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Framing A Debate On The Purpose Of Museums In Contemporary Culture

In recent years, we have witnessed public calls to decolonize the museum space: the return of objects taken from other cultures, fierce debates about who has the right to tell whose story, exhibitions of alleged #MeToo offenders deferred or canceled, and artworks memorializing nations’ racist pasts taken down and/or recontextualized. Artists and activists, including hundreds of museum staff, have urged organizational leaders to disavow patrons involved in socially irresponsible investments that perpetuate violence and addiction. These events have shaped contemporary museum culture, motivating a profound questioning of the ongoing relevance and purpose of museums. – American Alliance of Museums

If Attention Is Currency, Critics Need To Reconsider How They Spend It

“It’s time for arts writers, critics, journalists, gatekeepers, and arbiters of culture—anyone whose job it is to bestow attention onto others—to reconsider how to allocate that currency. More specifically, the most responsible thing we can do, as people who professionally dole out attention, is to withhold it more often than not. But hear me out—there’s more to it than that.” Oregon Arts Watch

John Richardson, Picasso Biographer, 95

Richardson’s grandest and most acclaimed project was his multivolume biography of Pablo Picasso, the first part of which was published in 1991. (Two more volumes have been put out since; a fourth is expected to follow, though a publication date has not yet been set.) In 2008, Richardson was asked what made his biography different from books on the painter. He told Artinfo, “The fact that I knew him well and he opened up to me.” – ARTnews

The Venerable Dance Critic At 85

Deborah Jowitt, who has been reviewing since 1964, has probably vexed fewer choreographers than most other leading critics. She speaks of Taylor tenderly (“a genius”), and with gratitude. As the subject of her first review for The Village Voice (Nov. 9, 1967), he immediately wrote her with advice: She should have more confidence in her own views and not quote a senior critic to prop herself up. – The New York Times

The Singing Nuns: In 17th-Century Italy, Convent Choirs Were Practically An Industry

“Music was really profitable for convents: it brought in money from the community, donating to hear mass on their behalf, while a great musical reputation brought in girls of higher status and wealth.” Cloistered life meant choirs sang together for many years, and while only aristocrats could hear the chapel choirs of royals and nobles, while anyone could listen to convent services — so the best nuns’ choirs became genuine tourist attractions. – Bachtrack