Art Lies, Volume 22, Spring 1999 Page: 2
64 p. : ill. (some col.) ; 28 cm.View a full description of this periodical.
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Editors' Statement
The conventional boast, "Everything's Bigger in Texas," in this case holds true. The state's construction of museums leads the nation at a time
when museum construction is booming nationally and internationally-over 600 museums being constructed since the 1970s. Why museums? What
is their importance to contemporary culture? With annual attendance figures at some museums surpassing that of major professional sport franchises
and a museum's economic impact better that that of downtown stadiums, what does that say about their role in our cities, within our education sys-
tems, in our art communities and in our lives?
These are crucial questions, especially, as museum projects in Texas costing close to $300 million are undertaken-resources which could, of course,
be devoted to a host of other worthy social endeavors. This issue of ArtLies is devoted to exploring the issue of Museum Architecture in Texas. We, being
a magazine started by artists, are more interested in the impact and significance that museums assume in the art community than on a focus on museum
architecture per se. However, we are sensitive to the impact spiritually and economically of a well-designed museum in our midst. Texas is home to two
of the best small museums of the modern era: the Kimbell Art Museum in Fort Worth (Louis Kahn, 1972) and The Menil Collection, Houston (Renzo
Piano, 1987). Artists, as do architects, eagerly await the new Texas projects by Rafael Moneo, Tadao Ando, Herzog & de Meuron, and Ricardo Legoretta
and the impact they will have on their art communities-locally, state-wide and internationally.
Fortunately, ArtLies has benefited from the insights of a number of contributors to help us draw out these complex issues. Architectural histo-
rian, Stephen Fox, has provided a solid overview of the history of museums in our state. Curator Phillip Collins documents the history of the African
American Museum, Dallas, the first museum in the country devoted to African American culture and a notable exception to the state's reliance on
private philanthropy to fund its museums. A panel discussion took place in January 1999, featuring architect Frank Gehry and a number of impor-
tant curators and architects analyzing the current boom in Museum design and the impact of successful buildings like Gehry's Guggenheim Museum
in Bilbao, Spain. We are grateful to the Dallas Museum of Art for permission to excerpt parts of that discussion. Asked to collaborate on the design
of galleries in the new Modern Art Museum of Fort Worth, Michael Auping shares his observations about museums as one of the nation's most active
curators of contemporary art. Fellow Swiss architect, Thomas Krahenbuhl interviewed Jacques Herzog, and analyzes Herzog & de Meuron's archi-
tecture in terms of the active municipal patronage that their hometown, Basel, Switzerland, is known for. The other side of high-profile architecture
is its impact on local art communities. Art critic Janet Tyson gives us a hopeful picture of that impact. Also, ArtLies undertook to survey directly nine
(of the twelve) institutions across the state who are undergoing expansion to better understand why and what their needs and challenges are. Lastly
On more familiar turf, ArtLies asked reviewers to critique two recent museum exhibitions dealing with architecture-to decidedly mixed reviews. Finally
in case you think Texas museums are all pomp and no fun, we honor some of our smallest museums on the final page of the magazine.
As an artist and curator working in Texas for many years, my co-editor Benito Huerta is aware of the influence that healthy and active museumsexert on our art communities. I, as an art historian, have been
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L I-------------------------------fortunate to work in The Menil Collection and know first hand how the beauty and
thoughtfulness of a well-conceived building suffuses everything from a well-
researched exhibition, to an evocative installation, to the visitors' experience with
a work of art. Timed to coincide with the national convention of the American
Institute of Architects in Dallas, this issue will be available to visiting architects
and planners, as well as to ArtLies' usual readership among the Texas art com-
munity. We were able to print these additional copies thanks to special support
from several enlightened patrons-a Texas tradition!
Lauri Nelson Robinson, Co-editor2 1 ARTLIES SPRING 1999
ArtLies is a free quarterly art journal that is designed to broadly examine contemporary art
issues in Houston and throughout Texas. ArtLies' mission is to provide an open forum for
artists, curators, gallery directors, critics and collectors, to present a variety of ideas and
opinions. ArtLies provides this forum with the conviction that art criticism is an indispens-
able part of our community. The Board of Directors maintains a policy of rotating edi-
tors-each issue has a minimum of two new editors-to ensure that contributions remain
diverse, inclusive and representative of our multifaceted community. ArtLies operates on a
modest budget, is produced by a volunteer staff and relies on advertising, subscriptions
and contributions for its subsistence-while attempting to maintain affordable ad rates and
accessibility to all branches of the art community. Issues of ArtLies are distributed
throughout Texas and individual complimentary copies are mailed to over ninety major art
institutions across the country. ArtLies is a non-profit 501 c) (3) organization.
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Robinson, Lauri Nelson & Huerta, Benito. Art Lies, Volume 22, Spring 1999, periodical, 1999; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228052/m1/4/?q=%22Art%20Lies%22: accessed April 28, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .