Photo by Lexi Coon.
R. Hugh Kaul Director of the Birmingham Museum of Art Graham Boettcher spoke about the museum's future at the Nov. 20 Homewood Chamber of Commerce monthly luncheon.
Although Graham Boettcher has only been the R. Hugh Daniel Director at the Birmingham Museum of Art for a little more than a year, the museum itself has been around since the early 1950s — which means growth is in order.
Boettcher talked through the vision for the future of the museum at the Homewood Chamber of Commerce’s luncheon on Nov. 20.
Boettcher took the place of President Emerita Gail Andrews, who, he said, left him “pretty big shoes to fill.” Andrews, who still resides in Birmingham, was with the Birmingham Museum of Art for 41 years, 25 of which were as director. Because of her influence on the museum, it was able to raise $1.2 million to fund projects in Andrews’ honor, Boettcher said.
Despite being a department of the city of Birmingham, Boettcher said only half of the yearly funds come from Birmingham. The rest are raised by the museum annually, including through fundraisers, donations and memberships.
“The generosity of this community is extremely important to make sure we’re keeping our doors open and reaching as broad as a constituency as possible,” he said.
He then looked to the future of the museum, which is outlined in a strategic plan.
Boettcher said this plan was developed before his time, but looks at it knowing the museum has many elements that make it unique: its history and location in the heart of downtown Birmingham; the large permanent collection, with nearly 30,000 pieces in its name; the number of private collections promised to the museum; and free admission to the galleries.
“We’re one of the few museums left of our size and caliber in the country that’s free,” he said. “You pay $25 when you go to The Met. And I know we’re not The Met, but I think we’re worth at least $12.”
Going forward, some challenges he said the museum faces include available parking, inadequate gallery configuration for a growing collection, storage needs and deferred maintenance. He would also like to see more put towards prioritizing visitor experience and making the museum welcoming for all.
“Let us not forget that there was a time in Birmingham’s history from the founding of the museum in 1951 until 1964 when a large portion of our community was only permitted at the museum one day a week because of the Jim Crow laws that were in place and enforced by Bull Connor,” he said.
Boettcher wants to ensure “that we’re a place for everyone to come.”
To do so, he would like to find new ways to engage the community and bring relevant content to the city of Birmingham.
Within the next three years, he hopes to see the annual number of visitors at the museum reach 180,000, which currently, they are on track to do. Recently hired curator of contemporary art Hallie Ringle, who previously worked at The Studio Museum in Harlem, also wants to take components of the museum out into the community.
Boettcher said too that the museum is now using its social media channels to see which pieces and galleries generate the most interest from visitors. This can help curators and staff members plan galleries and events in the future.
As for addressing future growth, he said the museum is going to have to grow with the city if it wants to be successful.
The location — bordered by Interstate 20/59, the historic Boutwell Auditorium, the Jefferson County Department of Corrections and Linn Park — only lends itself to vertical expansion, which is only so feasible, he said. Half of the parking for the museum was also taken away for I-20/59, and many don’t want to park in the nearby parking garage, partly due to its cosmetic appearance.
Money will have to be spent on costs that include cosmetics and maintenance, Boettcher said, but the new additions to downtown, including the planned CityWalk Bham, an art and recreational space under the I-20/59 bridge, can present opportunities for the museum to collaborate.
Boettcher did say that if an opportunity arises for the museum to change locations, it will be investigated, but the museum is “committed to staying within the city of Birmingham.”
Overall, he wants the museum to be seen as a gathering place, a place where anyone can enjoy art and talk with their peers, and “people feel a sense of ownership.”
“I’m kind of tired of at the museum of people saying, ‘Oh, it’s such a well-kept secret.’ … Who wants to be a well-kept secret?” he said, laughing. “I want everyone to know about the museum.”
