As museums face increasing pressure to be responsive to historical intersections and contradictions in their presentation of works, it can be risky to introduce audiences, who otherwise might not seek complexity born out of conflict, to objects that may provoke embarrassment or pain.
“Years from now, when school groups visit the National Museum of American History, they might learn about the impeachment of a president through a fidget spinner.
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Venture to many blockbuster exhibitions, particularly on a weekend, and you’ll often be met with overwhelming crowds. Is there a surfeit of public interest in art? Are galleries packing in the crowds to maximise profit?
Joint exhibition programme under way between Shanghai and Los Angeles will soon involve Qatar Museums
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Cultural institutions have embraced mutual benefits of collaboration, despite challenges of communication and censorship
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The Church of St Savior in Chora, which was converted into the Kariye Mosque in the early 16th century by an Ottoman vizier, was designated a museum by the Turkish government in 1945.
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“Performance and installation pieces are now the preferred media of just such moments at biennials and museum shows. For the second edition in a row, the top prize for a national pavilion at the Venice Biennale was won by a performance. … But where does all this leave the commercial art world?
MOCA revealed plans to go free at its annual benefit in May, a switch made possible with a $10-million gift from board President Carolyn Powers. So why did the change take eight months to make? Free, it turns out, is complicated. – Los Angele…
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Says Max Hollein, “Art cannot solely be perceived in regard to its beauty and craftsmanship. You also have to evaluate it in light of its political messages. … If you have one of the greatest collections you almost have an obligation to recontextualize it in regard to the narratives it provides.
