Exploring ideas and engaging in conversation

Author: Kelsey L. Petersen (Page 4 of 9)

How is the Government Shutdown Affecting Museums?

Twenty three days and counting.

On December 22, the U.S. government shutdown over President Donald Trump’s demand for $5.7 billion in funding to build a border wall between the United States and Mexico. Democrats (and some GOP members) refuse to approve the funding, calling the wall immoral, unnecessary, and “a giant symbol” of racism and xenophobia. Although the House of Representatives passed several spending bills aimed at reopening certain sections of the government as soon as possible, Senate Majority Leader Mitch McConnell blocked the legislation.

Now, for twenty-three days, the government has been in a political standstill (and as of yesterday, this has become the longest shutdown ever). According to Trump, the shutdown will continue until his funding is passed, and has even considered calling a national emergency to build the wall without congress approval.

As a result of this impasse, all federal institutions, departments, and agencies are closed. Over 800,000 federal workers remain furloughed, or continue to work without pay.

How does this seemingly endless shutdown affect museums and other cultural institutions?

While the Smithsonian Institution had funding through the first day of January, on January 2nd, all nineteen of its museums and galleries, including the Cooper Hewitt, National Air and Space Museum, National Zoo, and the Hirshhorn Museum and Sculpture Garden, closed. With no federal budget, upcoming public programs, lectures, and related arts and culture events were also canceled.

For special traveling exhibitions with an upcoming closing date, visitors will unfortunately miss the opportunity to enjoy the art on view. Charline von Heyl: Snake Eyes, for example, the new special exhibition at the (currently inaccessible) Hirshhorn Museum, will not be extended past its closing date of January 27th.

In response to the government shutdown, some artists and art critics are using social media to present their work through a different light. For instance, for each day the government has been closed, the New York City- based writer Phyllis Tuchman has used Instagram to post a painting from the National Gallery of Art’s collection.

Until an agreement is reached for federal funding, Smithsonian Museums and other National Mall institutions will remain closed, and tourist visits will most likely continue to decrease.

Have you been personally affected by the government shutdown? Leave a comment with your story below.

 

 

Weekly Jobs Roundup!

Hi folks, and Happy New Year! Happy job hunting!

Northeast

Curator of Youth Education/Provincetown Art Association and Museum [Provincetown, MA]

Arts and Culture Fellow/Metropolitan Area Planning Council [Boston, MA]

Development Associate/Raw Art Works [Lynn, MA]

Marketing Manager/Fitchburg Art Museum [Fitchburg, MA]

Director of Programs and Education/Fairfield Museum and History Center [Fairfield, CT]

Mid-Atlantic

Program Manager, Public Programs and Exhibitions/Lower Manhattan Cultural Council [New York, NY]

Director of Museum Programs/Buffalo Museum of Science [Buffalo, NY]

Curator of Programming/Planet World/Museum of Language Arts [Washington, D.C.]

Public Programs and Outreach Manager/Bucknell University [Lewisburg, PA]

Collections Database Administrator/The Baltimore Museum of Art [Baltimore, MD]

Southeast

Registrar Collections Manager/Museum of the Shenandoah Valley [Winchester, VA]

Director of Visitor Services/Appalachian State University [Boone, NC]

Academic Programs Manager/The Columbus Museum [Columbus, GA]

Assistant Registrar/Perez Museum of Art [Miami, FL]

Midwest

Museum Educator/Skokie Park District [Skokie, IL]

General Manager/The Minnesota Historical Society [Elk River, MN]

Exhibits Manager/History Nebraska [Lincoln, NE]

Historic Site Coordinator- Villa Louis/Wisconsin Historical Society [Prairie du Chien, WI]

Museum Educator/The Dayton Art Institute [Dayton, OH]

West

Curatorial Registrar/Idaho State Historical Society [Boise, ID]

Auction Coordinator/Santa Fe Art Auction [Santa Fe, NM]

Development Assistant/Aspen Art Museum [Aspen, CO]

Registrar/Asian Art Museum [San Francisco, CA]

Curator/Museum of Pop Culture [Seattle, WA]

 

On Climate Change and Museums

This weekend, the 24th Conference of the Parties to the United Nations Framework Convention on Climate Change (COP24) met in Katowice, Poland with the aim of reaching a global climate agreement. Almost 200 hundred nations’ diplomats were in attendance, and all agreed to track their annual greenhouse gas emissions, aligning with the goals set out in the 2015 Paris Agreement. With steadily increasing climate-related natural disasters and CO2 emissions that continue to rise, global warming is an issue that needs to be addressed not just internationally, but locally too. How can museums contribute to this conversation? Or, better yet, how can museums practice and promote climate activism?

With their frequent public programs focused on sustainability and climate change, the Hammer Museum is an excellent role model for other museums to follow in seeking to create more educational opportunities related to climate conversations. In the past year alone, the Museum hosted (free) monthly panel discussions concerning water usage, environmental equity, renewable energy sources, and ecosystems.

Similarly, many museums across the country feature rotating exhibitions that address conservation. The Museum of Science in Boston, for instance, currently displays three exhibits about wind power and other green energy alternatives. However, visitors should sometimes take these exhibits with a grain of salt: I’ll never forget the experience of visiting the Perot Museum of Nature and Science in Dallas, TX and encountering an entire hall dedicated to “the benefits of fracking.” As it turns out, the exhibit was funded by Exxon.

While hosting programs about environmental conservation methods and creating platforms for discussing climate change is crucial, institutions must also consider clean energy and sustainable practices before the design and construction process for a new museum or remodeling project even begins. Both Boston Children’s Museum and the California Academy of Sciences in San Francisco have green roofs covered in native plants (and therefore bees), mechanisms for catching rain water, and other organic materials. “Living,” or green roofs such as these not only help reduce overall air pollution, but also function as natural insulators for buildings.

Finally, the American Alliance for Museums (AAM) is a great source for museums that wish to ground theirselves in green practices. The 2018 AAM annual meeting, for example, promoted the Environment and Climate Network to “establish museums as leaders in environmental stewardship and sustainability, and climate action.” Although COP24 is a strong start in the fight against further climate change, the issue can’t be modified without support from local institutions around the globe. I think museums are a wonderful place to begin.

 

Weekly Jobs Roundup!

Hello everyone! Here’s the weekly jobs roundup for the week of December 16th, 2018:

Northeast

Associate Registrar for the Collection/Isabella Stewart Gardner Museum [Boston, MA]

Galleries Coordinator/Massachusetts College of Art and Design [Boston, MA] 

Program Manager/Cambridge Historical Society [Cambridge, MA]

Rosenfeld Project Manager/Mystic Seaport Museum [Mystic, CT] 

Knox Curator/Yale Art Gallery [New Haven, CT]

Mid-Atlantic

Project Manager/Liberty Science Center [Jersey City, NJ]

2019-2020 Cole Fellow/Thomas Cole National Historic Site [Catskill, NY]

Library and Archives Intern/Fellow/Longwood Gardens [Kennett Sq, PA]

Head of Public Programs/National Gallery of Art [Washington, D.C.]

Southeast

Director of Marketing and Public Relations/Gunston Hall [Lorton, VA]

Director of Development/Halsey Institute of Contemporary Art [Charleston, SC]

Assistant Curator/Registrar/Ponce Inlet Lighthouse Museum [Ponce Inlet, FL]

Director of Education and Visitor Services/Charles H. Coolidge Medal of Honor Heritage Center [Chattanooga, TN]

Midwest

Arts and Cultural Management and Museum Studies Program Director/Michigan State University [East Lansing, MI]

Director/Illinois State Museum [Springfield, IL]

Exhibit Designer/Split Rock Studios [St. Paul, MN]

Curator of Works on Paper/Chazen Museum of Art [Madison, WI]

Exhibit Curator/International Museum of Art and Science [McAllen, TX]

West

Associate Curator/Henry Art Gallery [Seattle, WA]

Assistant Events Manager/Fine Arts Museum of San Francisco [San Francisco, CA]

Collections Information Specialist/LACMA [Los Angeles, CA]

Exhibition Designer/Autry Museum of the American West [Los Angeles, CA]

 

Where in the World is Salvator Mundi?

A year ago this month, Christie’s Auctions sold Salvator Mundi, one of about twenty known paintings by Leonardo da Vinci, for over $450 million, shattering all previous auction records and becoming the most expensive painting to ever be sold. The identity of the mysterious over-the-phone buyer remained anonymous for several days, until it was announced that a Saudi prince, Bader bin Abdullah bin Mohammed bin Farhan al-Saud, had purchased the work with the aim of displaying it in the Louvre Abu Dhabi in the United Arab Emirates. In September, however, the month that the Salvator Mundi was intended to be debuted, an official statement was released announcing a display postponement and that “further details will be announced soon.”

Although it has been over a year since the historic auction sale, Salvator Mundi has yet to be displayed, and scrutiny from museum professionals and art historians about its whereabouts has intensified. This week, it was announced that the painting may even be “lost,” since no one – aside from the Arab hierarchy – has seen it since the night of the auction.

This is not the first controversy associated with Salvator Mundi. In the media hype leading up the auction, many art historians and conservators were doubting its authenticity and provenance. Could this be the reason the painting has yet to be displayed? Perhaps the Louvre Abu Dhabi wants to ensure of its proper identification before it is shown to the world.

When, and if, Salvator Mundi is ever shown, I have to wonder where it will be displayed in the Louvre Abu Dhabi, especially considering it is a prominent portrait of Christ in a country that largely practices Islam. Will the painting be given a whole wall to itself, similar to the representation technique of the Mona Lisa at the Louvre in Paris? Or will it be placed in dialogue with other religious works, such as in “Gallery Four: Universal Religions,” where Qur’ans, Bibles, and Hindu sculptures would surround it?” The world will have to stay tuned to find out.

 

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