Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: At Stanford, a new initiative will study and exhibit more Asian American art

2021-03-11

The Cantor Arts Center at Stanford University established the Asian American Art Initiative (AAAI) in January, a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.The initiative is anchored by the museum’s acquisition of 233 ceramic masks made by Ruth Asawa of the faces of her family, friends and fellow artists, and 141 artworks from The Michael Donald Brown Collection, a privately assembled group of pieces created between 1880 and 1996 by Asian American artists. Over the past months, the Cantor also obtained works by Michael Jang, Bernice Bing, Ian Cheng, etc.Ruth Asawa with life masks on the exterior wall of her house. (Photo: Terry Schmitt.)"With the exception of a few major figures, Asian Americans remain in the shadows of American art," said Marci Kown, assistant professor in the Stanford Department of Art and Art History in the School of the Humanities and Sciences, and founding co-director of the AAAI. These acquisitions not only fundamentally change the Cantor’s collection of American art, transforming it into one of the leading collections of Asian American art in the US, but are also poised to help change the history of American art as it has been written thus far.Among the first of its kind, AAAI will be shaped into a hub of study through collecting and exhibiting work by Asian American artists, forging new interdisciplinary research connections and collaborating with Stanford’s academic departments such as Department of Art and Art History and Center for East Asian Studies, while supporting undergraduate and graduate research in the field. It is also expected to engage community members across the Bay Area as the initiative takes further shape. A related conference and exhibition are planned for fall 2022 to rethink and reimagine the historical and theoretical dimensions of Asian American art and aesthetics."The Asian American Art Initiative arrives at a moment in which white supremacy, xenophobia and discrimination against immigrants are once again on the rise,” Kwon said. “These forces are not new, nor are their effects limited to Asian Americans. The study of Asian American artists sheds light on the entwined histories of racism, settler colonialism and capitalism, which have affected all ethnic groups in this country. Their work helps us see the myriad ways people of color have lived, struggled and survived.”Source | Stanford NewsAuthor | Beth Giudicessi
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: Museums are safer than any other indoor activity, COVID-19 study says

2021-03-01

A recent study at the Berlin Institute of Technology in Germany claimed that the risk of COVID-19 transmission is far lower in museums and theaters than in supermarkets, restaurants, offices, or public transportation.
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: Experience Wassily Kandinsky’s art through simulated synesthesia---

2021-02-25

a new project from Google Arts+Culture, “Play a Kandinsky”, uses machine learning and Kandinsky’s extensive color theories to create an interactive experience and interprets what the painter might have heard when working on or viewing his painting.
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: ‘Virtual Museum Tours’ among Google’s 2020 most popular search terms

2021-01-28

Google's Year in Search list, released last December, offers a glimpse into what the cultural hive mind was up to in 2020 in the US. Given the stay-at-home orders that dominated last year, searches for things that begin with “virtual” feature prominently. Among the most popular of these is “virtual museum tours”.Faced with limited audiences and a cash crunch, museums have been looking to their online offerings as a lifeline. Many museums have also begun charging for online tours of popular shows in an effort to tap new supporters.However, the interest in “virtual museum tours” appears to have been notably short-lived. Looking at the history of searches of the term, the interest peaked sharply around March 15-21, right when the US first started forcing stay-at-home order due to the coronavirus.Since then, interest has fallen off, and is now back to almost the same as what it was pre-pandemic. Search for “virtual field trips” shows a similar pattern. In contrast, another term, “virtual learning”, had a less impressive spike at the beginning, but then grew dramatically over the summer as the realities of school closings set in. Interest in “virtual learning” has remained relatively elevated since.It may be that virtual museum tours and virtual field trips were the first things that came to mind as distractions for stuck-at-home people, but they proved poor substitutes for the real experience and offered little reason to come back to them over time. The search data could be a reminder for the museum sector to actively improve and promote their virtual tours, so as to attract its potential audience on a more regular basis.Source | artnet newsAuthor | Ben Davis
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: Can Museums Benefit from Amazon’s Virtual Classes and Sightseeing Tours?

2021-01-06

Amazon has recently launched a new service which allows people to access experts in their field and to enjoy virtual touring experiences. Billed as Amazon Explore, the service provides a platform to connect people who wish to know or learn something with people who can offer expertise and insights over a computer screen.At a time when people can’t go abroad due to travel restrictions, the service is providing a virtual alternative. Many of the service providers using the platform now provide virtual tourism to some far-off places and overseas cultural landmarks. For example, one operator provides an online wine tasting experience from their vineyard estate in Argentina. On Amazon Explore there are also virtual experiences that have a distinctly more cultural feel, for instance one can enjoy a guided tour of the famous Nanzenji Temple in Kyoto, Japan from the comfort of home, or explore a mansion in Peru that dates back half a millennium.Although for now the service is not yet global as only customers from the United States could sign up for it, it has a great potential in the museum sector. In a world where visitor numbers have fallen dramatically around the world as a result of the global pandemic, virtual tours and live streaming presentations have been one of the best ways that institutions could reach their audiences. Amazon Explore may help a lot of institutions which have yet to provide virtual experiences with a cost-effective way of doing so.What makes Amazon Explore more suitable to museum sector than other virtual guided tours is that, first, it only offers tours led by trained local experts, which could be attractive to institutions where expertise and knowledge is already a differentiator; and furthermore, Amazon Explore always offers one-on-one session between the guide and the subscriber, which means that meaningful interactions can occur in real-time, and subscribers could get a more comprehensive experience as opposed to passive consumption from merely watching. Other than opening up new avenues for audience interactions and public education, it could also be a way that museums reduce their financial loss by charging from the service.Source | MuseumNextAuthor | Jim Richardson
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: Can Museums Use Their Endowments to Support the Greater Good?

2020-12-18

Since 2018, the Louvre Museum in Paris has allocated five percent of its €250 million endowment to socially-responsible investments, including artisan and traditional craft, cultural tourism, and cultural heritage. It’s one example of how an institution with a sizable endowment - a pool of money whose principal is reinvested to yield an income - can grow its own assets while benefiting the greater good. In financial parlance, the practice is known as “impact investing”: making investments to generate positive social or environmental change, in addition to financial returns. With the museum sector becoming more familiar with the practice, a recent report by Upstart Co-Lab, a think tank of Rockfeller Philanthropy Advisors, argues that impact investing could be much more widespread in the US, where museums hold more than $40 billion in their combined endowments.In fact, some museums already realize the importance of impact investment: The Metropolitan Museum of Art and the American Museum of Natural History have vowed to suspend accepting gifts from members of the Sackler family because of their ties to Purdue Pharma, the pharmaceutical company that helped create the opioid epidemic - such “negative screening” helps institutions to exclude companies that are not aligned with an institution’s values. In another case, the Souls Grown Deep Foundation in Atlanta, which holds the largest collection of works by African American artists from the Southeast, invests in a socially responsible fintech fund that provides access to capital for women and BIPOC entrepreneurs. Last year, the foundation adopted a 100% for-impact investing policy.Patrons’ focus on financial growth often contributes to their hesitation around impact investing. However, by releasing the report, Upstart Co-Lab aims to dispel the myth that more socially-conscious investments translate to an economic sacrifice. It’s important that museums hold themselves accountable for social benefits, especially amidst higher demands for racial justice across the US. While museums boast ambitious Diversity, Equity, and Inclusion (DEI) platforms, impact investing may be one way to put their money where their mouth is. As the report suggests, they could opt to invest in businesses like ethical fashion or sustainable food, or even real estate projects that are affordable and target the creative economy, like artist studios.Source | HyperallergicAuthor | Valentina Di Liscia
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: Going global in lockdown

2020-12-11

You can now curate your own exhibitions in a virtual Birmingham Museum & Art Gallery (BMAG) from the comfort of your home, as the museum has embarked on a collaboration with the new online game Occupy White Walls (OWW), making it the first official museum to partner with the AI-driven art platform that allows users to explore a growing fantasy world of art.In the game created by London-based start-up StikiPixels, players could build their own museum, and curate their own collection and exhibitions from thousands of artworks, which are mostly public domain artworks from museums around the world, and works uploaded by the artists themselves.As their vision is not bound by conventional museum curation guidelines or the physics of a brick and mortar building, players can create environments that combine Renaissance masterpieces with modern art gems, or artworks from Birmingham, UK can sit alongside artworks from the USA in displays that would never usually be seen gracing the same wall in the physical world. OWW is driven by a unique art discovery AI called DAISY, that learns players’ taste and over time helps them discover more art that will resonate with them. It currently has over 75,000 users and is looking to expand the online art collection that players can interact with through museum collaborations. Two hundred artworks from Birmingham’s collection of Public Domain images, including some of the city’s most famous Pre-Raphaelite works such as The Last of England by Ford Madox Brown and Proserpine by Dante Gabriel Rossetti, are now available to players in the digital world and can be explored at www.oww.io. As the partnership continues, it is planned to upload the full collection of Birmingham’s public domain images, which are accessible via Birmingham Museums’ online database.Linda Spurdle, Head of Digital at Birmingham Museums, said: “The pandemic has reinforced the importance of our digital work and ensuring our audiences can still access the collection, even when we are closed. Partnering with Occupy White Walls is just one of the ways we are looking to grow engagement levels with the city’s digital database of artworks and encourage people to explore it and use it creatively.”Source | MuseumNext
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: National Gallery of Victoria Will Build a Massive New Building as a Part of a $1 Billion Overhaul of the Local Art District

2020-12-04

The National Gallery of Victoria, in Melbourne, Australia, secured a funding from the local government to go ahead with its proposal to build Australia’s largest gallery of contemporary art, design, fashion and architecture.The project is part of a AU$1.4 billion project to overhaul the Southbank Arts District, encompassing the existing NGV International, the Arts Centre Melbourne and a new 18,000 square meter public garden.The new 18,000 sq metre public garden facing south towards the planned NGV Contemporary. Illustration: Artist impression/Hassell + SO-ILThe proposed NGV Contemporary will be built behind the existing NGV International on Southbank Boulevard, and upon completion, it will span more than 30,000 square meters. The new facility will allow the National Gallery to host its burgeoning visitorship, which doubled to three million in 2019. It will be almost as large as Tate Modern, and double the size of Sydney’s Museum of Contemporary Art Australia.A design competition will be launched before the end of the year to determine the architectural team, limited to Australian applicants only.“NGV Contemporary will form an intrinsic part of Melbourne’s creative and cultural identity, a universal civic space where visitors can gather, socialize, learn and interpret our world through a year-round presentation of exhibitions and programs that reflect contemporary life and culture,” thanking the state government’s commitment to NGV Contemporary, the NGV director Tony Ellwood said in a statement in November.The museum opened in 1861 and is already the country’s largest with two buildings. It holds a collection of some 73,000 objects. NGV Contemporary’s larger gallery spaces will afford more scope for the recurring NGV Triennial series, major ticketed blockbuster exhibitions and major solo exhibitions.Author | Kelly BurkeSource | The Guardian
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: Thousands of US Museums Could Close Forever due to Lockdown, a New Report Finds

2020-11-27

Eight months since museums across the US were forced to abruptly close, institutions have lost millions of dollars and are struggling to survive, according to a new report from the American Alliance of Museums.Roughly 30 percent of US museums remain closed today, and those that have resumed public operations are averaging just 35 percent of their normal attendance—which may not be enough to keep them afloat.The report, which echoes similarly discouraging findings internationally, is based on a survey of more than 850 institutions conducted by the AAM and Wilkening Consulting in the second half of October.The average museum has lost $850,000 to date, though the figure is much higher for large institutions. The Museum of Fine Art, Boston expected a $14 million loss through July alone, and New York’s Metropolitan Museum of Art has projected a $150 million shortfall.To cope with the devastating financial effects of lockdown, 53 percent of museums have made layoffs or furloughed staff. The majority of those cuts have been to frontline workers in admissions, guest services, and retail. A similar number of museums, about 67 percent, have made cuts to education initiatives and public programming.Emergency fundraising efforts to bridge the gap have had mixed results. Although 67 percent of museums have been replacing physical events with virtual events, they still fell short of revenue goals by an average of 34 percent. That’s especially troubling considering that more than half of museums have a financial operating reserve of six months or less on hand. With such a small cushion, the reduced revenue from declining admissions and retail sales, combined with cancelled programming, may ultimately prove unsustainable for a significant number of museums.Although the majority of institutions—70 percent—did not report any immediate risk of permanent closure, 17 percent said they weren’t sure, and 12 reported a significant chance that they would close within a year—which could mean the loss of 10,500 museums.Source | artnet NewsAuthor | Sarah Cascone
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: Does culture matter? New research offers lockdown lessons for museums and cultural attractions

2020-11-20

Research conducted during and in the aftermath of national lockdown has produced a mix of highly predictable and quite surprising insights into how the British public’s expectations of museums and cultural attractions have changed.The study, conducted by marketing firm Crystallised, involved weekly surveys between 23rd March and 20th July, with one third of respondents having traditionally been classified as “not culturally engaged". The survey also involves respondents who are culturally engaged, but in “different, niche or less ‘recognized’ art forms”, to ensure that the team was hearing from people interested in a whole range of cultural pursuits.Perhaps unsurprisingly, people were found to have been far more open to trying new cultural experiences during lockdown. 61% of those surveyed tried a new culture sector in the four months of research and 16% participated in multiple online museum tours.It appears the role arts organizations played in keeping the nation sane during the pandemic’s first spike didn’t go unnoticed, as 98% of those questioned described arts and culture are essential.It seems the constraints of lockdown have also meant the public has become accustomed to enhanced digital offers. 84% of people surveyed said they want to see an ongoing commitment from organizations to share content online as a standard. 77% claim they would be likely or very likely to buy a monthly subscription costing up to £10 per month in order to receive regular, exclusive online content (such as events and interactive or at-home activities).Despite that positive result, the issue of who should foot the bill for cultural experiences continues to divide the public. 97% of the participants agree that everyone should be able to access affordable or free arts and culture activities; 72% agree that arts and culture venues should be free to enter; 47% agree that arts and culture should be ‘predominantly funded by the tax-payer’.Aside from admission or participation fees, safety is understandably now a top visitor priority. Over three quarters of the study’s respondents said they now viewed the following precautions as essential: contactless payment; visible, increased cleaning; posters and announcements on new procedures; hand washing and sanitizer stations; hand sanitizer dispensed to every visitor on arrival; compulsory social distancing at all times; and reducing usual capacity.Communications around such safety measures are also deemed important at present, with Crystallised recommending a “simple, open and warm” approach. Looking further ahead, the findings suggest audiences have an increased appetite for cultural activities within their local communities.Source | Museums and Heritage
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Group Public Education Event Reservation Form

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Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.