Wang Chunchen: MoMA’s Curatorial Procedures

MoMA has a large audience everyday. People speak different languages are attracted by its fame. Therefore, the guide map of MoMA is written in several languages, and the staff have to engage in public communciation with the multilingual audience.Today MoMA's high worldwide popularity and reputation today cannot be separated from its publicity determined at the beginning of its establishment.

MoMA is a private art museum, but this is simply because it was built with private investment. It is not a private property, but an art gallery built based on an individual’s love of art. It has set up a director board, established various fund-raising mechanisms and set up seven departments classified by media. But its Education Department and Development Department are the upper and lower links in the extension and preparation of its exhibition projects. All the activities are targeted at the public, not for private parties or gatherings of refined scholars. All the art museums claim that they are communal and public-facing, but why do art museums such as MoMA have achieved such social impact? There must be some inevitable logic and procedures involved.

Previously, I did not understand why foreign art museums have developed into such a status,and I assumed it was due to historical factors. However, this explanation made no sense. As I visited more muesums and communicated with more relevant personnel, it became more and more clear that it was the social system that ensured the museums to exist and develop, instead of the museum’s own independent operation or self-sufficiency. Art museum is a public platform. It can only build and develop based on the society’s support and approval. This kind of management and operation of art museum It is because the society has a strong identification with and sense of value of public cultural institutions that this kind of museum management and operation can exist, that the museums can obtain such social support and legal system to support the survival and development of relevant cultural mechanisms. If we ignore the support and framework of legal systems when we learn about art museums in the United States, it’s impossible to build an art museum by relying solely on the state financial allocation.

On the premise of people’s high recognition of social culture and education, the law provides tax exemption and reduction for the act of donating artworks to and sponsoring art museums. With this legal measure of income redistribution, people from all ranks of society have the motivation and enthusiasm to support the society’s common cultural undertakings, as well as a sense of honor and social participation. Because the development of art museums and the holding of exhibitions are supported and sponsored by social citizens and companies, it is equivalent to using the image power of culture and art to integrate different social groups, communities and different interest groups, and to reflecting the publicity of society in an artistic way. Any cultural idealism will be difficult to fulfill without such a social legal framework. The development of modern society takes society as one unit. This social unit is not only a group, an enterprise, a foundation, but also an individual, and modern countries highly trust and authorize this social unit. For example, the U.S government does not have a Ministry of Culture or a Publicity Department to take charge of the cultural and artistic undertakings. Instead,it allows members of society to operate these activities. This is the relationship between a small government and a large society. This is what we mean by putting the country first. The country only provides legal framework, and it’s provided by the country in the form of law, instead of government. The government is only a social service unit, an institution that p rovides support and services to many other social units. Therefore, the government tries to make different social units to work on such cultural and artistic activities by themselves, which allows government institutions to focus only on the implementation of social public administration. Therefore, there appear a variety of corporate and individual foundations. Corporate companies and individuals allocate a percentage of their wealth to the foundation annually as an art fund. For example, Bill Gates of Microsoft donated his own property and established a foundation to sponsor various social public utilities, including collecting artworks, sponsoring cultural institutions, sponsoring cultural art and academic research, etc. The United States is filled with foundations. Many big families, enterprises, individuals, and even artists have established their own foundations. When we visit an important art exhibition, we will notice that it is supported by various companies, foundations and individuals. This enables art projects and exhibitions to be executed and implemented, and ensures the solemnity and high standard of cultural and artistic projects.

In MoMA, when curators from different departments (MoMA has 40 curators) present their exhibition plans, they would first report to their own department’s Chief Curator, then to MoMA’s exhibition committee after Chief Curator approved of it. This committee is composed of around 20 people, including MoMA's Director, Deputy Director, Chief Curators of all Departments, the Education Department and the Development Department. Every two months they hold a regular meeting. At the meeting, the curator of the proposed exhibition would make a presentation for about 20 minutes. The main theme, program design, time, required exhibition hall and budget are supposed to be introduced to the committee. During the presentation, committee members will ask questions that the proposer need to respond to, especially questions regarding the budget. At the same time, the Education[2]  Department will raise issues in terms of public education. If the exhibition also involves publications (such as exhibition catalogue, research publications, etc.), the proposing curator should also report the cost of the publication to the committee, such as number of pages, size of the book, how many articles will be included, resume of the authors to invite and reasons for inviting them (for example professionalism of a certain research field, or academic ability of the writer), cost arrangement, etc. After the meeting, the proposer will exit and the main decision-makers of the committee (approximately 8-10 people) will decide if this exhibition proposal should be accepted or not.

Once the exhibition is approved, the Development Department will choose the foundations or institutions to seek sponsorship from based on the fund-raising resources and targets. Those people who have been dealing with sponsors for a long time know how to write sponsorship proposals, which institutions will be interested in what types of exhibitions, how to help their sponsors gain reputation and good public image. On the other hand, the Education Department create public education events according to the exhibition, such as activities, exhibition guide (including single-page and fold-page guide, posters, audio guide, introduction materials in different languages), lectures, relevant films, relevant educational programs (aimed at students of different ages and social families), etc. They will also propose the rhetoric of text according to the public’s habits, avoiding excessive academic vocabulary and unfamiliar vocabulary, so as to make the exhibition guide more understandable and acceptable by the educated, general public. After the exhibition proposal was approved, the proposing curator should do sufficient research, write text, analyze the exhibition context and organize works to exhibit from the museum’s own collection or other collections (it takes a lot of time to discuss the feasibility of borrowing works, if there are any replaceable works, insurance and logistics, etc.). After all of these are prepared, the materials will be handed over to MoMA’s Publications Department to design the catalogue and organize the printing work. The catalogue should be completed before the opening of the exhibition, and the promotion work should also be done by then. They spent a lot of energy on research during the preparing process, to make certain where to find the works, to have a thorough grasp of the exhibition's core concept, and to invite writers to write about the exhibition. Each curator usually has two to three exhibition projects carried out at the same time. The exhibition period generally last one to two years. The assistant curator would do some basic tasks such as data arrangement and research support, etc.

MoMA’s exhibition planning and preparation works and a series of public education programs following the opening of the exhibition are conducted according to a set of stipulated procedures, which are rigorous and orderly, positive and effective. The  Education Department organizes all kinds of programs and activities according to the exhibition, and gather feedbacks from the visitors, so as to put public service in the first place. They need to not only prepare all kinds of introduction materials for the visitors to access easily, but also maintain the order of the exhibition site strictly, such as having staff to inform the audience in the case when photography is not allowed in some special exhibitions. The exhibition staff wear uniform clothes and badges with their name and photos on, neat and solemn, and distinguished from the audience. They need to inform  and help the audience, and pay attention to their behaviors to prevent them from touching exhibits and maintain the safety of the exhibition site. Usually there are instruction boards at the entrance to inform people the maximum capacity of a certain exhibition hall. If the  visitor number exceeds the maximum capacity, the staff would inform the audience to wait in the queue, and remain orderly and quiet. The exhibition staff are part of the museum crew. They are responsible for the audience’s entry and exit and the exhibitions’ opening and close. Their behaviors and images are the important image of the museum, modest, polite, serious, responsible, and graceful. These tiny details exactly reflect their professionalism. I don’t know when some Chinese art museums started to hire staff from the outside property companies, but this operation needs to be further discussed in terms of museum management, understanding of museum’s functions, and the museum’s long-term development. When the audience enters the museum, except for the museum architecture and the exhibited works, it is the staff at the exhibition site that they directly meet and contact with. So the staff's behaviors actually represent the image of the museum, and the publicity of the museum is reflected through them first-hand. Although they don’t speak most of the time, their influences cannot be underestimated.

MoMA is divided into different departments by medium, so that works of different categories are collected by different departments. The Photography Department keeps its collections next to its office. Entry and exit require unlocking the door, with the room   kept at a low temperature.There are 24,000 works in the photography collection, sorted into different categories and placed in steel cabinets. Color photography is placed in freezers and wrapped with tin foils. Curators of Photography Department can access the collections for daily research, and there are workbenches and lamps, which is very convenient. Other departments also collect works separately. In addition, MoMA has a separate collection storage in the Queens for large-scale works.

MoMA’s archival collection is also very complete. Whenever an exhibition is over, all departments should arrange archives and submit to the Museum Archives Department for future reference and research. MoMA’s Education and Research Center also has a rich collection of books, catalogues and materials for MoMA’s researchers to access. It’s also very convenient for the public to refer to upon appointment. The museum’s publicity is also reflected on the accessibility of books and other materials to the public.

In the past, art museums were mainly object-based, and the most important job was to collect works and take good care of them. But now art museums are more people-oriented, and focus more on how to serve the audience well. There has been a great concept revolution which has led to changes in the design and daily management of art museums. New ideas and methods have thus been developed, which makes art museums more and more friendly and socially cohesive. We could say that art museums are a sublime cultural platform and a symbol of social civilization in today’s developed countries. All museum staff enjoy a social status that is admired and respected.

                                              New York, November 17, 2011

Published in the December 2011 issue of Oriental Art Master

Translated by Wang Weiwei

Proofread by Lu Yufan

Edited by Zheng Lijun


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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.

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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
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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

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.

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