Caveat Venditor? Museum Merchandising, Nonprofit Commercialization, and the Case of the Metropolitan Museum in New York

This paper reviews some of the underpinnings of the current commercialization debate in the nonprofit sector, based on an analysis of Metropolitan Museum of Art data from 1960 to 2002. The case suggests at least two avenues for additional research: First, while analysts tend to see the origins of the commercialization phenomenon in the fiscal setbacks of the 1980s, the economic crisis of the 1970s and the resulting erosion of endowment funds may also have been an as of yet unexplored driving force behind the commercialization trend. Second, current conceptual frameworks of the phenomenon adequately explain the motivations behind the observable rise of the museum's commercial activities. However, the changing rationales as well as economic fortunes of commercial activities in this case highlight the need for a better understanding of the long-term effects and consequences of commercial activity by nonprofit organizations, particularly in light of the current push for increased entrepreneurialism.

Museums,scholarly enterprise and global assemblages: a response to ‘Artifacts and allegiances: how museums put the nation and the world on display’

This discussion of ‘Artifacts and Allegiances: how museums put the nation and the world on display’ by Peggy Levitt shows the efficacy of the cosmopolitan–national continuum as an analysis of the conditions of museums in a globalized world. It suggests that nationalism and cosmopolitanism, whilst posed as alternatives, are not seriously in tension within the liberal global museum. It finds that the book is useful in proposing the museum as a complex cultural assemblage, but that the lack of theoretical integration into the body of the narrative limits the scope for examination of what is entailed. The review suggests that a new progressive discourse of the museum of the 21st century would need to consider and include the participation and engagement of the museum’s audiences, both present and online.     

The sensory museum: affective experience as the new pedagogic norm

Museums are complex cultural institutions that have been forged amidst contradictory social and political forces. The representative function of museums in terms of capturing the breadth of national culture and their potential as a platform for citizens to develop a more worldly engagement has already been a subject of considerable contestation. In the current context of neo-liberal economic integration and the heightened mobility of people, the function of the museum has undergone even greater challenges. This article explores the shifts in the pedagogic function as it focuses on the impact of new modes of perception and interaction in cultural institutions and proposes that a wider conception of cosmopolitanism is necessary to grasp the contemporary opportunities of diversity and mobility.     

What are museums for? The enduring friction between nationalism and cosmopolitanism

This response to Peggy Levitt’s book Artifacts and Allegiances argues that, as cultural institutions, museums are too deeply embedded within the nation state to be able to present cosmopolitan narratives that go beyond the biased particularities of the nation. Rather than conceiving nationalism and cosmopolitanism as a continuum, the relationship between the two should be seen as one of enduring friction, creating a major challenge for museums around the world to tell stories suited for our mobile, global times.     

Nailing One’s Colours: Tate Britain’s Artist and Empire

Taking the view that national art museums should represent the multifarious populations they serve, this article explores racial material in Tate Britain’s high-profile exhibition Artist and Empire: Facing Britain’s Imperial Past (2015). The exhibition gave extensive coverage to two aspects of empire: hybrid fusions and the myth of white heroism, but gave limited attention to colonization as a maximally coercive system built on racist imaginings and abuse. Through cross-examination of the exhibition’s content and absences, I explore whether Tate Britain is setting out the ‘building blocks’ for more diverse practice.     

Response to symposium on Artifacts and Allegiances: How Museums Put the Nation and the World on Display

The author responds to the contributions to this symposium, highlighting her ideas about diversity management regimes, the urban cultural armature, global museum assemblages, the cosmopolitan-nationalism continuum, and new methods for studying the global and for engaging in constructive critique.     

Assessing dialogic communication through the Internet in Spanish museums

Dialogic communication is being boosted by the strong development of the social web. The web 2.0 is generating significant changes in the manner that organizations engage in dialogue with their publics, opening the way towards the interactive communication. In this way, web 2.0 tools will foster the dialogic communication between museums and their publics. Through them, the relationship between museums and publics is changing towards more interactive and collaborative forms.