Issue link: http://papercitymagazine.uberflip.com/i/1076820
73 those classifications merely served to put monetary values on art. Hierarchical value systems are sometimes mirrored through curatorial departments at museums. Often, these curators are at the whim of what is popular with the public — and, for many years now, popularity has come in the form of contemporary art. Decorative arts, generally defined as utilitarian design, did not occupy the sacred space for cerebral intellectuals looking for cathartic revelations or higher meanings. It was not until recently that the decorative arts found their spotlight, through primary placement in the most well-traversed spaces of the DMA. Taste in decorative arts is similar to taste in fashion: continually evolving, but difficult to critically define until years after an object's initial creation or runway debut. It is refreshing, therefore, to see commentary on what is happening now front and center at the DMA via "Women + Design: New Works" — Schleuning's first exhibition at her new home, which closes February 17. The exhibition is composed of recent works by seven contemporary female designers, including two newly created pieces by Iris van Herpen and Najla El Zein, on view for the first time. International in origin and diverse in media, form, and objective, this dynamic group of emerging and mid-career talents includes Katie Collins, Faye Toogood, and Katie Stout. Schleuning has a nuanced approach to her curating style: thoughtful yet authoritative, allowing room for viewers to make their own judgments of what she presents. That is apparent in "Women + Design" and will make her shows accessible to wider audiences that may not already have an affinity for the decorative arts. M ore now than ever, art institutions are paying attention to living women artists and re-examining their permanent collections for works by strong female artists of the past. Some have suggested that the DMA might be overcompensating by having more women represented in the main galleries on the ground floor of the museum. Currently, three exhibitions at the DMA focus solely on women: the aforementioned "Women + Design," "Ida O'Keeffe: Escaping Georgia's Shadow," and "Women Artists in Europe from the Monarchy to Modernism." I commend our city's museum for recognizing the importance of taking part in the current national conversation on gender parity. The zeitgeist as it is, we must examine the impact of the #metoo movement on the museum world. Much like the private sector, gender inequality has been the norm at myriad arts institutions in the US. In a 2018 survey of museum professionals, 62 percent reported that they had been the victim of — or witnessed — gender discrimination at work. The majority of leadership roles at larger museums around the country are still held by men. Those dynamics can create precarious situations in terms of judgment calls regarding decisions on current program calendars and plans for the future. It begs the question: Will an influx of female-focused exhibitions lead the charge for a cultural shift within our art institutions. D oing a walk-through of "Women + Design" with Schleuning was a breath of fresh air. She wasn't speaking at her audience, but rather engaged in a dialogue with us, authentically seeking our responses and questions on what she had put together. She engages those around her and feels no need for bombast and high-minded art speak. With that in mind, I know she will bring a fresh perspective to the eagerly anticipated "Dior: From Paris to the World" exhibition opening this May. Mid-career curators such as Schleuning are inevitably tasked with bringing museums into their next chapters, from bridging the gap between high art and decorative art to addressing larger gender issues. Schleuning will undoubtedly dig deep into the museum's vast collections to create a new dialogue with our past that resonates with our current times. "I'm always on the lookout for great creative works and the makers behind them," she says. "This is a great moment to consider the expansive nature of the designed object. I am less interested in definitions and boundaries and more engaged by great works that are both inspiration and aspirations for our community." Custom gate designed by Aaron Rambo and made by San Miguel artisans "I AM MUCH LESS INTERESTED IN DEFINITIONS AND BOUNDARIES AND MORE ENGAGED BY GREAT WORKS THAT ARE BOTH INSPIRATION AND ASPIRATIONS FOR OUR COMMUNITY." — Sarah Schleuning Carrie Dickens' Comfort Me, 2015 Faye Toogood's Tools for Life Mobile 2, 2017