#museum-curatorial-diversity

#museum-curatorial-diversity

The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.

In 2021, women held only 28% of professorships in higher education and research institutions, even though they comprised 48% of PhD students, according to data gathered from a sample of 900 EU and non-EU institutions.

The contemporary technology museum has emerged as a performative participant in the systems it seeks to document. The architecture of these institutions has become increasingly fluid and bold, often mirroring the velocity and complexity of the systems it houses. They operate as mediators between the human, the ecological, and the technological realms, transforming from encyclopedic warehouses into active educational engines.

The Asian Art Museum is home to one of the world's finest collections of Asian art, boasting more than 18,000 awe-inspiring artworks ranging from ancient jades and ceramics to contemporary video installations.

The Louvre accumulated considerable delays in the deployment of its security equipment, in favour of an event-driven policy, a judgment Des Cars said was unfair.

Bregman claims, 'Today the whole of Europe risks turning into one big Venice, a beautiful open-air museum. A great destination for Chinese and American tourists. A place to admire what was once the centre of the world.' This statement encapsulates the concern that Europe is losing its cultural significance.

Although the AGO had planned to jointly purchase Goldin's moving-image work Stendhal Syndrome (2024) with the Vancouver Art Gallery (VAG) and Minneapolis's Walker Art Center, it pulled out in mid 2025 after its modern and contemporary curatorial working committee voted 11-to-9 against it. The move was unexpected, especially as the AGO already had three Goldin works in its collection. (The VAG and Walker Art Center proceeded with the joint acquisition.)

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

I feel grateful all the time that it was my entry point into the art world because it was always about understanding how art and community live together and having a blurry understanding of the limits of the fields of art. I'm always working around the assumption, idea, and understanding that art is everywhere. The artists are everywhere...they're in and out of different industries and movement spaces, and part of coalition building.

Brooklyn Museum Fills Its Top Contemporary Curator Spot Robert Wiesenberger was named senior curator of contemporary art at the Brooklyn Museum, a post that has been vacant since the departure of Eugenie Tsai in 2023. He comes from the Clark Art Institute in Williamstown, Massachusetts, where he was curator of contemporary projects, and was previously a curatorial fellow at the Harvard Art Museums.

Among the museum directors paying keen attention to the ruling, on 3 December, that all federal grants from the Institute of Museum and Library Services (IMLS) would be reinstated, the director of the Seattle Art Museum Scott Stulen heaved a sigh of relief. In 2025, the Pacific Northwest's leading art museum saw all its federal funding cut. That represented the loss of an annual income stream, he says, of between $300,000 and $400,000.

It's impossible to imagine New York City without art, or contemporary art without New York City. This is where you come to see the best of the best, or to take part in making it. This country's international standing is down in the gutter, thanks to Trump, but this city is still a living, rolling dream. Right now, we're waiting to see who's going to be Mayor Mamdani's pick for cultural affairs commissioner. It's an important role that determines where the city's budget priorities will lie and who'll get a seat at the table. Gonzalo Casals, who served as culture commissioner under Mayor de Blasio, and Mauricio Delfín, who co-directs the Culture & Arts Policy Institute with Casals, have some urgent thoughts on the matter. It's a must-read not just for Zohran (send him a link if you're on texting terms), but for everyone who cares about art in this city.

In the autumn of 2022, Max and I walked up the iconic steps of the Metropolitan Museum of Art in New York City to visit Chroma: Ancient Sculpture in Color. As the young son of a professional classicist, and a burgeoning one himself, my museum partner already knew about the ancient history of painted statues when we began to explore the galleries. Max's knowledge seemed the exception rather than the rule.

When Thomas Jefferson wrote about the "inalienable" rights of man in the US Declaration of Independence 250 years ago, it's possible he lifted the term from the French. And long before it was ever used as an adjective to describe human rights, it defined royal property. To this day, "inalienability" remains a cornerstone of public collections in France-and many other countries-impacting museums and their ability to deaccession, including for purposes of restitution.

Featuring more than 70 works by a diverse array of artists, including June Clark, Jasper Johns, Faith Ringgold, Robert Rauschenberg, Shepard Fairey, David Hammons, Julie Mehretu, Dread Scott, and Hank Willis Thomas, For Which It Stands... challenges viewers to consider who the American flag truly represents, and whether justice is available to all. On view in Fairfield, Connecticut, from January 23 through July 25, the exhibition opens with Childe Hassam's "Italian Day, May 1918" - lent by Art Bridges - and concludes with a textile sculpture newly commissioned from Maria de Los Angeles. Emma Amos, Eric Fischl, Jane Hammond, and Glenn Ligon are among the many other artists whose work is represented.