Reposted from The New York Times

The Guggenheim Museum has approved a plan to address complaints of entrenched racism within its walls. It is one of the first major cultural organizations to provide details of an expanded diversity effort.

On Monday, the museum announced to its staff a two-year initiative to create policies for reporting discrimination and developing diversity programs, according to Richard Armstrong, the museum’s director. New measures include paid internship opportunities for students from underrepresented backgrounds, a partnership with historically Black colleges and universities to promote job openings, and the creation of an industrywide professional network for people of color working at arts organizations. The road map also calls for a top management-level position to oversee diversity initiatives and the establishment of a committee to examine the institution’s exhibitions and acquisitions through the lens of equity and diversity.

“This plan shows a greater sensitivity toward respect,” Mr. Armstrong said in an interview. “It means there will be a bigger front door, providing more opportunities for a variety of people to imagine working in museums as a sustainable career path.”

The diversity plan comes more than a month after the Guggenheim hired a lawyer to independently investigate the circumstances surrounding its 2019 exhibition of the artist Jean-Michel Basquiat. In June, nearly 100 current and 100 former employees, under the name “A Better Guggenheim,” sent trustees a letter claiming that executives had created a “culture of institutional racism” at the museum and mistreated Chaédria LaBouvier, a guest curator of the Basquiat show. The investigation is expected to conclude in the fall.

Along with their recommendations, the writers of the finalized initiative, who include eight employees and an outside consultant, also discussed the Guggenheim’s recent failures to diversify itself. The authors, at least four of whom identify as Black, claim that the demographic makeup of visitors to the museum does not reflect the racial diversity of New York City, citing a 2018 study conducted by the marketing firm Morey Group. It found that nearly 73 percent of museum visitors identified as white; by comparison, the city’s population is about 43 percent white. To better reflect the city’s population, they recommend, for instance, expanding pay-what-you-wish hours beyond Saturday evenings.

And despite a range of initiatives since 2010 that have helped the museum acquire works by nonwhite artists, the authors of the new road map urge that exhibitions include more representation from historically marginalized groups. “Within the iconic space the Rotunda, the museum has never held a solo exhibition of a Black artist, a woman artist of color, an Indigenous artist, or a trans-identified artist,” they wrote in the diversity plan.

They added, “The current moment demands that we reconsider the fundamental role that art museums play within society at large: whom are these institutions for, what are they responsible for, and to whom should they be accountable?”

In June, Ms. LaBouvier tweeted that working with Nancy Spector, the museum’s artistic director and chief curator, “was the most racist professional experience of my life.”

Ms. Spector is on sabbatical from the museum and has declined to comment on the matter.

“What happened six weeks ago brought things to a boiling point,” Mr. Armstrong said about the inclusion plan. “We looked at each other collectively to say, ‘We will accomplish this.’”

But during a tense all-staff meeting last month, employees expressed doubt that the plan would be enough to create lasting change without more input from employees of color, many of whom were furloughed in April.

“Furloughed staff make up the majority of the museums BIPOC employees” — Black, Indigenous and people of color — “yet they were excluded from the development of this diversity plan,” said Cassandra Dagostino, a furloughed member of the communications staff and of A Better Guggenheim.

Another member of the group, Indira Abiskaroon, who is a curatorial assistant, said that the Guggenheim’s plan “feels insufficient without reimagining and rebuilding the museum from its foundation. That means acknowledging the museum’s anti-Blackness and holding leadership accountable.”

In a joint statement to The New York Times about the plan, nearly 30 part-time Guggenheim educators said they were not consulted and they were concerned that 60 percent of the next steps to expand programming and outreach would fall on their shoulders.

The Guggenheim’s reckoning comes at a time of financial difficulties because of the coronavirus pandemic. The museum currently projects it will have a $15 million deficit this year, and has relied on contributions from trustees and reallocated money from its current budget to fund its diversity initiatives. Administrators said the museum will not reopen until at least October.

“We look with empathy and some trepidation at what’s going on inside the museum industry,” Mr. Armstrong told employees in a meeting last month, describing the projected financial losses at the Guggenheim as “quite crippling.”

When the museum does welcome back visitors, attendance will likely be capped at 800 daily, Mr. Armstrong told staff. It’s a number the director said would allow the institution to “begin to break even.” He also cautioned staff that there was “a strong possibility” of future layoffs.

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Reposted from The Art Newspaper

A coalition of international museums and heritage organisations are co-ordinating “cultural first aid” for Beirut institutions affected by the devastating explosions of 4 August.

In a statement of solidarity released on 11 August, 27 signatories including Unesco, the International Council of Museums (Icom), World Monuments Fund, the National Museum of China and the Louvre in Paris pledged to “do all that we can to contribute to the complete recovery of the heritage that has been damaged in Beirut by this blast”. 

An initial assessment found that at least 8,000 buildings concentrated in the historic districts of Gemmayzeh and Mar Mikhael were affected by the explosions, of which 640 have heritage status, according to Unesco. Around 60 of these historic buildings are estimated to be at risk of collapse. Unesco says it is working with Lebanon’s directorate-general of antiquities to lead the cultural response to the disaster.

The Lebanese national committee of Blue Shield International is now co-ordinating experts on the ground to survey the damage sustained by the city’s museums, libraries, archives and historic buildings, says Elsa Urtizverea, Icom’s heritage protection co-ordinator, who visited Beirut last week. Blue Shield will give the international partners an overview of the priorities for reconstruction as they plan longer-term relief efforts.

According to Suzy Hakimian, the chair of Icom Lebanon and the director of the Museum of Minerals at Saint Joseph University, eight museums were damaged by the blast. 

Located close to the epicentre of the explosions at the port, the Sursock Museum suffered “unbelievable” destruction, Urtizverea says. All the stained-glass windows on the villa’s façade were obliterated and the roof was damaged, leaving the museum exposed to the elements. The architects responsible for the museum’s $15m renovation in 2015 are advising on securing the building. A team of volunteers—museum staff and young cultural professionals—have moved the art works into storage, cleared away the glass debris and covered the broken windows with plastic sheets. 

The Museum of Lebanese Prehistory at Saint Joseph University, 1km away, also requires urgent structural attention. Urtizverea says the “major threat” is a glass ceiling on the brink of collapse, which has been temporarily reinforced with wood to protect the collection.

The doors and windows were “completely blown off” at the archaeological museum of the American University of Beirut, 4km west of the port. There was “some damage” to the collection, including a toppled vitrine containing mostly glass artefacts, which awaits examination by restorers.

Fortunately, Lebanon’s leading archaeology collection is “apparently intact” at the National Museum, although the windows, doors and lifts were all damaged in the blast. The ground floor displays of sarcophagi, statues and mosaics from the third millennium BC to the Byzantine era “will just need cleaning”, Urtizverea says. 

“It’s a miracle the collections were preserved”, Hakimian says. The minerals and precious stones of her own museum are “safe” on a separate campus of Saint Joseph University.

But the challenge for all custodians of damaged historic buildings will be sourcing the materials to rebuild before the autumn season. “I’m sure we don’t have enough glass to replace all the windows and doors” through the local market, Hakimian says. Amid Lebanon’s currency crisis, “the cost will be very high,” she adds, noting that museums must also meet stringent technical specifications.

The recovery of Beirut’s cultural institutions will depend not only on international expertise and raw materials, but also on financial support. Grant-making bodies including the Geneva-based Aliph foundation (International alliance for the protection of heritage in conflict areas) and the Prince Claus Fund in Amsterdam are “trying to identify the most transparent and reliable operators on the ground” to establish a fundraising platform, Urtizverea says.

“We are an ambulance for cultural heritage,” says the Prince Claus Fund’s director, Joumana El Zein Khoury. Its aim is to assist organisations that may be overlooked, such as important private collections and artist residency centres. “We are working with the Arab Image Foundation, whose storage area in the Gemmayzeh neighbourhood was affected, and are helping to protect the [photographic] works against the acid rain that has recently fallen on Beirut,” El Zein Khoury says.

Hakimian, who worked on the restoration of the National Museum after the Lebanese civil war, acknowledges that reconstruction is going to be a “long process”. The cultural world is “trying to unify… to do our best”, she says. “Thank God everybody is helping. We hope to be able to bring back what was.”

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Reposted from AAM

Essential Evaluators seeks to gather evaluators in a common space to dialogue, reflect, and support each other in a world upended by COVID-19 and the Black Lives Matter protest movement. This is a time of uncertain and unknown expectations in our professions, in our institutions, and in our communities. We invite you to join us as we rethink, revision, and ultimately redefine our roles as evaluators and our place in museums.

This week, it is our great pleasure to welcome Michelle Moon, a highly respected leader in museum education and community resilience, as guest blogger. Michelle has spearheaded an important grassroots movement documenting the economic impact COVID-19 poses for museums, particularly as it affects employment and staffing. This work highlights the essential role of evaluators.

There’s a term that describes the difficulty of understanding a crisis in the midst of it: “the fog of war.” Coined in 1832 by Prussian military analyst Carl van Clausewitz, it describes the challenge of assembling a big picture in a chaotic, fast-changing environment. In these contexts, information is essential—yet, Clausewitz wrote, much of it is “contradictory, a still greater part is false, and by far the greatest part is of a doubtful character,” of which creates the “difficulty of seeing things correctly.”

COVID-19 surrounded museums with something like the fog of war. Within weeks from its first rumblings, museum workers were engulfed in disorientation, navigating an unclear field of conflicting directives, unknown risks, uncertain timeframes, and invisible guideposts. At first one by one, then in swaths, museums began to shutter—but where? How many? For how long? And what was happening to staff and programs? There was a dearth of comprehensive information. We lacked the situational awareness needed to act with intention and strategy. Never has the essential role of evaluation been more evident.

As the fog dissipated, it became clear that closures would not be short-term and that most museum budgets would be unable to carry the same staffing levels as they had before the disease spread throughout the US. After losing my own job to a COVID closure on March 13, I joined an informal network collaborating to identify strategies for institutional survival. As we sought to benchmark what peer organizations were doing, and found only spotty information, I turned to a tool increasingly used by grassroots organizers: the online crowd-sourced spreadsheet.

The lineage of Google Sheets as collaborative data-gathering tools dates at least as far back as the #MeToo exposures of 2017, and extends right up to tabulations of police violence in Spring 2020. Thanks to an open structure—which allows unlimited collaborators 24/7 access on any operating system and anonymous contribution—they’ve been called “a familiar way station on the road to collective political action” and “the social media of the resistance.” These data dumps have played dramatic roles in the public sphere and are proving no less important in our own field.

Following the precedents of museum activism spreadsheets like Arts + All Museums Salary Transparency 2019, Indebted Cultural Workers’ Calculate Your Salary spreadsheet, and MASS Action’s Accountability Spreadsheet, I created a new sheet: Museum Staff Impact of COVID-19. In its earliest days, the sheet grew hourly, day and night, with updates of people fired, laid off, or furloughed from closed museums. In the absence of any other single source of comprehensive data on COVID’s impact on the field, journalists began citing the sheet in their work.

Experienced evaluators can readily identify these spreadsheets as imperfect. Anonymous, user-contributed data is only as accurate and complete as the knowledge of the person who enters it. Bias, from various points of view, plays a role in ways of counting, qualitative notes and the design of the sheets themselves. Cross-tabulation is nearly impossible—meaning we can’t, say, sort out the effects of geography or work experience or museum type on salaries, or make connections between museum budget size and number of COVID furloughs. The data is messy and inconsistent, often incomplete or estimated. To all that, we say “Yes.” These spreadsheets don’t offer us high confidence in accuracy. They’re not an ideal way to collect data. But in the fog of war, they are necessary to developing situational awareness.

These efforts are best seen as indicators of the need for further, deeper research. Each new sheet highlights an area of concern and offers new evidence of patterns and problems. Their creators are working to offer early evidence that may lead toward the more robust insights museum professionals need to develop budgets; solicit funding through grants, federal subsidies, and individual philanthropy; serve their communities; increase equity; or plan their careers. They hold space where not enough formal evaluation with the imprimatur of a leading organization has yet to be done.

The COVID-19 sheet, for example, has revealed patterns not clearly visible elsewhere. It was because of its user-contributed data that we were able, early on, to perceive the disproportionate loss of jobs in education and front-of-house functions as opposed to back-of-house and administrative roles, a finding that implies a potentially disproportionate loss of people of color who are more likely to work in those roles. We were also able to affirm the effects of PPP loans in stanching some of the bleeding, permitting a long hiatus between the first wave of reductions (March and April) and the second wave (beginning at the end of June). Finally, we were able to identify and share best practices in crisis management, such as deploying rolling furloughs, wage and hiring freezes, and salary reductions to help preserve jobs and continue delivering services.

This stopgap method, focused closely on impact to museum employment, worked alongside the excellent evaluation work initiated by AAM and other advocacy entities. Partnering with AAM, Wilkening Consulting connected directly with museum audiences about their responses to COVID-19.  Some of that data, along with research from LaPlaca Cohen and SloverLinett, also informed a special edition of Culture Track, Culture and Community in a Time of Crisis. Americans for the Arts developed a tool for tracking ongoing economic impact of COVID in the arts and culture sector. And in July, AAM released the results of a study performed by Benchmarking Dynamics, including the warning that “without near-term assistance from governments and private donors, hundreds of directors reported their museums may not survive the financial crisis brought on by the pandemic.”

All of these efforts are vital—but they are not enough. To perform at our best, make good decisions, solicit funding, and position our museums to survive this crisis, we need the kind of robust data and sophisticated insights already taken for granted in parallel industries. We need more thorough audience data. We need more internal data about the nature, function, and composition of the museum field, and more comparative data that allows us to observe and learn from different institutional models. Without acting on real insights, we risk making poor strategic choices. An informal poll of directors and consultants resulted in the following list of needs:

• Additional audience insights and message testing on the Benchmarking Dynamics data: The prediction that one-third of museums could dissolve startled many people, inside and outside of the field. How do museum leaders best characterize these findings for local audiences and donors? How do we build on this messaging to increase all forms of support? And, with the public increasingly aware that many museums carry legacies of white supremacy, colonialism, patriarchy, gentrification, and irrelevance to their communities, do we know if financially struggling museums will engender empathy?
• Quantifying employment loss with greater precision: By all indications, the Staffing Impact Google Sheet dramatically undercounts the number of museums that have made cuts to employment. How will we quantify the true impact, more precisely and empirically? If museums do close, how will we track that result? How will we quantify museums that simply go dormant, or shift their purpose? How will we measure budget shrinkage?
• Quantifying and characterizing changes to the workforce: As thousands of museum jobs vanish, employment in our sector is changing, perhaps permanently. We need to understand whether the lost jobs have changed the demographic makeup of our workforce, so that we can meaningfully track the effects of COVID on the diversity of our field. We should ask what types of employees have been lost by length of time in the field, education level, and wage level, to determine how the crisis has changed the field’s structure and leadership pipelines. And we should look at the variable impact on different museum subspecialties, so that we can think about what changes like the widespread loss of education and public engagement staff will mean for audience services.
• Fundraising during the pandemic: As directors and boards work to rebuild budget expectations, they are asking: what fundraising strategies are working now? How are museums making up the loss of earned revenue? What is the funding pool available from public agencies and foundations, and what is the degree of competition in the applicant pool? Are individual donors stepping up more, and if so, who, and how are they giving? Are foundations changing their giving patterns or restrictions? How are museums initiating dialogue with the philanthropy community about multi-year operational funding, race equity, and more transparent dialogue about needs?
• Business model comparatives: Many museums are finding that their old revenue model will no longer sustain their operation, and better data can help them identify possible alternative sources of support. When we break museum funding down into its major categories (government sources, earned revenue, philanthropy, investments), what are the major patterns? How has COVID-19 shifted this mix? Are museums moving to less dependence on earned revenue, changing their operating hours or pricing, adjusting programming, prioritizing fee-for-service programming? How many museums are drawing on endowments to a greater extent? What are the ideal mixes for maximum flexibility and crisis survival?
• Professional development and training: COVID-19 will most certainly mean reduced travel to professional conferences and training program. What alternative models exist to facilitate the delivery of needed professional development? Will we see an expansion of digital education and remote learning options? How will this change progress and inclusion throughout the field?
• Metrics on virtual programming: Almost all museums, to some extent, pivoted to virtual and remote program delivery during spring 2020. What have we learned? How can we evaluate the success of the field in delivering remote learning and virtual engagement? What are the most promising models? Is it all about the internet, or are analog strategies more effective? Can we put together participation statistics, compare examples, and develop adaptable insights?
• Internal policies and procedures: How has COVID-19 prompted changes in internal practices, such as work-from-home policies, childcare at work, performance management, and job design? How will these changes shift best practices for assessment and accreditation?
• Compensation: In addition to the ongoing need for clear and crisp comparative salary data, we also need benchmarks from adjacent fields. How competitive are museums with other nonprofit and cultural organization salaries? How do we assign relative values to functions that are transferable vs. ones that are unique to museums?
• Qualitative data on work experience: We need detail on the experiences of staff members in their workplaces and across their museum careers. In addition to demographic data, personal narratives about exclusion, discrimination, and harassment as they are found in the museum field can help create case studies, snapshots, and detailed reports from which we can build a healthier, more welcoming field. Individual narratives help render abstract problems more concrete and visible, sparking the empathy and compassion needed to make change.

As we reposition ourselves to move through a years-long COVID transition, we call upon AAM to commit to a comprehensive, ongoing research agenda that tabulates the force of COVID in reshaping our field and offers regular insights and analysis for ongoing management. In this challenging and competitive environment, we can no longer afford to make decisions on gut instinct, ad hoc databases, or anecdotal experiences. A new era has emerged, and we need our professional organizations to help us step out of the fog.

Thanks to the many professionals from AAM member organizations across the nation who contributed evaluation needs and ideas to this post. 

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Reposted from The U.S. Department of State

Today, Assistant Secretary of State for Educational and Cultural Affairs Marie Royce and Williams Director of the University of Pennsylvania Museum of Archaeology and Anthropology Dr. Julian Siggers signed a Memorandum of Understanding to establish a new public-private partnership. Under this partnership, the Department of State and the Penn Cultural Heritage Center will cooperate to combat international cultural property trafficking.

The United States is unwavering in its commitment to protect and preserve cultural heritage around the world and to combat the trafficking in cultural property that funds criminal and terrorist networks. This new partnership will facilitate consultations between U.S. law enforcement officials from the Federal Bureau of Investigation, Homeland Security Investigations, and U.S. Customs and Border Protection and experts in archaeology and art history when expertise is needed during the course of investigations. Experts from the faculty and staff of the University of Pennsylvania and other relevant universities, museums, libraries, archives, and nonprofit organizations will also participate.

The U.S. Government’s Cultural Heritage Coordinating Committee member agencies have repatriated more than 20,000 cultural objects to more than 45 different countries, and supported nearly 100 training programs in the United States and overseas. For more information, please visit the Cultural Heritage Center website at https://eca.state.gov/cultural-heritage-center/ and the Penn Cultural Heritage Center at https://www.penn.museum/sites/chc.

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Reposted from Hypoallergenic

A devastating blast ripped through the Lebanese capital of Beirut, August 4, killing at least 135 people and injuring approximately 5,000 according to the latest reports. The massive explosion, thought to be caused by a fire that broke out at a storage facility containing explosive materials at the port of Beirut, has decimated large parts of the city, including many of the Beirut’s galleries, museums, and art centers. Gallery director Gaia Foudolian and prominent architect Jean-Marc Bonfils both died in the blast.

The explosion flattened much of the port district and sent shockwaves that shattered windows and ceilings of buildings across the city. Beirut’s city governor Marwan Abboud said that up to 300,000 people have lost their homes because of the devastation.

Lebanon’s President Michel Aoun said that a fire detonated 2,750 tonnes of ammonium nitrate, a chemical component used in fertilizers and bombs. The chemical had been stored at the port unsafely since 2014, according to officials. The explosion is now under investigation.

This calamity comes after months of political unrest in Lebanon and a crippling economic crisis exacerbated by the coronavirus pandemic.

Many of the city’s leading art venues were damaged in the blast. Marfa’ Gallery and Galerie Tanit, both located close to Beirut’s Port, were hit hardest.

Sfeir Semler Gallery, a gallery in the Karantina district north of the port, was also damaged. The gallery, a staple in Beirut’s art scene,  represents world-renowned Lebanese artists like Etel Adnan, Walid Raad, and Akram Zaatari.

Gaia Foudolian, the director of Letitia Gallery in the Hamra district, died in the explosion, her colleagues confirmed to Hyperallergic.

Architect Jean-Marc Bonfils, who designed the East Village building which houses Galerie Tanit in the Mar Mikhael neighborhood, also died from the blast. A gallery employee was seriously wounded, according to her colleagues.

The blast also hit major art institutions in the city like the Sursock Museum, Ashkal Alwan, the Arab Image Foundation, and the Beirut Art Center, among others.

Zeina Arida, the director of the Sursock Museum, was at her office when the explosion shook the building shortly after 6pm on Tuesday.

“Luckily, the museum closed 15 minutes before the blast,” Arida told Hyperallergic in a phone conversation from Beirut, adding that no visitors or staff were hurt. The blast, she said, was “incomparable to anything we have ever witnessed.”

The explosion shattered the museum’s doors, windows, skylights, and collapsed the ceilings of some of its rooms. It also damaged a large number of artworks in its permanent collection, including a valuable 1930 portrait of the museum’s founder Nicolas Sursock by Dutch painter Kees van Dongen. Two ceramics by the Lebanese-American artist Simone Fattal were completely destroyed, among many other items in the collection.

“At first, we feared it was bombing, and that there would be more to follow, so we stayed in the building,” Arida described the moments after the explosion. “We quickly realized how great the damage is.”

In the face of this massive destruction, art institutions in Beirut are helping each other to protect their collections. The Arab Image Foundation, which suffered significant damage, relocated its servers to safe storage at the Sursock Museum, by Arida’s invitation.

“Our storage rooms are still sound and they are open to any organization that needs to store its collection,” Arida said.

Arida, who estimates the damage to the museum to be in the millions of dollars, expects restoration efforts to be hampered by the country’s economic crisis.

“The banks have confiscated our funds,” she said. “I don’t how we’re going to do it. It will take years to restore the museum.”

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Reposted from The Telegraph

The British Museum has been battling invasive insects amid fears marauding pests helped by the absence of visitors during lockdown could damage priceless exhibits.

Experts at the institution which houses delicate historical artefacts have warned that without the usual crowds of tourists browsing displays due to Covid-19, settling dust can make an inviting environment for problem creatures.

Birds can enter the building and rodents gnaw their way into the Bloomsbury museum, but the greater threat comes from woodworms, moths, and carpet beetles which can devour irreplaceable items.

These insects can make a meal of precious fabrics and textiles such as the Native American clothing and ceremonial masks displayed in the galleries, or nibble through wooden creations like totem poles.

Dust which has settled in the absence of visitors allows the creation of an ecosystem in which pests can flourish, and in turn become inviting prey for other animals which are among the major threats to collections. 

The British Museum told the Telegraph that it is tackling the problem of increasing insect numbers in the galleries to defend fragile treasures, and a specialist  “Integrated Pest Manager” is keeping the bugs at bay.

The old and complex 19th century building presents problems for thorough pest control, and the prevention of infestation is done in a “holistic” way without the use of pesticides or poisons. 

Displays in the museum also offer perfect food for invasive insects, with skin, fur, feathers, and wood all ideal sustenance for the most common problem creatures.  

Those on open display in spaces like the Great Court are more susceptible to damage. 

Museum staff have been monitoring the bug population in the building, conducting risk assessments for historical items which could come under threat, and pest-proofing the site.

A spokeswoman for the institution explained the issues presented by a lack of footfall:  “The collection is housed in a splendid, but old and complex, building and our visitors play their part in controlling humidity and dust levels that create environments for pests to thrive.”

Roosting birds and nesting rodents can make their way into the museum, damaging and dirtying the building in the process.

Woodworm can also bore into prized objects in the collection of treasures from around the world, including delicate fabrics in the New Zealand, Aboriginal, African, and Native American sections.  

But Integrated Pest Manager Adrian Doyle has explained that the larvae webbing moths, which are commonly found chewing through clothing, can be a major threat to the museum’s collection.

The larvae of carpet beetles, often an issue in people’s homes, also feed on organic material.  Often a problem in natural history museums where bird and insect displays can be consumed, the British Museum is guarding against the creatures devouring fabrics.    Afghan dresses, African masks, Alaskan parkas, and Asante wooden thrones could all come under threat from these common bugs, and more everyday pieces like the museum’s wooden floorboards could also become a feast.

Action is being taken to mitigate the risks, and the museum’s pest manager and expert curators have “been able to undertake increased deep cleaning and additional pest-proofing”.

Measures include blocking access for pests, removing food sources and breeding grounds, purging dust from the galleries, and treating objects if insects have reached them.  

Rodent poison has been abandoned to prevent mice and rats dying in unreachable spaces. 

A spokeswoman for the institution said: “During lockdown, the British Museum’s Integrated Pest Manager with assistance from  world-renowned conservation and collection care team have been monitoring Museum objects and their environment.”

She added:  “We are continuing to monitor all sites for insects and rodents using an IPM risk assessment process.

“The care of the collection is of utmost importance to the British Museum.”

Thanks to this work experts have “not seen any overall increase in pest activity across the museum in stores or galleries”.

While a lack of visitors has helped create a potentially more welcome environment for insects, the absence of diners eating in the main hall of the museum has removed a key draw for rodents.  

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Reposted from Artnet News

The Museum of Fine Arts, Boston is one of dozens of major cultural institutions across the US that has resorted to layoffs amid a prolonged shutdown. At the start of the month, the museum, which has been closed since March, announced that it was terminating 57 employees, with an additional 56 staff members taking voluntary retirement. Earlier, in April, the MFA furloughed more than 300 staff members—more than 40 percent of its 750-strong workforce.

Now, current and former staffers are stepping in—independent of the museum itself—to lend a hand to those hardest hit. In the latest example of peers raising money for colleagues through mutual aid, a group of MFA employees have organized the MFA Boston Mutual Aid Fund. According to its GoFundMe page, the fund has already exceeded its $75,000 target by $25,000, raising a total of $100,175 from 230 donors in the space of just five days.

The initiative is described as a community-based fundraiser outside the umbrella of the museum and established by and for the workers of the MFA. It is run by current and former colleagues who believe mutual aid is “one significant way to demonstrate collegiality and support.”

Noting that “overburdened unemployment systems have often been unable to offer immediate relief,” coupled with the fact that the additional $600 a week benefit for those out of work ended last month, the MFA’s fund will give donations directly to staff who have been laid off or had their furloughs extended between March and July 2020 and who need support covering rent, bills, food, and medical expenses.

This includes both full-time and part-time staff, restaurant associates, contract staff, fellows, teen staff, and interns, according to the GoFundMe page. “We will try to prioritize those hardest hit,” the group’s founders write. Depending on the amount of money raised, individuals can expect to receive amounts up to $500, and possibly more for extraordinary circumstances.

Organizers said they do not expect to have any leftover funds given that financial need will be immediate and widespread.

Mutual aid efforts—which serve as a symbol of both staff unity and the challenge of addressing inequality swiftly on an institutional level—have been launched by the Tenement Museum, the Museum of Contemporary Art in Los Angeles, and the Brooklyn Museum. (The latter saw four-figure donations from the museum’s director, former director, and board chair.)

The MFA Boston expects to bring back 211 of the 301 furloughed workers starting in August. “The fund is a wonderful initiative and to see the outpouring of support and generosity from across the MFA family has been incredible,” a spokeswoman for the museum told Artnet News. “Our thoughts are with our colleagues during this very difficult time, and we’re grateful to the group of staff who organized the fundraiser.”

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Reposted from Newsweek

A century-old anthropology museum in San Diego unveiled its new name on Sunday.

The institution, formerly known as the Museum of Man, is now officially called the Museum of Us. In one of several announcements about the switch, executives said the museum's updated identity better represents "our work toward equity, inclusion, and decolonization."

The museum adopted its previous moniker in 1942. At the time, "museum of man" aimed to reflect the establishment's focus on anthropology, a field of study that broadly encompasses scientific and cultural research pursuits related to human behavior.

Conversations about the ways in which its use of "man" was problematic began to circulate almost three decades ago, after community members noted its gendered, colonial implications.

"Not only did the Museum's old name support patriarchal systems, but it represented a colonial past that perpetuated racist narratives and harmed Indigenous communities," the museum said in a statement shared to its website on Sunday. "Today, we are addressing our colonial legacy in a number of ways, including actively listening to the voices of San Diego community members, Indigenous Peoples nationally, and our national and international visitors."

Following more than two years of discussions among stakeholders and members of the public, the museum said its trustee board officially approved the name change at the end of June. Its former website URL now redirects users to a new one consistent with the update. A pop-up message introducing visitors to the switch appears when loading the home page.

"It's us! Your new museum," the message reads. "Formerly known as the Sn Diego Museum of Man, we have begun the process of changing our name to better reflect our commitment to inclusivity."

Newsweek reached out to the Museum of Us for additional comments, but did not receive a reply in time for publication.

The museum board's decision to move away from a name reminiscent of the United States', and California's, history of colonization came amid a national movement to effect similar changes elsewhere. Demonstrations against systemic racism and police abuse that took place after George Floyd's death sparked widespread efforts to remove statues, and rename public spaces, with ties to the Confederacy.

Protesters and lawmakers have faced pushback against their initiatives, with some leaders, like President Donald Trump, arguing for the preservation of memorials linked to the Confederacy. Still, numerous symbols were taken down nationwide over the past two months. Local leaders in Virginia celebrated the removal of Confederate memorials from the state's capitol last week, and polls conducted around the same time showed most Americans support efforts to do so across the country.

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Reposted from Artnet News

Workers at the Philadelphia Museum of Arts (PMA) voted to unionize today, less than 48 hours after the institution announced that it had laid off 25 percent of its staff.

The bargaining group, which is affiliated with the American Federation of State, County, and Municipal Employees (AFSCME) District Council 47, is the first wall-to-wall union at a museum in the country, meaning that any employee who works more than four hours a week at the institution is eligible to join.

After months of negotiations between the union and the institution’s leadership, a mail-in vote for all museum employees was conducted between July 9 and July 30 by the National Labor Relations Board, a federal organization. 

The results, tallied this morning, showed that 89 percent of workers agreed to join the union, far surpassing the 50 percent mark needed for a win.  

“It feels fucking awesome,” says Adam Rizzo, a member of the union’s organizing committee.

Rizzo and dozens of other employees watched live on Zoom today as the Labor Relations Board conducted the final count. “We knew we had the support already. It felt great to see the votes come in in person, but it seems like the museum wasted a bunch of time and resources fighting this. Still, we’re absolutely thrilled.”

“Just as we respected the right of staff to organize at the outset, we also respect today’s outcome,” Timothy Rub, director and CEO of the museum, said in a statement to Artnet News. 

“As we move towards the development of a collective bargaining agreement, we pledge to work in good faith to achieve the best outcome for our staff and for this institution.”

Conversations about forming a union began percolating over a year ago, when a Google Spreadsheet of museum workers’ salaries went public, Nicole Cook, a member of the union organizing committee, told Artnet earlier this year.

After reaching a “supermajority” of eligible museum employees in favor of unionizing, the group of workers announced their official intent to do organize on May 22.

But the PMA denied the request for voluntary recognition, which would have eliminated the need for a vote. They cited objections to the size and makeup of the proposed group and instead argued that there should be two units, one each for “core” and “non-core” employees, which would dilute the influence of a singular group.

“That actually ended up working in our favor because it pissed so many people off,” Rizzo says. “No one wants to be told they’re not a core employee to the museum’s mission.”

In June, the museum retained the services of a notorious union-busting law firm, Morgan, Lewis & Bockius, which has. has deep ties with the museum. It is a Gold-level corporate supporter, and Timothy W. Levin, one of the firm’s lawyers, is on the museum’s executive board.

In June, days after the museum announced plans to furlough more than 100 employees—amounting to more than 20 percent of its staff—the institution and the union agreed to hold the mail-in election. 

In a big win for the union, both parties agreed to count the votes of recently furloughed or laid-off employees. 

On Tuesday, August 4, the museum let go 85 employees for good, while an additional 42 left through voluntary separation agreements, according to the Philadelphia Inquirer. Those who signed separation agreements were ineligible for today’s vote. The museum also contested over 40 voters, arguing that they weren’t eligible.

“We did this because we really care about the museum,” Rizzo says. “We hope that this will actually affect some positive change.”

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Reposted from Artnet News

Beware the art museum selfie: another inconsiderate art lover has wreaked havoc in their quest for the perfect photo op. This time, the victim was a historic plaster model by the Italian artist Antonio Canova (1757–1822).

On July 31, a misguided Austrian tourist snapped the toes off the Neoclassical sculpture Pauline Bonaparte as Venus Victrix, housed at Possagno’s Museo Antonio Canova in northeast Italy, while attempting to sit on its lap for a photo.

Selfies have become something of a scourge for museums in recent years, leading to accidents that have damaged valuable artworks around the world.

In this most recent case, the guilty party “left the museum in a hurry without reporting the incident,” according to a post on the institution’s Facebook page. Staff discovered the damage shortly thereafter, and reviewed security footage to find the responsible party.

As museums in Italy reopened after the shutdown, they began to require foreign visitors to sign in by name, which meant that the museum was able to identify the responsible individual—but he or she has not been tracked down since fleeing the scene of the accident, and their name has not been released to the press.

Vittorio Sgarbi, an Italian politician and controversial art critic who serves as president of the Antonio Canova Foundation, called on Italian police in a Facebook post to find the person responsible for this “unprecedented stupidity” and take him into custody, “not allowing him to remain unpunished and return to his homeland.”

New proposed legislation in Italy would increase the maximum sentence for vandalizing art to eight years in prison on top of a fine of €100,000 ($117,000).

The 1804 plaster sculpture is a survivor of World War I, when a Christmas bombing raid hit the museum in 1917. A 2004 restoration reattached the figure’s severed head and repaired damage to the cloth, hands, and feet, according to la Repubblica.

This time around, the museum isn’t delaying efforts to fix the piece. “Luckily, we found the broken parts of the gypsum,” museum director Moira Mascotto told the Austrian Press Agency. “That helps us with the restoration.”

The artwork is part of the museum’s gypsotheca, or “collection of plasters,” containing the original plaster models for Canova’s finished marble works. Established by the artist’s half-brother, Giambattista Sartori, in 1829, it is Europe’s largest monographic gypsotheca.

The celebrated marble version of the statue, which depicts Paolina Bonaparte Borghese, Napoleon’s sister, as Venus, is part of the collection of the Galleria Borghese in Rome.

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