ALLONS À MONTRÉAL: MUSEUM STUDIES FIELD TRIP

Weekend Edition  |  Laetitia Dandavino-Tardif

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Group photo in front of the Centre d'histoire de Montréal. Photo courtesy of Laetitia Dandavino-Tardif.

For the Fall Reading Week (November 5 to 8, 2018), the Museum Studies Student Association (MUSSA) organized a field trip to Montreal, Quebec. 37 students, along with Program Director Cara Krmpotich, had the opportunity to visit museums, meet with museum professionals, and explore the city. Here is a brief summary of our busy 4-day trip:

Day 1

After a long bus ride (while watching Night at the Museum), we went out for dinner in Old Montreal. It was lovely to be all together and get to mingle with fellow classmates. 

 

Day 2

Morning: Pointe-à-Callière

Starting the day bright and early, the first institution we visited was Pointe-à-Callière, an archaeological and historical museum. Following a guided tour, we met Hendrik Van Gijseghem, Anthropology and History Project Manager, who presented the challenges associated with preserving the archaeological site, Fort Ville-Marie. Then, Élisabeth Monast-Moreau, Exhibition Project Manager, discussed the challenges of museum expansions, and the strategies used to incorporate technology in exhibitions, such as LED lighting.

"Pointe-à-Callière was my favourite institution for the way it portrayed Montreal's history. The comparison to European archaeological sites and how this one differs was especially interesting."

- Amelia Smith, 1st year MMSt Student

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Afternoon: Montreal Museum of Fine Arts

On arrival at the museum, we were greeted by Anne Grace, Curator of Modern Art, Louise Giroux, Educational Programs Officer, and Thibault Zimmer, Education Projects Coordinator. Anne Grace gave us a curatorial tour of the temporary exhibition Alexander Calder: Radical Inventor. Louise Giroux and Thibault Zimmer showed us the educational department, talked about their health and well-being programs, and the launch of the MMFA online resource for teachers, EducArt.

Finally, we met with Director General and Chief Curator, Nathalie Bondil who shared with us her vision of the MMFA and her perception of the museum world. Her optimism about the future of museums was quite inspiring for all of us.

Day 3

Morning: McCord Museum

At the McCord Museum, Guislaine Lemay, Curator, Indigenous Cultures, presented about the history of the McCord Museum and walked us through the exhibition Wearing our Identity: The First Peoples Collection. Mélanie Deveault, Head, Education, Community Engagement and Cultural Programs, presented the museum's new educational mission. Accompanied by guides, we got a taste of the education program by participating in photography activities.

Lunch Break: Redpath Museum

Some students went to visit the Redpath Museum, a natural history museum, belonging to McGill University, to discover its collection of specimens and minerals.

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Afternoon: Centre d'histoire de Montréal

Returning to Old Montreal, we visited the Centre d'histoire de Montréal (CHM). Jean-François Leclerc, Director, presented the challenges associated with being located in a heritage building as well as the rebranding to the MEM (“Mémoire des Montréalais”) and moving downtown. Museum professional, Catherine Charlebois, gave a curatorial tour of the Explosion 67 - Youth and their World and its extensive use of technology.

"I really liked everyone we met at the Centre d'histoire de Montreal; they were incredibly invested in the community and the city and I'm excited to see what the new building will be like!"

- Toryn Suddaby, 2nd year, CPD student 

Evening: Emerging Museum Professionals Pub Night

The day was not over yet! Over 60 Museum Studies students from University of Toronto, Université of Montreal and Université du Québec à Montréal gathered together for a networking event. Check out a commemorative video of the vibrant pub night here.

Day 4

Morning: Montreal Holocaust Museum

The last museum we visited before hitting the road back to Toronto was the Montreal Holocaust Museum. After a guided tour, we met with Alice Herscovitch, Executive Director to discuss museum management. She emphasized the challenges related to the museum's sensitive subject matter of genocide. Finally, we were all moved by a survivor's testimony that contributed to our understanding of the events.

This trip was a great learning experience for all of us and valuable experience outside the classroom. We are very thankful for the generous welcome from the various museum professionals.

"The whole trip was definitely worthwhile, thank you very much for organizing it! I truly appreciated getting to know Montreal culture and museum professionals. I hope we can have many other joint programs in the future. All the museum tours were fascinating and  inspirational for our future projects. "  

- Selin Kahramanoglu , 2nd year CDP Student

To see more of our field trip, check out the photos here and follow us on Facebook,  Instagram and Twitter!

Laetitia Dandavino-Tardif
President, Museum Studies Student Association 2018-19

PUTTING THE F-U-N IN FUNDRAISING

(FUN)DRAISING

BY: MAYA DONKERS

Welcome to the first post of a new column for Musings! As we are becoming increasingly aware (with classes such as Project Management and Fundraising) museums are not just collections and exhibitions. In fact, it could be suggested that one of the greatest challenges museums face today is fundraising. This column is intended to bring to your attention the multi-faceted and innovative efforts the sector is making to meet needs, make budget, and (hopefully) create fun programming and events!

Fundraise for museum dance parties, if nothing else. Source.

Although the theme of this column is not "let me bore you with money talk" I figured the first post was best spent outlining the basics... with a promise to reveal all kinds of innovative (fun)draising [get it?!] examples in the posts to follow.

The Strategy

A fundraising strategy might include:

• A statement of the museum’s particular aspirations (its ‘vision’)
• The stepping stones or stages by which it will achieve its vision
• The methods to be used (e.g. sponsorship, trusts and foundations)
• A budget for fundraising costs, annual and other milestone targets, income projections and a timetable for implementation

It might also set out policies and structures for organizing and providing the resources for people who will help to raise the funds. These should include senior volunteers such as Board members, whose influence will help open doors to prospective donors and supporter organizations which raise money for the museum as part of their role.

The Key Methods

• Capital appeals
• Corporate giving and sponsorship 
• Fundraising events
• Individual giving
• Legacy gifts
• Friends/Memberships
• ... and more

If this is your current state - I have a point! Source

The 'So What'? 

So what is the point in dedicating resources to secure funding? Let's take a look at a couple current fundraising campaigns in Canadian museums... 

Montreal Museum of Fine Arts:

CAMPAIGN GOAL: $1 MILLION

"A donation to the Museum is really a gift for the children of future generations, who will be able to enjoy these unique collections of Quebec and Canadian Art, Old Masters, International Modern and Contemporary Art, Decorative Arts and Design, as well as art from World Cultures."

North Vancouver Museum and Archives:

CAMPAIGN GOAL: $10 MILLION

"The City Council of North Vancouver endorsed a resolution that authorized the North Vancouver Museum and Archives (NVMA) to undertake a Fundraising Feasibility Study that included the development of a recommended timeline for a capital campaign for a new North Vancouver Museum to be located in the Pipe Shop on Lot 4 of the Pier development."

Diddy making it rain. Source.

The Point

If you aren't P Diddy (or don't have Puff sitting on your Board of Directors), fundraising is hard work. It demands patience and persistence. 

Development directors at the Smithsonian Institution identified personal connections as the most important component in successful fundraising. In developing personal relationships, fundraising is “community building” or creating a feeling that being a part of the museum is important. In community building, a museum’s donor clubs and volunteer committees are viewed as important resources. 

If you're at all skeptical about the Smithsonian Institute's strategy, check this out:

The newest addition to the suite of Smithsonian museums, the National Museum of African American History and Culture, approached the leaders of the historic Alfred Street Baptist Church in Alexandria with a surprising request: Would the African American congregation pledge $1 million to become a founding donor to the $540 million museum?

Yes.

This request highlights the bold thinking of the museum’s fundraisers, who tapped into Alfred Street’s tradition of service and its pride in its 200-year history in making their appeal. 

Next time you are in a museum or gallery, I hope the takeaway from this brief (and gif filled) intro to fundraising has you thinking about how the travelling exhibition you're visiting was feasible, how the institution can afford to maintain its collections, and/or how your membership makes a difference. 

Please share any exciting fundraising events or campaigns below! 

Sources

Anderson, E. 2006. "Fundraising for Museums". Association of Independent Museums. http://www.aim-museums.co.uk/downloads/ee7f04d4-dd7c-11e1-bdfc-001999b209eb.pdf.

McGlone, P. 2016. "How the African American Museum is Raising the Bar for Black Philanthropy". The Washington Post. https://www.washingtonpost.com/entertainment/museums/african-american-museums-fundraising-touches-deep-history-among-donors/2016/05/23/bc2cbc94-1613-11e6-924d-838753295f9a_story.html.

Montreal Museum of Fine Arts. n.d. "My Museum, My Masterpiece". 2015-2016 Fundraising Campaign. Accessed September 26, 2016. http://www.mbam.qc.ca/en/about-the-mmfa/foundation/2015-2016-fundraising-campaign/. 

Optimus Fundraising. 2016. "Review of Campaign Status and Future Fundraising for the New Museum in the Shipyards". North Vancouver Museum and Archives. http://nvma.ca/wp-content/uploads/2016/01/CDNV_DISTRICT_HALL-2800602-v1-CNV_Fundraising_Report_attachment_Jan-16.pdf.

Smithsonian Institution. 2001. Fundraising at Art Museums. Smithsonian Institution. https://www.si.edu/Content/opanda/docs/Rpts2001/01.10.FundraisingArt.Final.pdf.

WANTED: APARTMENT DÉCOR FROM THE MONTREAL MUSEUM OF FINE ARTS

MUSEUM MONDAYS

BY: MAYA DONKERS

The Montreal Museum of Fine Arts is arguably one of the Canada’s premier institutions. With its seamlessly sweeping floor plan from one pavilion to another, the MMFA is not only easy to navigate (while taking in the aesthetic splendour), but its content is also unparalleled.

During a recent visit to the MMFA, I was surprised to find the majority of my time was spent in the Decorative Arts and Design Pavilion. I was previously unaware that the MMFA possessed such an important decorative art and design collection, spanning centuries, movements, and designers. As I wandered through the expansive galleries, there was one thing I did know for sure – I wanted it all in my [imaginary] apartment.

ENTRANCE HALLWAY

Ettore Sottsass. 1967 (example of 1986). Odalisca Totem. Photo Credit: Maya Donkers

The MMFA has a significant collection of Italian design, which demonstrates the country's wealth of design talent and manufacturing expertise. From the late 1960s until the mid 1980s, an 'anti-design' movement swept in questioning the comfortable understanding that existed between design and industry.

As soon as I discovered that Ettore Sottsass was once coined, "The godfather of Italian cool," I knew I had to include as much of his work as possible in my imaginary apartment. Sottsass was a pivotal figure of the late 20th century Italian design scene. Best known as the founder of the early 1980s Memphis Group, he was also the man who toyed with publishing a cook consisting of a picture of walls.

LIVING ROOM  

Ettore Sottass. 1981. Carlton Bookcase. Photo Credit: Maya Donkers

Sottsass devoted his life and work to dismantling the past. As he once said, "When I was young, all we ever heard about was functionalism, functionalism, functionalism. [Functionalism] It's not enough. Design should also be sensual and exciting."

Gruppo DAM, Studio Gruppo 14. 1976. Libro Chair.  Photo Credit: Maya Donkers

Note: This chair is unique both in its design and functionality. Each "page" of the chair, can be moved from one side to the other as a way to shift the position of the sitter. 

Decorative art and design in Milan from the early 1970s to late 1980s drew inspiration from movements such as Art Deco, Pop Art, and included stylistic features from the 1950s Kitsch and Futuristic themes. The work of the Memphis Group and Gruppo DAM has recently transcended industries as these designs have served as inspiration for the Fall/Winter 2011-2012 Christian Dior Haute Couture collection, for the Winter 2015 Missoni collection. Even fashion designer Karl Lagerfeld has collected Memphis pieces for his [real-life] living room.

TV ROOM / REC ROOM

Andrea Branzi. 1991. Piccolo albero Bookcase. Photo Credit: Maya Donkers

Andrea Branzi is an architect and designer also based in Milan. Since 1967, Branzi has worked in the fields of industrial and research design, architecture, urban planning, education, and cultural promotion. His artistic approach in trying to connect the industrial world to the "poetry of nature" is reflected in his works with trees. Branzi notes, "Trees, trunks and branches are part of our ancient culture but also of actual culture, because in the age of globalization, design searches to trace recognizable 'anthropological' platforms. The collection 'Tree' consists to place simple everyday objects, books and images next to the strange presence of branches and trunks, like in the reality of the world."

Pedro Friedeberg. 1961. Baphomet's Handtable and Handchair. Photo Credit: Maya Donkers

Much of Pedro Friedeberg's work has an industrial quality that almost always has a touch of sarcasm and cynicism. He produced furniture that rejected the predominantly international style of architecture and design that was being taught in Mexico. Friedeberg created unusual compositions and designed furniture and 'useless' objects, admitting that his artistic activity was rooted in boredom. Although Friedeberg is best known as the man behind the Baphomet's Handtable and Handchair, he and Frida Kahlo were the only two Mexican artists recognized by Andre Breton as part of the Surrealist movement, making Friedeberg the last of the Mexican Surrealists. 

Fernando Campana and Humberto Campana. 2008. Cake Stool. Photo Credit: Maya Donkers

The Campana brothers are Brazilian designers who make furniture out of ordinary materials, as seen in their use of stuffed animals for Cake Stool. Although this work is new to the MMFA, it was the perfect final touch to my imaginary apartment, don't you agree?

THE REST OF THE APARTMENT

I would love to share a detailed room-by-room interior design of my imaginary apartment, but I leave it up to you to explore the decorative arts and add to my list. Comment below if you have any favourite furniture pieces that would make a welcome addition to what will become our virtual apartment!

Sources

Andrea Branzi Architetto. n.d. Weak and Widespread. Accessed March 13, 2016. http://www.andreabranzi.it/.

Design Museum. n.d. "Profile." Ettore Sottsass. Accessed March 13, 2016. http://designmuseum.org/designers/ettore-sottsass.

Edra. n.d. "Fernando and Humberto Campana." Designers. Accessed March 13, 2016. http://www.edra.com/en-us/profile/designers/fernando-and-humberto-campana.

Carpenters Workshop Gallery. n.d. "About the Artist." Andrea Branzi. Accessed March 13, 2016. http://carpentersworkshopgallery.com/en/Artists/Andrea-Branzi.

Memphis-Milano Design. n.d. Story. Accessed March 13, 2016. http://www.memphis-milano.org/.

Montreal Museum of Fine Arts. n.d. Decorative Arts and Design. Accessed March 13, 2016. https://www.mbam.qc.ca/en/collections/decorative-arts-and-design/#toggle-id-1.

Montreal Museum of Fine Arts. n.d. Design in Italy from the Postwar Period to the Present [Label].

Montreal Museum of Fine Arts. n.d.

Pedro Friedeberg. 2013. Biography. http://www.pedrofriedeberg.com/?page_id=49.