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From Jerry Saltz at New York Magazine…

The American Museum of Folk Art American Folk Art Museum is one of my favorite museums in America. It’s also one of my least favorites. I love the museum because it’s committed to showing so-called “outsider art,” which I would define as art so visionary that the “real” art world can’t process it without relegating it to this ridiculous niche. (All great art is visionary; all great artists are in some way self-taught.) I hate the museum because its horrendous building smothers the art and vision contained within. And now the institution faces a new challenge: Last week brought the sad, startling news that curator Brooke Davis Anderson has been snatched up as Deputy Director for Curatorial Planning at the ambitious Los Angeles County Museum of Art. In the last decade as AFAM’s curator, Anderson, a brilliant scholar, organized extraordinary exhibitions of Martin Ramirez, Henry Darger, and Adolf Wolfli — three of the greatest artists of the 20th century. Come September, LA’s gain will be New York’s loss. (This, by the way, makes the fourth such coup, after Anne Philbin leaving the Drawing Center to become Director of the Hammer, Michael Govan departing Dia to work as Director of LACMA, and Jeffrey Deitch being named Director of LA MoCA.) More…

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…

By Noam Cohen at The New York Times…

The British Museum has begun an unusual collaboration with Wikipedia, the online, volunteer-written encyclopedia, to help ensure that the museum’s expertise and notable artifacts are reflected in that digital reference’s pages.

About 40 Wikipedia contributors in the London area spent Friday with a “backstage pass” to the museum, meeting with curators and taking photographs of the collection. And in a curious reversal in status, curators were invited to review Wikipedia’s treatment of the museum’s collection and make a case that important pieces were missing or given short shrift.

Among those wandering the galleries was the museum’s first Wikipedian in residence, Liam Wyatt, who will spend five weeks in the museum’s offices to build a relationship between the two organizations, one founded in 1753, the other in 2001. More…

In this Dezeen podcast, curator Nina Due gives a guided tour of the Sustainable Futures exhibition now on show at the Design Museum in London, UK.

Due walks through the five themed areas of the exhibition: Cities, Energy and Economics, Materiality, Food and Creative Citizens. For more information and images…

From Tamar Lewin at The New York Times…

Sitting in the dark, knees crossed, looking up at the stars projected on the planetarium dome, the fourth-grade class might have been on a field trip to the Museum of Science in Boston.

But instead, they were having what Katie Slivensky, an educator from the museum, calls a “backwards field trip” in a portable, inflatable planetarium set up for the morning in the old gym at Sutton High School — a 50-minute lesson on the stars, moon and planets, tied to state learning standards for physical science, earth and space.

Over the last few years, many schools have eliminated or cut back on museum trips, partly because of tight budgets that make it hard to pay for a bus and museum admission, and partly because of the growing emphasis on “seat time” to cover all the material on state tests. More…

From dezeen.com…

French architect Jean Nouvel has unveiled his design for the new National Museum of Qatar. The museum will comprise a series of interlocking discs of varying dimensions and curvatures, which will form walls, ceilings, floors and terraces. Each disc will be made of a steel truss structure clad in glass-reinforced concrete and the voids between discs will be glazed. This new structure will be built around an existing palace.

From the Qatar Museums Authority…

Marking the next stage of its program to develop Qatar into a hub of culture and communications for the Gulf region and the world, the Qatar Museums Authority (QMA) today revealed its plans for the new National Museum of Qatar, as expressed in a striking and evocative design by Pritzker Prize-winning architect Jean Nouvel.

Embodying the pride and traditions of Qatar’s people while offering international visitors a dialogue about rapid change and modernization, the National Museum of Qatar will be the setting for a program in which entire walls become cinematic displays, “sonorous cocoons”, shelter oral-history presentations and hand-held mobile devices guide visitors through thematic displays of the collection’s treasures. Though built around an historic structure, the Fariq Al Salatah Palace, which had served as a museum of heritage since 1975, the National Museum of Qatar is conceived and designed as a thoroughly new institution, in keeping with the high aspirations that animate QMA. More…