war, four teenagers were walking through a forest in southern France when their dog fell down a hole.

As they called for it they heard an echo. Crawling in to rescue the dog, the boys discovered a cave with hundreds of prehistoric animals painted across its walls and ceiling. It turned out to be one of the world's best examples of prehistoric art.

The Lascaux cave became a popular tourist site after World War II. But it had to be sealed off to the public in 1963 because the breath and sweat of visitors created carbon dioxide and humidity that would damage the paintings.

Now the French government has spent $64 million building a near perfect replica to recreate the original cave - and the emotions of that first discovery.

To see the replica, which is next to the actual cave, you begin outside, at the top of the adjoining museum. Visitors walk slowly down toward the cave entrance. All the while, sounds of the surrounding forest on a summer day are played on speakers. This specific order to the visit, referred to as the museum's sequencing, is important to recreating an authentic experience, says Dina Casson, who was part of the team that worked on the museum's design.

"When you visit the original cave, you're actually walking through the forest with these sounds," says Casson.

Casson says recreating the impression of going underground and coming out again - from light to darkness to light again is also important. One member of her team was allowed into the original cave.

"That was one of the things that he said was so powerful," says Casson. "This sense of being outside, then inside, then outside."

Once inside the replica, the temperature is cool and constant, just like the real cave. As eyes adjust to the darkness there are suddenly animals everywhere.

The more than 600 paintings and a thousand engravings in the actual cave were done 20,000 years ago. Using a laser light to point out details, archeologist Jean-Pierre Chadelle says these early human artists used very advanced techniques.

"You can see how they used a magnesium pencil for the black horns of this bull," he says. "And for the softness of the muzzle they used another technique. They blow dried paint made from natural ochre colors through a tool crafted from hollow bird bones."

Chadelle used to give tours in the original cave, which he says eventually became a victim of its own success.

"There were so many visitors that people were passing out inside the cave from all the carbon dioxide."

Chadelle says in the 1950s the hole the boys climbed through was opened up so a giant fan could be installed to help circulate the air.

"That's why this replica is almost more real than the real cave," says Chadelle. "Because it has that original hole the boys climbed through."

Guillaume Colombo is the director of the new cave and museum complex at Lascaux. He says the art was so well preserved for so long because the cave was sealed tight - like a cork in a champagne bottle.

"So the cave wasn't affected by sudden temperature changes," says Colombo. "And another reason it was protected is there's a layer of clay in the soil that waterproofs the cave. That's why Lascaux has no stalactites or stalagmites. It's a dry cave."

Standing in the first big room of the cave replica, known as The Hall of Bulls, prehistorian Jean Clottes says the animals don't really represent what these Cro Magnon humans would have hunted and eaten at the time.

"That would have been mammoth or reindeer," he says.

Clottes says the many bulls and horses were likely animals that played a role in the beliefs and spiritual life of these early humans.

There are many mysteries surrounding the Lascaux cave paintings. For example, experts don't really know how long it took to complete them.

"There was a code and a certain style they all follow, so we are pretty sure they were done by a small group, and in just a few years," says museum director Colombo. "But we don't know if it was a few years within a hundred years or a thousand years." Colombo says the paintings were most likely done by a couple generations of painters who passed down the knowledge.

Such questions can be explored in interactive exhibits in the museum. Each visitor is offered a personalized tablet available in 10 languages. The glass museum looks as if it was slipped into a fault line on the hillside.

Norwegian Thorsen Kjetilis is one of the architects. He calls the museum a link between past and present.

"It is a very contemporary building cut into the landscape and out of the landscape," says Kjetilis. "It's just at the borderline between the vertical forest where the original cave lies behind us, and the horizontally of the farmlands in front."

The whole complex, known as Lascaux IV, is the third and most ambitious attempt to replicate the famous cave. It is precise down to three millimeters thanks to 3D digital scanning of the actual cave. Every nook and cranny is recreated using polysterine and resin, and the latest fiberglass techniques.

Francis Ringenbach led the team of 34 artists who reconstructed the cave walls and ceilings and then copied the paintings onto them. He calls the three-year job "colossal."

Ringenbach says to reproduce the art, high-definition images of the paintings were projected onto the walls and copied pixel by pixel.

The painstaking work gave them a real appreciation for the skills of the prehistoric artists. Ringenbach says they had a real level of mastery, and used the surface of the cave.

"These animals are not positioned by chance," he says. "For example, the eye of this bison is not engraved, it's a natural cavity they exploited to make the eye."

Ringenbach says the more his team worked, the more astonished they were.

"Putting ourselves in the context made us realize how difficult the conditions were. They were working in darkness and working from memory to do these compositions."

Ringenbach said the prehistoric painters would also have had scaffolding that was fairly comfortable. "They certainly weren't working on a branch."

At times, he says the copy job became emotional.

"There were moments when I realized that I must be doing the exact gestures and movements of the prehistoric artist. And that's when a little shiver would go down my spine," he says.

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Next To The Original, France Replicates Prehistoric Cave Paintings

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On a September day in 1940 while much of Europe was engulfed in war, four teenagers were walking through a forest in southern France when their dog fell down a hole. As they called for it they heard an echo.

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Grading Scale

90%-100%=A  Team role participation 50%

80%-89%=B     Writing and research presentations 30%

70%-79%=C     Quizzes 10%

60%-69%=D     Homework 10%

0%-59%=F