Controversial Art Exhibit

Submitted by Group A Burns, Tiffany Deeter, Lori Ellerbeck, Shazell McQueen, Lydia Zesiger, Russell Salt Lake Community College COMM 1010 October 31st, 2013

Table of Contents Executive Summary 2 Project Description 3 Methods 4 Problem Question 4 Analyzing the Problem 4 Setting Criteria 8 Brainstorming Solutions 8 Analyzing Solutions 9 Implementing the Solution 10 Conclusion 12 Works Cited 13 Appendices Appendix 1: Team Contract 14 Appendix 2: Comparison Chart 15 Appendix 3: Participation Points 16

2 Executive Summary This is a summary report of the Group Project for Group A. We used the reflective thinking sequence to find a solution to our groups problem: we are an advisory board for an art gallery and an artist wants to display nude art. By using the first steps of the reflective thinking sequence we: stated our problem as an open ended question, explored the issue, defined our criteria and formed possible solutions; we were able to agree on a solution and put it in to place. Our group devised a solution to create a partition in our gallery to section off the controversial art. This will allow the patrons to enjoy the gallery and also avoid the artwork they may not wish to see. We believe that our solution will best protect the artists integrity while still appealing to our client base.

Project Description We are an advisory board to a privately owned art and photo gallery. As well as selling artwork, our gallery offers a free exhibit for customers to browse through. Each month we feature a different local artist. This has always been a fun and energizing activity. However, this month it's different. Some of our members want to show an exhibit that includes some nudity.

We are Group A, a group comprised of five students in COMM 1010. Our assignment was; how can we best satisfy the wishes of all members of the advisory board? To accomplish this, our group met three times and discussed each step of the reflective sequence. We encouraged critical thinking and participation of each of our members at each meeting.

It was very important to us to find a solution to this challenge that would be a good option for the artist, the gallery and the public. Of all the solutions we proposed, we feel that our recommendation stands the best chance of protecting the artists integrity and yet still appeal to a client base.

Methods In our first meeting we prepared a team contract which included our relational norms and task norms (see Appendix 1). Our team used the reflective thinking process to create an effective solution to our controversial art situation. The purpose of the reflective thinking process is to come to a fair and agreed upon solution using a systematic method for developing high quality solutions to solving problems fairly. (Alder, Elmhorst and Lucas, p.236) Below is our description of the steps we took to effectively solve our problem. After finalizing our report we assigned participation points based on the quality of each persons contribution. Part I: Define the problem Our agreed upon open ended question is, What is the best way to protect the artists integrity and appeal to a client base? Part II: Analysis of the Problem Before we can find a solution to our problem, its important to understand the problem entirely. Many solutions were suggested and we needed to figure out and understand the needs of all the people involved. In our analyzing of the problem we considered its characteristics, stakeholders in the problem (what groups are affected), the history of the problem, and policies and politics (what regulations, professional requirements, political considerations, and/or ethical expectations might impact your solution). We also identified resources we could use in finding a solution. A. Characteristics 1. There are many characteristics that are involved with displaying nude art while trying to protect the integrity of the artist. It is important to allow an artist to display their artwork without censorship, just as it was intended to be viewed, while practicing sensitivity towards the general public with the subject matter. Art is meant to be interpreted, not advocate behavior. 2. The symptoms of the problem are that nudity can offend certain people, and people may not attend the exhibit due to the nudity. There may be personal and religious objections. There are the rights of the artist that need to be considered, and should they or shouldnt they have their art censored. There will always be a debate between people as to whether the nudity is seen as sex or a work of art. The gallery might be worried about offending some people. 3. There are many positive and negative aspects of the situation to displaying nude art. Nudity can pose a problem if people do not want to expose their children to it. People

5 may feel looking at nudes impacts the mind in negative ways, and their belief can make one obsessed with sex. Some see that nudity means sex, which is bad or dirty. Nudity can be viewed as pornography to some. Some feel female nudes may objectify women and think male nudity is obscene. The artist may feel their art shouldnt be changed to make certain people happy as it is a work of art. The human body is a beautiful and natural thing. Sex and nudity are separate things and should be viewed differently. Allowing nude art exposes people to new things and may be a mind opening experience. Nude art is usually viewed as fine art. Showing nude art can be informative as well as educational. B. Stakeholders Artwork is offensive to some of the public, either socially, ethically or religiously. Employees of the museum or gallery may also be offended by the nature of the artwork or the censorship. Censoring the artwork or changing it to become less offensive can take away from the appreciation and can also cause the artist to remove the artwork or become upset with the museum or gallery. 1. The Groups affected would be: the owners of the gallery, the artists whom did the paintings. Those that would like to come to the art gallery to see that type art work. Those that would like to visit the art gallery to see other art but not that type of art. 2. The Impact on each group would be: The owners of the gallery are affected no matter what the decision is. If they allow the art, there could be some offended and cause them to stop visiting the gallery. On the other hand if they dont allow the art it could offend the artist and cause him and maybe other artists to stop displaying their art at this gallery. It could affect the artist by not allowing his work to be shown to the public. Those that enjoy coming to the gallery could be affected if this type of art was allowed if they do not enjoy this type of art. It could affect large groups like school kids that go on field trips to art galleries, or even families that enjoy bringing their children to art galleries. There are also those that enjoy this type of art that would be impacted because they would not be able to go enjoy this type of art work if it was not allowed to be shown. 3. Each group goals would be: The goal of the gallery owner is to bring as many people into their gallery as possible. And to make it enjoyable for as many different kinds of groups as possible. The artist wants his work to be viewed and enjoyed by the public. Those that enjoy this type of art work want to be able to come to the art gallery and to see these paintings on display. Those that dont enjoy this type of art work want to be able to come to the art gallery by themselves or with their families and not be worried what they might be exposed to. C. History

6 The debate of what is acceptable as nude art has been questioned several times. I found several stories about what others have done when facing the difficult task of deciding whether to display nude art or not. The two extremes to either display the art or simply remove it is the easiest approach but not a one size fits all. One University consistently found its nude paintings lying face down on the floor of the hallway. They decided to encase them in glass and placed them in a more noticeable area of the building; which stopped the self-fulfilling censorship. Others have chosen to designate rooms with the simple notice of Nude or Sex, so people can make the personal choice of what level for censorship. In contrast, others have chosen to censor the art by not allowing it at all or covering up the nude content. The article I found most amusing was about a city that had a semi-nude leaf statue. Citizens in the community thought the statue revealed too much and occasionally dressed it up in clothes. Rather than the city getting upset, they found comic relief in it and requested further participation by the community. In a public relations paradox case study, two different scenarios about the dilemma of a University to display nude art were analyzed. In 1997, the initial decision of the University was to not display four statues that demonstrated nudity. The decisions lead to several complaints about the censorship. Seven years later, the same University was faced with the decision to display other art that contained nudity. The second time, the University reviewed the pieces and requested an opinion from the Utah State Office of Education. With the approval of the Office of Education, the University displayed the pieces and emphasized the educational purposes. Surprisingly, no complaints were received. D. Policies and politics A privately owned gallery has the right to display anything they choose, however; they need to consider how these decisions will affect their reputation, client base and employees. They run the risk of being picketed or slandered in the media, which could hurt ticket sales and our chances of getting future artists to display their artwork in our gallery. The context of the nudity is also an issue, renaissance nudes shown only from behind tend to be less offensive than modern, more graphic nudes. Limiting the nudity in any way only opens up a larger discussion since what some consider beautiful others could consider pornographic. There is no black and white on this issue, but millions of shades of gray. The Utah Museum of Fine Arts engages visitors in discovering meaningful connections with the artistic expressions of the world's cultures. They fulfill our mission by: acting as responsible stewards of the material legacy of the visual arts for the people of Utah, serving as a teaching, learning and research resource for the University of Utah, the greater educational community, and the general public, promoting an open dialogue with visitors and the community about the role of the visual arts in our society, fostering and celebrating the diverse artistic expressions and

7 accomplishments of the people of Utah and around the world, cultivating community partnerships and collaborations to ensure that the visual arts will reach a broad public, and offering a wide range of experiences that enable visitors to explore the variety of ways the arts can inform and enhance human experience. The Utah Museum of Fine Arts upholds the highest level of stewardship, accepted museum practices and professional standards, strives for excellence in serving the university and the diverse communities of Utah, fosters mutual respect, trust, and collegiality with our colleagues and our community, supports the advancement of the academic mission of the university and exercises fiscal prudence and ethical responsibility for the Museum's resources for future generations. The Metropolitan Museum of Art The Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction." This statement of purpose has guided the Museum for more than a century. The Trustees of The Metropolitan Museum of Art have reaffirmed the statement of purpose and supplemented it with the following statement of mission: The mission of The Metropolitan Museum of Art is to collect, preserve, study, exhibit, and stimulate appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards. E. Resources The resources we found were: Our text, COMM 1010 Alder, Elmhorst and Lucas 2013. Local Art Gallery owners, many local gallery owners have faced this challenge on more than one occasion. I know the owner of Kings Cottage Art Gallery, Susan Gallagher, plus there are many other art galleries in town that spoke to us regarding solutions to this issue. We talked to a few different local artists. Speaking directly to the artists was a great way to get their input on this topic. Some artists have been through this before and have some good tips on how to combat this issue in a fair and open way. Surveys are an option. There is a website called Survey Monkey that you can create surveys to easily distribute online. This was a good way to get opinions and ideas from multiple people regarding this topic. The surveys can be emailed or posted on websites such as Facebook and blogs. Opening this up to other people gave more ideas in being able to create the right solution to this challenge. I attended Salt Lake Gallery stroll ~ October 18th 2013, this put me in contact with many local galleries and artists in Utah and gave us a first-hand/in-person idea of how many galleries handle this situation. Another source we utilized was the internet. There are an unlimited number of resources on the internet that we found helpful in our quest to find a good solution.

8 As far as the amount of time we were willing to commit was simply the time needed to meet with artists and gallery owners. As for the money aspect, in this day and age there was enough resources to get to our resolution without needing to spend money. Part III: Criteria Setting criteria is a crucial step in evaluating our problem, it is necessary to do before we begin suggesting solutions. This step is important for our group to help us become more effective at problem solving. Also, this process will help us to not be tempted to set criteria for our desired solution. In Step V, we will use our criteria when we evaluate our solutions. We first decided on our general goal and then we brainstormed and finalized our specific criteria. Several of our criteria are based on what we have studied in class. A. General Goal Our general goal is to find a solution that will protect the artists integrity and appeal to our client base. B. Specific Criteria Our best solution will: 1. Apply principles of effective communication that we are learning in the class. 2. Be achievable within our four week time frame. 3. Cost less than $0.00. 4. As a team, we will all agree and support the decisions. 5. The solution will not jeopardize the daily business activities of the gallery (ruin the galleries reputation in the community). 6. It will resolve the question at hand What is the best way to protect the integrity of the artist and appeal to the client base. 7. It will be attainable through local resources. (Artists, galleries, etc.). 8. It will still respect and maintain the artists integrity. 9. The solution will maximize potential profits. 10. Create an atmosphere that is appropriate for children and individuals that do not seek to view the questionable artwork. Part IV: Brainstorm possible solutions Our teams next step was to brainstorm potential solutions for our problem. The brainstorming session encouraged all of the members to give ideas, even if they didnt seem realistic or attainable during the course of the project. We followed the three cardinal rules in our brainstorming session. We quickly wrote down everyones suggestions and waited to evaluate any of the recommendations, which ensured enhanced creativity (Adler, Elmhorst, & Lucas. p. 234).

9 We were able to generate several ideas from our brainstorming session. Listed below are some of the possible solutions we came up with: 1. Dont display the controversial art at all. 2. Display the controversial art and not worry about who might be offended. 3. Section off the controversial art. 4. Restrict viewing of controversial art work to a specific time of day. 5. Restrict viewing of controversial art work to specific days of the week. 6. Focus on the educational aspect of the art work. 7. Have the artist on hand to discuss their artistic interpretation. 8. Highlight conservative artists the following month. 9. Put the nude art on the moon so it can only be viewed through a telescope. Part V: Solution Analysis Step V was used to analyze the best possible solution based on the criteria in Step III. We started by reviewing all of the possible solutions we had written down from our brainstorming session. We then combined solutions that were similar and reread our case study and problem question from our first meeting (COMM 1010 Canvas page, 2013). Next, we reflected on our teams goal while discussing our solutions. Finally, we eliminated any suggestions that were unrealistic to achieve or did not meet the standards. We all agreed that our remaining six solutions met our criteria and could be achievable. A. Our list of best possible solutions 1. Section off the controversial art. 2. Restrict viewing of controversial art work to a specific time of day. 3. Restrict viewing of controversial art work to specific days of the week. 4. Focus on the educational aspect of the art work. 5. Have the artist on hand to discuss their artistic interpretation. 6. Highlight conservative artists the following month. B. Chart We created a chart (shown in Appendix 2) to appraise our top six solutions in relationship to our ten criterions. We listed our solutions and criterion below the chart. We then read each solution and evaluated how it best ranked on a scale from 0 (does not meet this criterion) to 5 (meets this criterion very well) with our criterion. We totaled up all of the points to see what solution could best fulfill our criteria. We realize our solution is not tied down by the chart but rather, it is a guide to help develop an optimal solution (COMM 1010 Canvas page, Meeting Grid 3). It was still up to us, working as a team, to come to a consensus regarding the best possible solution for our case study and problem question.

10 C. Final Solution Solution 1 received the highest score in our chart evaluation but we didnt make a decision on the numbers alone. We discussed the solutions with the highest scores and utilized the reflective-thinking sequence to further evaluate the numbers. We also evaluated the questions of whether the solution is feasible and does it solve all of the problems (Adler, Elmhorst, & Lucas. p. 236). Although solution 1 received the highest score our team decided to combine Solution 1 and 4: section off the controversial art and focus on the educational aspect of the artwork. We also added an aspect of adding a greeter at the entrance of the partitioned area who will be responsible for enforcing an age requirement into the divided area and pass out educational material about the artwork being displayed. This solution exceeds the others because: a. The solution is a collaborative effort to display the controversial artwork while still appealing to those who would rather not be subject to seeing it. b. Both forms of artwork can be displayed. c. Displaying diverse artwork will generate more revenue for the gallery. D. Possible Negative Consequences We considered negative contingencies of our proposed solution. We recognized the potential problems; such as protesters picketing the gallery, artists not wanting to display their work due to it being sectioned off, a minor going into the divided area of the nude art, or the partition used to separate the artwork potentially failing. If the negative consequences occur, we recommend dealing with them by alerting police, having backup art prepared to display, provide a greeter at the sectioned off area, and having a second divider available for use if necessary. The methods used to correct potential problems would help ensure the gallery would continue to run efficiently and smoothly. Part VI: Implementation of Solution Once we decided on our solution, we designated which steps that each team member would implement. In order to do so, we utilized several critical thinking skills with effective communication and interpersonal strategies to ensure our solution was a success. 1. Tiffany was chosen as the spokesperson of the solution. It was agreed that she would speak with the artist and would review the artwork before it was displayed. This was an important step in implementing the solution since it required affirming the artists dignity and explaining the collaborative effort for a solution to display the artwork.

11 2. Russ was selected to designate and implement the physical area that was sectioned off to display the artwork. The task was vital to design a layout that created a warm and comfortable atmosphere throughout the art gallery while maintaining a separation of the controversial art. 3. Lydia was nominated to make the banners and signs that would mark sectioned-off areas. Significant consideration was given to the designs since they displayed non-verbal communication and directions. 4. Lori was picked to create the marketing material for the art show. The advertisements were being distributed throughout the community, so it was imperative to ensure they would create a positive reputation for the gallery, art show and the artists. To do so, required evaluating the material and ensuring it was well-organized so it would appeal to a large audience. 5. Shazell was given the task of gathering and creating the educational components for the art show. The task was monumental since it required analysis and compilation of educational information as well as maintaining the integrity of the artist.

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Conclusion Group A has created a working solution to the problem we were presented with for our Group Project. Using the reflective thinking sequence, our group was able to analyze the problem and consider factors involving both sides of our clientele. We have designed a plan to separate the controversial art from the rest of the gallery using a screen. We will also create an educational component that will allow the patrons to better understand and appreciate the artists intent.

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Works Cited: Adler, Ronald B., Jeanne Marquardt Elmhorst, and Kristen Lucas. COMM 1010 Salt Lake Community College. 11th ed. Boston: McGraw-Hill Companies, 2013. Print. Deseret News. "USU Stops Censor, Locks Nude Art in Main Showcase." DeseretNews.com. Associated Press, n.d. 8 Dec. 1998. Web. 3 Oct. 2013. http://www.deseretnews.com/article/667785/USU-stops-censor-locks-nude-art-in-mainshowcase.html?pg=all. Iwasaki, Scott. "Coalville Invites Its Residents to Dress the 'Leaf Dancer'" - The Park Record. Park Record.com, 31 May 2013. Web. 3 Oct. 2013. http://www.parkrecord.com/scene/ci_23364604/coalville-invites-its-residents-dress-leaf-dancer. Reilly, Andrew. "Swedish Photography Museum Censors Photos To Avoid Facebook Conflict." The Huffington Post. TheHuffingtonPost.com, 15 Sept. 2011. Web. 3 Oct.2013. http://www.huffingtonpost.com/2011/09/15/swedish-photography-museu_n_965358.html. The Metropolitan Museum of Art. Charter of The Metropolitan Museum of Art. Museum Mission Statement. Mission Statement. N.p., 12 Sept. 2000. Web. 22 Oct. 2013. http://www.metmuseum.org/about-the-museum/mission-statement. Utah Museum of Fine Arts. UMFA: Utah Museum of Fine Arts. UMFA: Utah Museum of Fine Arts. Central Pointe, n.d. Web. 22 Oct. 2013. http://umfa.utah.edu/. Wilson, Christopher, et al. Public Relations Paradox on Display: A Comparative Case Study Analysis of the Autonomy-Dependency Paradox at a University Art Museum USU. Public Relations Society of America Journal Vol. 7, No. 1 2012. Web. 3 Oct.2013 http://www.prsa.org/intelligence/prjournal/documents/2013wilsonrawlinsstoker.pdf

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Appendix 1: Group 4 Team Contract Class: COMM 1010-049 Semester: Fall 2013 Date created: September 30th, 2013 Team members: Burns, Tiffany tiffb123@yahoo.com 801-673-9268 Deeter, Lori loribabe6@yahoo.com 801-891-3058 Ellerbeck, Shazell shazellerbeck@gmail.com 801-891-9866 McQueen, Lydia Lydia.williams607@gmail.com 801-637-1956 Zesiger, Russell rzquarterhorses@hotmail.com 801-651-3731 Relational norms: We agree to put in equal time on this project. We agree to respect each others input. We commit to respecting each others personal time. We agree to communicate any challenges or concerns about completing any part of the assignment and ask for help and offer help. Task norms: We commit to completing our portion of assignments in a timely manner. We agree to split up the work equally. We agree to be punctual to our meetings and communicate any delays and challenges. Assign relational roles: Participation encourager: Lori Deeter Harmonizer: Russell Zesiger Tension Reliever: Entire group Evaluator: Shazell Ellerbeck Praise Giver: Tiffany Burns Empathetic Listener: Lydia McQueen Task Roles: Shazell Ellerbeck ~ Information or opinion giver Lori Deeter~ Starter or Energizer Russell Zesiger~ Gatekeeper Tiffany Burns ~ Leader and direction giver Lydia McQueen ~ Reality tester

15 Appendix 2: Solution Analysis Chart This chart, which we used in Step VI, evaluates each solution in terms of each criterion. Solution Solution Solution Solution Solution Solution 1 2 3 4 5 6 2 2 2 5 5 3 5 5 5 5 5 3 5 5 5 5 5 5 5 2 2 5 2 3 5 2 2 5 2 2 5 1 1 2 1 1 5 5 5 5 5 5 5 2 2 3 5 5 5 1 1 1 3 5 5 47 5 30 5 30 2 38 2 35 1 33

Criterion 1 Criterion 2 Criterion 3 Criterion 4 Criterion 5 Criterion 6 Criterion 7 Criterion 8 Criterion 9 Criterion 10 Totals:

Solutions 1. Section off the controversial art. 2. Restrict viewing of controversial art work to specific time of day. 3. Restrict viewing of controversial art work to specific days of the week. 4. Focus on the educational aspect of the art work. 5. Have the artist on hand to discuss their artistic interpretation. 6. Highlight conservative artist the following month. Criteria 1. Apply principles of effective communication that we are learning in the class. 2. Be achievable within our four week time frame. 3. Cost less than $0.00. 4. As a team, we will all agree and support the decisions. 5. The solution will not jeopardize the daily business activities of the gallery (ruin the galleries reputation in the community). 6. It will resolve the question at hand What is the best way to protect the integrity of the artists and appeal to the client base. 7. It will be attainable through local resources. (Artists, galleries, etc.). 8. It will still respect and maintain the artists integrity. 9. The solution will maximize potential profits. 10. Create an atmosphere that is appropriate for children and individuals that do not seek to view the questionable artwork.

16 Appendix 3: Group 4 Member Participation Points At our 4th meeting, we assigned participation points to each group member. Below is our list of the points with reasons. A. Shazell Ellerbeck- 10 Points Shazell was always prepared and on-time. She compiled grid #1, the executive summary and the conclusion for our final paper. B. Tiffany Burns- 10.5 Points Tiffany was our leader; she took initiative to compile the final paper. She was active in team discussions. She was always on-time and prepared. She also submitted grid 3 and 4, the team contract, and appendix 2. C. Russell Zesiger 9.5 Points Russell had great participation and contributed many thoughts and ideas to the groups discussions. He was early and versed on the material. He also drafted the project description for the final project. D. Lori Deeter 10.5 Points Lori was proactive in assigning tasks and preparing and coordinating for our meetings. She was early to each meeting. She also prepared Part I, II, III, and Appendix 3 of the final paper and also submitted grid II. E. Lydia McQueen 9.5 Points Lydia was prompt and prepared. She researched the educational component which was a huge piece to our solution. She completed Part IV, V, VI, and works cited for our paper.