Special thanks for this guest post to Amy Henderson,Â National Portrait Gallery’s historian emerita. AmyÂ is a cultural historian specializing in â€œthe lively artsâ€â€”particularly media-generated celebrity culture. Her books and exhibitions run the gamut from the pioneers in early broadcasting to Elvis Presley, Katharine Hepburn and Katharine Graham.
In the late 1980s, I met writer-director Garson Kanin at a Washington dinner party, and he set the stage for one of my happiest adventures as a cultural historian at the National Portrait Gallery. When I discovered that Garson, who wrote and directed all of the Katharine Hepburn-Spencer Tracy movies, lived next door to Herself in New York, I whined until he promised to give me her address. My excuse? The Portrait Gallery needed a fine portrait of the iconic actress!
Garsonâ€™s introduction worked, and I got to know Miss Hepburn in the late â€˜80s and early â€˜90s. I would have coffee and cookies with her when I traveled to New York, and we always went on an exploration of all the portraits she kept in her townhouse; there were a lot, since she had known artists her entire life.
She mentioned â€œall the costumesâ€ on the upper floor, but I never got a glimpse. Now, thanks to the Durham Museum in Omaha, the costumes are on full view. â€œKatharine Hepburn: Dressed for Stage and Screenâ€ is drawn from the Kent State Museumâ€™s Hepburn Costume Collection, and features more than 35 costumes worn in 21 films and 6 stage productionsâ€”and some of her private life clothes.
Mick Hale, Director of Education at the Durham, heard that I had curated a 2007 Portrait Gallery exhibition celebrating Hepburnâ€™s centennial, and invited me to speak about her life in conjunction with the Durhamâ€™s costume show. I eagerly accepted, and spoke at this Smithsonian Affiliate in April. Talking about her life, I focused mainly on Hepburnâ€™s remarkable ability to fashion her own image, even in the heyday of the Hollywood studio system when studios configured their stars to reflect their own particular movie â€œbrand.â€Â E.g., Warner Bros. had a â€œMurderersâ€™ Rowâ€ of gangsters, while MGM boasted â€œall the stars in the heavens.â€
The Durham has been a Smithsonian Affiliate since 2002, and Mick Hale estimates that they have hosted 25 or so traveling exhibitions such as the Hepburn costumes. Other recent speakers have included Mike Neufeld from the National Air and Space Museum, who spoke about the Apollo 8 mission during the Durhamâ€™s â€œ1968â€ exhibition; and SmithsonianÂ Under Secretary for History, Art, and Culture, Richard Kurin, who shared his stories about 101 SmithsonianÂ artifacts last Fall when the Durham hosted the Franklin Instituteâ€™s traveling exhibit â€œIdentity: An Exhibition of You.â€
My visit was enormous fun. First, the museum itself is lodged in what had been a stunning Art Deco train station that opened in 1931; lofty ceilings and a sense of bustle create an instantly uplifting â€œwowâ€ museum experience. Second, for me it was great to see the costumes Hepburn wore during her long stage and screen career. Her waist was TINYâ€”20â€â€”and it was fascinating to see costumes from such landmark performances as the Broadway version of the Philadelphia Story. I also lingered over the section that spotlighted her impeccably tailored tan slacks, of which she had dozens.
My visit came at the end of Mick Haleâ€™s tenure as education director at the Durham. After ten years, he is heading toward new challenges, directing a leadership initiative in Lincoln. But his dynamic partnership with the Smithsonian will remain firmly rooted at the Durham. â€œThe museum and I are very proud of what we have done with the Smithsonian,â€ he told me, â€œand I know the quality work and collaboration will continue for a long time.â€