Break out your crocheted romper and your giant floppy black hat. . . Lollapalooza starts today! Over the course of the weekend, more than 140 bands will grace the stages of the giant music festival, which is located right across the street from the Art Institute.
And for the sixth year in a row, we’re bringing you our Lollapalooza challenge. Match these artworks from the Art Institute’s collection with the band name from Lollapalooza’s line-up that you think they represent. The first person to get all eight correct—in the blog comments—will be the winner of an Art Institute prize pack!
Happy guessing and festival-going! Drink lots of water and reapply sunscreen frequently.
Have you ever thought about who, living or dead, you would invite to your dinner party? What about who would you take to the museum with you? What new insights and discoveries might these “friends” bring to you? I love to think about this and while my imaginary guests may change over time, a name that comes up frequently is Ernest Hemingway. I’ve always been interested in both his writings and his life and would jump at the chance to take a stroll through the galleries with this larger-than-life author.
And while this might be impossible, since Hemingway had a lot to say about everything (including art), we’re able to make some educated guesses at what he might have been drawn to at the museum. So in that spirit, tomorrow I’ll be leading a tour that will not just seek out works that Hemingway explicitly spoke of, but also connect with those that embody the spirit of his work. What can you expect to see? We’ll see some works he saw as a young boy from Oak Park. We’ll see modern masters that he personally knew while living in Paris. We’ll consider what the connection was between his eye and his pen, when he said things like “I can make a landscape like Cézanne.”
If you’re interested in hearing more about connections between Hemingway and the museum, the gallery talk starts at 12:00p.m. tomorrow in the museum’s Modern Wing. It, like all of our daily gallery talks, is free with museum admission.
—P.D. Young, Production Coordinator, Imaging Department
The Department of Prints and Drawings is always an exciting place when an exhibition is being installed. The physical and mental demands of making sure that the art is displayed to perfection, while meeting relentless deadlines is an intense time for the staff. Despite this tension, there is a moment of breathtaking awe once a show is ready to open. It never fails. And so it is also for the newly opened Whistler and Roussel: Linked Visions. The exhibition illustrates the decade-long professional collaboration of James McNeill Whistler and Theodore Roussel and includes 175 etchings, lithographs, drawings, and paintings. The exhibition is also complemented by works from the artists’ networks, including the painting above.
When I saw images of Whistler, I found myself saying out loud, “I feel like I know this guy! There is something so familiar about him!” Sure, he is quite fashionable for his time, possessing that je ne sais quoi, but the personality is one I felt I knew intimately. I could hear him cracking wise while he struck a bold pose, being a show-off, yet the glint in his eye told me he knows he is a bit ridiculous. “I know this guy! But how?!” It finally came to me when standing in front of the Walter Greaves portrait of the artist. . . he is Frank Zappa!
What a relief to finally understand my reaction to Whistler’s likeness. “Frank Zappa is Whistler’s doppelgänger!” I declared it to all who would listen, with great satisfaction. Alas, I was not alone in finding Whistler familiar. A fellow staff member overheard a museum visitor saying, “Who does Whistler remind me of? Hmmm… I think it’s Johnny Depp!” Maybe, although I would argue Depp is missing the edginess of Whistler and Zappa. One of our Conservation Fellows brought some friends to see the exhibition, and offered me full validation when unsolicited, one of the friends, seeing Whistler’s portrait exclaimed, “He looks like Frank Zappa!” Another visitor, with a French accent, was heard saying of Roussel’s portrait, “He looks like Jeremy Irons.”
The familiar appeal of these two gentlemen is apparently global and this celebrity “sighting” has reignited a trend in our department, with previous sightings including Bill Murray and Paul Giamatti. So the pursuit of more doppelgängers is now in full swing. Happy hunting, and be sure to share what you snag!
—Judith Broggi, Department Coordinator of Prints and Drawings
Image Credit: Walter Greaves. James McNeill Whistler, 1869. A.A. Munger Collection.
Russell Collett, the Art Institute’s Associate Vice President for Protection Services describes the museum’s multi-layered security approach as “both overt and covert.” And he should know. In addition to his years at the Art Institute, he spent 25 years with the Secret Service.
Russell was recently profiled in the museum’s Member Magazine and discusses what it’s like to ride on Air Force One and if the museum has any plans to reinstate the German Shepherds that used to help guard our building. Here is an excerpt from his interview, as well as a few additional fun facts. . .
You have had high-profile jobs in the past, such as working for the Secret Service. How has that prepared you for working at the Art Institute of Chicago?
I was trained from my first day at the Secret Service to build a prevention-based environment. We always look at preventing crime and preventing an attack on our people or assets. Today, that same goal is on my mind every day—to empower my team and all museum staff to build that prevention-based, forward-thinking, collaborative model. Security is everybody’s responsibility.
There are actually a lot of similarities between the Secret Service and the museum in terms of tradition, history, the mission of the people who work there, and collaboration. I spent 10 of my 25+ years with the Secret Service at the White House. It’s a museum in and of itself, and it is constantly hosting dignitaries and events. Here at the museum, we host 1,300 events a year. Being able to work collaboratively with the folks who plan these successful events is similar to the work I did at the White House.
It’s also similar from a facilities standpoint. The White House has its own curator, engineers, electricians, painters, housekeeping, gardeners, and contractors. All those folks work together on the daily operations of the White House, just as we do here.
What would surprise people about working for the Secret Service?
It’s not always as glamorous as it seems. You’d be surprised at how boring it is sometimes. It’s a 24/7/365 job, and no matter where you are, there’s somebody standing outside a door in the middle of the night protecting a president or dignitary, walking a patrol, or manning a command center. It’s similar to what we do here—our department secures our people and facilities the same way.
What’s one of your favorite perks of being an Art Institute staff member?
Being able to walk through the museum alone before the doors open to the public and to be in the presence of history. Our department brand is “protecting history.” Each of us has this ability and obligation to play a part.
What’s the most important security tip for people’s homes?
Lock your doors. Keep an emergency supply kit and have a plan. Check on your elderly neighbors and trust your gut.
What’s a movie or television show that gets the security profession totally wrong? The West Wing? Homeland? Night at the Museum? White House Down? First Kid?
No profession is ever portrayed with complete accuracy, but when it comes to accuracy in the White House, The West Wing got it totally wrong with all the walking. The White House isn’t that big. The characters would walk for minutes going from the Oval Office to the Cabinet Room exchanging rapid-fire conversation, and the two rooms were actually steps from each other. Also, the White House press room is a lot smaller than it appears on television.
You are the proud father of triplet daughters. Is working at the Art Institute more or less challenging than raising triplets?
It’s about the same. Our girls were born literally one minute apart but they are so different. So are the people who come through our doors. I get to interact with a diverse group of people—members and guests with various stages of knowledge about art. It’s all about the customer experience.
Museum visitors may be wondering what’s coming next in the Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art. Here’s a peek behind the screens where Heaven and Earth: Art of Byzantium from Greek Collections was recently deinstalled.
Our next exhibition, Dionysos Unmasked: Ancient Sculpture and Early Prints, opens on July 11 and these wine-dark walls will host not only the ancient Greco-Roman sculpture that usually frequents this space, but also artworks from the Department of Prints and Drawings based on ancient sculptural sources, some with a gap of 1,500 years between them!
For this innovative, interdepartmental collaboration, we chose the wall color, evocatively titled “cranberry cocktail,” to celebrate the hero of our exhibition, Dionysos, god of wine and theater. And here Dionysos is, in an amazing Hellenistic or Roman bronze sculpture from 100 BC to 100 AD. This fantastic long-term loan appears front and center at the crossroads between the Michigan Avenue building, the Rice Building, and the Modern Wing.
The construction you see behind Dionysos is the building of a large temporary wall that will control the natural light so we can include 15th and 16th-century prints in all galleries of the Dionysos Unmasked exhibition. While the space looks much different than it did with windows backing the sculpture, we hope this temporary change will make our visitors curious about other ways of looking at our encyclopedic collection across departmental boundaries.
With the epically-proportioned and classically-inspired Charles Ray: Sculpture, 1997–2014 exhibition down the hall in the Modern Wing until October 4, we’ll have plenty to compare.