Free Rein Photography

Man hole cover, Auckland NZ ©2010 Michael Maurer Smith

Kate and I were on our way to to dinner at Cin Cin on Quay in Auckland when we stepped into the crossing at the end of Queen street and I seized the moment to photograph the man hole cover in our path.

Nine years later that photo still proffers aesthetic satisfaction and vivid memories of that time and place: what it felt like underfoot, the odor of the sea mixed with cooking smells from nearby restaurants, the beeps and rumbles of traffic, the squawking of the gulls, the waning gold light of the sun about to set and the slight chill of the evening breeze. 

London Transport, Auckland NZ © 2010 Michael Maurer Smith

My senses were heightened then, as is always so when one is thousands of miles from home and in an unfamiliar place. Everything was interesting: the tallest, oldest, grandest and most humble buildings; the street people; the monuments; the Emirates yacht tied up in Viaduct harbor; the London Transport emblem on the aged, red, double decker English bus parked alongside the curb. Everywhere there were photographs to be made, if I were open to them. Here the gut, heart and eye had to be given free-rein, and I had to know my camera so well that it was an extension of my thought. I was in the flow, photographing what compelled me and showed some essence of the place; photographing details which experience has taught me often result in more personal, revealing and meaningful pictures. This is when I most enjoy photographing and why I do it.

© 2019 Michael Maurer Smith  

A Contemporary Art Museum?

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The Eli and Edythe Broad Art Museum, photo © 2012 Michael Maurer Smith

The Eli and Edythe Broad Art Museum, which is located on the campus of Michigan State University, is, quoting their website, “Expressly dedicated to exploring contemporary culture and ideas through the probing gaze of international artists, the MSU Broad is a place where artists’ ideas, words, and actions create a vibrant center for questioning and understanding the world.”

Housed in a stunning building that was designed by the late Zaha Hadid, the 2004 Pritzker prize winning architect, and financed by the largess of Eli Broad, the “Broad,” as it is called around here, has generated a range of reaction. Some people love it. Some loath it. But few who know about the place remain indifferent to it.

A museum, by definition, is a place in which objects of established historical, scientific and cultural significance are housed and exhibited. So then how can there be a museum of contemporary art? How can art being made in our current social and cultural milieu already be deemed worthy of preservation and veneration?

The Broad, in its current guise, succeeds in provoking thought—encouraging the visitor to ask such questions as:

  • Is what I am seeing/experiencing Art? Why or why not?
  • Am I open to seeing and perceiving in new and uncomfortable ways?
  • Does the Art reside in the object? Or does it reside in the guiding concept?
  • Am I, the viewer/experiencer, necessary to complete this art by my presence?
  • What knowledge of art should I bring to this encounter?
  • Do I need to broaden my thinking about what art can be?

The Broad, however, continues to struggle with its identity. Who is it for? What is its fundamental purpose? It calls for people to come and be culturally and artistically enriched, even as it confronts them with art that is often alien to their life experience, comfort level, knowledge, education, tastes and values. This, of course, is a good thing—provoking curiosity and learning—expanding the individual’s horizons. But it is also the privileging of the artistic values and tastes of the museum directors, curators, art collectors, dealers, investors and the art press who decide what will be shown and promoted and what they currently consider a good investment. But, contemporary art by its very nature is not art which has been proven worthy over a period of decades or centuries.

In my opinion the Broad should not be called a museum or pretend to be one. It cannot promise that what it shows today will be remembered as significant one, five, ten or a hundred years from now. Instead it should call itself what it is—The Eli and Edythe Broad Contemporary Art Center.

© 2017 Michael Maurer Smith