Support Hyperallergic’s independent arts journalism.
According to new data collected by the Andrew W. Mellon Foundation, diversity in museum leadership has increased in recent years — however, the margin of increase has been notably lower for people of color than women specifically, since 2015.
Today, January 28, the Mellon Foundation released the second Art Museum Staff Demographic Survey analyzing the ethnic and gender diversity of the staff of more than 332 art museums across the United States. Results show that the percentage of women in leadership roles — which comprise “all executive positions,” including directors, CEOs, and CFOs — increased to 62 percent, up from 57 percent in 2015, when the survey was first conducted.
In this same period, the number of people of color holding these positions increased only from 11 percent to 12 percent. The percentage of African-American curators has doubled in the past three years, however, from just two percent in 2015 to four percent in 2018 — an increase of 21 positions. While curatorial and education departments have seen a substantial increase in hiring people of color in the last four years, conservation and museum leadership roles have not made this shift in hiring.
When the survey launched in 2015, it was the first comprehensive study of staff diversity in US museums ever conducted, and provided a baseline against which progress could be measured. The new statistics “offer a snapshot of change that is overdue, slow, but also real and welcome,” said Mariët Westermann, executive vice president of the Mellon Foundation, in a statement. “These results show that diverse hiring is entirely possible and needed, and encourage all of us to do more to realize that potential.”
In addition to planning for follow-up studies in the years to come, the Mellon Foundation is continuing initiatives like the Mellon Undergraduate Curatorial Fellowship, a program that offers curatorial training to college students from historically underrepresented groups.
In a world delighted and entertained by displays of material excess, Diane Simpson shows that there is another possibility.
The animal carcass sculptures are gruesome yet their materials — the artist’s own discarded clothing — lend them some gentleness.
View work by over 40 experimental artists and collectives from throughout the Americas who contributed to New York’s art scene during the 1960s and ’70s.
Mr. Bernatowicz, in your introductory text you talk about the need for honesty, the disease of hypocrisy, overreaching governments. You do not fulfill a single one of your own ideals.
The biggest problem with turning Dune into a film is that the book appears increasingly derivative of generic sci-fi tropes.
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
Ed Roberson’s motorcycle ride from Pittsburgh to the Pacific is a quest-romance, an exploration of American culture and American mythology.
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
The legendary performer amassed a collection of about 10,000 rare books, posters, and artwork about all things esoteric.
The proceeds will benefit the BDC’s community-centered initiatives and exhibitions.