POSTED BY Katie R., ON July 08, 2015, Comments Off on Insider’s Look: Russell Collett
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.
POSTED BY Guest Blogger, ON June 05, 2015, Comments Off on Paintings Make the Best Tour Guides
In the wildly popular HBO television series Game of Thrones, the dramatic landscapes match the high drama that plays out on screen. Many of the show’s most memorable scenes are shot on location in Northern Ireland—its rugged terrain, remote beaches, romantic ruins, and tempestuous weather offer the ideal setting for the often grim but always thrilling fantasy. Fans of the show from around the world have taken note and are flocking to key film sites, spurring a robust tourism industry.
That seeing a beautiful vista on screen might make you want to experience the place for yourself is hardly surprising, and thanks to success stories like Game of Thrones in Northern Ireland and The Lord of the Rings and The Hobbit trilogies in New Zealand, travel marketers and tourism boards the world over are looking to brand through television and movies. But long before the advent of film, savvy artists and entrepreneurs marketed Ireland’s scenic beauty to well-heeled travelers through paintings, engravings, and even cartographic board games, examples of which can be seen in Ireland: Crossroads of Art and Design, 1690–1840.
Early views of Ireland in art were generally detailed drawings of major cities and ports made by draftsmen and mapmakers, but by the mid-eighteenth century, a growing appreciation for nature and a rising interest in landscape aesthetics saw an increase in site-specific works of the Irish countryside.
Landowners often commissioned paintings depicting the scenery around their stately homes. In the case of the view of Killarney shown above, local landowner Lord Kenmare and the self-taught artist Jonathan Fisher collaborated to produce a series of large paintings, which Fisher then turned into a book of engravings called A Picturesque Tour of Killarney. The book included specific instructions on how to view the lake from the best possible vantage points and was in high demand with both wealthy sightseers and those who could not make it to Killarney but sought a vicarious experience.
Another tourist locale in eighteenth-century Ireland made more popular by picturesque engravings was the Giant’s Causeway, a geological wonder on the island’s northeast coast in what is now Northern Ireland. The engravings seen below are based on paintings by Irish artist Susanna Drury, who is said to have spent three months living in the Causeway area while she completed her meticulous pictures. The equally-detailed engravings by François Vivares received wide European circulation.
Ireland’s popularity as a tourist destination was made manifest when Walker’s Tour through Ireland: A New Geographical Pastime was published in 1812. This map board game had players take turns progressing around the country from Dublin by spinning a top-like device called a totum and following a carefully constructed route of what were deemed the island’s must-see towns, estates, and landscapes. To win, a player had to land directly on place number 113, the “bold and romantic” Giant’s Causeway.
Whether eighteenth-century painters or twenty-first-century filmmakers, artists and in turn, tourists, have been inspired by the Irish landscape for centuries. If a trip across the pond is not in the cards, come be inspired by Ireland: Crossroads of Art and Design before it closes June 21.
—Anna Decatur, Assistant Director of Principal Gifts
Thomas Sautelle Roberts. Stormy Landscape with Anglers, c. 1820. Private Collection.
Jonathan Fisher. A View of the Lakes of Killarney from the Park of Kenmare House, c. 1768. Private Collection.
Francois Vivares (Engraver). The East and West Prospects of the Giant’s Causeway, Co. Antrim, May 1, 1777. Rolf and Magda Loeber.
Published by William Darton Jr. Walker’s Tour through Ireland: A New Geographical Pastime, Published March 9, 1812. Rolf and Magda Loeber.
POSTED BY Katie R., ON June 03, 2015, Comments Off on Go Hawks!
The first game of the Stanley Cup Final is tonight and the lions are ready!
As always, when a Chicago sports team makes it to the championship game/series, our mighty lions are adorned with helmets or jerseys in support of our hometown team. This morning, the lions were outfitted with Blackhawks helmets and as you can imagine, it’s quite a process. Scroll below to see images of our south lion getting dressed for the big series. Go Hawks!
First scaffolding is put into place. . .
The helmet is placed on a lift. . .
It’s lifted above the height of the lion. . .
Then carefully placed on the lion’s head. . .
It’s adjusted and secured. . .
And after a few finishing touches. . .
Installation is complete!
Gustave Caillebotte’s Paris Street; Rainy Day is not only one of the museum’s foremost Impressionist masterpieces, it’s also a visitor favorite. And while many are familiar with the very Impressionist focus on light and weather and the modern subjects, there are probably a few bits of trivia that have escaped even our most devout followers. Read on for some fun facts and behind-the-scenes information:
– It was painted in 1877 and purchased by the Art Institute in 1964. In the years between, it was primarily owned by Caillebotte descendants, but was acquired in the 1950s by Walter P. Chrysler, Jr., the son of the scion who founded the Chrysler organization and financed New York’s Chrysler Building.
– The painting was first exhibited at the Impressionist exhibition in 1877, which Caillebotte largely organized and financed. The Art Institute’s own Arrival of the Normandy Train, Gare Saint-Lazare by Monet also appeared in the exhibition.
– In 2014, Art Institute conservator Faye Wrubel began to remove varnish that was added some time in the mid-20th century. Check out our video to see her process and some surprising results, including the realization that what we thought was a pearl earring, we now believe to be a diamond.
– Caillebotte was not only one of the foremost Impressionist artists, he was also an esteemed collector. In fact, when he died, he gave his collection to the French nation and the pieces now form the backbone of the Impressionist collection at the Musée d’Orsay.
– The couple walking in the foreground of the painting is strolling down the rue de Turin, which intersects with the rue de Moscou immediately behind them. This intersection still exists today and looks remarkably similar.
– Caillebotte owned property in this neighborhood and his friend and fellow artist Edouard Manet lived less than five minutes from this intersection.
This monumental painting currently greets visitors when they enter the museum’s Impressionist galleries, but it’s about to leave Chicago for a short time for an upcoming exhibition devoted to the artist. In advance of its departure in mid-June, we invite you to revisit this masterpiece and test out some of your new knowledge on your friends/family/fellow visitors!
Image Credit: Gustave Caillebotte. Paris Street; Rainy Day, 1877. Charles H. and Mary F. S. Worcester Collection.