Loïc THIRION-LOPEZ’s Post

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

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

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

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.

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

How to Make Your Museum Shine with Light Projectors 💡 Light projectors are like magic wands in museums that help excite exhibits. They light up artifacts and artworks, making them look amazing and helping visitors see all the little details. Projectors also do amazing things like: 🌌 Brightening Displays: They make things in museums look even better by shining a light on them in just the right way. 🎨 Creating Art Shows: Projectors can turn museum walls into giant art canvases, showing off amazing pictures and designs. 🌟 Making Things Fun: Some projectors let visitors play with light and colors, making their museum trip more fun and memorable. Imagine a spotlight shining on a special artifact, making it look even more amazing. The projectors can do that, drawing attention to the best parts of a museum's collection. If you need projectors or any professional lighting equipment for your venues, just contact us today! #MuseumMagic #LightProjectors #projectors #museums #whitemarlin #whitemarlinuae

Explore how to easily create exhibition labels with CatalogIt. In our newest MasterIt, discover how to create engaging exhibition labels and QR Code experiences, and learn how CatalogIt simplifies the process of sharing rich information with your museum visitors. Read more below! ⤵️ #exhibitionlabels #qrcodes #museums #museumengagement #catalogit #imaginelovingyourcms

We've all heard of 'weird museums', but have you really learned about them? Each of these weird museums have a powerful story behind their creation and existence. Read the article in the link below, published by SMART Official to know more! #weirdmuseums #oddmuseums #weirdmusemsaroundtheworld #museumsaroundtheworld

One more week to submit a proposal to the Society for the History of Collecting's session at CAA co-chaired by Ulrike Müller and Anne Helmreich: https://lnkd.in/dHSD2Six Presenting Contemporary Art in Museums, ca. 1880-1930: Temporary Exhibitions, Institutional Networks and Collecting Session will present: On location Affiliated Society or Committee Name: Society for the History of Collecting In recent historical narratives of the market for and collecting of modern and contemporary art, little attention has been given to the proliferation of temporary–often travelling–exhibitions held in museums since the late nineteenth century. These exhibitions include shows organized by institutions labelling themselves as “museums” but lacking collections, thus functioning more as “kunsthalle” (like the “Museum of French Art” in New York, established in 1911), or public galleries later rebranded as “museums” (such as the Buffalo AKG Art Museum).This session seeks to investigate the phenomenon of temporary exhibitions of contemporary art held in museums in Europe and the Americas between approximately 1880 and 1930: What role did museum exhibitions play in stimulating demand for contemporary art? What was the relationship between collecting patterns and these exhibitions? How did civic and other types of public support for the arts and commercial interests interrelate (or even compete) in these initiatives? Which types of artworks, genres, styles, and artists were featured in these exhibitions, and what were their intended audiences (and did they attract)? What national and international networks were cultivated and developed by these practices and institutional actors? How did these museum-based initiatives compare to exhibitions and networks tied to commercial galleries, artists’ associations, etc.? We particularly encourage case studies that reflect on the ways in which these exhibitions shaped the profiles, collections, and future development of the museums – as well as institutional relationships to this past.

Standard museum cataloging leverages the usual set of fields that are considered best practice. We tend to refer to this information as “the tombstone information,” meaning it is clear and concise in communicating the “need to know” information. While this information is certainly important and serviceable for many of the use cases found in the museum, it can lack depth—and ultimately fall short of offering meaningful information for those wishing to engage with and learn from the object. This is where the gaps live—where traditional cataloging doesn’t meet the needs or expectations of its non-museum staff users. Learn more via Lucidea here: https://lnkd.in/g_GFPWQu