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I don’t have much to say right at this moment, but I feel I would be remiss if I didn’t make a note of this day. Today is a day for the history books and the museum exhibits of the future. Happy equality! May today’s victory help inspire all the progress that is still to come.
It is actually somewhat difficult to find something to say about things to do near the White Flint Metro Station, since it seems that most of the few reasons I have ever gone there have disappeared.
There used to be the Vegetable Garden, the wonderful all-vegan restaurant that has since relocated to a non-Metro-accessible location.
There also used to be the White Flint Mall. Having become a symbol for the demise of the suburban mall phenomenon, this particular mall announced in late 2013 that it would close and the land would be redeveloped. Stores closed throughout 2014, and the demolition is starting right about now. At this point, the space that was once the White Flint Mall is slated to become apartments, a hotel, and public green space.
When I explored the mall in December 2013, it seemed that half the store spaces were vacant. Poinsettias surrounded a central staircase and elevator, but there was no sign of any Santa Claus ready for a photo-op.
During that visit, I went to Dave and Buster’s, a chain restaurant/sportsbar/arcade. (As a business on the highest story of the mall, this franchisee is now gone.) While I was not able to find anything like a museum near the White Flint Metro, Dave and Buster’s offered an activity, a thing to do – a place to play video games, skee ball, and other coin-operated games. These arcade games were presented as entertainment at Dave and Buster’s, but can they also be considered art?
A dozen stops away from White Flint on the Red Line is the Galleryplace-Chinatown-Verizon Center Metro Station, with one of its entrances right outside the Smithsonian American Art Museum, which has shown a pinball machine and video games in art exhibits.
In 2009, SAAM put on the exhibit What’s It All Mean: William T. Wiley in Retrospect, which included a pinball machine created by the artist. The pinball machine was available for play and use by the public at specified times, but it was not just there for amusement; it also contained a political message. As Abby Callard wrote in Smithsonian magazine:
The machine itself, a redesigned vintage North Star game created for a collector, is titled Punball: Only One Earth. It’s a “global warning” about global warming. Text running across the machine reads “the eye scabs are melting” and refers to the ice caps that are melting. This playful take on language is present in all of Wiley’s work.
A few years later, in 2012, SAAM hosted an exhibit entitled Art of Video Games, which featured relics from my childhood such as Super Mario Brothers, Sonic the Hedgehog, and Myst. While Roger Ebert and Jonathan Jones have maintained that video games are not a form of art, the Smithsonian’s exhibit joined other critics in challenging visitors to consider otherwise. On one wall was a quote from Nolan Bushnell (founder of Atari and Chuck-E-Cheese), “Video games foster the mindset that allows creativity to grow.”
The question “Is this art?” is not unique to video games, and museum staff who make decisions about what to exhibit, as well as staff who interact with visitors regularly, surely are used to fielding that particular line. Answering “Is this art?” is beyond the scope of this blog post and ultimately raises the question (about which volumes have been written) about what art is.
But if you ask the question, “Do video games have value as objects in an art museum?” you may be able to work out a still subjective, but less existential, answer. Does the video game art serve a function in educating audiences, in helping visitors appreciate art in everyday life, in placing video games in the context of art history as a whole, in understanding the creative genius of individual game designers? Do pinball machines or screens showing Mario and Yoshi take away from the paintings down the hall in any way? Perhaps arcades like White Flint’s now defunct Dave and Buster’s are not the only place where video games belong.
White Flint is on the Red Line.
I realized (too late) that it has been too long since I posted anything on this blog. In fact, I neglected this blog for the whole month of May.
Among things that happened in May 2015: I turned another year old! And after nine months of having a camera that (after lots of love and use) barely worked anymore, I received a brand new one for my birthday, thanks to my parents. Here are some pictures I took on the new camera while exploring the northern part of Old Town Alexandria:
This will not be a post about police brutality or riots or whether these are the proper terms for the heartbreaking events that have happened not too far north of me (and, for that matter, all over the country). That blog post would take more energy and wisdom than I have right now. What I am writing now will just be a museum-related post on a museum-themed blog, about the effect of the last few days’ events on Baltimore museums and other cultural venues, and how these organizations are reacting and relating to their audiences.
While it will not be an exhaustive list, Baltimore does have a great many museums, and I have tried to research as many as I can to see what updates they have posted on their websites and social media, or how they otherwise have made the news.
(Note: I aim to focus on the ways in which museums are responding to the protests, helping their audiences process what has happened, engaging with their online and onsite visitors, relating their collections to the unrest, and contributing to the community. Some museums’ posts have shown a more specific and decisive stance on the events than others. I am not trying to make a “Who Is on Which Side” list, and I see the issues as much more complex than one side versus another.)
Many posts and tweets have been to announce logistical updates: we are closed, we are open, we are rescheduling our big spring event until a later time. Events that had originally been scheduled for times that would keep people out after the curfew have been canceled or postponed.
Two major annual events – the American Visionary Art Museum’s Kinetic Sculpture Race and FlowerMart in the neighborhood of Mount Vernon – have been postponed. Meanwhile, AVAM has posted a number of photos of their celebrated works of art, in a show of love and support for their city. AVAM and the National Great Blacks in Wax Museum have both posted on Facebook this form to help coordinate connecting interested volunteers with entities and residences that need rebuilding.
The library system in Baltimore City, Enoch Pratt Free Library, is keeping all of its branches open (though the neighborhood branches are closing early each day this week). Recreation centers are staying open. These community spaces are actively welcoming the students whose schools have closed due to the state of emergency – many of whom depend on school for breakfast and lunch. Independent bookstores Red Emma’s and Ivy Book Shop are open for business. Red Emma’s, also a restaurant and coffeehouse, has been offering free meals to students, as well as collecting food donations to distribute elsewhere. Other restaurants that have donated free meals to students include Joe Squared and Bottega Italian Restaurant.
Although the Baltimore Symphony Orchestra had to reschedule a number of evening events due to the curfew, they also put on a free Peace Concert Wednesday, April 29, at noon in response to the events of the past few days. Arts organizations like Gallery 788, Area 405, and the Contemporary have also responded with events such as free art activities for students out of school and a benefit art auction. The Baltimore Museum of Industry is offering free admission through Sunday, May 3.
Port Discovery Children’s Museum provides this list of resources for discussing the protests, and the things being protested, with children. B&O Railroad Museum postponed its event starring beloved anthropomorphized train Thomas the Tank Engine, and responded to false social media rumors that Thomas had been stolen from the museum in the course of the riots.
The Reginald F. Lewis Museum has been extremely active on Facebook the last few days, posting everything from a roundtable discussion on Ferguson, to quotes from museumgoers on how their community could be made better, to music recordings and dance videos, to photos of positive images from the protests in Baltimore. (While researching on museums’ Facebook pages, I generally noticed a sudden change in the topic and nature of the posts on Monday, April 27, but in the case of the Lewis Museum, these issues have been a recurring theme in what they post to their Facebook audience.)
Walters Art Museum director Julia Marciari-Alexander said on Monday that the arts have a responsibility to the community to be a source for healing.
“Museums should be places where people can have conversations about difficult subjects in a safe environment,” she said. “We’re only going to get through this if we talk.”
In its most recent newsletter, the Maryland Historical Society speaks of the importance of understanding modern events in their historical context, stating “The Society has the collections and resources to take a long look at the sources of urban unrest and trouble.”
The Jewish Museum of Maryland asked its Facebook audience for thoughts on an article headlined, “Why – And How – Baltimore Jews Must Act Now.” Maryland Institute College of Art (MICA) and its Baltimore Art + Justice Project are compiling “an archive of the cultural production efforts that are happening in the midst of our Baltimore Uprising” and asking for folks to contribute the art they have made in response to the protests.
If there are other cultural institutions whose responses to the recent events should be included in this post, please let me know in the comments. I am posting this with hope for safety, healing, and justice for all.
Earlier this month was Slow Art Day: the day when participating museums choose five pieces of art that participating visitors will look at slowly – for five to ten minutes – and then discuss with other visitors over lunch. Some of 2015’s official participants were the National Museum of Women in the Arts, the Laurel Museum, the Maier Museum of Art at Randolph College, and the University of Maryland Art Gallery. (Appropriately, both the University of Maryland, College Park and Slow Art Day have turtles as a symbol.) Besides these local and regional institutions, dozens of museums all over the country as well as sites in countries such as the UK, Ghana, and Australia participated.
But regardless of whether a museum is officially participating, there is art in a lot of places (and there can, in theory, be slowness in a lot of places).
The primary place to visit near the Grosvenor-Strathmore Metro station is the Music Center at Strathmore, which as the name suggests, is mostly known for its live musical performances. But in addition to its fame as a performing arts venue, it is also a museum of visual arts.
I visited Strathmore last year for the Discover Strathmore: Sounds of Brazil open house, a free day full of performances and family activities. With good weather and the prospect of a free visit to a place whose live shows normally cost money, the center was crowded on that late-spring Sunday afternoon. While walking on the grounds and through the Mansion, which hosts exhibits relating to visual and performing arts, I felt overstimulated and overwhelmed by the number of people sharing the space.
It did not feel like a slow experience for me, especially inside, maneuvering my way through the exhibits, waiting in line for the bathroom. I didn’t bother stopping to look closely at anything or read the text. I wanted to see the mansion, but I didn’t want to spend a lot of time lingering when there were so many other people around waiting for a turn.
Following the Brazilian theme, there were recordings of Brazilian music playing in one room in the mansion. When I entered the room, the song playing was “Aguas de Marco” written by Antonio Carlos Jobim (“Waters of March” in English). It is a mellow, peaceful, pretty song that provided a sense of calm and solitude even among the crowd.
Outside, the people were mostly concentrated around the gazebo, which served as the main performance stage that day. The music was upbeat, fast-paced, and fun. Festivalgoers were encouraged to get up and dance with the costumed performers. Food and drink were available for purchase, giving the event a cookout feel.
So what could be enjoyed slowly, among the fast music and the crowds? The grounds of Strathmore are dotted with sculpture, offering anyone who needs to slip away from the excitement a chance for slow art viewing. The sculpture garden includes a few pieces that evoke music and dance, along with birds and deer, a small temple perhaps reminding one of the big gazebo, and several abstract works. If you walk along the paths, you can see these works, along with flowers and trees.
My interest in Slow Art is not based on any belief that slowness is an inherent virtue in itself, but in the importance of embracing a variety of paces and approaches to museum visiting. The possibilities that can emerge from viewing a piece slowly need special attention and encouragement because they might seem so unusual and counter-intuitive at first. As this article on Slow Art quotes one museum professional, “the slow art experience is surprisingly challenging—more challenging than you think!”
Slowness in a museum is a luxury not always practical or even available. Not everyone has the time required, and those who are shelling out money to visit a museum may understandably want to make sure they don’t miss anything. At a museum with large crowds in a small space, manners (hopefully) keep a few individuals from monopolizing the viewing space around a piece everyone wants a turn to see. If the only way to view a collection is by guided tour (as is the case at many DC-area sites, for security reasons), trying to linger behind rather than moving along with the group can land a visitor on a personally-guided tour right out of the building.
And then there are the social considerations when visiting with others: one friend has never been to this museum before and wants to stop to look at everything; the other friend is getting hungry and anyway has been here a hundred times already. One half of the couple wants to meet up with a larger group and the other is not feeling very extraverted today. Mom needs to read every word of wall text, while Dad would like to go see a second museum before it closes this afternoon. None of these approaches are right or wrong or more valid than another.
As the main attraction near the Grosvenor-Strathmore Metro, the Music Center at Strathmore is nice in that it offers some choice: in the thick of things or off on the path, visual or performing arts, inside or outside.
Grosvenor-Strathmore is on the Red Line.