Guston, Klu Klux Klan, Matthew Teitelbaum discussed on Boston Public Radio Podcast
Not to show these images, well, you know what? museums I believe haven't done the work to create the to use the word hospitality the way in which we create the proper and fair conversation imagery, what imagery and frankly. I. Again. Just alone I made it reminded museum colleagues and in dialogue with the NSA staff. My feeling was that this wasn't the time. Without more preparation to actually engage a way of understanding what it meant for this artist to make these images fifty years ago but to present them in this moment. This moment in which the Klu Klux Klan are being a vote again in which they are symbol of a certain set of values and I think that we have to understand. But the pack of the were made with such power conviction empathy serious intent in nineteen, sixty, nine, nine, hundred, seventy doesn't mean they re they are received neutrally. In the museum today and that that's the main issue that I want to talk about other stuff up about it over the course of the next while, which is, what is the response we of the museum to create the space for understanding and how do we assure ourselves that we're creating the right kinds of conversations with the right inputs and I think that we need to do Morrison Institution I think our sector has to do more but I, think the MFA has to do more inviting more. Voices in to create a diverse understanding of how something is looked at from different points of view. But question that's being posed to is that some of these works and I don't know who is lending I I would assume that some of these works are already on view in museums. The catalog has been published and is out there and there are people who say that the work should stand for itself that the values that Guston. That the messages the passion that guston brought to this should standstill. Yeah and I, respect that point of view I i. don't I don't think that it for me to comment on how their institutions contextualized them display of works whether it's passenger other artists whose images create. Response in diverse audiences whatever audience is nothing judgment. What I will say here, we were proud to do the book. It's a really great book. It's got a lot of points of view that many of these issues I just think there's a different by the way people might disagree with me there's a difference between reading a book. Gauging. With. Ideas. And in a physical space. With an institution that has one hundred, fifty year history that's presenting something like these images. Without. Appropriate context that's all and I. Think we can get there and we will get there and we're going to be very, very proud. Do the expedition You Matthew Teitelbaum One more thing just from me on this gusting thing you obviously come. At it from one direction is director of a great museum obviously charities and art critic I am a consumer only. I have to say when I read about this, my attitude was almost exactly the opposite if not now when I assume that you and your fellow museum leaders even before there was George Floyd in everybody's mind were concerned about context and all of the issues we're confronting just not as immediately for the years that you're preparing for this..