February 3, 2005

Profile / Dan Silverstein

Manager of facilities and exhibits, Block Museum of Art

Stephen Anzaldi

Trained artist now manages installation of others’ art. Spends free time working on video documentary project.

What do you do at the museum?

I have two work cycles. When we’re not installing a new exhibit, I work with the director and the curators, reviewing exhibit proposals and plannng for upcoming shows. When we’re considering a specific exhibit, I run through the checklist of items and crunch the numbers to see if and how it will fit our space. During installations, I supervise what we call the crew, a group of freelance workers, or preparators, who help prepare the space by moving walls, painting and doing the necessary carpentry.

Does the preparators ever get to be creative?

In our new arts and crafts exhibit, we built mantels for each of the two living spaces depicted. We interpreted the designs through old photos and artists’ sketches. Creating an exhibition, even hanging a painting, can be its own art form.

Are you part of the crew?

I like to think so. I’ve been on crews before, for private galleries and museums. In fact, I still do some installations in homes and corporate offices. I like to think I still have those skills, so I jump in and grab a hammer when I can. But sometimes I have to just stand back and point, to make sure everyone’s on the same page.

So you do this on the side as well?

A little. But I spend most of my free time producing a video documentary.

What’s it about?

I’ve been interviewing this guy for a few years now, just letting him tell his story and watching his life progress. He’s a poet, and sometimes he’ll just read his work. He’s endured some hard times. But he uses his writing as a means to survive. When other things have fallen through, he found his voice — and actually kept his voice — through his own art. And that’s really inspiring to me.

What do you have planned for the piece?

That’s the carrot that keeps me going, to complete the project and find a place for it, maybe in a theatre or on public television. As I expected, I’ve met some wonderful people here at Northwestern who’ve participated in the project and helped me move it along. They’ve really captured the spirit of the film.

You expected to meet these people?

Yeah, I knew when I came here four years ago that I’d meet talented people doing interesting things in their lives. And in an art museum, particularly, you never know what your colleagues are in to until you get to know them, regardless of job or title.

Do you have previous museum experience?

I worked at the Museum of Contemporary Art and the Chicago Children’s Museum.

What’s the difference between building exhibits for kids and adults?

At the children’s museum, I had to maintain, clean and upgrade exhibits in the early childhood area. That’s a real challenge because hundreds of kids will come through on any given day, and they touch and pull and poke and try to tear everything apart. Exhibits and spaces have to be built to withstand all that. Plus, you always have to be looking for potential danger spots. You have to find that random screw sticking up an eighth of an inch.

But there’s not as much touching at an art museum?

Art for adults can sometimes be an illusion. We get the art on the wall by any means necessary, sometimes only minutes before an opening. Contrary to what people think, the exhibits don’t always have staying power. They’re often built for a relatively short viewing period.

What would you be doing if you weren’t working in a museum?

I studied art in college, at Northern Illinois University. I got into this work by just helping friends hang their exhibits. When I graduated, I figured I’d just explore the artistic life and see where it would lead. Otherwise I’d be working in a restaurant.

— Stephen Anzaldi