On a personal note, I have to confess that overall I really struggled with this assignment. Even after thinking of what organization I felt was needed in Philadelphia throughout most of the semester, when the time came to actually create my organization I felt at a loss. I didn’t grow up in Philadelphia, or even the Philadelphia area, and so creating an organization seemed a bit intrusive to me. I felt like I didn’t really *know* the Philadelphia arts community, so to say what I thought was missing from it felt a bit presumptuous. I started with what I knew, living in West Philadelphia near Philadanco’s studio. I would hope that my addition to the Philadelphia arts and culture community would be a welcomed and needed one. Even now I still feel tentative about my idea, not sure if it reflects a current need or if it would serve the community at large. I think that throughout the semester I have been really struck by the idea of seeing the inter-connectedness of different cultural organizations within the city and how they play off of one another.

Since the organization is to be first based in West Philadelphia, that is where its office would be located. There is some available space near Philadanco’s West Philadelphia studio, located at 9 N. Preston. The benefits of this space would be twofold. First of all, it would be close to Philadanco’s studio which would give it immediate access to the administrative structure already in place there as well as a furnished dance studio and dance professionals, those who would be teaching the children in schools. Secondly, I believe this area is ripe for development. Located near 40^th and Market, this area is home to many families as well as commercial establishments and both Drexel and Penn. There are some abandoned buildings which I think could be rehabbed to create new creative spaces. This area also does not have a lot of violent crime, so I think it is a relatively safe area for school aged children.

In the beginning Philly Dances would start by teaching one grade level, fifth grade. As the children moved up, the program would expand. After four years, the program would be at its capacity. (At least its initial capacity) I think that starting at schools in West Philadelphia would make the most sense as this is where the organization would be founded. In the beginning two weekly classes would take place at each school, each class would be an hour in length. The teachers could decide which type of dance they would offer, though hopefully as the program grew students would be involved in different types of dance. (When I was in 6^th grade I took a semester of IFL-Introduction to Foreign Language where it was 4 weeks of each of the four languages offered; I’m imagining something along these lines) As students and the program grow they might be able to decide on a dance specialty or area of focus, depending on interest and funding.

I think in the beginning there would be very little overhead. There would not need to be a large office or studio space to begin with. Since I’m creating this organization I think that it would start with a large bequeath from someone. I would also hope that as city dance companies became involved with the project they would plan for the use of some of their teachers in their budget. Philly Dances would also apply for grants from the National Endowment of the Arts as they offer grants to both, “support projects that extend the reach of the arts to underserved populations” and, “to advance arts education for children and youth in school-based or community-based settings.”  I am also envisioning that as the program got larger students could perform recitals where the public could go watch for a fee. This would be at least several years into the project however, and I understand that it is not a reliable source of income and would be expensive to put on in the first place.

Overall Philly Dances would give Philadelphia’s public school children access to dance and the dance community and would help Philadelphia’s dance companies in their outreach into the community. I see the need for this organization in Philadelphia and I think that given time it could grow to reach all parts of the city and Philadelphia’s public school students.

When we showed up for our 3:00 reservation we were told that a tour had just started which we could join at no charge. Being a part of this tour definitely enhanced our experience at the Barnes, since there are no markers to designate the paintings. Another aspect I really enjoyed of the docent-led tour is that you know that no two tours will ever be exactly the same. Our docent pointed out some of her favorite paintings and the way in which some of the objects in the room complimented them. Since Dr. Barnes left no notes as to the meaning of placing certain objects in different rooms, what she pointed out was merely her conjecture, but an interesting point of view nonetheless. After our tour I immediately looked forward to returning to the Barnes to go on a tour with a different docent in order to gain a different perspective.

Overall, I think that the experience of the Barnes Foundation will be greatly diminished were it to change locations. The way that size of the collection takes over the space is both overwhelming and incredible. No matter which way you turn there is always something to look at and think about, just the notion that Dr. Barnes was going for. After attending the collection I felt an incredible urge to go back-I l felt like I had missed something, or not been able to fully grasp everything that was presented to me. This, I think, is where the beauty of the Barnes lies. I think that people are used to modern museums where there is one dominating painting per room, and the rest are just there to showcase it. At the Barnes the collection is designed in such a way that there is no one painting to focus on at the exclusion of the others.
I also think that the way that the Barnes is structured to just have room after room of art, with no breaks or pauses also definitely adds to the experience.

While moving to the Parkway would surely increase visitor count to the Barnes, overall I think the value of the collection would be diminished. There is definitely something to driving out to the Main Line and imagining Dr. Barnes hanging each piece of art himself and knowing that while the exhibitions do not change, the experience one has at the Barnes is never the same.

As I walked through the permanent collection it was difficult for me to come up with a single piece I would sell. I had a hard time really defining the theme of the collection, it seemed quite scattered to me. Of course, there were pieces that I just didn’t like, but I didn’t think that my taste should justify the sale or retention of a piece. For me, the collection shined when the connections between the pieces, the Academy, and Philadelphia shined through. Therefore, I thought highly of the Eakins exhibit, the Peale room and the room which had the portraits of wealthy Quaker families along with the painting of William Penn meeting with the Lenapi Indians. So, if I were to sell a piece from the collection I would say it should be one of the pieces without clear Philadelphia/Academy of Fine Arts connections since that where I think the collection truly shines.

For the fiscal year of July 2005 to July 2006 the Rosenbach reported just over 1.5 million dollars in contributions, mostly from the public, with just over $100,000 in government grants. They reported spending just over 1.1 million dollars in the upkeep of their library, which they denote as, “an integral part of the collection.” Their total assets grew just over $400,000 during the fiscal year to raise from 11.4 million to just over 11.8 million dollars, 7.5 million of which is allocated as unrestricted funds. The amount of monies received through admission fees and sale of merchandise has grown since 2001, almost quadrupling from 2001 to 2004. The amount of contributions received in that same time period, however, has steadily declined.

The director of the Rosenbach makes just over $88,000 a year with a benefits package of just over $13,000. He is the highest paid employee or contractor of the museum. The associate director makes just over $60,000 with close to another $10,000 in benefits per year. The trustees report no salary from the museum though Maurice Sendak is listed as a trustee which is interesting since the second floor is currently closed to visitors as they are creating a special exhibition of his work to be debuted later this spring.

After reviewing the Form 990 the Rosenbach filed it is apparent that most of their wealth is from the assets themselves and donations to the museum, without which the museum would not be able to sustain itself. It’s a shame that such an interesting and worthwhile piece of Philadelphia culture, and American culture in general, is here for the public and not taken advantage of. It is my sincere hope that more people will visit this unique location so that they can continue with their mission to educate and inform the public.

*All statistics found here.

The Rosebach is located in the Rittenhouse area of Philadelphia, on DeLancey between 20th and 21st. The museum is housed in the four story row home of the Rosenbach brothers, Phillip and Dr. A.S.W. Rosenbach. Dr. A.S.W. Rosenbach, though the youngest of his siblings, was the one with the most formal education, receiving his PhD in English Literature from the University of Pennsylvania. He spent his childhood days helping out at his uncle’s book shop located on Chestnut between 12th and 13th. This was where his love of books, particularly rare manuscripts and first editions, was cultivated. His brother Phillip was an antiques dealer in Philadelphia, and the two partnered to run a business which consisted of show rooms in both Philadelphia and New York, as well as building the libraries of some of the most influential business men of their time, including the financier J.P. Morgan. After the deaths of both brothers, the Rosenbach Museum and Library was opened to the public in 1954.

The first floor of the house was originally used as a space to entertain wealthy buyers. There is a formal sitting room as well as a formal dining room, both of which display fabulous pieces from the Rosenbach collection. The pieces displayed are not identical to the pieces that were in the house when the brothers lived there as some are from the New York office, and some represent new acquisitions. There is also a changing installation which is now featuring a dining room place setting of china with different birds pictured. The china display is representative of the brothers’ love of birds. We were told on the tour that they had as many as 30 different types of birds in the house.

The second floor of the house, currently closed for installation of a Maurice Sendak exhibit, was the apartment of Phillip Rosenbach. The exhibit should open in early May.

The third floor of the house was the apartment of the youngest brother, Dr. A.S.W. Rosenbach. It is here where his amazing collection of rare manuscripts and first edition books is truly showcased. Among display are pages of James Joyce’s Ulysses manuscript (all 900 of which are in the Rosenbach collection), first edition copies of many of the writings of America’s founding fathers, including Thomas Jefferson and Ben Franklin, as well as editions of Shakespeare and other monumental writers through the 19th century. You can also make an appointment with the reference library to look at any of the books housed in the museum.The third floor is also home to the recreation of Marianne Moore’s Greenwich Village apartment. She donated all of her things to the museum if they promised to recreate the interior of her apartment within the Rosenbach.

The fourth floor, which was originally home to the house servants, now serves as offices to the museum.

After visiting the Rosenbach, I would definitely recommend it to people. You must take a tour to see the collection, and tours begin on the hour on the first floor of the house. It is only $8 ($5 with student id), and the Rosenbach and Mutter Museum have a combined ticket for $15 which allows you to visit both museums. The museum is currently trying to get as much of its content online as possible, and the website is quite extensive. Overall I think that it’s a very interesting place with a lot of history contained between the walls. In fact, the collection is quite sizable so there are changing and traveling exhibitions on display, which means you will never have the same experience twice!

The first, the Pennsylvania Academy of the Fine Arts located on North Broad between Race and Arch, was founded in 1805 by Charles Wilson Peale as the first art museum and school in the nation. It opened in its current museum building in 1876. Its mission statement reads, “The Pennsylvania Academy of the Fine Arts will be the recognized world leader for American fine arts education, which bringing together artists and the public, integrates a world-class collection of American art, major exhibitions and exceptional teaching programs.” It houses an internationally recognized collection of 19th and 20th century American art, including Wilson Peale’s famous self-portrait, and works by Thomas Eakins, including the recent addition of his masterpiece “The Gross Clinic.” Students of the Academy are able to receive advanced art education at the Academy, from certification through a Masters in Fine Arts. Its website is thorough and easy to navigate, even including a search feature for images from the Academy and its archives.

The Bryn Mawr Film Institute was founded in 2002 with the mission, “to strengthen our community by providing the opportunity for diverse segments to meet, learn, share ideas, and develop talents and understanding through the catalyst of film.” The building which the institute is housed in, the Bryn Mawr Theater in Bryn Mawr, PA, was purchased by the Institute, with help from local businesses and schools, and a two phase renovation project was started. The first phase was completed in March of 2005, and the Institute is still trying to raise the money for the second phase. At the Bryn Mawr Film Institute one can take courses in various topics (currently being offered is a course on Woody Allen) and one can also watch various independent films (there are currently four showing along with a Saturday Kids Matinee which changes every week), there is also a place for online discussion regarding some of the films. The Institute has particular interest to me as the President and Chair, Juliet Goodfriend, is a Bryn Mawr alumna and several of the people on both the Board of Directors and Advisory Board have connections with Bryn Mawr College.

The Rosenbach Museum and Library was founded in 1954 to maintain the personal and business collections of Dr. A.S.W. and Philip Rosenbach, two brothers who dealt in rare books and manuscripts and fine art antiques. The mission of the museum is, “to inspire curiosity, inquiry, and creativity by engaging broad audiences in exhibitions, programs, and research based on its remarkable and expanding collections.” Included in the collection is the only surviving first printing of “Yankee Doodle” as well as James Joyce’s manuscript of Ulysses. The museum, located on DeLancey between 20th and 21st, is housed in the townhouse in which the Rosenbach brothers used to live. It is open for tours of the house as well as the exhibition on view (currently Maurice Sendak’s Really Rosie illustrations) The library is also open for research, if an appointment is made beforehand. There is also an online exhibition of portrait miniatures which can be viewed if you are unable to make it to the museum itself.

In it, Ferrick neatly wraps up what we have been discussing in the first two classes, and touches on several points which will be discussed later in the semester, specifically the idea of a cultural landscape within a certain urban ecology, that is things within a specific geographic place. It is almost as there is something that is transcendentally Philly in this space, and that if all the buildings and people were moved elsewhere it would be less Philadelphia-like there.

Near the end Ferrick takes a jab at local politicians, when he writes, “Politicians tend to underestimate the importance of place. They don’t do beauty. They don’t do aesthetics. They often see old buildings and old neighborhoods as impediments to progress. Mayors used to brag about how many buildings they tore down. What they don’t see – and what all candidates for public office here should learn – is that the city as a physical entity has a constituency. It’s not just preservationists, whom the pols usually dismiss as “building huggers.” It also includes a lot of regular folks.” Given class discussion regarding Ed Rendell and the expansion of the convention center, this statement seems to ring as clearly now as a year ago when it was published.

Anyway, just thought I would share. Feel free to leave comments, etc.