Archive for the ‘Museums’ Category

Service of Discoveries

Thursday, February 16th, 2017

DiscoverySharing a few things I’ve learned or noticed within the last week.

Shoe Shine

The Hudson Yards subway station on the number 7 extension over by the Javits Center is buried deep underground so to reach the street you take Subway escalator Hudson Yardstwo very steep escalators. On either side of the moving stairs are one-inch brushes. If I had on leather shoes–even better with shoe polish handy–I could shine them simply by sidling to the left and then right of the step. I wouldn’t try it on the way down–it’s too steep. No doubt the brushes are on all the subway escalators…but they are not new and clean nor is the ride as long as at Hudson Yards.

If You Have to Ask You Can’t Afford It

I received a request to become a member of an internationally recognized NYC museum on an expensive, color 20″ x 6″ card folded in half. Nowhere were membership rates listed. “Is this the latest trend in fundraising?” I thought as I tossed the card, “or a mistake?” Or perhaps they don’t want members who care about cost.

Oh?

GraduationI graduated from the College of Liberal Arts [CLA] of an east coast University and discovered, when filling out a personal information update, that CLA no longer exists.  It’s called the College of Arts & Sciences these days. I mentioned this to a savvy friend and fellow graduate who keeps up on all things and she wasn’t aware of the change. Suggested to the alumni office that they make clear, when asking “which college did you attend?” that they add “formerly CLA” opposite the arts and sciences reference.

Have you made any surprising discoveries lately?

please join us

Service of Comfort Food and Atypical Museums

Monday, August 1st, 2016

ice cream

I love both a great idea and ice cream so when I read about the two in Charles Passy’s Wall Street Journal article, “Ice Cream Craze Soothes a Steaming City–Purveyors and entrepreneurs say the demand now churns year-round,” I had to share.

He mentioned Maryellis Bunn’s The Museum of Ice Cream. It’s such a hit that the pop-up–July 29 to August 31–has long been sold out. It’s in New York’s trendy meatpacking district, a stone’s throw from the High Line and Whitney Museum.

According to its website, the museum is “curated by a collective of ice cream obsessed designers, artists, and friends.” It boasts interactive highlights such as “a swimmable rainbow ‘sprinkle’ pool, edible balloons, an immersive chocolate room and a collaborative massive ice cream sundae.” There will be tastings of futuristic ice cream created by Dr. Irwin Adam, Future Food Studio founder. I checked out his Facebook page. The Toronto-based consultant is working on two pasta sauces: mealworm and cricket Bolognese.

GelatoPassy also wrote about some of the popular ice cream taste sensations in and around the city this summer: “black-colored coconut ice cream that takes its distinctive hue from coconut ash” at Morgenstern’s Finest Ice Cream. In addition there’s “10Below, which focuses on the Thai-style rolls made using a flash-freeze technique—hence, the company’s name. The ice cream is prepared by pouring the mix on a super-chilled plate, then rolling the finished product, like it was dough.” Popular as well are “gargantuan and creatively conceived milkshakes, priced as high as $15. They go by names such as Sweet N’ Salty and Sour Power” at Black Tap Craft Burgers & Beer.

ProfiterolesHaving mentally gorged on some of my favorites–peppermint stick, caramel and coffee ice cream–I followed the museum idea and took a gander at the 26 “strangest museums” featured on www.travelandleisure.com. Some include the International Banana Museum; Museum of Pez Memorabilia; Devil’s Rope Barbed Wire Museum; National Museum of Funeral History and the SPAM Museum that on its website calls itself M.O.M.A. for the Museum of Meat-Themed Awesomeness.

If you go to The Museum of Ice Cream, please share your review. What’s your favorite flavor and brand—or ice cream memory? Do you eat ice cream year around? Have you been to any memorable offbeat museums here or abroad or is there one you would like to visit or create?

10Below Thai-style ice cream rolls

10Below Thai-style ice cream rolls

 

Service of Museums & How They Attract Audiences

Monday, November 16th, 2015

Agave Pod Vase by Christine & Michael Adcock

Agave Pod Vase by Christine & Michael Adcock

 

Ellen Gamerman shared a glimpse of “The Museum of the Future” in a Wall Street Journal article reporting how technology is one of the ways these institutions plan to revolutionize and transform a visitors’ experience. A goal: Attracting audiences.

For starters she told how Metropolitan Museum visitors saw a Jackson Pollock picture through 3-D headsets; mentioned a “virtual-reality film that recreates ocean creatures from 500 million years ago,” at the London Natural History Museum; wrote about movies with “special effects in a 4D theater with piped-in gunpowder smells and seats that jiggle whenever cannons are fired,” at the imminent American Revolution Museum, Yorktown, Va. and more. Lots to look forward to.

Seascape necklace by Beth Farber

Seascape necklace by Beth Farber

There are also valuable, effective traditional ways museums introduce potential enthusiasts to their exhibitions. For the third year Brooklyn Museum is the venue for the American Fine Craft Show November 21-22 where 90 exhibitors, handpicked by my clients Joanna and Richard Rothbard, will exhibit and sell some of the best crafts designed and made in America. Tickets to the craft show include general admission to the museum, including “Coney Island: Visions of an American Dreamland, 1861-2008,” an exhibition that opens on the eve of the show.

Selecting to feature the work of only a few exhibitors from the riches of images I have is always difficult but what fun: Almost as good as shopping.

JEWELRY

Mediterranean Decay Coral Necklace by Barbara Heinrich

Mediterranean Decay Coral Necklace by Barbara Heinrich

Whether gemstones, coral or polymer, jewel tones from nature will punctuate the display cases of many of the 19 jewelry designers.

Barbara Heinrich transformed perforated red-orange coral from the bottom of the ocean into necklace beads [photo above, left]. The Pittsford-NY jeweler added an 18kt gold egg-shaped bead that mimics the coral’s perforations and a toggle clasp.

Another necklace informed by the deep, but in brilliant turquoise, is Beth Farber’s “Seascape,” hand-woven with apatite, a boulder opal and gold [Photo above, right]. Farber, whose studio is in Minnetonka, Minn., says her work combines the ancient with the contemporary. Adapting ancient bead weaving techniques, she hand-weaves fine gemstones, silver and gold with a contemporary sensibility and edge.

FASHION

Bern and Trusk vests by Teresa Maria Widuchn

Bern and Trusk vests by Teresa Maria Widuchn

Fashion takes pride of place where 25 of 90 handpicked artisans will exhibit handmade coats, jackets, dresses and accessories in the museum’s regal Beaux-Arts Court. Standouts reflect Asian influences in style, fabric and/or construction as well as elegant design simplicity.

Spare simplicity in form and motif translates to classic elegance that Teresa Maria Widuch understates on her website as “an efficient use of materials with a clean line,” [Photo of Bern and Trusk vests, right]. In her Chicago studio she creates one-of-a-kind wool felt and Ultrasuede jackets, vests and coats at her Chicago studio. Jane Herzenberg, Northhampton, Mass., explores the relationship between painting, Shibori dyeing, Rozome and hand embellishment to create art to wear. [Photo right, below].

Barcelona jacket by Jane Herzenberg

Barcelona jacket by Jane Herzenberg

Both Shibori and Rozome [batik] are Japanese techniques.

DECORATIVE/FUNCTIONAL WORK

Glass, ceramics, wood, leather and wool are transformed to one-of-a-kind decorative and/or functional pieces by artisans who describe their work as “improvised” and “intuitive.”

Ceramist Pat Warwick “has never been far from the sea.” [Today she lives by the sea in Warren, RI]. She wrote on her website that the drawings she made to illustrate and design materials for the Woods Hole Oceanographic Institute’s Marine Resource center “became the basis for her first installation- a school of fish for her own kitchen.”

Christine and Michael Adcock, Leaves of Grass Fiber-Clay Arts, Santa Barbara, Calif., are collaborative mixed media artists. [An example of their work is at top.] Christine is a basket maker and Michael a studio potter. Christine Adcock said that nature is the ultimate teacher and inspiration. “I delight in its every detail, from the beautiful markings on a tiny bug or moth to the majesty of mountain and meadow. My work is an effort to take tiny, beautiful, elements of nature – a seed pod we tread upon or a leaf of grass – and put them in a context where people take time to experience and enjoy their perfection.”  

Haven’t museums always felt they needed to entice people to visit? Is this an American habit because the public is used to being marketed to? Are there lines a museum should take care not to cross in “merchandising” collections even if tempted by technology?

 

 

Pat Warwick ceramic wall piece

Pat Warwick ceramic wall piece

 

 

Service of Ears to the Ground: Boards that Listen

Thursday, June 11th, 2015

ear to the ground

Last September I wrote a post “Service of Bigger is Better,” about institutions feeling pressure to grow bigger no matter what or how, a kneejerk impulse I disagree with.

Little Red Schoolhouse Photo: Thomas Schoeller, New Preston, CT

Little Red Schoolhouse Photo: Thomas Schoeller, New Preston, CT

At the time the school I attended from first through 12th grades was seriously exploring a move to a larger building. Responding to uproar from alumnae the board of trustees subsequently scotched that move. Good for them! My guess: trustees feared a deafening sound–the click of closing purses–although there were countless other sensible reasons to stay put.

In that fall post I also mentioned the Frick’s plans to expand which are again derailed. Granted the reason for the turnaround was to save the garden, not a protest over expanding simply for expansion’s sake. It  certainly counts as an example of directors listening.

Sarah Cascone shared details in artnet.com in “New York Times Reports Frick Museum Board Backs Down Over Plan to Destroy Garden.” She quoted an anonymous museum official: “There was just a number of voices out there, and we heard them.”

This is the fourth overturned Frick expansion since 2001. Cascone referred to all the other fat cat museums–Whitney, MoMA and The Metropolitan Museum of Art–and their dramatically increased exhibition space that must sorely tempt the Frick to follow suit.

Frick garden. Photo: Timesunion.com

Frick garden. Photo: Timesunion.com

Cascone wrote that her publication “was among the first to advocate for the preservation of the garden as an important green space and visual respite in the neighborhood” followed by the president of the Cultural Landscape Foundation, Charles Birnbaum, who let it be known that the garden was the only example in NYC of landscape architect Russell Page’s work. Bringing up a 38 year old press release, Birnbaum parried Frick Museum director Ian Wardropper who called the garden a “temporary placeholder for an addition.” The release described the “garden as a permanent addition to the institution’s grounds.”

The list of voices against destroying the garden grew louder, from a former Frick Museum director to a “Unite to Save the Frick” initiative involving high profile protestors such as architects Robert A.M. Stern and Maya Lin as well as former directors of the city’s Landmarks Preservation Commission.

Quoting Wardropper, Casone wrote: “Preserving the unique residential character and intimate scale of the Frick will remain our top priority.” And that’s my point.

Have you seen happy endings like these? Do you think the Frick trustees will try for a fifth expansion? If an institution can’t grow physically, what does an art museum director or president do to make his/her mark? Is growth and change necessary to keep an institution alive?

Photo: Pinterest

Photo: Pinterest

Service of Art Theft Recovery

Monday, June 8th, 2015

Isabella G missing art

The empty frames which bordered some of the stolen artworks previously exhibited at the Isabella Stewart Gardner Museum in Boston [photo above], where the pictures used to be,  give a memorable, haunting sensation of loss. They’ve been missing for 25 years. Check out the website and you’ll see posted a $100,000 reward for information leading to the recovery of a finial of a Napoleonic eagle that was also lost in the 1990 burglary.

Speaking of burgled art, Mark Fishsteinm, with K2 Intelligence LLC, said: “You can never give up hope because if they are stolen, some people hold them for a predetermined amount of time and then think it’s safe to sell.” The retired New York City Police Department’s art crime division specialist told this to Wall Street Journal reporter Jennifer Smith for her story, “Picasso Recovery in Newark Shines Light on Art Theft.”

La Coiffeuse by PicassoWhile the article focused on the fascinating business of art recovery, clearly the type of work only for the patient, the discovery in NJ didn’t share any how-to clues. Smith wrote about the theft of a cubist Picasso picture [photo at right], “La Coiffeuse,” [1911], from a storeroom in the Centre Pompidou in Paris that was reported in 2001. It was found in February in Newark, N.J. in a package sent from Belgium marked “Art Craft Toy,” with a value of $37. According to her, “It isn’t clear how customs officials at Newark, among the busier ports in the U.S., unearthed a stolen artwork the size of a place mat. A spokesman for U.S. Immigration and Customs Enforcement’s Homeland Security Investigations declined to comment, citing a continuing investigation.”

Smith observed that in general law enforcement—police, FBI and Interpol–doesn’t work alone. Agencies collaborate with insurance companies and a few businesses such as Art Loss Register and Art Recovery Group [both in London]. The former lists stolen antiques as well as art in its database and is adding reports of forged/fake items to its service. The company boasted that last year it had 400,000 paid searches and found some 150 pieces.

Thomas Crown AffairIt doesn’t help the cause in this country that there is no central reference list for the law-enforcement agencies to track art crimes even though they represent a chunk of change. Smith wrote that the FBI can no longer verify a previous estimate of $billions lost from art and cultural crimes. She didn’t explain why but my guess would be that prices are so crazy these days that nobody can keep track or count that high.

What inspires people to pay the prices they do for high profile art when they are simply making targets of themselves? If it can’t be sold, what’s the point of stealing art? Why do you think there isn’t a single registry here for all legitimate interested parties to access?

To Catch a Thief

Service of Arts Attendance

Thursday, January 22nd, 2015

standing ovation

Alexander Forbes wrote “Why Falling Arts Attendance Has Major Implications for the US Economy,” in artnet.com. He based his arguments on the result of National Endowment for the Arts {NEA} studies.

Attendance at musical performances—jazz, classical, opera, musical theatre—as well as plays, ballet, art museums and galleries, all of which he called “benchmark activities,” have declined between 1992, where 41 percent of US adults attended at least one, and 20 years later, in 2012. That year, 21 percent visited a gallery or art museum and 33 percent went to any benchmark activity.

audience in the park 2Of those who attended an event, 73 percent “said their main reason for doing so was to socialize with friends or family, while 22 percent who wanted to participate in an arts activity but didn’t, say it was because they didn’t have someone to join them,” wrote Forbes.

So who is attending, according to the NEA? “Despite similar household incomes and education, people who call themselves middle-class were more likely to attend the arts than those who identified themselves as working class.” Forbes noted the obvious fact that people who define themselves as working class may be working on weekends and evenings when events take place and museums and galleries are open.

kids at concertHe reported that the misunderstanding by some that arts are “for elites by elites,” is worse than before. “Anti-arts rhetoric has become particularly malignant in the years since the economic collapse with many populist-leaning politicians worldwide attacking the arts as unnecessary luxuries that one percent-ers like to enjoy and make the rest of us pay for.”

So what do the arts contribute to US GDP? Forbes wrote $698 billion in 2012 or 4.32 percent of GDP. Note: He clarified that the figure included film, television and advertising industries along with the usual suspects.

Yet he didn’t point out essential information: What percentage of the $698 billion do TV and advertising represent? [I’m giving film the benefit of the doubt and determining that people attend movie theatres though clearly Netflix sales count in this number.] He compared the total to the construction industry with “only” a $586 billion contribution to GDP and transportation and warehousing–$464 billion.

museum visitorsForbes highlighted the trade surplus generated by the arts–$25 billion—which, given that we don’t export a great deal these days since we stopped manufacturing much, is significant. He also reported that “for every 100 new jobs created in the arts, 62 new jobs are created, on average, in other industries.” And: “For every dollar of increased spending on artworks, $1.98 of total economic output is created. In the case of museums, every new dollar of demand creates $1.76 of gains.”

Do you think that the impact on this country’s economy of fewer people attending “benchmark arts activities” will be as damaging as Forbes suggests should the downward slide continue? Do you attend such events to socialize? If nobody is free to go with you, do you stay home? Are there other potentially dire consequences of this downward trend?

dancers on stage

Service of Bigger is Better

Thursday, September 11th, 2014

Bigger better

I don’t believe institutions need to occupy more space to be better, and see few benefits apart from the jobs expansion generates.

The private school I attended has hired a company to find it a larger building. It currently inhabits a big and several smaller ones. With so many talented architects and interior designers who know how to squeeze the most out of space, getting something bigger seems like a waste of money. Spending the money on teacher salaries, scholarships and upgraded computer capabilities would be a better plan. My checkbook will remain closed when I receive the anticipated requests to support a bigger and better building.

Delaware Art MuseumThen there’s the Frick that’s about to swell and the Delaware Art Museum [photo right] that felt forced to sell artwork to pay for its expansion that, in the end, didn’t positively affect attendance. The latter museum’s administration is being scolded by its peers for selling its treasure, a stopgap measure at best. Deborah Solomonaug covered the intrigue in The New York Times in “Censured Delaware Art Museum Plans to Divest More Works.

Adding to the debate, here are highlights of our recent visit to a bigger–so it must be better–museum.

Guides directed us to a parking lot at the expanded, new and improved Clark Museum in Williamstown, Mass. [photos below left and right] which we’ve visited many times before. Formerly we parked outside the main entrance where the admissions booth was. Where we parked last week clearly wasn’t the main lot. As a result, we began a preposterous trek that helped accentuate the ungainly plan of the  new place.

Clark MuseumWe followed a path to the closest entrance which landed us in museum offices. A helpful administrator jumped up and showed us to a door which led us through a research library. They were expecting company: At the end of the library’s main aisle was a guard stationed to wave us forward and no doubt to watch that we didn’t take a detour through the stacks.

As we left the library he pointed to our next door, which took us outside again. He told us to be sure to admire the new water pools—where the original parking lot was. He mentioned the number of doors we should bypass to get to the cashier. Off we went on another stroll. I couldn’t help think what such a ramble in and out would be like in bitter heat or cold, rain or snow. The guard said we could take a golf cart back to the parking lot. I saw one wandering around the property carrying a large family. The kids enjoyed the ride. It didn’t seem efficient.

We entered the correct door but still no admissions desk in sight. Following an arrow we walked down a long hall passing the gift store and finally, to a gracious foyer at the back of which were information and admissions desks. This was the new part of the museum where additional special exhibition spaces are.

However, to visit the main museum, our old friend, off we went again past the gift shop, down the long hall and into another entrance where, that day, you couldn’t buy a ticket.

Clark museum 2Critics gave the expansion rave reviews. Evidently the media didn’t zigzag as we did. The addition is attractive yet the architect had a lapse when joining the old with the new.

More to the point: Was the expansion practical or necessary? How many people will be able to avail themselves of exhibits in the expanded space? Williamstown is charming but inaccessible by public transportation, though as we left town, we saw a Peter Pan bus parked outside the local inn.

Do you think that institutions must increase their footprints for survival or in some cases, is such expenditure the first step towards doom? What is really behind such expansion: ego and folly perhaps?

Big floorplan

Service of Visiting NYC in Summer

Thursday, July 3rd, 2014

NYC in summer

There are great things to do that don’t cost a fortune when you visit New York City at this time of year. Here are a few and some tips of what to watch out for.

UniqloCheck out free days/evenings at major museums like MoMA which has Uniqlo Friday nights or Brooklyn Museum’s Target free Saturdays once a month. [And visit Uniqlo on 5th Avenue and 53rd Street for fun clothes for women, men and children in a range of styles at moderate prices—downright inexpensive style if you catch a sale.]

Stroll Grand Central Station to see the remarkable architecture and on the ground floor a tourist information window with maps and useful free guides. There are plenty of shops—visit Cursive for gifts and cards—and kiosks with NYC-made merchandise as well as pricey food stalls upstairs and prepared takeout downstairs with plenty of seats. Mendy’s hotdogs are worth a detour.

Bryant Park ChairsThe price is right for a brownbag lunch in Bryant Park behind the 42nd Street Library. Find a chair and table under a tree, catch a breeze and watch the scene, a game of ping pong or bocce. A short stay is restorative.

Fruit stands all over the city sell cherries, raspberries, grapes, figs and more at amazing prices. If you’re near Union Square, drop in on Trader Joe’s wine shop on east 14th Street and the food store a few doors down for treats, serious food and polite service. If you want to stock up on a few cases of wine note that you can’t park for even a minute in front but ask a staffer to load your purchases on a hand truck. They’ll walk the cases to your vehicle.

As in all my favorite cities, walking is the best way to get around. New Yorkers can be testy when they can’t negotiate a cluster of people stopped in the middle of the sidewalk so best keep walking or go to the side to get your bearings or regroup. Read a map on the sidewalk and I bet someone will stop to guide you.

Staten Island ferry 2A ride on the Staten Island ferry is free; the view of lower Manhattan priceless.

Avoid taking rip off pedicabs. I’ve written about them and several times about the bicycle sharing program. I can’t recommend that tourists rent a bike unless they know the traffic rules and are used to riding in vehicular and foot traffic in a city packed with impatient residents.

NYC taxiTake care that your taxi is charging you the city rate. You’ll know if the meter is set at the higher suburban rate, wrote Rebecca Harshbarger in the New York Post, if you see a flashing “rate code 4” message on the TV screen in front of you. [I don’t recall ever seeing it.] She referenced a scandal four years ago when cabbies were caught stealing $millions by up charging the meter. Last year the Taxi and Limousine Commission [TLC] caught drivers overcharging 659 times vs. 2,000 the year before. “The agency uses a GPS-data algorithm that analyzes trip information to catch rogue drivers, who are then automatically hit with a summons,” wrote Harshbarger—a trend going in the right direction.

What are your must-visit places in NYC or best warnings for visitors and residents?

 nycfireworks

Service of Art III

Monday, April 7th, 2014

Detroit Institute of Arts

Detroit Institute of Arts

The subhead in a New York Times op-ed, “Costs, Benefits and Masterpieces,” by Robert H. Frank was: “For Detroit and its endangered art collection, a classic question of economic trade-offs.”

In a nutshell the Cornell economics professor’s point was that a museum, such as the Detroit Institute of Arts, could do just as well collecting the less expensive work of emerging artists leaving the mega rich to pay humongous prices for famous paintings and lend them to museums, as necessary, for exhibits. Therefore museums, such as the one in revenue-starved Detroit, could sell its Picassos, Rembrandts, Gauguins and more to better benefit its citizens. 

"The Wedding Dance" by Pieter Bruegel the Elder. Photo: Wikipedia

“The Wedding Dance” by Pieter Bruegel the Elder. Photo: Wikipedia

Using “The Wedding Dance” by Pieter Bruegel the Elder as an example, he wrote that Christie’s estimates that the work could bring $200 million, noting that “Once interest rates return to normal levels — say, 6 percent — the forgone interest on that amount would be approximately $12 million a year.”

He concluded: “If billionaires choose to bid up the prices of trophy art, that’s their privilege. And because most of them will die with large fortunes unspent, they can buy what they want without having to buy less of other things they value. But because money for worthy public purposes is chronically in short supply, city officials and true philanthropists must grapple with agonizing trade-offs.

“Yes, communities benefit from famous paintings, but they also benefit from safer roads and better schools.”

Christie's Auction. Photo: artmarketblog

Christie’s Auction. Photo: artmarketblog

I like the idea of identifying talented emerging artists and filling museums with their work yet I see it as a short-term solution. Once the $billions are gone–and they soon will be–how then will the gluttonous city coffers replenish themselves? If a city like Detroit has such great collections, shouldn’t they be a tourist draw?

Perhaps Detroit can generate income by renting the master paintings to billionaires letting them display them in their homes and offices. With the rental money Detroit might make itself conducive to tourism. That’s key. When I used to visit Brooklyn Museum on a weekend some 20 years ago most of the exhibits were echo chambers. Last December, when my client produced the American Fine Craft Show Brooklyn at the museum on a famously snowy weekend, I was amazed by the hoards coming in the doors in spite of the storm.

Your ideas?

 

Brooklyn Museum in snow

Brooklyn Museum in snow

 

 

Service of Full Measure III: Fleeced by a Vegetable Stand and Museum

Thursday, September 5th, 2013

Cup runneth over

Seems I just wrote one of these. Sign of the times.

Not Fruitful

I’ve commented about a great fruit and vegetable stand on Second Avenue and 49th Street in Manhattan. I never knew who owned the stand but the young men who staffed it were friendly, some more helpful than others, the prices were excellent as was the quality.

ugly vegetable standSomeone else seems to have bought the stand–the same older man I’d never before seen is there morning and evening. The prices stayed the same but the quality and variety have plummeted. Asparagus were old and shriveled; peaches that looked OK on the outside were rotten. I got the feeling that the produce was bought from a seconds stand at Hunts Point, if there is one.

Since I began to write this post, the stand disappeared altogether and it’s back, with the original staff. If the owner rented the stand to someone so the staff could take a vacation he’d best try something else next year.

Watch Out

Jammed museum exhibitWe made a day trip to a well regarded museum in a college town to see a heavily publicized and advertised exhibit we’d looked forward to. Much of the museum is under construction. The exhibit was tiny–three modest rooms–and was far from a retrospective of the artist. In addition, open to the public in the main facility were another three spaces with select pieces from the extensive permanent collection and one more room with a few pictures from another artist.

Salt to the wound: Because there was so little for the public to see, the rooms were jammed and it was hard to get near the paintings and drawings. This is never the case in the spacious galleries.

We were there for less than one hour. Nevertheless the museum charged its standard $20pp.

What was the replacement fruit/vegetable man thinking? Didn’t he realize he’d lose the regular customers or was he, like so many in business, counting on the trade of hundreds of new customers rather than keeping the loyal ones because he’d soon be gone? As for the museum, it has our money and doesn’t care about our reaction and disappointment. Should it?

Disappointment2

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