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Sep 29

Museum Art Delivery Market 2021 High Growth Forecast Due to Rising Demand and Future Trends – Reuters

By Museum art No Comments

Reports Globe offers a global study and analysis based on the research of the Market for the presentation of works of art from the museum. This report provides a detailed overview of the drivers and limitations available in the market. The Museum Art Handing market report also provides prehistoric and quinquennial forecasts for the industry and contains socio-economic data around the world. Key stakeholders can view statistics, tables and figures mentioned in this strategic planning report that lead to organizational success. Illuminates strategic production, revenue and consumption trends for players to increase sales and growth in the global museum art market. Here it focuses on the latest developments, sales, market value, production, gross margin, and other important business factors of the major players operating in the global Museum Art Handling market. Players can use the exact market facts, figures, and statistical studies provided in the report to understand the current and future growth of the global Museum Art Market.

This report provides an assessment of various drivers, government policies, technological innovations, emerging technologies, opportunities, market risks, restraints, market barriers, challenges, trends, competitive landscapes, and segments which provide a true picture of the growth of the global market at through museum art. Discount market.

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The segmentation chapters allow the readers to understand aspects of the market such as its products, available technology, and applications. These chapters are written to describe their development over the years and the course they are likely to take in the years to come. The research report also provides detailed information on new trends that could define the development of these segments in the coming years.

Market segmentation for the presentation of works of art in museums:

Museum Art Delivery Market, By Application (2016-2027)

  • Public museum
  • Private museum
  • Museum exhibition

Market for the presentation of works of art to the museum, by product (2016-2027)

  • Transport
  • Packaging
  • Storage room
  • Other

Main players operating in the museum art delivery market:

  • Agility
  • DHL
  • DB Schenker
  • Iron Mountain (Crozier)
  • crown
  • MTAB
  • Freight systems
  • Etna
  • Fine arts logistics
  • Workshop 4
  • Grace
  • Helu-Trans
  • USArt
  • Yamato
  • Katolec
  • Mithals
  • Sinotrans
  • Deppon
  • Globaliner
  • Michele

Company Profiles – This is a very important section of the report which contains accurate and detailed profiles for the major players in the global Museum Art Shed Market. It provides information on core business, markets, gross margin, revenue, price, production, and other factors that define the market development of the players studied in the Museum Art Market report.

Global Museum Art Delivery Market: Regional Segments

The various sections on regional segmentation give regional aspects of the global Museum Art Delivery Market. This chapter describes the regulatory structure likely to have an impact on the entire market. It highlights the political landscape of the market and predicts its influence on the global museum art market.

  • North America (United States, Canada)
  • Europe (Germany, United Kingdom, France, rest of Europe)
  • Asia Pacific (China, Japan, India, rest of Asia-Pacific)
  • Latin America (Brazil, Mexico)
  • Middle East and Africa

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The objectives of the study are:

  1. To analyze the global Art Management status, future forecast, growth opportunities, key market and major players.
  2. To present the development of museum art in North America, Europe, Asia-Pacific, Latin America, the Middle East and Africa.
  3. Draw up a strategic profile of the main players and analyze in depth their development plan and strategies.
  4. To define, describe, and forecast the market by product type, market applications, and key regions.

This report includes the market size estimate for Value (Million USD) and Volume (K units). Top-down and bottom-up approaches have been used to estimate and validate the market size of the Museum Art market, to estimate the size of various other dependent submarkets in the overall market. Major market players were identified by secondary research, and their market shares were determined by primary and secondary research. All percentages, divisions and distributions were determined using secondary sources and verified primary sources.

Some important points from the table of contents:

Chapter 1. Research methodology and data sources

Chapter 2. Executive summary

Chapter 3. Museum Art Remission Market: Industry Analysis

Chapter 4. Museum Art Handover Market: Product Overview

Chapter 5. Museum Art Delivery Market: Application Information

Chapter 6. Museum Art Handover Market: Regional Insights

Chapter 7. Museum Delivery of Artworks Market: Competitive Landscape

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Sep 28

End of the “Transformations – Salon -> Flea market -> Museum -> Art” of the Wende museum

By Museum art No Comments

September 28, 2021

Closed on October 24, there is still time to discover Wende’s current exhibitions.

The arc of the exhibition Transformations: Salon -> Flea market -> Museum -> Art is a journey from everyday use to artifact status. The “living room” setting showing the placement of such humble objects as crockery and furniture begins the movement through time and space. A flea market / trunk sale centers the narrative, showing what were once treasured household items on display from card tables and car trunks to anyone who might want to use them. The Elevation to Museum Rooms features video installations as a commentary and a newly designed frame that takes the objects to the status of artefacts.

See your neighbor’s offers a duo of photographers showing two different views of East Germany, only a few years apart. Joined by subject and separated by perspective, Thomas Hoepker and Harald Schmitt photograph grocery stores and military parades with a sharp and insightful focus. The two employees of Back magazine, they had very different experiences with the GDR. The first was Thomas Hoepker, who covered East Germany from 1975 to 1976. He was less than happy with East Berlin, and when BackManagement offered him a chance to move to New York, he gladly accepted. His successor, Harald Schmitt, began to Back in 1977. Unlike Hoepker, Schmitt enjoyed life in East Germany, stayed there for over six years, and married an East German conservative. Seeing their works exhibited side by side opens up another dimension beyond mere comparison.

The Wende Museum is open on Fridays, Saturdays and Sundays from 10 a.m. to 5 p.m. with free admission and parking.

No prior reservation required.

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Sep 23

Robert Gentile, linked to Gardner Museum art theft, dies

By Museum art No Comments

HARTFORD, Connecticut (AP) – Robert Gentile, a gangster who for years denied authorities suspicion that he knew anything about a multi-million dollar treasure trove of art that was stolen in a museum heist in 1990 and who is still missing, has died. He was 85 years old.

His lawyer, Ryan McGuigan, said Gentile died on September 17 from a stroke.

Investigators suspected Gentile at one point of having at least some of the artwork taken in March 1990 at the Isabella Stewart Gardner Museum in Boston.

In this theft, two men showed up at the museum overnight dressed as police officers. They held back the security guards and left shortly after with 13 pieces from the collection, including works by Rembrandt, Vermeer and Degas. Art has never been found.

Gentile, who had an extensive criminal record and served a prison sentence, was suspected of having ties to people suspected of recovering the art after it was stolen, but denied ever having had any of the works. .

“I had nothing to do with the paintings. It’s a big joke, ”Gentile said in a 2019 telephone interview with The Associated Press after his release from prison.

The authorities did not think so. They said the widow of another gangster said her husband gave Gentile two of the paintings and that Gentile spoke about the stolen labor in prison.

In a search of his home that led to his 2013 conviction for illegally selling prescription drugs and possessing firearms, silencers and ammunition, prosecutors said federal agents found a handwritten list. stolen paintings and their estimated value, as well as a newspaper article about the museum. heist a day after it happened.

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Sep 07

Global Museum Management Software Market 2021

By Museum management No Comments

Museum Management Software Market

Museum Management Software Market Overview 2021:

Latest research report titled ‘Museum Management Software Market’ added by Straits Research provides the reader with a comprehensive overview of the Museum Management Software Market industry and acquainted with the latest market trends, industry and market share information. The content of the report includes industry drivers, latest technological advancements, geographic trends, global market statistics, market forecast, raw material producers and suppliers.

The report offers a combination of qualitative and quantifiable information focusing on aspects such as key market developments, industry and competitor challenges in gap analysis, and new opportunities in the Management Software Market. Museum.

Digitization has made it easy to display antiques and increase overall sales. increased investment and government initiatives for museum development stimulates the market.

The Department for Digital, Culture, Media and Sports announces an investment of around US $ 62.03 million per year over the next five years for the maintenance and development of museums in the UK.

Impact of COVID-19 on the Museum Management Software Market:

Last but not least, we are all aware of the ongoing covid-19 pandemic and it continues to impact the development of many markets around the world. However, the direct effect of the pandemic differs depending on market demand. While some markets may see lower demand, several others will remain unscathed and present potential expansion opportunities.

Interested in acquiring the data? Request a sample here @ https://straitsresearch.com/report/museum-management-software-market/request-sample

This free sample report contains:
• A detailed introduction to the in-depth research report.
• Graphic summary of the regional overview and analysis.
• Best manufacturer in the market with its sales and revenue analysis.
• Special illustrations of market information, constraints, drivers and trends.
• Examples of report pages.

Detailed segmentation of the global museum management software market:

By component: Solution, Collection management, Contact management, Event registration management, Ticketing solution, Membership management, Services, Consulting services, Training services

By deployment: cloud-based, web-based

By End User: Museum and Institutions, Fine Arts and Crafts, History, Legal Services

Regional Overview of Global Museum Management Software Market

Geographically, the Museum Management Software market report studies key producers, importers / exporters, and consumers, focuses on capacity, production, value, consumption, market share, and growth opportunities for the products in these key regions, covering: North America, Europe, Asia Pacific, Central and South America, Middle East and Africa and others.

Simply click here to purchase the full report @ https://straitsresearch.com/buy-now/museum-management-software-market/global/

Quantifiable data:

Breakdown of market data by key geography, type and application / end user
• By type (past and forecast)
• Sales and growth rate of application specific to the Museum Management Software Market (Historical and Forecast)
• Museum Management Software revenue, sales and growth rate by market (history and forecast)
• Museum Management Software market size and growth rate, segmentation like application and type (past and forecast)
• Year-over-year revenue, volume and growth rate (base year) of the Museum Management Software Market.

Museum Management Software Market Competition by Major Manufacturers as follows:

Various leaders as well as emerging players have been featured in this report, such as PastPerfect (US), Skin Soft (France), Museum Space (Bulgaria), CollectionSpace (US), Lucidea (Canada), Vernon Systems ( New Zealand), Versai, Modes (UK), Zetcom (Switzerland), Collection Harbor, which are an important part of the industry.

5 Crucial Insights Addressed In The Museum Management Software Market Report

Best Plans From Industry Experts Implemented During COVID-19 Pandemic
Regional overview and analysis taking into account that socio-economic factors
Government regulations that have a positive / negative impact on the industry in the future.
The latest technological developments and innovations concerning the article
Technological advancements that can shape the industry today and in the future.

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Table of Contents: Museum Management Software Market

Chapter 1: Museum Management Software Market Overview

Chapter 2: Market Status and Forecast by Regions

Chapter 3: Market Status and Forecast by Many Segments

Chapter 4: Market Status and Forecast by Downstream Industry

Chapter 5: Analysis of Market Drivers and Constraints

Chapter 6: Market Competition Status by Major Suppliers

Chapter 7: Major Manufacturers Overview and Market Data

Chapter 8: Upstream and Downstream Market Overview and Analysis

Chapter 9: Cost, Sales and Gross Margin Analysis

Chapter 10: Marketing Status Analysis

Chapter 11: Conclusion of Full Market Report

Chapter 12: Research Methodology and Reference

Continued……

Browse the complete table of contents @ https://straitsresearch.com/report/museum-management-software-market/toc

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Aug 31

The design of the exhibition by SITE

By Exhibition design No Comments

The WilliWear Men’s Showroom, c. 1982.
Photo: Andreas Sterzing

“I don’t design clothes for the queen; but for the people who wave to her when she walks by, ”said fashion designer Willi Smith, who drew many of his best ideas from street life in New York City. His label, WilliWear, was the first streetwear brand, and his clothes, released in the late 1970s, were modern, comfortable, and expressive – think oversized blazers and pants that all body types could wear, chunky knits and fabrics sourced from all over the world. (One of his most popular pieces was a one size fits all cargo pants with adjustable waistband.) Smith often sold models of his designs, so people could make his clothes at home. So, in the early 1980s, when he wanted to open his own showroom, he told James Wines, founder of the architecture and environmental art studio. TO PLACE, to make it “as far away from Ralph Lauren as possible”. Smith took Wines to his favorite haunts on the west side – Christopher St. Pier and nightclubs close – and as they walked around the area, he pointed out all of the materials and textures he loved. Wines thought: Let’s make the street.

Willi Smith (left) designed what he called “democratic” fashion. The streetscape-inspired showroom was a backdrop for the type of clothing he made (right). From left to right : Photo: Courtesy of Kim SteelePhoto: Peter Gould / Courtesy of Fashion Institute of Technology

Willi Smith (left) designed what he called “democratic” fashion. The streetscape-inspired showroom was a backdrop for the type of clothing he …
Willi Smith (left) designed what he called “democratic” fashion. The streetscape-inspired showroom was a backdrop for the type of clothing he made (right). From above: Photo: Courtesy of Kim SteelePhoto: Peter Gould / Courtesy of Fashion Institute of Technology

Under cover of night, Wines drove his Ford Explorer through the same areas Smith took him – which was being redeveloped and highway removal at a breakneck pace – and picked up all the trash he had. could find: rolls of chain link fencing, bricks, metal siding, shipping pallets and even stack cleats. The entirety of Smith’s office – which featured a huge desk that looked like two unfinished brick walls topped with glass – came from a single construction site. Every once in a while, they hit the jackpot: an overturned fire hydrant or a broken lamppost. “We were very careful not to affect public safety, but it was really like a game,” says Wines, whose job it is to abandon architectural conventions. “I like this idea of ​​the unwanted world, because you can do something with it.”

Set foot inside Smith Women’s Showroom, which opened on West 38th Street in 1982, was like stepping into an industrial downtown street, painted entirely in dark gray. The “Ghost cityscape”Was as much an artistic experience as a place to shop for clothes, as Smith intended, and paved the way for concept shops like Dover Street Market and Opening Ceremony. The stores belonged to the same universe for which the clothes were designed. He hung clothes directly on the chain link fences and posed mannequins sitting on concrete blocks, just like a person would on the street. When Smith held fashion shows in showrooms, models climbed fences, hung on pipes, and sat on fire hydrants. “It was an absolute genius to have designed, for the first major boutique of African-American fashion designers, an environmental framework that not only spoke to the designer’s creative vision for clothing, but also defined the man, the woman. politics and the social conditions of the time ”, the architect Jack Travis, writing. “The results were undeniable.

The WilliWear women’s showroom opened in 1982.
Photo: James Wines

So when Cooper Hewitt mounted a retrospective of Smith’s daring career in “Willi Smith: street sewing”, Which is open until October 24, there was no question of who would design the exhibition. It had to be SITE. Alexandra Cunningham Cameron, curator of the exhibition, said: “The SITE and WilliWear collaboration so perfectly represents two complementary value systems that collide to challenge the status quo, both transforming basic materials – a shovel, a skirt , a brick, a blazer – in an act of rebellion, a moment of becoming built by style and intelligence.

SITE traveled to the western part of Manhattan to find materials and inspiration for Smith’s showrooms. Here are some of the photos Wines took on his scouting trips in the 1980s. Photos: Courtesy of James Wines.

SITE traveled to the western part of Manhattan to find materials and inspiration for Smith’s showrooms. Here are some of the photos Wines took during her sc …
SITE traveled to the western part of Manhattan to find materials and inspiration for Smith’s showrooms. Here are some of the photos Wines took on his scouting trips in the 1980s. Photos: Courtesy of James Wines.

An exhibit on Willi Smith had to include his showroom in one way or another. But representing architecture in a gallery setting is always a challenge, as the experience of architecture requires a body in space. The photos, videos or models of a Smith showroom can go no further. So Wines, now 89, worked with Chermayeff Studio, production studio Supermatic, and his daughter Suzan’s wines, to recreate the most iconic elements of Smith’s showrooms and office – the collage of street artifacts, the masonry desk – in the gallery.

But for Wines, there was also an inherent tension in replicating this concept in the museum. “The whole environmental art movement in Soho in the ’70s and’ 80s, which I was a part of, was based on leaving galleries,” says Wines. “Our whole philosophy moved away from all these projectors, brackets, plinths and frames. We are all either in the landscape or in the street. (Some of SITE’s most famous works have been to transform big box retail stores into works of art which made the buildings appear to be collapsing or peeling off.) Plus, Cooper Hewitt is a Georgian mansion that once belonged to Andrew Carnegie. An iconic Upper East Side building is about as far removed as possible from Wines’ philosophy, which rejects architectural formalism, and the aesthetic of downtown Smith. Smith’s showrooms and office were set in large, raw industrial spaces with cement floors, exposed beams, and large windows. The gallery, meanwhile, has parquet floors, ornate carved moldings, coffered ceilings, and stained glass windows. “The idea of ​​exhibition space is a formalization of space,” says Wines. “It became this big problem of … How am I going to keep this in mind? How am I going to honor the artist?“

Wines’ conceptual sketches for Cooper Hewitt’s exhibition on Willi Smith represented streetscapes in a state of dematerialization.
Illustration: Courtesy of James Wines

Photo: Matt Flynn / Smithsonian Institution

Part of the appeal of the original exhibit hall was that the artifacts all existed in the city before they were assembled into a recreation of a downtown street. “In the 80s a lot of the energy was related to the harshness and the reality of the whole thing,” says Wines. “We tore up entire facades of buildings and were lucky enough to find all of these jagged buildings, so we had pretty much everything we needed to slip into the showroom and do this freewheeling collage. And Willi loved it, of course, and it was handy because you can hang clothes anywhere.

But SITE couldn’t attach anything to the museum’s wooden walls, or put artifacts directly on the floor, so they designed stand-alone exhibition platforms. In addition, the objects in the exhibition are now all precious. Ephemera like magazine articles, invitations to fashion shows and posters had to be placed in display cases to protect them. Wines was particularly shocked to learn that curators couldn’t always hang clothes directly on the exhibit structure, as Smith would have done in his shop. “How could touching pipes hurt a t-shirt?” »Notes on the wines. (Some of the Smith T-shirts once sold for $ 40 now go for $ 1,400.)

Wines designed a smaller version of Smith’s desk for the exhibit.
Photo: Matt Flynn / Smithsonian Institution

SITE built Smith’s office in 1982 with materials salvaged from a Manhattan construction site.
Photo: James Wines

Wines also couldn’t surreptitiously source materials like they once did at midnight, as those abandoned buildings and demolished piles of materials no longer exist in the city. But Cat Garcia-Menocal, the construction manager at Supermatic, competed over materials from construction suppliers to get closer to what was in the original showroom. It was brand new, of course, not rough from years of wear and tear on the exterior. When it came time to recreate Smith’s site office, the designers scaled it down and used it to display some of his personal items, like his round plastic glasses.

Until the end, Wines wondered how the scenography of the exhibition would unfold. But when he was finally able to visit the exhibit in person (the museum reopened this summer after having to close for COVID just a week after the exhibit began), he was delighted to find that all Georgian adornments were ‘were faded into the background, as he’d hoped, and he felt as close to Smith’s world as he could be in 2021. I felt that, too. Walking from the wood-lined hallway of the museum and rounding the corner of the exhibit was exhilarating. He did not have the exact sense of reality that Wines described as having the original showrooms, but that’s understandable, and there was a feeling of awe. “It still looked like Willi Smith, there was still that sense of bonding,” Wines says. “We managed to do it, so it at least preserves the memory of the showroom.”

Photo: Matt Flynn / Smithsonian Institution

Photo: Matt Flynn / Smithsonian Institution

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Aug 18

21st Century Museum Management Conference for Omani Specialists

By Museum management No Comments

Entitled “The History of the Representation of Cultures in Museums and Cultural Centers”, the virtual webinar was moderated by Dr Paul Michael Taylor, Research Anthropologist at Smithsonian’s National Museum of Natural History, Director of Asian Cultural History , European and Middle Eastern museum. Cultures and Director of the Asian Cultural History Program and Curator of Asian, European and Middle Eastern Ethnology.

Muscat: The National Museum, represented by the Learning Center and in collaboration with the United States Smithsonian Institution and the United States Embassy in Muscat, hosted the second in a series on Museum Management in the 21st Century for Omani specialists and students in the field of museums. .

The series is another sign of the strong partnership between Oman and the United States. Entitled “The History of the Representation of Cultures in Museums and Cultural Centers”, the virtual webinar was moderated by Dr Paul Michael Taylor, Research Anthropologist at Smithsonian’s National Museum of Natural History, Director of Asian Cultural History , European and Middle Eastern museum. Cultures and Director of the Asian Cultural History Program and Curator of Asian, European and Middle Eastern Ethnology. It targeted employees of the National Museum, employees of public and private museums, employees of private art galleries, employees of cultural agencies and administrative divisions under the Ministry of Culture, Sports and Youth, in plus tourism students from Sultan Qaboos University and Oman University Tourism.

Dr Taylor will also be presenting three other lectures this year on a range of topics: “Virtual Exhibitions and Other Museum Uses of the Web”, “Program Development: Dynamic Program Development and Visitor Engagement” and “Museum or Museum Activities”. cultural centers “Modern: prosperity in the 21st century. In addition to a sixth talk on “Exhibition Development: A Case Study of Money as Material Culture: Acquisitions and Organization in the American Museum of Money”, by Douglas Mudd of the Colorado Museum of Money in the United States.

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Aug 09

Augusta’s First Amendment Museum secures exhibition design grants

By Exhibition design No Comments

A render shows what the First Amendment Museum should look like once its renovation is complete. Image courtesy of the First Amendment Museum

AUGUSTA – The First Amendment Museum, located in Guy P. Gannett’s former home in Augusta, has won a grant of nearly $ 250,000 to complete the design of what officials say is its cutting-edge exhibit intended to inspire visitors to understand, practice and preserve their First Amendment rights of religion, speech, press, assembly and petition.

The federal $ 249,000 Museums for America grant from the Institute of Museum and Library Services will be used to complete the design of the museum’s exhibit, which is slated to be installed as part of a $ 14 million overall restoration and expansion of the building.

The planned interactive exhibit, officials said, will allow visitors to meet, interact with and reflect on their rights by reinforcing the notion that citizens use and engage with the freedoms protected by the First Amendment. Each room in the museum will interpret a particular aspect of the First Amendment. A dystopian kitchen will show what life could be like in a society without the First Amendment, a “Censorship Library” will highlight books, movies and music that have been banned, a teenage bedroom will explore the discourse of youth and social media, and an exercise The Room will “engage kinesthetic learners,” according to a press release.

“This major grant will help us create a unique, interactive and relevant visitor experience” Co-founder of Genie Gannett and Chairman of the Board, and a granddaughter of Guy Gannett, said in the statement.

The non-partisan the museum is already open, with temporary exhibitions and guided interactive tours focused on the First Amendment and the five freedoms it protects: religion, speech, press, meeting and petition. Admission is free and the museum, located at 184 State St. next to Blaine House, is open 10 a.m. to 4 p.m. Monday through Friday and, until September 4, Saturday.

Deborah Williams, director of outreach engagement for the First Amendment Museum, said on Monday that the exhibit will be worked on alongside the physical restoration and expansion of the 1911 building, which will likely begin next year with the aim of open the new exhibit at the end of 2023 or early 2024..

The exhibition will be created by the designer Helen Riegle of HER Design in Boston, whose portfolio includes “Dear Boston: Messages from the Marathon Memorial” from the Boston Public Library, “A Whole New Game” from the National Baseball Hall of Fame and “America on The Move” at the Smithsonian’s National Museum of American History.

“The museum exhibits will show how Americans have used their First Amendment rights as a tool to move our society forward and to create that ‘more perfect union’ which is our civic burden,” said Christian Cotz, Managing Director of the museum. “But perhaps more importantly, these dynamic, stimulating and interactive exhibits will inspire people to live their freedoms and exercise their rights more intentionally and effectively.”

A fundraising campaign to fund the project is in its early stages, according to Jamie O’Brien, Director of Development. Donations can be made through the museum’s website.

The expansion will double the size of the facility and will be attached to the rear of the building.

Guy Gannett and his family lived in the house for about 10 years before moving to Portland when the publishing company he founded with his father purchased the Portland Press Herald. The Gannett Publishing Co. also owned the Waterville Sentinel, the Portland (Maine) Sunday Telegram, the Portland Evening Express and the Daily Kennebec Journal. They later expanded to broadcast media, but sold the company in 1998.

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Aug 09

Augusta’s First Amendment Museum secures exhibition design grants

By Exhibition design No Comments

A render shows what the First Amendment Museum should look like once its renovation is complete. Image courtesy of the First Amendment Museum

AUGUSTA – The First Amendment Museum, located in Guy P. Gannett’s former home in Augusta, won a grant of nearly $ 250,000 to complete the design of what officials say is his cutting-edge exhibit intended to inspire visitors to understand, practice and preserve their First Amendment rights to religion, speech, press, assembly and petition.

The federal $ 249,000 Museums for America grant from the Institute of Museum and Library Services will be used to complete the design of the museum’s exhibit, which is slated to be installed as part of a $ 14 million overall restoration and expansion of the building.

The planned interactive exhibit, officials said, will allow visitors to meet, interact with and reflect on their rights by reinforcing the notion that citizens use and engage with the freedoms protected by the First Amendment. Each room in the museum will interpret a particular aspect of the First Amendment. A dystopian kitchen will show what life could be like in a society without the First Amendment, a “Censorship Library” will highlight books, movies and music that have been banned, a teenage bedroom will explore the discourse of youth and social media, and an exercise The Room will “engage kinesthetic learners,” according to a press release.

“This major grant will help us create a unique, interactive and relevant visitor experience” Co-founder of Genie Gannett and Chairman of the Board, and a granddaughter of Guy Gannett, said in the statement.

The non-partisan the museum is already open, with temporary exhibitions and guided interactive tours focused on the First Amendment and the five freedoms it protects: religion, speech, press, meeting and petition. Admission is free and the museum, located at 184 State St. next to Blaine House, is open 10 a.m. to 4 p.m. Monday through Friday and, until September 4, Saturday.

Deborah Williams, director of outreach engagement for the First Amendment Museum, said on Monday that the exhibit will be worked on alongside the physical restoration and expansion of the 1911 building, which will likely begin next year with the aim of open the new exhibit at the end of 2023 or early 2024..

The exhibition will be created by the designer Helen Riegle of HER Design in Boston, whose portfolio includes “Dear Boston: Messages from the Marathon Memorial” from the Boston Public Library, “A Whole New Game” from the National Baseball Hall of Fame and “America on The Move” at the Smithsonian’s National Museum of American History.

“The museum exhibits will show how Americans have used their First Amendment rights as a tool to move our society forward and to create that ‘more perfect union’ which is our civic burden,” said Christian Cotz, Managing Director of the museum. “But perhaps more importantly, these dynamic, stimulating and interactive exhibits will inspire people to live their freedoms and exercise their rights more intentionally and effectively.”

A fundraising campaign to fund the project is in its early stages, according to Jamie O’Brien, Director of Development. Donations can be made through the museum’s website.

The expansion will double the size of the facility and will be attached to the rear of the building.

Guy Gannett and his family lived in the house for about 10 years before moving to Portland when the publishing company he founded with his father purchased the Portland Press Herald. The Gannett Publishing Co. also owned the Waterville Sentinel, the Portland (Maine) Sunday Telegram, the Portland Evening Express and the Daily Kennebec Journal. They later expanded to broadcast media, but sold the company in 1998.

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Jul 28

Conferences on museum management for professionals, student launch

By Museum management No Comments

Muscat: The National Museum has launched a series of six lectures on Museum Management in the 21st Century for Omani museum professionals and students.

The lectures, from July 27 to the end of 2021, are delivered in cooperation with the Smithsonian Institution; the largest museum and research complex in the world and the most important cultural center in the United States.

The lectures will be supervised by Dr Paul Michael Taylor, anthropologist, curator of Asian, European and Middle Eastern cultures and director of the Asian Cultural History Program at the Smithsonian National Museum of Natural History.

Dr Taylor will lead and familiarize a team of experts with new museum research techniques and ideas for advancing cultural studies in museums and historic sites.

This initiative, launched by the U.S. Embassy in Oman, focuses on visitor management, exhibit development, cultural heritage preservation and virtual exhibits.

The U.S. Embassy has provided similar training opportunities by sending specialists from the National Museum, the National Records and Archives Authority (NRAA), and the Department of Heritage and Culture (formerly) to the United States for the ‘International Visitor Leadership Program (IVLP) for several weeks.

Recently, with support from the U.S. Embassy, ​​the National Museum restored a photo album containing images of historical significance, including the earliest known photo of Muttrah, Fort Al Rustaq, Jabreen Castle, and the Beehive tombs.

The 88-page album contains significant photos of the First US Consul in Oman and illustrates the long historical ties between the United States and Oman.

The album restoration was one of only three projects in the Middle East to receive a grant from the U.S. Ambassadors Fund for Cultural Preservation in 2019. The technical committee recognized the project “Oman: Restoration of 19th century photographs from the National Museum ‘collection of a field of valuable international proposals.

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Jul 26

Top Companies, Trends, Growth Factors Details by Regions, Types and Applications

By Museum art No Comments

Global Museum Art Market Report Added By MarketstudyReport.com Offers Analysis Of Industry Size, Share, Growth, Trends And Forecast Till 2026. Museum art market also covers the major key players, five forces analysis and market segmentation in detail. This report examines the global museum art market and provides revenue information for the period 2021 to 2026.

The research report on the Museum Art Market involves a thorough analytical examination and presentation of the current and future scenario of this industry vertical. According to the study, the market is expected to exhibit a healthy growth rate and generate substantial returns during the analysis period.

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Valuable insights regarding key industry trends, market size, growth opportunities, and industry revenue projections are also included in the market analysis. The report further draws attention to various industry segmentations and competitive backdrop of major players.

In addition, the report discusses the various changes brought about by the COVID-19 pandemic to provide a conclusive analysis of this commercial sphere.

Other takeaways from the museum’s art delivery market:

  • The report comprises a comprehensive examination of the competitive landscape of the Art Museum Handing Market defined by companies like
    • Agility
    • DHL
    • DB Schenker
    • Iron Mountain (Crozier)
    • Crown
    • MTAB
    • Freight systems
    • Etna
    • Fine arts logistics
    • Workshop 4
    • Grace
    • Helu-Trans
    • USArt
    • Yamato
    • Katolec
    • Mithals
    • Sinotrans
    • Deppon
    • Globaliner
    • Michele

    .

  • The product catalog of listed companies, along with product specifications and main applications are illustrated in the report.
  • Other critical aspects such as the product pricing model, market position and revenue margins of each company are presented.
  • Based on product line, the museum art delivery market is classified into
    • Transport
    • Packaging
    • Storage
    • Other

    .

  • Details regarding market share, sales model and compensation for each product segment are well documented in the report.
  • In terms of scope, the museum art delivery market is divided into
    • Public museum
    • Private museum
    • Museum exhibition

    .

  • Substantial information regarding the sales volume and total revenue represented by each application during the study period is provided.
  • The business aspects such as the rate to market and the market concentration rate are also analyzed in depth.
  • Additionally, the study examines the market strategies employed by key industry competitors.

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An overview of the regional landscape of the museum art delivery market:

  • According to the report, the regional terrain of the Art Museum Handling market is divided into several regional markets including North America, Europe, Asia-Pacific, South America, Middle East, and Africa .
  • The market shares and returns accumulated by each region in recent years are taken into account.
  • Informative data affirming the revenue projections and estimates of the growth rate to be recorded by each region during the forecast period is highlighted in the report.

Contents:

Study coverage: It includes key manufacturers covered, key market segments, the range of products offered in the Museum Art market, years considered, and study objectives. In addition, it touches on the segmentation study provided in the report based on product type and application.

Summary: It gives a summary of key studies, Art Museum market growth rate, competitive landscape, market drivers, trends and issues, and macroscopic metrics.

Production by region: Here, the report provides import and export information, production, revenue, and major players in all regional markets studied.

Manufacturer Profile: Each player presented in this section is studied on the basis of a SWOT analysis, its products, production, value, capacity and other vital factors.

For more details on this report: https://www.marketstudyreport.com/reports/global-museum-art-handing-market-2021-by-company-regions-type-and-application-forecast-to-2026

Some of the main highlights of the table of contents cover:

Regional Museum Art Delivery Market Analysis

  • Museum art production by region
  • World production of works of art presented to museums by region
  • Global revenue from the distribution of works of art in museums by region
  • Consumption of works of art in museums by region

Museum Art Delivery Segment Market Analysis (by Type)

  • Global Museum Art Presentation Production by Type
  • Global Museum Art Distribution Revenue by Type
  • Award of the presentation of works of art to the museum by type

Museum Art Delivery Segment Market Analysis (By Application)

  • Global Museum Art Presentation Consumption By Application
  • Global Museum Art Consumption Market Share by Application (2014-2019)

Major Manufacturers Analysis of Museum Art Shed

  • Museum art production sites and area served
  • Product overview, application and specifications
  • Production, Revenue, Ex-factory Price and Gross Margin of Museum Works of Art Management (2014-2019)
  • Main activities and markets served

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