Remuseum的动态

Museums close more often than we realize, and every closure raises the big question: what happens to their collections? A recent article in Observer (https://lnkd.in/gUWMx_ws) sheds light on the complex process of how institutions handle financial challenges and what happens to the art when the doors shut for good. Take the Rubin Museum of Art in New York, for example. After 20 years, it closed due to the high costs of maintaining its building. But instead of selling its collection, the museum opted for a “museum without walls” model, loaning its works to institutions worldwide. On the other hand, smaller institutions with fewer resources often have to sell pieces from their collections to settle debts. Some cases are remarkably creative. The Powers Museum in Missouri was essentially dismantled: books and photographs went to local libraries, furniture to historic homes, and the building itself became a school for children with special needs. Meanwhile, the Living Computers Museum in Seattle, founded by Paul Allen, sold its collection of vintage tech at auction, highlighting how cultural assets often enter the market when institutions face closure. The article reminds us that closing a museum is more than an economic decision—it’s a delicate process that impacts cultural heritage. Collections may find new life in other institutions, but they can also be scattered or lost altogether. What do you think? Are museums naturally bound to a lifecycle, or should we strive to keep them alive indefinitely? Let me know your thoughts!

Failure of museum operation and governance, Kawamura Memorial DIC Museum of Art #1-1 ? This is personal and will be a long article.?Please bear with me as I share some of my personal feelings on this matter. ? It started that DIC Kawamura memorial museum will be closed for financial reason. “Japanese art museum—home to one of world's only four Rothko rooms—faces closure and collection selloff” https://x.gd/0zOHU ? Yes, it is just another one of thousand private museum is closing and nothing so special, it happens everywhere in the world.?What is the significant about this is that the museum is in possession of The Rothko Room, which I love the most, exists only four in the world.?I am very worried about the world treasure would go after the museum closed and upset that the reason of the governance of the museum.?? ? I would like to reveal DIC’s failure, why The Rothko Room is world treasure and I love the most, what has been happening in DIC and how affect to the museum and why and what they have should been doing and why they haven’t done and so on. Before I explain these, I would like to provide you with some background information. ? About Mark Rothko and The Rothko Room ? Mark Rothko ? Mark Rothko (1903–1970) was an American painter of Latvian-Jewish descent, widely recognized as a leading figure in the Abstract Expressionist movement. Rothko is best known for his large-scale color field paintings featuring luminous rectangles of color that appear to float against a colored background. His work is characterized by its exploration of color, depth, and human emotion, aiming to evoke a contemplative or emotional response from the viewer. ? Rothko believed that art should be a spiritual experience. He sought to express fundamental human emotions such as tragedy, ecstasy, and doom. Rather than focusing on form or representation, his paintings are meant to be immersive, encouraging viewers to engage with them on a deeply personal level.

Last year the Museum of Contemporary Art in Sydney was forced to commence charging entry, for the first time in 24 years. As this article in The Conversation points out, it's yet another sign that our Cultural Industries are in trouble. Upon making this announcement, there were the usual tiresome commentary from social media's peanut gallery - it's a total waste of money, who would go to the MCA anyway, modern art is garbage, blah blah blah... (not to go too far off on a tangent but despite my best efforts I struggle to understand why some people get so mad that art, art organisations, and artists exist, so if anyone would like to enlighten me, feel free to do so). I believe for a society to be healthy and its communities to be happy, we need art. Nothing revelatory there, sure. But the important detail to the broad assertion that "we need art" is that no one piece of art will be for everybody. However each member of society deserves to have access to art that is for them. I like visual art. I like contemporary art. But I don't love it. It doesn't light my world on fire, and I've completely forgotten most of it. But amidst all of that, I've seen a handful of things that struck me to my core, that I've never forgotten, and have become important milestones in a lifetime of understanding... well, life, the universe, everything. It helps me feel more connected to the community I live in. That is the whole point of art. I go to the MCA maybe once every few years. Will the fact that institutions like the MCA have to start charging for what was once free deeply impact my day to day life? No. But these sorts of changes - museums charging entry, performing arts organisations downscaling operations, arts education programs being quietly shut down, artists leaving the industry altogether or moving overseas - should be a cause for concern for anyone who values a society that is inclusive and egalitarian. Because those sorts of changes signal a shift in the values of those who govern us. Endless trimming to arts budgets will one day make the whole industry unsustainable. Access to art, either as an audience, or a creator, will become elite. Social attitudes towards creative thinkers will become dismissive and ultimately hostile. General social disenfranchisement will become entrenched and more widespread. And if those who govern us think we're okay with it, they'll keep doing it. So perhaps tiny things like the MCA charging entry fees are an absolute non-event in your life. However I would suggest that this is the latest, tiny, virtual non-event in a death-of-a-thousand cuts type situation that will lead to a very different society than one that I would argue most of us would want. Perhaps it's time we insisted to those that govern us to do something meaningful about it.

Small Museums, Big Ideas: A Comparison With DSLcollection The role of small museums in shaping contemporary art trends is often underestimated, yet their influence on nurturing emerging talent and encouraging experimentation is profound. These institutions serve as incubators for creativity, pushing boundaries that larger institutions often avoid due to financial or reputational risks. The Role of Small Museums Small museums are known for their agility and artist-driven approaches, enabling them to prioritize creativity over commercial considerations. Institutions like Studio Voltaire in London or Art Sonje Center in Seoul offer artists the freedom to experiment, often leading to transformative shifts in their practices. These institutions often develop innovative curatorial frameworks, combining emerging talent with established names to create dynamic dialogues. Schinkel Pavillon in Berlin exemplifies this with exhibitions that juxtapose contrasting artists, such as pairing H.R. Giger’s biomechanical creations with Mire Lee’s kinetic sculptures. DSLcollection’s Approach The DSLcollection shares this commitment to experimentation and artist empowerment but executes it through a digital model. This approach allows for global accessibility, scalability, and sustainability, bypassing the financial constraints associated with maintaining physical spaces. Like small museums, DSLcollection prioritizes emerging voices and experimentation, but it also aims to establish itself as a timely and timeless cultural brand. This vision transcends traditional art collection models, blending innovation with enduring cultural relevance. Challenges and Sustainability Small museums face significant financial pressures, from public funding cuts to reliance on private donors. DSLcollection addresses similar challenges through its digital-first model, which eliminates the financial burdens of physical spaces. A Shared Vision Both small museums and DSLcollection play vital roles in the art ecosystem. They act as catalysts for change, fostering dialogue, discovery, and disruption. While their methods differ—physical versus digital—their shared ethos of prioritizing artists, embracing risk, and pushing boundaries unites them. The DSLcollection’s aspiration to become a timely and timeless cultural brand underscores its broader mission: to document, amplify, and sustain the evolution of contemporary Chinese art on the global stage. By blending technology with creativity, the collection redefines how art is experienced and remembered, ensuring its relevance for generations to come. In conclusion, the agility and experimentation of small museums find a digital counterpart in DSLcollection’s innovative approach. Together, they demonstrate the enduring power of art to inspire, challenge, and transform, ensuring its place as both a reflection of the present and a legacy for the future.

?? How to Slow Down: Tips for Museum Enthusiasts I love art, history, and antiques. Whenever I visit a museum, a castle, or a historical site, I feel the urge to see everything: walk through every corner, read every description, and listen to every guide. This approach to “consuming” art can be exhausting and often lacks depth. Still, it’s effective as an introductory method during a first visit. It allows you to discover the highlights, understand what’s worth revisiting, and tick off bucket-list items like seeing the Mona Lisa. Visiting the Louvre but skipping the Mona Lisa feels a bit like taking a shower with your clothes on. You can read the article in Russian on my Telegram channel — https://lnkd.in/eAKqVQWM Over time, though, I’ve come to appreciate a more thoughtful approach. I now pick a smaller part of the exhibition and focus on it. Here are a few strategies that help me slow down: 1?? Thematic Exhibitions. These are often curated as a guided journey through the pavilions, much like an IKEA store, keeping you on track and focused. This format works well in both small and large museums. A great example is the exhibition of Frans Hals — https://lnkd.in/ettKyXrv at the Rijksmuseum — https://lnkd.in/eTzkEmyx. Frans Hals was an incredible artist, born in Antwerp and based in Haarlem for most of his life. 2?? Audio Guides. Normally, I’m not a fan—they’re often too long or dull. But there are exceptions, particularly in smaller museums. When I have the time (and the kids are at school), an audio guide can be a real gem. For instance, I spent three hours at the Rembrandt House Museum — https://lnkd.in/ePhwe5Bx, learning fascinating details about the artist. One thing that struck me was Rembrandt’s extravagant spending habits—his debts led to an auction of all his belongings. Interestingly, the detailed inventory of items sold helped recreate the house as it is today. 3?? Museum Apps. Many museums now have their own mobile apps. My favorite is the Rijksmuseum app — https://lnkd.in/eZH-ikMJ. It lets you choose a theme or era and guides you through the halls, helping you find key exhibits and learn essential facts about them. 4?? Guides. This one can be tricky: finding someone who matches your taste and energy is essential. Unlike an app or audio guide, a live guide can’t be paused or rewound, so it’s crucial to pick the right person. ??? How do you visit museums? What are your favorite tips or tricks? #life #netherlands #museum

North Dakota Heritage Center & State Museum Receives Highest National Recognition from the American Alliance of Museums The North Dakota Heritage Center & State Museum in Bismarck recently achieved reaccreditation by the American Alliance of Museums (AAM), the highest national recognition afforded to museums in the United States. Accreditation signifies excellence to the museum community. Of the nation’s estimated 33,000 museums, roughly 1,100 are currently accredited. The State Museum has been accredited since 1986.? “Being accredited by AAM affirms the excellence of our staff and the services we provide to the public,” says State Historical Society Director Bill Peterson. “This high level of quality will be extended into future projects including an exciting new military gallery addition to the North Dakota Heritage Center & State Museum coming in 2027.”? Alliance accreditation brings national recognition to a museum for its commitment to excellence, accountability, high professional standards, and continued institutional improvement. For over 50 years, this museum accreditation program has been the field’s primary vehicle for quality assurance and self-regulation.? Accreditation is a rigorous process examining all aspects of a museum’s operations. To earn accreditation, a museum must conduct a year of self-study and then undergo a site visit by a team of peer reviewers. AAM’s Accreditation Commission, an independent and autonomous body of museum professionals, considers all components. “Accreditation is a monumental achievement,” said Marilyn Jackson, AAM president and CEO. “The process demonstrates an institution’s commitment to best practice and is flexible enough to be accomplished by museums of any size.”? The American Alliance of Museums is the only organization representing the entire museum field from art and history museums to science centers and zoos. The AAM has been championing museums and nurturing excellence since 1906.? The ND Heritage Center & State Museum is open Monday-Friday, 8 a.m.-5 p.m., and Saturday-Sunday, 10 a.m.-5 p.m. Admission is free.

I often hear that our virtual museums are “not real,” unlike physical museums. But let me ask: how “real” are artworks hidden away in museum storerooms or private collections? No one sees them, no one knows they’re there—so how does their reality matter to the public? This is a deep and complex topic, one that deserves a separate discussion. For now, let’s focus on a simple fact: what can a person with average vision actually see in a traditional museum hall like that? A painting hung meters above eye level—perhaps just a forest in the distance? How can one truly admire the artist’s skill if the details are barely visible? And let’s not forget how overcrowded displays can make it hard to focus on a single masterpiece. Virtual museums on the META(art) platform solve this problem. You can walk through the same halls, appreciate the architecture, and fully immerse yourself in the artworks without distractions. Want to study every detail? Go ahead. Feel like admiring every brushstroke of a genius? It’s right there for you. And all this can be done in a regular browser, at any time, from anywhere. No crowds. And, by the way, no tickets.

Digital Art in Museums; Major institutions collect? and exhibit digital art (1980s) In the 1980s, major museums began to recognize and exhibit digital art, marking an important shift in the acceptance of this emerging medium. Early Exhibitions One of the landmark exhibitions of this era was "Electra" at the Musée d'Art Moderne de la Ville de Paris in 1983. This groundbreaking show explored the intersection of art, science and technology, featuring works that incorporated electronic and digital elements1.?It helped introduce digital art to a wider audience and signaled that prestigious institutions were starting to take this new form seriously. Collecting Digital Works During this period, forward-thinking museums also began acquiring digital artworks for their permanent collections. In 1984, the Museum of Modern Art in New York purchased Charles Csuri's "Hummingbird," a computer-generated animation, marking one of the first digital acquisitions by a major museum5. Artist-in-Residence Programs Some institutions took an active role in fostering digital art creation. In 1984, IBM awarded John Whitney Sr. an artist-in-residence position, allowing him to further explore computer animation techniques5.?This type of program helped legitimize digital art and provided artists with access to cutting-edge technology. Challenges and Considerations Museums faced unique challenges in exhibiting and preserving digital art. Unlike traditional mediums, digital works often required specific hardware and software to display properly. Curators and conservators had to grapple with issues of technological obsolescence and how to maintain works created on rapidly evolving platforms. Growing Acceptance By the late 1980s, digital art was gaining wider acceptance in the museum world. The 1989 "Art and Computers" exhibition at the Cleveland Gallery in Middlesbrough, UK, which toured for 12 months, demonstrated the growing interest in and recognition of digital art forms5. As museums embraced digital art, they played a crucial role in validating the medium and introducing it to broader audiences. These early efforts in the 1980s laid the groundwork for the explosion of digital art exhibitions and collections that would follow in subsequent decades. #environmentalart?#ecoart?#sustainability?#climatechange? #contemporaryart?#installationart #recycle?#landart? #ecofriendly?#environmentaljustice?#green? #artivism?#climateaction?#FridaysForFuture? #ClimateStrike?#SaveThePlanet? www.alanmckee.com

The Toledo Museum of Art is playing an active and global role in exploring where technology, art, and community experience can go. - Gary E Gonya Mojito partners closely with their team to make onchain art accessible, ensuring a user-friendly experience for all, regardless of technical background. Here’s how we help: - Navigating Web3 Made Easy: Toledo’s forward-thinking approach needed a straightforward solution, and that's why each project is guided by a dedicated account manager. They ensure a successful go-to-market strategy for all collaborators. - Authenticity Guaranteed: Inspired by the movie "Made You Look," our solution prevents fraudulent artwork from entering galleries or art lovers collections. With our tech, verifying the authenticity of digital art is simple, promoting trust and transparency. - Automated Revenue Sharing: Let your finance team unwind. Web3 automatically distributes fair compensation to artists and collaborators upon sale, reducing manual workload. - Global Connectivity: Tap into the expansive reach of the internet. Share verified artwork worldwide, liberating your art from the confines of traditional gallery spaces. - Creative Rewards: Show your fans you appreciate them by enriching the art collecting experience. Our platform enables artists and museums to introduce captivating incentives for buyers post-sale. More and more renowned institutions like The Metropolitan Museum of Art, Los Angeles County Museum of Art (LACMA), and SFMOMA San Francisco Museum of Modern Art are exploring web3 and other cutting-edge technologies. But Toledo Museum of Art shows that it's not always the big players leading the charge in innovation! We're delighted to continue working with the Toledo Museum of Art, where web3 artist Yatreda joins forces with Toledo's local artist Jordan Buschur to transform the traditional museum experience. What are you most excited to discover in this upcoming release?

If you work for a museum or gallery, do check out this fund, and our blog about our recent Review of 10 years of the Museums and Galleries Fund!