#H’ART museum

[dutchjan]

September 05, 2024

[victorysp]

At the H’ART Museum, Queen Máxima (UNSGSA) spoke with Robert Swaak, CEO of ABN AMRO, about the role of banks in developing financial products and services that contribute to financial health and meet people's needs. October 10, 2024.

📷 Royal House of Netherlands

[ingek73]

Hmm..

In the Netherlands the van Gogh museum had(has?) an interesting exhibition of different methods used for drawing/printing etc

The nearby Rijksmuseum has these handouts in fhe Honour Galery which tells you more about the painting and what to look out for. They also do a great guided tour for 7.50 which shows you several highlights and you hear more information

My favourite though was the Hermitage, now H’art, and their audiotour*. During the an exhibition you could have more info of the artist, a story about what is depicted in the painting (‘my brother Joseph..) or a song to have music ehilst looking at the painting. On an earlier exhibition, about Greek mythology, they also asked schoolchildren ehat they thought the paintings/statues were about which gave some great insights!

*)audiotours are generally great, esp. the ones where you can choose extra info

Btw Science Museums and National History Museums are different arent they?

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

[magheteenonsjeminderzijn]

Om 9.25 lopen we de deur uit zodat we rond 10.30 arriveren bij de Hermitage. We hebben vrijkaartjes van de Vriendenloterij om naar de open dag te gaan en dan kunnen we naar H’ART Museum, Amsterdam Museum en Museum van de Geest. En het H’ART is de Hermitage.

Snel een kiwi gegeten en een zakje yoghurt mee. Na de ervaring van gisteren eet ik maar even geen crackers. Ik kom veilig en schoon aan bij de Hermitage 😅

We zijn zeker niet de enige genodigden dus we moeten in lijn wachten tot het onze beurt is om te registreren.

We beginnen echter niet in de Hetmitage blijkt, we zitten opeens in het Amsterdam museum 😅 Voordat we naar binnen gaan drink ik mijn zakje yoghurt leeg.

Achteraf gezien vind ik dit ook het leukste museum. Daarna gaan we door naar het H’ART museum oftewel de Hermitage. Er is een tentoonstelling over Julius Caesar.

Vooral de korte film over hoe hij vermoord wordt vind ik mooi (zegt wellicht wel iets over mij). En dan hebben we nog Museum van de Geest. De tentoonstelling gaat over de tweede wereldoorlog maar dan met name hoe psychiatrische patiënten werden behandeld. Niet al te best kan ik je vertellen.

Na de 3 musea lopen we naar de Kerkzaal voor de gratis koffie/thee en een muffin. De muffin is voor Marcel, ik hou het op een kopje thee.

Rond 13.15 zijn we weer thuis. Marcel zet mij thuis af en hij rijdt zelf door naar TICA. Ik gooi alles in de pan voor een broccoli spinaziesoep en terwijl het kookt ga ik snel naar AH om de boodschappen te doen voor de komende 2 dagen.

Bij thuiskomst pureer ik de soep en eet ik meteen een kommetje soep leeg. Het ziet eruit als die vieze drankjes van het begin maar het smaakt prima. Nog 1 portie over, dat gaat de vriezer in. Nog een gekookt eitje toe en ik ben weer klaar met de lunch.

Even uitbuiken en dan is het tijd voor mijn halfuurtje loopband. Lekker zweten maar toch weer gedaan. Mijn auto doet de laatste paar dagen raar bij optrekken. Het lijkt of ik constant in de verkeerde versnelling rij. Dus ik heb gevraagd aan Marcel om ook eens met mijn auto te rijden zodat hij ook kan voelen wat ik bedoel. Marcel krijgt de auto niet gestart 😅 Die denkt dat het wellicht de accu is maar ik denk zelf dat het iets is met de versnelling/koppeling. Marcel belt de ANWB. De monteur krijgt de auto meteen aan de praat 😅 maar gaat wel een rondje rijden om te kijken wat ik bedoel. En idd het is een versleten koppeling. Natuurlijk, dat kan er ook nog wel bij deze maand!

Maar kijken of Jos het kan repareren en dan kan hij meteen de APK doen want dat moet ook binnenkort gebeuren. Beetje vervelend met de 2 dagen kantoor die ik heb komende week. Morgen zet Marcel mij af bij het busstation en hopelijk haalt hij mij ook op.

Morgen wordt ook de nieuwe vaatwasser bezorgd 🎉 Daar ben ik wel blij om want dat afwassen en afdrogen en de rommel in de keuken dat vind ik maar niks. Marcel heeft vandaag de vaatwasser vast losgekoppeld. Er kwam nog behoorlijk wat water uit want de vaatwasser hield er natuurlijk mee op tijdens het spoelen.

Marcel zijn telefoon is tijdens het ontmantelen op de grond terecht gekomen. Marcel had dat niet meteen door dus dat ding heeft een halfuur in het water op de grond gelegen. Het ziet ernaar uit dat dat niet prettig was voor de telefoon want die vertoond kuren. Dat zou dan grote uitgave 3 worden deze week 😅

Ik eet nog een bakje kwark en rond 16.45 vertrekken we naar Frank en Ditte. Lekker gegeten ( courgettesoep, gegrilde groenten en veel salade), gezellig gekletst en qwirkle gespeeld. Om 21.45 uur weer huiswaarts gegaan. Over 2 weken zien we ze weer, dan gaan we een weekend naar ze toe als ze in Roodkapje zitten, het vakantiehuisje van de hele familie in Ommen.

Na thuiskomst even lekker gedoucht en daarna vast voor Marcel het eten voor morgen gemaakt (fussili Rosso).

[antonio-velardo]

Antonio Velardo shares: After Cutting Ties With Russia a Hermitage Museum Outpost Rebrands by Nina Siegal

By Nina Siegal The Hermitage Amsterdam broke away from its St. Petersburg mother ship and will now be called H’Art Museum, presenting works from the Smithsonian, the Centre Pompidou and the British Museum. Published: June 26, 2023 at 05:30AM from NYT Arts https://ift.tt/AvaMwr1 via IFTTT

[mmdtunes17]

Final Exam Review Playlist | Liner Notes

Bob Dylan. “Like a Rolling Stone.”  Highway 61 Revisited. Weick’s notion of the cosmology episode, in which sensemaking fails so completely that “both the sense of what is occurring and the means to rebuild that sense collapse together,” is how it feels, as Bob Dylan sings, “to be on your own / with no direction home.” The song also demonstrates the benefits of “throwing down your tools” -- its debut marked Dylan’s transition from folk singer to rock singer, an innovation that ultimately cemented his status as a legend of 20th century music.

Nick Drake. “Which Will.” Pink Moon. Perrow suggests two “models of man”: the rational decision-maker, and the intendedly rational decision-maker (“intended rationality” being used interchangeably with “bounded rationality”). Which will you choose, when it comes to choosing a model of how we choose? As Perrow notes, “Bounded rationality... creates a great deal of change, for it permits unexpected interactions, new discoveries, serendipities, and new goals and values. Given that we are not superhuman, our very limitations make us human in ways that we should treasure." (Perrow 1986, p123).

Cat Power [Mick Jagger / Keith Richards]. “(I can’t get no) Satisfaction.” The Covers Record. Lindblom, in ��The Science of Muddling Through,” argues that decision makers can’t get the satisfaction of a full rational comparison of possible options, because resources are always limited and information always imperfect. Their environment is always clouded, as Cat Power sings here, by “some useless information / trying to mess my imagination.” Instead they resort to “satisficing,” or muddling through to the nearest acceptable solution through a series of successive limited comparisons (as Cat Power does: “he can’t be a man because he doesn’t smoke / the same cigarettes as me”.)

Walter Martin. “Jobs I Had Before I Got Rich & Famous.” Arts & Leisure. People low in organizational hierarchies sometimes exercise surprisingly expansive power, thanks to their direct access to resources, information, and people. Walter Martin calls out to each of these in the crappy jobs he held before getting rich and famous: Pizza delivery boys stealing from the box; redirecting incoming calls for the director of the Metropolitan Museum to his sleeping roommate; encountering Billy Joel from behind an information desk as he enters the Cloisters.

Lana Del Rey [Nina Simone]. “Don’t Let Me Be Misunderstood.” Honeymoon. The “good men” of the heavy electrical equipment industry were anxious to preserve the image of their propriety even while being convicted of running a criminal price-fixing conspiracy in the 1960s. In their arguments that they were virtuous actors carrying out the conspiracy under pressure from their superiors and the wider corporate culture, you can almost hear Lana Del Ray singing “I’m just a soul whose intentions are good -- oh lord, please don’t let me be misunderstood.” But, as Gies notes, “A crime is a crime is a crime” (Gies 2002, p116).

Adele. “Hello.” Hello. Disasters often erupt after a long incubation period during which they throw off warning signals. These signals might be weak, mixed, misinterpreted or ignored. NASA engineers for example confronted by inconsistent evidence of O-ring erosion in the space shuttle’s solid rocket boosters misinterpreted these warning signs of a malfunction that would destroy the shuttle Challenger shortly after launch.  Think of signals like these as Adelle, singing  “Hello from the outside ... / I must have called a thousand times ... / but when I call you never seem to be home.”

Elliott Smith. “Somebody That I Used To Know.” Figure 8. Pfeffer and Salancik argue that organizations are vulnerable to influence from external organizations to the extent that they are dependent on exchanges of resources (transactions) with those organizations. It’s a concept with which Elliott Smith might be familiar, singing about someone who “don’t need my help any more ... / now that you’re big enough to run your own show / you’re just somebody that I used to know.”

Joe Cocker [John Lennon / Paul McCartney]. “With a Little Help from my Friends.” With a Little Help from my Friends. “Any organization may be faced by the action of a member which embarrasses the organization,” Katz writes (Katz 1977, p6). It could be a slight deviance, like the mistake of “singing out of tune,” or a more sinister act of fraud or abuse. Organizations can sanction deviant members, or cover up the deviance, shielding it from critical outsiders. Coverups, Kats argues, are ways of increasing internal cohesion and authority by helping deviant members “get by with a little help from my friends.”

Joan Jett [Angus Young et al]. “Dirty Deeds Done Dirt Cheap.” Dirty Deeds Done Dirt Cheap. Hughes, writing about the riddle of the “good Germans” who stood by as the holocaust was carried out, argues that “The crucial question concerning the good people is their relation to the people who did the dirty work, with a related one which asks under what circumstances good people let the others get away with such actions.” The answer, in part, is that people in every organization and society always delegate “dirty work” to others who will, as Joan Jett sings here, get them “done dirt cheap.” The question isn’t why 

The Long Winters. “The Commander Thinks Aloud.” Ultimatum. As far as we can tell this is the only pop song explicitly about a space shuttle disaster -- in this case, the loss of the Columbia on re-entry over Texas in 2003. As professor Vaughan covered in lecture, the Columbia accident in significant ways resulted from the same failed acceptable risk process that doomed the Challenger on launch. The Presidential Commission investigating the Challenger accident ultimately blamed technical failures combined with a failure of management, and reacted by removing “amoral” managers, while leaving the flawed organizational system in place. This is a key lesson of the course: focusing on the failures of individuals in a disaster while ignoring structural causes leaves open the possibility of a repeat disaster.    

Radiohead. “Present Tense.” A Moon Shaped Pool. The 9/11 Commission, describing the attitude of US policymakers, wrote that in the 1990s, “to us, Afghanistan seemed very far away. To members of al Qaeda, America seemed very close. In a sense, they were more globalized than we were” (9/11 Commission, p340). In other words the failure of imagination of the US defense establishment could be described in this way as a mistaken belief that, as Thom Yorke singe here, “Distance” (this dance? The ambiguity is productive) “is like a weapon / of self defense / against the present tense.”

Moondog. “Do Your Thing.” H’art Songs. No course significance here, except that it’s almost summer we wanted to send you off with this sage advice about being yourselves.

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