As you know, I go to a lot of museums. I also enjoy reading about museums, and especially the people behind museum experiences. Here are three articles about "museum people" — for lack of a better term – that I thought you might enjoy reading too!
The Most Powerful Woman in the New York Art World
Her name is Lisa Phillips and she is the director of the New Museum in Lower Manhattan — a museum that I have never been to, by the way. But, it's definitely on my list now.
Metropolitan Museum's Director Resigns Under Pressure
They say there are five great art museums in the world: The Met, MoMA, The Prado, The Louvre, and the Hermitage. It was therefore quite shocking to discover Thomas P. Campbell's sudden departure from the Met and the serious financial problems of the museum so long regarded as a cultural institution.
Peabody Essex Museum Hires Neuroscientist to Enhance Visitor Experience
Her name is Tedi Asher and I'm super excited by what she's going to be doing. In fact, I'm encouraged to renew my Peabody Essex museum membership (recently lapsed) because I want to see the changes!
Hope you found these three articles as interesting as I did. I think it's important to know who the people are who are making the decisions about what art is "important" and how it should be presented to the public. As democratized as some aspects of art are, museums remain a very particular kind of place. Knowing who is behind the choices helps me to view museum art with perspective.
Thanks for stopping by!
Thank you so much Julie for posting these three very interesting articles. I was particularly fascinated with the neuroscience article regarding how to make the museum space more interesting and interactive. So very cool.! I was recently visiting my grandchildren and my 20 month old granddaughter sat in my lap visually stimulated and focused as I showed her the colorful pages of the Apr/May/June Art Journaling Magazine. I was so fascinated since it was the longest she sat still. She is my wiggle worm usually. The experience peaked my curiosity, And motivated me to offer many other non traditional toddler stimuli. Thank you for continuing to broaden our art education horizons. You are the best!
Thank you so much Julie for posting these three very interesting articles. I was particularly fascinated with the neuroscience article regarding how to make the museum space more interesting and interactive. So very cool.! I was recently visiting my grandchildren and my 20 month old granddaughter sat in my lap visually stimulated and focused as I showed her the colorful pages of the Apr/May/June Art Journaling Magazine. I was so fascinated since it was the longest she sat still. She is my wiggle worm usually. The experience peaked my curiosity, And motivated me to offer many other non traditional toddler stimuli. Thank you for continuing to broaden our art education horizons. You are the best!
Thank you so much Julie for posting these three very interesting articles. I was particularly fascinated with the neuroscience article regarding how to make the museum space more interesting and interactive. So very cool.! I was recently visiting my grandchildren and my 20 month old granddaughter sat in my lap visually stimulated and focused as I showed her the colorful pages of the Apr/May/June Art Journaling Magazine. I was so fascinated since it was the longest she sat still. She is my wiggle worm usually. The experience peaked my curiosity, And motivated me to offer many other non traditional toddler stimuli. Thank you for continuing to broaden our art education horizons. You are the best!
Thank you so much Julie for posting these three very interesting articles. I was particularly fascinated with the neuroscience article regarding how to make the museum space more interesting and interactive. So very cool.! I was recently visiting my grandchildren and my 20 month old granddaughter sat in my lap visually stimulated and focused as I showed her the colorful pages of the Apr/May/June Art Journaling Magazine. I was so fascinated since it was the longest she sat still. She is my wiggle worm usually. The experience peaked my curiosity, And motivated me to offer many other non traditional toddler stimuli. Thank you for continuing to broaden our art education horizons. You are the best!
Thank you so much Julie for posting these three very interesting articles. I was particularly fascinated with the neuroscience article regarding how to make the museum space more interesting and interactive. So very cool.! I was recently visiting my grandchildren and my 20 month old granddaughter sat in my lap visually stimulated and focused as I showed her the colorful pages of the Apr/May/June Art Journaling Magazine. I was so fascinated since it was the longest she sat still. She is my wiggle worm usually. The experience peaked my curiosity, And motivated me to offer many other non traditional toddler stimuli. Thank you for continuing to broaden our art education horizons. You are the best!
Thank you so much Julie for posting these three very interesting articles. I was particularly fascinated with the neuroscience article regarding how to make the museum space more interesting and interactive. So very cool.! I was recently visiting my grandchildren and my 20 month old granddaughter sat in my lap visually stimulated and focused as I showed her the colorful pages of the Apr/May/June Art Journaling Magazine. I was so fascinated since it was the longest she sat still. She is my wiggle worm usually. The experience peaked my curiosity, And motivated me to offer many other non traditional toddler stimuli. Thank you for continuing to broaden our art education horizons. You are the best!
Thank you, that’s very interesting, especially the piece about the neuroscientist. In the article, Monroe states: “If what happens next isn’t what you expect, your attention goes way up.”. This notion of providing visitors with unexpected experiences and interactive art(displays) that stimulate different senses was an important part of labyrinthine exhibitions like artist Jean Tinguely organized and built together with other artists, like ‘Dylaby’ (Stedelijk Museum Amsterdam 1962) and ‘Hon – en katedral’ (Moderna Museet Stockholm 1966). And, in 1977, ‘Crocrodrome de Zig et Puce’ at the Centre Pompidou in Paris, which included a rollercoaster and an edible chocolate part. Tinguely had a strong dislike for the white cube and the effects it had on art and the way visitors experienced art.
These things aren’t new, they’ve worked before, only now, there’s more scientific insight to back it up, it seems 🙂
Thank you, that’s very interesting, especially the piece about the neuroscientist. In the article, Monroe states: “If what happens next isn’t what you expect, your attention goes way up.”. This notion of providing visitors with unexpected experiences and interactive art(displays) that stimulate different senses was an important part of labyrinthine exhibitions like artist Jean Tinguely organized and built together with other artists, like ‘Dylaby’ (Stedelijk Museum Amsterdam 1962) and ‘Hon – en katedral’ (Moderna Museet Stockholm 1966). And, in 1977, ‘Crocrodrome de Zig et Puce’ at the Centre Pompidou in Paris, which included a rollercoaster and an edible chocolate part. Tinguely had a strong dislike for the white cube and the effects it had on art and the way visitors experienced art.
These things aren’t new, they’ve worked before, only now, there’s more scientific insight to back it up, it seems 🙂
Thank you, that’s very interesting, especially the piece about the neuroscientist. In the article, Monroe states: “If what happens next isn’t what you expect, your attention goes way up.”. This notion of providing visitors with unexpected experiences and interactive art(displays) that stimulate different senses was an important part of labyrinthine exhibitions like artist Jean Tinguely organized and built together with other artists, like ‘Dylaby’ (Stedelijk Museum Amsterdam 1962) and ‘Hon – en katedral’ (Moderna Museet Stockholm 1966). And, in 1977, ‘Crocrodrome de Zig et Puce’ at the Centre Pompidou in Paris, which included a rollercoaster and an edible chocolate part. Tinguely had a strong dislike for the white cube and the effects it had on art and the way visitors experienced art.
These things aren’t new, they’ve worked before, only now, there’s more scientific insight to back it up, it seems 🙂
Thank you, that’s very interesting, especially the piece about the neuroscientist. In the article, Monroe states: “If what happens next isn’t what you expect, your attention goes way up.”. This notion of providing visitors with unexpected experiences and interactive art(displays) that stimulate different senses was an important part of labyrinthine exhibitions like artist Jean Tinguely organized and built together with other artists, like ‘Dylaby’ (Stedelijk Museum Amsterdam 1962) and ‘Hon – en katedral’ (Moderna Museet Stockholm 1966). And, in 1977, ‘Crocrodrome de Zig et Puce’ at the Centre Pompidou in Paris, which included a rollercoaster and an edible chocolate part. Tinguely had a strong dislike for the white cube and the effects it had on art and the way visitors experienced art.
These things aren’t new, they’ve worked before, only now, there’s more scientific insight to back it up, it seems 🙂
Thank you, that’s very interesting, especially the piece about the neuroscientist. In the article, Monroe states: “If what happens next isn’t what you expect, your attention goes way up.”. This notion of providing visitors with unexpected experiences and interactive art(displays) that stimulate different senses was an important part of labyrinthine exhibitions like artist Jean Tinguely organized and built together with other artists, like ‘Dylaby’ (Stedelijk Museum Amsterdam 1962) and ‘Hon – en katedral’ (Moderna Museet Stockholm 1966). And, in 1977, ‘Crocrodrome de Zig et Puce’ at the Centre Pompidou in Paris, which included a rollercoaster and an edible chocolate part. Tinguely had a strong dislike for the white cube and the effects it had on art and the way visitors experienced art.
These things aren’t new, they’ve worked before, only now, there’s more scientific insight to back it up, it seems 🙂
Thank you, that’s very interesting, especially the piece about the neuroscientist. In the article, Monroe states: “If what happens next isn’t what you expect, your attention goes way up.”. This notion of providing visitors with unexpected experiences and interactive art(displays) that stimulate different senses was an important part of labyrinthine exhibitions like artist Jean Tinguely organized and built together with other artists, like ‘Dylaby’ (Stedelijk Museum Amsterdam 1962) and ‘Hon – en katedral’ (Moderna Museet Stockholm 1966). And, in 1977, ‘Crocrodrome de Zig et Puce’ at the Centre Pompidou in Paris, which included a rollercoaster and an edible chocolate part. Tinguely had a strong dislike for the white cube and the effects it had on art and the way visitors experienced art.
These things aren’t new, they’ve worked before, only now, there’s more scientific insight to back it up, it seems 🙂