Today on Modern Art Notes: Why are NYC's biggest art museums suddenly growing?
So what in the name of Coldwell Banker is going in with New York’s art museums?
In the last week, MoMA has added space on West 53rd Street by buying the American Folk Art Museum’s building. The Metropolitan Museum of Art has added space by taking over the Whitney Museum of American Art’s Upper East Side building. That just-announced arrangement takes effect in 2015. The Whitney will add space by building a new Renzo Piano design in New York’s Meatpacking District. And who could forget that the Guggenheim previously announced that it wants to add space… in Finland?
In the last six months or so, governments in the United Kingdom and in the United States have made huge, job-killing cuts in arts spending. Quick quiz: Who has made the deeper cuts: The Conservatives-led coalition government in the UK, or Barack Obama and the Democrats in the US?
Should art museums be free? In two posts, Modern Art Notes compiles some surprising data
Over the course of two posts late last week and today, I’ve used recent data from the Los Angeles County Museum of Art to posit this question: At what point should an art museum make general admission free to the public?
For example, LACMA derives about three percent of its revenue from admissions fees. Is that such a small amount that they’d better fulfill their mission, serve their community — and maybe their bottom line too — by going free? Read part one here.
When MAN’s readers pointed out that museum membership programs — a significant source of revenue — might suffer if art museums went free, MAN asked four museums that once charged and then went free for their before-and-after membership data. (The museums: the Baltimore Museum of Art, the Indianapolis Museum of Art, the Minneapolis Institute of Arts and the Nelson-Atkins Museum of Art, which is pictured above, at right.) Their responses may surprise you. Read part two here.
Today on Modern Art Notes: Part one of MAN's review of Lewis Baltz's 'Prototypes' at the National Gallery of Art
Lewis Baltz may be the most important, least-known living American artist. A new exhibition at the National Gallery of Art (organized by the Art Institute of Chicago, which also published the related book) shows Baltz’s earliest work, a series of 84 pictures that simultaneously explore details of new, cheap American buildings while riffing on the history of 20th-century painting.
Today on Modern Art Notes: The confluence of Ai's imprisonment and a critical downgrade at the Washington Post
Last week, as China’s detention of Ai Weiwei continued even as governments around the world protested, the Washington Post downgraded its art critic position to a part-time responsibility. To put it another way: Just as China decided an artist was so important and threating that he had to be silenced, Washington’s newspaper-of-record decided that art isn’t worth a single full-time staffer.