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Ruth Cuadra

Art appreciation is measureable - 1 views

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    "By measuring brain activity, interviewing test persons about thoughts and reactions, and charting their artistic knowledge, it's possible to gain new and exciting insight into what makes people appreciate good works of art. The model can be used for visual art, music, theatre and literature"
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    this is one of those interesting angle on trends in neuroscience / quantification; push back will be on 'why do we need to measure everything' ; push towards this world will say - but if we know how people process arts experience we can improve the level of engagement.. Great scan hit!
Ariane Karakalos

The Cost of "Free": Admission Fees at American Art Museums - 0 views

  • Museum theorists such as Elaine Heumann Gurian point out that admission fees may be the single biggest obstacle preventing museums from fulfilling their missions as educational institutions that are open and accessible to the widest range of visitors from all income levels and backgrounds. But is the financial position of most art museums so precarious that the 5 percent of operating budget provided by admissions fees is indispensable to the survival of the institution? Is there a middle ground between free admission and a standard entrance fee?
  • Potential visitors—especially families with children—are often concerned about the financial costs associated with a museum visit, such as transportation, parking and lunch. As the costs have risen, visitors expect greater value for their admission dollars.
  • Many of us have visited museums and seen the words “suggested donation” or “recommended amount” next to the admission fees. The actual amount collected per visitor is often significantly lower than the suggested amount
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  • he Art Institute of Chicago switched from free Tuesdays to free Thursday evenings, from 5-8 p.m.
  • At the time of this writing, there is not much more than anecdotal evidence available on the desired result of racially and ethnically diverse visitors during free evening hours, but the Art Institute of Chicago has every reason to believe its change in free hours achieved this. “We had Chicagoans in the museum who reported that it was their first-ever visit,” Lee said. “We had parents telling us that they were grateful that the free hours allowed them to easily bring their children after work. We had more visitors per free hour than we did when the free hours were on Tuesdays.
  • the competing priorities of ideology, practicality and economics. By designating periods of free admission to attract the infrequent visitor, museums can more easily justify charging an entrance fee on a regular basis
  • Cool Culture, an inventive nonprofit formed in 1999, has created a family pass to 71 cultural institutions in New York City. The pass is intended for low-income families, and the program’s primary clients are Head Start and other subsidized child-care centers. Two-thirds of participants have household incomes below the federal poverty line.
  • Although transportation is not provided, participants can visit at any time and return as many times as they wish.
  • Cool Culture’s success is in the numbers: Families who have the Cool Culture Pass are four times more likely to visit a museum than families without the pass, according to Linda Steele, executive director.    
  • one might logically conclude that museums with no admission fee will attract larger audiences and thus have a better chance at earning more revenue within the museum: more visitors, more sales in shops or restaurants. Upon closer scrutiny, this assumption may not be true.
  • museum visitors who did not pay an admission fee were likely to spend even less on additional goods or services than the average visitor who paid a fee to enter, even they were not museum members.
  • responses from museums of various sizes, settings and budgets. The most commonly mentioned benefits of free admission were service to the community and accessibility to a more diverse audience. Increased exposure, attendance and public relations opportunities also ranked high, as did improved opportunities for individual, corporate and foundation support. The primary drawbacks were lost revenue and the inability to build a membership base. Security concerns also figured prominently.
  • Do Not Touch” signs in art exhibitions. Of the 15 responding museums that offered limited free admission days or hours, more than half reported a significant difference in visitor demographics: seniors, large family groups, school groups, disabled persons and drug or alcohol recovery groups were most likely to attend at these times. Museums in Seattle, Scottsdale, San Diego and the San Francisco Bay area all reported an increase in student visitors on free admission days. Sue Cake, a longtime docent at the Oakland Museum of California, observed that free admission days enabled teachers to assign a museum visit as part of a class lesson, likely a factor for increased student visitation at many museums.
  • can discount or waive admission fees on a case-by-case basis. “The experience should have value like a movie, going out to eat, a concert or any other leisure-time activity,” said Deputy Director Amy Oppio. “It is . . . important for guests to believe in supporting the organization and its mission.” 
  • Not all respondents shared Oppio’s view. One of the survey questions asked about the ideal admission fee structure. Of the 24 museums that responded to this question, 30 percent said that free admission is the way to go. Midge Bowman, executive director of the Frye Art Museum, responded that art museums “should be free as public libraries are. Without this open admission, they remain elitist institutions.”
  • ents we write and the act of imposing an entry fee,” she wrote. “Museums, if they remain oriented toward their paying customers will not . . . feel motivated to become essential elements within the community and an important educational resource for all individuals wishing to learn.”
Ruth Cuadra

Oh, my aching (inspirational) back: Art at UCLA Medical School | Which Way L.A.? - 0 views

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    medical school has art show in its lobby...what about the reverse? xrays, scans, lab results as art in a museum?
Shelby Graham

Tang Museum director to lead innovative museum project at UC Santa Cruz - 0 views

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    The UC Santa Cruz Arts Division announced today that John Weber-currently Dayton Director of the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York-has been hired to guide the development of a new institute of the arts and sciences.
Karen Wade

Outside the Citadel, Social Practice Art Is Intended to Nurture - NYTimes.com - 0 views

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    An art form I'll support!
Ruth Cuadra

A Los Angeles art museum is turning classic works into memes and sharing them on Snapch... - 4 views

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    Museums taking a humorous, some would say juvenile, approach to their own art to woo a younger audience is still virgin territory
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Elizabeth Merritt

How Germany Changed Its Mind, and Gave Benin Bronzes Back to Nigeria - The New York Times - 2 views

  • by a changing social consensus about the ethics of holding on to such items, and further strengthened by a backlash against Germany’s flagship cultural project: the Humboldt Forum,
  • Germany’s approach also contrasts with those of the United States and British governments, which have left decisions up to individual institutions
  • some of the most important museums in England cannot return their Benin Bronzes, even if they wanted to, without a change in the law. That includes the British Museum, which owns about 900 of the artifacts, arguably the world’s finest collection.
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  • a key turning point there occurred in 2019, amid growing public pressure.
  • a rising awareness in Germany of its own colonial crimes — including the killing of tens of thousands of Nama and Herero people in what is now Namibia. The atrocity, carried out between 1904 and 1908, is widely seen as the first genocide of the 20th century.
  • Until then, the main vehicle for discussing the return of the Benin Bronzes had been the Benin Dialogue Group, a network founded in 2010 that brought together Nigerian representatives and figures from European museums with bronzes in their collections. The group, however, favored loans over transfers of ownership.
  • The agreement stipulated that all objects that had been obtained “unethically” would be liable for return and directed institutions to facilitate claims by producing publicly available inventories.
  • obstacles remained on the Nigerian side. Although the country had requested the return of the bronzes since the 1970s, there was conflict over who would take ownership of the artifacts. Both the Nigerian government and the oba of Benin, whose family ruled the historical Kingdom of Benin from which they were looted, claimed that they owned the items. Godwin Obaseki, the governor of Edo State, where Benin City is, said he acted as a facilitator to resolve the dispute.
  • Ultimately, he said, the oba’s family, Nigeria’s museum commission and the government of Edo State agreed to join a trust together, with independent directors that oversee the construction and operation of the new museum.
  • the agreement allows for 168 pieces chosen by Nigeria’s museum commission to remain in Germany “so that Benin’s art can be shown to the world.” The approximately 350 other bronzes that were part of the Berlin museum collections will be transported to Nigeria once the pavilion is completed.
  • Edo Museum of West African Art
  • It remains unclear who will pay for the shipment and insurance of the remaining items in Germany, and he noted that the bronzes’ storage and upkeep will come at a considerable cost, including electrical bills for climate control.
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    The foreign minister's trip is the culmination of a yearslong process that upended Germany's approach to handling cultural items unjustly obtained during the colonial period. It is also part of a pioneering model for large-scale restitution, in which ownership is swapped before any artifacts change hands. Crucially, that approach allows for items to be restituted even if the country of origin does not yet have the facilities to store and exhibit them.
Lisa Eriksen

CLOUDS Interactive Documentary on Digital Art - 0 views

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    Cool video on data art and crowd-scorce documentary
Gina Hall

Zócalo Public Square :: Why On Earth Am I Looking At This? - 0 views

  • Most Museums Have Trouble Connecting To the Public. Maybe It's Time For Some New Ideas.
  • underprepared for their pending encounter with the visual arts
  • many audience members seem intuitively aware of what is missing: more access to the story explaining how and why a work has arrived at this place for their enjoyment.
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  • soldiering through the galleries and paying minimal attention to the exhibits prepared expressly for their viewing
  • reanimated by the opportunities to engage in eating, spending, and talking on the phone—activities compatible with a sidewalk stroll.
  • critical message about the socializing function of the city
  • There is scientific data, too, upon which to build an argument for ensuring that we do better by our museum guests.
  • participation in the arts, especially as audience, predicted civic engagement, tolerance, and altruism.”
  • “[T]he space of the art museum is an inherently public or civic space,” wrote Glenn Lowry, director of the Museum of Modern Art, in a recent essay. “Art museums in this context need to be understood as quintessentially urban institutions that play a critical role in defining the intellectual and physical fabric of cities and towns.”
Karen Wade

25-Report.indd - education_or_reputation.pdf - 1 views

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    What will the emphasis on STEM, and the movement away from encouraging a liberal arts education (even at liberal arts schools) mean for the future of our culture? This report identifies trends leading us in that direction. So, considering these trends, what roles can museum play in promoting a liberal education?
Ruth Cuadra

Third Space: Birmingham Museum of Art presents first large exhibition of contemporary a... - 0 views

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    Another take on what it means for a museum to have a third space.
Ruth Cuadra

When the Art Is Watching You - WSJ - 0 views

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    Museums are mining detailed information from visitors, raising questions about the use of Big Data in the arts.
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