Myra Daniels, Part I: Art and museum
Phil's CEO hails Nevelson sculpture
Myra Daniels, Part II: The orchestra
CEO looks ahead: music, education
Myra Daniels, CEO of the Naples Philharmonic and Museum of Art:
After the debut of a major sculpture, are more acquisitions on the radar for the Naples Museum of Art?
What’s comes next for the Naples Philharmonic Orchestra?
Daniels is a guest on this week’s “Naples Daily NewsMakers with Jeff Lytle” news/interview program airing at 10 a.m. Sunday on ABC7.
Highlights will be in Sunday’s Perspective section and online at naplesnews.com/newsmakers.
Lytle: When you told us about the Louise Nevilson sculpture coming to the museum, you told us it would really be something. And as you say, art stirs the soul.
For once, you undersold it. It’s just magnificent.
Daniels: I am in love with the Louise Nevelson installation.
Lytle: What does that piece say to you?
Daniels: I had .... not quite answering that, but Louise’s closest associate was a woman by the name of Diane McGowan, and she came to see it, and her first words, as she walked into the dome, was: “Oh my God, Louise is here.”
And what she meant was that Louise, when she designed this, wanted it to be in a dome. I didn’t know that.
Lytle: It’s in a dome now.
Daniels: It is a forest. It’s an abstract forest. And it has to stay together. And it has to work together. I’m like a child and glad to see it every day.
Lytle: But the one thing the people have to realize is that it’s not just one piece; it is many pieces that come together to as one.
Daniels: Twelve pieces.
Lytle: The effect is, it just takes your breath away.
Another thing is, you want to touch it.
Daniels: I know. I know. But we don’t suggest that. But it is a piece that she put her heart and soul into, and it was her last major piece. I felt that Diane, her friend and companion, felt that it was the way she originally planned it. And I had no idea.
Jeff, I hadn’t the slightest idea. I knew that was the place for it. Spooky, isn’t it?
Lytle: It truly is.
You had some thoughts before the Nevelson got here that this would — pardon the expression — put the Museum of Art on the map. Of course, it already was on the map.
But has it had that effect?
Daniels: Oh, it’s been wonderful. Yesterday I had a call from a man who has a painting — and I’m going to be a little secretive about this — and it was a painting that nobody else has in this part of the world.
He had read about the Nevelson, and Art News is going to give it a big shot this next week.
Lytle: Art News is a publication?
Daniels: Yes, it’s the No. 1 publication. He asked if we had room for it. I said, I’d break walls; I’d have room for it.
But I don’t know whether it will happen.
We had another foundation contact us to talk to us about our being the recipient of their artists. And so those things take time, but already two major, major ideas have been presented.
Lytle: So that’s the impact of this, that it creates a critical mass and other acquisitions may follow.
Daniels: But I hope that they are in Louise’s level.
One of the things in both of the others ... the two other artists knew Louise and were friends of Louise, and so it falls together.
Crazy as it may sound but I believe it has helped the community; it has helped the staff; it has helped the museum. I think that when you see young and old come by it ... You know what the most prominent word that they use when they walk through door?
Lytle: Well, I believe it. Now the Dale Chihuly glasswork that used to be there is still in the museum.
Daniels: Chihuly was given to us by the Figge family, and I understand they will come to Naples shortly and look at it. We have moved it into the main hall, and it is magnificent.
We have it lit like we couldn’t light it any other way.
That eventually ... I have a dream there. I’m hoping that those two galleries will become a glass gallery with just the finest, finest glass in the world.
Lytle: What is in the future of the museum. Talk about new acquisitions. What else do you see?
Daniels: We’re on a path now. We have a fabulous modern collection. And now Louise is an extension of that, and we’re going into some sculpture. We are going into the major names that came right after the early 1920s and 30s, 40s, and now we’re into the 1980s.
So just keep going.
Lytle: And also education will be a part of that.
Daniels: Oh, big time! Big time.