Curator at Heart
After more than 40 years with the Birmingham Museum of Art, director Gail Andrews is set to retire in the fall, though she plans to stay involved with the institution.
Originally from California, Andrews first came to the Magic City in 1976 to work as BMA’s assistant curator for decorative arts.
“Initially, I viewed the position as a great opportunity and adventure since I’d never been in the Deep South,” she said. “The museum’s decorative arts collection was already stellar — the Wedgwood, English silver and German cast iron — and was accompanied by a passionate group of museum supporters and a community that was warm and welcoming.”
She said the museum staff was small at the time, but pursued ambitious projects including “organizing and mounting 20 changing exhibitions a year and expanding educational initiatives for the community.” She said it was an exciting time with an “all hands on deck” feel.
Remaining in Birmingham wasn’t part of her long-term plans at first, but that began to change.
“I expected to be here for a few years, and then move somewhere else, but instead found more and more reasons to stay,” Andrews said. “I developed deep friendships, felt more and more committed to the community itself and truly fell in love with the museum. I became dedicated to its growth and success.”
Andrews assumed the role of interim director in 1991 and became director in 1996. During her two decades leading BMA, the museum’s collection more than doubled, expanding from 13,000 objects to above 27,000. But growth is about more than numbers for Andrews.
“More than that, I’m so pleased by the way the collection has developed in terms of quality,” she said. “Our collection of Wedgwood is not just the largest in the country, but one of the finest in quality and breadth. We’ve received international attention for our Vietnamese ceramics. Our contemporary holdings have grown by leaps and bounds, and we’ve been intentional in our acquisition of works by women and African-American artists.”
Andrews likewise said the museum’s community engagement has strengthened over the years.
“As arts education has disintegrated in the classroom, the museum has become a vital resource for our state of the representation of cultures from around the world,” she said. “Where else in Alabama will you find Japanese samurai suits of armor and Native American headdresses in the same place as ceremonial masks from Africa and impressionist paintings from France? To take a trip to our museum is to take a trip around the world, and we work hard to continue to provide a truly global experience for our visitors.”
Over the years, Andrews also witnessed the growth of the Magic City’s art scene.
“The evolution of the arts scene in Birmingham fits into a much larger transformation of our city,” she said. “We have become a much more diverse community, with both the impressive growth of UAB attracting professionals from across the globe and the migration patterns of the South itself. The increasing mix of cultures, backgrounds and traditions is making Birmingham a more vibrant and stimulating environment. The most significant change since my arrival has occurred since the opening of Railroad Park and ‘rediscovery’ of our beautiful downtown and adjacent neighborhoods. There is a new optimism and sense of possibility that is palatable and energizing.”
What’s next for Andrews? She is looking forward to traveling with her husband, spending more time with her family and returning to BMA to co-curate an exhibition of folk art that will open in 2018.
“I’m a curator at heart,” she said. “My area of expertise is textiles and folk art, so I’m thrilled to have the opportunity to continue my work at the museum.”
Courtesy artsBHAM