Deaccessioning to add new works

The Baltimore Museum of Art (photo by Mike Steele, via Flickr)

Benjamin Sutton, “Baltimore Museum of Art Acquires 23 Major Works…” Hyperallergic, June 28, 2018.

Njideka Akunyili Crosby, “Dwell: Aso Ebi” (2017), the Baltimore Museum of Art, purchased as the gift of Nancy L. Dorman and Stanley Mazaroff, Baltimore, in Honor of Kristen Hileman (courtesy the Baltimore Museum of Art)

Announcement fro the BMA

And the earlier story:

Cara Our, “Artists and Curators Weigh in on Baltimore Museum’s Decision to Deaccession Works by White Men to Diversify its Collection.” Hyperallergic, May 8, 2018.

Acquisitions, repatriation, and popular culture

“These items are not for sale.”

“What Black Panther Gets Right About the Politics of Museums”

“In one scene, the blockbuster superhero movie touches on issues of provenance, repatriation, diversity, representation, and other debates currently shaping institutional practices.”  Lise Ragbir, Hyperallergic, March 20, 2018.

“Museums Should Consider Why They’ve Become Targets of Attack and Protest”

“A terror plot targeting the British Museum was recently thwarted, but the reasons why it became a target in the first place go far beyond the current political climate.” Erin L. Thompson, Hyperallergic, June 11, 2018.

What is “relevant” in the 21st c.?

Two articles about how museums can make, and are making, exhibitions meaningful today.

“How art museums can remain relevant in the 21st century.” Alina Cohen, Artsy, June 15, 2018.

“The Mississippi Museum of Art Confronts the State’s Painful History”

The institution recently opened Picturing Mississippi, which presents a journey through the state’s charged history sprinkled with salient contemporary art.

Seph Rodney, Hyperallergic, June 18, 2018

Installation view of Picturing Mississippi, 1817–2017: Land of Plenty, Pain, and Promise at the Mississippi Museum of Art (all images by Julian Rankin and courtesy Mississippi Museum of Art unless otherwise noted)