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Beautiful Asian Landscapes on View for 2009

Joan Cummins on February 19, 2009

Museums are full of small-scale changes of exhibition that are worth seeing but easily missed because they don’t get any publicity. Sometimes it’s as simple as replacing one of our usual displays with a rarely-seen object because the better-known piece is being loaned to another institution. Other times it’s a matter of repainting a wall so the objects displayed there look completely different. I think many of us are guilty of believing that we don’t need to visit the permanent collection galleries of our local museums because we’ve already seen them, but in truth most of those galleries are in constant flux. It’s worth revisiting even the most familiar collection because you never know what new discoveries you might make. Xie Shichen (Chinese, 1487 - c. 1567), Landscape. Fan, now mounted flat: ink on gold dusted paper. Overall: 7 1/2 x 19 1/2 in. (19.1 x 49.5 cm). The Brooklyn Museum: Gift of H. Christopher Luce, 1993.193.

A great example of a big change that takes place in Brooklyn’s permanent collection galleries without even a whisper of P.R. is the Museum’s annual rotation of Asian paintings. Every January we change out all the paintings in the Asian galleries, usually selecting the new group to represent a single theme that runs through several different cultures. It amounts to a mini-exhibition, but one that appears interspersed with the rest of the Asian objects on permanent view. This year the theme of the rotation is landscape. We put up 19 paintings in January and they look absolutely gorgeous. Great tomes can and have been written about the significance of landscape in East Asian art and culture. I’m not going to try to cover it all here. Suffice it to say that the landscape painting tradition has its roots in the belief that time spent in a natural setting is therapeutic and enlightening, offering benefits and lessons that no amount of culture or scholarship could. This is an idea that lots of Westerners share, but the Western world came to it much later. (Think about how “new” Thoreau’s Walden seemed in its time.) Chinese, Japanese, and Korean landscape paintings are mostly not the antique equivalent of Sierra Club calendar photos, however, because most of their artists weren’t recording the actual appearance of mountains and shorelines. Most of the paintings were created indoors, and first-hand knowledge of the wilderness was not always a prerequisite for a successful painting. Like much great art, East Asian landscape painting is a means of communicating many levels of meaning in a reasonably compact way. The viewer of a landscape painting can approach it from several directions at once:

Noro Kaiseki (Japanese, 1747-1828), Landscape. Hanging scroll: ink and light color on silk. Image only: 50 x 19 1/2 in. (127 x 49.5 cm). Brooklyn Museum: Gift of Dr. Richard and Ruth Dickes, 84.134.1

- First, one must make sense of the scene. This isn’t always easy, since often much is obscured by bands of clouds or general haziness. Twisting rock forms that “should” read as far-away peaks often seem to be impossibly top heavy, leaning in from above with no discernable base. In figuring out the spatial progression of the scene (or lack thereof), one starts realizing that this isn’t a real place. This isn’t a window onto a landscape but rather a landscape used as a window onto other concerns. - After one is oriented, one can try to place oneself in the scene, to imagine what it would be like to be there. Artists often provide winding footpaths and little pavilions so the viewer can wander around and settle into parts of the landscape. Having entered it, one can discern the moisture in the air, the loose rubble under foot, the vast distance that lies between shores or mountain peaks. For all the abstraction of a landscape, it should still offer the viewer a familiar feel or experience.

- A knowledgeable viewer might recognize certain features that identify the scene with a specific site (although most paintings represent a fantastic landscape, imagined by the artist) and then remember that that site was mentioned in a celebrated poem. The landscape then brings to mind the emotional content or “lesson” of the poem. The viewer can assess the artist’s presentation of the scene with reference both to the poem and to other paintings that allude to the same verse: does this painting capture the same emotions as the words? Does it add anything to our interpretation of those words? Does it do so differently than other paintings of the same subject?

Kim U-beom (Korean, 19th century), Landscape with Bare Plum Trees. Hanging scroll now mounted flat: ink and light color on paper. 30 5/16 x 13 in. (77 x 33 cm). Brooklyn Museum: Gift of John M. Lyden, 84.197.3.

- Similarly, one might recognize certain features in the landscape that are highly symbolic, for instance gnarled pines (representing longevity) or blossoming plum trees (hope for new beginnings) or bamboo (resilience). This symbolism adds flavor to the overall effect of the painting. Again, some of these elements, singly or in combination, might bring to mind famous passages of literature.

- One might recognize segments of the painting that look like the work of other, well-known artists. If you spend some time looking at Asian painting, you discover that there are literally thousands of ways of applying ink to paper (or silk), and that each way offers different coloristic and textural effects. Certain types of brushwork came to be associated with individual masters and their schools, as did certain compositions and other features. A painting that quotes any of these features becomes a riff on Art History; by referencing earlier paintings it recalls moments in time and well-known artistic personalities. The viewer can weigh the contributions of the painting at hand against those of its predecessors, and the comparison might reveal something new. Watanabe Shiko (Japanese, 1683-1755), Landscape. Hanging scroll: ink on paper. Image: 13 x 17 1/2 in. (33 x 44.5 cm). Brooklyn Museum: Gift of Mrs. Harold G. Henderson in memory of Professor Harold G. Henderson, 74.201.3.

So a well-made landscape painting speaks to the knowledgeable viewer on many levels: it offers an imaginary journey as well as a wealth of literary and artistic allusions to bigger issues. What’s interesting to many Western viewers, who were raised to expect landscapes to be picturesque, is that most of these paintings were not designed to elicit an “ooh, pretty” response (although many of these paintings are indeed quite pretty). Instead, an awful lot of East Asian landscape painting inspires emotions that even the most avid tree-hugger would tend to avoid in everyday life: feelings of isolation and discomfort, a sense of one’s own mortality and insignificance. So why go there? Because looking at pretty things usually doesn’t teach us as much about ourselves as looking at disturbing things does. And some of the most complex and fascinating experiences can be found in a combination of disturbing and pretty.

In any case, I invite you to come by the Museum any time before January 2010 to admire a fine selection of Asian landscape paintings in the second floor galleries. I have illustrated a few of them here, but they’re much better (and bigger!) in person.

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Purchasing a Major Work of Art for the Collection - part VII

Joan Cummins on January 6, 2009

I can’t believe that it’s been more than a year since my last posting on this topic. I guess I got distracted by other tasks. I was recently asked to “wrap it up,” so here it goes…

In my first installment, I mentioned that no curator shops alone. The official process for adding an object to a museum collection really underscores that idea. It’s that final process, known as “accessioning,” that I’m going to talk about here.



Shiva as Chandrashekhara. Southern India. Chola period, c. 970 A.D. Bronze. Height 25 in. Brooklyn Museum. Gift of the Asian Art Council and other donors in honor of Amy G. Poster, 2007.2.

After we were offered the Shiva by a well-known New York dealer, I had a few people join me on a visit to his workspace to see the object. In our group were the curator emeritus whom the object was going to honor, the co-Chairs of the group of supporters who were largely responsible for funding the purchase, the former Chair of the group (who happens to know a great deal about Indian sculpture), and our senior object conservator (Lisa Bruno, a fellow Brooklyn Museum blogger). All of us were looking for different things, especially the conservator, who wanted to make sure the Shiva wasn’t actively deteriorating and who was looking for signs of major repair or tampering that might have compromised the authenticity of the object.

Once the Shiva passed all our criteria, we told the dealer to “hold” the piece for us and we asked for photographs. I rushed back to our Director, Deputy Director, and Chief Curator and showed them the photos while also making a pitch for why the object would make such a good addition to the collection, how we could use it in various different types of exhibitions, why it was an appropriate acquisition to honor Amy, etc. They seemed impressed. Had they not been impressed, it would have been pretty difficult for me to move forward with the purchase. I have had directors reject objects that I really, really wanted, and while it seemed terribly unfair and somewhat arbitrary at the time one has to remember that the Director has broad experience and really is just looking out for the wellbeing of the Museum.

Only after I got their go-ahead did I arrange for the object to come to the Museum. We generally try not to have works of art delivered to the Museum unless we are quite sure that we want them. The Museum usually has to foot the bill for returning the objects we decide not to acquire, and packing and shipping of works of art can get pretty expensive.

After the object arrived at the Museum, it received further inspections by conservators and administrators while I generated the official paperwork to present it to our Collections Committee. Most art museums have a Collections Committee, comprised of members of the Board of Trustees and sometimes other high-ranking constituents. The Committee is tasked with keeping the Museum on track with the kind, quality, and number of objects it acquires (and disposes -- more on that later). The Committee looks at gifts as well as purchases.

The curators and Director wouldn’t present anything to the Collections Committee without a strong sense that it should be added to the collection, but the Committee is there as a final check on the Museum staff, to make sure that we haven’t overlooked a serious problem with the object or the terms of its acquisition. They meet several times a year to look at, and vote on, the latest batch of acquisitions. Only after the Committee has voted can an object be added officially to the collection.

After the Collections Committee meeting, and only after the meeting, the Museum cuts a check for the vendor. Sometimes—often—many months pass between the day the curator first expresses interest in a work of art and the day the dealer receives any money for it. Dealers are willing to put up with the delay because of the prestige of having sold an object to a museum. But there are certainly situations in which a Museum loses out on an object because a private collector can pay for it on the spot and the dealer really needs the cash.



Designer Lance Singletary works with Brooklyn Museum Art Handlers to install Shiva as Chandrashekhara.

After the object has been approved by the Committee, it is assigned an accession number (you’ll notice these associated with all of Brooklyn’s objects; they start with a 2-digit or 4-digit date) and a location in storage. In an ideal world we would put all our new acquisitions out on view immediately after they arrive, but installing works of art in a public gallery costs quite a bit of money. Sculptures often need mounts made, pedestals built, etc. It seems kind of tacky, but sometimes we have to tell a potential donor that we can’t accept their work of art as a gift unless they also give us the cash to pay for its installation. Museum casework has to ensure proper climate and security, and an apparently simple pedestal with a Plexiglas bonnet can cost several thousand dollars. Luckily, we already had a pedestal in the Indian gallery that was just right for our Shiva, and he didn’t need any fancy mount because his base sits flat and steady. So we moved him into the gallery shortly after we acquired him and we don’t have any plans to move him in the future, so he’s probably there right now.

A final word on the accessioning process: it is slow, involves a lot of paperwork, and requires the efforts of dozens of individuals, but it is designed to make sure that we are serious, cautious, and deliberate in our intake of art objects. Every art museum (there may be one or two exceptions) has junk in storage. The majority of it was given, rather than purchased. Often the curator knew or suspected it was junk but accepted it anyway because they didn’t want to offend the donor. There’s something to be said for cultivating long-term relationships with donors, but storage space is finite and we’re supposed to treat all objects with a very high level of care that can be a burden on the budget and staff time. So nowadays we are pretty hardcore about what we accept. And like most museums, we do some deaccessioning, or removal of objects from the collection.

Probably most of you have read news stories criticizing museums for selling off great works of art from their collections. Even when deaccessioning is handled properly (with proceeds used only to support future acquisitions of works of art), it can be newsworthy because a community experiences a loss of "cultural heritage" when a beloved masterpiece leaves the area or leaves the public domain. What you don’t hear about in the press is the far greater number of not-so-great works of art that leave museum collections on a pretty regular basis. And you also don’t hear just how much work museums have to put into the process of releasing objects, many of which will fetch three figures on a good day. We have numerous people from several sectors sign off on the release (including the Collections Committee), we put considerable effort into finding appropriate homes for the objects in other public institutions, and then if we do sell we prefer to do so at auction so the transaction can be as public as possible even though an auction might not be the most lucrative venue for sale. In short, deaccessioning is a laborious and mostly unrewarding process and the aim of the curator is to take in as few future deaccessions as possible.



Let’s not end this long series on a grim note! Instead, please let me encourage you to visit the Asian Art galleries, on the second floor of the Brooklyn Museum. We’re gradually getting more and more of the collection out onto the web, but really nothing beats seeing the objects in person. One of the great things about an in-person visit to a museum is the happy accidents—you go to see a specific show or work of art but you catch sight of something you’ve never seen or heard of before and it becomes the thing you remember, the object that changes your outlook in some way. So come visit our Shiva, and maybe you’ll find some other works of art that are even more exciting.

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Last chance to catch our Add-Art show!

Shelley Bernstein on June 2, 2008

Last week I blogged about our participation in Add-Art, the plug-in for Firefox that blocks ads and replaces them with art. We just got an e-mail from Steve Lambert reporting that Add-Art has been downloaded thousands of times since the launch which means our 100 Views of Edo show is getting seen in browsers across the globe. Our show runs through this Wednesday (June 4), so download now and install to catch it. Steve's got a great roster of upcoming curators and it should be fun to see what comes next.

Need help installing or just want a better idea of what all this is about? Check out this tutorial from Steve:

Introduction to Add-Art from Steve Lambert on Vimeo.

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