Museums

Subterms

    More stories

    • 138 Shares189 Views

      in Elections

      Harvard Removes Binding of Human Skin From Book in Its Library

      by

      The decision to find a “respectful final disposition” for human remains used for a 19th-century book comes amid growing scrutiny of their presence in museum collections.Of the roughly 20 million books in Harvard University’s libraries, one has long exerted a unique dark fascination, not for its contents, but for the material it was reputedly bound in: human skin.For years, the volume — a 19th-century French treatise on the human soul — was brought out for show and tell, and sometimes, according to library lore, used to haze new employees. In 2014, the university drew jokey news coverage around the world with the announcement that it had used new technology to confirm that the binding was in fact human skin.But on Wednesday, after years of criticism and debate, the university announced that it had removed the binding and would be exploring options for “a final respectful disposition of these human remains.”“After careful study, stakeholder engagement, and consideration, Harvard Library and the Harvard Museum Collections Returns Committee concluded that the human remains used in the book’s binding no longer belong in the Harvard Library collections, due to the ethically fraught nature of the book’s origins and subsequent history,” the university said in a statement.Harvard also said that its own handling of the book, a copy of Arsène Houssaye’s “Des Destinées de L’Ame,” or “The Destiny of Souls,” had failed to live up to the “ethical standards” of care, and had sometimes used an inappropriately “sensationalistic, morbid and humorous tone” in publicizing it.The library apologized, saying that it had “further objectified and compromised the dignity of the human being whose remains were used for its binding.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares99 Views

      in Elections

      British Museum Sues Former Curator for Return of Stolen Items

      by

      The museum accuses Peter Higgs, a former keeper of Greek and Roman antiquities, of stealing or damaging at least 1,800 artifacts and selling many on eBay.A judge has ordered a former curator who the British Museum says stole hundred of artifacts to return any gems or jewelry from the institution that are in his possession.The museum claims that the former curator, Peter Higgs, who once ran the museum’s Greek and Roman antiquities department, stole or damaged over 1,800 artifacts from its collections and sold hundreds of those items on eBay, according to court documents.Officials also want Mr. Higgs to explain the whereabouts of other artifacts that they says the former curator sold online. The court documents state that Mr. Higgs disputes the accusations against him.At a High Court hearing in London, the presiding judge, Heather Williams, ordered Mr. Higgs to return any items within four weeks. Judge Williams also ordered PayPal, the online payments company, to disclose data relating to Mr. Higgs’s eBay accounts, including his transaction history.The missing museum items include engraved gems and jewelry, some of which are thousands of years old.On Tuesday, Mr. Higgs and his family did not respond to emails and social media messages from The Times. In court papers, the museum’s lawyers said the curator was “suffering from severe mental strain” and was “unable to respond effectively to the proceedings.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares99 Views

      in Elections

      Met Museum Hires Its First Head of Provenance Research

      by

      Lucian Simmons is leaving Sotheby’s to lead the museum’s increased efforts to review its collection, which has recently returned looted artifacts, including dozens last year.As part of its more aggressive restitution investigation efforts, the Metropolitan Museum of Art on Friday announced that it had appointed a Sotheby’s executive to the newly created position of head of provenance research.Lucian Simmons will leave Sotheby’s, where he is vice chairman and worldwide head of the restitution department — and senior specialist for the Impressionist and Modern art department — to take on the role of coordinating research efforts across the museum, starting in May.Like museums all over the world, the Met has faced increased scrutiny from law enforcement officials, academics and the news media over the extent to which its collection of more than 1.5 million works includes looted artifacts. In recent years, for example, the Manhattan district attorney’s office has seized dozens of antiquities from the museum to return them to countries including Turkey, Egypt and Italy.In a telephone interview, Max Hollein, the museum’s director and chief executive, said the volume of materials an auction house must review gave Simmons the background necessary to take on a review of the Met’s encyclopedic collection.“He has a vast amount of experience understanding the level of research you need to apply and what timelines you need to set to get to a result,” Hollein said. “He probably had to deal with more issues at Sotheby’s than have many other institutions. You have to vet and scrutinize a huge number of objects. He’s someone who understands the theory but who also has a very practical attitude.”The Met last year announced a major new effort to review its holdings and policies with a view toward returning items it finds to have problematic histories.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares189 Views

      in Elections

      Audience Snapshot: Four Years After Shutdown, a Mixed Recovery

      by

      Covid brought live performance to a halt. Now the audience for pop concerts and sporting events has roared back, while attendance on Broadway and at some major museums is still down.It was four years ago — on March 12, 2020 — that the coronavirus brought the curtain down on Broadway for what was initially supposed to be a monthlong shutdown, but which wound up lasting a year and a half.The pandemic brought live events and big gatherings to a halt, silencing orchestras, shutting museums and movie theaters and leaving sports teams playing to empty stadiums dotted with cardboard cutouts.Now, four years later, audiences are coming back, but the recovery has been uneven. Here is a snapshot of where things stand now:Broadway audiences are still down 17 percent from prepandemic levels.On Broadway, overall attendance is still down about 17 percent: 9.3 million seats have been filled in the current season as of March 3, down from 11.1 million at the same point in 2020. Box office grosses are down, too: Broadway shows have grossed $1.2 billion so far this season, 14 percent below the level in early March of 2020.Broadway has always had more flops than successes, and the post-pandemic period has been challenging for producers and investors, especially those involved in new musicals. Three pop productions that have opened since the pandemic — “Six,” about the wives of King Henry VIII, “MJ,” about Michael Jackson and “& Juliet,” which imagines an alternate history for Shakespeare’s tragic heroine — are ongoing hits, but far more musicals have flamed out. The industry is looking with some trepidation toward next month, when a large crop of new shows is set to open.Many nonprofit theaters around the country are also struggling — attracting fewer subscribers and producing fewer shows — and some have closed. One bright spot has been the touring Broadway market, which has been booming.— More

    • 100 Shares149 Views

      in Elections

      Smithsonian American Women’s History Museum Names New Director

      by

      Elizabeth C. Babcock, the chief executive of Forever Balboa Park, will start this summer, after Nancy Yao’s withdrawal.Second time’s the charm?A year after the Smithsonian American Women’s History Museum in Washington named its founding director — only to have the candidate withdraw before her official start date — the museum is trying again.It has chosen Elizabeth C. Babcock, the president and chief executive of Forever Balboa Park in San Diego, a nonprofit, as its new director. An anthropologist, museum educator and experienced administrator, Babcock will take over an institution that is still very much in formation. Although Congress approved plans for the museum in 2020, it is about a decade away from opening and does not have a site or a permanent collection yet.The museum’s original choice, Nancy Yao, resigned after an investigation into her handling of sexual harassment claims while leading the Museum of Chinese in America in Manhattan.After Yao’s appointment was announced, The Washington Post reported that her former workplace had settled three wrongful-termination lawsuits from employees who said they were fired in retaliation for reporting sexual misconduct. A Smithsonian spokeswoman said in 2023 that Yao had cited “family issues that require her attention” when she withdrew. (The Smithsonian used a different search firm this time around, according to the spokeswoman.)In an interview, Babcock said her priorities for the museum include expanding into digital media and supporting scholarly research. “We are going to listen and learn and work hard to ensure that the material we cover represents diverse communities across the country,” she said. She declined to specify whether the museum would include the work of transgender women, but said that “our museum will not shy away from discussing controversial topics.” She will begin her new role in June.Babcock has been the chief executive of Forever Balboa Park since 2022. Before that, she was dean of education at the California Academy of Sciences in San Francisco and vice president of education and library collections at the Field Museum of Natural History in Chicago.The American Women’s History Museum, which has been led by an interim director, Melanie A. Adams, since last summer, has a staff of 22, with six more to begin this year. Its annual operating budget is $7 million.Fund-raising will be a key part of Babcock’s agenda. The museum needs to raise half its total budget, which is expected to exceed the $540 million it cost to open the National Museum of African American History and Culture in 2016. (The other half of the budget comes from the federal government.) So far, it has amassed $65.5 million from donors.Babcock said that she intends to cultivate support from both women and men. “I think the power here for this museum is that it represents all of us — its intention is to be inclusive,” she said. More

    • 138 Shares179 Views

      in Elections

      A Mercer Labs Exhibit Uses Braille. Is It Accessible to All?

      by

      Roy Nachum designed the spectacle-filled Mercer Labs, which he touts as inclusive. But some advocates for blind people say his use of Braille can feel exploitative.While he was settling into Manhattan after moving from Israel in 2004, the 24-year-old artist Roy Nachum decided to contend with a second challenge: Inspired by his grandmother who had lost her sight, and in search of new inspiration for his artwork, he blindfolded himself. For the next 168 hours, he felt his way around his apartment in the East Village and used a cane to navigate to and from the nearby grocery store.That experience of being engulfed in the sounds and the chaos of a new city helped inspire the exhibits in his new immersive installation, Mercer Labs. It opened for previews in January at a 36,000-square-foot space in a sleek, Brutalist-style building at 21 Dey Street — the site of the former Century 21 department store.Nachum, whose artwork often incorporates Braille, became renowned for designing the Grammy-nominated cover for Rihanna’s album “Anti,” featuring a photo of Rihanna as a child wearing a gold crown embossed with Braille. He and the real estate developer Michael Cayre founded Mercer Labs with an ambitious mandate: to be a “place where the traditional hierarchies between art, architecture, design, technology and culture are dissolved,” and where “diversity and inclusion are celebrated,” according to a news release. The site is expected to open officially on March 28.One of Roy Nachum’s signature designs is this cover image for Rihanna’s 2016 album, “Anti,” which features a photo of her as a child wearing a gold crown embossed with Braille.The founders advertise Mercer Labs as a “museum of art and technology.” At the moment, it contains 14 exhibition spaces that use high-tech projectors, digital screens, LED lights and sound systems to display Nachum’s perception-teasing creations. Some exhibits feature Braille, tactile displays and immersive sounds intended for blind and low-vision visitors as well as sighted ones. In one of the rooms, attendees with vision can don sleeping masks and listen to a set of immersive sounds, the better to understand Nachum’s experiences from 2004 with touch and navigation. In still another space, guests stroll through a cave covered with pink hydrangeas that can be explored through touch.Nachum’s installations are on view at the moment, but when Mercer Labs officially opens in March, Nachum and Cayre intend for it to become a multipurpose site, with exhibitions by other artists, musicians and even actors; event spaces that can be rented for private use; and displays spotlighting fashion brands as well as up-and-coming New York companies. They would not elaborate on which specific brands or artists they have partnered with, citing nondisclosure agreements.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares169 Views

      in Elections

      Museum of Chinese in America Names New Leader

      by

      The museum, which has been the site of protests in recent years, has chosen Michael Lee as its director as it focuses on rebuilding trust.The Museum of Chinese in America in the Chinatown neighborhood of Manhattan has experienced protests and resignations, a fire and legal problems. Now, the board has chosen a new leader who wants to move the institution forward and reconnect with the local community.Michael Lee, a nonprofit executive, will be the next director, the board announced on Tuesday. In an interview, he said, “At the end of the day, I want people to know that the museum is here for four things: to preserve history, promote culture, tell our stories and celebrate our accomplishments.”In 2020, shortly before the pandemic shutdown, a fire ripped through a building housing some of the museum’s permanent collection. Staff members were sifting through the ashes — about 5 percent of the collection was destroyed — as trustees were raising money to buy the main building, at 215 Centre Street, at the same time as the landlord was planning to sell it to developers.In 2019, the city awarded the museum $35 million through a program for community projects as part of a deal for a local jail — money that allowed the museum to buy the main building. Museum officials said they have opposed the jail’s construction. But some residents have remained skeptical of the museum’s position, and maintain that in taking the money, officials betrayed the neighborhood. Artists withdrew their work from a major exhibition, leading to its cancellation, and to demonstrations by another wave of activists.The frequent protests by several groups have continued. In February, nearly a dozen picketers from Youth Against Displacement, chanting, “Chinatown is not for sale” and “Boycott MOCA,” appeared outside of the museum’s Lunar New Year celebration.Eric Lee, a museum chairman, said the new director needed to be someone who could rebuild trust with the community. So he turned to Michael Lee.Jeenah Moon for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares99 Views

      in Elections

      2 Charged After Pouring Red Powder Over Case Holding U.S. Constitution

      by

      Two activists poured the powder over the protective case at the National Archives Museum last month to call attention to climate change, prosecutors said.Two climate activists who dumped red powder over the display case that contains the U.S. Constitution at the National Archives Museum last month were charged on Thursday with destruction of government property, prosecutors said.The activists, Donald Zepeda, 35, of Maryland, and Jackson Green, 27, of Utah, poured the powder over the display case in the rotunda of the building on Feb. 14 as part of a “stunt, which was intended to draw attention to climate change,” the U.S. Attorney’s Office for the District of Columbia said in a statement on Friday.During the episode, which officials said was captured on video by supporters of Mr. Green, the two men also poured red powder over themselves and then stood before the Constitution as they called for solutions to climate change.The Constitution was not damaged, according to the National Archives Museum, which said that the powder was found to be a combination of pigment and cornstarch.“Fortunately, the four pages of the Constitution on display were not at risk for damage by this incident,” said Stephanie Hornbeck, a national preservation program officer.The rotunda was closed after the episode, which cost more than $50,000 to clean up, prosecutors said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More