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Welcome to Part 2 of our Exclusive Interview with Professor Megan Heber, MA, MBA. Megan’s journey exemplifies a profound commitment to using the arts as a catalyst for positive change. With 15 years of experience, Megan has become a leading advocate for the arts, currently serving as the Professor of Practice in Arts Management and Nonprofit Leadership at SMU’s Division of Corporate Communication and Public Affairs.

Beyond the classroom, Megan actively engages with the North Texas arts community, contributing her expertise to various committees and organizations such as the City of Dallas Cultural Plan Implementation Steering Committee and the Board of Appointed Trustees of the Dallas Symphony Orchestra.

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PART 1: Interview with Prof. Megan Heber on SMU’s Master of Management in International Arts Management (MMIAM) Program

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Megan’s remarkable contributions have not gone unnoticed; she was honored with the Business Council for the Arts Obelisk Award in 2020 and recognized as one of “30 Under 40” alumni by Rowan University. With a diverse background encompassing executive roles and military service, Megan’s journey is a testament to her unwavering dedication to enriching communities through the transformative power of the arts.

Can you talk about the hands-on aspects, fieldwork, and travel involved? What can students expect and how interesting will it be to them?

The MMIAM program is intensely hands-on, offering students opportunities to dive into the practical aspects of arts management through varied fieldwork and travel experiences that are as educational as they are inspiring.

One example of this is a trip to Tuscany where students live in a castle that has been standing for over a thousand years. This experience is not just about soaking in the breathtaking views and historic ambiance; it’s about actively participating in the ongoing efforts to preserve and manage this ancient site. Students live among those who have painstakingly renovated the building, learning firsthand about the complexities involved in maintaining such a historic property while keeping it functional and accessible to the public.

During their stay, the program also takes students to an active Etruscan archaeological site. Here, they collaborate with archaeologists, gaining hands-on experience in excavation and artifact preservation. This fieldwork is incredibly enriching as it ties historical insights to modern-day cultural management and conservation techniques. The students will also live among these archaeologists and share evening ‘salon series’ discussions with them.

From Tuscany, we go immediately to Milan, where the artifacts unearthed from the site we visited are showcased in a museum. This part of the trip allows students to see the end-to-end process of archaeological discovery, from the initial dig to the final display, highlighting the role of arts managers in bringing historical discoveries to a broader audience.

Moreover, while in Tuscany, discussions on sustainability and ecotourism are woven into the curriculum. The castle’s grounds are a prime example of sustainable management, as they produce their own wine, olives, and other produce. This introduces students to sustainable practices within the arts and heritage sectors, emphasizing how environmental stewardship can be integrated with cultural tourism and conservation.

This trip, like many others in the program, is designed to be deeply engaging and intellectually stimulating, ensuring that students not only learn about global arts management but also experience it dynamically and directly. Such experiences are designed to be profoundly interesting and highly relevant, preparing students to handle the challenges and opportunities of arts management in diverse and changing environments

What specific cultural and artistic institutions do students have the opportunity to engage with during their time in the MMIAM program?

During their tenure in the MMIAM program, students have the exceptional opportunity to engage directly with a broad spectrum of prestigious cultural and artistic institutions globally. This includes behind-the-scenes tours as well as meetings with CEOs and executives. 

Starting in Dallas, students explore innovative spaces like Meow Wolf, known for its immersive art experiences, and engage with major funders such as the Communities Foundation of Texas and the City of Dallas Office of Arts and Culture. They also experience traditional arts venues like the Dallas Symphony Orchestra, Nasher Sculpture Center, and Heritage Auctions, providing a comprehensive view of both the nonprofit and commercial sides of the arts

In Montréal, our students visit Cirque du Soleil’s creative headquarters, where they tour the facilities and meet key figures such as Daniel Lamarre, the former President and CEO. This offers deep insights into one of the most innovative entertainment companies worldwide. Further interactions include visits to Les Grands Ballets Canadiens and the Montreal Museum of Fine Arts, enriching their understanding of North American arts management.

The program’s European leg includes time at Bocconi University in Milan, where students delve into the Italian arts scene, visiting iconic institutions like La Scala and contemporary ones such as Fondazione Prada. Additional stops in other European cities expose students to a variety of cultural organizations that represent the rich cultural heritage of the continent.

Moreover, the curriculum extends to emerging markets such as India and China, where students explore arts management in different economic contexts, enhancing their global perspective and understanding of international cultural policy. Through these diverse experiences across Dallas, Montréal, Milan, and beyond, MMIAM students not only learn about varied management styles and strategies but also build a network of international contacts that supports their future careers in arts management.

Could you describe the role of the International Advisory Board in shaping the curriculum and overall experience of MMIAM students?

The International Advisory Board plays a crucial role in shaping the MMIAM program by ensuring our curriculum remains at the forefront of global arts management education. With members drawn from esteemed positions within the arts community worldwide, their insights help us integrate current trends and practical challenges into our coursework. They provide strategic guidance on evolving the program to meet emerging needs, such as digital innovation and global cultural policy shifts, ensuring our curriculum is both relevant and forward-looking.

Furthermore, the board enhances the student experience by leveraging their extensive networks to offer unique professional opportunities. This includes facilitating internships, collaborative projects, and guest lectures, which are integral for practical learning and career development. Their involvement ensures that students gain direct exposure to leading practices in arts management and build valuable professional connections that can propel their careers in the arts sector.

How does the MMIAM program foster cross-cultural collaboration among students from diverse backgrounds?

Our program thrives on diversity. We foster an environment where students from various backgrounds collaborate and learn from each other, enriching their educational experience and preparing them for global careers. Living, studying, and traveling together for a year, students are required to adapt to new environments and challenges continuously. This shared journey not only fosters resilience but also deepens mutual understanding.

Each region we visit brings a student closer to home while pushing another out of their comfort zone. Having a peer who understands the local language, cultural practices, and societal norms acts as a bridge, illuminating these differences and similarities for the group. This dynamic ensures that each student, at some point, will play the role of both a learner and a cultural ambassador. The constant exchange of perspectives and experiences is what truly enables our students to become adept at navigating and managing across cultures. Every student, at some point, will find themselves in unfamiliar territory, and it’s here that the richest learning occurs.

Alumni of the MMIAM program have achieved success in various arts management roles worldwide. Can you share some examples of how the program has impacted their careers?

Our alumni are our greatest testament. Their careers span the globe and the arts sector, from managing top-tier arts festivals to leading community-based cultural initiatives. Their success is a direct result of the comprehensive education and diverse experiences they received here. For example, one alumnus now leads a major arts festival in Europe, applying lessons from their international exposure and network formed during the MMIAM program. Another has transformed a local arts organization by implementing innovative management strategies learned during their studies. These stories are not just of career advancement but of profound impact on the communities they serve.

In what ways does the MMIAM program prepare students to address the unique challenges and opportunities in the global arts management industry?

Preparation comes through exposure and engagement. Students face challenges firsthand and learn to navigate complex cultural landscapes. This is done through coursework that reflects the latest industry demands and through immersive experiences in diverse settings. From Dallas’ new arts scene to China’s ancient crafts, our students gain a panoramic view of the arts world. They learn not just to manage, but to lead in ways that respect and leverage cultural differences, driving innovation and change in the global arts sector.

What sets apart an ideal candidate for the MMIAM program, and how do scholarships contribute to attracting such candidates?

An ideal candidate is passionate, curious, and driven by a desire to make a difference in the arts world. Scholarships help us attract these bright minds, ensuring that the best talents can pursue their dreams regardless of their financial situation.

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Interview organized by CCI communications. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News

The post Exclusive Interview with Prof. Megan Heber on SMU’s Master of Management in International Arts Management (MMIAM) Program | Part 2 appeared first on World Art News.

More than 200 items spanning 40 years will be sold with part of the sale proceeds going to charity

The second edition of the biennial award, which acknowledges practitioners across art, film, theatre and more, also grants two years of mentorship and inclusion in a global networking programme

Heritage Auctions will be including in its March 30th auction an original oil painting portraying Stan Laurel, Oliver Hardy, Bess Flowers, and Vivien Oakland from the 1929 movie classic, “We Faw Down.” The oil painting has been extensively researched and confirmed to be the work of early motion picture costume and set designer, Louise Lauritzen McCaslin (1896-1985). Auction bidding will open on March 29th, 2024, at HA.com

McCaslin was a documented costume and set designer in the early motion picture industry, and her work for the infamous comedy duo Laurel & Hardy in the 1920s to 1930s was confirmed by historian Lillian Wright and supported by related news articles, books, and askArt.com.

McCaslin’s obituary from Deaths, Monterey Peninsula Herald, and Fresno Bee (03/02/1985), confirms this history, as well: “Mrs. McCaslin worked in Southern California as a designer of sets and costumes in the early years of the motion picture industry.” The term Southern California herein refers to Los Angeles County, where Hal Roach Studios/MGM occupied space in Culver City, Calif., in the Los Angeles region.

McCaslin’s motion picture work was further confirmed by historian Lillian Wright, who documented some of the artist’s architectural commissions in a 17-page article for Pacific Grove’s periodical “Board and Batten” and who was writing McCaslin’s biography at that time.

In a 2013 phone conversation, Wright stated: “Mrs. McCaslin worked with Hal E. Roach Studios when they had a distributing partnership through MGM (circa 1927). She worked on film set design and costuming for Laurel and Hardy films, amongst a host of other stars and starlets. In those days, Hal Roach was producing Laurel and Hardy films in large quantities, along with the Will Rogers, Charlie Chase, and the Little Rascals ‘Our Gang’ series, so the studios had a host of designers— many of them received little or no recognition for their hard work. Mrs. McCaslin also taught costume design at the California School of Fine Arts and deserves some recognition, I think.”

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“Proceeds of this sale will benefit the owner who suffers from myasthenia gravis disease.”

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According to film archives, the Roach/MGM classic, “We Faw Down,” was filmed on Production Lot-15 at Hal E. Roach Studios between August 23, 1927, and September 1, 1928, with retakes on September 7, 1928. It was released in December of 1928 for 1929 audiences.

The distinguished Laurel and Hardy Society of London featured the painting in its 2015 issue, Vol 9/No 8 of Laurel and Hardy Magazine. At that time, the painting was presented to the L&H Society archive expert, Robert Warren, who was able to find a movie still from the original film, and remarkably, the still was nearly identical to the painting, yet with one prominent exception: The facial expression of Oliver Hardy in the still was that of a grimace, whereas, in the painting, Hardy is portrayed smiling or laughing. There were also some other minor differences such as napkins being removed. Notably, McCaslin in those days would not have acquired access to the film still, unless also having access to the studios.

To confirm the artist’s signature on the painting, the signature and personal note accompanying the piece were compared to another personal letter previously handwritten by McCaslin to the City of Monterey, Calif., where McCaslin had donated personal artwork to the Colton Hall Museum as a permanent gift to the City. This letter, officially on file at City Hall, helped to identify the artist’s full identity, including McCaslin’s maiden name, when the signature on the painting and its accompanying note were compared to the document at Monterey’s City Hall. Said confirmation was performed by the experts at Profiles in Hollywood.

The personal note was further determined by experts to be McCaslin’s own script but was pre-WWII, and slightly after 1939. So, it would appear that the note was attached to the painting some years after the painting’s composition, and just after the commencement of WWII. McCaslin’s accompanying note, which she had attached to the painting, read as follows: “We Faw Down” 1928. Opening Title: This story is based upon the [illegible scribble] assumption that, somewhere in the world, there are husbands who do not tell their wives anything. With Bess Flowers and Vivien Oakland.

The flipside of the note read: Painted on set. 1928.

Louise McCaslin (née Lauritzen, 1896-1985) was an American artist born in Fresno, CA, and also a Fine Arts instructor and fashion design teacher in her lifetime. She received her MA in Fine Arts at the University of California, Berkeley, where she also went on to teach costume design at the California School of Fine Arts (circa 1917). She also attended the San Francisco Art Institute after the original building burned down and operated from the Mark Hopkins Hotel. She subsequently became a costume and set designer in the early motion picture industry in the early 1920s to about 1930. McCaslin taught in her local community schools in her later years (1942-1957).

McCaslin was the understudy of English-born (of Scottish descent) painter and colorist, William Constable Adam (1846-1931), under whom she studied “Plein Air” painting at his “rose-covered” cottage home at 450 Central Avenue in Pacific Grove, Calif. Under Adam’s tutelage, she produced renderings of California architecture, coastline, and landscapes. During her early art career, McCaslin produced more colorful oil pieces, indicative of the early “Fauves,” or “wild beasts,” of whom Henri Matisse would be included, whereby experimentation with bold colors, bawdy and vivid designs were employed during that movement. McCaslin’s Fauve paintings were likely done while attending the San Francisco Art Institute.

McCaslin’s works are referenced in such books as “Artists in California, 1786-1940” (1986, Hughes); “Art & Artists – Carmel, Monterey, Pacific Grove, Big Sur, Carmel Valley, Vol III”; McCaslin is also listed in “Who Was Who in Art America” (1999, Falk). Her architectural commissions are quite plentiful around Pacific Grove where she resided until death, as they were desirable to Pacific Grove residents, libraries, and historians. Some of her watercolor pieces (done in her later years) can be found at Pacific Grove Library, Monterey City Hall, and in Pacific Grove’s Board and Batten. Various other colorful oil paintings by McCaslin— which are quite elusive and more difficult to find— can be found in private collections, more indicative of the Fauves, and of her passion for early Pop Art design. She also was an advertising artist, though further research is needed.

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“To date, this is the only known painting ever done of Laurel and Hardy by one of their Golden-Age motion picture costume and set designers, making it a piece of true Hollywood memorabilia. It also demonstrates itself as masterful Pop Art piece.”

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It is a possibility that McCaslin asked the actors to pose personally since the painting closely resembles the movie stills, which at that time would have been held privately by Hal Roach Studios. Nonetheless, this rare find unites both Laurel and Hardy, their leading ladies, and their early costume designer in a unique piece of motion picture memorabilia.

For “Sons of the Deserts, (that is, L&H fans), or for any Fine Arts lover or museum curator, this would make a stark presentation piece, or museum piece, as it is very vibrant and well-preserved. McCaslin’s artwork titled “We Faw Down,” dates 1928— a year before the film’s release— and demonstrates an Andy Warhol style long before Warhol ever began his notorious career as a Pop Art icon.

Proceeds of this sale will benefit the owner who suffers from myasthenia gravis (Latin for grave weakness), a rare neuro-muscular disease affecting 1/50 of 1% of the United States population, according to the official Myasthenia Gravis Foundation (www.myasthenia.org). The disease causes severe muscle weakness, balance, and swallowing issues, and it can affect the functioning of the nerves throughout the entire body, including vital organs. Fortunately, there are treatments, and most MG patients live a full life. The seller has held the painting since 2008 and wishes the painting to be preserved for posterity.

Heritage Auctions welcomes all bids when the piece goes up for auction in March in their “Movie Posters Signature Auction.” Opening bidding is scheduled for March 29th, and the auction is to be held on April 20, 2024. Please note that auction dates are subject to change by the auctioneer, at will; so, please keep informed by visiting the Heritage Auctions website at HA.com. At the website, viewers can review images, related articles, data, and bidding/auction information. Interested parties can sign up for bidding and place a bid once registered with Heritage Auctions to do so.

Heritage Auctions is an American multi-national auction house based out of Houston, Texas, founded in 1976. Heritage is one of the largest auctioneers of Fine Arts, film memorabilia, numismatic collections, comics, luxury accessories, music, history, real estate, and sports. Auction sales for Heritage in 2022 were $1.45 billion. Heritage Auctions has no connection with this article, its content, or its release. Details and information in the auction listing may vary from the actual content of this article, as Heritage Auctions’ experts see fit. The information presented herein is supplied in good faith by the seller and cannot be deemed authoritative but rather is as best research has indicated.

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References

(1985, March 2). McCaslin’s obituary. Deaths, from Monterey Peninsula Herald and Fresno Bee
Wright, L. (2007). The Board and Batten, of the Heritage Society of Pacific Grove, (Fall 2007)
Wright, Lillian. (2013). personal interview
University of Southern California, Hal Roach film archives, production records of the Roach/MGM classic, “We Faw Down.”
Warren, R. (2015). Laurel and Hardy Magazine, 9 (8)
Private Collection, photographs, “We Faw Down” oil painting by Louise Lauritzen McCaslin, 1928, and personal note, private collection, with permission of seller
City Hall of Monterey Calif., personal letter of Louise McCaslin to the City Manager’s Office, April 4, 1977
City Hall of Monterey Calif., Colton Hall Museum, Contract of Gift of Personal Property, by Louise McCaslin, April 11, 1977
Hughes. (1986). Artists in California, 1786-1940
Cunningham/Multiple Authors. (1985). Art & Artists – Carmel, Monterey, Pacific Grove, Big Sur, Carmel Valley, Vol III
Falk. (1999). Who Was Who in Art America
Hughes, E. (n.d.). askArt: askArt.com/artist/Louise_Lauritzen_McCaslin/10033999/Louise_Lauritzen_McCaslin.aspx
Library, P.G.P. (n.d.). Pacific Grove Public Library Administrative Files Library Catalog
Myasthenia Gravis Foundation of America. (n.d.).: myasthenia.org/MG-Education/What-is-Myasthenia-Gravis

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Story submitted by Amy Rose. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News

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By Magzoid Magazine

The artistic soul of the UAE is set to be rekindled with the eagerly awaited return of the Emerging Art Icons Awards. This second edition unfolds the canvas for a new chapter of artistic exploration, inviting a kaleidoscope of talents to showcase their creativity and vision.

In its inaugural year, the event etched an indelible mark on the hearts and minds of the artistic community, celebrated for its unparalleled dedication to elevating unseen talent and fostering a vibrant culture of innovation and expression. “Witnessing the transformational journeys of last year’s participants was nothing short of inspirational,” reflects an art patron, signaling the profound impact of the awards.

This year, the awards extend an open call to artists across all mediums, from painters and sculptors to digital creators and beyond, offering a platform that transcends traditional boundaries and nurtures creativity at its core. The spotlight shines not only on the mastery of technique but also on the stories that animate each creation, echoing the vibrant diversity of the UAE’s cultural tapestry. With a commitment to nurturing a sustainable and inclusive art ecosystem, the awards spotlight the remarkable diversity and creativity in the UAE, offering a platform for emerging talents to gain invaluable exposure and recognition.

“The Emerging Art Icons platform holds significant importance not only for artists but also for the broader art industry, as it promotes and elevates artistic endeavors as an exceptional avenue for discovering emerging talents. The ongoing economic prosperity witnessed in the UAE is playing a crucial role in propelling the creative economy forward. Notably, the burgeoning art movement in Dubai is advancing in tandem with its overall growth.” said Khalil Abdulwahid, an Emirati artist also serving as the Director of Fine Arts, at Dubai Culture.

“Emerging Art Icons provides a commendable platform for artists, instilling encouragement within the creative community. By offering galleries, exhibitions, and opportunities to showcase their artwork, this platform affirms appreciation for artists’ creations. Such recognition serves as a profound source of motivation for any individual involved in artistic pursuits,” Khalil continued.

Nominations for the Magzoid Emerging Art Icons Awards 2024 are now open. Artists, institutions, and brands are encouraged to submit their entries and join this magnificent celebration of art and creativity that promises to surpass expectations and inspire the next generation of artists. For more information on the nomination process, visit www.emergingarticons.com. The stage is set. The spotlight, warm. The canvas, blank. Your stroke is the only thing missing.

Story submitted by Magzoid Magazine. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News

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Netflix’s ‘The Crown’ Auction marked a historic moment as over 450 meticulously crafted pieces from the acclaimed TV series found new homes, fetching a remarkable £1,674,000 at Bonhams, London. The auction, which boasted an impressive 100% sell-through rate, exceeded all expectations, showcasing the enduring allure of this beloved show.

The auction, which spanned both live and online platforms, captured the attention of collectors and fans alike. Charlie Thomas, Bonhams UK Group Director for Private & Iconic Collections, expressed his gratitude for the collaboration with Left Bank Pictures, the production company behind “The Crown.” He hailed the event as a resounding success, attributing it to both the series’ undeniable popularity and the exceptional talent involved in its creation.

Among the most coveted items were iconic props and costumes that breathed life into the world of “The Crown.” The top lot, a 1987 Jaguar XJ-SC 3.6L Cabriolet, used to depict Princess Diana’s personal vehicle, fetched an astonishing £70,250, surpassing its estimate fourfold.

Another notable item, the world’s only reproduction of the Gold State Coach, fetched £56,280, nearly doubling its pre-sale estimate of £30,000-50,000.

The funeral procession model of Imelda Staunton as the Queen, prominently featured in the final episode of “The Crown” (Season 6, Episode 10), sold for £53,740, six times its pre-sale estimate of £8,000-12,000.

Additionally, a parquetry and gilt metal mounted cylinder bureau in the Louis XVI style, initially showcased in Season 2 in the Audience Room by Claire Foy, Olivia Colman, and Imelda Staunton as the Queen, realized a selling price of £46,080, significantly surpassing its pre-sale estimate of £2,000-3,000.

Other notable sales included a reproduction of the Coronation Chair (Saint Edward’s Chair) which sold for £25,600, surpassing its pre-sale estimate of £10,000-20,000.

Moreover, a replica of the famous wrought iron gates of Buckingham Palace fetched £12,800, exceeding the pre-sale estimate of £6,000-8,000, while a replica of the façade of Number 10 Downing Street sold for £10,880.

The allure of “The Crown” extended beyond grandeur to encompass the exquisite costumes worn by its stellar cast. Replicas of the Coronation Ceremonial Garments, including the Imperial Mantle and Stole, commanded significant sums, as did the iconic ‘Revenge dress’ inspired by Princess Diana’s fashion statement which sold for £12,800. These pieces not only encapsulated the essence of the characters but also served as tangible connections to the show’s rich narrative tapestry.

Even the smallest details, such as character props and quirky memorabilia, found eager buyers. A humble swizzle stick, used in portraying the Queen Mother, fetched an astounding £1,664, a testament to the fervent dedication of collectors seeking to own a piece of television history. However, beyond the glitz and glamour, the true significance of this auction lies in its charitable impact. Proceeds from the live auction will fund scholarships at the prestigious National Film and Television School (NFTS), laying the groundwork for the Left Bank Pictures – The Crown Scholarship program. This initiative aims to provide fully-funded scholarships for aspiring filmmakers, ensuring that the legacy of “The Crown” extends far beyond the confines of the screen.

A highlight of the live sale was the appearance of actor Alex Jennings, who portrayed the Duke of Windsor in the series. His corduroy blazer and trousers from a pivotal episode found a new owner, further adding to the auction’s allure.

Prior to the auction, an exclusive exhibition at Bonhams New Bond Street drew an unprecedented 30,000 visitors, underscoring the profound impact of “The Crown” on popular culture. In response to the auction’s success, Andy Harries, Chief Executive of Left Bank Pictures, expressed his satisfaction, emphasizing the importance of giving back to the industry that made the series possible. Jon Wardle, Director of the NFTS, echoed this sentiment, highlighting the transformative impact of the auction proceeds on future generations of filmmakers.

As the final gavel fell and the last bids were placed, the legacy of “The Crown” was etched in history, not only as a groundbreaking television series but also as a catalyst for change within the film and television industry.

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Story submitted by Bonhams. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News

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Photographer adopts two contrasting looks—from pristine to harried—for fashion campaign

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