Posts tagged with "Museums":
As recently reported by The Art Newspaper, the Met, which will remain shuttered until at least July 1, is anticipating a $100 million shortfall as a direct result of the pandemic. In 2018-2019, the Met, facing a mounting deficit problem, enjoyed a healthy surge of revenue from a new ticketing scheme that abandoned an across-the-board “pay what you wish” donation model in favor of charging non-New Yorkers $25 a head for admission. While controversial, the Met experienced record attendance during the 2018 fiscal year with the new admissions policy in place, bringing in $8 to $11 million in additional revenue. The museum’s fiscal budget for 2018 was $320 million with 16 percent, or $48 million, coming from ticket sales. The following fiscal year was even stronger with upped admissions ($55 million in revenue), a dramatic bump in endowment support, and increased retail sales. Even if it lasts just a few months, the coronavirus shutdown could undo more than two years of financial progress made by the immensely well-funded Met. And this, as the New York Times, points out, is a troubling sign for other cultural institutions in New York and beyond:
Every day, museums and cultural institutions are collectively losing $33 million as a result of COVID-19 closures.This is not just about us at The Met––this is about our community of cultural organizations across the nation. But we need your help. ⬇️#CongressSaveCulture pic.twitter.com/L1Yb5WSAcr — The Metropolitan Museum of Art (@metmuseum) March 24, 2020
The Met is an important canary in the coal mine for arts institutions all over the country; when the museum announced on March 12 that it was closing, others followed close behind. If even a behemoth like the Met—with an operating budget of $320 million and an endowment of $3.6 billion—is anticipating such a steep financial hit, smaller institutions may not be able to survive at all.It’s worth noting that the Met doesn't plan to dip into its sizable endowment—which has since shrunk as the stock market declines—as a resource and that a hefty portion of the loss incurred during and after the closure won’t come from ticket sales but from the normally deep wallets of wealthy donors becoming a bit more constrained. The Met has not yet parted ways with any employees but furloughs, layoffs, and voluntarily retirements will be evaluated at the beginning of April. And provided it reopens as planned in July, it will do so “with a reduced program and lower cost structure that anticipates lower attendance for at least the next year due to reduced global and domestic tourism and spending,” reads the letter from Weiss and Hollein.
Laura Lott, president and chief executive of the nonprofit American Alliance of Museums, relayed to the Times that museums and other cultural institutions that aren’t the Met may never reopen at all. She noted that three-quarters of museums in the U.S. are now temporarily shuttered and that one-third of them will never reopen once the pandemic eventually passes. “This situation is by far more dire than anything I have experienced in my 25 years of being an arts finance professional,” said Lott. A recent national survey released by Americans for the Arts estimated financial losses in the nonprofit arts sector to be roughly $3.2 billion in total to date, a sum that includes both income from admissions and non-admissions revenue sources like gift shop sales, sponsorships, and the like. As COVID-19 bears down on the U.S., Americans for the Arts and other organizations have lobbied Congress for much-needed help in the form of $4 billion in aid that would be part of the $2 trillion economic stimulus package meant to jump-start the flailing American economy and help families and workers. As of now, that package includes $25 million earmarked for the John F. Kennedy Center for Performing Arts in Washington, D.C., and $75 million for the National Endowment of the Arts, a vital federal program already made vulnerable by the Trump administration.
#Coronavirus has a devastating economic impact on America’s nonprofit arts sector—financial losses to date are estimated to be $3.2 billion. @americans4arts calls on Congress to take action to help halt the economic freefall of the nonprofit arts industry. https://t.co/0LfaKjR8Qz— AmericansForTheArts (@Americans4Arts) March 19, 2020
I’m glad to see the House pass legislation to pave the way for the creation of the Smithsonian Women’s History Museum! @SenatorCollins and I have companion legislation in the Senate and I look forward to its quick passage and the creation of this important museum. https://t.co/V03roEldys— Senator Dianne Feinstein (@SenFeinstein) February 13, 2020
While efforts to build the National Pulse Memorial and Museum at the site of the deadly Pulse nightclub shooting in Orlando, Florida, are moving forward, certain LGBTQ activists, survivors, and loved ones of victims are voicing opposition to the plan. Last month, organizers who are against the onePULSE Foundation’s initiative to establish the museum formed the Community Coalition Against a Pulse Museum (CCAPM), which aims to develop an alternative vision for how to remember the victims of the deadliest anti-LGBTQ act of violence in U.S. history.
As AN reported earlier this year, six major architecture firms have already been shortlisted from an initial 68 submissions for onePULSE’s international design competition. The finalists include Diller Scofidio + Renfro, MASS Design Group, MVRDV, and Studio Libeskind. While no winner has been announced yet, the process of soliciting proposals and selecting the designer has progressed steadily since the shooting in June 2016. The foundation’s plan for the site includes using the original nightclub building and constructing an additional 30,000-square-foot museum nearby. There is also an effort to integrate the memorial and museum into a broader urban design plan that would connect the former nightclub to downtown Orlando. If this is executed, visitors will be able to walk along the planned Orlando Health Survivors Walk, leading them to various sites involved in the aftermath of the shooting.
As for CCAPM, activists argue that funds used for the construction of the museum building should be directed towards victims’ families and survivors of the incident, not towards a tourist attraction. According to the organization’s website, opponents of the construction project maintain that: “All funds raised should be used to expand existing services and ensure that all survivors get the financial support, medical services, community support programs, and mental health care they need for life.”
The museum is expected to cost $45 million, including $40 million in construction costs and additional funds for staff salaries. As the Orlando Sentinel reported earlier this summer, onePULSE’s proposed budget includes a $150,000 annual salary for Barbara Poma, who established the Pulse nightclub in 2004 in memory of her brother, a victim of the AIDS epidemic. Poma is now the CEO of the onePULSE foundation.
“Once I heard that [Poma] didn’t want to sell Pulse to the city, I objected,” Casiano said. “I’ve stayed quiet for three years.[...]But seeing everything that’s going on, I can’t stay quiet anymore.”#NoPulseMuseumhttps://t.co/MT7PeoLyj1— NoPulseMuseum (@NoPulseMuseum) August 15, 2019
With an exhibition of the proposed designs set to open at the Orange County Regional History Center in Orlando this October, there is no sign that onePULSE will significantly alter its plan to construct the museum. According to NBC News, the foundation responded to continuing allegations that it is profiting off of victims’ traumatic experiences by assuring that it is listening to all concerns closely: “We respect the thoughts and opinions of everyone in the community who was affected by this tragic event and are taking them all into consideration on how we move forward.”
The memorial and museum are slated to officially open in 2022.
French-Italian art collector Jean Pigozzi has gifted New York’s Museum of Modern Art (MoMA) a substantial collection of contemporary artwork from across Africa. The 45 pieces included in the donation feature work by Sierra Leonean artist Abu Bakarr Mansaray, Malian photographer Seydou Keïta, and Congolese sculptor Bodys Isek Kingelez, whose fantastical models of cityscapes formed the retrospective exhibition Bodys Isek Kingelez: City Dreams at MoMA last year. According to MoMA, Pigozzi’s is the largest single gift of African art that the museum has ever received and will contribute significantly to future displays of its permanent collection.
Born in Paris to Italian businessman and Simca-founder Henri Pigozzi, Jean Pigozzi amassed his fortune through inheritance and a variety of enterprises, including photography and fashion design. He jumpstarted his collection of African contemporary art in 1989, soon after seeing the exhibit Magiciens de la Terre at the Centre Pompidou in Paris. Curator André Magnin lent considerable guidance as Pigozzi accumulated upwards of 10,000 pieces, now widely recognized as one of the largest collections of African contemporary art in the world. Pigozzi has maintained his holdings as the Contemporary African Art Collection (CAAC) in Geneva, which has no permanent galleries for exhibition. Pieces from the CAAC have been lent to museums and galleries across Africa, Europe, and North America for a range of temporary exhibits.
The move by Pigozzi sheds light on a broader effort by MoMA to overcome its longstanding focus on American and European modernism. The museum’s leaders have been appealing to donors with collections that highlight other regions of the world, including Patricia Phelps de Cisneros, who has given Latin American artwork to the institution twice since 2016. For MoMA, the acquisition may represent an opportunity for both redemption and growth. Between 1984 and 1985, the museum held an exhibit titled ‘Primitivism’ in 20th Century Art: Affinity of the Tribal and the Modern, which many have excoriated for promoting reductive, racist, and deeply ingrained notions of African inferiority. The Pompidou show that catalyzed Pigozzi’s collection was largely considered a rebuttal to MoMA’s own curatorial efforts, prompting Pigozzi himself to spend much of his life advocating for African contemporary art as on-par with, and often more interesting than, Western examples.
The growing stature of African contemporary art on the global stage extends well beyond MoMA’s walls. Earlier this year, the 1-54 Contemporary African Art Fair made its Manhattan debut at New York’s Industria, six years after its founding in London and four years after popping up in Brooklyn. In 2016, the international auction house Sotheby’s opened a department dedicated to African art in London, which has been frequented not only by Europeans but also by wealthy collectors from Nigeria, Kenya, and elsewhere in Africa. MoMA is likely looking to get in on the action, and Pigozzi’s gift presents the institution with its best opening yet.
While it is still unclear exactly how curators will incorporate Pigozzi’s pieces into the MoMA’s permanent collection displays, they are sure to play a role in the museum’s continuing growth. MoMA’s newly expanded facility, including its reconfigured permanent collection galleries, will open to the public on October 21, 2019.