Museum art

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

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

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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.

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.

“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. .

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.

The panel

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.