Alex Medina’s Post

Question for my Museum Peeps: Was just having a conversation with a non-museum trained colleague about typical exhibit development team structures, specifically the difference between curation, exhibit design, and interpretive planning and came across this resource from the Smithsonian which I probably looked at years ago. The books on my shelf are unfortunately largely from the late 1990s, so my question is, what essential readings from the past 5-10 years would you recommend for a person interested in understanding the structures, roles, and responsibilities of an exhibit team. I'm especially interested in ones that address the team and how they overlap with MarCom, Sales, Membership, etc as part of an integrated institution rather than as a stand-alone department. https://lnkd.in/epFZZGAC

🖼️ Build personalized 3D art galleries and virtual museums using Metagellan, reflecting your unique artistic vision! 🚀✨ Art galleries and 3D showrooms are easy to deploy, the era of traditional exhibitions is evolving! Discover our latest 3D galleries models, designed to transform how visitors interact with your art. 🌐 Tailored virtual spaces: craft virtual exhibition environments that capture and convey the unique essence of your institution, providing a seamless extension of your physical gallery. 🎨 Immersive exploration: take along art enthusiasts in a new dimension of exhibition experiences. Enable guests to explore and engage with your collections in an authentically interactive and captivating manner. 🌍 Global connectivity: break free from geographical constraints. Connect with art lovers worldwide, transcending borders and ensuring your masterpieces reach a global audience. 🚀 Technological advancement: say goodbye to the conventional gallery norms. Embrace new technologies, ensuring your institution remains at the forefront of innovation. Step boldly into the future of art curation with your own 3d virtual gallery! 🚀🖼️ https://lnkd.in/eDQ9SpvN Ready to redefine your exhibition spaces? Explore the limitless possibilities with Metagellan! 💻 #virtualart #museum #innovation #art #gallery

𝗖𝗼𝗺𝗽𝗹𝗶𝗮𝗻𝗰𝗲 𝗜𝗻 𝗧𝗵𝗲 𝗪𝗶𝗹𝗱 Museum Edition Part 2 Yesterday, I visited the Virginia Museum of Fine Arts and wrote about two examples of Compliance In The Wild (CITW). But they weren’t the only things I spotted on my visit. A third example of CITW is this sign. You might be wondering why it is needed. After all, isn’t it obvious why you shouldn’t touch the exhibits? If you’re a regular museum goer then the answer is probably yes. But not everyone is. The VMFA, like many other public museums, is working to make its exhibits more accessible to parts of the community who might not normally go to a museum or might never have been to one.  For those people, the sign serves a valuable purpose. It also helps parents and teachers visiting the museum with inquisitive kids — I was one of those — to give a better answer as to why you shouldn’t touch the exhibits. 𝗦𝗼 𝘄𝗵𝗮𝘁? This is a prime example of where explaining the reason behind a rule is potentially helpful in encouraging or facilitating compliance. Sometimes, as in this case, an explanation of why we’re being asked to do something can make the requirement seem more acceptable.  On other occasions, we need to explain it, because compliance has a qualitative component. 𝗪𝗵𝗮𝘁 𝗲𝗹𝘀𝗲? Notice how the sign is framed as a ‘did you know?’ explanation, rather than a ‘do not touch’  order. That’s smart on a number of levels. Firstly, it’s ’on brand’. In a museum, we’re used to seeing signs that explain things to us. So, having one that helps us to understand why we shouldn’t touch the exhibits — and why the rule is entirely in line with the idea of the museum as a shared resource — doesn’t feel out of place. Secondly, by giving us a glimpse into the inner workings of the museum, we can start to appreciate the challenges the people working there face in preserving the exhibits. That’s not only interesting, it also creates empathy for those imposing the rules. Thirdly, the framing plays on our innate sense of curiosity. Even if we know — or think we know — why the rule exists, we’re more likely to read the sign and pay attention to it, because it’s helping us to make more sense of the world. The final benefit is, I think, the most interesting. Unlike other forms of signage or rules, which can be annoying, no visitor is likely to feel patronised or irritated by seeing this sign. After all, if you know why the rules exist, or don’t care, then the sign isn’t for you!   So, what you’ve effectively got here, is a Compliance notice that is unremarkable yet attention grabbing and helpful to those that need it, yet not irritating to those who (think they) don’t. 𝗠𝗶𝘀𝘀𝗲𝗱 𝗣𝗮𝗿𝘁 𝗢𝗻𝗲? If you’ve not seen the first CITW example from the museum, do check out my other post.  You’ll find it here:https://lnkd.in/eHgFw2ia? #Compliance #Ethics #BehaviouralScience #ComplianceInTheWild

Nissen Richards Studio Director Pippa Nissen was one of the industry leaders asked by Museums Journal to talk about the future of exhibition design over the next decade in a new article published online today. These were Pippa's summary reflections at the end of the piece: “I feel the future of exhibition design will move towards a much more sophisticated infrastructure invested in by museums, so that exhibition design is more about creative ideas than about build – a scenario more akin to theatre set design. “This means re-using a kit of parts that can be adapted and changed through surface texture and lighting, as well as digital surfaces that can appear radically different. This will also create ways in which they can be rapidly changed, permitting a rapid response to the world around and allowing more up to date, trends and ideas to find their way into exhibitions in a contemporaneous timeframe.” Museums Association members can read the full article here - https://lnkd.in/eeqw6ud3

If you’re new to managing trade show appearances (or even if you aren’t), you may be surprised to learn that renting a custom-modular exhibit is an option. Whether you’re augmenting your purchased exhibit for a VIP show or you have a limited budget, renting is a great option to keep in mind when you want to make a splash at a trade show. Learn more about how OnePoint can help you with your trade show exhibit rental: https://lnkd.in/gHyw8tyY

https://lnkd.in/eQE6s6WG Frieze at 20: London's Art World Evolution The Frieze art fair, since its inception in 2003, has undeniably reshaped the London art scene. From Matthew Slotover's initial vision to its current global presence, Frieze has been a game-changer. In its early days, the fair was a melting pot of young and established galleries, offering a fresh perspective in the art world. It wasn't just about commerce; Frieze emphasized the importance of art's experiential aspect, with projects, talks, and music integral to its identity. Over the years, Frieze has not only boosted London's art market but has also significantly impacted the city's economy. Auction houses, hotels, and restaurants have all benefited from the influx of visitors during "Frieze Week". Furthermore, the fair has facilitated the acquisition of transformative works for institutions through special funds. However, as the fair celebrates its 20th anniversary, it faces challenges. The global art landscape is evolving, with concerns about sustainability, commercialization, and the very format of art fairs coming to the fore. The rise of events like the Basel Social Club, which focuses on artist interactions, raises the question: Is it time for Frieze to reinvent itself once again? The resilience of London's art scene is evident, with galleries returning to iconic locations like Cork Street and new art hubs emerging in cities like Margate and Manchester. As Frieze continues to expand globally, its legacy of bringing the world to London and vice versa remains its core strength. How can art fairs continue to be relevant in an ever-changing global landscape? And, most importantly, how can we ensure that art remains accessible and meaningful for everyone? #Frieze #ArtFair #LondonArt #ContemporaryArt #ArtWorld #ArtEvolution #ArtDiscussion #GlobalArt #ArtFuture #ArtTrends

Art World insiders make their predictions for 2024. Philip Hoffman, art adviser: I am optimistic about 2024. The Miami art fairs and the November auctions in New York demonstrated that the art market is far more resilient than people had anticipated, particularly when the works on offer are of high quality. In 2024 we will see a continued weeding out in the ultracontemporary category, alongside a deepening of the market in established positions. Lawrence Van Hagen, art adviser and curator: As we enter 2024 against the backdrop of global inflationary concerns and geopolitical unrest, I think we’ll continue to see an ongoing correction in the global art market. This means a general shift away from the experimentalism of yesteryear toward selectivity and regionalism: Galleries may consider doing fewer fairs and may present more curated solo booths when they do take part; a reduction in international travel to art fairs especially as costs rise and sustainability issues loom on the horizon (major fairs have become very regionally focused in any case); collectors are also likely to focus on art fairs and artists in their region. Read more in the article. #artcollecting #artexhibition #artmuseum #artinvesting #artinvestment #artcollector #artnews #artworld #artmarket #artmarketnews #artauction #artgallery #artfair #arthistory #artworld #fair #worldrecord #modernart #impressionism #postwar #contemporaryart #2024market https://lnkd.in/efp59gtU

Art World insiders make their predictions for 2024. Philip Hoffman, art adviser: I am optimistic about 2024. The Miami art fairs and the November auctions in New York demonstrated that the art market is far more resilient than people had anticipated, particularly when the works on offer are of high quality. In 2024 we will see a continued weeding out in the ultracontemporary category, alongside a deepening of the market in established positions. Lawrence Van Hagen, art adviser and curator: As we enter 2024 against the backdrop of global inflationary concerns and geopolitical unrest, I think we’ll continue to see an ongoing correction in the global art market. This means a general shift away from the experimentalism of yesteryear toward selectivity and regionalism: Galleries may consider doing fewer fairs and may present more curated solo booths when they do take part; a reduction in international travel to art fairs especially as costs rise and sustainability issues loom on the horizon (major fairs have become very regionally focused in any case); collectors are also likely to focus on art fairs and artists in their region. Read more in the article. #artcollecting #artexhibition #artmuseum #artinvesting #artinvestment #artcollector #artnews #artworld #artmarket #artmarketnews #artauction #artgallery #artfair #arthistory #artworld #fair #worldrecord #modernart #impressionism #postwar #contemporaryart #2024market

Basel Social Club revamps Art Fair Model with bucolic setting. Basel Social Club (BSC), a roving art project, has moved to a 50-hectare farm for its third edition, combining exhibition, sales, and social interaction. Launched in 2022, previous editions were held in a villa and a mayonnaise factory in Basel. BSC's ethos counters the traditional sterile art fairs, providing a fresh, relaxed experience. Co-founder Yael Salomonowitz notes the farm setting was initially a joke, now offering visitors a chance to enjoy art outdoors amidst nature, with activities like strawberry picking and cow watching. Around 100 works are displayed, mostly outdoors, with weather-resistant materials key. BSC remains a non-profit and insists it is “not an art fair,” despite offering galleries a modest €2,500 participation fee and free spaces for galleries from the Global South. Sales do occur, but many pieces are loans, supported by Swiss cultural foundations. Established galleries, such as Esther Schipper, participate, drawn by BSC's experimental format. While some works remain unsold, the event encourages deeper engagement and slower viewing, contrasting with the rush of traditional fairs. BSC’s model reflects a broader trend towards experiential, relationship-based art viewing. Melanie Gerlis of The Art Newspaper notes that art fairs need in-person interactions, which BSC facilitates. Art Basel, meanwhile, is adapting to generational shifts in collecting, launching social venues like the riverside Hotel Merian. The "great wealth transfer" from baby boomers to millennials is expected to change spending patterns, increasing the need for immersive experiences over mere sales platforms. BSC aims to decelerate time, encouraging leisurely engagement with art. This year’s events included a performance by Haddaway and opportunities for socializing in nature. The project’s community-oriented approach fosters camaraderie among dealers, contrasting with traditional fairs. While BSC’s utopian model may be ahead of its time, it signals a potential future for art fairs, balancing business with a more enjoyable and sustainable experience. However, the traditional fair model, crucial for gallery revenue, is unlikely to disappear soon. #artcollecting #artexhibition #artmuseum #artinvesting #artinvestment #artcollector #artnews #artworld #artmarket #artmarketnews #artauction #artgallery #artfair #arthistory #artworld #fair #worldrecord #modernart #impressionism #postwar #contemporaryart #artbasel #basel

Guidelines for the perfect lighting design plan for an exhibition event. Understand the Exhibition Design Concept: Familiarize yourself with the overall theme, purpose, and key elements of the exhibition design. Consider the mood and atmosphere the exhibition is meant to convey. Define Lighting Goals: Clearly outline the goals of your lighting design. What do you want to achieve with the lighting? Enhance visibility, create a certain mood, draw attention to specific areas or exhibits, etc. Collaborate with Exhibition Designers: Work closely with the exhibition designers to understand the layout, focal points, and flow of the exhibition. This collaboration is crucial to ensure that lighting and exhibition designs complement each other.