Does It Really Matter If Museums Stop Taking Sackler Money Now?

There have been times over the past 30+ years of my museum career when I've recalled the words of my dear departed Italian immigrant grandfather when he first learned about my career choice, "Why do you want to work at a museum? Museums are for rich people!"

Of course, from a historical perspective, he was absolutely right as museums have always been a place to display colonial spoils, robber baron largesse, or serve as monuments to wealthy patrons. But a part of me has always believed that museums could be held to higher standards than other organizations.

Recently my grandfather's words came forcefully to mind with current news reports. Following multiple lawsuits related to the opioid crisis, there has been much hand-wringing and pearl-clutching from some large museums declaring they will now refuse money from various members of the Sackler family (who added to their already sizeable fortunes through companies vigorously promoting said opioids.)

Why is it that museums so often take these "principled" stands after they've already collected the loot?  I mean, I don't see any museums offering to give previously collected Sackler money back (if that was even possible ...)

It would be much more impressive if museums took these showy public stands before some of their donors or board members used their museum ties to "culture wash" their cash.  However, given diminishing public funding for museums and other cultural institutions (President Trump proposed again to eliminate PBS, NEH, NEA, and IMLS in his latest budget!) museums must dance a fine line when it comes to keeping those donations coming -- which creates some interesting optics -- like climate change deniers on the boards of science museums, and art museum donors whose companies make the tear gas canisters and smoke grenades used against migrants at the southern border.

Museums talk a great game when it comes to high intellectual and ethical standards, but when pushed, most cultural organizations seem to hold their noses and take the cash. Can't we do better than this?

Somewhere in the great beyond, my grandfather is laughing.



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Are Your Museum's Elevators An Underutilized Graphics/Messaging Resource?

On the road again, I notice inside the elevators at the Hampton Inn there are evocative photos with simple captions (like the "pedal pusher" image above.)

At first, I wasn't really sure how I was supposed to react to the simple graphics and messages scattered throughout the hotel.  Eventually, the combination of image+idea grew on me --- in a positive way.  (I'm trying to find out the motivations for Hampton Inn in "branding" themselves in this manner --- but that's for a future post.)

Leaving all that aside,  since I got to see the different images in the elevators several times a day, for several days, I started thinking about why elevators (especially in museums) seem to be an underutilized design opportunity for environmental graphics and exhibits.

Occasionally, the outside of elevator doors are used as a place to mount informational/directional graphics, but what about the elevator interior (a classic case of a captive audience) or the usually blank walls and alcoves containing elevators?

I'm not talking about using elevator interiors as a place to hang the equivalent of "coming events" flyers --- rather how could we use these natural gathering spaces to engage visitors, to set a tone, to provide simple interactive experiences --- involving motion or perspective or acceleration or the "etiquette of elevators", for example?

I'd like to collect the best ideas and/or images you've experienced (or would like to experience!) of graphics, exhibits, messaging, or architectural embellishments involving elevators and pull them together for future blog posts on underutilized graphic/exhibit spaces in buildings.

So either put your elevator musings into the Comments Section below or put them into an email to me directly.

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Creative Inspiration: Damon Belanger's Shadow Art

Artist Damon Belanger has playfully subverted people's expectations by creating unexpected "Shadow Art" in and around Redwood City, California.

By using chalk outlines that are then filled in with durable paint made for concrete patios, Belanger adds whimsy to what might otherwise be bland streetscapes.

How could you play with this idea outside (or inside!) your museum?

Find out more about Damon Belanger's work by clicking over to his website or Instagram page.



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