Daniel Weiss, Adam Weinberg and other museum leaders speak out following the fallout from the resignation of the Whitney’s vice chairman and the ongoing Sackler affair - for The Art Newspaper
There was “next to nothing” about Muslims in the Brooklyn Historical Society’s century-old archives. Now there are 54 oral histories, which serve as the foundation for a new art exhibition.
The Amsterdam Museum will no longer use the descriptor "Golden Age" to for the 17th century:
The Golden Age occupies an important place in Western historiography that is strongly linked to national pride. But positive associations with the term such as prosperity, peace, opulence and innocence do not cover the charge of historical reality in this period. The term ignores the many negative sides of the 17th century such as poverty, war, forced labour and human trafficking.
The Wellcome Collection's new long-term exhibition Being Human has been designed "accessibility first" and has garnered a lot of well deserved press: No art lover left behind: how galleries are finally welcoming disabled people (Guardian); Is This the World’s Most Accessible Museum? (NYT);
A British survey shows that four in ten cultural organisations pay their junior front of house staff less than a living wage.
Lorraine Boissonneault for Slate: The Complicated Decisions That Come With Digitizing Indigenous Languages
Look, I haven't engaged with the Jeffrey Epstein thing at all so just dropping this in here for future reference: Martin Levine, Must Modern Philanthropy Be So Corrosive?, on Epstein's philanthropic relationship with MIT.
The Ford Foundation's president Darren Walker in conversation with artnet's Andrew Goldstein: ‘We Don’t Need to Demonize Wealthy People’: Ford Foundation President Darren Walker on the Unnerving Aftermath of the Warren Kanders Protests
ICOM shrugged off the vote on the proposed new definition of a "museum": Should Art Museums Be More or Less Ideological? After Pushback, a Gathering of Museum Leaders Refuses to Address the Question
Suse Anderson is teaching a new first-year course on museum ethics at George Washington University, and the course outline looks like a primer in contemporary museum discussions