October marks the one-year anniversary of the arrival of Vivian Zavataro, Executive and Creative Director of the Ulrich Museum of Art at Wichita State University. I set up an appointment to discuss her role at the museum. At her suggestion we jumped into her car and went to lunch.
I had only recently met Vivian and was surprised at her willingness to whisk me away to talk. But this is the type of person she is. She has energy to burn, and it’s nothing but positive.
We’ve all met people we thought might be snowing us a little, not this one. It’s very quickly obvious that she’s not a politician. She’s instantly brilliant, her heart is huge, she’s humorous, down to earth, and a blast to talk with. Her passion for her job, her staff, and the museum is very real and quite impressive. THIS, I thought, is exactly the person who can burn through reservations and intimidations that many in the public feel about art and art museums.
Zavataro’s value lies in what she can bring to the museum, but her ART is in how she deals with people and her need to delve deep into a community that she now calls home. She speaks of her excitement over the museum’s recent purchase of a painting by Wichita artist Kamela Eaton. She explains a program to bring art out into Wichita with pop up exhibitions, events, and programming.
With fresh ideas and new programs too numerous to mention in the minute-forty I’m allowed on air, I highly encourage you to read the 9 questions I posed to Vivian, and her interesting answers.
Curt Clonts: You've been at the Ulrich for one year. What has been your biggest challenge over the last 12 months?
Vivian Zavataro: Yesterday was my one year anniversary here at the museum. It's been so wonderful to get to know the local community, our students, and WSU faculty. While challenges are intricate parts of a leadership role, I chose to focus on our biggest achievements this past year.
- We finalized our Strategic Plan.
- We acquired works by Latinx artists, such as Graciela Iturbide, Kiara Aileen Machado, and Arlene Correa Valencia. As well as Indigenous artists, such as Melissa Melero Moose and Doug Coffin.
- We have an exciting schedule of exhibition.
- We are getting ready to launch our 50th anniversary celebration.
- The staff moral is high. I am just so thankful for our amazing team and all we have been accomplishing.
Do you currently have exhibitions booked through 2024 and 2025?
As of now, we do and are currently working on concepts for 2026. Our acting Modern and Contemporary art curator, Jo Reinert, has been working on Fully Dimensional for the past couple years. The show highlights the versatility of the artists in our Outdoor Sculpture collection.
I am implementing my own research on a curatorial experiment titled the Ulrich Co-Lab. This project invites our visitors to co-create with us. The Ulrich Co-Lab will take place at our Grafly gallery on the first floor of the museum.
Other highlights are Justin Favela (mixed-media artist; his installation transform spaces into giant piñatas; he reflects on his identity and cultural background), Abhi Guhge (multidisciplinary installation artist; originally from India) and Miriam Boulos (Lebanese photographer, based out of Beirut).
Do you visit the storage vault and study the collection often? What is your favorite work in the collection?
I do. The Ulrich has a world-class collection with renowned artists from all over the globe. I have so many favorites, two of my favorites are:
- Saffronia by Ayana Jackon
- Centro by Kiara Aileen Machado
I love that you purchased Second Semester, a painting by local artist Kamela Eaton. Can you comment on that purchase?
Of course. Kamela Eaton is such an incredible artist and a pillar in the art community here in Wichita. Her work is so poignant and timely. The piece we acquired belongs here at WSU. This artwork not only celebrates the artist's mother's time at the university but also serves as a poignant memento of her past. Inclusion of such pieces in museum collections underscores the vital role that art plays in creating a sense of belonging. Artworks made by and representing people who look like you hold the power to bridge the gap between different generations, cultures, and backgrounds, fostering a profound connection with one's heritage and identity. These works serve as a testament to the diverse narratives and histories that shape our society, enabling individuals to see themselves reflected in the rich tapestry of art and history, reinforcing their sense of belonging and contributing to the broader cultural landscape.
You also recently purchased two paintings by Kansas/NYC artist Shirley Smith. Are you always in the hunt locally?
Yes, our recent acquisition of two paintings by Shirley Smith was an exciting addition to our collection. We are very fortunate to have an acquisition endowment that allows us to keep growing our collection. So, we are always on the lookout for new pieces, both locally and nationally, but our acquisitions are guided by our current collection priorities. Shirley Smith's work was a compelling choice for us, as she was an established artist not only in Wichita but also on a national scale. The fact that her work is featured in major museum collections like the Whitney and the Phoenix Art Museum attests to her significant artistic contribution.
How would you say the Ulrich's mission might differ from that of WAM?
If you compare our missions, they are really similar. When I started working at the Ulrich, one of the first people to reach out was Anne Kraybill. It is so nice to be in an environment where your peers are collaborative instead of competitive. One of the conversations I had with the staff was about Anne's focus on contemporary art and social justice issues, they were worried about both museums covering similar themes and contemporary artists. I wanted them to recognize this unique opportunity we have and think about how we can complement the work already being done here in Wichita. As a university museum we are in position in which we can be more experimental, work with artists earlier in their career and also bring artists and ideas from other countries, besides the United States. We have a global collection and exhibition program that can enhance the dialogue between the world and the local and national art scene.
Also—what is the Ulrich's role in the community?
Being a museum geek myself, it's been an obsession of mine to study the evolution of museums in general. From private collections, to preservation of humanity's heritage and history, to, now, the communities we serve. Isn't it incredible to reflect on the changes in museum's mission in the past couple centuries? My research focus on community engagement, how to make museums relevant to diverse communities. With that in mind, I was able, with the support of WSU's administration, to create a new position at the Ulrich, titled Curator of Public Practice. We have the powerhouse, Kristin Beal, in that role. My goal with this position is to bring the museum from its white walls to communities, with pop-up exhibitions, events, and programming. For many, museums are not spaces that people feel comfortable in, it can be overwhelming, elitist, or irrelevant. The goal with this position is build trust. So instead of waiting for people from different cultural and ethnic background to come to us, we are going to them.
Do you have an exhibition philosophy?
I do. I have four values that I always take into consideration when I curate an exhibit: acknowledgment, relevancy, creativity, and engagement. We need to acknowledge that museums were founded within the structures of colonization and exploitation and have thus systematically excluded minority groups throughout time. Despite of the attempt of many museum professionals to decolonize museums, these concepts are still deeply entrenched in some of our practices. However, our foundations should not dictate who we are today. Our past should serve as a vehicle to undo oppressive structures. I believe art has the power to forge relationships, create a sense of belonging in diverse communities, and be used as a tool for change—a tool to combat racism and inequality.
Secondly, relevance. Who is my audience, is this exhibit going to be relevant to them? Are they going to want to come? Are the issues being discussed by a particular artist or group of artists important to the community the museum is serving?
Creativity: come up with creative ways of interpreting and presenting reflections on our times.
And lastly, Engagement: I aim to engage with the audience with meaningful programming and activities.
How do you handle the stress that must come with your job?
Yoga and dog memes. Truly.
Recently, our Curator of Education, Brenda Lichman, suggested that we share a positive highlight of our previous week in our staff meetings. It's been amazing to see how a little gesture like that can change how we approach our upcoming week. Last staff meeting we also shared with each other activities we engage in when we need emotional self-care. It was really helpful to engage with each other and get to know one another better.
