Add the Frick Collection, one of New York City’s oldest and most staid museums, to the list of art institutions that have begun allowing visitors to take photographs in their permanent-collection galleries. Following on the heels of MoMA PS1 last fall, and many more museums across the country in the past few years, the Frick has amended its visitor photography policy.
The changed happened without word or fanfare, only coming to our attention thanks to a tweet this past weekend. In fact, the museum tells Hyperallergic that the new policy went into effect much earlier this month, on April 9. (The museum has not yet offered comment regarding the reasoning behind the decision.)
But it’s not all that surprising. Most museums are moving in the direction of allowing photography for noncommercial purposes, as it clearly boosts visitor engagement and enthusiasm. “You are fighting an uphill battle if you restrict,” Nina Simon, director of the Santa Cruz Museum of Art & History told ARTNews last spring. “Even in the most locked-down spaces, people will still take pictures and you’ll still find a million of these images online. So why not support it in an open way that’s constructive and embraces the public?” A study tracking Americans cultural participation, released yesterday by the marketing firm LaPlaca Cohen, found that 66% of people using mobile devices at cultural events are taking photos, and 47% are sharing them.
With new photo policies come other issues, though, including the question of how to make sure the picture takers don’t distract or detract from everyone else’s art-viewing experience. The Frick’s website encourages visitors to remember their manners: “When taking photographs, please be courteous to other museum visitors by not blocking their views of artworks or impeding their movement through the galleries.” Pleas like these haven’t yet proven very effective, but maybe as photography in museums becomes less and less of an anomaly, we can shift our energy to figuring out how to do it right.
In an open letter, European institutional leaders defend Manuel Borja-Villel, who has faced right-wing attacks for his progressive programming.
A new study posits that rising smog levels in 19th-century London and Paris likely played a role in blurring the lines of realism.
In Seongmin Ahn’s paintings, it is not our past we are looking at but our possible future.
Born in Shiraz, Sokhanvari fled Iran as a child a year before the Revolution and has devoted her artistic practice to the country she left behind.
Join the New-York Historical Society on February 10 for a virtual conversation about our changing relationship to the natural world with Julie Decker, John Grade, and LaMont Hamilton.
Stephen L. Starkman’s moving book about his encounter with mortality leaves a place for perseverance and hope.
“We clearly f-ed this one up,” said a Metropolitan Transit Authority rep, adding that the error in the artist’s last name is being fixed.
At least we won’t have to look at it on Earth.
From residencies, fellowships, and workshops to grants, open calls, and commissions, our monthly list of opportunities for artists, writers, and art workers.
Presented by Northwestern’s Block Museum and McCormick School of Engineering, this new exhibition seeks empathy at the boundaries of life. On view in Evanston, Illinois.
The statue could be a likeness of Trajan Decius, emperor of the Roman Empire from 249 to 251 CE.
The action could disrupt public access to the museum as workers campaign for higher wages and better labor conditions.