The Art Museums of Israel

Artistic communication is the interaction between the viewer and the work of art. Its success is the highest goal of an art mediator, whose role is to establish and maintain a dialogue between the subjects of artistic communication. n this regard, art mediation is understood by the authors of the article as a participatory practice that teaches visitors of art museums and galleries the language of art and its interpretation. This view is confirmed by a review of the concept of artistic communication in scientific literature, as well as an analysis of the practice of art mediation, its basic principles (such as openness, polyphony and the use of an individual approach by an art mediator) are revealed on the example of the Krasnoyarsk Museum Biennale «Negotiators» in the Krasnoyarsk Museum Center.

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Reconsidering People as the Institution: Empathy, Pay Equity, and Deaccessioning as Key Leadership Strategies in Art Museums

Curator The Museum Journal ◽

10.1111/cura.12420 ◽

2021 ◽

Vol 64 (2) ◽

pp. 253-268

Author(s):

Amy Whitaker

Keyword(s):

Art Museums ◽

Leadership Strategies ◽

Pay Equity

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Collecting Pandemic Phenomena: Reflections on Rapid Response Collecting and the Art Museum

Collections ◽

10.1177/1550190620980844 ◽

2021 ◽

pp. 155019062098084

Author(s):

Sandro Debono

Keyword(s):

21St Century ◽

Art Museum ◽

Art Museums ◽

Rapid Response ◽

Early Years ◽

Future Generations ◽

Specific Context ◽

Development Methodology ◽

Works Of Art ◽

Potential Use

Rapid Response Collecting has been a most apt methodology with which to document the COVID-19 pandemic for an increasing number of museums. As the phenomenon unfolded across the globe, museums searched for and head-hunted the truth-revealing objects that could tell the stories and histories of the present to current and future generations. Indeed, the COVID-19 pandemic took Rapid Response Collecting to a higher level. A methodology originally conceived for a sporadic phenomenon happening within a specific context during the early years of the 21st century gained much more traction almost overnight. This paper shall make a case for a better understanding of the potential use and application of Rapid Response Collecting by art museums. It shall look into the defining values of this collections development methodology and how these can be applied and adopted when acquiring works of art. In doing so, it shall seek to understand to what extent the mainstream version of Rapid Response Collecting can be adapted for the needs, purposes and requirements of the art museum.

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