For the very first time in its history the Milwaukee Art Museum will enjoy the expertise of a Curator of American and Decorative Arts. William Rudolph accepted the position over four weeks ago and came to Milwaukee from the Worcester Art Museum in Massachusetts. Although Rudolph spent his childhood in Hinkman, Nebraska, his formal education occurred along the Eastern United States through the University of Virginia and Bryn Mawr College. Rudolph considered Milwaukee a quite large Midwestern city [compared to Hinkman] where the 'Great Lake' fascinates and frames his new life, inside and outside the museum. Overlooking the lake in the museum's Quadracci Pavilion, Rudolph answered questions about the new position at the MAM.
As the new Curator for American and Decorative Arts, what will your position encompass?
I am responsible for the American Collection in all medias, except paper. That includes ceramics, furniture, painting, sculpture, silver, and even textiles. The time frame [for the art] encompasses everything from the 17th century until perhaps the 1960's in painting, with the advent of Pop Art, which then might be considered more Modern Art. Or at the beginning of the 1900's for other artworks. All this is sort of defined by academics, or who wants what for whose gallery. Although in the process, all the curators are very friendly here and work together well.
What do you enjoy about the MAM in the month that you've been here?
It has to be the energy. The museum, institution is amazingly energetic. The city wants to visit and the public is curious, engaged and having a good time [when they're here]. My colleagues are having a good time. It can be the most fulfilling experience to have this energy and the museum is invested in bringing art alive for its members, the city and visitors from other places. Definitely, the excitement and energy surrounding the museum.
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What do you enjoy about your American collection here?
The American Modernism here is extraordinary [the collection], especially the one known as "the eight' along with the American furniture on the lower level. The partnership with the Chipstone Foundation is another important ongoing relationship that continues [for ten years] with the museum. We [the MAM] actually have a special gallery dedicated to 'the eight' and this includes George Bellows, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn and John Sloan. There's also the Layton Art Collection at the MAM with 18th and 19th century portrait painting and I'm a portrait geek. I love portraiture.
Who's your favorite artist in American art?
It has to be John Singleton Copley or Thomas Sully, who is not yet in the MAM collection (Both exceptional portrait painters]. I hope to do a retrospective here, perhaps on the American Portrait. Or Gilbert Stuart, he drank too much and gambled too much, he was a real bad boy. Portraits, form the first days of the colonies, were wanted to preserve faces near and dear to them, the people whw asked to paint them. And portraits cheat mortality because they tell us the ties of affection are stronger than physical limitations. A portrait meant something to someone and we all participate in this everyday when we take pictures with a camera or cell phone or Facebook, etc. Portraiture is a human enterprise, intimate and sacred.
What are some of your goals as the first Curator of American and Decorative Arts?
There never was a dedicated person to cover this area. It will be my job to remind he community of the great holdings [here at the MAM] in American Art, give them a focus and emphasis they haven't had. I'll be rethinking and reinstalling the American Art galleries as well. American Art is about immigration, industry, innovation and philanthropy, which is a conversation between cultures. This provides a great fit for this city and the Milwaukee Art Museum.
