The Cranbrook Collection; installation in the main gallery of Cranbrook Art Museum 1986.
In the foreground is "Orpheous" 1925/30 by Carl Milles with the Saarinen House dining room chair 1929/30 by
Eliel Saarinen. "The Cranbrook Cube" by Tony Rosenthal is also visible.
The Cranbrook Collection
The original Booth collection had been auctioned before my time at Cranbrook. Much dismay and disgust seem to linger after that sale of art from different countries and cultures. I knew little about that sale except that work of Eliel Saarinen and his contemporaries had not been sold; there was little or no interest in acquiring their work. Cranbrook was fortunate as was I, for now a collection of Academy artists could be developed. In the summer of 1978, a year after my arrival, the collection was created which I named “The Cranbrook Collection”.
The intent was to pay tribute to the remarkable achievements of our Academy’s artists, architects and designers. The nucleus came from the original Booth Collection; works of Academy artists that had not been sold and remained at Cranbrook.
Often, works of art were found in unlikely places; the most dramatic was the discovery of the original designs for Cranbrook by Eliel Saarinen. The curators Mary Riordan and John Gerrard told me of these plans that had been in storage under the custody of the Building Supervisor. I had met with Bill Powell and explained my commitment to the restoration of the buildings and architecture. He was of the mind to cover the brick walkways with black asphalt and to replace the leaded windows with plain glass; evidence of this had begun to appear in the community. My coming to Cranbrook stopped further destruction; the article in the New York Times, April 1978, on Saarinen House restoration made my task easier. Restoration began in earnest and, hopefully, continues to this day.
In my conversations with Bill Powell, I mentioned that my curators had talked of some plans. He said that they were in cabinets in the basement of the Booth House, now the offices for the community. Bill took me with the curators down to the basement, saying he wanted to get rid of the sketches as, for him, they were of no use without electrical wiring or plumbing evident?! As the large drawers were opened, the most remarkable drawings were revealed; true treasures. I knew then what it must have been like to be at the opening up of the tomb of King Tut. These were the original designs for Cranbrook by Eliel Saarinen.
Throughout the publication, “Design in America: The Cranbrook Vision 1925-50” are illustrations of the drawings and plans of Eliel Saarinen. However, these reproductions can not show the size nor do justice to the intricate detail of these drawings. To see the originals for the first time was an unbelievable and breathtaking experience; to think that these works may have been destroyed, lost forever. In that basement, each plan and drawing was another delight, a confirmation and acclimation of the abilities of Eliel Saarinen; I was and remain in awe of his genius. The plans and drawings were large; some nearly six feet long. The partial plan and north elevation for Kingswood School is a drawing of remarkable detail that measures 33” x 69”; along with a drawing of column details illustrated on page 62. What fascinated me about the drawings was the combination of plan, elevation, interior, exterior, detail and decoration on one huge page. Drawing after drawing was seen that day, the plans and designs for Cranbrook; actually, I can not remember the exact number, twenty or thirty. I do know that, later, these works were accessioned into the collection and care of the museum.
I must admit that, by nature, I am curious. At the same time, I do have a respect for the past. At Corcoran, that was true. I had never studied the history of American art, I knew little about the art of the eighteenth and nineteenth centuries that was the basis of the collections at the Corcoran. However, I was curious and respectful; I learnt a lot, as usual by looking. My eye as a painter served me well as a museum director. I have always said that the best museum directors have a good eye. I was self taught in regard to American art of the past and the same was true at Cranbrook: I learnt from looking at the art and architecture of Eliel Saarinen. Walking around Cranbrook, studying his buildings and admiring the decorative details, brought greater understanding and appreciation of his creativity.
I do not read that much, although I do speed read and like to look at the illustrations in a book. I prefer to write. The book on Eliel Saarinen that I did look at was by Albert Christ-Janer, published in 1948; with a foreword by Alvar Aalto. This documentation of Saarinen’s life is well illustrated. The revised edition, 1979, mentions the restoration of Saarinen House and talks of its “expressiveness”. The book “Eliel Saarinen: Projects 1896 -1923” dealt with his work in Finland during that time. This copiously illustrated, published in 1990 by the Museum of Finnish Architecture, was the result of a decade of research. I was most impressed; most recently, I was delighted to find my name amongst many in the acknowledgements. I did encourage the ongoing project in my visits to Finland. Worthy of mention are Eliel Saarinen’s two volumes “The City” and “The Search for Form”. As I have said, rather than read, I like to look and prefer to write.
Maija Grotell, Vase c1943
Eero Saarinen: Auditorium Armchair and Dining Hall Side Chair, Kingswood School, 1929-31.
More works were found in the community; gifts came from across the country; acquisitions and accessions were made to the ever growing Cranbrook Collection. The work of the founding artists; Eliel Saarinen, Carl Milles, Loja Saarinen, Maija Grotell, Marianne Strengell and Zoltan Sepeshy were amongst those first shown; initially, in the lower gallery. When the auditorium opened, the presentation moved to the main gallery.
I had invited my colleague Peter Marzio to be commencement speaker. Peter had succeeded me as director of the Corcoran; he is now director of the Houston Museum of Fine Arts. I was showing him the Cranbrook Collection in the main gallery. Marzio admired the work of the distinguished artists, designers and architects of the Academy. He remarked “Cranbrook is the only educational institution that can collect the art of its alumni and create a collection of international significance; truly unique!”
New acquisitions were made and formed the basis of an exhibition “The Cranbrook Collection: New and Notable Acquisitions, 1989-1991”. The exhibition organized in 1991 by Gregory Wittkopp, curator of collections, included over fifty works by artists associated with the Academy.
The associate curator, David D.J. Rau, wrote: “The Cranbrook Collection is a record of artistic excellence created by the artists of Cranbrook Academy of Art. The achievements of these artists, who studied or taught at Cranbrook, have had a profound influence on art, architecture and design for sixty years. The Cranbrook Collection has educated countless visitors....exhibited in the main gallery is the more recent work of sculptor Tony Rosenthal, ceramicist Toshiko Takaezu, designer Niels Diffrient and sculptor Don Lipski. Most acquisitions come to the collection from alumni directly, but many are the gifts of artists’ families, friends and patrons.”
Acquisitions and reminisces
The last exhibition of my tenure was held in November 1994; I was about to retire. “Building the Cranbrook Collection” presented works acquired during my years 1977 thru 1994. I was most proud and honored by this exhibition and celebration. The acquisitions included work by Robert Beauchamp (painting ’50), Chris Berti (ceramics 1983), Harry Bertoia (metal ‘37), Ray and Charles Eames (design ’39), Aris Koutroulis (painting ’66), Lisa Krohn (design ‘88), Joan Livingstone (fiber ’72), Winifred Lutz (sculpture ’68), Laura Foster Nicholson (fiber ’92), James Surls (sculpture ‘69), John Torreano (painting ’63), Ann Wilson (fiber ’72) and Tino Zago (painting ’65).
For the exhibition, I wrote out some reminisces; one was about a visit to James Surls. I had visited the artist on a number of occasions in his studio at Splendora, Texas; he was a hard working artist. During a visit with our students, we toured his expansive studio which is larger than an aircraft hanger. One student remarked in awe that he could create great art in this vast space. Surls responded, “Before this, I worked for many years outside, under a tarp stretched between trees in the forest.” Jim then gestured at space in which we stood, now his studio, and said “Great art created this place!”
Toshiko Takaezu
Many of the acquisitions have a story attached to them; a funny one is the gift of a large ceramic from Toshiko Takaezu. The Allentown Museum of Art was presenting a touring version of the exhibition ‘The Cranbrook Vision’. At that time, Agnes and I decided to rent a car and drive to the studio of Toshiko. She graciously invited us to lunch, along with curator David Rau. We toured her studio and over a delightful Oriental lunch, we talked of a possible gift to Cranbrook. Some large ceramic pieces were particularly impressive. Suddenly, Toshiko stood, walked over to one of the works, probably the best, and said, “You mean like this?” I stammered that to have such a major work in the collection would be important for her and Cranbrook. To our delight and surprise, she agreed; saying, “This is one of my best works. A patron has offered to buy. I want you to have it, now!” She called her assistant, got a blanket and, between us, we placed the huge ceramic vessel in the back seat of our rental car. David clambered in the back seat, stretching the safety belt around the work. He barely had room to squeeze in next to the ceramic, which was bigger than he. Carefully, with David cradling the work, we drove back to the Allentown Museum. I had phoned ahead and asked the registrar to meet us; our plan was to have the Takaezu ceramic be returned, with the exhibition, to Cranbrook. When the registrar saw the work, she almost burst into tears saying sorrowfully that her museum had only small ceramic pieces by Toshiko; the gift to Cranbrook was major! Agnes and I were grateful for the visit, lunch and gift; Toshiko remains a dear friend.
Another gift came in odd circumstances. One day, I received a phone call from a woman who wanted to donate, to the museum, a sculpture by Carl Milles. I became skeptical when she described the work as being of a man, wearing trousers and shoes, holding a small automobile. The description was most uncharacteristic of any work by Milles that I knew. Agnes and I visited the lady at her home in Ann Arbor; she was Rose Kahn. Her husband, Edgar, had died and she was disposing of their belongings and home. Edgar was the son of the distinguished architect, Albert Kahn, who had been the architect for the original home of the Booth Family at Cranbrook; the River Rouge Automobile Plant; the headquarter offices for General Motors; and many other important buildings.
The sculpture was as described: a man stripped to the waist, wearing trousers and shoes, holding aloft an automobile. Although atypical of his work, the bronze certainly looked like a Milles. Moreover, the artist had inscribed the base “To my dear friend Edgar Kahn from Carl Milles 1933”. I realized that I was holding a unique piece; this was a work by Milles that dealt with an automobile in modern times. I thanked Rose, now tearful. Hoping that she wouldn’t have second thoughts, we left. Wrapped in a blanket, the sculpture was placed gently in the trunk of the car; hastily, we drove off in a cloud of dust.
Later, research would show that this was the model for a much larger version that was created in plaster for the General Motors Pavilion of the 1933 World Fair in Chicago. Newspaper articles of that time had a photograph and description of that towering work. Milles made a bronze cast for his friend; how fortunate. The sculpture is a bridge to contemporary times for a sculptor who had created mermaids, gods, tritons, animals, fish and figures of fantasy. Here was a man holding an automobile; appropriate for Detroit and important for the Cranbrook Collection.
Other stories exist like seeing the Harry Bertoia bronze screen at the home of Peggy and Stanley Winkleman. This wall sculpture was commissioned by them in 1957 and installed the following year in their residence. On my visits, I always admired the work and, in 1984, was delighted with their gift of this bronze to the collection.
Gifts came not only locally but from across the country. In California, we met alumni; amongst them was Carroll Barnes. He had studied with Milles in 1940 and moved to Sebastopol. Agnes and I drove from San Francisco to visit him. Agnes was responsible for fund raising and development; in addition, she worked on alumni relations and developed an alumni directory. She was invaluable when meeting people; that was true when we met with Carroll, his wife and son. The family was hospitable and kind; Carroll showed us his home and studio on a remote and wooded hill. He had succeeded in making a living as a sculptor in this remote rural area. He liked to work in wood and his style varied from early figuration to later abstraction. An exhibition of his work was presented at the museum. In 1981, Carroll Barnes gave his 1938 sculpture “Paul Bunyan”, 40 inches tall, carved in cherry, to the collection, along with other works. A 16’ version of this work was carved in redwood and took him years to complete. The mammoth statue at Three Rivers, California, was the world’s largest wood carving.
One acquisition came about because of a lecture that I gave at Rice University in Houston. The School of Architecture had the huge model for Dulles Airport designed by Eero Saarinen. I was asked if Cranbrook was interested in this work. Of course, I was and the gift came to the museum in 1983. The model is 18” x 145” x 44” and was made of wood, masonite, plastic, gesso and paint; circa 1960. The curators at Cranbrook were rather overwhelmed by the size of the model. Fortunately, the model maker was still living in the area and Jim Smith helped with its restoration. This summer, I saw the work on view in the “Eero Saarinen” exhibit at the National Building Museum; “Model for the Dulles International Airport Terminal Building” remains an impressive work.
I was pleased by the gifts that the artists in residence gave in my honor: Beverly Fishman, Gary Griffin, Tony Hepburn, Dan Hoffman, Gerhardt Knodel, Katherine McCoy; Michael McCoy, Heather McGill, Steve Murakishi, Carl Toth. Earlier, I wrote about these artists, six were my appointments; all were my friends and colleagues. Their generous gifts of their own art meant a great deal to me and greatly enriched the collection. In every way, I owe them thanks.
Tony Rosethal "Cranbrook Cube" CAM Collection and Duane Hanson sculpture.
Work of two other artists that I have written about were accessioned to the collection: Duane Hanson (sculpture ’51) and Tony Rosenthal (sculpture ’40). “Bodybuilder” by Duane Hanson designed 1989, executed in 1992, is a bronze sculpture, polychromed in oil, mixed media with accessories. The work was a gift of the artist and Lila and Gil Silverman with assistance from the Imerman Acquisition Fund. The life like sculpture epitomized the best of Duane’s work.
Since the 1950s, I had been a great admirer of the work of Duane Hanson. His depiction of Bowery bums and violence was better known, at that time, in Europe than in this country. His later work deals with popular and everyday figures in American life. Two exhibitions of his work were presented at Cranbrook and he generously loaned a self portrait and model to the museum for several years. During my long friendship with Duane, I had hoped that he would give a major work to the collection…..I was delighted to learn that my wish was to become a reality.
The gift by Tony Rosenthal of his sculpture “The Cranbrook Cube” was particularly meaningful. When I first visited Manhattan in 1967, I saw the large cube in Astor Squareoutside Cooper Union. The sculpture was one of the first abstract sculptures placed in New York City. I was in awe and admiration of this remarkable work which I photographed and included in my lectures. Later, I saw versions of the cube from the campus of the University of Michigan to Coconut Grove in Florida.
Much to my delight, I discovered that Tony had studied for six months with Carl Milles. I have written about our first meeting and friendship. To have “The Cranbrook Cube” in the collection was coming full circle for me; from my first visit to New York to my leaving Cranbrook. I thank Tony for his gift and ongoing friendship; as I do the many artists, alumni, people, patrons and friends that gave generously to the Cranbrook Collection.
Accession
The accession of works of art is a complex issue, governed by many guidelines and procedures. The power to acquire works of art ultimately rests in the hands of the Museum’s Trustees. Normally, the Trustees delegate recommendation authority for acquisitions to the professional staff, while maintaining final approval authority themselves.
Written accession proposals for works of art must address many issues, including the quality and significance of the object in its category; the role of the object in and appropriateness of the object for exhibition; the physical condition of the object; provenance; price if a purchase and so on.
As AAMD states: “Art museums develop collections of works of art for the benefit of present and future generations. The conservation, exhibition, study, and documentation of the collection are the heart of a museum’s mission and public service. Collection stewardship requires planning, resources, and professional acumen to ensure the maintenance of a dynamic collection that supports the museum’s mission, serves its community, and contributes to the appreciation of human creativity. The process of adding objects to a museum collection is known as acquisition.
The counterpart of acquisition is deaccessioning, the practice by which an art museum formally transfers its ownership of an object to another institution or individual by sale, exchange, or grant, or disposes of an object if its physical condition is so poor that it has no aesthetic or academic value. Deaccessioning is practiced to refine and enhance the quality, use, and character of an institution’s holdings.”
There are two fundamental principles: deaccession is made solely to improve the quality, scope, and appropriateness of the collection and proceeds from a deaccessioned work are used only to acquire other works of art—the proceeds are never used as operating funds, to build a general endowment, or for any other expenses.
Much has been written on these issues in art magazines and in AAM News; the official publication of the Association of American Museums. Ironically, the 1972 sale and auction of work from the collection at Cranbrook may have caused or hastened the development of these policies and procedures in regard to deaccession?!
On a personal note, I made a most unusual decision in regard to Saarinen House. Once the decision was made to restore the house, I was concerned how to protect the house for future generations. I asked the Board of Governors to assign an accession number to Saarinen House! In this way, the house was subject to the policies of accession and deaccession; nothing could be done without the approval of the Board of Governors. The Board agreed and formally accessioned the house as part of the museums collections. Saarinen House may be the only house anywhere with a museum accession number?!
The year that I left Cranbrook, the magnificent restoration was complete, coordinated by Gregory Wittkopp. He edited the admirable book “Saarinen House and Garden: A Total Work of Art”; published 1995. Saarinen House has the accession number “CAAM 1992.25”. The numbers refer to the year of accession and the sequence. Obviously, I am pleased and trust the house has the ultimate protection as a work of art.
Appreciation
To acknowledge all the groups and individuals is difficult, if not impossible. Thanks are due not only to those who gave to the collection but also to those that gave generously to support the exhibitions, catalogs and programs of the museum. To those volunteers who worked as docents; on fund raisers; at auctions; gave tours; on events and endless activities: thanks! To collectors, dealers, critics and connoisseurs who gave support and gifts: thanks! To the staff, students, sponsors and scholars: thanks. To the alumni, artists, architects and designers: thanks! To the Women’s Committee and to the Board of Governors: thanks!
The Board of Governors were my supporters and advocates; they were responsible and the authority for the Academy and Museum. In the reorganization of the Cranbrook Community in 1973, a Board of Trustees was formed consisting of divisional governors and members at large. I attended their meetings as the Trustees were the ultimate authority for the community. Nevertheless, I regarded the Governors as my “boss”; I worked closely with them. I had little use for centralization, particularly when based on the corporate model and mentality of quantity not quality; the downfall of the auto industry. The Governors supported my dedication to quality and excellence; agreeing with the decision to stay small and not increase enrollment. I respected and depended upon my Governors for their commitment, work, support, generosity and friendship. These board members were generous with their time and money; many were collectors, willing to lend their work for exhibitions. The Museum presented “The Gilbert and Lila Silverman Collection”; “Vantage Point”, photographs from the Warren J. Coville collection”; “The Decoy as Folk Sculpture”, waterfowl and fish decoys from the collections of Ronald Swanson and Julie & Michael Hall; with illustrated catalogs. Gil, Warren and Ron were members of the board; other collectors included John Booth, Irving Burton, Mary Dennison, Robert Larson, Sally Parsons and George Zonnars. Members of the Board were active in the arts; many acquired student and alumni work. I am grateful to them all.
Most important, they were hard working and involved but rarely interfered; we accomplished much and had fun. The Board meetings occurred monthly; the third Thursday of every month, except during the summer. The meetings were held at 4PM, lasted an hour or so and were followed by an informal get together. I introduced presentations on exhibitions and activities; members were kept informed and involved. Committees dealt with various issues: finances; buildings and grounds; development; museum issues; capital campaign; and nominating. The committee chair reported to the full board; as did I, President of the Academy and Director of the Museum. The minutes of all meetings are in the Archives, as are the Annual Reports, giving invaluable insights and a record of my tenure. My assistant, Roberta Stewart, was Secretary of the Board; her minutes are excellent as are the annual reports that she prepared. I was blessed with great governors, too numerous to mention, and outstanding chairmen; Ernie Jones, Pat Hartmann and Les Rose. I write of Ernie under ‘Friends’ because he was that; as are Pat & Jan Hartmann and Les Rose. In development and fundraising, Pat was like a tenacious terrier; she would never let go or give up! She used the phrase “Give, get or get off”! She gave generously herself and worked effortlessly to raise money in every way; including fundraisers.
Crandemonium Ball 1936, Loja and Eliel Saarinen
Mae West party 1934, Pipsan (right) and Eero Saarinen
Guy Fawkes Ball, Cranbrook Art Museum c 1987
Duane Hanson, DIA Director Sam Sachs and Beth Sachs, RS.
Judith Martin 'Miss Manners' at Women's Committee fundraiser
'Brolly Day' with Roy & Agnes. Cranbrook Art Museum c1986
Fundraisers did that and more; besides raising necessary funds, the events brought in new people, potential museum members and donors. The press coverage on the social pages was also good; even photographs in “Town & Country” magazine. The praise and press was well deserved and the ladies and everyone were pleased. Dedicated volunteers worked hard throughout the year. Academy major fundraisers were ‘The Art Antique Auction’; ‘Guy Fawkes Ball’; and ‘Brolly Day’; these last two occurred on alternative years. Work on the auction went on constantly; objects and donations sought and alumni solicited. My assistant, Bob Yares, worked tirelessly on these events. He was my liaison with the Women’s Committee; event chairpersons & committees; and coordinated the efforts of volunteers. Bob was in constant contact with alumni and solicited students to help with events; they did so willing and unselfishly. He and Agnes Fleckenstein, Director of Development, worked together on these events; their commitment and that of our supporters and students were critical to the success of these events. The preparation, hard work and actual fundraisers brought everyone together; pledged to help raise funds and bring support for the Academy and Museum.
At Cranbrook, I proposed that a major fundraiser to be called the Guy Fawkes Ball to be held in early November. Guy Fawkes Day was celebrated in Britain with bonfire and fireworks. He was the English conspirator (b 1570) executed on November 5, 1605, for his role in the Gunpowder Plot against James I. To this day, I am not sure whether we celebrated his execution or his attempt to blow up the Houses of Parliament?! I thought to have this theme was appropriate; Cranbrook had such an English heritage, the founders having named the place after their family home in Kent. The Ball became an instant success as an event and fundraiser; tables and tickets were sold out. There were cocktails, dinner and dancing; in the decorated lower galleries, there was the hummer bar and music. The students build bonfires, year by year ever larger, and burnt an effigy of Guy Fawkes, always in my likeness! Students creatively decorated the walls of the museum, each year with a different theme; from Guy Fawkes in Paris to Outer Space to Sailing. With these striking decorations, British banners, table arrangements, lighting and music, the galleries were transformed and elegant. Curators worked hard to empty the galleries and store the works of art; everybody put a lot of effort into the Ball. Black tie or formal attire or costume was the dress; with a few students as mummers or court jesters: a colorful crowd. Eventually, the bonfires got too big; on one occasion, melted the pavement and then, when placed on grass, melted the sprinkler system! Searchlights and smoke replaced the bonfires and, after I left, Guy Fawkes was no more. In its time, the Ball prospered and pleased; bringing in press, prestige, funds and support.
The Art Antique Auction committee members were always seeking objects and donations that were stored in the garage. Volunteers worked with Bob to sort and store these things; from paintings to pots to chairs and cabinets. Before the event, a committee met and made selections for the actual auction; the remainder of the objects went into a ‘garage sale’. Both sales were popular; again bringing in much needed funds. The auction had a catalog; patron’s party; and a professional auctioneer. The evening was a fun event, much bidding and joking; excellent art was available, bargains too. What offers?! Again, a great deal of work by staff, students and volunteers; the same could be said of Brolly Day. The umbrella is known as a “brolly” in England; for this event, artists decorated and donated an umbrella. This spring event auctioned and sold these brollies at a dinner that was another elegant and favored affair.
In all these activities, the Women’s Committee was invaluable and supportive. This group of dedicated women met monthly. They were involved with fundraisers; organized trips to art museums in other cities; published a newsletter; hosted students and artists at their homes; raised funds for student scholarships; sponsored lectures; supported exhibitions; attended museum openings; provided food for receptions; acted as hostesses; held an annual luncheon meeting; sought out potential donors; and acted as advocates for the academy. Their bylaws stated that “The object of the Women’s Committee shall be to promote and to undertake activities and projects that will further the mission of Cranbrook Academy of Art and Museum.” In my time, the women more than fulfilled that objective; I thank them sincerely. The committee no longer exists but, I feel sure, volunteers and patrons continue to offer support.
Finally, last maybe but not least, thanks are due to museum Docents. The group of docents that served the museum were dedicated and devoted. These volunteers were carefully selected and well trained. They received a rigorous orientation from the curatorial staff, attended lectures and museum events. For each exhibition, instruction and information was provided by curators and artists. In turn, docents were responsible for giving tours to visitors and school children. Their efforts and experience furthered the educational role of the museum; indeed the docents were the public voice of the art museum. With the formation of the Cranbrook Collection and restoration of Saarinen House, their role and responsibilities increased as did the opportunities to learn and educate.
In exhibition catalogs and elsewhere, every effort was made to acknowledge this support that came from throughout the local community and country. Thanks are due to the Michigan Council for the Arts and their ongoing financial aid; also to the National Endowment for the Arts. Corporations; Banks; Firms and many contributed to exhibitions and catalogs. Funds came from individuals and groups for scholarships; equipment; projects and much else: thanks!
Our great nation has a history and tradition of philanthropy and volunteerism unlike any other country in the world. Patrons and volunteers are uniquely American and have greatly enriched our country and culture. Cranbrook was founded by the visionary generosity of the Booths and is sustained today by countless supporters who volunteer their time and give their money: thanks!
In all this, I have said that I felt that I was a conductor, with a great score by Saarinen, and a wonderful orchestra: the players were students, staff and supporters! I thank you all for your commitment and support!
Curators
The exhibitions and collection were made possible by the outstanding work and commitment of curators. Words can not fully express my gratitude to them. Over the years, individual curators changed but the commitment was constant. I believe that the role of the director is to do just that: my mantra is “direction, decision, delegation”. I think I was good at that, particularly delegating. I appointed the best people and trusted them. I have mentioned Linda Dunne; she served the museum magnificently as administrator and curator. With her, in those early days were curators Mary Riordan and John Gerard; both were knowledgeable about the history, architecture and traditions of Cranbrook. I learned a great deal from them; I am eternally grateful.
Keith Haring in North Gallery with students from Cranbrook Schools.
Indeed, I always was learning from curators; willing to listen, yet I made the decisions. In 1983, Michele Rowe Shields took over as Museum Administrator. I appointed her not realizing that I knew her father, Reginald Rowe. I had met him in San Antonio, where he taught and painted. Michele was enthusiastic and excitable with insights into the latest trends; she introduced me to the work of Keith Haring. The artist was invited to do a mural on the walls of the north gallery. His visit was memorable as was the mural; now painted over. The collector Gil Silverman wistfully noted that on the walls of the north gallery work by Sol Le Witt and Keith Haring existed, under layers of white paint?!
Michele also introduced and exhibited video art at the museum. I was not a fan; having once proclaimed that if the art had to be plugged in, I didn’t want to show it. I never did trust art dependent on electricity; over the years, too many blank television screens at the Whiney. Of course, I was not easily swayed and Michele tells the following: “I realized that if I was meeting with Roy and he folded his arms, then that was that. I could have poured gasoline over myself and lit a match but, with his mind made up, Roy would not have noticed me!”
However, on this occasion she did persuade me to present video; the work of Bill Viola. His multimedia installation “Room for St John of the Cross” was shown in 1990 in the museum’s north gallery. I was curious but not swayed; video art is not a favorite of mine. Michele also presented the video “The Way Things Go” by Peter Fischli and David Weiss. I am grateful to her for her persistence and for this information. She also recalls our trips to New York; impressed by meeting with many artists and dealers in Manhattan that I know well. In particular, Michele remembers that “we were in a taxi in the middle of traffic on Park Avenue, when someone yelled out ‘Roy’ from another taxi”. I opened the car window and saw Harry Lunn, a dealer in photography that I knew well from my DC days. We had done many shows together at the Corcoran, including Ansell Adams. In the slow moving traffic, Harry and I started talking from taxi to taxi. Within three blocks, we agreed on an exhibit for Cranbrook and made a deal; much to Michele’s amazement. Harry and I could not shake hands on this deal; we just waved.
Gregory Wittkopp, who was at Saginaw Museum, joined us as associate curator. Greg went on to become Curator of Collections and is currently Director. He said the same thing about me; if my arms were folded, my decision was made and, for all intent and purposes, the conversation was over.
Another curator was Susan Waller who worked diligently with the collection and on exhibitions. Her husband, graduate Ron Leax, also worked in the museum on installations. Bruce Hartman was a curator who had a laugh louder than mine; he had a wicked sense of humor and an invaluable knowledge of contemporary art. Bruce brought the work of Ursula Von Rydingsvard to the museum. Each curator contributed in their own way; each had different attributes. David Rau was the best wordsmith that I have known; he had a way with words that was invaluable for catalogs, invites, mailings, anything and everything. The individual curators went on to pursue curatorial careers and assume directorships in other institutions. Cranbrook owes them, each and everyone, a debt of gratitude; I know that I do.
100 Treasures / Greg Wittkopp
“Cranbrook Art Museum: 100 Treasures” was an exhibition organized by director Gregory Wittkopp and presented in late 2003. The catalog presented 100 works from the collection; each with a color illustration and brief essay. Thirty different scholars and artists associated with Cranbrook were invited to write; scholar and historian Dora Apel (Greg’s wife) was the editor. I was pleased to be asked to participate. My writing was on the Harry Bertoia screen, the gift of the Winklemans; most appropriate
The publication has a fine essay by Greg Wittkopp on “Challenges and Opportunities: The Evolving Mission of Cranbrook Art Museum.” He writes insightfully about the history of the museum; as ever, I learnt a lot from my former curator.
Greg says “This essay traces the tumultuous history of Cranbrook Art Museum, from the evolution of the private collection of founding patron George Booth……including artistic high points to near permanent closure.” His writings trace the beginnings of the museum; the collection of the founders; the 1940 ‘new’ building by Eliel Saarinen; growing tensions, fiscal crisis and the ’72 auction; a celebration of the Academy 1977 -1994; and planning for the future. This history was fascinating, particularly “the proposed selling of numerous art possessions” that resulted in the 1972 auction at Sotheby, Parke-Bernet which “remains a controversial decision”. I knew little about this; to read Greg’s essay was informative and revealing.
In his writing of my seventeen year tenure, Greg reminded me of things long forgotten. He wrote of my statement in April 1977, prior to my moving to Cranbrook, in which I addressed the Board of Governors. At that time, I outlined the three primary functions of the museum: 1) a permanent installation….works of art and design that have emerged from the Cranbrook Academy of Art and influenced international design and vision. 2) The museum should devote a gallery to on-going exhibitions from the Academy of Art, students and faculty. 3) Exhibitions from throughout the world, showing the best of contemporary art and design….Greg writes of my arrival; the Cranbrook Collection; exhibitions and achievements during my time; then on to the present day of his tenure.
Gregory Wittkopp has been Director of Cranbrook Art Museum since 1995. As Curator of Collections, he was responsible for the restoration of Saarinen House. I had initiated this undertaking which Greg fulfilled in an exemplary manner. His scholarship and expertise were invaluable in coordinating the work involved in restoring the house and gardens. Greg has been a resource for ongoing restoration throughout the community; his knowledge is invaluable. He continues to sustain a relationship with Finland through visits and exhibitions. Saarinen House, restored to its original glory, is a tribute to Greg and those that worked with him. Many a tale can be told; my favorite is when Greg arranged for doors to be x rayed at a nearby hospital. I wonder what the patients thought. The bedroom doors were said to have decorations by Pipsan Saarinen Swanson; they were revealed and redone. This meticulous research and attention to detail epitomized Greg’s work on the house; evident in the book “Saarinen House and Garden: A Total Work of Art”. Greg edited this book; he wrote an insightful essay. For the collection, gifts were sought; as he knows, I questioned the gift of the Shuey Collection. The paintings were by artists that I admired greatly but were not Cranbrook artists; that’s what is unique about the Cranbrook Collection. I will say no more except that I am pleased to see the continuing commitment to artists of the Academy; evident in recent exhibitions and gifts. Greg has sustained a lively exhibition program; overseen the addition of new exhibition areas; made plans for additional museum space; introduced the popular “Serious Moonlight” fundraiser; and much else. I wish him well; again, I thank him for his past support and ongoing friendship.
To end my writings on the museum, to use my words as quoted by Greg seems appropriate. I introduced my Statement of Intent to the Governors by stressing that the museum could bring “greater support from the community and renewed recognition throughout the country.”
Eliel & Eero Saarinen: Cranbrook Museum propylaeum with sculpture by Carl Milles: 'Europa' and 'Triton Pool'.