Support Hyperallergic’s independent arts journalism.
What was once criticized as a money-grab by the Metropolitan Museum of Art is now being celebrated as an ingenious method of buoying New York City’s network of smaller cultural institutions with cash.
City officials announced on Monday that $2.8 million it had received from the Met’s change in admissions policy would be redistributed to more than 175 cultural institutions across the five boroughs.
Beneficiaries of the unexpected windfall include El Museo del Barrio, the Studio Museum in Harlem, and the Bronx Museum of the Arts.
“This agreement with the Met has paid dividends for NYC’s cultural community,” the city’s cultural affairs commissioner, Tom Finkelpearl told the New York Times. He added that the arrangement was “stabilizing one of our city’s major institutions with increased admissions revenue, while providing a much-needed boost to organizations that anchor communities across the city.”
When the museum announced its plan to charge a $25 admissions fee for most out-of-state visitors back in 2018, the possibility of redistributing wealth around the city was not widely publicized. Instead, the city (which owns the Met building) said it would receive 30 percent of the museum’s increased admissions revenue, with a ceiling of $3 million and allowing adjustments for variations in attendance.
Museum officials said that the $2.8 million payment reflects $800,000 of increased revenue form the 2018 fiscal year, plus an estimate of $2 million for what will be generated in the 2019 fiscal year.
Between the fiscal years of 2017 and 2018, the museum saw a $5.4 million increase in total admission revenues from $42.8 million to $48.2 million due to four months of the new fee policy.
There are plans to eventually reduce the operating subsidy the Met receives from the Department of Cultural Affairs each year, which covers costs for security and building staff. The 2019 fiscal year has an operating subsidy of $11.9 million.
The Department of Cultural Affairs plans to split the $2.8 million between institutions in “high-need neighborhoods” and “underserved communities.” $1.4 million is earmarked for the former category, which includes Harlem Stage in Manhattan; Louis Armstrong House Museum in Queens; and St. George Theater in Staten Island.
The other half will go to 16 organizations in the form of grants from $25,000 to $175,000 for 16 organizations including El Museo, the Studio Museum in Harlem, the Bronx Museum of the Arts, the Jamaica Center for Arts and Learning, and children’s museums in Brooklyn and Staten Island.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.