Displaying items by tag: staff

Most of the rooms in the Sainsbury Wing of London's National Gallery remained open despite industrial action on August 4 by some of its staff opposed to the privatization of security staff. But it was a different story behind the Trafalgar Square entrance of the gallery. The wooden doors beneath the portico remained shut and the majority of rooms to the east and north of the Central Hall were behind temporary barriers.

Rooms containing 17th-century paintings, including works by Rembrandt and Vermeer, as well as many works by British artists were shut

The hearse carried only a wreath, because technically, the dearly departed was still alive — albeit barely, considering the vegetative, life-supported state the Corcoran Gallery of Art has been in since August. When the institution’s takeover by the National Gallery of Art and George Washington University was approved last month, the spirit had already left the body. So on Saturday, the day before the museum was scheduled to close for renovations, from which it will later emerge as part of the National Gallery of Art, former staff members gathered there to mourn.

The Georgia Museum of Art at the University of Georgia is hosting the show Deaccessioning Bernard Smol (1897-1969), which is putting a unique spin on the standard museum exhibition. Due to limited storage space and an evolving collection, the museum has decided to deaccession all but one of Smol’s works. Visitors to the exhibition will vote for the piece that they would like to remain in the museum’s collection and curatorial staff will work this feedback into their final decision.

The process of deaccessioning artworks is lengthy and closely regulated. A museum must make the public aware of its intent and the museum’s collections committee and Board of Advisors must approve that intent. Only when all parties are on board is a work able to be removed from a collection. Oftentimes, the artwork heads to auction and the proceeds from the sale are used for future acquisitions that will bolster the museum’s collection.

Deaccessioning Bernard Smol presents five oil paintings by the French artist, which have not been shown at the Georgia Museum since their initial exhibition in 1959. The Georgia Museum was inspired by DePaul University’s exhibition, The Good the Bad, and the Ugly, which helped them decide what works to deaccession from their own collection in 2010.

Pickpockets have always been most prevalent at locations that attract a high volume of tourists such as the Louvre. However, the pickpocketing problem at the French museum has gotten so severe that 200 members of the institution’s staff staged a walkout earlier this week in protest of the pickpocket gangs that target visitors. The museum reopened to the public on Thursday, April 11, 2013 with a squad of approximately 20 uniformed police officers patrolling the grounds.

The police officers were recruited in response to staff concerns. Many Louvre employees have endured violent altercations with pickpockets including being spat at, insulted, and hit. Many of the criminals return to the museum repeatedly after being barred from the premises. Museum officials hope that a strong police presence will deter pickpockets from setting up shop at the Louvre, which sees about 10 million visitors each year.

It was recently revealed that a Joan Miró (1893-1983) painting, which was damaged while on view at the Tate Modern in London, cost British taxpayers $326,000 to repair. Part of the museum’s retrospective of the Spanish modern artist, Painting on White Background for the Cell of a Recluse I (1968), was damaged when a visitor placed both hands against the work to steady himself after tripping and falling in the museum.

A white canvas sliced by a delicately wavering gray line, Cell of a Recluse I is one of five rare triptychs by Miró, which were exhibited together for the first time during the Tate retrospective in 2011. The work was immediately repaired after the incident, which left the acrylic on canvas painting with dents and markings. Cell of a Recluse I was on loan to the Tate from Barcelona’s Joan Miró Foundation and the British government paid the Foundation over $300,000 to cover the repair costs for the painting and to account for any loss in the work’s value due to the incident.

The Tate has recently been responsible for a string of damaged artworks including Mark Rothko’s (1903-1970) Black on Maroon (1958), which was defaced by a visitor, an early work by Roy Lichtenstein (1923-1977) titled Whaam! (1963), which was also marred by a museum patron, and a portrait of Margaret Thatcher by Helmut Newton (1920-2004), which was damaged when a staff member slipped and cracked the photograph’s glass frame.