2 days left to help restore 15th Century altarpiece
August 13 2014
Video: Bowes Museum/ArtFund
The Bowes Museum is close to raising the £21,000 they need to restore a fine 15th Century Flemish altarpiece. The fundraising, which is being led by the ArtFund on their new Art Happens site, is 89% completed, with just 2 days left to go. So if you've got a few spare spondoolees, please help them out. There's a range of goodies on offer too.
I'm pleased to see that the Bowes campaign (which I've plugged here twice before) is the most funded project on the new Art Happens site. So if readers have contributed already, many thanks. It's good to know that a campaign to restore a 15th Century anonymous painting in the North of England has gotten far more traction on the Art Happens site than the appeal to raise £25,000 to pay for a Chapman Brothers exhibition (which is only at 68% funding, despite the recent burst of 'publicity' for the show).
Update - it's now at 96%, one hour after posting the above. Anyone want to be the crucial final donor?
Update II - 14.8.14: they've got to 100%. Well done all contributors.
Martin Kemp - 'save the Warburg'
August 13 2014
Picture: Warburg Institute
In the Royal Academy magazine, the great Leonardo scholar Martin Kemp argues against the University of London's plans to undermine the Warburgh Institute, which he calles:
the greatest act of vandalism in Western academia of my lifetime.
Strong stuff. More here.
Update - a reader writes:
I could not agree more with Martin Kemp on the threat to the Warburg....it would be a huge and irrecoverable loss. The more attention that can be drawn to this the better. I notice on their website that they are advertising for a new director....perhaps Martin Kemp himself could be persuaded? It is certainly going to need a strong personality with a high academic profile to do what's needed to save it.
Update II - on his blog, Charles Saumarez Smith, formerly director of the National Gallery and now running the Royal Academy, writes:
I arranged with the Warburg Institute to take my son to visit its library and archive. I had scarcely been back since I was a postgraduate student there in the late 1970s. Little has changed: the open access stacks of the library arranged according to Warburg’s intellectual principles, such that a Renaissance treatise is shelved next to the latest offprint; the gunmetal grey filing cabinets of the Photographic Collection where I worked every Friday. I had never seen the archive which was established in the early 1990s to make Warburg’s own papers more publicly available. They still have serried ranks of card index boxes in which Warburg developed the intellectual system of his ideas, neat little rows of notes interleaved with articles, images and transcripts from early twentieth century books and journals. What comes across is the continuing relevance of Warburg’s ideas and the intellectual integrity of the library as a whole, which makes it more baffling that London University should have challenged the terms of the Warburg family’s 1944 deed of trust in court.
Robots at Tate Britain
August 13 2014
Tonight, you can take control of a robot going around Tate Britain. More details here.
Of course, the Google art project allows you to pretty much do this any time you like, and much more effectively.
Update - I had a look at this, and boy was it weird. It looked like a 1980s video game, with image quality to boot.
Henry Moore at King's Cross
August 13 2014
The newly renovated King's Cross concourse is terrific (as an Edinburgh resident it's now how I get into London), and has just been made even better by the loan of a fine Henry Moore sculpture. More here.
Photography to be allowed at the National Gallery? (ctd.)
August 13 2014
Further to my posts below, the National Gallery has today issued the following press release:
The National Gallery introduces free Wi-FiFree .
Wi-Fi is now available throughout The National Gallery – the first of a number of major steps the Gallery is undertaking to provide a warmer welcome for visitors.
Director of Public Engagement Dr Susan Foister said “We are proud to introduce Wi-Fi to the Gallery, heralding new plans to enhance the experience of our visitors and to engage a broader audience. We know that when people feel inspired they often like to share the moment, so along with the free Wi-Fi service we are now welcoming visitor photography: from now on people will be able to share their experience of the Gallery and its paintings with friends and family through social media.”
Free access to the internet whilst in the National Gallery – and now a mobile enabled website - means visitors can explore the collection in fresh and inspiring ways. Now when they’re standing in front one of the 2,300 paintings from the 13th to early 20th century, they can instantly, in their hands on their smartphone or tablet, find out all about the artist who painted it and the stories being told, along with the techniques and materials used. Wi-Fi also means we can interact with our visitors in real time via social media and they can share all their in-gallery experiences with friends, family and networks. Now for the first time National Gallery visitors can Check In on Facebook using the some of the most popular paintings in the collection, they can comment about their favourite works on Twitter using the hashtag #MyNGPainting and they can post pictures of the rooms they most enjoyed visiting on Instagram.
For international visitors, this means accessing information in different languages, as well as being able to use translation tools. Wi-Fi also opens up the possibilities for including interactive digital elements in our future exhibitions such as multimedia guides or smart phone apps.
The Super Connected Wi-Fi scheme is funded and supp orted by the Mayor of London and the Department for Culture, Media and Sport. Minister for Culture and the Digital Economy Ed Vaizey said "Free public Wi-Fi in the National Gallery will allow visitors to engage with the masterpieces that adorn its walls in completely new ways. I'm delighted that Government's Super Connected cities programme has made this exciting new development possible and that the National Gallery will join the hundreds of museums, galleries, libraries and public spaces that will be offering free Wi-Fi as part of our transformation of the UK's digital landscape."
I'm extremely pleased, and very heartened, to see the National Gallery and the government working together and embracing new technologies like this. Three cheers for both from AHN. I don't know who was leading this in either the NG or the DCMS, but give yourselves giant pats on the back if you were involved. In one leap, the National has gone from seriously lagging behind the world's major galleries on the question of digital engagement, to leading them.
When I read the press release above, I find it harder and harder to understand some of the reaction against letting people take photos in the gallery. Photography is now just one part of a much wider and richer visitor experience in galleries; National Gallery visitors can now be more informed than ever about some of the best pictures in the world. What's not to like?
The next step for the National is to add to their online cataloguing. Some of the information available is quite limited, especially when compared to that available at places like the Getty and the Met. While I'm at it, you could say the same about their wall labels too.
Update - Neil Jeffares tweets:
Next step: the excellent complete catalogues should be online. But I fear wall labels will shrink as the "app" takes over.
Update II - our debates have made it into the Evening Standard - well done everyone, and thanks for your contributions!
Update III - we're also in the Telegraph.
Update IV - and The Times!
Update V - there's a poll at the Telegraph, currently running at 57/42 in favour of photography.
Update VI - a Telegraph commenter comments:
Good grief! Yet another clueless establishment, bowing down to their pointless, overpaid, clueless advisors, allowing idiot, brainless, lowest common denominator sheeple to get what they want! God help us! Don't you get it?! Why don't you actually deny the sheeple what they want, and you'll actually be MORE POPULAR!
I wonder if this person wears red trousers.
Update VII - a reader hits many nails on the head:
It is hugely encouraging that the NG have finally decided to allow photography on smartphones etc and to let visitors access wifi within the gallery.
In a public gallery I want to be able to look at and consume the art as I wish - it is infuriating to be dictated to. I don't live in London either so it's not as if I can pop into the National Gallery to peruse the pictures any time I want - a trip to the NG is a bit of a treat and yes I would like to take photographs that I can look at again and share on twitter and Facebook with my friends and family (most of whom have never set foot inside the NG but I would still like to share the art with them).
The access to wifi and the idea that perhaps there could be NG apps for different rooms and exhibitions I find even more exciting. I hate audio guides with a passion, I much prefer a written guide or really good labelling (neither of which are as available as they should be at the NG imo). So having the opportunity to look up a picture or room on my iPhone or iPad as I went round the gallery - being able to dig deeper and find out as much as I could about any work of art while I was actually able to look at it in the flesh - that would be fantastic.
I really don't understand why some people seem so unhappy about this small step to make great art more accessible, understood and appreciated. Sounds like elitism to me!
Update VIII - I was on BBC radio's PM programme talking about all this, from about 45 mins here.
De-accession time in Delaware (ctd.)
August 11 2014
The very troubled Delaware Art Museum is continuing its picture flogging. Up next, as I reported here in April, is Winslow Homer's Milking Time, one of the museum's best-known treasures. The picture will be sold at Sotheby's auction this autumn for an undisclosed estimate, though bafflingly this article in the New York Times tells us that they're looking for a private buyer first.
I say bafflingly because it seems the DAM is going about their de-accessions in the most hopeless way possible. They need to raise $30m to plug a financial black hole, but haven't developed a proper disposal strategy to raise the funds. They're doing it piecemeal, and badly.
It appears, for example, that with the Homer sale they'll be repeating the same mistakes which resulted in the pretty miserable failure of their previous de-accession, of William Holman Hunt's Isabella and the Pot of Basil. The Hunt sold at Christie's in London for £2.9m in June, having been estimated at £5m-£8m, and offered widely privately before the sale. In other words, it bombed, and it's no surprise that this time DAM is trying their luck with Sotheby's.
But because DAM has now telegraphed its sale process for the Homer, we can be sure that the picture's appearance at auction in the autumn will mean that it has failed to sell privately beforehand. This may make it a less attractive option for bidders at the auction, as almost certainly happened with the Holman Hunt. Equally, those private buyers offered the Homer privately before the auction date might feel that they'll wait and try their luck to buy it for half price at auction later. (This is a growing problem for auctioneers as they rush to embrace private treaty sales; there's a high chance that big-ticket pictures appearing at auction nowadays have been 'burnt' - that is, offered and rejected - before the sale. Worse yet for a client's confidence in prices and the auction house, a picture you were offered privately might be sold at auction for a great deal less in just a few months time.)
That said, Homer is much more in demand these days than Hunt, and DAM might yet make a serious dent in their target. Hopefully, in future the DAM will be more discreet and strategic in selling its pictures, if it has to. They should probably have had one single round of de-accessions at auction.
Either way, it appears from the New York Times article that the DAM is in a pretty serious mess. Here's a quote from the chief executive, Michael Miller:
“I know nothing about art.” [...] Asked to name a work at the museum that he likes, he replied: “Jeez. I never thought about that. Well, I actually like Picasso, but we don’t have any Picassos.”
And then we learn about how the DAM went about choosing which works to sell. A painstaking process involving all staff and curators? Nope:
Asked how he chose the Holman Hunt for selling, as opposed to any of the 12,500-odd other works in the museum’s collection, Mr. Miller said the process was relatively straightforward. You might assume that he met with the museum’s curators, asking them to weed out works that struck them as inferior, or too similar to other works to merit space. But the curators were never consulted. “They didn’t want to have anything to do with this,” Mr. Miller said. “And we didn’t want to bring them into this.” Instead, he deferred to the marketplace. He contacted art appraisers from Sotheby’s, Christie’s and Bonhams, and had them valuate “a very short list” of works the museum had purchased over the years.
Update - a reader writes:
The NYT article suggests that the next de accession at Delaware should be Mr. Miller which will have no impact on the collection. Then they should hire a consultant to advise on culling the collection intelligently.
The question of 'studio'
August 11 2014
If an artwork is made, even in part, by an artist's studio assistants, is it a fake? Yes, according to the Dusseldorf District Court in Germany, who agreed with the widow of the German artist Jorg Immendorff, Oda Jaune, after she spotted the above work in an auction catalogue, and said it was a fake. The court said the picture must be destroyed (in a case which has echoes of the fake 'Chagall' we featured on 'Fake or Fortune?').
However, the owners of the work protested (naturlich!) and pointed out that the work had been bought directly from Immendorff's studio, with a certificate of authenticity signed by the artist. It seems that Immendorff was very ill with a neurogenerative disease towards the end of his life, and, noted an appeals court, sanctioned the sale of late works made in his studio by his assistants. The appeals court therefore ruled that the picture, which was a replica of an earlier work by the artist, should not be destroyed. More details of the case here inThe Art Newspaper.
Now the point of all this, of course, is that if the reasoning of the Dusseldorf district court was extended across the contemporary art market, then the vast majority of works by the likes of Damien Hirst and Jeff Koons would not only be deemed 'inauthentic', but ripe for destruction. So which court would you be rooting for; the District Court or the appeals court?
Update - a reader writes:
A logical riposte to your final observation is that, in the light of the recent kerfuffle over 'Bombay Mix', Mr Hirst apparently agrees with the court.
Photography to be allowed at the National Gallery? (ctd.)
August 11 2014
Is it victory? The last major photography prohibitor has fallen, it seems. Following my revelation earlier that the NG was reconsidering its stance, a reader writes:
I've been in London for the past few days and made a stop at the National Gallery and just thought you should know that they are allowing visitors to take photographs! I'm not sure how I feel about this quite yet. Until today, I was also a proponent of letting people freely photograph the art but I have to say, a bit of my soul died each time someone photographed a piece (or even worse, took a selfie!) without actually looking at it with their own two eyes, just the lens of the camera. Who am I to judge how people experience and enjoy the art though…I guess.
Quite right. There seem to be two main objections to allowing photography in galleries. The first, and more understandable, is that people taking photos get in the way of those looking at the art. However, I can honestly say that I have never personally known this to be a problem. Yes, sometimes someone takes a snap in front of a picture I want to look at, but in such cases I'm no more inconvenienced than had I been waiting for them to simply finish looking at the picture, pre-photography, and move on. In other words, there will always be a crowd of people in front of famous pictures, whether they're taking a photo or not. And the great majority of photo-takers do adhere to the generally accepted rules of gallery life; be quiet, respect the art, etc.
The second reason I take greater objection to, and that is the belief that we need to somehow force people to 'look' at paintings in a way that is culturally acceptable to us. We must, goes the argument, make people stand in front of paintings for a minimum time period, in case they don't fully appreciate it. Usually this is a generational thing, and is blind to the fact that many younger people (whose average attention span, yesterday's Sunday Times tells me, is 7 seconds) consume art in a very different way to us oldies. For them, looking at a photo at leisure later on, and sharing it with friends, is just as rewarding. And it helps build audiences too.
I will ask the NG press office whether this is all official now.
Update - here's the National Gallery's statement:
The introduction of free Wi-Fi throughout the public areas of the National Gallery is one of a number of steps we are taking to improve the welcome we provide.
Wi-Fi enables our visitors to access additional information about the Collection and our exhibitions whilst actually here in the Gallery, and also to interact with us more via social media.
As the use of Wi-Fi will significantly increase the use of tablets and mobile devices within the Gallery, it will become increasingly difficult for our Gallery Assistants to be able to distinguish between devices being used for engagement with the Collection, or those being used for photography.
It is for that reason we have decided to change our policy on photography within the main collection galleries and allow it by members of the public for personal, non-commercial purposes - provided that they respect the wishes of visitors and do not hinder the pleasure of others by obstructing their views of the paintings. This is very much in line with policies in other UK museums and galleries.
The use of flash and tripods will be prohibited, as will photography and filming in temporary exhibitions.
Commercial photography remains subject to existing arrangements.
Update - a lively response to this over on Twitter. The historian Ian Mortimer tweets:
I agree with you. Going around the Mauritshuis 2 days ago, my camera acted as a visual notebook of socio-historical detail.
For me, taking photos of the occasional detail of a painting is essential. And I suspect that for most people taking photos, and then looking at them in detail later, makes them look more closely at a painting than the sceptics fear.
Maggie Gray of the Apollo points me to this post, and says the Van Gogh museum is reconsidering its photo-allowing policy. Probably that's too crowded a museum to make it work.
Naomi Russell says on Twitter:
Can only speak from my experience. As à visitor I find it very invasive to reflection to have phone shots.
Javier Pes of The Art Newspaper tweets:
If I had a pound for the times I've been told off in museums for trying to take a surreptitious snap...
Frenchy Butchic tweets:
I had a horrible time at the Louvre in July when tourists took selfies without looking at art.
There's that disdain that people aren't looking at art properly.
On the same theme, Sam Cornish of Abstract Critical says:
[...] for me more important is the culture of not looking that cameras promote.
Again, we must force people to look at art in a culturally acceptable way... But each to their own I say. And probably I look more closely at art than most people; photographing all or part of them is crucial to that.
Leigh Clothier tweets:
That is good news and brings it line with many others who have changed their policy in last year.
Steve Bowbrick tweets:
Photography now allowed @NationalGallery. More interesting is free wifi throughout. Blurs the idea of gallery/space.
Meanwhile, the Grumpy Art Historian is bewildered by the whole business:
The last bastion of quiet contemplation is now to become selfie central, where noisy clicking smartphones and intense flashlights will prevail over any eccentrics who want actually to look at art. [...]
The NG used to be a haven where looking at pictures was prioritised. Now it will all be about taking your own pictures.
Well, of course it won't. And it's been a long time, in my experience, since the National Gallery was a place of quiet contemplation (at least after midday).
Much of the criticism seems to assume that galleries will now be bombarded with flash and, horror, 'selfies' (think about it; what's really wrong with people taking a photo of themselves in front of a painting they are inspired by?). But in dozens of gallery visits this year, I've not once been dazzled by a flash. In any case, most mobiles take far better photos without flash, and most people know this. In fact, hard as it may be to accept, the great majority of people really do abide by the rules in art galleries, and act discretely. And if some people don't, well, rather than tut tut and be driven to despair, we sometimes just have to remember that not everyone is as civilised as us. After all, these are public galleries, and the taxpayer who has shelled out to support them has a right (within reason) to enjoy them however they please.
Vandalism or art?
August 8 2014
Pictures: World of Interiors
Further to my posts on the Chapman brothers and their practice of painting over older works of art, a reader alerts me to a similar practice in Germany:
Speaking of defacement, there's an interesting feature in this month's edition of the venerable shelter magazine, World of Interiors, detailing the iconoclastic leanings of a Count Ferdinand Orsini-Rosenberg and his brainstorm to commission 35 artists to have a go at cheering up 90 ancestral portraits in his crumbling schloss. Some of the faces looked frightful to begin with. But from what I can see, the artists have done nothing to improve the situation.
I can only find these two images online. Happily, most of these 'improvements', even the Chapmans' ones, are easily removed. But I do get anxious when contemporary artists blithely assume they are working on inferior works by unknown artists. Because as regular readers will know, that's not always the case...
Update - a reader sends this link, which has more illustrations (three of which are below). It's definitely vandalism, he says, and I must agree. I can't understand how someone would want to do this to a collection of family portraits, even 'bad ones' (which, incidentally, have been made infinitely worse).
Update II - a reader writes:
For me it’s vandalism, coupled with a complete disregard for the past regardless of the quality of the work. Further the practice denies future generations of viewing the pictures, we’ve seen time and again what is passé today can return to vogue tomorrow. It’s a terrible practice but unhappily in this case an individual can do what they will with their own property ….and ancestors. If this was common practice we’d have very little to celebrate today.
Frames at Ham House
August 8 2014
Picture: National Trust
More frame stuff - the National Trust have helpfully put online Jacob Simon's guide to the picture frames at Ham House. Jacob was until recently Chief Curator at the NPG London, and is currently the editor of the Walpole Society. Art history researchers will already know of his invaluable his work on frames, artist's suppliers and all manner of other things.
Art for rent
August 8 2014
Picture: MFA Boston
There's an interesting article in the Boston Globe about the practice of museums effectively renting out paintings. Technically, the pictures are just loaned to exhibitions in faraway places like Japan - but there are hefty facilitating fees attached. The Globe article looks in particular at how the Museum of Fine Arts in Boston deals with its fee-paying loans, which are said to bring in about $5m a year, and which appear to leave some of the museum's better known works, like Renoir's Dance at Bougival (above), being repeatedly out on loan for long periods.
The article cites Metropolitan Museum Director Thomas Campbell saying:
“Lending exhibitions for fees is categorically not part of our business model,” said Thomas Campbell, the director of the Metropolitan Museum in New York. He listed five exceptions to this policy since 2009, each one a traveling exhibition that brought in fees. All either coincided with the closure of a gallery for renovations or had some other one-off strategic purpose.
The Met, Campbell said, does not exploit such shows “to underwrite our expenses or operating costs. We don’t lend to or organize exhibitions through companies like Linea d’Ombra or other for-profit organizations.” [...]
Campbell, who noted that “there is certainly more discussion of [loans for fees] in the industry” of late, said he is concerned in part because the Met organizes more than 30 exhibitions a year. “We depend for those exhibitions on the good will of other institutions we’re asking to lend works to us.”
His fear [...] is that as museums increasingly charge fees, there will be a “copycat process” — more and more museums will charge fees when they receive requests for loans, and it will become harder and harder to put on important shows.
In its defence, the MFA quite reasonably points out that it gets just 1% of its funding from the state, and the money has to come from somewhere...
Mauritshuis re-opens (ctd.)
August 7 2014
Picture: Frame Blog
The Frame Blog has an excellent article by Quentin Buvelot on the frames now seen in the newly re-opened Mauritshuis. Among the illustrations is that seen above, which shows how Vermeer's Girl with a Pearl Earring used to hang, before it was famous.
Photography to be allowed at the National Gallery?
August 7 2014
I've heard that the National Gallery in London may be about to allow photography in the main galleries. Regular readers will know that I've been hoping for this for some time. And it's been over two years since I sent this email (which remains unacknowledged). So if it's true, hurrah.
Update - a reader writes:
I do not share you enthusiasm for allowing photo's being taking in museums. Last week I visited the KHM in Vienna three times and I found the many people waving with cell phones and tablets in front of the master pieces in this fantastic collection quite annoying, while fine postcard reproductions of the highlights can be purchased at the bookshop.
And on Twitter, Jon Sharples Tweets:
I sincerely hope that @arthistorynews' rumour re @NationalGallery being on the cusp of allowing photography is false. A valuable sanctuary.
Should AHN be on Facebook?
August 7 2014
Do any readers have advice on whether this blog should be 'on Facebook', and how to do it? Would it be to AHN's benefit, or just Mr. Zuckerberg's?
Update - thanks for your many comments on this, which I'll put up tomorrow. I should quickly add that I meant to say 'also on Facebook' - the current site would stay as it is.
Update II - some reader views:
I don't mind if the blog is on Facebook as well as the current format, but it were only on Facebook then I would regrettably have to stop reading it as I'm not a member and don't plan to join. Which would be a great shame as it's very interesting and the only blog I read every day. Thanks for publishing it.
I say "YES" to a Facebook page. Your reach will be much broader, especially for the younger generations. The only issue with facebook is that people will use it to debate/comment on material you post, which was an problem for you when you first started your blog (and I'm sure reading them takes too much of your time). There is a way to restrict people from commenting on your posts altogether (see "privacy section"). For the purposes of debates etc you could create a Group aside from a page. To get an idea of what these are, type in "Le Connoisseur" on facebook. It is a very successful Group that often mentions the things you bring to light via your blog. There many debates take place.
I can't find the Connoisseur group (that's what puts me off Facebook, it's impenetrable for those not on it). I don't have any issue with comments, and always enjoy reading those I get. Thanks for sending them in - it makes a great difference knowing that the site is appreciated and generating interest. I don't have a seperate comments section, because I like to incorporate comments in the main post, rather than let them get forgotten on a different area. I try and publish almost all comments (just not the loony ones). By the way, I'm sorry that I don't always get time to reply individually at length.
Perhaps you have a reason for wanting to go on Facebook, and if you should decide to do it please do remain off it as well, as I and many others I know have not joined that site. Many sites have a link to Facebook. I enjoy your postings easily now.
Facebook? Well, it’s a thought. Damian Hirst and Jeff Koons are also there so read into that what you will...
Forget Facebook, but do please have automatic tweets of each new post on the blog.
Will see if I can set this up.
From a purely personal point of view (I don't really know about the technical advantages or disadvantages), I wouldn't want AHN to be on Facebook. Although I've been a Facebook member for years, I'm terrible at looking at it, and I can't always access it at work.
Update III - another reader adds:
Facebook has some things to recommend it. If you posted all your stories there, I would see them mingled with the other stuff I subscribe to, which would be convenient. A bit like a much extended Twitter. You might also reach new audiences as, when people commented on your posts, that would show up on their friends' pages too, so there would be a multiplier effect.
The downsides that I can think of are firstly the extra time commitment and secondly the fact that you would inevitably receive comments, which you would not be able to sift through first (though I think you might be able to remove them). I think this would alter the very affable editorial voice you have established on AHN, where you receive private emails and them decide what bits to use, if any. This leaves you in control, and the impression for the reader of the blog is that the central dialogue is with you. Currently, what you do is akin to a radio presenter: you say some things, people respond and you often use those responses to continue the conversation. The whole thing is on your terms. On the other hand, very often on Facebook (as in the comments that are appended to stories on newspaper websites) commenters end up having arguments with each other, often about matters unrelated to the original story. And Facebook publishes most prominently the story that has been most recently commented on, regardless of when that story was first published. The whole website is designed around giving feedback and comments to build a 'community'.
Mr Bean in Old Masters
August 5 2014
Picture: Rodney Pike
These are daft, but they made me smile. Bronzino above and Rembrandt below. More here.
August 5 2014
A reader alerts me to the fact that the private sector security company CIS is advertising for vacancies at the National Gallery, London. The 3 month post, to begin in October this year, requires:
- Protection of Art works
- Cash handling
- Provide visitors with advice, guidance and information, answering any questions and queries
- To demonstrate sensitivity to cultural, social and physical differences; treat everyone as an individual and with dignity and respect; use language that does not cause offence
- Assist in the evacuation during an emergency and ensure the safety of the visitors and others
- Report faults and defects to management
- Provide assistance to all visitors with their access needs around the Galleries
- Assist with the visitor flow, especially when large groups are visiting the Galleries
- Gain knowledge of the current exhibition
The start date must presumably mean that the post is to guard the forthcoming Rembrandt exhibition, which opens on 15th October. Curiously, the qualifications required do not include any experience in guarding fine art or museums, but you will need 'an SIA Door Supervisor licence'. Those are the things bouncers wear on their arms outside nightclubs.
As alarming as all this sounds, I suspect that it's a pragmatic attempt by the Gallery to make sure the Rembrandt show passes off without disruption from in-house security staff, some of whom have displayed a 1970s style enthusiasm for going on strike. While I don't doubt that many security staff at the Gallery are dedicated and hard-working (though I've been on the end of an unjustified tongue-lashing more than once), the real culprit here is the PCS union to which many of the staff belong. The PCS sees the Gallery as an easy way to grab headlines, often calling strikes to target high-profile shows like the Leonardo exhibition in 2011/12. We can be sure that the Rembrandt show will be similarly busy, so I can see that the Gallery's outsourcing is sensible planning. There'll be hell to pay if anyone stabs a painting though.
Update - a reader writes:
Well the Gallery certainly doesn't need extra security at the moment. It's more than six weeks since the Veronese closed, the height of the tourist season, and, on the main floor of the main building - closed, closed, closed.
Kids in museums - not (ctd.)
August 5 2014
Picture: Herb Slodounik
Here's a photo for Jake Chapman (see my post yesterday for his views on taking kids to museums). The image, taken in 1968, has been doing the rounds on Twitter and the web lately without a credit, but now Aaron Slodounik has been in touch to say that it was taken by his father, Herb Slodounik, in the San Francisco Museum of Art. More details here.
The Grumpy Art Historian has also written on Chapman's thesis, here.
WW1 officer identified on Art Detective
August 4 2014
Picture: PCF/Carmarthenshire Museums Service
Today is the 100th anniversary of the outbreak of World War One, so here's a fitting story; a user of the new Art Detective site has identified the above portrait of an 'unknown officer' belonging to the Carmarthenshire Museums Collections. The soldier is Second Lieutenant Paul Chancourt Giradot (1895-1914), who was killed by a shell during the Battle of the Aisne on 16th September 1914. Martin Gillott recognised the unknown sitter from the below newspaper photograph. Well done him, and the wisdom of the art historical crowd. We don't know the artist. The portrait was made up some time after Giradot's death from the photograph. I see lots of these, evidently commissioned by grieving families. More details here.