Monthly Archive for July, 2010

From Keith Schneider at The New York Times…

The San Francisco Museum of Modern Art formally celebrated its 75th anniversary on Jan. 18 with an eye to attracting millennial generation multitaskers. The event included handing out to museumgoers iPod Touches loaded with a rich mix of pictures, interviews, video and graphics exploring 200 pieces in the institution’s permanent collection.

Like almost every major art museum in the country, according to communications officers here and in other cities, the San Francisco institution is using mobile multimedia devices — iPods, iPhones, BlackBerrys and other smartphones — to tell the stories of its exhibits in new ways.

“Essentially, we’ve liberated the audio tour,” said Peter Samis, the San Francisco Museum of Modern Art’s associate curator of interpretation. “We’ve developed five hours of content, made it extremely portable and easy to use, and devoted it to rediscovering aspects of our collection and its history. This is not about techno-fetishism. It’s about focusing on artworks in meaningful sound and video.”

Art museums have always viewed communications as their primary mission. Never, though, have the editorial, design and production staffs of art museums been busier than they are now. Digitization has steadily brought down the cost of the software and tools of multimedia production — audio, video and interactive motion graphics. More powerful and available online access has made smartphones and other mobile devices ubiquitous and more useful. More…

From Holland Cotter at The New York Times…

In a disaster, you focus on lives first, all else later. When the earthquake hit Haiti in January, the news was about the dead and missing, miraculous survivals, towns smashed to bits.

Behind this news came other news. One of Haiti’s proudest cultural monuments, the Episcopal cathedral of the Holy Trinity in the capital city of Port-au-Prince, had collapsed, destroying murals painted in the late 1940s by some of the great artists of what is often called the Haitian Renaissance: Philomé Obin, Castera Basile, Rigaud Benoit, Wilson Bigaud, Prefete Duffaut. Their images of verdant, fruit-colored tropical heavens had helped turn a politically volatile nation into a tourist destination, and art itself into an export industry.

The Centre d’Art, where these artists once met with André Breton, Aimé Césaire and Wifredo Lam, was seriously damaged, as was the Musée d’Art Haitien. Catastrophically, many of the 12,000 Haitian works, accumulated over half a century, in the Musée/Galerie d’art Nader were lost when the building that housed them, a family home, disintegrated. More…