https://dei4.art/api.php?action=feedcontributions&feedformat=atom&user=LDPJAVI - User contributions [en]2026-05-20T07:38:43ZUser contributionsMediaWiki 1.31.0https://dei4.art/index.php?title=Equality_and_diversity_within_the_arts_and_cultural_sector_in_England&diff=126Equality and diversity within the arts and cultural sector in England2024-07-10T06:37:36Z<p>LDPJAVI: Created page with "This report establishes a baseline of data, evidence and research about equality and diversity across the arts and cultural sector in England. It offers a snapshot of current..."</p>
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<div>This report establishes a baseline of data, evidence and research about equality and diversity across the arts and cultural sector in England. It offers a snapshot of current trends and challenges across four key themes: arts and cultural audiences, arts and cultural participation, workforce, and access to finance. <br />
<br />
'''Factors Influencing Engagement<br />
'''<br />
<br />
The research considers the evidence base across each of the groups that are protected by equality legislation, as well as socio-economic status and educational attainment. Advanced statistical analysis has consistently shown that two of the most important factors influencing arts and cultural engagement are educational attainment and socio-economic background. Barriers can be practical, institutional, psychological and driven by an individual's identity and tastes. Approval and support from an individual's social circle can also sway their decision to participate.<br />
<br />
'''Disabled Engagement<br />
'''<br />
<br />
In terms of protected groups, the review finds that disabled audiences' engagement is largely dictated by practical factors like cost and access, which can create a vicious cycle of depressed demand. Economic barriers are more sharply felt by disabled people who are more likely to live in low-income households. Disabled employees and disabled-led organisations are under-represented in funded portfolios. <br />
<br />
'''Ethnic Minority Engagement<br />
'''<br />
<br />
For people from ethnic minority backgrounds, arts engagement has shown no statistically significant change between 2005/06 and 2012/13, with the gap widening compared to white audiences. Barriers include lack of time, cost, and feeling uncomfortable. Ethnic minority workers are also under-represented, especially in leadership roles.<br />
<br />
'''Gender Representation<br />
'''<br />
Women report higher levels of arts engagement than men, though the workforce has seen a decrease in female representation. Women are well-represented in management but less so on boards, and face challenges around career breaks and work-life balance. <br />
<br />
Older people have seen increases in arts engagement, but those over 75 are less likely to engage. The report highlights the importance of early-life exposure to the arts in influencing later engagement.<br />
<br />
The review identifies gaps in the evidence base, particularly around sexual orientation, religion, pregnancy/maternity, marriage/civil partnership, and gender reassignment. It recommends further research to better understand barriers and motivations across protected groups, as well as workforce diversity challenges.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=125Articles / Papers2024-07-10T06:35:09Z<p>LDPJAVI: </p>
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<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
[[The Art Market, Global Economy and Information Transparency]]<br />
<br />
[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
<br />
[[The participatory museum]]<br />
<br />
[[Museum Futures]]<br />
<br />
[[Equality IN ART, good questions and best practices]]<br />
<br />
[[Inside Out -Critical Discourses Concerning Institutions]]<br />
<br />
[[Studio Berlin III: The Situation of Berlin’s Artists and the Gender Gap]]<br />
<br />
[[Historical aspect of the Democratization of the Art]]<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
[[Equality and diversity within the arts and cultural sector in England]]<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
[[Do you lack transparency and trust in the art market]]<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Do_you_lack_transparency_and_trust_in_the_art_market&diff=124Do you lack transparency and trust in the art market2024-07-10T06:27:04Z<p>LDPJAVI: Created page with "The research paper examines the potential for art to be used as an investment asset for small investors, particularly through the use of tokenization and blockchain technology..."</p>
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<div>The research paper examines the potential for art to be used as an investment asset for small investors, particularly through the use of tokenization and blockchain technology. The paper notes that the use of art in investment portfolios is still relatively uncommon, despite potential interest from small investors across countries like the United States and United Kingdom.<br />
<br />
<br />
'''Analyzing Recent Trends in the Art Market<br />
'''<br />
<br />
The paper's approach involves analyzing recent trends in the art market, including data from the Deloitte Art & Finance Report. The report finds that auction sales have slowed by 20% in the first six months of 2019, which the authors attribute to factors like uncertainty surrounding Brexit and the U.S. trade war with China. The paper suggests that one key reason for the lack of investment in art is a lack of transparency and trust in the art market, which is often criticized for issues like corruption and forgery.<br />
<br />
<br />
'''Conclusions on Tokenization and Blockchain Technology<br />
'''<br />
<br />
The main conclusions of the paper are that tokenization and blockchain technology have the potential to increase transparency and trust in the art market, making it more accessible to small investors. Tokenization allows for the sale of art to be tracked through the blockchain, providing a more secure and verifiable provenance. It also enables better rights management for artists, allowing them to receive royalties in real-time when their work is used or viewed.<br />
<br />
<br />
'''Expanding the Art Market Through Transparency and Trust<br />
'''<br />
<br />
The paper suggests that these improvements in transparency and trust could help to expand the art market beyond its current boundaries, potentially attracting more interest from asset managers and next-generation investors who are increasingly focused on social impact in addition to financial returns. Overall, the paper presents a promising outlook for the use of art as an investment asset, particularly if the art market can leverage emerging technologies like blockchain to address longstanding issues around transparency and trust.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=123Articles / Papers2024-07-10T06:24:51Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
[[The Art Market, Global Economy and Information Transparency]]<br />
<br />
[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
<br />
[[The participatory museum]]<br />
<br />
[[Museum Futures]]<br />
<br />
[[Equality IN ART, good questions and best practices]]<br />
<br />
[[Inside Out -Critical Discourses Concerning Institutions]]<br />
<br />
[[Studio Berlin III: The Situation of Berlin’s Artists and the Gender Gap]]<br />
<br />
[[Historical aspect of the Democratization of the Art]]<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
[[Do you lack transparency and trust in the art market]]<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Historical_aspect_of_the_Democratization_of_the_Art&diff=122Historical aspect of the Democratization of the Art2024-07-10T05:50:00Z<p>LDPJAVI: Created page with "'''Emancipatory Narratives and French Art ''' This research paper examines the emergence and evolution of the narrative of "bringing art to the people" or the democratization..."</p>
<hr />
<div>'''Emancipatory Narratives and French Art<br />
'''<br />
<br />
This research paper examines the emergence and evolution of the narrative of "bringing art to the people" or the democratization of culture in France during the late 19th and 20th centuries. The summary discusses how this narrative drew upon the model of the French Republic, linking art, workers, and ongoing liberatory aspirations, and how it was embraced by artists in the early to mid-1900s.<br />
<br />
<br />
'''State Intervention and Cultural Mission<br />
'''<br />
<br />
The paper explains how the growth of the middle class, postwar immigration, and emerging patterns of social exclusion led to the state playing a key role in the pursuit of culture's social mission. This mission became a central part of cultural policy in Britain, France, and beyond during the 1970s. The democratization of art continues to be a prominent feature of many cultural policies today, where it has become increasingly pertinent to demonstrate the public value of high-cost art institutions and where vestiges of the assumed social emancipatory power of art remain.<br />
<br />
<br />
The summary outlines how the democratization of art is defined as making the arts accessible to as many people as possible, enhancing the quality of life for a wider section of the community through the promotion of an appreciation and understanding of artworks. The emergence of art as a collectible commodity during the Renaissance led to the creation of an aesthetic discourse that favored form, pictorial conceit, and authorship over function. By the 18th century, an international network of critics, dealers, artists, and collectors formed the infrastructure of an elite world bound together by social contacts and shared discourse, with women largely excluded.<br />
<br />
<br />
The paper discusses how increases in wealth and education in the 18th century produced an expansion of the public for art, reflected in the growth of the art market and the advent of public exhibitions and museums. The French Revolution and the creation of the Louvre as the paradigmatic public art museum marked a crucial moment in this evolution, with the museum embodying the ideals of liberty, equality, and fraternity. However, the paper notes that despite calls for museums to become more diverse, they still often cater to a predominantly white and well-educated audience, reflecting the ongoing challenge of making art truly accessible to all.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=121Articles / Papers2024-07-10T05:47:28Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
[[The Art Market, Global Economy and Information Transparency]]<br />
<br />
[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
<br />
[[The participatory museum]]<br />
<br />
[[Museum Futures]]<br />
<br />
[[Equality IN ART, good questions and best practices]]<br />
<br />
[[Inside Out -Critical Discourses Concerning Institutions]]<br />
<br />
[[Studio Berlin III: The Situation of Berlin’s Artists and the Gender Gap]]<br />
<br />
[[Historical aspect of the Democratization of the Art]]<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Studio_Berlin_III:_The_Situation_of_Berlin%E2%80%99s_Artists_and_the_Gender_Gap&diff=120Studio Berlin III: The Situation of Berlin’s Artists and the Gender Gap2024-07-10T05:33:42Z<p>LDPJAVI: Created page with " '''Introduction ''' The research paper presents a comprehensive study focused on the situation of contemporary art and artists in Berlin, with a particular emphasis on the g..."</p>
<hr />
<div> '''Introduction<br />
'''<br />
<br />
The research paper presents a comprehensive study focused on the situation of contemporary art and artists in Berlin, with a particular emphasis on the gender gap in the field of visual arts. The study is a follow-up to a pilot study conducted in June 2010 in collaboration with Neuer Berliner Kunstverein (n.b.k.) and aims to analyze the development of the art scene in Berlin and examine the conditions of the artists in the city.<br />
<br />
<br />
'''Contemporary Art in Berlin<br />
'''<br />
<br />
The study reveals that Berlin is an important contemporary art production center, second only to New York, and has experienced significant growth as an art metropolis. However, the research highlights various challenges faced by Berlin's artists, particularly in terms of the gender gap, precarious economic conditions, and the shortage of space for artistic practice. The study involved over 1,700 professional artists between the ages of 19 and 89, with 63% of the participants being women and 34% men. The average age of the participants is 47 years old.<br />
<br />
<br />
Despite the growth of Berlin's art scene, the research findings indicate that the financial income resulting from artistic practice only fully covered the expenses of 20% of the artists in 2017. For all others, artistic practice proved to be a loss-making business, covering only an average of 44% of the expenditure incurred. The study also highlighted the significant disparity in income between male and female artists, with women earning even less than their male counterparts. The economic situation is particularly felt by female artists, who face greater challenges due to their share in parenting and family commitments.<br />
<br />
<br />
'''Detailed Analysis<br />
'''<br />
<br />
The study provides a detailed analysis of the demographics, living and working conditions, exhibition activities, artistic production, income, and various challenges faced by Berlin's artists. It also sheds light on the historical and cultural background of contemporary art in Berlin, tracing its development from the 19th century to the present day.<br />
<br />
<br />
'''Recommendations<br />
'''<br />
<br />
Furthermore, the research emphasizes the importance of creating a Berlin development plan for contemporary art that addresses the distinct challenges and needs of the city's artists. The paper recommends collaborative efforts between artists, cultural policymakers, and key stakeholders to develop sustainable and inclusive perspectives for the future of contemporary art in Berlin.<br />
<br />
<br />
'''Summary of Study<br />
'''<br />
<br />
Overall, the study highlights the complex and multifaceted landscape of contemporary art in Berlin, bringing attention to the gender gap, economic challenges, and the need for innovative measures to improve the economic and social conditions of the city's artists.<br />
<br />
<br />
'''Development Plan and its Purpose<br />
'''<br />
<br />
The research paper discusses the need for a development plan for contemporary art in Berlin, with a focus on creating conditions and perspectives for fruitful developments. The paper emphasizes the importance of enabling self-observation and learning in the visual arts, with a primary focus on the uniqueness of the art world and its own networks. The goal is not to define contemporary art and its key players, but to create a platform for formal exchange, goal-setting, and evaluation based on agreed criteria. The paper also highlights the significance of coordinating activities within the space where contemporary art unfolds, with the potential to gain greater visibility and become a reference for others. Drawing from the example of New York City's Cultural Plan, the paper emphasizes the need for inclusivity, particularly taking into account cultural and ethnic diversity.<br />
<br />
<br />
The research proposes that a development plan for contemporary art can serve as a flexible map for future measures and goals, guiding both the political administration and the artists. Such a plan can also document success and consensus, as well as failure and dissent for later collaborations. Additionally, the need for institutionalized open spaces for dialogue on cultural policy is emphasized, bringing together all involved in Berlin's cultural policy, including self-organized cultural policy agents. The paper suggests that a development plan must be a dynamic navigation aid, considering the ever-changing circumstances of urban development. It also emphasizes the binding function of a development plan in institutionalizing cooperation between cultural policy agents.<br />
<br />
<br />
'''Acknowledgments<br />
'''<br />
<br />
The research acknowledges various individuals and organizations for their cooperation and support, highlighting the collaborative nature of the study. It expresses gratitude to the Professional Association of Visual Artists Berlin, the Senate Department for Health, Long-Term Care and Gender Equality, and boesner GmbH Berlin for their support. The paper also acknowledges the contributions and support from numerous individuals involved in cultural and artistic sectors, researchers, and artists, alongside the anonymous participation of 1,745 Berlin's artists in the survey.<br />
<br />
<br />
'''Conclusion<br />
'''<br />
<br />
In conclusion, the paper underscores the significance of a development plan for contemporary art in Berlin, emphasizing its potential to guide future measures and goals, document success and failure, and institutionalize cooperation between cultural policy agents. It positions the plan as a dynamic navigation aid and underscores the collaborative efforts of various stakeholders in the research.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=119Articles / Papers2024-07-10T05:28:57Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
[[The Art Market, Global Economy and Information Transparency]]<br />
<br />
[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
<br />
[[The participatory museum]]<br />
<br />
[[Museum Futures]]<br />
<br />
[[Equality IN ART, good questions and best practices]]<br />
<br />
[[Inside Out -Critical Discourses Concerning Institutions]]<br />
<br />
[[Studio Berlin III: The Situation of Berlin’s Artists and the Gender Gap]]<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Inside_Out_-Critical_Discourses_Concerning_Institutions&diff=118Inside Out -Critical Discourses Concerning Institutions2024-07-10T05:24:06Z<p>LDPJAVI: Created page with "The "Inside Out: Critical Discourses Concerning Institutions" project was a long-term, interdisciplinary research and curatorial initiative that was launched in 2014. The proj..."</p>
<hr />
<div>The "Inside Out: Critical Discourses Concerning Institutions" project was a long-term, interdisciplinary research and curatorial initiative that was launched in 2014. The project was co-founded and co-curated by Alenka Gregorič, an art historian, curator, and writer, and Suzana Milevska, an art theorist and curator. <br />
<br />
<br />
'''The Components of the Inside Out Project<br />
'''<br />
<br />
The project consisted of two co-curated exhibitions, a conference, and two publications - a catalogue for the first exhibition and this reader. The exhibitions took place at the City Art Gallery Ljubljana and the Museum of Contemporary Art in Belgrade. The project also involved ongoing collaboration with independent curators, researchers, public institutions, and independent organizations from regions like Central/Eastern Europe and South America.<br />
<br />
<br />
'''The Goal of the Inside Out Project<br />
'''<br />
<br />
The goal of the Inside Out project was to analyze existing theoretical and critical art practices that focus on critiquing existing models of art institutions, their programs, and the conditions of art production. It aimed to highlight changing relations between the role of art/artists and the role of museums, galleries, and other public/private art institutions in producing, presenting, and collecting contemporary art during periods of socio-political and economic transition.<br />
<br />
<br />
'''Challenging the Western-Centric Definition<br />
'''<br />
<br />
The project challenged the Western-centric definition of "institutional critique" and looked at how artists in Central/Eastern Europe used distinct methods to question the institutional framework based on their specific sociopolitical and economic contexts. Unlike their Western counterparts, these artists often used the cultural realm as a tool to question broader political and social structures, as the art system was tightly intertwined with political power.<br />
<br />
<br />
'''Contributors and Publications of the Inside Out Project<br />
'''<br />
<br />
The reader features contributions from theorists, researchers, artists, and curators from diverse disciplinary backgrounds, such as Zdenka Badovinac, Ivana Bago, Angela Dimitrakaki, Vít Havránek, Zoran Erić, Nina Möntmann, Gerald Raunig, Hito Steyerl, and Vladimir Vidmar. It provides a comparative analysis of critical artistic practices and discourses concerning institutions in regions like Austria, the Balkans, and the former Eastern Bloc. The project was supported by the City of Ljubljana and the Erste Foundation and was published by the City Art Gallery Ljubljana.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=117Articles / Papers2024-07-10T05:22:22Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
[[The Art Market, Global Economy and Information Transparency]]<br />
<br />
[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
<br />
[[The participatory museum]]<br />
<br />
[[Museum Futures]]<br />
<br />
[[Equality IN ART, good questions and best practices]]<br />
<br />
[[Inside Out -Critical Discourses Concerning Institutions]]<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Equality_IN_ART,_good_questions_and_best_practices&diff=116Equality IN ART, good questions and best practices2024-07-10T03:37:14Z<p>LDPJAVI: Created page with "This research paper summarizes the implementation and support of various funding organizations for a publication on equality in art, focusing on art activities in supported en..."</p>
<hr />
<div>This research paper summarizes the implementation and support of various funding organizations for a publication on equality in art, focusing on art activities in supported environments in Finland. <br />
<br />
<br />
'''Funding Support<br />
'''<br />
The publication was supported by several Finnish funding bodies, including the Arts Promotion Centre Finland, the Finnish Cultural Foundation Häme regional Fund, the Karisto Foundation, and the Ministry of Education and Culture Finland. <br />
<br />
<br />
'''Target Audience and Content<br />
'''<br />
The publication is aimed at professionals and students in the arts, culture, social, and healthcare sectors. It discusses ethical issues, the diverse roles of people involved in supported art activities, and good practices in network collaboration. <br />
<br />
<br />
'''Ethical Guidelines<br />
'''<br />
The first part updates previously published ethical guidelines for art activities in supported environments. It explores recurring ethical questions and provides guidance on topics like accessibility, availability, equality, inclusion, and the use of appropriate language.<br />
<br />
The second part examines the different roles people can take on, such as artists, students, enthusiasts, peer mentors, instructors, counselors, and managers. It highlights the importance of respecting the agency and self-determination of artists who need additional support.<br />
<br />
<br />
'''Supported Studio Network<br />
'''<br />
The third part focuses on good practices in the supported studio network, particularly the NOA Nordic Outsider Art network. It discusses the benefits of networking, building trust, communication, shared leadership, and joint projects that have been successfully implemented. <br />
<br />
Overall, the publication aims to provide a comprehensive guide on ethical, practical, and collaborative aspects of art activities in supported environments, drawing on the 20-year experience of the Kettuki association in Finland and its extensive Nordic partnerships.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=115Articles / Papers2024-07-10T03:35:07Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
[[The Art Market, Global Economy and Information Transparency]]<br />
<br />
[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
<br />
[[The participatory museum]]<br />
<br />
[[Museum Futures]]<br />
<br />
[[Equality IN ART, good questions and best practices]]<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Museum_Futures&diff=114Museum Futures2024-07-10T03:29:55Z<p>LDPJAVI: Created page with "The essay explores the future of museums in India, focusing on how they can move beyond serving as repositories of objects and towards becoming spaces that enable meaningful d..."</p>
<hr />
<div>The essay explores the future of museums in India, focusing on how they can move beyond serving as repositories of objects and towards becoming spaces that enable meaningful dialogues and challenge dominant narratives. It argues that the museum of the future needs to critically engage with issues of decolonization, social inequality, and the politics of representation.<br />
<br />
<br />
The author begins by tracing the colonial origins of museums in India, established by the British as part of their knowledge-gathering project. These museums were often designed to showcase the material wealth and cultural achievements of the colonies, reinforcing narratives of European superiority. Post-independence, the Indian state sought to use museums to promote nationalist narratives and a unified national identity. However, this approach failed to adequately address the complex, pluralistic nature of Indian culture and history.<br />
<br />
<br />
The essay then delves into two key conceptual frames that it proposes as critical for envisioning the museum of the future - aesthetic equality (AE) and discursive equality (DE). AE, drawing on the ideas of thinkers like Jacques Rancière and Boris Groys, refers to the recognition of the fundamental equality of all artistic forms and media. This can serve as a metaphor for challenging social and political inequalities embedded in the museum. DE, on the other hand, speaks to the need to address the unequal relationship between different knowledge systems - the colonizer and the colonized, the global north and global south. <br />
<br />
<br />
The author uses the example of two exhibitions - "India and the World" (2019) and "Arna Jharna: The Thar Desert Museum" (2003) - to illustrate these concepts. "India and the World" was a collaborative exhibition between the British Museum and Indian museums, aiming to reframe India's role in global history. However, the author argues that it struggled to achieve true discursive equality, as the objects were still mediated through the lens of Eurocentric frameworks. In contrast, the "Arna Jharna" museum, dedicated to brooms, was conceived as a space to foreground the narratives of marginalized communities and challenge dominant aesthetic hierarchies.<br />
<br />
<br />
The essay also engages with the evolution of the terms 'desi' and 'margi' in modern Indian art criticism, tracing how they were appropriated by figures like A.K. Coomaraswamy to construct a romanticized vision of organic, hierarchical cultural unity. The author suggests that a critical interrogation of these concepts, informed by Raymond Williams' idea of "community of the modern future," can help museums move beyond essentialist notions of identity and culture.<br />
<br />
<br />
Ultimately, the essay argues that the museum of the future must be willing to host uncomfortable dialogues, give voice to marginalized narratives, and challenge the very premises upon which it has traditionally operated. This requires a shift from the museum as a temple of elitist culture to a forum for critical, emancipatory engagement. The author envisions a museum that can serve as a site for the production of new, inclusive forms of historical and cultural evidence, moving beyond the dominant, Eurocentric modes of knowledge production.<br />
<br />
<br />
Here is a 1000 word summary of the key points:<br />
<br />
<br />
The future of museums is a topic of much discussion, as these institutions must continually reinvent themselves to remain relevant and meaningful. Museums have undergone significant transformations over their 250-year history, evolving from private collections and research archives to more publicly accessible and engaging spaces. <br />
<br />
<br />
As museums face the challenges of globalization, decolonization, and increasing diversity, the need for constant self-reflection and adaptation has become even more critical. The traditional roles of museums - collecting, conserving, researching, exhibiting, and mediating art and culture - are being expanded to prioritize more participatory, inclusive, and open-ended approaches.<br />
<br />
<br />
The ICOM (International Council of Museums) is currently discussing potential revisions to the definition of a museum, to better reflect these changing expectations and responsibilities. Suggestions include characterizing museums as "democratizing, inclusive and polyphonic spaces for critical dialogue about the pasts and the futures." They should acknowledge conflicts and challenges of the present, safeguard diverse memories, guarantee equal access to heritage, and work in active partnership with communities.<br />
<br />
<br />
This shift calls for museums to be more porous, adaptive, and responsive to the needs and perspectives of their audiences. Two case studies illustrate this:<br />
<br />
<br />
The Acervo da Laje in Salvador, Brazil is an unconventional "museum" located in houses and on rooftops (lajes) in a peripheral urban community. It was founded to democratize access to cultural memory and artistic expression, serving as a space for encounter, revelation and balanced dialogue. The Acervo sees the home and the laje as potential museum spaces, where the materiality of art and memory can be uncovered and shared. Its flexible, participatory approach contrasts with the elitism often associated with traditional museums.<br />
<br />
<br />
Similarly, the Museo de Antioquia in Medellín, Colombia has evolved from a typical colonial-era institution to one more deeply engaged with its local context and communities. Through initiatives like the "POLIS: Towards the Political Reconstruction of the City" exhibition, the museum has worked to dismantle dichotomies between the "planned, legal city" and the "spontaneous, chaotic and illegal city." It has embraced more interdisciplinary and relational approaches, serving as a platform for marginalized voices and collective efforts to reimagine urban space.<br />
<br />
<br />
These examples highlight how museums can move beyond their historic roles as sites of collection, preservation and top-down knowledge dissemination. They suggest the potential for museums to become places of critical dialogue, diverse representation, and collaborative knowledge production - spaces that are "democratizing, inclusive and polyphonic."<br />
<br />
<br />
To realize this vision, museums must grapple with ethical questions around authorship, authority and the dynamics of inclusion/exclusion. They must find ways to respectfully engage with communities, share curatorial agency, and create accessible, welcoming environments. This requires rethinking not just exhibition content and formats, but the very structures, staffing and underlying assumptions of the museum.<br />
<br />
<br />
The future museum will likely be more porous, networked and responsive, shedding its ivory tower associations. It may take on more ephemeral, distributed or site-specific forms, venturing beyond traditional buildings. Digital technologies offer new possibilities for democratizing access, generating dialogue, and connecting dispersed collections and communities.<br />
<br />
<br />
Overall, the museum of the future must be prepared to continually evolve, to critically examine its own role and biases, and to work in service of broader social and cultural transformation. It is a tall order, but one that many forward-thinking institutions are already striving to fulfill, with creativity, humility and a spirit of openness to "l'avenir" - the ever-unfolding future.<br />
<br />
<br />
Here is a 1000 word summary of the research paper:<br />
<br />
<br />
The paper explores the evolution of museums from the 19th century to modern times, with a focus on the ideological consequences of separating ethnography from cultural history and the impact of colonialism. It discusses the efforts and challenges in decolonizing museums, highlighting the need for museums in Africa to be inclusive, participatory, and reflective of the dynamic nature of culture.<br />
<br />
<br />
The paper begins by discussing how the association of art museums with high culture has alienated potential visitors, particularly in post-colonial contexts. Museums in Africa are faced with the challenge of breaking free from their troubled pasts and engaging in meaningful dialogue with their constituents, while continuing to preserve and display the artworks in their collections, many of which are remnants of colonial legacies. <br />
<br />
<br />
The author introduces an interactive art project called the The Portable Hawkers Museum as a way to critically reflect on the role of museums in Africa. The Portable Hawkers Museum is a portable museum without walls that questions what is valued in other museums and how those values are communicated through their forms of collecting and display. By exhibiting inexpensive, mass-produced items from street vendors in Johannesburg, the project draws attention to the ways in which museums remove objects from their original contexts and ascribe new cultural value to them.<br />
<br />
<br />
The author argues that by mediating between the museum, their collections and their constituents, artists can challenge inherited museum practices and call into question the hegemony of the institutions of art. The Portable Hawkers Museum, for example, parodies certain cultural history museum practices while also imitating some of the customs that street vendors enact as they unpack and pack up their stalls every day. The author occupies multiple roles in this project, including museum director, volunteer docent, curator and artist, thereby calling into question the ideological separation of these activities.<br />
<br />
<br />
The paper acknowledges the paradox that despite the intention to challenge the hegemony of museums, the avant-garde artists who have employed similar strategies have ultimately failed to overthrow those institutions. The author addresses this paradox through employing parody, which enables her to explore the contradictions within the project. For example, the production of a limited edition set of postcards that are signed, numbered and stamped with the museum stamp, blurs the boundaries between original and reproduction, and foregrounds the fetishization of the artist's signature.<br />
<br />
<br />
The author also discusses an installation titled Authentic Reproductions, where she created plaster reproductions of objects from the Portable Hawkers Museum collection and displayed them alongside the plaster reproductions in the Skulpturhalle Basel. This work challenges notions of value, as the objects that are reproduced are not considered valuable within the discourse of art history, yet within the context of the installation, they become 'original works of art'.<br />
<br />
<br />
The paper highlights the importance of engaging with audience responses to the Portable Hawkers Museum project. The author recounts how when the museum was opened in public spaces, passersby often mistook it for a street vendor's stall, and she used these interactions to question the power that museums have to transform common objects into objects of cultural and aesthetic value. However, the author also acknowledges that despite the potential of such engagement to enable dialogue and critique, the very idea of a museum remains imported, and even the Portable Hawkers Museum is not universally accessible.<br />
<br />
<br />
The paper concludes by proposing that to address the problems of the colonial legacies and alienation of museums in Africa, the concept of the museum must be written 'under erasure'. Drawing on Derrida's concept of 'sous rature', the author suggests that the word 'museum' should be crossed out, acknowledging that it is an inadequate term to capture the problematic nature of these institutions, while also recognizing that there is not yet a more suitable terminology. This, the author argues, is better than simply substituting one terminology for another, as this can produce the illusion that the issues have been resolved, when in fact they have been potentially forgotten.<br />
<br />
<br />
The author contends that through critical praxis, artists can help open the discursive spaces of art production and display, and create awareness of the ideological nature of the institutions of art. In the process, artists can hold museums up for a particular way of looking, and in so doing work towards new museum futures in Africa.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=113Articles / Papers2024-07-10T02:54:50Z<p>LDPJAVI: </p>
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[[Policy on Diversity, Equity, and Inclusion]]<br />
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[[Accessibility and diversity checklist for museums]]<br />
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[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
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[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
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[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
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[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
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9781641892650_ToCIntro.pdf<br />
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[[Racial Equity Progress Report]]<br />
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10.1515_9788366675308-014.pdf<br />
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[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
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[[The Art Market, Global Economy and Information Transparency]]<br />
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[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
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[[The participatory museum]]<br />
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[[Museum Futures]]<br />
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KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
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INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
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IFSE_Studio-Berlin-III-EN_final.pdf<br />
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Historical aspect Democratization of the Art World.pdf<br />
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GuidanceNoteonIntersectionality.pdf<br />
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Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
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EJ822676.pdf<br />
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ecob,+059-066.pdf<br />
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digital_democracy.pdf<br />
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Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
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Curating_as_Anti_Racist_Practice.pdf<br />
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Art-Fund-Curatorial-Diversity-report.pdf<br />
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art_of_inclusion.pdf<br />
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ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
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Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
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9781641892650_ToCIntro.pdf<br />
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2021-Racial-Equity-Progress-Report.pdf<br />
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Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
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CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=112Articles / Papers2024-07-10T02:54:13Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
[[The Art Market, Global Economy and Information Transparency]]<br />
<br />
[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
<br />
[[The participatory museum]]<br />
<br />
[[Museum_Futures]]<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=The_participatory_museum&diff=111The participatory museum2024-07-10T02:49:36Z<p>LDPJAVI: Created page with "'''Commitment to Co-Creative Exhibition Development ''' The Wing Luke Asian Museum in Seattle, WA has a longstanding commitment to co-creative exhibition development, where c..."</p>
<hr />
<div>'''Commitment to Co-Creative Exhibition Development<br />
'''<br />
<br />
The Wing Luke Asian Museum in Seattle, WA has a longstanding commitment to co-creative exhibition development, where community members are engaged in every step of the process. This approach is rooted in the museum's belief that the stories and experiences of the local Asian Pacific American community are more important than the objects on display. <br />
<br />
<br />
'''Unique Exhibition Model and Community Engagement<br />
'''<br />
<br />
Under the leadership of former Director Ron Chew, the museum adopted a unique exhibition model that focuses on oral history and local issues rather than curatorial or authoritative content. Chew saw the museum as a "portal for reflection" and "a place of dialogue" rather than a "fortress of knowledge." This has made the Wing Luke a true "people's museum" where the community feels a strong sense of ownership and pride.<br />
<br />
The co-creative process at the Wing Luke begins with an open exhibition proposal model - anyone can pitch an idea, which is then reviewed and selected by staff and community advisors. The selected projects then go through a 2-3 year development process involving three key groups:<br />
<br />
1. A Core Advisory Committee (CAC) of 12-15 community members with direct connections to the topic. The CAC leads the project development and serves as the primary decision-making body.<br />
<br />
2. Museum staff, who facilitate the process as administrators, technical advisors, and community managers. <br />
<br />
3. Broader community members who participate as contributors and collaborators.<br />
<br />
The CAC-led process is highly flexible and responsive to the needs and dynamics of the particular community involved. The content, timeline, and decision-making are all steered by the CAC, not predetermined by the museum. Once the concept is defined, the CAC recruits additional community members to contribute artifacts, stories, research, and outreach programming.<br />
<br />
<br />
'''Staff Facilitation and Flexibility<br />
'''<br />
<br />
Meanwhile, the museum staff handle the more technical aspects like exhibition design, fabrication, and program logistics. But the staff see their role as facilitators, not directors. As the museum's handbook states, "the work requires flexibility" and "we willingly relinquish control."<br />
<br />
This co-creative approach has led to powerful and impactful exhibitions that deeply resonate with the local Asian Pacific American community. For example, the 2002 exhibition "If Tired Hands Could Talk: Stories of Asian Pacific American Garment Workers" featured first-person narratives collected and designed by a team of 15 garment workers. It was named the best exhibition of the year by the Western Museums Association.<br />
<br />
<br />
'''Community Pride and Ownership<br />
'''<br />
<br />
Community members like State Representative Velma Veloria have expressed immense pride and ownership in the museum, feeling that it has elevated the history and contributions of their people in meaningful ways. The Wing Luke is seen as an essential community institution, not just a place that the community visits.<br />
<br />
The co-creative model at the Wing Luke is not without its challenges. The process is highly labor-intensive and requires constant flexibility and willingness to relinquish control from the staff. The diverse perspectives of the CAC can also lead to contentious deliberation as they work to translate community stories into visitor experiences.<br />
<br />
<br />
'''The Wing Luke Museum as a Co-Creative Model<br />
'''<br />
<br />
However, the Wing Luke's unwavering commitment to this approach has made it a model for how cultural institutions can authentically partner with local communities. By centering community needs, stories, and decision-making, the museum has become a true "people's museum" - a place of reflection, dialogue, and shared ownership rather than a top-down purveyor of knowledge. This serves as an inspiring example of what co-creation can achieve when an institution is willing to put community at the heart of its work.<br />
<br />
<br />
'''Engaging with Community Members and Visitors<br />
'''<br />
<br />
Here is a 1000 word summary of the key points about how museums and cultural organizations can engage with community members and visitors to become more dynamic and relevant:<br />
<br />
<br />
'''Integrating Co-Creative Approach<br />
'''<br />
<br />
Museums and cultural organizations can engage visitors and community members in a variety of ways to become more dynamic and relevant. One approach is through co-creative processes, where the institution partners closely with community members throughout the exhibition development process. At the Wing Luke Asian Museum, the co-creative model is deeply integrated into the museum's overall mission and strategy. Community Advisory Council (CAC) members are involved from the start, providing input on exhibition goals, artifacts, stories, and design. CAC members also participate in installation and evaluation, and they often lead educational programs alongside staff. <br />
<br />
<br />
'''Measuring Success of Co-Creative Projects<br />
'''<br />
<br />
This co-creative approach ensures that the exhibitions remain meaningful and relevant to diverse communities. The museum measures success through metrics like community participation, repeat visitation, learning and emotional impact, and the degree to which people see themselves represented. The museum also reflects this participatory ethos in its internal hiring and training practices, prioritizing staff with strong relationship-building skills.<br />
<br />
<br />
'''Challenges and Success Factors of Co-Creation<br />
'''<br />
<br />
Co-creative projects can be challenging, as institutions and participants may have differing goals. Successful co-creation requires that staff and participants respect each other's interests and be willing to let the project evolve based on participant needs. Projects that scaffold participation, providing participants with skills and tools to accomplish shared goals, tend to be most effective.<br />
<br />
<br />
'''Museums and Hosting Models<br />
'''<br />
<br />
In addition to co-creation, museums can also employ hosting models, where they provide physical or digital spaces for community groups to share their own content and experiences. Hosting can be a strategic way to demonstrate an institution's commitment to particular topics or audiences. For example, the Museu Picasso in Barcelona hosted an exhibition where illustration students observed and reflected on the inner workings of the museum itself. <br />
<br />
Hosting models require institutions to be clear about their goals, as hosting can introduce creative activities that may conflict with traditional visitor expectations. Institutions must balance empowering visitor creativity with maintaining a coherent visitor experience. Careful curation and scaffolding of hosted experiences can help mitigate these challenges.<br />
<br />
<br />
'''Resource Shifting for Participatory Models<br />
'''<br />
<br />
Regardless of the participatory model used, institutions must be prepared to manage these ongoing, evolving projects. This requires shifting resources towards facilitation, maintenance, and responsiveness, rather than traditional up-front capital investment. Institutions may also need to develop new staff roles, like community managers, to coordinate participatory efforts across the organization.<br />
<br />
Ultimately, sustaining participation requires buy-in and support from staff at all levels. Institutions can start by having front-line staff spend time engaging directly with visitors, to build empathy and understanding. Managers can also take strategic approaches to gradually integrate participatory practices, beginning with low-risk experiments and then scaling up as staff gain comfort and confidence.<br />
<br />
<br />
'''Oakland Museum of California Case Study<br />
'''<br />
<br />
The Oakland Museum of California provides a case study of how participatory practices can drive broader institutional transformation. The museum's long-running Days of the Dead exhibition embodies many of the goals the museum has for community engagement. Informed by this success, the museum is now integrating more participatory, dialogic, and collaborative elements across its other galleries and programs.<br />
<br />
In conclusion, museums and cultural organizations can engage visitors and community members in ways that make them more dynamic, relevant, and responsive to local needs and interests. By employing co-creative, hosting, and other participatory models, institutions can build deeper relationships, better represent diverse perspectives, and evolve to meet the changing needs of their communities.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=110Articles / Papers2024-07-10T02:26:06Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
[[The Art Market, Global Economy and Information Transparency]]<br />
<br />
[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
<br />
[[The participatory museum]]<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Is_gender_in_the_eye_of_the_beholder%3F_Identifying_cultural_attitudes_with_art_auction_prices&diff=109Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices2024-07-10T01:49:50Z<p>LDPJAVI: Created page with "The research paper examines gender discounts in the secondary art market using a dataset of over 1.5 million auction transactions across 45 countries from 1970 to 2013. The ke..."</p>
<hr />
<div>The research paper examines gender discounts in the secondary art market using a dataset of over 1.5 million auction transactions across 45 countries from 1970 to 2013. The key findings are:<br />
<br />
<br />
1. There is a substantial 47.6% gender discount in auction prices for paintings by female artists compared to male artists. This discount persists even after controlling for various artist and painting characteristics.<br />
<br />
<br />
2. The gender discount is higher in countries with greater gender inequality. Using measures of gender inequality like the UN Gender Inequality Index and the World Economic Forum Gender Gap Index, the authors find that the gender discount is larger in countries with more unequal gender norms and outcomes.<br />
<br />
<br />
3. Experiments show that participants are generally unable to reliably identify the gender of the artist based solely on viewing the paintings. This suggests the lower prices are not due to systematic differences in the art produced by women, but rather due to the fact that the works are created by female artists.<br />
<br />
<br />
4. The authors argue that the gender discount reflects cultural biases and attitudes towards women rather than differences in artistic talent or training. They provide evidence that more affluent and frequent museum-going participants exhibit a lower appreciation for paintings they associate with female artists.<br />
<br />
<br />
5. The authors conclude that the gender discount in art auction prices highlights the importance of continued efforts to reduce gender inequality, as these cultural attitudes can have significant economic consequences for female artists, even in settings where the artists themselves do not directly participate in the market transactions.<br />
<br />
<br />
Overall, the study provides robust evidence of a gender-based discount in the secondary art market that appears to be driven by cultural biases against female artists, rather than differences in the art itself. This underscores the persistent challenges women face in traditionally male-dominated fields like the arts.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=108Articles / Papers2024-07-10T01:25:56Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
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[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
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9781641892650_ToCIntro.pdf<br />
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[[Racial Equity Progress Report]]<br />
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10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
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[[The Art Market, Global Economy and Information Transparency]]<br />
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[[Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices]]<br />
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Muzej-v-kontekste-kultury-uchastiya.pdf<br />
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Museum_Futures.pdf<br />
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KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
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digital_democracy.pdf<br />
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Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
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Art-Fund-Curatorial-Diversity-report.pdf<br />
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art_of_inclusion.pdf<br />
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ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
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2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
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CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
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https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=The_Art_Market,_Global_Economy_and_Information_Transparency&diff=107The Art Market, Global Economy and Information Transparency2024-07-10T01:18:59Z<p>LDPJAVI: Created page with " '''Introduction ''' The research paper analyzes the complexities of the art market, particularly focusing on the uncertainty and asymmetry of sector information. Art is obse..."</p>
<hr />
<div> '''Introduction<br />
'''<br />
<br />
The research paper analyzes the complexities of the art market, particularly focusing on the uncertainty and asymmetry of sector information. Art is observed to have dual purposes in society, including aesthetic and superaesthetic roles. The economic role of art is sustained by complex marketing processes, which tend to modify the aims and conditions of artistic enterprise. It is noted that the value of artwork may not be linked exclusively to the personality or commitment of the artist, but also to the process of recognition of the usefulness of the artistic product in its fulfillment of others. The paper delves into the hypothesis of art as goods to be exchanged in the market and presents the challenges of merging the figure of the artist with that of the producer-entrepreneur.<br />
<br />
<br />
'''Art and the Artist<br />
'''<br />
<br />
The paper also discusses the value of art in relation to the artist's personality and commitment. It delves into the challenges of merging the figure of the artist with that of the producer-entrepreneur. The economic and cultural blending between local and global features is explored, along with the influence of art market actors on artists' values and career. The paper mentions the influence of technological development, such as mass reproductions of famous works of art, and the impact of technological advancements on art consumption and investment.<br />
<br />
<br />
The research paper also thoroughly examines the distribution as the active agent between supply and demand, citing the various types of art brokers. It delves into the choices for the organization and circulation of information in the art market and explores the global perspective of the art market. The impact of globalisation, the change in supply, and revitalization are also discussed. The paper also refers to the role of the internet as a new marketing resource and its influence on the global art market. The significance of information, both on how to organize production and distribution, and the importance of this information in the effective operation of the art market is also emphasized.<br />
<br />
<br />
In summary, the research paper encompasses various aspects of the art market, covering the economic, cultural, and technological influences, as well as the global perspective and the role of information in shaping the market. It provides valuable insights into the complexities of the art market and the challenges faced by artists and art market actors. The paper offers a comprehensive and detailed analysis of the art market, shedding light on its multifaceted nature and the interplay of various factors affecting its dynamics.<br />
<br />
<br />
'''Economic and Aesthetic Roles<br />
'''<br />
<br />
The research paper delves into the complexities of the art market, specifically focusing on the uncertainty and asymmetry of sector information. It explores the dual purpose of art in society, examining its aesthetic and superaesthetic roles, and delves into the economic aspects of art in relation to marketing processes. The paper addresses the value of artwork and its link to the artist's personality and commitment. Additionally, it discusses the challenges of merging the figure of the artist with that of the producer-entrepreneur and presents the hypothesis of art as goods to be exchanged in the market.<br />
<br />
<br />
'''Categorization of Art<br />
'''<br />
<br />
The paper discusses the definition of "work of art" and how it refers exclusively to visual/figurative arts and can be divided into performing arts and visual arts, which includes historical-cultural assets and fine arts. It emphasizes that the art markets refer to partitions of these categories, and they are markets where there is an exchange of goods commonly deemed "art," whether derived from the cultural heritage or obtained as yearly products.<br />
<br />
<br />
'''Challenges Faced in the Art Market<br />
'''<br />
<br />
Moreover, the paper also touches upon the challenges faced in the art market, such as the underperformance of masterpieces, the rate of return in the art market, and the economic implications of taste. It also addresses the role of marketing in the arts and its effects on arts consumption and artistic value. The challenges of merging physical art markets with online platforms are also explored, with insights into the development of art websites and the implications of e-commerce on the art market.<br />
<br />
<br />
'''Globalization and Marketing Strategies<br />
'''<br />
<br />
Furthermore, the paper discusses the implication of globalization, global markets, and the territorial dimension of contemporary art. It also covers the importance of auctions, the role of cultural institutions, and the impact of hypermedia computer-mediated environments in marketing strategies for contemporary visual arts. Additionally, it addresses the management of museums and galleries in the internet era and the role of audience development for cultural institutions.<br />
<br />
<br />
'''Conclusion<br />
'''<br />
<br />
Overall, the paper sheds light on the complexities of the art market, the challenges of marketing in the art industry, and the evolving dynamics driven by technological advancements and globalization. It provides valuable insights into the economic, artistic, and marketing aspects of the art market and offers a comprehensive understanding of the multifaceted nature of the industry.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=106Articles / Papers2024-07-10T01:13:50Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
[[The Art Market, Global Economy and Information Transparency]]<br />
<br />
Special-Publication-2.pdf<br />
<br />
Muzej-v-kontekste-kultury-uchastiya.pdf<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Socio-Economic_Diversity_and_Inclusion_in_the_arts:_a_toolkit_for_employers&diff=105Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers2024-07-10T01:11:20Z<p>LDPJAVI: Created page with "The research paper highlights the need for continued efforts to achieve greater diversity and inclusion in the arts sector in England, despite the implementation of a new tool..."</p>
<hr />
<div>The research paper highlights the need for continued efforts to achieve greater diversity and inclusion in the arts sector in England, despite the implementation of a new toolkit to help progress this objective. The paper emphasizes that fair access to working in the arts remains one of the most urgent issues facing the sector, as those from lower socio-economic backgrounds are still vastly underrepresented amongst the artists and employees of UK theatres, festivals, galleries, and arts organizations. <br />
<br />
<br />
Recent research has shown that this "class crisis" has deepened, with chronic issues of socio-economic underrepresentation persisting. The paper notes that individuals from higher socio-economic backgrounds are currently overrepresented in most creative occupations, particularly in leadership roles. There is strong evidence that those from lower socio-economic backgrounds are more likely to face barriers in accessing opportunities and breaking into the arts, often due to lacking the right networks, cultural references, and knowledge to navigate the sector.<br />
<br />
<br />
The toolkit aims to support long-term change by providing guidance, expert support, and encouraging an intersectional approach to equality, diversity and inclusion. It emphasizes the importance of monitoring socio-economic background data, creating spaces for critical discussions about concepts like "talent" and "merit", and implementing inclusive recruitment practices that remove barriers for candidates from diverse backgrounds. <br />
<br />
<br />
The paper argues that without socio-economic background being recognized as a "protected characteristic" like gender or ethnicity, it will remain an underresearched and underfunded "hidden barrier" in the arts. However, the case for change is not just about fairness - there is also evidence that increasing socio-economic diversity can lead to more relevant, engaging, and outstanding artistic endeavors that better reflect contemporary society.<br />
<br />
<br />
The toolkit provides a range of practical recommendations and case studies to support arts organizations in taking meaningful action to advance socio-economic diversity and inclusion. It challenges all organizations to set ambitious goals and act with rigor and pragmatism, as the rewards could be significant - from increased social equality to a more representative artistic community and higher quality, more diverse cultural output.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=104Articles / Papers2024-07-10T01:09:05Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
[[Socio-Economic Diversity and Inclusion in the arts: a toolkit for employers]]<br />
<br />
The_Art_Market_Global_Economy_and_Information_Tran.pdf<br />
<br />
Special-Publication-2.pdf<br />
<br />
Muzej-v-kontekste-kultury-uchastiya.pdf<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Racial_Equity_Progress_Report&diff=103Racial Equity Progress Report2024-07-10T01:02:12Z<p>LDPJAVI: Created page with "The paper presents a detailed roadmap for the Speed Art Museum to promote diversity, equity, and inclusion (DEI) within their institutional framework as part of their mission..."</p>
<hr />
<div>The paper presents a detailed roadmap for the Speed Art Museum to promote diversity, equity, and inclusion (DEI) within their institutional framework as part of their mission to engage with art. The museum commits to meeting or exceeding Jefferson County's non-white employment percentages by 2025, with a specific focus on increasing Black employment across all three levels. Additionally, the museum aims to use industry/regional benchmarks for compensation and internal reporting on compensation compared to regional living wage standards. The Boards of the Speed, together with the Governance Committee, are committed to having non-White membership that exceeds the non-White population of the MSA by 2025, with a specific emphasis on Black members.<br />
<br />
<br />
The museum plans to address historical underrepresentation by developing a Collection Development Plan with specific strategies and goals for acquiring work by historically underrepresented artists. Moreover, they intend to feature exhibitions and works by BIPOC artists in percentages that meet or exceed their representation in Jefferson County. The museum also aims to diversify its docent corps, hoping to have BIPOC docents make up more than 10% of the total by 2025.<br />
<br />
<br />
'''Community Outreach and Collection Initiatives<br />
'''<br />
<br />
Through their Community Outreach work, the museum commits to engaging with organizations that serve non-White communities, particularly those serving Title 1 schools. They are also focused on reaffirming their commitment to their African and Native American collections through various initiatives like loans, recontextualizing and presenting the permanent collection in new ways, and exploring collection growth opportunities. Moreover, the museum has initiated provenance and provenience research for objects in their African and Native American collections and is studying best practices for potential repatriation of artworks.<br />
<br />
<br />
'''Focus on DEAI Processes and Training<br />
'''<br />
<br />
To further their efforts, the Speed Museum is in the process of hiring their first Director of Equity, Inclusion, and Belonging to focus on DEAI processes across the institution. Regular training on Diversity, Equity, and Inclusion, including Implicit Bias and Antiracism Training, is scheduled twice annually for all employees. The museum is also actively reviewing salary levels for bias and fostering a personnel work group to support the Human Resources department and complete a racial equity audit of positions and salaries by the end of 2022.<br />
<br />
<br />
'''Equity and Inclusion Practices and Acknowledgment<br />
'''<br />
<br />
The museum has also developed systems for collecting demographic information from vendors, programming partners, and living artists, ensuring fair and equitable payment practices for all contracted individuals. They are committed to engaging in deep listening to improve their efforts and welcome questions or feedback regarding the initiatives presented in the report. Lastly, the paper emphasizes the museum's commitment to acknowledging the history of its founders and the land it occupies, including the development of a Land Acknowledgment Statement showing respect for the Indigenous Peoples who occupied the land on which the Speed sits.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=102Articles / Papers2024-07-10T00:57:54Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
[[Racial Equity Progress Report]]<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
Toolkit_Digital.pdf<br />
<br />
The_Art_Market_Global_Economy_and_Information_Tran.pdf<br />
<br />
Special-Publication-2.pdf<br />
<br />
Muzej-v-kontekste-kultury-uchastiya.pdf<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=The_impact_of_ethnic_diversity_initiatives_on_curatorial_roles_in_the_UK_arts_%26_heritage_sector_1998-2021&diff=101The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-20212024-07-10T00:52:52Z<p>LDPJAVI: Created page with "The research found that few ethnic diversity workforce initiatives in the UK arts and heritage sector have specifically aimed to diversify curatorial roles. Most initiatives h..."</p>
<hr />
<div>The research found that few ethnic diversity workforce initiatives in the UK arts and heritage sector have specifically aimed to diversify curatorial roles. Most initiatives have instead focused on providing entry-level opportunities, with limited impact on the demographics of the curatorial workforce. <br />
<br />
<br />
'''Initiatives with a Focus on Diversifying Curatorial Workforce<br />
'''<br />
<br />
Notable exceptions highlighted include the Arts Council England (ACE) Inspire Fellowship programme, International Curators Forum, and programmes developed by ICF and the Art360 Foundation. These initiatives had a sustained focus on diversifying the curatorial workforce through training, mentorship, and professional development opportunities. In comparison, the US has seen greater investment and focus on curatorial diversity, leading to a demonstrable increase in non-White curators entering the profession and being appointed to director roles.<br />
<br />
<br />
'''Interviews with Participants<br />
'''<br />
<br />
The research involved interviews with 58 participants, including curators who had taken part in diversity programmes as well as those managing and delivering them. There was a strong sense of frustration expressed about the lack of progress in diversifying the curatorial workforce, with many commenting on the structural exclusion of diverse voices. Barriers identified included the lack of longevity and funding for diversity schemes, the overall lack of diversity in the sector leading to a lack of awareness, and the colonial infrastructure of large institutions limiting curators' ability to drive change.<br />
<br />
<br />
'''Emphasizing the Need for Systemic Change<br />
'''<br />
<br />
Respondents emphasized the need for systemic change, with leadership required to "transfer power" and partner with Black, Asian, and ethnically diverse communities and leaders. The "gatekeeper syndrome" was cited, where bringing in diverse staff was seen as threatening rather than an opportunity to innovate. Issues of social and economic capital, and class bias in senior leadership, were also highlighted as significant barriers.<br />
<br />
<br />
'''Beyond the Curatorial Sphere<br />
'''<br />
<br />
Notable initiatives beyond the curatorial sphere included Museum Detox, a network supporting people of color in the sector, and Black-led spaces and collectives such as the Black Curators Collective and the Black Blossoms School of Art and Culture. These were seen as valuable peer support networks and platforms for promoting diversity.<br />
<br />
<br />
'''Specific Ethnic Diversity Promotion Programmes<br />
'''<br />
<br />
The research identified three programmes over the past 20 years that have specifically aimed to promote ethnic diversity in curation: the Inspire Fellowship, International Curators Forum, and Art360 Foundation. The demise of the Inspire programme was noted as a significant loss, as many participants had gone on to take on senior curatorial roles.<br />
<br />
<br />
'''Recommendations and Conclusions<br />
'''<br />
<br />
The report concludes with a series of recommendations, including the need for: increased and longitudinal research on diversity initiatives; greater accountability and support from funders; investment in anti-racism and ethical curatorial practice; stronger pipelines and training schemes; and increased funding and support for independent, diverse-led spaces and initiatives. Overall, the research highlights the urgent need for leadership and collective, systemic action to drive meaningful change in diversifying the curatorial workforce in the UK arts and heritage sector.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=100Articles / Papers2024-07-10T00:50:15Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
[[The impact of ethnic diversity initiatives on curatorial roles in the UK arts & heritage sector 1998-2021]]<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
Toolkit_Digital.pdf<br />
<br />
The_Art_Market_Global_Economy_and_Information_Tran.pdf<br />
<br />
Special-Publication-2.pdf<br />
<br />
Muzej-v-kontekste-kultury-uchastiya.pdf<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=99Articles / Papers2024-07-10T00:37:38Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
[[Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations]]<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
Toolkit_Digital.pdf<br />
<br />
The_Art_Market_Global_Economy_and_Information_Tran.pdf<br />
<br />
Special-Publication-2.pdf<br />
<br />
Muzej-v-kontekste-kultury-uchastiya.pdf<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Diversifying_Art_Museum_Leadership_Initiative:_Accomplishments_and_Recommendations&diff=98Diversifying Art Museum Leadership Initiative: Accomplishments and Recommendations2024-07-10T00:33:50Z<p>LDPJAVI: Created page with "This research paper discusses the Diversifying Art Museum Leadership Initiative (DAMLI), a $6 million program launched in 2017 by the Alice L. Walton Foundation and Ford Found..."</p>
<hr />
<div>This research paper discusses the Diversifying Art Museum Leadership Initiative (DAMLI), a $6 million program launched in 2017 by the Alice L. Walton Foundation and Ford Foundation to increase the diversity of American art museums' curatorial and management staff.<br />
<br />
<br />
'''Lack of diversity in art museum leadership and DAMLI's response<br />
'''<br />
<br />
The paper notes that currently, less than 20% of art museum leadership positions are held by people of color and other underrepresented populations. To address this, DAMLI awarded grants to 21 diverse art museums to help expand pathways to leadership for young people from a wide range of backgrounds, including high school and college students, graduate students, and doctoral candidates.<br />
<br />
<br />
'''Activities undertaken by the DAMLI museums<br />
'''<br />
<br />
The paper outlines the various activities undertaken by the DAMLI museums, which included internships, fellowships, staff development and anti-racism training, and the creation of noteworthy exhibitions and public programs that highlighted the work of artists of color. Over the three-year period, the museums collectively served over 2,000 teens/high school students, community college and undergraduate students, and sponsored 35 extended post-baccalaureate, graduate, and post-doctoral fellowships.<br />
<br />
<br />
'''Key lessons learned through the DAMLI initiative<br />
'''<br />
<br />
The paper highlights the key lessons learned through the DAMLI initiative, such as the importance of providing competitive stipends and housing support for interns and fellows, crafting meaningful experiences that allow for broad exposure and project completion, and dedicating staff at senior leadership levels to carry forward diversity, equity, access, and inclusion (DEAI) work. The paper also emphasizes that for these efforts to be truly successful, museums must embrace internships and fellowships as opportunities for the institution to learn and change, and that the commitment to learning and shifting practices must be embraced throughout the organization, not just by staff of color or those with marginalized identities.<br />
<br />
<br />
'''Conclusion and impact of the DAMLI initiative<br />
'''<br />
<br />
Overall, the DAMLI initiative serves as an example of the meaningful progress that can be made through sustained efforts to diversify art museum leadership and create more welcoming and equitable institutions for all.</div>LDPJAVIhttps://dei4.art/index.php?title=The_%27West%27_versus_%27the_Rest%27%3F_Festival_Curators_as_Gatekeepers_for_Sociocultural_Diversity&diff=97The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity2024-07-10T00:13:47Z<p>LDPJAVI: Created page with " '''Legal Requirements and Rights ''' The paper discusses the legal requirements and rights related to publications made available in a public portal. It states that the copy..."</p>
<hr />
<div> '''Legal Requirements and Rights<br />
'''<br />
<br />
The paper discusses the legal requirements and rights related to publications made available in a public portal. It states that the copyright and moral rights for these publications are retained by the authors and/or other copyright owners. Users accessing these publications must recognize and abide by the legal requirements associated with these rights.<br />
<br />
<br />
Specifically, the paper outlines the key user rights and restrictions:<br />
<br />
<br />
- Users may download and print one copy of any publication from the public portal for the purpose of private study or research. <br />
<br />
- Users may not further distribute the material or use it for any profit-making activity or commercial gain.<br />
<br />
- Users are free to distribute the URL identifying the publication in the public portal.<br />
<br />
<br />
'''Copyright Breach Protocol<br />
'''<br />
<br />
The paper also notes that if a user believes a publication in the public portal breaches copyright, they should contact the administrators providing details, and access to the work will be immediately removed while the claim is investigated.<br />
<br />
<br />
Overall, the main points are that the copyright and moral rights for publications in the public portal remain with the authors/owners, and users must respect these rights when accessing the materials. Users have the right to download and print one copy for private/research purposes, but cannot further distribute or commercially use the content. If a user believes there is a copyright breach, they can notify the administrators who will investigate and remove access if needed.<br />
<br />
<br />
The summary focuses on clearly and objectively outlining the key legal requirements and user rights detailed in the paper, without providing any personal opinions or interpretations. It aims to accurately and concisely communicate the main points regarding the copyright and usage rules for publications made publicly available.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=96Articles / Papers2024-07-09T23:57:11Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
[[The 'West' versus 'the Rest'? Festival Curators as Gatekeepers for Sociocultural Diversity]]<br />
<br />
damli_accomplishments_recommendations_final-report-2021.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
Toolkit_Digital.pdf<br />
<br />
The_Art_Market_Global_Economy_and_Information_Tran.pdf<br />
<br />
Special-Publication-2.pdf<br />
<br />
Muzej-v-kontekste-kultury-uchastiya.pdf<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Curatorial_Practices_of_the_%E2%80%98Global%E2%80%99:_Toward_a_Decolonial_Turn_in_Museums_in_Berlin_and_Hamburg&diff=95Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg2024-07-09T23:51:34Z<p>LDPJAVI: Created page with "'''Exploring Notions of the 'Global' in German Museums ''' The paper examines how different notions of the 'global' are curated in so-called 'global' visual arts in two Germa..."</p>
<hr />
<div>'''Exploring Notions of the 'Global' in German Museums<br />
'''<br />
<br />
The paper examines how different notions of the 'global' are curated in so-called 'global' visual arts in two German museums - the Martin Gropius Bau in Berlin and the MARKK (Museum am Rothenbaum) in Hamburg. It discusses the challenges posed by decolonial aesthetics, postcolonial thought, and the provenance of exhibition objects, and explores the potential, restrictions, and applications of academic concepts such as "anti-racist" or "postcolonial curating" in this context.<br />
<br />
<br />
'''Critical Examination of the Gropius Bau's Exhibition<br />
'''<br />
<br />
The analysis of the Gropius Bau's exhibition "Garden of Earthly Delights" found both critical and affirmative approaches to anti-racist curating. While the exhibition engaged with topics of colonialism, the curatorial decisions sometimes reproduced colonial vocabulary and perspectives. The selection of artists was biased towards the 'Western' art world, and the spatial arrangement diminished the visibility of certain critical artworks. Overall, the paper argues the Gropius Bau did not fully enforce the changes demanded by a decolonial curatorial approach.<br />
<br />
<br />
'''Postcolonial Reform in the MARKK Museum<br />
'''<br />
<br />
In contrast, the MARKK museum in Hamburg has undergone a significant postcolonial reform process. The new website and self-understanding critically examine the museum's colonial history and legacy. The exhibition "Amani" incorporated contemporary artworks alongside ethnological objects, though the distinction between art and artifact was not always clear. The guided tour by curators provided important context often missing from the exhibition texts. Visitors expressed interest in the museum's critical reappraisal of its colonial past, though some felt the content could be presented in a more accessible way.<br />
<br />
<br />
'''Further Changes Needed for Decolonizing Museums<br />
'''<br />
<br />
The paper concludes that while signs of a decolonial turn are emerging in these predominantly white European curatorial practices, there is still a need for further changes. Concepts like "anti-racist curating" have led to notable improvements, but fully decolonizing museums requires fundamentally rethinking institutional structures, decision-making processes, and the relationships between curators, artists, and audiences. Achieving a truly decolonial curation of the 'global' remains an ongoing challenge and necessity.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=94Articles / Papers2024-07-09T23:49:22Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
[[Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg]]<br />
<br />
Gaupp_paper_ESA2019_SociologyofCulture.pdf<br />
<br />
damli_accomplishments_recommendations_final-report-2021.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
Toolkit_Digital.pdf<br />
<br />
The_Art_Market_Global_Economy_and_Information_Tran.pdf<br />
<br />
Special-Publication-2.pdf<br />
<br />
Muzej-v-kontekste-kultury-uchastiya.pdf<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Policy_on_Diversity,_Equity,_and_Inclusion&diff=93Policy on Diversity, Equity, and Inclusion2024-07-09T22:47:57Z<p>LDPJAVI: Created page with "The Wichita Art Museum (WAM) has made a strong and enduring commitment to diversity, equity, and inclusion (DEI) as part of its mission to "touch lives through art." The museu..."</p>
<hr />
<div>The Wichita Art Museum (WAM) has made a strong and enduring commitment to diversity, equity, and inclusion (DEI) as part of its mission to "touch lives through art." The museum recognizes that encounters with art can be transformative, and it aims to create a welcoming and accessible experience for all visitors.<br />
<br />
<br />
'''Inclusive Efforts and Community Engagement<br />
'''<br />
<br />
WAM's efforts to ensure inclusion permeate its policies, leadership, hiring, partnerships, and programs. The museum has undertaken a comprehensive assessment of its history, acknowledging that its founders and early leaders were predominantly white and affluent, which resulted in a lack of representation from minority communities in Wichita. To address this, WAM has engaged in community outreach, solicited feedback, and conducted listening sessions to better understand the perceptions and needs of underrepresented groups.<br />
<br />
<br />
The museum has implemented several initiatives to foster DEI, including:<br />
<br />
<br />
- Offering free admission on Saturdays and hosting large, free community events to remove economic barriers to access<br />
<br />
- Developing partnerships with diverse community organizations and youth-serving groups to reach new audiences<br />
<br />
- Committing to increasing the representation of women, LGBTQ, and artists of color in its permanent collection and exhibitions<br />
<br />
- Implementing inclusive hiring practices, providing DEI training for all staff and volunteers, and incorporating DEI values into performance evaluations<br />
<br />
- Encouraging vendor and supplier relationships with minority-owned and women-owned businesses<br />
<br />
<br />
'''Ongoing DEI Work<br />
'''<br />
<br />
WAM's DEI work is an ongoing, systemic, and never-ending process. The museum recognizes that there may be missteps along the way, but it is fully committed to the hard work of improving the sense of belonging for all who engage with the museum. A diverse, equity-focused, and inclusive board, staff, and volunteer base is crucial to this effort.<br />
<br />
<br />
'''Living DEI Policy<br />
'''<br />
<br />
The Wichita Art Museum's DEI policy serves as a living document, subject to periodic review and revision to ensure its relevance and effectiveness in creating a more welcoming and accessible institution for the entire Wichita community.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=92Articles / Papers2024-07-09T22:36:41Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
[[Policy on Diversity, Equity, and Inclusion]]<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
Gaupp-et-al._Curatorial-Practices-of-the-Global.pdf<br />
<br />
Gaupp_paper_ESA2019_SociologyofCulture.pdf<br />
<br />
damli_accomplishments_recommendations_final-report-2021.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
Toolkit_Digital.pdf<br />
<br />
The_Art_Market_Global_Economy_and_Information_Tran.pdf<br />
<br />
Special-Publication-2.pdf<br />
<br />
Muzej-v-kontekste-kultury-uchastiya.pdf<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
https://kid-museum.org/community-conversations/symposium-and-community-conversation/<br />
<br />
https://encc.eu/articles/tools-on-inclusion-in-art-and-arts-education<br />
<br />
https://curatorialresearch.com/services/research/diversity-and-inclusion/<br />
<br />
https://sr.ithaka.org/publications/interrogating-institutional-practices-in-equity-diversity-and-inclusion/<br />
<br />
https://www.artcurators.org/page/ProfPractices<br />
<br />
https://now.tufts.edu/2022/10/14/bringing-needed-diversity-and-inclusion-americas-art-museums<br />
<br />
https://www.vam.ac.uk/info/equality-diversity-and-inclusion-at-the-va/<br />
<br />
ArtistDiversity-master.zip<br />
<br />
1-s2.0-S0264999321001760-main.pdf<br />
<br />
Diversity of artists in major U.S. museums _ PLOS ONE.pdf<br />
<br />
Do you lack transparency and trust in the art market_.pdf<br />
<br />
Towards-Equity-Report.pdf<br />
<br />
https://www.artfund.org/our-purpose/news/art-fund-publishes-new-curatorial-diversity-report<br />
<br />
Art Fund_Curatorial Diversity Report 2022_181122a.pdf<br />
<br />
https://news.artnet.com/art-world/museum-dei-plans-2022-2161690<br />
<br />
https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=The_Role_of_Programming_in_Interpreting_LGBTQ_Identities_in_Contemporary_Art_Museums&diff=91The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums2024-07-09T22:25:09Z<p>LDPJAVI: Created page with "'''Museums and LGBTQ Representation ''' This thesis focuses on the methods through which art museums represent LGBTQ identities, facilitate discourse about diverse sexualitie..."</p>
<hr />
<div>'''Museums and LGBTQ Representation<br />
'''<br />
<br />
This thesis focuses on the methods through which art museums represent LGBTQ identities, facilitate discourse about diverse sexualities through programming, and address targeted media controversy. It analyzes the National Portrait Gallery's exhibition Hide/Seek: Difference and Desire in American Portraiture and the Brooklyn Museum's exhibition of the same show, comparing their approaches in engaging diverse communities when faced with opposing voices or perspectives. [ 5 ] <br />
<br />
<br />
The paper discusses the curatorial choice of works included in Hide/Seek, the methods of representation used, and the successes in highlighting LGBTQ identities and histories that had not been previously acknowledged at the National Portrait Gallery. It evaluates the effectiveness of programming used to support the exhibition and engage both museums' communities, and examines how each museum responded to media backlash. <br />
<br />
<br />
'''Censorship, Controversy, and Community Engagement<br />
'''<br />
<br />
The National Portrait Gallery's removal of David Wojnarowicz' film A Fire in My Belly from Hide/Seek due to complaints from conservative groups sparked a new controversy about freedom of speech, gay rights, and the role of the museum when faced with criticism. The Smithsonian held a symposium two months after the show closed that was heavily criticized for not directly addressing the controversy. In contrast, the Brooklyn Museum kept A Fire in My Belly in the exhibition and actively engaged its community in a dialogue about the show and the earlier controversy. <br />
<br />
<br />
'''Importance of Programming for Social Activism<br />
'''<br />
<br />
This thesis emphasizes the importance of programming when addressing topics of identity, human rights, and social activism. Such programming is vital to reaching diverse communities and facilitating discussion that helps to further the equality and human rights of all. It provides recommendations for contemporary institutions in developing programming for exhibitions about these subjects, highlighting the need for museums to embrace potential discourse instead of avoiding controversy. By engaging diverse voices through programming and advancing cultural dialogues, museums can better serve their communities and promote social understanding and positive change.</div>LDPJAVIhttps://dei4.art/index.php?title=Accessibility_and_diversity_checklist_for_museums&diff=90Accessibility and diversity checklist for museums2024-07-09T21:51:10Z<p>LDPJAVI: Created page with "'''Background and Purpose ''' This research paper presents an accessibility and diversity checklist aimed at helping museums independently evaluate and develop their operatio..."</p>
<hr />
<div>'''Background and Purpose<br />
'''<br />
<br />
This research paper presents an accessibility and diversity checklist aimed at helping museums independently evaluate and develop their operations and services. The checklist is an update and extension of a previous publication.<br />
<br />
<br />
'''Checklist Contents<br />
'''<br />
<br />
The purpose of the checklist is to promote accessibility and diversity in museums, so they can reach their full potential as comfortable and meaningful places for all visitors. The checklist covers various aspects of museum operations, including exhibition contents, collections and archives, public programming and audience engagement, customer service, pricing, and the museum environment and facilities.<br />
<br />
<br />
'''Checklist Structure<br />
'''<br />
<br />
The checklist is divided into several chapters, starting with planning and content work, then moving to customer service and communications, and finally focusing on the museum area and spaces. It provides detailed guidance on implementing accessibility and diversity practices across these areas. For example, it advises on making procurement and ICT purchases with accessibility in mind, ensuring exhibition content and public programming are inclusive, providing accessible customer service, using clear and multilingual communications, and designing barrier-free and multisensory museum environments.<br />
<br />
<br />
'''Core Values and Recommendations<br />
'''<br />
<br />
The checklist emphasizes that accessibility, diversity, equality/equity, and non-discrimination should be core values embedded throughout the museum's operations, strategies, and decision-making. It recommends museums allocate resources, create action plans, and provide training to develop these areas. The checklist also encourages museums to actively engage and cooperate with diverse community groups and accessibility experts.<br />
<br />
Overall, this detailed and comprehensive checklist is intended to serve as a practical tool to help museums independently assess and improve their accessibility and diversity practices, ultimately making their spaces and services more comfortable and meaningful for all visitors.</div>LDPJAVIhttps://dei4.art/index.php?title=Articles_/_Papers&diff=89Articles / Papers2024-07-09T21:42:20Z<p>LDPJAVI: </p>
<hr />
<div>[[The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums]]<br />
<br />
Diversity_Equity_Inclusion_Policy_November2021.pdf<br />
<br />
[[Accessibility and diversity checklist for museums]]<br />
<br />
Gaupp-et-al._Curatorial-Practices-of-the-Global.pdf<br />
<br />
Gaupp_paper_ESA2019_SociologyofCulture.pdf<br />
<br />
damli_accomplishments_recommendations_final-report-2021.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
10.1515_9788366675308-014.pdf<br />
<br />
Toolkit_Digital.pdf<br />
<br />
The_Art_Market_Global_Economy_and_Information_Tran.pdf<br />
<br />
Special-Publication-2.pdf<br />
<br />
Muzej-v-kontekste-kultury-uchastiya.pdf<br />
<br />
Museum_Futures.pdf<br />
<br />
KETTUKI_opas_Equality_in_art_saavutettava.pdf<br />
<br />
INSIDE_OUT_Critical_Art_Practices_That_C.pdf<br />
<br />
IFSE_Studio-Berlin-III-EN_final.pdf<br />
<br />
Historical aspect Democratization of the Art World.pdf<br />
<br />
GuidanceNoteonIntersectionality.pdf<br />
<br />
Equality_and_diversity_within_the_arts_and_cultural_sector_in_England.pdf<br />
<br />
EJ822676.pdf<br />
<br />
ecob,+059-066.pdf<br />
<br />
digital_democracy.pdf<br />
<br />
Democratization-of-Artificial-Intelligence_297-311_Schroeter_AI-and-Democratization-of-Art_.pdf<br />
<br />
Curating_as_Anti_Racist_Practice.pdf<br />
<br />
Art-Fund-Curatorial-Diversity-report.pdf<br />
<br />
art_of_inclusion.pdf<br />
<br />
ART_ACTIVISM_AND_MUSEUMS_How_to_make_mus.pdf<br />
<br />
Art markets epistemic authority and the institutional curation of knowledge.pdf<br />
<br />
9781641892650_ToCIntro.pdf<br />
<br />
2021-Racial-Equity-Progress-Report.pdf<br />
<br />
Kolbe_art_worlds_response_challenge_inequality_wp40_v2.pdf<br />
<br />
Museum_Diversity_Capstone_Report_09202018.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-1.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-2.pdf<br />
<br />
CC-Diversity-and-Inclusion-Report-Year-3.pdf<br />
<br />
Gmail - Building Your Business Case for DEI.pdf<br />
<br />
https://curatorsintl.org/records/15606-diversity-in-the-curatorial-field<br />
<br />
https://zkm.de/en/mirjam-shatanawi-curating-for-a-change-contemporary-art-at-the-tropenmuseum-today<br />
<br />
https://onlinelibrary.wiley.com/doi/epdf/10.1111/cura.12422<br />
<br />
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1-s2.0-S0264999321001760-main.pdf<br />
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https://training.npr.org/2021/12/01/journalism-guide-terms-disability-ethnicity-gender-race/</div>LDPJAVIhttps://dei4.art/index.php?title=Equality,_Diversity_and_Inclusion&diff=72Equality, Diversity and Inclusion2024-07-06T23:48:11Z<p>LDPJAVI: Created page with "'''Significance of Equality, Diversity, and Inclusion (EDI)''' The research paper highlights the significance of Equality, Diversity, and Inclusion (EDI) in supporting cultu..."</p>
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<div>'''Significance of Equality, Diversity, and Inclusion (EDI)'''<br />
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The research paper highlights the significance of Equality, Diversity, and Inclusion (EDI) in supporting cultural relations work across a global network of offices, focusing on the British Council. The paper emphasizes that EDI is essential for building deep, trusting, mutually beneficial relationships, enhancing brand reputation and impact on people and the planet.<br />
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'''The Role of Equality Policy in Organizational Characteristics<br />
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The organizational mission, vision, and values (open and committed, inclusive and expert, optimistic and bold) inform the Equality Policy, which plays a crucial role in determining how the organization behaves towards all stakeholders, supporting compliance and managing risk.<br />
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The Equality, Diversity, and Inclusion (EDI) Strategy provides a vision and framework for implementing the Equality Policy, specifying objectives and tools to give meaning to the principles and commitments in the policy. The support for the Equality Policy comes from the British Council Board of Trustees, the Chief Executive Officer, and the Senior Leadership Team, who are ultimately accountable for its delivery, with all staff required to conform to it.<br />
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'''Specific Areas Covered by the Equality Policy<br />
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The paper also delves into the details of specific areas covered by the Equality Policy, including legislation, unjustified discrimination, motives, stereotypes, positive discrimination, recruitment and selection, performance management, primary grounds such as age, disability, HIV and AIDS, sex and gender, race/ethnicity and culture, religion and belief, sexual orientation, socio-economic background, equality in pay, bullying and harassment, grievances, and speaking up. The aim is to eradicate unjustified discrimination, promote human rights and social justice, and create fair, impartial conditions in the workplace and society that encourage and value diversity and inclusion.<br />
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Furthermore, the paper addresses the significance of monitoring, evaluation, and legal compliance to assess the effectiveness of the Equality Policy and EDI Strategy. It also emphasizes the commitment to comply with legislation such as the Equality Act 2010 and related laws in different geographical regions.<br />
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The paper provides detailed guidance and support for addressing discrimination and promoting inclusion in various aspects of organizational operations, covering age, disability, HIV/AIDS, sex and gender, race/ethnicity, religion and belief, sexual orientation, socio-economic background, and more. It also highlights the importance of accountability, training, and ongoing awareness initiatives to foster an environment that respects the dignity of everyone and values the differences among diverse people and cultures.<br />
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'''Importance of EDI in Cultural Relations and Organizational Environment<br />
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Overall, the paper underscores the importance of EDI in supporting cultural relations, promoting equality, and ensuring a fair, inclusive environment for all individuals, both within the organization and when engaging with external contacts and communities. The commitment to continuous improvement, enforcement, and support for diversity and inclusion is evident throughout the paper.</div>LDPJAVI