Sakhi Gcina’s Post

QUT's Art Museum 2025 programming cuts will have profound impacts on underrepresented artists. Palawa artist Jemima Wyman’s 30-year survey show, alongside exhibitions by Barkandji/Barkindji artists and renowned ceramicists, has been cancelled. NAVA's Penelope Benton highlights how such cuts threaten artists’ working lives, noting university museums do more to support First Nations artists than any other type of gallery. QUT (Queensland University of Technology)

ArtVista. For: Artists: Artists, Art Enthusiasts/Collectors, Art Galleries, and Museums. Dissatisfied with: Traditional art growth and promotional methods that often lack interactivity and inclusivity eg; ● Physical Exhibitions: Artists may find it challenging to reach a broader audience beyond those who can physically attend the exhibition. ● Art Shows and Fairs: Smaller or emerging artists may find it difficult to secure space or afford participation fees, limiting their exposure. ● Print Media Advertising: Traditional advertising in newspapers, magazines, and art journals lacks interactivity and engagement. ● Gallery Representation: While being represented by a gallery can provide credibility and exposure for artists, it often comes with high commissions and exclusivity agreements. This model may not be inclusive for artists who don't fit the gallery's aesthetic or commercial objectives. ● Auction Houses: The high entry barriers and competitive bidding processes may discourage emerging artists and smaller collectors from participating. ● Museum Exhibitions: Their exhibitions can sometimes feel distant and unengaging for the general public. Interactive elements are often limited, and there may be a lack of diversity in the artists and artworks featured. ● Artist Residencies: Access to prestigious residencies may be limited to artists with certain credentials or connections. Due to: Limited visibility, Community engagement, Art resources, and information, difficulty in reaching the target audience, and genuine connections That provides: ● Visibility and Exposure ● Community Building ● Monetization Opportunities ● Artistic Development ● Curation and Discovery ● Industry Insights ● Support for Art Entities Share your thoughts, ideas, and expectations for ArtVista via the links. Let's create something truly extraordinary together! Artists: https://lnkd.in/dJWzneE6 Enthusiasts & collectors: https://lnkd.in/dnGK9CWf Galleries & museums: https://lnkd.in/dsKSdNPM #ArtVista #ComingSoon #artcommunity #waitlist #art #artgallery #artoftheday #maybrookflair

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.

Reimagining museums 'Are museums outdated? Have screens made them old-fashioned? Quite the opposite. The number of museums has risen from 22,000 in 1975 to nearly 100,000 today. Blockbuster exhibitions are almost always full and the major museums continue to break visitor records every year.  The Louvre in Paris tops the list, with no fewer than 8.8 million visitors in 2023, followed by the Vatican, the British Museum, the Metropolitan Museum of Art in New York and the National Museum of the Republic of Korea, according to data collected by The Art Newspaper. And more and more cities want to make the most of the influence conferred by these prestigious venues.  It has to be said that in the space of just a few decades, museums have undergone a profound transformation. Originally created to present princely and royal collections in Renaissance Europe to a privileged few, museums have since become much more democratic. Fine art and history have long since ceased to be their only fields of expertise. To attract new audiences, museums have not hesitated to convert to digital technologies, sometimes radically transforming the visitor experience. And even if heated arguments remain about the return of objects acquired during the colonial period, museums have adapted to reflect the concerns of the time, increasingly opening their exhibitions to women artists and revising their curatorial approach in the light of current debates, and the demands of indigenous populations.  In 2024, going to a museum is still a special, widely appreciated experience. There’s nothing quite like it.' https://lnkd.in/dHSf3eBm

The recent article celebrating the Cleveland Museum of Art (CMA) “Half A Decade of Open Access” brilliantly highlights the #museum’s remarkable journey and its pivotal role in promoting #openaccess to #art and #culture. Jane Alexander and her team have truly paved the way, showing how technology can democratize access to cultural treasures. Their efforts are commendable and set a high standard for the global art community. Amidst the platforms leveraging CMA’s open data, #FeelTheArt should be noted for its contribution to extending the reach of these artworks to remote audiences. It uses CMA’s open access content effectively, importing and translating details on 14,000 artworks into 10 languages. This contributes greatly to inclusion, education, and #accessibility. The platform enriches art availability with engaging and interactive experiences. #Augmentedreality (AR) and #AI features enhance art #education and engagement. These technologies are especially beneficial for the elderly and those who cannot visit museums in person. By recognizing FeelTheArt alongside other platforms that use CMA’s open content, we can appreciate the full spectrum of innovation and dedication to making art universally accessible and enjoyable. CMA’s initiative is critical in this mission, contributing uniquely to the broader goal of cultural access and participation.thanks for this work Jane Alexander LIVDEO La French Touch La French Tech Business France

The ongoing discussion on the polarisation of the art market reflects broader societal dynamics, including wealth centralisation, cultural spectacle, and marginalisation of non-commercial art. This raises fundamental questions about the value of art in a stratified context. While the market often prioritises profit over art’s mission to generate new visions and represent human complexity, the challenge lies in rethinking this framework. Independent projects, residencies, and digital spaces offer avenues for art to regain authenticity and inclusivity. An ethical reformulation is vital, emphasising art as a collective, transformative experience rather than a commodity. Whether it will solve the fragments between international fairs, million-dollar auctions, or the few giant galleries dominating over a landscape of artists and galleries, polarisation still presents an opportunity to foster new cultural ethics and further enhance inclusivities. #artadvisory #artfund #modernart #contemporaryart #asiacontemporaryart #visualart #artcollector #artmuseum #curatedexhibition #SGEvents #DiscoverSG #ArtLoversSG #SingaporeArt #SGShopping #ShopLocalSG #RetailTherapySG #VisitSingapore #ExploreSG #ArtInProgress #ArtistsOnInstagram #EmergingArtists #artseasonsgallery

It’s time to share some monthly insights from EXH CAT, our online database of exhibitions at US museums 📊.   July 2024:  • Significantly more exhibitions closed than opened  • Most popular opening day: Saturday, July 13th  • Most popular closing day: Sunday, July 7th (over 70 exhibitions closed)  • Around 1,500 exhibitions were on view   Year-over-year trends: • Fewer exhibitions opened in July 2024 than in July 2023 • There were more exhibitions on view in July 2023 than in July 2024 • Almost 6% fewer exhibitions opened in the first half of 2024 compared to last year (I’m still thinking about Julia Halperin’s article on the slowdown in exhibitions, “Welcome to the slow museum, where less is more” in The Art Newspaper – link in comments).   My top 5 favorite exhibition titles for shows that opened in July: • Dreams, Screams, & Fantastical Things • Inked Bodies • A Little Grey For Color • Spiraling, Twisting, Unraveling: Explorations in Pattern and Form • Wonder Women: Women Printmakers of the 1970s

Tyne & Wear Archives & Museums is entering an exciting new chapter with an expansion to its museum portfolio and a brand new name! The organisation is now known as North East Museums and from 1 April 2025 it will expand its footprint into Northumberland to take on management of Northumberland County Council’s museum venues - Woodhorn Colliery Museum in Ashington, Hexham Old Gaol and Morpeth Chantry Bagpipe Museum. With Northumberland joining the partnership it will bring the number of venues managed by North East Museums to 12, as well as looking after the Archives for Tyne and Wear and running arts and cultural projects across the region. The partnership includes Gateshead Council, Newcastle City Council, North Tyneside Council, South Tyneside Council and Newcastle University and from 1 April Northumberland County Council. Keith Merrin, Director of North East Museums, said: “This is a hugely positive and significant moment for both our organisation and our partners to ensure that by working together we can deliver the best museums, galleries and archives for the people of our region and visitors from all over the world.  “We were already working on a new name and brand for the organisation before Northumberland County Council approached us about the potential of managing their museums, and now our new name makes even more sense.” 

"With lesser-known gems collecting dust in storage and standout masterpieces getting stuck in outdated narratives, a well-executed rehang can reposition familiar favorites and introduce welcome surprises." These rehangs have been popular with visitors but I wonder what does it mean to re-contextualize art in the space of a museum or gallery? How does it change the meaning of the work itself? artnet #artnews

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