museums trying to redress the cumulative historical effects of harm

August 19, 2024 8:37 AM

Reviving Roots: Clyfford Still Museum and the Colville Confederated Tribes Partner for the Future Building partnerships with groups historically excluded from museum spaces is often problematic because of institutionalized power structures, traditions of harm, and systemic barriers. So how can museums—historically extractive by design—shift their practices to empower these groups through restorative action? That’s the question that has guided the Clyfford Still Museum (CSM) in Denver as it has worked alongside representatives from the Confederated Tribes of the Colville Indian Reservation in Washington State to bridge regional and cultural divides, using the Museum’s collections as the starting point to build community, foster authentic connections, and open reciprocal pathways for communication.

MH: "In the past, authority has rested with museums, which have too often dictated to Tribal communities what was needed and what could be gained by collaborative partnerships. Here, we sought to structure our engagement around laying a foundation for the Colville Tribal community to present to CSM what they envisioned important outcomes might be for a partnership, so Tribal members could participate and be recognized in their own history."

posted by bq (9 comments total)

OK well if the Clyfford Still Museum ends up being a leader in this space it will be an extremely funny outcome given that in my opinion Still was one of the biggest assholes in the postwar US art scene (which as you all may know is saying a lot.) Relationships weren't exactly his forte.
posted by Lawn Beaver at 8:42 AM on August 19, 2024 [3 favorites]

I have so many mixed feelings about this. I've worked in museums and heritage for much of my career and honestly I'm not sure I can blanket agree that they are inherently 'of the Good' when it comes to conveying history meaningfully through the interpretation and display of collections. The whole nature of acquisition, and the literal fetishisation of the object that drives so much activity in these spaces seems so rigidly adherent to 19th century values of cultural gatekeeping, and in many cases (especially here in the UK) outright colonialism. Sure you can try to redress aspects, but it seems the age old question 'what are museums for' is becoming increasingly difficult to answer in a single model.
posted by freya_lamb at 8:54 AM on August 19, 2024 [1 favorite]

To clarify the above - I mean this idea: 'enabling tribes to participate and be recognized in their own history' feels inherently othering to me. That white people still get to dictate the lens through which this activity is managed seems entirely to miss the point.
posted by freya_lamb at 8:59 AM on August 19, 2024 [2 favorites]

A careful reading of the article reveals that the collection does not contain any Colville cultural artifacts. It's a collection of Sill's works that depict his time with them. The museum went to Nespelem to create a bridge between the descendants of the tribal members whose portraits Sill painted or drew and the museum where they are displayed. The tribal members seem to have been receptive, not only to commenting on the art, but also to a reciprocal visit and future collaborations.
posted by OHenryPacey at 9:23 AM on August 19, 2024 [4 favorites]

enabling tribes to participate and be recognized in their own history' feels inherently othering to me.

I thought so too, at first, and then I realized it is a quote from an enrolled tribal member and not a Still museum representative.
posted by bq at 10:03 AM on August 19, 2024 [1 favorite]

We have many important Still paintings in the AKG art museum. Such a towering figure and trailblazer. Don't know about his personality flaws, more interested in his art.
posted by Czjewel at 12:10 PM on August 19, 2024 [1 favorite]

bq, thank you for this! i'd only been familiar with Still abstract works heretofore

Distinct lines of continuity link this painting to the more abstract works of the late ’30s, in which human forms give way to massive, bonelike shapes in dramatically contrasting colors [artnews]

posted by HearHere at 2:31 PM on August 19, 2024

This seems like the kind of open-mindedness more museum people should be practicing--reparations can take many forms. Also, i liked Clyfford Still before, & i like him even more, now.
posted by graywyvern at 4:57 PM on August 19, 2024 [1 favorite]

I am glad to see the Clyfford Still Museum engaged in this work. I am a huge fan of the museum (and the artist), and I just want to say to any fans of large-scale abstract expressionism out there: Put this place on your bucket list. It never disappoints.
posted by /\/\/\/ at 2:50 PM on August 20, 2024 [1 favorite]