CODART’s Post

🎨 Delve into the fascinating world of museum psychology with my latest post. Are we Capturing Moments or Missing Experiences? 🤔 From the allure of cultural exploration to the paradox of digital documentation, discover why it's essential to strike a balance between capturing moments and savoring experiences. 🏛️  https://lnkd.in/dGT46Yfv

Over the past decade, it has not been uncommon for institutions in some parts of Asia to hire Western curators for senior positions. However, it has been far more challenging for Asian curators to break into the Western art world. Finally, though, there are signs that is changing. Historically in the West, museums with an Asian focus and encyclopedic museums with an Asian department have tended to be the ones hiring curators of Asian descent. A classic example: Two years ago, Lesley Ma became the inaugural Ming Chu Hsu and Daniel Xu Associate Curator of Asian Art in the department of modern and contemporary art at the Metropolitan Museum of Art. The appointment attracted considerable attention in Ma’s native Taiwan, since she is the eldest daughter of former president Ma Ying-jeou. (In many Asian families, it’s worth noting, art has traditionally not been emphasized since it is viewed as a less-stable, less-lucrative career path.) #art #artwork #curators #artgallery #equity #museum #museums #galleries #artworld ##sociology #racism #trends #society #history #education #sustainability #popculture #philanthropy

Having just spent all last week in the EU and the UK, I can attest to the fact that this recent infographic posted on www.visualcapitalist.com that is used with their permission is 100% accurate. "The world's most popular museums see millions of visitors each year. While there is something to be found for everyone in museum hot spots like China, the U.S. East Coast or Europe - as identified by the 2022 Theme Index and Museum Index by TEA and AECOM - different continents have different preferences when it comes to getting their museum fix. Art museums reign supreme in Europe, with the Louvre in French capital Paris and the Tate Modern in London seeing an annual average of between 5.7 and 3.1 million visitors, respectively, in past years even when taking the Covid-19 pandemic into account. Around an annual average of 3.7 million also visited the Vatican Museums during this time frame, which include art galleries and historical artefact exibits as well as ornate historical buildings like the Sistine Chapel. The British Museum, which is also a mixed art and history museum, saw about as many visitors - 3.2 million. Over in Asia, the mix of art and historical artefacts which is often employed for national museums is also popular. In the given time frame, the National Museum of China and the Nanjing Museum saw 3.3 million and 2.3 million visitors each year on average, placing them among the most visited museums in the Asia-Pacific region. The National Museum of Korea in Seoul saw 2.3 million visitors also. The other two most-visited museums in Asia are of a different breed: The Shanghai Science and Technology Museum and the National Museum of Natural Science in Taichung, Taiwan, also received around 2.2 million visitors each per year. Visitor numbers were a little lower in the U.S. over the past couple of years. Yet, between 2.4 and 3.3 million people per year were keen to catch exhibits at the National Gallery of Art in Washington D.C. and the Metropolitan Museum of Art in New York City, respectively. Around 2.4 million visited collections at the National Museum of Natural History while 1.4 million headed to the National Museum of American History. Both museums are also located in the U.S. capital. The Museum of Modern Art in New York saw 1.5 million annual visitors on average."

The Uncataloged Museum (May 14, 2016 at 5:44 AM) Interesting view and question: what's next? How will our future Holden Caulfield experience the exhibited objects, collections and exhibitions? Will 'Holden’s fond observation of reconciling the consistency of certain museum spaces with one’s ever-shifting bodily orientations' ever return, if everyone makes ones own random 'Google exhibit'? Since virtual is added to the physical exhibition, the real museum space that includes the smell, modest sound, changing light and other present viewers, our reminisce is gone in these virtual representations. Also, making your 'own' Google exhibition excludes the research, knowlegde and value added past of a variety of curators that carefully select objects, stories, and data to make a contextual exhibition in concert. Exhibitions that provide us with collected knowlegde, insight and inspiration. Quite a difference with random choosing objects steered by visual taste or coincidence. No doubt our technologies will add smell, sound and 3D to the spaces of our virtual museums and exhibitions, but the real museum world will survive next to the inevitable future of technology. While implementing new technologies always remember the importance of our real every day life as Holden Caulfield proofs in his writing. Don't implement new technologies because of the hype or temptation only, use it as a tool not as exhibit on its own. Floris Guntenaar: May 14, 2016 at 5:44 AM

🎨 Cultural Sensitivity in Art: A Recurring Theme in My Art History Degree 📚 The intersection of artistic genius and cultural sensitivity is a recurrent and significant theme in art history, one that continually shapes our understanding and appreciation of art. Gauguin's legacy is a poignant example of this complex dynamic. His work, while visually captivating and innovative, reflects the colonial attitudes of his time, raising important ethical questions about how we engage with such pieces today. 🤔 Throughout my Art History degree, this topic has been a focal point of discussion and analysis. We delve into the historical contexts of artists' lives and the prevailing attitudes of their eras, critically examining how these factors influenced their work. Gauguin’s relocation to Tahiti and his depiction of the local people through a Western, colonial lens is a prime case study. These paintings, though beautiful, often perpetuate stereotypes and exoticize their subjects, highlighting the power dynamics and cultural insensitivity of the colonial period. 🌍🎨 As Art Historians, we critically analyse how museums and galleries present such works, emphasising the need for educational contexts that inform the public about their historical and ethical dimensions. This approach is crucial in fostering a more inclusive and respectful appreciation of art. 🏛️🖼️ Museums and educational institutions are increasingly recognizing their responsibility to provide this context. They aim to educate audiences about the socio-political conditions under which art was created and the ethical implications involved. 📖👥 This theme is not just about acknowledging the past; it's about shaping a more conscientious and informed future for art appreciation. By continuing to question, learn, and advocate for culturally sensitive practices, we contribute to a richer, more respectful engagement with the diverse cultural heritage that enriches the art world. 🌟 For more insights on Gauguin and the broader discussion on cultural sensitivity in art, check out this thought-provoking article by Gina Fairley on ArtsHub. Engaging with these discussions enriches our understanding of art and its impact on society. What are your thoughts on balancing artistic appreciation with cultural sensitivity? 🤷♀️🤷♂️ #ArtHistory #CulturalSensitivity #ArtAppreciation #EthicsInArt #MuseumStudies

Hygrostats in Museums and Art Preservation: Practical Implementations This article discusses that museums play a crucial role in preserving and showcasing cultural and artistic artifacts, contributing to education and cultural appreciation. The art conservation industry complements this effort by focusing on the preservation and restoration of these items, ensuring their longevity and authenticity. GAO Tek’s hygrometers, known by names like humidity gauges and psychrometers, find diverse applications in museums and the art conservation industry.

Future Library Trust is proud to co-host Transmitting the Intangible: Indigenous Perspectives on Sustaining Memory and Contemporary Culture. This is a two-day hybrid event taking place May 27-28 after the Future Library Handover Day, blending both online and offline components, featuring presentations, workshops, and panel discussions. Register at the link! Art and other cultural manifestations produced today increasingly expose the limits of prevailing approaches to conservation, archiving and collections management rooted in European, settler colonialist ontologies and epistemologies. These tend to privilege objects that can be physically or digitally collected, often overlooking networks of human and more-than-human relations and other cultural manifestations and forms of knowledge that evade capture and domination by Western museological apparatuses of acquisition and archiving. In conjunction with the ten-year mark of Future Library this virtual and in-person symposium will explore traditions of safeguarding and care, cultural preservation, and knowledge transmission outside of and in resistance to Eurocentric frameworks, centering the voices and perspectives of those working and living in global, colonial and postcolonial contexts and cultural geographies. This symposium will bring together Sámi, Māori, Aboriginal and Torres Strait Islander, First Nations, Mixe, and other Indigenous and non-Western artists, archivists, conservators, curators, library and museum professionals, thinkers, and creative practitioners working both in and outside of academia. Organized by Nasjonalmuseet, RiddoDuottarMuseat, and Future Library Trust. https://lnkd.in/dEVKzCsy

Why do art museums seem to hold such a powerful attraction? 🖼️🤔 From my observations, there are several compelling reasons that draw individuals into these cultural havens: 1. **Cultural Enrichment** 🌍: Art museums offer a profound sense of cultural and historical understanding. Gazing at centuries-old paintings or contemporary installations can enlighten us about different eras, societies, and perspectives. 2. **Inspiration and Creativity** 💡: For many, art museums are a wellspring of inspiration. Whether you're an artist, writer, or simply someone who appreciates beauty, museums ignite creative sparks that linger long after the visit. 3. **Emotional Connection** ❤️: Art evokes emotions and tells stories. People often find themselves moved by the visual narratives, connecting deeply with pieces that resonate on a personal level. 4. **Educational Value** 📚: Art museums serve as educational spaces where visitors can learn about various art forms, techniques, and artists. They often provide context that deepens our understanding of the pieces displayed. 5. **Escapism** ✨: Museums offer a tranquil, contemplative escape from our hectic lives. The quiet, reflective atmosphere allows visitors to immerse fully in the world of art. So, the next time you pass by an art museum, consider stepping in. You might discover a new favorite artist, gain fresh insights, or simply enjoy a peaceful moment away from the daily grind. What about you? Why do you visit art museums? Share your thoughts with us! And if you found these insights valuable, don't forget to Follow Us for more engaging content. 📲 #art #newspapers #gallery #design #colors

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.

I recently came across the slogan on the Pérez Art Museum's website: “Por favor, don’t touch the art.” 🖼️🚫 🧤🛡️ And I'm sure you've seen it yourself in many art institutions—specially designated people next to artworks, sometimes with gloves and uniforms, manicured frames, fences, frightening signs… 🎨 Is art something we should admire from a distance? I don’t think so. Art is not a static or passive object; it is meant to be engaging, for our own sake as well: it helps us understand what it means to be human and what it means to live in this world. When we place art behind barriers and treat it as a high-priced commodity, we lose the experience of interacting with it holistically.✨ 💭 Yes, I understand the need to protect delicate pieces but the overarching message of “don’t touch” seems to perpetuate the idea that art is too precious for direct interaction. This reinforces the institutionalization of art, turning it into a mere product of capitalism rather than a living, breathing experience.💡 🤔 What are your thoughts on this approach to art? *** #artengagement #museumculture #artaccessibility #interactiveart #culturalinstitutions #artinpublicspaces #artandsociety #artcritique #artandcapitalism #artexperience #museumcritique #artdialogue #culturalcommentary #arteducation #artforall #miamiart #artinmiami #floridarts