If you have been to any of the museum conferences in the last years, you probably remember the Vastari booth, and most likely have one of our USB pens on your desk. This year, after thorough consideration, we decided to attend conferences without taking a booth and here is why.
I was lucky enough to participate in a panel discussion organised by the Art Fund and Sotheby’s Institute of Art and to also present Vastari as an example of disruptive digital businesses at Cass Business School. These talks have stimulated some thoughts that are worth sharing.
On 15th of January Artnet’s columnist Tim Schneider published some thoughts on why it is a taboo to talk about the value of works in museums’ storages.
Touring exhibitions have become increasingly important in the last decade: from a handful of major institutions partnering up, touring exhibitions have become a major trend in the museum industry. Producers and museums with large portfolios are beginning to dominate their own section of expo halls at all major international conferences.
I met Elizabeth Scott, newly appointed curator at the London Transport Museum during her first week there to aske her a few questions. Can you describe to us the steps to put together an exhibition? There are many steps in putting an exhibition together and whenever I work with external
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The Mauritshuis re-opened its doors to the public at the end of June 2014 after a two-year renovation. This museum hosts one of the finest collections of Dutch art from the Golden Age, including masterpieces such as Vermeer’s The Girl with the Pearl Earring, Rembrandt’s The Anatomy Lesson
Vastari Special Report, Milan 9th of June 2014, the Museo del Novecento hosts the launch conference of Vastari, the online platform that connects curators and collectors for temporary exhibitions loans. Vastari was presented by Francesca Polo, coordinator of the project in Europe, and followed by a passionate debate on the
The twentieth edition of Artissima, named one of the world's best art fairs by Skate's Art Market Research last year, was placed in the spotlight last week as it had to face the challenge to live up to its previous successes despite the economic crisis in Italy.(1) From a
‘Nothing has happened but that which has been recorded’ said Virginia Woolf.1. This sentiment couldn’t be more apt when it comes to the much-debated issue of provenance: the currency that turns the art world on its axis. My last article “Introduction to Provenance Research” started to tackle the