Harvard Art Museums’ Post

Art museums are still a young and dynamic field, always changing: from royal collections to public goods, from clubhouses for the elite to engines of economic development. Now "palaces for the people," the primary goal of art museums is no longer built around preserving objects and assuming the public will be interested in them; it is now built around engaging the public in the process of finding meaning in art. It's a bold and exciting vision. But does the public feel that shift? Does the information that museums share with the public does reflect the trust or transparency that the public expects from institutions that earn its respect and loyalty? Do their budgets and practices (which museum boards and leaders endorse) represent mission-compliance, or mission neglect? Thanks to Observer for sharing Remuseum's research and questions for the field.

The recent article celebrating the Cleveland Museum of Art (CMA) “Half A Decade of Open Access” brilliantly highlights the #museum’s remarkable journey and its pivotal role in promoting #openaccess to #art and #culture. Jane Alexander and her team have truly paved the way, showing how technology can democratize access to cultural treasures. Their efforts are commendable and set a high standard for the global art community. Amidst the platforms leveraging CMA’s open data, #FeelTheArt should be noted for its contribution to extending the reach of these artworks to remote audiences. It uses CMA’s open access content effectively, importing and translating details on 14,000 artworks into 10 languages. This contributes greatly to inclusion, education, and #accessibility. The platform enriches art availability with engaging and interactive experiences. #Augmentedreality (AR) and #AI features enhance art #education and engagement. These technologies are especially beneficial for the elderly and those who cannot visit museums in person. By recognizing FeelTheArt alongside other platforms that use CMA’s open content, we can appreciate the full spectrum of innovation and dedication to making art universally accessible and enjoyable. CMA’s initiative is critical in this mission, contributing uniquely to the broader goal of cultural access and participation.thanks for this work Jane Alexander LIVDEO La French Touch La French Tech Business France

Art is as old as human history, but art museums as we know them are relatively modern institutions that have always adapted to reflect their times. No longer identifying themselves as stewards of artwork for people who can afford to collect it, many museums now embrace their nonprofit status to serve and engage the public at large. But how is such transformation reflected in museum operations, and how can museums leverage innovation to support their evolving missions? Read more: https://lnkd.in/eJ_AdjwD By Stephen Reily, Remuseum

Annabel Keenan's article on Artsy, "10 Must-See Museum Exhibitions in 2024," presents an intriguing forecast of the year's artistic landscape. The article not only highlights the diversity and richness of global art but also reflects the evolving nature of museum curation in addressing contemporary issues. Keenan’s selections for 2024 are compelling, showcasing a mix of historical retrospectives and contemporary interrogations. For example, Anselm Kiefer's "Fallen Angels" at the Palazzo Strozzi promises to be a powerful exploration of Germany's cultural identity post-World War II. Kiefer's use of materials like charcoal and clay to evoke nature and heavy metals for industry is not just an artistic choice but a commentary on the darkness of the nation's past. Similarly, "Paris 1874: Inventing Impressionism" at Musée d’Orsay and National Gallery of Art is a nod to the revolutionary spirit of the Impressionists. This exhibition contextualizes the movement within its historical and political milieu, reminding us how art is often a response to its times. Claude Monet's "Impression, soleil levant" is not just a visual treat but also a symbol of a groundbreaking shift in art history.

The importance of public transparency for arts orgs: Most U.S. art museums have shifted their stated missions to emphasize public service and engagement over preserving objects, yet few institutions openly offer basic information on how they are run, according to a new study. According to the study, 60% of the 200 U.S. art museums studied say their mission is to serve the public, while another 30% say their mission is a balance between public service and their collection. The remaining 11% continue to focus on objects. Yet only 17% of these institutions make two important disclosures: visitation numbers and audited financial statements; 43% share neither of those figures. Of those that do provide something, 43% share the number of visitors to their institutions, while 37% share financial statements. Read more: https://lnkd.in/eAx3pYqw #SweibelArts #PublicService #Transparency

Museum visitation data has been a hot topic since Covid. How far it dipped, how many institutions big and small went under, and when will we return to pre-pandemic levels? This is one of the most recent reports I've seen and presents the first actually-kind-of-nearly-bright outlooks. With summer coming things could bump up even more :) Granted the survey looks at only the "top" 100 museums, but the outlook bodes well for smaller institutions. #museums #visitation #museumattendance https://lnkd.in/g8dZWMRg

Do you think all the world’s art is on show in museums and galleries? Where do you think that collections of art sit when not on show? A lesser talked about issue within the art world is the mass storage of collections in warehouses around the world. Whilst it is a shame we don’t get to see all the magnificent works of art, a more pressing issue is the environmental impact of storing so many works. Due to conservation concerns, these warehouses are climate controlled to ensure the stored pieces do not deteriorate over time. It takes a substantial amount of energy to keep these warehouses running efficiently (and this energy is more often than not from non-renewable sources). These high energy demands take up a huge chunk of the carbon footprint of museums and galleries. Whilst transforming these facilities into an open storage gallery for public view is a step in the right direction for connecting “lost art” with the art community, from a long term sustainability perspective, there needs to be more transparency about the current management of collections behind the scenes.

Before January ends here 7 predictions for the world of #artmuseums in 2024. Featuring insights about teamLab Inc., Van Gogh Museum, Fondation Beyeler, Museum für Gestaltung Zürich, Asian Art Museum, PLATEFORME 10, Images Vevey and more! What do you predict for art museums in the upcoming year? #trends2024 #observations #artmuseumsoftheworld #socialmediamarketing #artcontent #artmarketing #artjobs

This is something that all museums and collections need to consider. How to make the whole collection accessible to the public and/or researchers. While virtual museums certainly are a good start, one often wants to experience the works live also. Real estate and physical exhibitions however is costly so funding could be a challenge. #collections #art #museums #arthistory

A timely framework calling for an approach to provenance research and restitution efforts privileging not the spoliation exclusive of specific periods but articulated around five types of theft ('garden-variety' theft, archaeological looting, wartime pillage, state expropriation and sales under duress or other forcible transfers). Here's hoping that this shift encourages information-sharing between siloed specialisms and prompts actors on the art market to attend to the ethics of dealing any heritage object that fits one of these types, from Nazi-era looted Picassos to ceremonial Chilkat blankets hailing from present-day Alaska!