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ORG Zine | The Culture Paradox - the challenge of Digital Rights and Museums

ORG Zine | The Culture Paradox - the challenge of Digital Rights and Museums | MuseumLink |

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3D printed replicas of MET masterpieces

3D printed replicas of MET masterpieces | MuseumLink |
the metropolitan museum of art has made public a user-driven digital database in order to create three-dimensional recontextualizations of classic sculptures housed within the massive gallery space. ...
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‘Terracotta Warriors’ at Discovery Times Square

‘Terracotta Warriors’ at Discovery Times Square | MuseumLink |

"A new show at Discovery Times Square brings a few of Qin Shihuangdi’s entombed terra-cotta soldiers and much theatricality to New York.


Two millenniums ago, when the last shovelful of dirt fell on China’s terra-cotta soldiers, the thought was that they would be seen in this life no more. Buried in an emperor’s tomb, they would thenceforth secure and patrol imperial turf in the afterlife..."

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Guggenheim presents expansive exhibition of mid-20th century art from the permanent collection

Guggenheim presents expansive exhibition of mid-20th century art from the permanent collection | MuseumLink |
B NEW YORK, NY.- From June 8 to September 12, 2012, the Solomon R. Guggenheim Museum presents Art of Another Kind: International Abstraction and the Guggenheim, 1949-1960. Comprising approximately 100 works by nearly 70 artists, the exhibition explores international trends in abstraction in the decade before the Guggenheim's iconic Frank Lloyd Wright-designed building opened in October 1959, when vanguard artists working in the United States and Europe pioneered such influential art forms as Abstract Expressionism, Cobra, and Art Informel.

More Information:[/url]
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Online Community | Tate Collectives

Online Community | Tate Collectives | MuseumLink |

Online community space for young creatives

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How to “solve” Museums are for the rich 1/2

Discussion from MuseumLink on linkedIn - part one


Riemer K. • Museums are not only for the rich, or so the evidence seems to show, thereby preaching to the converted, but also for those able and willing to play along. Didn't Bourdieu point out the exclusion tendency of culture & the arts?


Erik v R. • ...Perhaps it depends on the national social differences if Museums can be classified as being for the rich or being open for a broad range of people, both poor and rich?



Herwig D. • Ohhhh ... Quote : << ... the sculptor said “I can’t afford to take my family” ... >> 
What a piece of opera, in just a little phrase of an article. 
The content of the article is interesting, but I really don't like manipulated drama...



Kristy L. • many museums offer free nights, at least in the states: the Brooklyn Museum, Whitney, MoMA, among others nationwide... often thanks to dedicated sponsorship from large corporations... and with a range of price for entry between $8 to $20 at the most: I just can't see this as outrageous pricing... it's an outing like any other cultural outing... I have to agree with Herwig on this one!



Noel T., EMBA • The oldest public museum in the US, the Atheneum in Hartford CT, has free Saturday admissions (between certain hours) and reduced rates for "seniors," plus special prices for bused school children. Sounds non-discriminatory regarding the "rich" and all us "others."



Andrea B. • Free admission days are a good thing; but they are still exclusionary for many people. You have to come to the museum on its own terms: on a specific day and time, not when you can. 
In many cases these initiatives are alas just one way to "tick the box" for inclusive policies - the museum offers free entrance once a month, so it's done its job to "guarantee" access to everybody.


Erik van R. • Free admission is only one thing- a museum has to become part of the whole of the community if it wants to be not only for the rich. 

Sure, rich people play a vital part in that because they can provide the vitally needed cash. But at the same time it is the'poor people who can play an equally vital part in the museum if they feel complicity with what happens in the museum. Very much so depending on the kind of museum, this can be done in several ways, but the main thing is that the museum gets a broad range of people in all layers of the community to feel at home, to actively participate in the museum, to let those people do things there that are important to those people. Once the museum has a broad base, a broad network of people who want to put their energy into the museum, this is seen and felt by visitors who are not part of that base or network, but they get the feeling that the museum is open, worth to visit, welcome. By not drawing just one line in the sand by one admission system, but by a whole range of different possibilities, a museum can get the rich to pay high admission prices and it can give the poor the chance to still be part of the museum without having to pay those same high admission prices. 

This communitywork of a museum can be that the museum provides the community platforms, podiums to do their thing within the walls of the building of the museum- You want to see art? Come and do it yourself by making art over here / by giving us the cash to buy it perhaps even in your name / participate in our Art-Selection conversations / come and show us your own Art / help us to talk about a good exhibition / help us to build that exhibition with your bare hands, with your cash, with your personal network and so on over here in our Art Museum! You want to know about ships? Come and learn to build them yourself and at the same time learn woodcrafting in our museum / come and help us restore that old ship / come and help us to tell the stories / help us to make sails, parts, buy that special one for our collection, whatever! You want to know about your ancestry? Come and participate in the genome research over here / tell us your stories / give us the stuff of your ancestors with the stories attached to it / come over here and help us tell your stories / ... And so on and so forth. Do not ordain how it has to be done, but instead stay open to what is offered and brought. Use every means of communication that is used by both the rich or the poor in society to convey your message and to convey that you are there for them.



Sarah G. • The arts and culture need to be seen broadly as a human right and a necessity for a healthy, functioning, civil society. Efforts need to be made to communicate that right and to figure out ways to deliver content in ways that meets people where they actually are:;amp;amp;amp;amp;amp;smid=fb-share
Free or reduced admission days, content, educational opportunities, but also communicating mission and finding out from the non rich what they are looking for in their lives, and helping them see that museums have those things to offer. Any thing less is just lip service.



Noel T., EMBA • Perhaps we should mention "membership" with varying levels. Members usually include a core group who not only contribute their time as volunteers but as community spokespeople, etc.



Kristy L. • great points... there is also the issue of staffing and protecting the artwork. not all museums can afford full staffing for mass groups of people that would come if the museum were donation-based only such as the Brooklyn Museum or Metropolitan Museum in NYC for example: these institutions have security guards and full staffing yet are still nonprofit and struggle to keep full-time staff at relatively low salaries. The very new museum in Raleigh NC (CAM Raleigh) does not have full time security staff and instead relies on volunteers and gallery attendants to perform this function during special events, etc. I worked at the Brooklyn Museum early in my career as a visitor services representative and the free nights were very draining for the limited staff... perhaps education is key (and already is a big focus for many art institutions) so as to teach new generations to support the arts through membership, involvement through volunteering, etc. There is no one answer but perhaps a set of answers to address openness of museums to the general public...



Ken G. • It would make sense to get the art to the ones that can't get to the museum by bringing it to the elementary schools. If you instill a love of art at an early age then the rest will take care of itself. With all of the volunteers that museums typically have it would be a great service to use them in this venture. You are not going to bring the Scream to a bunch of first graders but an etching by Munch, a woodblock by Rockwell Kent, lesser pieces with the presentation including the grabber of price or craziness or whatever but kids really need to get jazzed so they want to come to the museum and not just as a field trip they have to take. Field trips are actually where the museum can really shine but the docent or presenter or teacher really has to be theatrical to get the kids to listen and see. As Sarah said delivering content is huge!! But delivery doesn't necessarily mean in the galleries but really into the community. Talk to your volunteers see who can really present. It will make a huge difference.

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The Louvre Goes High-Tech with Video-Console Guides

The Louvre Goes High-Tech with Video-Console Guides | MuseumLink |
One of Europe's most venerable museums is charging headfirst into the digital era with video game console guides to replace their old audio guides — a move that could attract a new generation of museum-goers...
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MIDEA | MuseumLink |
The Edward and Betty Marcus Institute for Digital Education in the Arts (MIDEA) provides timely, succinct and practical knowledge about emerging technologies that museums can use to advance their missions.

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The Arts Collection Management Program at NYU is very new, two years old, and so popular that you are adding additional certification courses and programs. With the diversity of experience that you have had in the museum ...
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If you were to go to an historic house museum, how would you prefer to learn the history of the house? | LinkedIn Answers | LinkedIn

View this question on LinkedIn (If you were to go to an historic house museum, how would you prefer to learn the history of the house?
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[Call Extended] Asia Europe Museum Network General Conference 2012

[Call Extended] Asia Europe Museum Network General Conference 2012 | MuseumLink |
“New and Sustainable Museum Education”: The 2012 Asia Europe Museum Network General Conference will be held at the National Museum of Korea in Seoul (South Korea), 13-15 September.
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Arts Council has begun collaboration with Wikipedia to get more great articles on art and culture online.

Harald Skeie. May 4, 2012. Arts Council Norway. (In Norwegian.)

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What does success look like for museum QR code usage?

What does success look like for museum QR code usage? | MuseumLink |
We all know that developing ways to define, evaluate and ultimately measure the success of digital activities is an issue faced by all parts of the cultural sector.  It’s a difficult task, parti...

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How to be clever on Facebook - Australian Museum

For the most part, coporate/museum Facebook pages are pretty much the same: conversations among visitors or inserted opinons.
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How to solve Museum are for the richs 2/2

Comments on discussion from LinkedIn, part two


Mohammed S.

Nice comments, it's may run our museum circle?


Mark W. Wow, thanks for creating the conversation! As the author of the blog post, I can promise that it is not a "piece of drama", but a very real conversation with a working artist. The issue of museums and their business model is now being taken up by AAM,

Herwig D. I have no doubths about the fact it was a "real conversation", Mark, but that's not preventing the interviewed to perform a piece of drama... (All politicians do so, f.i. ;-) )
Selected as a teaser for the article (emo-talk), not as a relieable / relevant market survey. That's my point.
Opinion is welcome, but opinion is not representative.
But, what's more, the article is not even representing all museums. Expensive museums are a rare occurrence, worldwide. Yet the article starts generalising "Museums are for the rich". Well, at least : what % of museums are ? 5%? 4%? 2%? 1%? ... ??
And, do those people who cannot pay for a museum, utter the same thoughts when visiting a theme park?? Several times more expensive then the very most expensive museum. Yet, the theme parks are full... ;-)


Sarah G.

I care about museums and art now because of 2 things that supported eachother: I was exposed to art in school (reproductions) and I had a family that was willing to take me to museums - though not frequently. Because I had sat through slide shows of 'great art', it was a shock (in the best sense) when I walked into a museum gallery, and there was the real thing! It meant more because it was familiar, and yet strangely different - bigger, smaller, more luminous, less luminous - whatever - than the reproduction of it. I was fortunate - I went to schools that provided art education and I had parents who tried to provide a somewhat enriched environment so that I could travel in educated circles. Museums can't just passively sit there and wait for people to come to them - they have to get out there and make their material public in lots of different ways - more work, perhaps, for beleaguered, underpaid staff, but really, the only way to get the work - art - history - science - so integrated into their lives that people begin to value the enrichment that museums provide enough to pay museum workers what they're actually worth.


Pat R.

There was a study done at a really excellent art museum in the UK, where a programme was devised to provide supported access for local people from less privilidged backgrounds. The result was a fundamental shift in those people's perception of the museum: from very negative to positive. However: this did not mean that they intended to come back - the benefits/return offered by this museum were recognised as good (and understood to be free), but not of sufficient value to be chosen over other ways of spending leisure time.
I can try and dig out the reference if anyone is interested in following this up.
This is not, I think, a reason to give up - it is, perhaps a reason to think differently (or to do a follow up experiment, to see if this is true in your place/time, too). I wonder, for example, if e-programmes, such as "your paintings" - are collecting demographic data (or data capable of demographic interpretation, such as post code/zipcode).
Why should we bother? I know my answer to that one - and believe that the 'how' follows on from the 'why'.


Steve Y.

Perhaps the question touches a more fundamental issue that began some years ago with American museums -- decisions somewhat dreaded by European museums and others worldwide, who have for generations understood museums are a basic part of the quality of life and culture -- not short-term entertainment centers made only to increase profits at the gate.

Business or education? Profit versus non-profit. Contributions in education and history as well as the preservation of culture for the long term, to share with future generations. Or just a temporary model for quick flash-in-the-pan blockbuster venues, geared primarily for the gate in the short term. True patrons have long supported the long term educational basis for the future in many ways historically. Those who seek only self-serving political and business gains with museums, continue to fail the test and essential commitment of museums for the long run.

No question that today's changing world provides challenges for income necessary to run museums, educate, preserve history and at the same time advance with technologies, communication and new potentials in widening audiences globally. It is true that the emerging hybrids of non-profit and business models in the US and now abroad continue to provide part of the answer. The educational and non-profit values to serve people and community over time is being redefined today. Business should never abandon these values at the expense of the museum's central role, unlike any other educational institution, to engage, contribute and enlighten now and over time.

Jonathan K.
Thank you for discussing this issue. What makes your comments particularly incisive is your effort to cite real museums and real examples. That being said, I believe the situation surrounding the California Academy of Sciences and it's cost of admission is far more complex than ticket prices. First, full disclosure: I was the Executive Producer, and my firm Cinnabar was the lead designer/builder of the exhibitions for the new Academy (not including the Aquarium). Prior to that, I had a decade long history developing exhibits with the Academy.
Point # 1. The Academy is far more than a public venue. It is an institution for scientific research- those are its history and its intellectual bedrock. The development of a greatly enhanced public face, as seen at the new Academy, has caused, in my opinion, a wrenching change from the Academy's core purpose. This change is still in process. However, the housing and care of its scientific collections, and the facilities, and the costs of its scientific staff are an existing legacy, and a hugely expensive one. This is not comparable to the overhead structure of a community science center or similar educational institution.
Point #2. Imagination & ambition has its price. The old Academy, a mishmash of 11 structures cobbled together over 80 years was like an old Chevy- beat up & creaky, its odometer had turned over several times, repeatedly repaired and rebuilt. However, it ran- put some air in the tires, change the oil time to time, and it kept going. By comparison, the new Academy is a Ferrari- with an extreme degree of engineering sophistication, and more importantly, a high requirement for knowledge and service(and money) to keep it running properly. This huge transition was, IMHO, severely overlooked. During the development process, folks with experience with sustainable buildings, control systems, and the complexities of the environmental/technical interface talked about the rude surprise that was coming for the administration of this re-invented place.
There are other important issues you raise. The whole question of whether to charge any admission at all is an on-going debate and I'm glad to see it raised here. In this particular case, you have touched on a key element in how the ticket price was set- what tourists are willing to pay. That's a tactic based on desperation, not thinking clearly about the visitorship you want to cultivate.
However, I find your list of how to "solve" this problems of museums for the rich is overly simplistic. For one thing, the audience isn't about the rich- I daresay most visitors spend a great deal more on consumer crap, fast food, wasting resources, etc. than they spend at pricy museums. That is not to say that most of your points are not well taken; yet they should be evaluated on a case-by-case basis rather than being made into elements of an equation.
Additionally, the list reveals your bias- should all public science facilities be cast from the same mold?
Thank you again for your keen observations


Mark W.

Thank you all, I stand by my comments, $29 admission is not a sustainable business model,


Mary E. L.

It is interesting as museums were initially established so that those who were not wealthy enough to see and explore the world, were able to be exposed to culture, the world.

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‘Van Gogh Up Close’ at Philadelphia Museum of Art

‘Van Gogh Up Close’ at Philadelphia Museum of Art | MuseumLink |
“Van Gogh Up Close,” at the Philadelphia Museum of Art, examines the artist’s relationship to nature at its most intimate.

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The Metropolitan Museum of Art - Murder Goes Mobile at the Met!

The Metropolitan Museum of Art - Murder Goes Mobile at the Met! | MuseumLink |
Murder, Murder Mystery, app...

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Museums are for the richMuseum Planning

Museums are for the richMuseum Planning | MuseumLink |
Museum are for the rich because of overspending, a lack of humility and a lack of planning creating a "preaching to the converted"...
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Greece: transform museums to transform communities

Greece: transform museums to transform communities | MuseumLink |
Greece is known for its history and culture, and trademark designs from classical Greek architecture and art make an appearance throughout the U.S. and other countries, in everything from public bu...
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The Future of Museums | HASTAC

The Future of Museums | HASTAC | MuseumLink |

"Digital advances offer museums a critical chance to become more participatory, approachable, and relatable to the public. As museums adapt to embrace the digital world, how can we ensure that technology enhances and deepens visitor dialogue rather than acting as a superficial fix for museum marketing issues?"

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