Thinking About Museums: Take 2

Given all the dynamics and complex issues at play with museums today, from the museum work "behind-the-scenes" to how museums connect with visitors and the outside world, how has your perception of museums changed now that you've taken this class? What was your favorite part of the course? And finally: what part of museum work most interests you as a potential career path and why? Please respond in at least four sentences with specifics by 5 pm, Monday, December 5, and thanks for all your posts on the Thinking Museums blog this semester!

Ethics and Exhibiting Collections

Having read the Philip Kennicott article criticizing the exhibition of works from the collection of Bill and Camille Cosby, as well as the piece by Charles Desmarais on the strings attached to the SFMOMA's acceptance of the Fisher Collection, SELECT ONE OF THE TWO ARTICLES. Use it to describe in your own words your position on museums exhibiting works from collections where the collector's ethics are in question or where the gift is contingent upon collector curatorial control. Please mention details from either case, citing examples where there appears to have been breaches of ethics according to AAM standards. Respond thoughtfully in at least 4 sentences by 5:00 pm, Monday, November 14, and thanks.

Audience Engagement: Strategies for Relevance and Growth

As we discussed in class, knowing about who visits your museum is vital to the overall relevance and success of your institution. How a museum goes about attracting and getting to know their visitors—and what each museum does with that knowledge—can support growth and stability into the future.

With visitor engagement and empowerment in mind, assess either Nina Simon's TED talk OR Maxwell Anderson's Hirshhorn talk, discussing how your selected museum director views their museum's specific audience. What strategies does he/she implement to learn about their visitors and what are the strengths and weaknesses of the approach? Discuss these questions using specifics in at least four sentences, posting to the blog no later than 5 pm, Monday, November 7. Thanks!

Exhibition Design: Setting the Stage for the Museum Visitor

Exhibition design can make or break a show in a museum. Do it wrong, and the visitor response could be irritation, feeling stupid, or even worse, walking right pass the show entrance. Do it right, and it becomes like a subconscious guide, revealing the power of objects and a story to tell.

With design in mind, think to your own experiences in museum exhibitions: Was there one that resonated with you in part because of effective design? Or was there one that fell flat because elements interfered with your appreciation of artworks or your overall takeaway? Recount your experience using details of a specific show, museum location, and design aspects in at least four sentences. Feel free to jog your memory with a bit of research, and post your entry no later than 5pm, Monday, October 24. Thanks!

Museums Under Attack: Damaged Art and Thefts

On the topic of museum registrars and the role of museums as protectors of valuable cultural objects, museums do have their share of "incidents," where works are damaged or taken by members of the public. Stealing art from museums continues, even with the best security systems. After all, museums are open to the public, and as such offer opportunities for objects to get under foot, or to generate an emotional response that is not always positive. And who can resist the high stakes involved, when a single painting can be worth upwards of 50 million dollars?

Search the web for a report of a work getting damaged by the public either by accident or on purpose to make a statement. Or find a story about an art theft, one that is either solved or unsolved (not using examples from class). Post a short summary (4 sentences) of the incident (when, where, how, etc.) and a live link to the story/video, no later than Monday, October 3, 5 pm upload. Thanks!

http://www.theguardian.com/world/2015/aug/25/boy-trips-in-museum-and-punches-hole-through-million-dollar-painting

Deaccessioning and Museums (or Martin Luther King Jr. and a Museum's Imperfect Collection)

Choose ONE of the two following issues for your next blog post:

1. Over the last decade, a number of prominent museums have faced dire financial straits, much like the situation the Delaware Art Museum encountered in 2014. In some cases the decision was made to deaccession works from the collection, with the plan of using the proceeds from the sales to pay off a debt, or face certain closure of the institution. As was made clear in the readings on the DAM, this practice goes against the AAM Code of Ethics, which states that money from the sale must "be used for acquisition or direct care of collections." It also goes against the mission of a museum and its service to the Public Trust.

Informed by the Delaware Art Museum readings, respond to this particular situation. What mistakes were made? What could have the museum done differently? Do you think the AAMD was right in sanctioning the DAM, and do you think there should be exceptions to the rule when the very survival of a museum is in jeopardy? Answer all questions in at least 4 sentences, and respond no later than 5 pm, Monday, September 26.

2. In building the museum collection, the National Museum of African American History and Culture's Director Lonnie Bunch wanted to acquire objects related to the life and accomplishments of Martin Luther King Jr. as a way to situate him in the greater historical narrative and museum mission. Curator Rex Ellis made it clear to the family his interest in acquiring two objects: King's personal bible and his Nobel Peace Prize. A meeting ended with no donation, reinforcing the reputation of the family only offering loans of objects and only for a high licensing fee. Bunch decided not to ask for either to be loaned, as the museum prefers to seek out gifted works for the permanent collection. In the end, the museum decided to represent King through photographs, records, and buttons.

Having read the Washington Post article, https://www.washingtonpost.com/entertainment/museums/why-no-major-martin-luther-king-artifacts-will-be-at-the-new-african-american-museum/2016/09/11/be05624e-75d3-11e6-be4f-3f42f2e5a49e_story.html

please respond to this situation. How does this omission of objects affect the overall story being told by the museum? And the overall function/mission of the museum? In the end, is it possible to represent such an expansive history fully and fairly for all visitors? Answer all questions in at least 4 sentences and respond no later than 5 pm, Monday, September 26.

What Museum Jobs are out there?

Museum job titles and focus areas have been shifting over the last decade, responding in part to the expanding functions of museums in relation to audiences and interpretation. One of the key resources to learn more about what jobs exist (and are available) is the American Alliance of Museum's Job Board (called Job HQ): http://aam-us-jobs.careerwebsite.com/c/search_results.cfm?site_id=8712

Visit the site and explore. What is the range of job openings? Do they cluster around certain departments? What do the job openings say about the needs and/or nature of museums today? Or about specific institutions themselves?

Respond in at least 4 sentences, noting examples of jobs you discover, including what museum listed the opening(s). Upload no later than Monday, September 19, 5pm.