Museum management

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.

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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.

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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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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.

Western Colorado University’s Masters in Gallery and Museum Management was founded with art professionals in mind. This graduate program is structured to be maximally affordable, flexible, and feasible for anyone looking to advance their career as a curator.

Western’s Masters in Gallery and Museum Management (MGMM) explores the various aspects of running a museum or gallery, from meeting client needs and managing collections to restoration and l ‘business Administration. The degree covers design, preparation, installation, and conservation, helping students broaden their broad professional experience in the arts industry by gaining managerial skills and practical expertise in the field of their choice.

MGMM is a low-residency ‘hybrid’ program consisting of online courses that students can take from anywhere in the world, combined with a two-week summer campus internship and a gallery internship. art or museum of their choice. Because of this flexibility, graduates progress through the program at personalized paces and intensities that match their personal and professional commitments. Those enrolled full-time can graduate in just 15 months, while part-time students can complete the program in two to four years.

MGMM is offered through competitive state university education, with scholarships and financial aid available. International students can apply for visas. Most students receive some form of scholarship, so the total bill for tuition is less than $ 20,000. Additional financial assistance is also available.

Western Colorado University is currently accepting applications for this fully accredited professional terminal master’s degree.

To learn more about Western Colorado University’s Masters in Gallery and Museum Management, visit western.edu.

PORTLAND – The outcome of an organizing vote this month by 23 employees of the Portland Museum of Art remains unknown pending an appeal from museum management to the National Labor Relations Board (NLRB).

The postal election was held to decide whether employees should join UAW Local 2110 of the technical, office and professional union. New York-based Local 2110 represents educational and cultural institutions in New York and New England.

The ballots were due to be compiled on December 22, but Local 2110 president Maida Rosenstein said they “were seized instead of being counted because the museum formally appealed the decision of the labor council “.

Initially, 70 museum employees, including curators, registrars and educational staff, filed a petition to unionize with the NLRB. The September petition cited low wages and poor job security. The board ruled in November that 23 of the employees, the museum’s “gallery ambassadors” who provide education and interpretation of the exhibits to visitors, had the right to form a union.

“We continue to follow procedures established by the National Labor Relations Board in processing ballots at this point,” Graeme Kennedy, director of strategic communications and public relations for the museum, told Forecaster on Dec. 27. “We asked for review of a part of the unit’s decision that we sincerely believe to be wrong – specific to the responsibilities of gallery ambassadors with respect to the safety of our visitors and our works – and look forward to news from the board of directors about the request. ”

The museum, according to the NLRB ruling, sees gallery ambassadors as having a security role and therefore should not be part of a union representing other types of workers. The council said the ambassadors were not security guards.

Rosenstein said that typically such demands are never heard by the labor committee and are dismissed, which she hopes will happen in this case so that the outcome of the vote can be certified.

Kennedy told Forecaster in November that the “Portland Museum of Art cares deeply about its staff and its community and in no way seeks to delay or prevent a vote on organizing.”

“We have a bit of a bump in the road because of the pull,” said Michaela Flint, gallery ambassador. “But I hope the voices of museum workers will be heard. As workers, we have the right to a fair and uninterrupted vote.

Rosenstein said that if a union had been in place, workers would have had bargaining power when recently told they were “essentially on leave” for the month of January because the museum was closing to the public because of it. of the coronavirus.

Flint said the temporary shutdown gave her “a glimpse of what it’s like to have help from a union,” she said.

“They offered mutual aid, an unemployment briefing, carpooling and grocery delivery,” she said. “Local 2110 went above and beyond for the museum workers. They even offer help to those who oppose the union.

Kennedy said museum management is awaiting the outcome of the election and looks forward to “continuing to work in partnership with our staff for PMA’s mission rooted in diversity, equity, accessibility and inclusion.”

“Throughout this process, we have remained deeply committed to the institutional values ​​of transparency and mutual respect informed by our staff,” he said. “The election ensures that all voices are heard and we will work in good faith with all employees to ensure a strong, dynamic and sustainable PMA.”

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December 6, 2019; Los Angeles Times and hyperallergic

Last week, NPQ wrote about an effort by workers at the Museum of Contemporary Art (MOCA) to unionize with the American Federation of State, County and Municipal Employees (AFSCME). Friday, reports Carolina Miranda for the Los Angeles Times, management said “they would voluntarily recognize a new union made up of more than 100 visitor services workers.”

As NPQ, noted Kori Kanayama, MOCA was committed to “being an active institution, civic-minded, open and welcoming to our communities”. In making his decision to recognize the union, MOCA director Klaus Biesenbach accepted the union’s assertion that this commitment necessarily extended to its own staff. As Biesenbach said, “For over a year, we have been openly expressing our vision for the museum as a civic-minded public institution that supports the community. This is as important internally for our staff as it is externally. “

Biesenbach added that the desire to organize MOCA employees is “in full alignment with this vision that we have defined for our institution”.

On one level, MOCA simply made a common sense business decision. Last May, MOCA announced that it had received a donation of $ 10 million from Board Chair Carolyn Clark Powers. Last month, he announced that with this donation, he was set to implement free entry from January 11, 2020. A protracted battle with workers over unionization would surely have made it flourish. the rose of pressure from the museum to expand its community. to reach.

Always, Hyperallergic was not wrong to describe as “surprising” the decision of the MOCA leadership to recognize the union without demanding an election. After all, voluntary recognition of unions by management is extremely rare. Initially, notes Matt Stromberg, the MOCA leadership in response to the workers’ petition issued a standard, almost boilerplate response: “We don’t think this union is in the best interests of our employees or the museum. Management reconsidered their decision, however, as they considered what a fight with the union would mean in the context of the museum’s vision to seek to become and be seen as a civic-minded institution.

As Miranda notes, “The past year has seen a wave of campaigning to organize visitor services workers at the New Museum of Contemporary Art and the Guggenheim Museum in New York, as well as the New Children’s Museum in San Diego and the Frye Museum in Seattle.”

Part of what drives these union campaigns, adds Miranda, is the growth of the “visitor service associate” job category itself. Miranda explains that these workers “help monitor galleries, often work part-time and without benefits. Wages, for many, hover around the minimum. In recent years, the work has evolved, forcing gallery owners to not only protect art, but also to have knowledge of art and art history.

As Betsy-Ann Toffler, a part-time visitor service associate, told the Los Angeles Times last month, “We are paid minimum wage, but what is expected of us is more than a typical minimum wage [job]. “

With this recognition, MOCA becomes the second syndicated art museum in Los Angeles and one of more than a dozen nationwide. Last year, the management of LA’s first art museum to unionize, the Museum of Tolerance, in the museum’s first union contract, agreed to raise the salaries of visitor services associates by 41.6% over four years. At MOCA, Biesenbach is committed to moving forward “in good faith to establish a fair and lasting contract”.

Of course, not all art museums agreed to negotiate with the unions. Notably, last month in Los Angeles, the Marciano Art Foundation closed its museum four days after workers demanded recognition, laying off its entire workforce rather than agreeing to unionization. The foundation, according to Miranda, now says the museum’s closure is “permanent.” The AFSCME, which represents the workers of the Marciano Art Foundation as well as the workers of the MOCA, has filed a petition with the Federal National Council for Labor Relations alleging that the foundation “illegally discriminated against its employees by massively dismissing employees and / or by closing its factory. because the employees… are engaged in union and concerted activities. —Steve Dubb

Anna Balch ’21, an art history major, interned at the Witte Museum this summer, cataloging and maintaining the Texas art collection.I am intern this summer at the Witte Museum in San Antonio, Texas, as an intern in art collections under the direction of Witte Collections Director Leslie Ochoa. I started my 10 week internship by organizing the works on paper in the Texas Art Collection at the Witte Museum through the rehousing of artwork and updating the museum’s online database. I had many opportunities here and really learned a lot from my internship. I have gained a better understanding of the organization, management and maintenance of a museum’s collections since my time here with the Witte.

Working in a non-profit museum means everyone helps, no matter what their expertise, and for that reason I had the opportunity to help remove exhibits, clean exhibits, take care of preserving works on display in galleries, taking inventory of works of art in galleries and learning the process of lending art to other museums.

My goal during my internship at the Witte Museum was simply to learn the proper procedures for managing the museum’s collections, but what I learned here is far more important. I was able to connect with a multitude of staff, museum donors and the President and CEO, Marise McDermott, of the Witte Museum. I am extremely lucky and grateful to have had the opportunity to interact and speak with these people as they gave me great advice and different perspectives on running a museum. The collections department taught me a lot about the inner workings of an art museum and the importance of curating and organizing works of art and building strong links between donors and other museums. Thanks to these interactions, I have a better perception of the administrative aspect as well as the conservation aspect of what makes the success of a museum.

I overcame the obstacle of feeling too inexperienced to be entrusted with all these responsibilities within the care of the different collections. However, my supervisors are extremely nice and make every task an opportunity for me to learn, such as the proper procedures that take place in museum management and the vocabulary needed for the conservation of art, which has really benefited me. my storage reports. During my internship, a group of interns were able to sit casually with McDermott and we talked about leadership, passion and even feelings of doubt. McDermott gave us words of encouragement when he felt unskilled, stating that you can’t learn anything unless you try it yourself. She also encouraged us to surround ourselves with creative people who will know how to support you and help you overcome the obstacles of doubt.

McDermott gave us words of encouragement when he felt unskilled, stating that you can’t learn anything unless you try it yourself.

The biggest advantage of an internship at the Witte Museum is the passionate staff; all of the members I have met love their work at the museum because of how inclusive and creative each is. I have spent a lot of time working in the collections department, and although they are always busy, they never complain about the tasks at hand due to the passion they feel for their work. Working alongside these people strengthens my love for art, and I look forward to exploring other artistic opportunities.

My internship allowed me to deepen my knowledge of the history of Texan art and the way in which it has greatly contributed to the construction of Texan culture. Through different techniques, styles and genres of Texan art, I applied my previous knowledge of art history to my internship and learned new concepts about how Texan culture introduced new techniques in different artistic style movements. During my stay at Le Witte, I have met many different people who are in one way or another entangled in the art world, whether by choice or by accident. Two career paths that intrigued me the most happened when I discovered different art curators and art curators, each sounding like an incredible path that I would like to explore more after graduation.