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Wided Rihana Khadraoui MW19 Presentation
- 1. INCLUSIVITY PRACTICES AND THE REAL ROLE OF TECHNOLOGY Wided Rihana Khadraoui MW19- Boston, MA
- 3. Museums’ Relevancy In The 21st Century By Examining Inclusivity Practices And The Role Of Technology 3
- 4. Overview 1. Context and background 2. Technology misses the point 3. Time to spill the tea: numbers a. Representation in museum collections b. Art market numbers 4. Audience demands a. Apes**t 5. Curated x Kai 6. Future implications 4
- 5. We need to address the symptom & the system Museums have failed to fully grasp the implications of meaningful and genuine minority representation in their staffing. 5 This translates to failing to genuinely engaging with the community they strive to serve; as well as meeting new visitor demands. A diverse demographic make-up of stakeholders, and subsequent meaningful inclusion, can translate to wider audience engagement, which uses technology as an enabler.
- 6. Dismantling the idea that technology is the silver bullet 6 ▪ Technology has been touted as a savior for institutions’ relevancy issues. ▪ Technology is ineffective within the current context. ▪ The focus on technology masks major underlying social, cultural, economic and environmental issues that are related to the policies institutions create and maintain ▪ It is only by employing the power of diverse narratives that art museums can then utilize technology to play a formative role in generating new audiences through digital engagement - the idea of reflection versus interpretation. ▪ Conclusion by focusing on a case study – Curated x Kai as the antithesis to the usual scholarly fixation of problematizing – and highlighting a practical, solution-based program.
- 7. Source: National Museum of Women in the Arts
- 8. Numbers 8 ▪ In 2015, the Mellon Foundation and the American Association of Art Museum Directors published the first-ever study of diversity in American art museums; it found people of color represent 28 percent of staff at museums around the country, but most work as administrators, janitors and security guards. ▪ 72% of members of the US Association of Art Museum Directors (AAMD) identified as white. ▪ The same study found that while 60% of museum staff are female, women occupy only 43% of senior positions. American museums – their boards, their staff, the people who visit them – are far whiter than the American population as a whole.
- 9. Importance of intersectionality 9 ▪ As museum staff has become 60% female over the past decade or so, there is now also a number of women in the curatorial, conservation, and educational leadership role pipelines ▪ With close attention to equitable promotion and hiring practices for senior positions, art museums should be able to achieve greater gender equality in their leadership cohorts within the foreseeable future. There is no comparable “youth bulge” of staff from historically underrepresented minorities in curatorial, education, or conservation departments.
- 10. Riddle me this: 10 ▪ The percentages of staff from underrepresented communities in such positions hovers around 27.5% across different age groups. ▪ This means even promotion protocols that are intentional about diversity are not going to make museum leadership cohorts notably more diverse if there is no increase in the presence of historically underrepresented minorities on museum staff altogether
- 12. 12 Diversity in museum collections 87% Male 85% White First large-scale study of artist diversity in museums- previous studies have focused on demographic diversity of museum staffs and visitors but the diversity of artists in their collections has remained unreported. A recent data survey of the permanent collections of 18 prominent art museums found: The study also suggest that artist diversity is not strongly linked to a museum’s collection mission Source: https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0212852
- 13. “ “What institutions hang on their walls or put on their pedestals is a clear articulation of who they imagine their audience to be”-Aruna D’Souza 13 D’Souza writes about modern and contemporary art; intersectional feminisms and other forms of politics; and how museums shape our views of each other and the world. Her most recent book Whitewalling: Art, Race, and Protest in 3 Acts (Badlands Unlimited), reflects on three incidents in the long and troubled history of art and race in America.
- 14. Gallery representation 14 Arts in NYC course taught at CUNY Guttman College by James Case-Leal in the Spring 2017 built a database of 1300 artists represented at the top 45 commercial galleries in New York. ▪ White artists represented at 85.4% compared to 61.6% of the population ▪ Latino/Hispanic artists are represented at 1.6% compared to 16% of the population ▪ Black artists are represented at 8.5% compared to 12% of the population ▪ Asian artists are represented at 2.2% compared to 5% of the population ▪ Middle Eastern artists are represented at .7% compared to 1% of the population ▪ Native American artists are represented .4% compared to 1% of the population http://jamescaseleal.com/ArtStatistics2016.php
- 16. Contending with Relevancy – Changing Visitor Demands 16 ▪ The changing visitor relates to the demands of the new experience economy, the visitor marketplace itself is changing. ▪ Current audience demographics suggest that museums have yet to meaningfully respond to demographic and cultural shifts and the subsequent demands for change. ▪ 20-30 percent of the American public just don’t have museums on their radar; they assume museums are not places for them, so they don’t go. Source: https://blooloop.com/features/future-museums-museum-community/
- 17. In describing their ideal cultural activity, those surveyed most commonly cited the words “social” (34 percent of respondents), “interactive” (32 percent), “lively” (31 percent), and “hands-on” (30 percent). Only 20 percent described their dream cultural experience as “reflective” (Culture Track ’17 n.a.).
- 19. The impact 19 ▪ For the year 2018, The Louvre reports that they saw an estimated 10.2 million visitors come through the museum’s doors. That is around a 25% increase of visitors from their numbers in 2017. It’s also worth mentioning that it’s the most visitors any museum, in the entire world, has ever recorded for a single year. ▪ The Louvre was already a massive tourist attraction; now it’s also an Instagram attraction for pop culture enthusiasts ▪ Beyonce and Jay-Z opened the door to an audience who most likely doesn’t feel accepted or welcomed in these institution, which can be elist and they modified the idea of who is allowed in that space.
- 20. “ “Elsewhere in the world, interest in the Louvre was bolstered by the Louvre Abu Dhabi (which recently celebrated its first anniversary), and by Beyoncé and Jay-Z’s “Apes–t” video with its tribute to some of the museum’s greatest artworks,” 20 Jean-Luc Martinez, museum director
- 21. Jay Z et Beyonce au Louvre 21 The Louvre was savvy enough to capitalize on its new street cred - offering a free self-guided tour of the 17 painting and statutes features prominently in the video. In the 90 minute self-guided tour (Jay Z et Beyonce au Louvre) identifies each work of art and gives it its historical context Also avaliable online for people who aren’t able to make it to Paris https://www.louvre.fr/routes/jay-z-et-beyonce-au-louvre
- 22. Curated x Kai 22 Beyoncé’s has been engaging with art as a form of power: seeing it’s access as a form of social capital, and relaying that message to her fans. Technology, in the right context, opens up new narratives for different visitors through forms of engagement and activities that would not fit into typical museum behaviour. Harnessing the power of technology to create alternate narratives and open up the idea of ‘experiencing’ an exhibition. The museum doesn't need to have a fixed purpose and allowing flexible uses connects with wider range of audiences.
- 23. Curated x Kai, Inc. Regardless of ‘inclusive’ content, a lack of strategic museum outreach to diverse communities results in homogenous visitation & restricts access to underserved populations. PHOTO: Kai attending a museum event in Washington, D.C
- 24. Museum Careers Students can not aspire to a museum career if they don’t know it exist. The lack of diverse visitation from underrepresented groups directly correlates with the lack of diverse representation in museum careers & internships, exhibition selection & outreach efforts.
- 25. Museums Without Walls Curated x Kai, Inc. uses virtual reality to expose students to diverse exhibitions and museum careers without having to leave their classrooms. Students are then given information to help plan a trip to the museum. GIF: Student in CA viewing the Portrait of Michelle Obama by Amy Sherald at the Smithsonian National Portrait Gallery in Washington, D.C
- 26. VR Educational Opportunities CxK’s virtual reality field trips help increase academic comprehension while helping museums reach educational outreach goals. Students that use VR retain new information at a 90% rate compared to 40% for those who don’t. GIF: Student viewing museums exhibitions from their classroom. Over 3,000 VR field trips have been taken through www.CuratedxKai.com
- 27. Conclusion Once impactful diversification happens, and only if that happens will museum leaders will be able to fully utilize the potential of technology. COllaboration and wider engagement with diverse stakeholders will help institutions reach new audiences, rethink their programming and develop relationships with non- traditional museum communities. Wided Rihana Khadraoui MW19- Boston, MA 27 More diverse gatekeepers can use technology to overcome gaps between museums, their content and audiences, broadening their engagement through different channels.
Editor's Notes
- Museums’ Relevancy in the 21st Century- Inclusivity Practices and the Role of Technology This presentation draws on several papers of mine, both working articles and published final version of my dissertation.
- I engaged with my original research with this core question in mind. This dissertation stemmed from a frustration as I felt that there were too many people spouting diversity, inclusion, equity without actually engaging in potentially uncomfortable changes that would lead to genuine change. We can all agree that there is a tangible lack of diversity among both museum stakeholders and audiences while there is plenty of dialogue it’s mostly safe and non confrontational There simply has not been enough action. This fact is based on numbers, which we will get into in the next section. The makeup of the sectors gatekeepers has not dramatically changed, while there has been an increase of females in the field, they tend to be white females. Technology has been touted as a savior for institutions both to engage with a wider audience that has new demands and to tackle museums’ relevancy issues in an increasingly competitive market. , I argue technology is ineffective within the current context.
- More nuanced understanding of the problem at hand - understanding it as an issue of gatekeepers and the role they have in disseminating knowledge My core argument is that only employing the power of diverse narratives that art museums can then utilize technology to play a formative role in generating new audiences through digital engagement. Technology is an effective and powerful enabler in the right context.
- We can all agree that it’s a complicated issue - museum audiences are changing - more diverse, demanding difference experiences. Communication avenues are also changing - how to captivate and engage with your audience. How do you tap into what they’re interested in.
- New blended engagement practices extend ideas of engagement and technology opens up the space for debate, analysis, and reflection I am not arguing that technology can help elevate approaches to exhibing, outreach, programming and audience engagement and offers opportunities across the board but as a tool to engage with more diverse audiences it’s ineffective context. i am interested in exploring and discussing the role of technology in museum practices and inclusivity. How can institutions and platforms ue technology horizontally- spreading information on exhibitions and programs to a wider audience, getting them to visit onsite and offsite,
- National Museum of Women in the Arts https://hyperallergic.com/429885/what-the-data-tell-us-about-the-challenges-facing-female-artists-of-color/ Why numbers matter - Developing an inclusive and equitable workforce requires baseline demographic data to guide action and measure progress over time.
- I wanted to highlight that Intersectionality is important. There is a measurable difference in how the sector has dealt with gender versus racial and ethnic disparities. Real genuine engagement has yet to be done across the board. Boxes are ticked, minority tokens are paraded into meeting rooms, but nothing has meaningfully changed. People in the field may believe otherwise but I believe that museums need to reflect the diverse communities they claim to serve.
- In my research I found that due to a matrix of colonial narrative practices, insincere policies, and an ineffective response to a rapidly shifting demands, museums REMAIN a bit disconnected in the United States.
- A headline published on McSweeney's Internet Tendency, an online satirical platform, asking “how can we make our funded program more diverse without hiring more faculty and students of colour” (Galarrita 2018) embodies the issue with diversity initiatives across the board. Institutions simply do not know what to do. Museums are undergoing an existential crisis. Galarrita, M. (2018). How can we make our funded program more diverse without hiring more faculty and students of color. McSWEENEY’S INTERNET TENDENCY. Screengrab. Taken October 2018.
- A team of researched made up of mathematicians, statisticians, art scholars and art historians led by Chad Topaz of Williams College, MA, and colleagues predominantly from Williams College in Massachusetts, US, examined the public online catalogues of 18 major US museums and extracted records for 9000 named artists. It was the first large-scale study of artist diversity in museums. They scraped the public online catalogs of 18 major U.S. museums, deploying a sample of 10,000 artist records comprising over 9,000 unique artists to crowdsourcing, and analyzing 45,000 responses, we infer artist genders, ethnicities, geographic origins, and birth decades. https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0212852
- Aruna De-su-za The books explores the troubled history of art and race in America. How the sector has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York’s Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art’s exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.
- Course taught at City University of New York I think it’s necessary to talk about the commercial side even when discussing museum because money is important - despite people pretending otherwise. Because I come from a commercial art world - the art market is really important to be aware of – trends, who we deem as worthy of spending our money on, where museums use their funding for new work acquisition. All of this is indicative of much larger social values. They each artist noting their: Age, Race*, Nationality, Gender*, and Education (highest degree, institution, and date of graduation).
- Just a visual of the figures we just looked at, with the added dimension of race. Some artists’ races were miscategorizied. I also want to take a moment to recognize that this study has serious flaws but it did a critical thing: it published raw numbers for outside scrutiny, using very very limited resources. He was a part tune professor and a class of undergrad students with no outside supports. Then in publishing the raw data, and the processes they undertook to obtain the numbers, it gave the public an opportunity to join the conversation, by inspecting and rectifying.
- Pop-up museums and interactive experiences are part of the rise in the new demand for more immersive multi-sensory experiences that appeal to new and younger markets.
- < http://2017study.culturetrack.com/the-new-cultural-consumer>.
- :40 -:50 and also 1:19 - 1:29 and 1:40 -1:51 Depending on timing :40- 1:52 Apeshit was the first single from Beyonce and JayZ’s joint album Everything is Love. released mid last year. As an artistic choice, the Louvre makes sense. There’s no place on earth that feels as lavish, as rich with accumulated cultural power and wealth and colonialism. Filming it here is the ultimate flex Despite the backdrop of cultural signifiers in various iconic artwork, I mean Beyonce and Jay-Z position themselves in front of pieces such as the “Mona Lisa and “The Coronation of Napoleon,” they are actually them positioning themselves as visionaries and nonconformists. People like them, and by extension, their audience don’t belong in museums. The song’s lyrics “I can’t believe we made it” is extremely appropriate. I just want to share the opening scene of the video. The entire video is an ode to recontextualizing classical Western art and by extention, who has access to it, and what it can mean to different audiences.
- https://www.marketwatch.com/story/get-in-formation-for-the-louvres-new-beyonce-tour-2018-07-06
- This is a new innovative way for a wider audience to discover and interact with the Louvres’ collections..
- Beyonce is a great example of different perspectives in the creative sector meaning different models of engagement, new narratives, and more diversity in who shows up to exhibitions and events. cross-cultural approaches to . This thesis discusses contemporary case studies of best-practice approaches. Additionally, this work also investigates various interpretations of “successful” measurement in the field, as well as the implementation of technology as a vital tool to support proactive access efforts in the future.
- WHy Curated x Kai came to be Kai Frazier is the founder of Curated x Kai, a tech startup that creates inclusive virtual reality field trips to museums for children in low-income communities. As a homeless teen, museums and other cultural places were beyond her reach. Later, as a history teacher, she saw her students were missing out on the same enrichment opportunities.
- The bridge between off site to onsite engagement Usually museums want to work on prolonging the visits from onsite to digital engagement. Curated x Kai works in the opposite direction.