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.
Culver City Crossroads is the premier source of news, events, politics, education, and culture. they are there to serve the community, bond and have fun.
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.
Copyright © 2021. All rights reserved. This website is not intended for users located in the European Economic Area.
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.
Request a sample Museum Art Delivery Market Report at: https://www.marketstudyreport.com/request-a-sample/3167812?utm_source=algos&utm_medium=Pravin
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
- DB Schenker
- Iron Mountain (Crozier)
- Freight systems
- Fine arts logistics
- Workshop 4
- 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
- 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.
Request a discount on the Museum Art Delivery Market Report at: https://www.marketstudyreport.com/check-for-discount/3167812?utm_source=algos&utm_medium=Pravin
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.
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
To learn more about related reports, please visit: https://www.marketwatch.com/press-release/Along-with-CAGR-of-27-Know-How-Hydrocyclone-Market-size-is- growing-in-key-regions- reaching-to-the-next-level-in-the-coming-years-2021-07-24
Sales to businesses,
LLC Market Research Report
Toll free: 1-866-764-2150
E-mail: [email protected]
After more than 30 years, the story of the Isabella Stewart Gardner museum burglary has all the attributes of a spectacular drama about a real crime. The thief’s disguises, thugs and missing artwork valued at over $ 500 million have captivated and baffled law enforcement, journalists, book authors and podcast hosts. Yet no matter how many people look into the facts, the crime remains unsolved.
The new four-part Netflix docuseries “This Is a Robbery: The World’s Biggest Art Heist,” which premieres April 7, isn’t expected to put anyone behind bars anytime soon. But it will potentially introduce a new audience to the remarkable event and its seemingly endless number of weird characters and rabbit hole theories. Besides getting an entertaining fix and then spending the night, the hope of another Gardner tale, one presumes, is that the show could finally get someone who knows something to talk.
Told in four “chapters” of over 50 minutes, the first tells the story of the crime through a combination of dramatization, archival photographs, television news footage and ongoing interviews. At a minimum, the visual juxtaposition of yesterday and today serves as a stark reminder of the time that has passed. The people originally involved in the case have retired; suspects were murdered or died of natural causes. Even the boxy cars and clunky technology (convincingly portrayed in the scenes staged by the Berkshire Theater Group) suggest it’s time to pass the torch to a new generation of sleuths who are getting closer with each passing year.
The series opens with witnesses who say they saw two men dressed as Boston police officers sitting in a hatchback on Palace Road just outside the museum in the wee hours of March 18, 1990. A scene recreated shows the “officers” entered by telling museum security guard Richard Abath that they were investigating a disturbance. After handcuffing and blindfolding Abath and another guard, the thieves moved between the galleries for over an hour, littering the floor with broken glass and emptying the golden frames. A total of 13 pieces left the venue that night, including Rembrandt’s unique Seascape (“Christ in the Storm on the Sea of Galilee”) and a Vermeer (“The Concert”), precious for its stunning sound. use of light and the limited number of his paintings in circulation.
While the first chapter drops several suspicious seeds to nurture later in the series, it does so impartially, without the thrilling music or sticky storytelling that makes other true crime dramas feel forced (strangely, both appear in the trailer). Instead, and preferably, it allows interviewees to showcase the museum’s intimidating Italian-inspired architecture, the incomparably arranged collection and the mastermind behind it, Isabella Stewart Gardner. Other reports on the heists, such as WBUR and The Boston Globe’s in depth Last seen podcast of 2018, gave him the same respect.
After a year without an actual gallery tour, seeing the interior of the museum was surprisingly poignant. So is Anne Hawley, former director of the Gardner and lead interviewee who recaps the crime and briefly points out that she is the first woman to oversee the world-class museum. She took the reins just six months before the heist, and footage presumably filmed the next morning shows her in shock. What a plate she was served and what a life she gave to the Gardner during her 25-year tenure.
Not all true crime aficionados will patiently wait for the juiciest stuff from who did it and why. The second chapter gets bogged down somewhat trying to explore the vulnerabilities of the museum and the more obvious theory that, like the majority of art thefts, this was internal work. For this reason, Abath always has sidelong glances. (Okay, he would go to work stoned sometimes, and photos from that night show him with long, curly hair, a tie-dyed t-shirt and a fanny pack, ready to attend a Grateful Dead concert.) former colleague Net describes him as the “type of hippie who’s good at chess,” a combo as overwhelming as the one who let thieves in. The series spices up with absurd humor.
No charges have ever been laid against Abath for this crime and the series sidesteps the dramatic potential to convey the terror he and his guard mate must have felt that night. (The other guard does not appear and often refuses interviews.) Although chapter two points out a number of peculiarities of the case (such as the disappearance of the duct tape used on the guards), this did not please me. left hanging as I hope to watch serial programs. I rarely want to hold my hand, but at the time it felt necessary.
Chapter Three redeemed that desire with a captivating glimpse into the range of known criminals with Mafia connections who have at one time or another been in the circle of heist suspects. The last chapter narrows down that list. There is a suggestion that in order to resolve this matter the answers must be found among the living. Once again, I found myself wanting something that I don’t usually have, a tidier ending like one of those pesky reporter ambush scenes that catch a suspect in his robe, searching for the newspaper. in the morning.
Series director Colin Barnicle, who produced “This Is a Robbery” through his production company he started with his brother Nick Barnicle, told The Berkshire Eagle that he has been working on the series for five or six. years. (The brothers also produced “Billy Joel: New York State of Mind,” a chronicle of the singer’s sold-out shows at Madison Square Garden.) For this series, Barnicle used comments from several current and former Boston Globe reporters. , including Stephen Kurkjian. , who wrote “Master Thieves: The Boston Gangsters Who Pulled Off the World’s Greatest Art Heist” and was a consultant producer on “Last Seen”. Globe’s parent company CEO Linda Pizzuti Henry was executive producer of the Netflix series.
Without making any shocking discoveries, “This Is a Robbery” offers a glimpse into what has happened then and since and may lead some viewers to further research. At this point, the heist has become a staple in Boston lore. As always, Boston can’t shake the lure of its history of white gangsters, especially when Irish and Italian crowds clash with each other or with elite institutions. With theories like these in the mix, the Gardner Heist story finds people unwittingly rooted for criminals, or art, or maybe both. We may never know exactly what happened that morning on Palace Road. But the mystery of the heist proved to be both intoxicating and enduring.
The WNDR Museum, an immersive artistic and technological experience, has reopened its doors with new exhibitions featuring unique new and ongoing installations created by local and international artists, collectives and studios. New exhibits include the Flux Room, a 360-degree multisensory immersive experience curated by Chicago artist Santiago X, and “I Heard There Was a Secret Chord,” a piece created by Montreal design studio Daily every year. days, which invites participants to participate in a virtual choir hosted by people from all over the world listening to Leonard Cohen’s “Hallelujah” at any time. Among the current exhibitions is the fabulous immersive work of Japanese artist Yayoi Kusama “Let’s Survive Forever”. In addition, “Untitled (FDR NY) # 23 and # 24” by Keith Haring is now on display outside the museum. Find out all about it at the WNDR Museum, 1130 W. Monroe. Timed tickets, $ 30, must be purchased in advance. Visit wndruseum.com.
Across the universe
Art on theMART is collaborating with the Adler Planetarium to transform the facade of the Merchandise Mart into a blend of art and science. The new projection on the art deco building, entitled “Astrography”, consists of four movements – Earth, other worlds, stars and beyond – which take the viewer from Earth to planets and stars and into the depths of the galaxy. The projections were created using real data showing the scale of the universe as well as images from telescopes of the world and Adler’s paper works. The exhibition will be accompanied by music from the archives of Sun Ra Arkestra at the Experimental Sound Studio. The 30-minute “Astrography” takes place every evening at 8:30 pm and 9 pm from April 1 to July 4. For more information, visit artonthemart.com.
For Oscar votes
Get a head start in your Oscar pool by projecting the Short films nominated for the 2021 Oscars presented by ShortsTV. Documentaries include “A Love Song for Latasha,” a portrait of a young girl whose gunshot death sparked the 1992 LA riots, and “Do Not Split,” the story of the 2019 Hong Kong protests. . Live-action films include “Feeling Through,” about a teenager’s connection to a deafblind man, and “White Eye,” which follows a man as he tries to retrieve his stolen bicycle. Nominated in the animation category is Disney-Pixar’s “Burrow”, about a young rabbit’s desire to build the burrow of his dreams. The films are available from April 2 in various Chicago and suburban theaters and on their virtual platforms. The 93rd The Oscars take place on April 25. For more information, visit tickets.oscar-shorts.com.
Young circus artists
CircEsteem, the Uptown organization whose mission is to unite young people and promote self-esteem and mutual respect through the circus arts, presents Celebration of the social circus day, an online event featuring social circuses from around the world. In addition to live segments, the lineup includes performances recorded by the performance group Youth Acts of CircEsteem, Circus Harmony (St. Louis), ENC of Puerto Rico, Fern Street Circus (San Diego), Red Nose Foundation (Indonesia), Trenton Circus Squad (New Jersey) and Zip Zap Circus (South Africa). Broadcasts at 5 p.m. on April 3. Tickets: free or pay what you can. Visit circestimate.org.
Color your world
The Chicago Children’s Theater and the Chicago Symphony Orchestra’s Negaunee Music Institute collaborated on “Maybe something beautiful” a new virtual short film for children and families. Inspired by the award-winning book by F. Isabel Campoy and Theresa Howell, illustrated by Rafael López, the film brings together five CSO musicians performing classic works by Latino composers, bilingual English-Spanish narration and colorful puppets to tell a true story about the how art can transform a neighborhood into a world of hope and beauty. The free movie debuts at 10 a.m. on April 1 at an event co-hosted by CCT and CSO and available on demand thereafter. Visit chicagochildrenstheatre.org or cso.org/tv.
The Conspirators present the return of “Jesus Christ Superstar Do-It-Yourself Messiah Complex,” its annual Easter variety and sing-along extravaganza. The vaudeville-style show features performances of songs from the 1970 recording of the classic musical by Tim Rice and Andrew Lloyd Webber. Performances can range from a simple song on a karaoke track to a modern or burlesque dance piece. On the program: Saint Sparklebear, the Cryptid Kid, David Cerda & Friends, Mari DeOleo, Sid Feldman, les Vaudettes, Danielle Levsky, Nathaniel Fishburn, Carey Farrell & the Clamor & Lace Noise Brigade, Sarah Bullion, Gail Gallagher, Jeff Churchwell, Caroline Shaul, Cocktail Jordan & Pearly White, Brian Nemtusak and Rose Freeman, all hosted by Wm. Lingots. Stream for free at 7 p.m. on April 4. Visit conspirewithus.org.
In the filmed setting of the Chicago Shakespeare Theater by Tim Crouch “Me, Cinna (the poet)”, the apolitical poet Cinna from “Julius Caesar” seeks the subject of his new poem in this exploration of words and actions, protests and power. Broadcasts from April 5 to May 2. Tickets: $ 25. Visit chicago.shakes.com. … The Remy Bumppo Theater presents “Artist descending a staircase”, a first radio play by Tom Stoppard in which two elderly artists examine their emotional and artistic histories. Free broadcast from April 5 to 18. Visit remybumppo.org. … Ghostlight Ensemble’s launches its new reading series “For Your (Re) Consideration” with Margaret Cavendish’s “The convent of pleasure”, a play about a group of single women who create their own perfect, self-sustaining society. Broadcast live at 2 p.m. on April 4 and on demand until April 30. Tickets: $ 5 or pay what you can. Visit ghostlightensemble.com/for-your-consideration.
Mary Houlihan is a local freelance writer.
PITTSFIELD – Although Van Shields and Elizabeth McGraw are no longer at the Berkshire Museum, they will come together this week to explain the museum’s drive to sell its most valuable art a few years ago. Those who opposed this sale may or may not be heard.
Shields and McGraw will appear on Thursday as members of an online panel in a symposium titled “Dismissal after 2020,” sponsored by the College of Law and the Graduate Program in Museum Studies at the University of Syracuse.
The Berkshire Museum sale predates the coronavirus pandemic. Claiming it needed to get its finances back on track, the museum fended off legal challenges and opposition from local group Save the Art to sell famous works by Norman Rockwell, Alexander Calder and Albert Bierstadt, among others, raising $ 53.25 million. dollars.
Almost three years later, Shields and McGraw will be part of a panel titled “Regional Museums Make Tough Decisions and Broaden Their Horizons”. It is believed to be the first time the two – Shields, the museum’s former executive director, and McGraw, its former board chair – have joined together to speak publicly about the controversial sale.
When Hope Davis of the Save the Art group learned of the panel’s existence, she asked her organizers to be included. The dean of Syracuse Law School refused, saying the panel was not supposed to debate the merits of the sale.
“This session is not a forum to debate the good or the bad – nor the good or the bad – of these decisions,” wrote Craig M. Boise, the dean, in an e-mail to Davis, declining his request. to join the panel.
Davis said in an interview that she believes the museum divestiture still deserves debate. And she believes the panel’s design, which includes the experience of a small Syracuse museum that sold an artwork in 2020, could distort the context for the Pittsfield sale.
Van Shields Elizabeth McGraw Mark Gold.jpg
Syracuse University Symposium panelists with links to the Berkshire Museum, from left to right: Van Shields, former executive director; Elizabeth McGraw …
“They are de facto trying to legitimize what they have done,” Davis said. “The Berkshire Museum remains very much in people’s minds. Even though it was an outlier, it was the forerunner of what we are seeing now. “
Boise could not be reached on Tuesday to comment on the composition of the panel.
In two messages to Davis, Boise said that an opponent of the Berkshire Museum art sale was pictured on another panel. This is Nicholas O’Donnell, the Boston attorney who represented three Lenox residents who sought, unsuccessfully, to block the sale.
Boise also said the symposium includes “at least two distinguished museum executives – Michael Conforti and Tom Campbell – who are very conservative in their outlook.” Conforti is a former director of the Clark Art Institute in Williamstown.
If organizers intended to foster debate at Thursday’s panel with Shields and McGraw, Boise said a group like Save the Art would have been included, along with people critical of a sale by the other museum represented on the same panel, the Everson Museum of Art. in Syracuse.
“We would certainly have reached out to those who opposed the actions of these two museums,” Boise wrote to Davis. Copies of their electronic correspondence were obtained by The Eagle.
In October, the Eversons sold a Jackson Pollock painting, “Red Composition, 1946,” for $ 12 million through Christie’s auction house. The museum said in a statement at the time that it would use the proceeds to diversify its collection “to focus on the work of artists of color, women artists and other under-represented, emerging and mid-level artists. -career”.
Some of the proceeds from the sale, he said, will also be spent on maintaining his 10,000-piece collection, a use sanctioned by the American Alliance of Museums and New York State Regents. .
PITTSFIELD – After taking over as head of the Berkshire Museum in 2011, Van Shields surprised his new colleagues by talking about “monetizing” the collection of the Pittsfield institution. It took six …
The sale of the Berkshire Museum, by contrast, has been criticized by directors of the Association of Art Museum Directors for violating its policy on art sales.
The group ordered its 243 members not to collaborate with the Pittsfield institution. The sale also met with opposition from the executive director of the Massachusetts Cultural Council and the American Alliance of Museums. This led the Smithsonian Institution to terminate its affiliation with the Berkshire Museum.
The museum is spending around $ 3.5 million on repairs to its home at 39 South Street, including a sewer line, waterproofing and installing a freight elevator and is now redeveloping the space from its second floor.
Thursday’s panel with Shields and McGraw is described by the symposium as a time to hear from people who “have been there and done this” and will share what went into their decision-making and experiences, providing important lessons for others involved in the leadership of similar institutions.
In addition to former Berkshire Museum officials, viewers will hear from Everson’s Executive Director Elizabeth Dunbar and Chairman of its Board of Trustees Jessica Arb Danial.
The symposium describes panel participants as people who have worked in smaller communities and on tighter budgets than museum executives in large cities.
“One could argue that museums in places like Syracuse, New York and Pittsfield, Massachusetts, are more closely linked – and perhaps more essential – to their communities than their counterparts in large metropolitan areas,” the panel’s program states. “Their volunteer councils are usually not people who can afford to fill structural deficits or fund bold and important initiatives. “
He continues, “These museums are where the ‘rubber hits the road’ in terms of professional standards and the ability of these museums to survive and thrive in the service of their communities, all within the context of their legal obligations to their institutions. . “
McGraw and Shields aren’t the only local names to participate.
Joseph Thompson, founding director of the Massachusetts Museum of Contemporary Art in North Adams, will participate in a panel Thursday titled “Allocation of Museum Resources: The Cost of Collection.”
And two people who have spent long hours on the disputed Berkshire Museum sale – from different perspectives – will sit on the same panel. A session titled “Legal Issues, Strategies and the Role of the Courts” includes Courtney Aladro of the State Attorney General’s Office, who worked in 2017 and 2018 to ensure the Pittsfield Museum follows the law.
On that same program will be the man who initially informed Attorney General Maura Healey’s office of the museum’s plan to sell works of art: Mark Gold, of the law firm of Pittsfield Smith Green & Gold LLP. They will be joined in the four-member panel by O’Donnell, the Boston attorney who filed a lawsuit against the sale.
Gold will also host a Friday morning panel on the ethics of museum sales of works of art. Its title refers to “direct care,” a term used to describe the proper use of proceeds from sales. The panel is titled “Direct care: a critical concept that still struggles to make sense”. And Gold and O’Donnell will be part of an “Ask the Lawyers” panel on Friday.
Borderland artists Christin Apodaca, Gabriel Márquez and Mitsu Overstreet were asked to create installations for the El Paso Children’s Museum and Science Center.
“It is important for us to have local connections in the museum,” said Stephanie Otero, acting director of the museum and vice president of operations for the El Paso Community Foundation, in a statement. “We look forward to announcing more artistic partnerships in the coming months.”
The three artists will create installations complementing the exhibits designed by Oakland-based Gyroscope Inc., which designed the STEAM-based interactive zones for the museum currently under construction downtown.
Illustrator and muralist known for her black and white line drawings that weave native plants into her compositions, Apodaca will work on the Desert Bloom Zone of the museum. The space is intended for the youngest visitors to the museum and is inspired by the Chihuahuan desert.
Marquez is an artist and designer whose work has been exhibited in El Paso and Seattle, where he lived for several years. Her work will be showcased in the Follow Your Instincts area, where children ages 4-7 can learn about animals and careers in animal care.
Contemporary visual artist and designer, Overstreet is perhaps best known for his “River Spirit” ground installation at El Paso International Airport. His work will take place in the Flow Zone, where visitors can learn about water treatment and recycling.
Who owns the artwork in the Denver Art Museum? A recent City and County of Denver audit raised questions about the ownership of some works, even as city and museum officials deny the need to act on the audit findings.
Posted Jan. 21, the audit recommended half a dozen behind-the-scenes changes to the way the institution conducts business, including concerns about board diversity. But it also brought to light a rare clash between listener Timothy O’Brien and the museum over access and ownership.
The museum received more than $ 20 million in annual funding from the city in 2018 and 2019, including bond funds for its ongoing North Building renovation and construction project. But her formalized relationship with Denver, which began in 1932, is in jeopardy if she doesn’t clarify ownership of several works she shares with the city, O’Brien concluded after her 10-month audit.
“The Denver Art Museum’s agreement with the city is unclear and lacks documentation on the entity that owns what are and what the responsibilities of each entity are,” O’Brien wrote. “The museum also needs to strengthen the way it manages inventory planning, and its board could better represent the diversity of the communities it serves.”
Museum executives and Denver Mayor Michael Hancock’s office both disagreed with O’Brien over the need to update their formal partnership. They cited a harmonious relationship and planned future actions that will eventually follow O’Brien’s advice.
“The mayor’s office has accepted six of the report’s seven recommendations, which will go a long way to addressing concerns raised by the audit,” Hancock spokesperson Mike Strott wrote, referring to O’Brien’s recommendations. on how to improve the 35 members. the internal functioning, recruitment and statutes of the board.
“However,” he continued, “we felt it was premature to move directly to the creation of a brand new operating agreement before having implemented these six recommendations and before having had the chance to determine if a new operating agreement is really what is really needed. “
Denver Art Museum officials declined to identify which works of art were the subject of a potential ownership dispute because they believed there was none.
“We don’t really feel like there’s a lack of clarity on this,” said Andrea Fulton, associate director and director of marketing for the Denver Art Museum. “It’s a matter of procedural documentation. We agree, of course, and are more than happy to work with the city to reconcile all of these strengths. But there is not really a lack of understanding between us.
O’Brien’s biggest frustration – and one reminiscent of his contradictory 2017 Denver Zoo audit, in which zoo officials put up months of resistance to O’Brien’s office before surrendering – is that the Museum officials refused to provide him with full access to their ARGUS data, the museum’s collections management system that lists in detail the association’s more than 70,000 paintings, sculptures and other works of art.
O’Brien said museum staff told him that an intern had previously attempted to copy the confidential database, which museum officials see as a valuable extension of their collected works. As a result, he said, museum officials have categorically refused to allow him to make a digital copy of the archives for offsite analysis. O’Brien’s staff were also closely watched at times while collecting data from the archives on site, he said.
“I don’t like being equated with an intern, and I think I have the law on my side. The law is a higher calling than a museum policy, ”said O’Brien. “This is one of the reasons the audit took so long. “
Deputy Director of the Fulton Museum disagreed, saying O’Brien’s team had received full access and training on how to use the database. She said it would never be acceptable to remove a museum work or artifact from the building and that its archives are treated the same “from a security and integrity perspective.”
“The museum is not aware of any inappropriate copying of data by an intern,” Fulton wrote in a follow-up email. “Ultimately, the team had unfiltered access to on-site data.”
O’Brien’s recommendations are advisory, not legally binding, but they are authorized by the City and County of Denver charter. O’Brien has worked his way through the city’s premier cultural nonprofits in recent years, including the aforementioned Denver Zoo, as well as the Denver Botanical Gardens. Its 2018 report on the latter urged the gardens to improve safety practices, among other recommendations.
Fulton said museum executives value the outside perspective on how they work. They were already planning to update many of their practices as they moved into their expanded campus this year, following major renovations and construction in and around 100 W. 14th Ave., Fulton said.
“They are windows to different areas of work, and the operations of an art museum are big, wide and extensive,” she said. “And that’s exactly how we digested this audit. These are really focused and specific potential areas for improvement that we are happy to explore.
Museum executives were hoping to unveil their $ 150 million refurbishment of the Geo Ponti-designed North Building (which will be reintroduced as the Martin Building) and a new 50,000-square-foot visitor center in June 2020, but have pushed back. this in the wake of the coronavirus pandemic. Their new target date is fall 2021.
Subscribe to our weekly newsletter, In The Know, to get entertainment news straight to your inbox.
PITTSFIELD, Mass. – Despite COVID-19 restrictions, the Berkshire Museum’s featured summer exhibit, ‘Art of the Hills: Narrative,’ will open on its originally scheduled date, Saturday, June 6, with one major change: instead of s’ Hanging on the plaster walls of the community museum’s galleries, each selected artwork will be displayed on the simulated walls in an immersive, high-resolution 3D rendering.
Visitors to the virtual exhibition will feel as though they are browsing the museum’s galleries using a cutting-edge technique that combines a three-dimensional digital model with crisp, colorful images of the artists’ work and user-friendly navigation.
The online exhibit kicks off at 5:30 p.m. on June 6 with a virtual tour of the show presented by jurors Amy Myers and Seung Lee, followed by a live Q&A. The community is encouraged to register online to reserve their space at the free online event.
Once the virtual opening event is over, the innovative digital exhibit will be added to the website so that visitors can ‘walk’ or ‘fly’ through the galleries using their web browser or headset. virtual reality while examining each piece of art in high definition at their own pace as part of the popular Berkshire Museum @ Home online programming. Additional “Art of the Hills: Narrative” events and digital content will be added to the site throughout the virtual show as they are announced.
“We are committed to continuing our mission, keeping our promise to the many talented artists on the show, and most of all: keeping the community and staff safe,” said Jeff Rodgers, executive director of the Berkshire Museum . “Putting this exhibition online does exactly that. I am delighted that we can share the work of Berkshire artists with the public now and look forward to opening it.”
The new exhibit is the second installment of “Art of the Hills,” a jury-paneled exhibit that celebrates the rich and creative culture of our region by showcasing the work of emerging and established artists who live or work within a 60-mile radius. miles from the Berkshire Museum location in downtown Pittsfield. The first “Art of the Hills” exhibition debuted at the Berkshire Museum in 2018.
“Art of the Hills: Narrative” features 78 works by 64 carefully selected artists from a collection of over 530 submitted works. Jurors Seung Lee and Amy Myers adopted the “narrative” theme in similar but unique ways: Lee sought out pieces that “tell a story to the viewer using characteristics such as character, scenes, time, technique and the interpretation of a perceived concept; while Myers examined the works from the point of view of time and wonder, selecting pieces that left him with “a question or a curiosity” rather than a conclusion.
“Art of the Hills: Narrative” is scheduled to open in the physical galleries of the Berkshire Museum with a community celebration on October 10. Guests of the October 10 event will have the opportunity to meet the artists and experience their work up close and personal.
Key words: Berkshire Museum,