Delaware Art Museum Launches Initiative to Preserve Public Art

Part of this post comes from a blog posting/release from Delaware Art Museum...

Creative Vision Factory Members in front of the Kalmar Nyckel Mural.
Photo courtesy of Michael Kalmbach.

Contrary to popular belief, not all galleries are indoors. Some don’t have four walls, security guards, or
a sign reading “please do not touch the art.” Some galleries are right outside your door. Wilmington’s outdoor gallery boasts artworks ranging from the 19th Century to the present. From memorials and sculptures to mosaics and murals, our environments are beautified by artists. Their creations enliven the cityscape, acting as tangible expressions of their city’s cultural heritage, and becoming beacons for civic engagement, public pride, and even attracting business investments. [READ THE FULL DELART BLOG ENTRY HERE>>>]

A new pilot program called Public Art Stewards — developed by the Delaware Art Museum and supported by the Delaware Division of the Arts and City of Wilmington American Rescue Plan Act funds — aims to train Wilmington residents to clean, conserve, and document 30 public artworks in downtown Wilmington and surrounding neighborhoods.

The Public Art Stewards program was officially launched with a press conference on Thursday, November 17, in front of one of the most visible displays of Wilmington's public art — the mosaic behind Christina Cultural Art Center at the corner of 7th and Shipley.

This highly anticipated workforce training and city beautification program is headed by Benét Burton, Registrar Assistant/Curatorial Project Manager at the Delaware Art Museum.

Benét Burton said of the program: "I’ve been able to speak with some artists of the pieces on our list and engage with residents who live near them. Everyone I have met while working on this project has shared their enthusiasm for it, and I’m excited to support the community and its artists in caring for the work they hold so dear."

We asked Burton more about the project and why it is so important for our City of Wilmington...

*What made the art museum want to take up the mantle for this city project?
The Delaware Art Museum is committed to our role as a regional anchor and aims to support identified needs in our community. By aligning our knowledge of public art with the city’s outdoor gallery, we’ve created an innovative project that will provide our participants with creative skills and support their workforce readiness.

*What will the project entail? What work will your team do on the public pieces?
The Public Art Stewards Training Program is a six-month “earn while you learn” program that employs six to eight Wilmington residents who will be taught transferable skills in conservation under the tutelage of Margalit Schindler of Pearl Preservation, our program conservator. Additionally, our Public Art Stewards will participate in workforce-readiness workshops such as interview practice, digital literacy, financial coaching, and resume building.

Every piece on our list is unique and will have different needs. The transferable skills in conservation our participants will learn while working on the public pieces include assessment and condition reporting; photographic and written documentation; cleaning; and essential maintenance of sculptures and murals.

*What are your goals for the first year of this project? Where is your first area of work based?
Some of our goals for the first year are:

• to have our participants graduating feeling confident in the skills they’ve learned in conservation;
• to have 30 works from Wilmington’s outdoor gallery properly maintained and documented so that we can create a living archive of our city’s public art;
• to connect our participants with local services and help provide them with continued support after graduating.

We are still working on our curriculum. However, I anticipate that the first area we’ll be working is the DelArt campus where One Way, 2008 by Chakaia Booker and Monumental Holistic No. VII, 1980 by Betty Gold live in our sculpture garden.

*Do you have a "favorite" piece of public art in the city? What is the name of the work and where can we see it?
I have many favorite pieces, to be honest, but I will limit myself to one mural and one sculpture.

A mural I’m currently obsessed with is The Divine Mind, 2016 by Terrance Vann on 7th and Windsor Streets. It’s so large and in charge, and the vibrant purple hue is almost like a beacon when you're a block away from it. Although I really love the crown, my favorite part is the way he styled the hair to be a cityscape. I sometimes add a few minutes onto my commute home from work just to drive by it.

My favorite sculpture right now is Shipyard Gateway, 1998 by Roldan West on 4th and Church Streets. It hangs on the overpass in the middle of the street so it’s hard to get a good look at it if you’re not on foot. I’ve always loved metalwork because the technique is so fascinating, and this piece is eye-catching. I really wish it was closer to the ground so that I could sit with it and take in each form.

*Who are some of your favorite Delaware artists?
I love Edward Loper, Jr. When I look at his work, it feels like I’m reminiscing on a dream. The bright colors in his paintings and how he layers them are the first to grab my attention and pull me in. Then I notice the interesting perspective, and I feel I could stare at them for hours and just fall in.

I also really like Geraldo Gonzalez (a.k.a. The King of Transit). I met him at the Creative Vision Factory when I was in undergrad at the University of Delaware. A lot of his work focuses on public transportation. I follow him on Instagram (@thekingoftransit), and I always find myself scrolling through his page and getting lost in all the vivid hues he uses on his pieces. I would love to see his work wrapped on some buses in Wilmington!

*What would you like people to take away from this project? Can other community members get involved?
From this project, I hope that people come to understand how integral public art is to our community and how important it is that we support our local artists and their creations. Wilmington is not just a city, but a canvas for many, and the public art that artists put their time, effort, and care into creating are a celebration of the city’s cultural heritage. Through the Public Art Stewards Program, the Delaware Art Museum aims to leverage its position as a cultural fixture and use its influence and connection to support Wilmington in upkeeping its outdoor gallery. We love these pieces, and we are committed to fighting for and finding resources that will help us and Wilmington residents maintain and archive them so that we can share them with generations after us.

If anyone is interested in getting involved in the project, they can contact me at bburton@delart.org or 302.351.8507.

Program Conservator Margalit Schindler adds: "I am grateful to be able to share my preservation knowledge with my Wilmington neighbors and to collaborate to care for our city. While the program focuses on supporting Wilmington artwork, I am equally excited to support the personal and professional goals of the Wilmington locals who participate in the program."

CTC's Latest Show Begs the Question, "What Is Art?"

By Mike Logothetis

City Theater Company (CTC) returns to the Wings Black Box during its 2022-23 residency at The Delaware Contemporary (TDC) with the Tony- and Olivier-winning comedy ART. The 1994 play was written by Yasmina Reza and translated from the original French by Christopher Hampton.

The story is about three friends who find themselves at odds after one (Serge) purchases a very pricey, all-white painting. Throughout the show, the three characters argue viciously — amusingly — over their responses to the painting.

ART stars CTC debutant Nick Johnson as Marc plus CTC alumni Christian Deisler (Serge) and Emma Romeo (Yvan). The “deconstruction” of the central piece of artwork devolves to comic effect as the trio grapples with the larger question of how to maintain personal relationships through a (contrived) crisis. A cutting question Marc repeatedly asks Serge is, “You paid 200,000 francs for this [expletive]?” When Yvan tries to play peacemaker, she is derided by the others as a “coward” and an “amoeba,” and even suffers a minor injury when she tries to defuse a brief scuffle.

Though it makes several appearances during the play, the white painting soon becomes a MacGuffin — i.e., a catalyst for amplifying hidden tensions inside this longstanding three-way friendship. The simple question, “But is it art?” runs throughout the action, either explicitly or implicitly – moving the plot forward.

Don't be misled by the impressive pedigree of ART, as the play is almost more slapstick than subtle. But the themes run deep because true friendship is not superficial. These characters care about each other, but life has intervened – which often makes the simple more complex.

These are not esoteric personas, but ones you interact with daily. Serge is an idealist whose life has been mostly comfortable. Marc is a realist with a stern outer layer he uses for protection. Yvan is an easy-going person on the outside with insecurities swirling below the surface. All three actors imbue their characters with individuality and compassion. They are a talented trio whose banter is natural and pointed, helping the audience believe their characters are really friends – but also scathing critics.

Director Jeff Robleto allows his actors to interact and soliloquize easily and comfortably under clever lighting by Stuart Thomas. Robleto’s pacing keeps us hooked into the changes these friends are going through. After the show, it is inevitable to ponder changes in one’s own friendships and the views others may have of us. Do interpersonal conflicts just happen or are they initiated?

The funniest scene is when Yvan delivers her wedding monologue — listing all that could go wrong about her upcoming nuptials. Romeo commanded our attention and drew us into her character’s angst while humoring us with mundane decisions which are slowing driving Yvan mad. But are her concerns of any consequence to Marc and Serge? Do they even care? …a little? …a lot?

Come to the Riverfront to find out!

Artistic Director Kerry Kristine McElrone was excited before (and after) the show about this and the upcoming slate of performances by City Theater Company. The Year of Magical Thinking by Joan Didion (February 2023) and Stephen Sondheim’s Assassins (April 2023) are next on the docket. Plus there are partnership productions with TDC and Fearless Improv coming up. Check city-theater.org for more information.

CTC’s mission is to create a body of work that takes risks and breaks barriers — just as TDC’s is to take risks and push boundaries. Both institutions are invested in promoting the work of local and emerging artists, advancing opportunity and growth by and for the community, and welcoming all those looking to experience art.

ART will run for only four more performances through Saturday (December 11, 15, 16 & 17). Curtain is at 8:00pm save for the lone Sunday matinee (2:00pm). Run time is just about 90 minutes. City Theater Company’s new-ish home is at The Delaware Contemporary located at 200 South Madison, Wilmington, Delaware 19801.

Tickets ($30-45) can be purchased at the box office or online. Special ticket pricing is available for military personnel and students. Please call the box office at 302.220.8285 or email info@city-theater.org for details.

It's a great time to visit The Delaware Contemporary (and other local museums) and ask yourself rhetorically, “But is it art?”

Local Arts Administrator Tapped for National Leaders of Color Fellowship

Emari Vieira-Gunn, Director of Community Engagement at The Grand.

A portion of this post content comes from a press release from the Delaware Division of the Arts...

Delaware Arts Info sends warm congratulations to Emari (Mari) Vieira-Gunn, Director of Community Engagement at The Grand Opera House in Wilmington, on being accepted into the National Leaders of Color Fellowship program.

The first cohort of the National Leaders of Color Fellowship (LoCF) program was recently selected, representing 53 leaders from across the United States. The cohort will participate in a strategic leadership development program for Black, Indigenous, and People of Color (BIPOC) leaders who are committed to the advancement of cultural equity in the arts that emphasizes policy and data in the arts, leadership, culture of care, and strategic foresight through an advocacy lens. Using a cohort structure, the program, administered by the Western States Arts Federation, emphasizes experiential learning, community building, and service to the field. 

We sat down with Mari to chat about her new appointment and her goals ahead.

 

*Why did you want to be part of this Fellowship?

My initial interest in the fellowship, honestly, stemmed from being encouraged by my

supervisor, Pam Manocchio — Executive Director, Grand Opera House — to apply for the fellowship. After receiving the preliminary information, I quickly learned that the fellowship was focused on creating a space for BIPOC leaders, specifically working in the arts sector, to further develop professionally. 

I believe the intentionality of this fellowship is what truly intrigued me. Having the opportunity to participate in a program, specifically focused on the experiences and professional development of BIPOC leaders in the arts sector was something I deeply saw value in and wanted to be a part of. I feel both humbled and honored to have been accepted as the fellow to represent the First State in this inaugural cohort.

*What does this fellowship entail and what does it mean to you?

This is an eight-month fellowship being held online from October 2022 through May 2023.Having the opportunity to learn and dialogue openly with colleagues and faculty who share similar experiences and/or are able to offer me advice/feedback, is an immensely prodigious opportunity. In the short two months since the program has begun, I feel that I’m more equipped to dialogue and advocate for diversity, equity and inclusion in our arts-focused work. I am deeply excited about this opportunity to further develop professionally as a millennial, black, female leader in the arts community.

*What are your goals as a member of this Fellowship and how do you see it reflecting in your role at The Grand?

As a member of the fellowship, I hope to further develop my skillset as it relates to being intentional in my work, collaborating with others, and conducting reoccurring analysis on the work we do. One lesson I learned early on from one of my primary school teachers was to “lean into discomfort." Leaning into what initially feels “uncomfortable” has always proven to provide me with deeper understanding and comfort in that I tried something unfamiliar to me and grew because of it.

*What are you focusing on with regard to your new role at The Grand?

In my new role as Director of Community Engagement here at the Grand, I hope to continue the community-focused work that’s already being done and add to it, based on what our community tells us it’s in need of. I feel the best way to serve a body or community of people, is to reach out and ask what the needs are.

*What are your immediate and longer-term professional/personal goals?

My immediate goal is to continue listening. I think it would be less than productive for me to start in this new position and implement change immediately. I plan to continue having discussions with community partners, patrons, members of the community, even those who’ve never stepped foot inside the Grand and discuss what they need from us as an organization.

I think then, long-term, intentional and strategic goals can be developed and implemented. I am confident that we continue the 150+ year legacy of the Grand its work in the Wilmington community and beyond.