[Chicago Crossings: Bridges and Boundaries, reel 12]

chicago-crossings-bridges-boundaries-reel-12-gerda-m-bernstein

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In a conversation on the planning of the Spertus Museum of Judaica's 1994 "Bridges and Boundaries: Chicago Crossings" exhibit, artists and curators deal with the issues of space, educational value, and the exhibit's future.

1:00Copy video clip URL The group continues their discussion of the content and layout of the exhibit’s catalog, as well as the date of the opening.

3:31Copy video clip URL A discussion of the layout of the show evolves into an argument about space and creative control. “Individual works take second fiddle to the entire show. It’s important to us how the show looks as a whole,” says Othello Anderson, one of the show’s co-curators.

11:20Copy video clip URL Mark Goulian, Designer for Exhibits at the Spertus Museum of Judaica, suggests that the curators come up with a preliminary scheme of where each individual’s pieces will be installed, much to the annoyance of Anderson. Esther Parada calls it a catch-22: “Some artists really feel like they can’t proceed until they have a better idea of their space, and [the curators] feel like they can’t give them the space until they know what the work is.”

14:07Copy video clip URL Once the issue is resolved, Kathy Lieb talks about the opening, the Kartemquin film project, and her hopes for a traveling mural made by Chicago teenagers.

18:54Copy video clip URL Morrie Fred talks about his plans for the exhibit to eventually travel to¬†universities throughout Illinois and surrounding states. “As you may be well aware of, a lot of issues that are occurring today are happening on the university campuses… one of our arguments and assumptions is that the dialogue will be better, freer, and more open in front of art than perhaps can take place in a lecture room,” Fred posits.

 

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