 Hi everybody So my name is Shelly Shelly Bernstein you've probably getting been getting emails from me Anytime you get one of those things after you register That's all me talking. I'm the deputy director of audience engagement here at the barns the chief experience officer at the barns And I'm the organizer of let's connect so let's connect was this thing that I sort of thought of and Sort of went and talked my colleagues into and they I'm very grateful that they were like hey, that sounds kind of cool Let's do it I'm here to introduce My amazing colleague Martha Lucy today. I think what we figured we would do is start with a little bit of history about The barns and the collection here And then we'd go into some project logistics and then have a big Q&A Martha is the deputy director of I'm gonna get this right Collection research interpretation and education and she's also a curator here at the barns So please welcome Martha and we'll get started Thanks Shelly and Really excited about this project So I'm gonna talk about The history of the collection Just a little bit what the barns foundation is who Albert Barnes was some of you know all of this stuff And are probably gonna be a little bored. So just just bear with me But maybe maybe you don't know everything that I'm gonna say And then we will have time to talk about any questions that you might have But I think that this is kind of just to get your juices flowing as you're thinking about this project So Can we dim the lights a little bit This is Albert Barnes he He is the man behind the the foundation. He created the barns foundation He was born in Philadelphia in 1872 his story is a Sort of classic rags to riches story. He was not from a wealthy family. He was from a poor family Originally in South Philly and then in North Philly He was an incredibly determined person very competitive very smart and he Got himself into central high and then to the University of Pennsylvania where he got a medical degree He made his money by Developing a drug called Argyral which was a silver nitrate compound That was used to protect against Infection like gonorrhea And newborn blindness and it was eventually made obsolete by the Development of antibiotic biotics but not before he became incredibly wealthy. So by you know by the time he's 30 years old He's got this company. He's a brilliant marketer and he Is a millionaire He decides that he wants to start collecting art and he Was you know, he was a very confident person with a big ego But he was also and this is one of the things that I admire about him. He was He was sort of smart enough to know when he didn't know something and when he needed help So he knew that he didn't know As much as he wanted to know about art. So he sought out one of his friends from high school William Glackens There's the arse bottle of the Argyral Here's his friend William Glackens. He had gone to high school with Glackens And remembered him as an artist type. That's how he describes him He reconnected with him around 1911 and he said I am interested in art. I want to learn about it Can you please help me and so Glackens it kind of rekindled their friendship? They would go to galleries together and look Barnes thought that Glacken had just the best eyes in America. That was that's a that's a quote He he says that about Glackens and so with Glackens's help Barnes decides that he is most interested in modern art he doesn't want to collect the kind of the more established artists he wants to focus on what's new and contemporary and and So he sends Glackens to Paris in 1912 with $20,000 and Says bring me back the best of the moderns. So Glackens goes over hunts around and comes back with 33 paintings Here are two of them the Van Gogh postman Picasso on the right the woman with cigarette so and and many more that I'm not showing but Glackens obviously did pretty well and These paintings and the dozens of others formed the core of Barnes's it's formed sort of the germ of Barnes's collection so It did not take long. This was 1912 For Barnes to develop the confidence to begin collecting On his own without kind of sending somebody to do it. So he starts going he starts traveling He starts going to Paris. He starts going to New York and going to all the galleries and Buying like crazy just buying things like mad like when he decided that he liked something he just went for it We have these receipts in the archives with like 20 paintings, you know Matisse Renoir Renoir Renoir Just listed that he just bought kind of all at once so he adds He starts to add Matisse to his collection He adds Cezanne He adds Renoir there are 181 Renoir's in the collection And he adds more Picasso there are 46 Picasso's in the collection So obviously his interest here is really French Modernism he he is sort of obsessed with these these four artists I think that it's it's really important to remember as you're thinking about the history of the Barnes Foundation and the history of our collection and even about sort of Philadelphia in as a player in the art world We need to remember that these artists who are so We're so used to them today There, you know, you see these these images in an art history classes They're part of the Canon Matisse Picasso Van Gogh at the time that Barnes was collecting these artists were absolutely considered radical and Even deranged I mean there were actually doctors Who would write in the newspapers at the time and diagnose these artists as as they had something wrong with their brains? Because they were you know, they were painting this way and Barnes was this great defender of modernism People thought that Barnes was crazy for collecting this art. Here's a Newspaper article from the Enquirer from 1923 America's six million dollar shrine for all the craziest art how a Pennsylvania millionaire is spending a fortune to prove the futurists and Cubics are not insane and to teach us to admire their strange work as he does Just another bit to kind of put all of his collecting in context the Armory show Which is a famous kind of art historical moment Happened in 1913 in New York and this was considered the The The the the moment when the American public was introduced to European modernism and it was this great scandal This was where like Duchamp's new descending the staircase was shown and it was this big big scandal Barnes was collecting right around this time or even before the Armory show happened So Not everybody Of course was was put off by the art that Barnes was collecting he He really gained the admiration of artists Especially the artists who lived around the area in Philadelphia in New York Charles Demuth Glackens he was already friends with Maurice Prendergast Horace Pippin eventually and They knew about his collection even though it was not public yet. This is still his private collection they knew that this person and Marion was just collecting all of the stuff from Europe the European avant-garde Which was what a lot of these artists wanted to be doing they wanted to kind of get out of the Slumber that a lot of people accused American art of being in The early 20th century and they so they were looking toward to European modernism and here it was and in this in this house in Marion Think about the fact that there's no MoMA I'm talking about the 1920s MoMA didn't open until 1929. So there's nowhere in the US for people to see Modern art so the artists like flocked to the Barnes Foundation and Charles Demuth Described it as that we have this letter in the archives as one of the seven wonders of the world So Demuth became good friends with Barnes He would come here and study that I mean really study the the Cezanne's Here's a detail from one of the Cezanne's in the collection and here's I'm not saying that this was directly influenced by this, but you can see how Demuth is absorbing Cezanne So as Barnes is collecting Now we're still sort of in the 1910s early 1920s He's also continuing to run his Argyral factory and here is where the factory was The building is still there at 40th and Philbert. It was the hotel Palleton and In 1902 he and his business partner rented eight rooms To make their Argyral Barnes eventually Bought the building so He had about at the height he had about about 20 workers Many, you know Many of them were African-Americans I think all of them had very little schooling and Barnes did something that was kind of extraordinary he decided that he was going to He was going to cut the work day early for all of his workers and Hold seminars for two hours every day The seminars were on art philosophy He would bring in his paintings so that the workers could study them and As he's doing this he's reading the work of John Dewey the American philosopher and And Actually developing a friendship with him here. They are together in the galleries and he was particularly struck by Dewey's ideas about democracy and education really the the idea that you can't truly have a Democratic society unless you have a knowledgeable citizenry So he believed in education he believed in democracy and education and he decided that he wanted to Take this experiment that he was doing in the factories and really do it full-blown So we're now we're at about 1922 and he decides to take his whole collection Which by now is about 400 works and just devote it to What would eventually become the Barnes Foundation? he branches out beyond European French especially French modernism he starts collecting Navajo rugs and blankets Chinese ancient Chinese art African art and Old masters he also starts collecting metal objects. You'll see those in the galleries and I'll talk in a minute about the way that they're hung and he really You know this was the the whole idea behind this was that he was going to open this foundation only to students only to students who who wanted to be here and That it was not for for everybody. It was only for ordinary people It is that ordinary person with little schooling whom we want to teach to use the qualities of mind-heart and soul With which he was endowed by nature in such a way that he will be able to understand What the artists have done that is the main idea of the foundation So he Opens the foundation in Marion. There's the original building on the left and he starts teaching classes This is sort of a late picture. This is from the 1940s. I don't have any pictures of him teaching earlier But he wasn't the only one who taught there were lots of lots of teachers and they were they were very active so barns had a very specific way of thinking about art and looking at art and talking about art and That was now. Here's so here's one of the great Pieces of African sculpture in the collection He believed that When you are looking at a work of art What you should focus on is primarily the form of the work so what it looks like how the artist uses line and Space and color to to construct a picture or or an object What's not of interest to barns so much is content or Kind of historical context, so he's not in his in his teachings He's not so concerned about who these people might have been what they would have represented in their society How such an object might have been used it's all about form and There was a very good reason for that. He believed that by focusing on form This was the most democratic way to approach art because it didn't require any kind of background in like classical literature or History You could just deal with what was in front of you all you had to have To understand the art and to be able to engage with it was your eyes Here's just another example in discussing a go-gan barns would have focused on the composition the Triangle that salmon piece of sand the play of you know the sort of the color combinations the the the warm and cool colors The brushstrokes what he wouldn't have talked about is Where where this painting? Was painted the fact that go-gan had traveled to Tahiti the fact that this painting was done at the height of France's colonial powers, and that's a significant to understanding really what this painting is all about so his interest in form above all else is expressed in the way that he arranged the collection and This is something that we're known for the kind of the the dense hang the kind of idiosyncratic hang I mean this is our logo right here It's one of the ensembles he called his groupings the ensembles and he Arranged everything very meticulously. He spent hours day You know weeks arranging these things and kind of rearranging them to get them right And I will add I will say right now that eat all of the ensembles so each of these groupings on the wall which includes the three-dimensional objects are Exactly as they were in Marion So when the foundation when we moved to this building on the parkway we arranged everything exactly the same way Now what makes his hang different from what you get in most museums is not just the kind of the density but the fact that he puts things together that you normally wouldn't see together so At most museums you'll see you know all the American works together Maybe all of the decorative art somewhere else Ancient art somewhere else Barnes pays no attention to Kind of historical categories or chronologies. He mixes everything together based on form Which things are kind of using the same formal vocabularies? So here it's probably kind of hard to see in the slide, but you've got this go again Which was done in the late late 19th century by a French artist next to These two early 20th century paintings by an American artist with a Pennsylvania German chest I Think that this is an English teapot and he's putting them together because of the way that they pick up on on each other so You know the and I can't say exactly what Barnes is thinking was because he didn't leave a record like that But we know in general that he was interested in formal analogies and correspondences So you can look at this and say okay Well, these must be together because there's a certain pattern that goes on in the Prendergast and there's a kind of pattern here. There's kind of a rhythm here I mean the more you look at these the more you start to just pick up these analogies and Intentional or not, you know like this somebody pointed this out to me that this the spout of the teacup Or a teapot kind of mimics the shape of the branch So I think it's been interesting for me Over the years to hear About how people Just to sort of listen to visitors and and to talk to colleagues about the the hang of this collection Because there's there's all sorts of different responses to it people some people find it really liberating You know kind of exciting like things are not what where you expect them to be there's no Labels next to any of the there's no explanatory text anywhere And you know the idea was that he wanted to keep your focus on the visual Other people I think find it front can find it frustrating because it because it's not historically arranged so I think that Here's another example just of a another ensemble And I'm showing this one to just emphasize the kind of the the real mixing of cultures that you get here, so this is a case with African sculpture and some medieval European paintings above and Metal works and spatulas and you know American furniture And he's putting you know when you look at this you'll see that he's putting the these things He's he's he's got to be interested in the verticality here and the the verticality in the the sticks in the painting above So you know I think that that the that barns is focused on formalism is Interesting and important I Think that the arrangement is interesting different important. I think it also poses problems Because of the Lack because of the sort of disregard for history You know you don't sometimes the objects in the collection get Divorced from their original meanings so this whole group of African objects here You know while he was such an admirer of their their form the the the the artists aesthetic you Don't have any sense from the way that that that things are displayed of Where they came from So As you're thinking about Your projects and I think Shelly will talk more about this too We're inviting you and correct me if I'm misrepresenting this but we're inviting you to respond to a single work of art in the collection and I think the way that the way that you respond is obviously up to you. I mean your artists I Wanted to bring out the importance of of form for barns and to talk about the ways that he found formal Similarities between objects that you really just normally don't think about together It's one of the exciting things about our collection. I think But I also wanted to really emphasize the fact that these objects Do have histories do have were made during specific moments in history You know and and have these these whole histories from before they came into the collection And so if you are interested in those kinds of histories and kind of re somehow kind of reconnecting a Work in our collection to those histories through your piece that that's also very interesting I think that's it So the the first step in the process is there's an artist open call. You're here. You have a sense of what that is It's a six-week period. You have unlimited access to the collection during the six-week period When you come in you say hello to our staff right at the collection door Many of you have probably already done this They are super nice and have really Taken on this project really in a lovely way When they sign you in they're gonna give you a rubber wristband The the great thing about this wristband is it just lets you in and out You don't have to check in with them at any other time. You can just come in and out And I wanted to point out that we have an art team in the collection if you see Any of these folks wearing these t-shirts and usually they'll have an orange lanyard as well with an ID They are content knowledgeable experts. They all have degrees in art history They know our collection inside and out if you are interested in any of the works of art in the collection And you just want to talk about them Just seek these folks out and they'll have a conversation with you As you're thinking about what to respond to You are responding to a single work in the collection and The thing that you need to remember is if you decide to submit a work You need to find the object succession number. This is a little bit of a scavenger hunt in the barns Because barns didn't install labels next to works of art like you would see in any other museum So one way to find this is in every bench You'll see these booklets and then if you find the work of art in the booklet You'll see that there are these numbers BF 65 BF 61 That's what we consider our accession number or our inventory number When you eventually fill out the artist submission form, we're going to ask you for that number And then what we're going to do is in our directory Match up your your work with this work along with the artist statement that you provide the artist bio You provide your websites, etc. So that we can sort of tell the whole story In these in the directory that will be in the room There are some requirements many of you have already seen this First is the size requirement the weight requirement If you're working in 2d, that's 8 by 10 inches if you're working in 3d It's 8 by 10 by 12 inches And it has to be under seven pounds The key thing that you'll hear us talking a little bit about on the very lengthy Website pages Is that we need to have a standardized back We actually don't care about the literal canvas. We just care about that frame being on the back of your work The reason for this is because we have two amazing maintainer art handlers Their names are Tim and Matt And Tim and Matt are gonna have to hang an extraordinary amount of work in just a two-week period and by standardizing the back of The canvas or the back of the work of art that you are presenting to us What it means is that we can have standardized hardware and standardized a Standardized labeling system so we know exactly how to label this how to mark this when you come in to drop it off And that's why it's a big requirement You have to be from Philly In order to participate in in this We hope that that makes you happy And not upset And that's within Philadelphia County and most of the zip codes within Philadelphia County are once start with one nine one You have to either live here or you can work here So we'll release the artist submission form on August 8th. Sorry April 23rd You'll get an email if you've registered you'll get an email saying hey, this is up And this will give you the opportunity to you'll give us your name Your collective name all of the artists that are involved the primary contact for the work your address All of the details there's an optional artist bio optional artist statement Optional websites if you want to if you want to put your websites in And we'll tell you on that form what's going to be made public In the directory and what is private just for us to be able to contact you etc So if you're interested in submitting work you fill out the form and you submit that and then you come in To drop off the work during one of these two days If you can't make one of these two days or times you can send an agent You would fill out the form online And we're going to email a copy of that form to you and then you give that to your agent who will come in and drop off the work When you come in to drop off the work, you'll be dropping it off in seminar a which is right across the way when you come in security or Let's connect snapper will say hey go downstairs. We'll be there waiting for you and Then the exhibition will run from the 21st of May through June 4th The we really only have two weeks to install the show And then it's going to open for two weeks The works will be installed in the collection classrooms These are actually inside the collection if you are in the collection if you want to ask a Security guard or the art team where these are they will point them out to you The thing that we love about these rooms and the idea of repurposing them is they are directly Within eye shot of the collection, which means that anybody who's coming in to look at your work is coming into the collection Passing through the collection both on their way in and on their way out Giving them some context here Both public and the curators will be able to select artists during this process We're going to be using scantron ballots. I remember those from your SATs and You should definitely check out the the curators page on the website I think one of the stronger things about this is that So many people in Philadelphia have heard about this project and when we reached out to say hey Would you be interested in being a curator? They said yes, and these are directors of organizations staffers at organizations independent curators Anyone who we sat down with mural arts and we said who who has the power to hire artists in the city who have Who sort of is looking needs to be looking at work? And we came up with a gigantic list and sent out all these invites and this is growing I think we have about 65 curators signed up as of today and that's rolling So there are many more invites that are out. So this page will continually change when people are and curators are asked to Select artists work These are the two things that we are asking them to think about One is the interpretation creativity or originality originality of the connection made Between your work and the reference work in the Barnes This is you know, I think goes back to what Martha saying, you know You can think about this in a in sort of that formalist way Or you can go in a in a in a direction that Barnes didn't go in and think about History think about today Bring connections in you do have an artist statement That people will be able to look up so you can sort of talk about that connection that you're making So there's definitely an opportunity there and then the overall quality of the work So it's a two we're asking people to think about two things as they're making selections Artists pick up is then on these two days after the exhibition closes and the most important thing to know about this is You can also have an agent pick up your work Please know that work is going to be discarded if it's not picked up One of the biggest Issues that we had at the Barnes around let's connect was that there's very very little storage space in this building There's so little storage space that just the logistics of the intake to getting it hung to getting it Unhung and to drop off Is a big operation? Because it there's there's literally no place to keep it So just remember you've got to get here or send somebody as your agent to pick up the work for you An announcement will be made on June 14th, and then the artist's residencies will begin their three month residencies it's a three thousand dollar stipend for the period and The residency is in the mural arts studio at the Barnes, which is the small building that we used to use for ticketing That's out at 20th Street. So you can definitely stop by and peer in mural arts is using it as their own studio now And this is one of the artists. This is Tanya Bergara who was working in it during person of the crowd It's not the biggest space in the world. I think it's the dimensions are on the website It's something like 30 by 40 feet And it's just an empty shell but it is I think the all the artists who we've talked to about the space have really liked that it's been very open to the public just through the windows And there are so many passers-by Both residents of this area who sort of go to and from work a long 20th But then also Barnes audience is coming in that have the opportunity to see the work So that's it the website is there there's tons and tons of information on it But Martha and I just wanted to answer any questions you have we are recording this So we're we've got a bit of a throw mic here. It literally is like indestructible. I promise But if you just use the mic that would be great because then we can get all of these Recorded we're gonna we realize that with only three meetups not everybody can make it here today The last thing I would say and this is this is really really important It's extremely humbling to see People participate in this whether it's whether it's you or curators or public I am every time somebody registers I get an email Which is kind of great and and a little stressful But it it it makes me feel great every time I see somebody do it Because I'm just so excited by that opportunity that we have And I just wanted to say that so questions and they can be logistics questions. They can be collection questions Okay, I'm gonna I should really just throw this but it's too far But I am gonna throw it Yeah So my question was about the residency and the hours that are within the residency and If there's a time that's like too late or too early or what was the framework on the time? We will give you a key to the space. So it's just come and go and We asked that you do an open studio day For a couple hours on one of our first Sundays of the month So the first Sunday of the month is an amazingly high visitation day if you If if you had registered early and you got the sort of artist news number one You heard me say maybe you don't want to come on on the first Sunday of the month Which is our free day because we see anywhere between 1,400 people to 2,000 people on site And that's the day where we can sort of put the open studio on the program Everybody's seeing that they have the opportunity to come say hello I think we're gonna have a lot of people really invested in this And they're really probably actually gonna stop into the studio to say hi So that's that's kind of what we're asking you other than that. It's it's super flexible We we're hoping that it's it's not a burden Is the is the point? Cool Hi, I I was wondering if there is a place where I where we could look up previous submissions for this and or Yeah, we've been selected Previous this is our first year of doing this. Oh snap. We hope it goes well It's a little I will say as an organizer. I've done a few of these before at another museum It's a little like jumping off a cliff because you have no I there's no precedent and We have no idea how many artists are gonna submit we've to date. We've had I Think we're at 258 registrations as of today We know we'll see a huge drop-off rate not everybody who registers who comes to to participate in free access is actually gonna submit a work 60-something curators and We've got the public registration open, but we're not pushing that yet. So so we'll see Bear with us like if if it if you're in a long line waiting for drop-off or you know, there are glitches getting you in Just know that a lot of this is a first-time process for all of us. Okay, right behind you. Oh, sorry Yeah for watercolor painting It should be on that same type of Backing canvas we like even if like put a piece of water for the paper on top of that. Yes, exactly That's what we're telling people especially if it's photography if it's any other If it's it doesn't have to be canvas-backed. It just needs that backing got it. Okay, if that makes sense cool Thank you. Cool. Yeah Paste it on to a canvas or you can paste it or you can simply remove the canvas and use the The blue around the edges exactly under the armature exactly we're most interested in the frame Like go buy a stock eight by ten right and use the that framing and then that keeps everything standardized during the hang It also means that we know that we have writing Area so when you come in we're gonna say tell us the orientation Let's we're gonna mark the orientation. We're gonna do all these things We're gonna mark it with a number gives us a writing surface. It gives us a surface to attach the label That's primarily why we're interested in that Hey, Shelly, hi to your risk. I met you the other day. You're from very town, right? Cool. That was a fun day Question with the 3d. Yes eight by ten by twelve. Yes Is it matter how you design that? Can it be no as long as that as long as it can be hung? Yeah um No, I and we're kind of leaving that open turn to rotation because I'm like I don't know if you want to build a platform to hold it. I don't know if you want to build an actual Shadowbox around it. Yeah, a little bit of both. I just was inspired by that That was where I want to go with it. So I just needed to know that. Yeah. Yeah. Yeah It's a it's an interesting thing. I you know, we couldn't take New media this year because it's our first year and we were like, oh, how do we do that? Yeah, right But we were we were trying to make 3d work So this is how we figured it out. Well, I think this is a wonderful opportunity and I appreciate it. So cool Thanks, appreciate that. I need to roll. I gotta go pick myself. Okay see ya in picking one work like one painting or one chair or one statue the artist is supposed to Talk about that object or that painting or nothing related to Barnes or Why he got that? Yeah, you're responding to a single work of art Not Barnes's idea because he didn't make it clear. He talked about form. I Mean, it could we're trying to leave that Very open to interpretation And one of that's that meaning what meaning the call so when I say It's a it's a response to a single work of art It could be a formal response just like Barnes thought about formalism It could be a thematic response Because it's it could be broader in this context. It could be a historical response. We're specifically not defining Beyond saying connection because we want to give you some room to try and think about what that could be To Barnes or to me to you This is about your interpretation of our assets if that makes sense It's not not not Barnes the person now but you can think about The the thing that is unique to Barnes is the formalism, correct and The relationship so it's Formalism in shape like line color space. Yeah was how he would often So the work can be done on his idea It could be or it could not specifically about that painter that share, but why he you will need to select a work when you submit You'll need to tell us which work it responds to so you'll have to pick a Even if the response was about the entire collection as a whole you would want to pick one representative sample to tell us that it responds to this You ready? Am I ready? Not sure. These are hard questions. You that's the hardest question Yeah, I don't exactly have an answer for that one Yes, I Had a question about the submission form. Yes, so I saw that was it's gonna be released in April And then would we When we submit our work or before we submit our work we would submit that form Yeah, you submit the form before you come in. Okay, so what happens is we release the form And then you've got a week or two weeks to submit it to us that goes into our queue and then when you come into seminar a we look you up in the queue and Then we have a bunch of things that we fill out on that And then you sign it saying that you know, you've dropped it off And then you get a copy of all of this by email. It's it's it's super It's kind of funny like I'm a technologist, but we're using something called form stack which is like a Cloud-based solution for forms and workflows. So it's not even something that we built It's just something that we're using right, but that's the idea and you'll get an email there will be So when you register your name automatically goes on our email list We're trying not to flood everybody with information But you'll get an email from us maybe like Once every week and a half to two weeks during this period And it'll be stuff like some of what was in this presentation or hey We just released the form now you have to fill this out and here's the next part of it We know that there's a lot of procedure around doing this And what we're trying to do is keep the procedures Down to just the need to know for the moment So you'll get instructions Okay, the day we like release that you'll have an email with instructions about that next about everything I just said until then we're just kind of like Let's get there when we get there But happy to answer questions along the way. All right. Thanks so much I would also say that the there's an email on the website connect at barnsfoundation.org and those come to me So if you have more questions after this that you didn't think about it's in the footer feel free I try and answer those within about a 24 48 hour period. I Just had a quick question. The other information sessions. Are they just like this just like this? Definitely don't need to go to the others. Okay. We are recording this one today Which we're very grateful for because we know that not everybody's gonna be able to come to all of these set to any of these So we'll have a recording sent out perfect Any more questions? Oh, I see one in the back one over here. I'm Shelly Bernstein. This is my colleague Martha Lucy Lucy Hi, hi, I have a question about whether or not You said like media isn't an option like media But is there a way to like power devices like like through a plug or would it have to be? Wow, that is a good question batteries. I have not come across that one before One of the reasons why we didn't accept new media was because we were worried about the power situation in the gallery Wow Interesting you have stumped me I think we can get you power. I think Right, like don't bring in a generator like I think we can get I think we can get power The the main thing to remember is that it really needs to be self-running Beyond like plugging it in That's cool flipping a switch. We can probably do that. We were really worried about Video and sound work and the need to keep it playing on a loop and With that type of work, we were worried that Even though there is you could install a monitor in the space We were really really worried about we didn't want to run them on a loop Because then the work isn't seen as much as everybody else's work, which is static So we were we were thinking more about that kind of work not about Something that might need to be electrically powered within Within what you're talking about so just as long as you don't have to or someone doesn't have to restart it Exactly. It's got to be really bomb-proof And and definitely During the artist intake If there's any written instruction that needs to go with it Definitely bring that with it so that we can Internalize that Thanks for that question. That's really I love the questions that we haven't thought of and need to like think on So that's a great one. Thank you. No, you're okay Anybody else? So the question is does the work have to look like the source painting not at all it can be it can be any Anything you want it to be And you do have the ability you will have the ability to write a statement if you feel like you need to articulate That connection, but you also don't have to we know that a lot of artists don't Want to do that and want to let the work stand on its own. So that's One of the fields that won't be required Throw that mic You have to pick a work to respond to but how you respond to it is How you respond to it it doesn't have to look like the the work It's um, yeah, okay Yes Will you be pairing an image of the selected work from the Barnes collection with the artists work? Not exactly The work is going to be hung salon style Your name will be hung with the work and your number will be hung with the work Then there are going to be directories that you can access on your phone or At iPads that we provide And if you look up the artist by the number or the name You'll get the info sheet about the work and that's where it'll have a picture of your work So that you can make the direct connection with the physical thing that you're looking at The artist name the websites the artist bio the statement if you provide one the The work in the Barnes collection that it refers to along with an image So the idea is that all of that is electronic It's hard to We were trying to figure out a way to do this The heart one of the hardest things to do in a museum is to print labels You have no idea it is like I'm sure you're laughing over there the amount of rigor that goes into Printing labels and getting labels up is so hard So what we decided to do is make all of this electronic because there's so much work involved When you come in to drop off your work We're actually going to give you the label with the the number will be pre-printed there But there will be a line for your name where we're going to ask you to write it in using fine-tipped Sharpie And we're doing that because the production time on the labels would take so long that the show would be open And we would have no labels at all. So we've we're trying to it's a bit of a logistics thing That we're trying to solve We'll see how elegant it is in the end We're trying to make sure that the directory is easily searchable my mobile so that you literally can use your phone as you're going through And that's I'm only not confident because it's the thing that we're working on at the moment So I'll be confident more confident in a week when I've seen a prototype of this We'll have iPads in the room, but they will be stationed probably at tables or seats So, you know, it's just a little less Conducive to moving around the room if you need to use one of the shared devices Wow that elicited two questions down here Hi, hi, can the works be framed? Interesting Wow, I Believe that they can if it is a part of the work Okay, does that make sense? Like as opposed to being a some a frame that yeah, it's got to still be within the 8 by 10 It still has to have the backing in the right place um Yeah Otherwise one of the things that we tell you is that there can be no hanging apparatus when you drop it off Because we're trying to speed up the install which is going to be pretty complicated You had a question y'all got a toss that Is it gonna be cool if like two artists pick the same piece. Oh, yeah, that's oh, yeah, that'll happen That'll happen because they're I mean I There are works in our collection that are touchstones that I think you see this all the time on social media where People shoot the same thing over and over again because it they respond to it. So yeah, that's totally gonna happen Everything's gonna be hung in random. So Even though you're responding to something and somebody else has responded to something It's very unlikely that there will be hung right together Nice job It really is soft it really is Is there any place where? there's Record or we can find more information about what exactly barns was and Dewey We're both thinking About together in regard to form and democracy and art I think we're gonna turn up Martha's mic for this Together, I mean there's there are there separate publications right Dewey's books barns's books But there's a there's a pretty big correspondence between the two of them in our archives Okay, thanks for coming we appreciate it Connect it at barns foundation.org comes to me. So feel free to feel free to write as you think of things And yeah, I I'm I'm thrilled I hope I hope that you feel like this is a good project. I'm thrilled that you're here. So thanks