If you have been anywhere near social media this week, it’s likely you’ve heard about the recent controversy that has pushed a small Florida school into a global spotlight. At the Tallahassee Classical school, sixth graders were learning about Michelangelo’s David, a standard part of …
This Black History Month, we are sharing some of the most impactful music museums in the country. Many of these museums are located in historically Black communities, and all of them celebrate the careers of some of the top Black artists in global music history.
We are rapidly approaching the one-year mark of the Russian invasion of Ukraine, the latest and most extreme in a series of Russo-Ukrainian conflicts. The past year has seen widespread destruction throughout the country, with over eight million refugees leaving their homes to flee the violence. [1] This invasion did not appear out of the blue—on the contrary, there is a long history of political and military conflict between the two nations. Among the most recent examples of this is the 2014 invasion of eastern Ukraine and subsequent annexation of Crimea, a widely condemned action that resulted in Russia’s expulsion from the G8. [2] As with many other military conflicts, one of the most fragile—and most symbolic—elements endangered by violence and looting is art. As material representations of history and identity, works of art ranging from religious objects, paintings, sculptures, and architecture can become rallying symbols for revolutions or desired prizes through which victors can proclaim their ownership of a certain culture.
This brings us to the crucial role that Russia and Ukraine’s shared history plays in the motivation and propaganda surrounding this conflict. Kyivan Rus, which at its peak spanned a considerable part of Eastern Europe, was the largest kingdom by territory between the 11th and 13th centuries. At its heart was the city of Kyiv, which is today the capital of Ukraine. From roughly 882 to 1240 CE, this kingdom produced a significant cultural output and gave rise to several figures still important in the region today. Among these is St. Olga, who functioned as regent of Kyivan Rus during the reign of her son and is now revered with the epithet “Equal to the Apostles.”
Kyivan Rus is, of course, not the only instance in which the territories of modern Ukraine and Russia were conjoined. Beginning in the 18th century, Ukraine was controlled by the Russian Empire and, by 1922, it become part of the USSR. The last century has seen Ukraine face challenges such as the Holodomor, a man-made famine that resulted in the deaths of millions of Ukrainians between 1932 and 1933, and the infamous Chernobyl nuclear disaster, which made a part of northern Ukraine uninhabitable. It was only on December 1st, 1991 that Ukraine declared independence from the USSR.
For Ukraine, Kyiv remains the center of the mighty kingdom that once dominated Eastern Europe. For Russia—or, rather, for several Russian leaders like Vladimir Putin—Kyivan Rus is proof that the Ukrainians are Russian, and thus must be brought back into the fold of Russian leadership. [3] It is partly with this logic that Putin’s government justified the invasion of Ukraine and the ongoing violence in the region.
At the heart of the use of this history is the presence of artworks originating from Kyivan Rus, whose cultural significance gives their holder a currency through which to claim the past. A recent report from The Art Newspaper investigates this topic, raising concerns about the looting of the Ukrainian cultural patrimony at the hands of invading Russian troops. [4] The report centers around Kherson, a city on the Black Sea that was invaded at the beginning of the war in 2022. When Ukrainian troops reentered the city in October 2022, the Kherson Regional Art Museum had survived, but its collections were missing. Andrei Malgin, director of the Crimean Simferopol art museum, has stated that he was “instructed to take the exhibits of the Kherson Art Museum for temporary storage and ensure their safety until they are returned to their rightful owner.” [5] The Art Newspaper highlights the close ties between Malgin and Putin, as well as Malgin’s vocal support for Russia’s invasion of Ukraine. The “rightful owner” in the eyes of Russian-controlled Crimea may very well not be a Ukrainian museum, and, as of today, the works have yet to be returned.
The fate of the Kherson Regional Art Museum is sadly similar to many other institutions and collections affected by the war. Around thirty museums throughout Ukraine have been the site of raids and looting under the supervision of Russian curators. [6] Russia has felt the effects of the feverish need for material propaganda from Ukraine as well. The art historian Zelfira Tregulova was fired from her position as director of the Tretyakov Gallery in Moscow after she had “come under intense criticism from Russia’s hawkish proponents of the war in Ukraine due to the Tretyakov’s alleged resistance to the patriotic fervor that has engulfed the country’s elite.” [7] She was replaced by the daughter of a senior member of Russia’s Federal Security Service.
On the event of the one-year mark of the invasion, the exhibition “Ukraine: Connected Histories & Vibrant Cultures” will be opening at Tisch Library. It is organized by Prof. Alice I. Sullivan (Department of the History of Art and Architecture) and Anna Kijas (Lilly Music Library), in collaboration with faculty, staff, as well as undergraduate and graduate students at Tufts University, including members of the Ukrainian community on campus. This exhibition features the history and cultural heritage of Kyivan Rus and its function in the conflicts between Russia and Ukraine in the 20th and 21st centuries. Further, it will outline current efforts to study and preserve this rich cultural history that has been threatened and manipulated during the Russo-Ukranian conflicts. The exhibition will open March 6th, with a reception at 5 PM, in the Tisch Main Library Lobby.
Footnotes:
[1] “Operation Data Portal: Ukraine Refugee Situation,” United Nations High Commissioner for Refugees, https://data.unhcr.org/en/situations/ukraine
[2] Acosta, Jim. “U.S., Other Powers Kick Russia out of G8,” CNN, March 24, 2014. https://www.cnn.com/2014/03/24/politics/obama-europe-trip/index.html
[3] Mick, Cristoph. “How Moscow Has Long Used the Historic Kyivan Rus State to Justify Expansionism,” The Conversation, March 8, 2022. https://theconversation.com/how-moscow-has-long-used-the-historic-kyivan-rus-state-to-justify-expansionism-178092
[4] Bailey, Martin. “Special Investigation: Serious Concerns Over Fate of Ukraine’s Museum Works Taken by Russians,” The Art Newspaper, February 1, 2023. https://www.theartnewspaper.com/2023/02/01/special-investigation-serious-concerns-over-the-fate-of-ukraines-museum-works-taken-by-russia
[5] Beardsworth, James. “Kherson Museum Art Collection Looted Ahead of Russian Retreat,” The Moscow Times, November 11, 2022. https://www.themoscowtimes.com/2022/11/10/kherson-museum-art-collection-looted-ahead-of-russian-retreat-a79342
[6] Geanous, Jacob. “Russian Art Curators Have Reportedly Helped Loot Dozens of Ukraine Museums,” New York Post, February 4, 2023. https://nypost.com/2023/02/04/russian-art-curators-have-raided-dozens-of-ukraine-museums/
[7] Ilyushina, Mary. “Russia Ousts Director of Elite Museum as Kremlin Demands Patriotic Art,” The Washington Post, February 9, 2023. https://www.washingtonpost.com/world/2023/02/09/russia-tretyakov-gallery-director-ousted/
Article by Francesca Bisi
MA Candidate in Art History and Museum Studies, Tufts University
In her article for Hyperallergic, Chazen Art Museum director Amy Gilman precautions museum professionals against falling into the “cult of the visionary museum director,” the idea that museum leaders should aspire to grand visions for the future of the institution.[1] She argues that this perspective …
Happy New Year from the Museum Studies Blog! As we look forward to 2023, here are a few of the amazing upcoming exhibitions that you should mark on your calendar. What shows are you most looking forward to? Ningiukulu Teevee: Chronicles for the CuriousArt Gallery …
As we enter another busy holiday season and close out 2022, many museums and non-profits are engaging in special fundraising projects to increase end-of-year giving. Among these development strategies is one that many museum professionals have come to know and even fear: the annual gala.
Fundraising galas, most popular during the period between Memorial Day and Labor Day, are one of the most popular and commonly used high-yield development projects. A well-executed gala not only brings in significant income—it also attracts media and drives public interest in the museum or charity hosting the event. Many of these events, such as the notorious Met Gala, are synonymous with wealth and popularity, but are they effective in creating economic stability for the host institution? It’s a complicated issue over which development and museum professionals are divided.
One could describe them the same way Winston Churchill famously described democracy: the worst option, except for all the other options that have been tried before.
Taylor Dafoe, ArtNET
Galas clearly create economic opportunities for those participating. During gala season, event planning agencies, furniture rentals, event venues, caterers, and entertainers experience a significance increase in business. Many museums and non-profits lack the operating capacity to achieve an event of such scope with their in-house resources, so they seek out community partners to pull of these fundraisers. This creates fantastic opportunities for collaboration, but often stretches the financial limits of the fundraising institution.
Best fundraising tactics stipulate that the cost for executing a gala should not exceed 30% of the income generated by the event; however, this is a budgeting goal that is oftentimes unrealistic, especially for nascent and small organizations. Galas come at a staggering cost to plan—a study for ArtNet reveals that some museums’ gala budgets exceed the total income brought in by their yearly admission sales. This ratchets pressure for museum staff to plan and execute an event that will surpass the steep investment.
Not only is the stress of planning a successful event a considerable burden for museum staff—it also often precludes them from completing their typical professional duties. This is especially true for smaller organizations, as development departments often cease other projects in the months leading up to the gala in order to complete the rigorous planning process. As seasoned fundraising professionals note, this can considerably negatively impact a museum’s overall fundraising success by derailing other significant revenue-generating projects.
In addition to apprehensions regarding the fundraising efficacy of galas, some professionals note the ethical dilemmas of such projects. Academics Philip Hackney and Brian Middendorf reveal that galas can potentially contradict the intentions and missions of the non-profit institution. Because these celebrations often focus on grand gestures of decadence, they may not represent the non-profit’s philanthropic values. This may be especially relevant for nonprofits dedicated to serving an economically disadvantaged population.
In light of these arguments against the traditional gala fundraising model, some alternatives may point towards a more sustainable future. The COVID-19 pandemic forced many museums to forgo their annual in-person galas. Some institutions opted to host virtual events. While these events typically worked towards a reduced fundraising goal, the virtual nature also decreased overhead costs. Some nonprofits like St. Jude Children’s Research Hospital also produce “no-go” galas, sponsored events with no in-person party. As fundraising professionals recognize, annual galas are attractive because of their abilities to drive large donations; however, museums can work towards this goal with other major gift campaigns that may require less investment of limited resources.
Overall, galas are a recognizable form of fundraising that increases visibility in the public eye and introduces museums to potential repeat donors. Museums should exercise caution, however, before pursuing such an event. Fundraising professionals recommend museums consult their boards and operations staff to determine feasibility and goals for such an involved project.
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Article by Danielle Maurer
MA Candidate: History and Museum Studies
Tufts University
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