How Curatorial Projects Get Funded: Navigating the Institutional Machine
March 31, 2015 at 2:00pm
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This webinar will chart concrete steps curators can take to garner funding support, especially when institutions have several (competing) priorities. We will touch on the importance of: the initial curatorial pitch and ways to advocate for ideas; networking with development colleagues and outside supporters; and understanding parameters when challenges (like capital campaigns or stock market crashes) arise. Participants will benefit from the wisdom and experience of two highly seasoned professionals who have deep experience navigating these very issues.
Organizers and Moderators
William Breazeale, Curator, Crocker Art Museum; AAMC Professional Development Committee Member
Tayna Paul, Isabel and Alfred Bader Curator of European Art, Milwaukee Art Museum; AAMC Professional Development Committee Member
Lynda Hartigan, The James B. and Mary Lou Hawkes Chief Curator, Peabody Essex Museum; AAMC Board of Trustees member
Joy Heyrman, Deputy Director, Development, Walters Art Museum
Moderators and Panelist Biographies (listed alphabetically)
Trained at the National Gallery of Art, the Metropolitan Museum of Art, and the Philadelphia Museum of Art, William Breazeale is the organizer of many exhibitions including The Language of the Nude: Four Centuries of Drawing the Human Body, A Pioneering Collection: Master Drawings from the Crocker Art Museum, and The Artist's View: Landscape Drawings from the Crocker Art Museum. Recently he co-curated Passion and Virtuosity: Hendrick Goltzius and the Art of Engraving with Victoria Sancho Lobis. With a Ph.D. from the University of Maryland and a dissertation on Italian sketchbooks, he is the author of articles for Master Drawings including "Old Masters in Old California: the Origins of the Drawings Collection at the Crocker Art Museum," "Nature and a new drawing by Otto Marseus van Schrieck," and "Two Small Heads by Giulio Romano in the collection of the Crocker Art Museum." In addition to coordinating major exhibition catalogues, he has organized exhibitions on Italian paintings and European and American prints for the Crocker, as well as serving as coordinating curator for An Opening of the Field: Jess, Robert Duncan and their Circle in 2013.
Lynda Hartigan, The James B. and Mary Lou Hawkes Chief Curator at the Peabody Essex Museum, earned her B.A. in art history from Bucknell University and her M.A. in art history from George Washington University. Her expertise in American art, especially in modern, folk and outsider, and African American art, have yielded numerous widely recognized exhibitions and publications. The leading scholar on American artist Joseph Cornell, Hartigan curated the traveling retrospective, Joseph Cornell: Navigating the Imagination, co-organized by the Peabody Essex Museum and SAAM, and wrote the companion book (Yale University Press, 2007).
Prior to joining PEM in 2003, Hartigan was chief curator of the Smithsonian American Art Museum (SAAM) in Washington, D.C., where she began her museum career. There she built internationally recognized collections of American folk art and African American art and led a major acquisitions initiative for modern and contemporary art. She was also the founding curator of SAAM's Joseph Cornell Study Center.
She serves on the selection committee of the Claremont Graduate University/Getty Leadership Institute and is a member of the Institute's 2000 class. Currently, she is a board member of the Association of Art Museum Curators (AAMC), serving on its finance committee and co-chairing the Conference Committee (2010-11).
Joy Heyrman is the Deputy Director, Development, at the Walters Art Museum where she has worked since 1991. In this role, she is a member of the museum’s senior management, overseeing the functional unit responsible for identifying, soliciting and stewarding all of the sources of contributed income for the museum. This includes a team of 13 staff members, numerous volunteer groups and the Development and Campaign Committees of the Board of Trustees. Development departments include major gifts, individual giving, corporate, foundation and government grants, exhibition and program sponsorships, tribute gifts, planned giving and special events, as well as rental of the museum. She works with leadership volunteers to secure funding for capital projects and endowment, including the Sharing the Gift endowment campaign. Heyrman is in charge of Board relations and is the staff liaison to the Governance Committee.
A career museum professional, Heyrman was selected in 1998 for the Getty Museum Management Institute (MMI) and has served as an arts advocate and development consultant. She holds a B.A. in English from Amherst College and an M.A./Ph.D. in Art History from the University of Maryland, where her dissertation, inspired by William Walters album of American drawings, investigated the collecting, reception and developing market for drawings in early 19th-century America. As the Walters’ Exhibition Curator for American Art, she organized New Eyes on America: The Genius of Richard Caton Woodville for spring 2013.
Tanya Paul was appointed the Isabel and Alfred Bader Curator of European Art at the Milwaukee Art Museum in June 2013. She came to the Museum from the Philbrook Museum of Art in Tulsa, Oklahoma, where she was the Ruth G. Hardman Curator of European Art. She has organized numerous exhibitions including Monet and the Seine: Impressions of a River and Elegance and Refinement: The Still Life Paintings of Willem van Aelst. She received her Ph.D. from the University of Virginia with a dissertation on the Dutch still life painter, Willem van Aelst. Further exhibitions include Scenes from the Low Countries: Dutch and Flemish Prints in the Age of Rembrandt, The Sinuous Line: Jacques Callot and the Rebirth of Printmaking in Early Modern France and Precious Possessions: The Art of the Portrait Miniature. In addition to major exhibition catalogues she has published an article in the Metropolitan Museum Journal on "Houdon’s Bather in a Drawing by Pierre Antoine Mongin” along with interpretive brochures for her exhibitions on portrait miniatures and Dutch and Flemish prints. Prior to her work in Tulsa and Milwaukee, she worked at the Museum of Fine Arts, Houston, the University of Virginia Art Museum (now the Fralin Museum of Art), and the J. Paul Getty Museum.