The CMA has adopted an explicit racial equity lens in support of its vision to become “a global leader among museums.” The test, of course, is whether the organization follows through on its plan.
Both the Van Gogh Museum in Amsterdam and the Mauritshuis in The Hague have recently terminated long-term, financially lucrative partnerships with one corporation. What’s up with that?
After 26 years, the National Gallery, a Smithsonian museum on the National Mall, looks to hire a new director. Whoever is ultimately selected will face a wide range of challenges.
Rather than wait for residents in the Big Easy to come to the art museum, the museum has launched a pop-up museum that visits neighborhoods throughout the city.
After four months of bargaining—not to mention picketing and a one-day walkout—a union representing much of the museum’s staff secured raises and some improved benefits and claimed the new contract as a victory for arts workers.
The Abraham Lincoln Presidential Library Foundation considers selling one of the 16th president’s iconic stovepipe hats to finance the debt incurred to buy it.
The art world has historically been dominated by white curators. But both philanthropy and a shifting cultural and political climate within the art world itself are starting to change that.
The current professional standard is clear: Art museums must always use proceeds from the sale of art to buy more art. Is that the right standard for the field to have?
Until the 1990s, the story of slavery was entirely absent from the tour of Thomas Jefferson’s Monticello home and plantation. Tours of the slave quarters were then added, but the rest of the tour focused on Jefferson. Now, Monticello is changing to reflect the Black majority who lived there.
When an important nonprofit institution experiences waves of staff and board departures, serious questions will always be raised.
