Forced to quickly reconsider how they functioned online, many museums are now reaching more people—and in more intriguing ways—than ever before.
without its joyous hubbub, or the Frick Collection without its respectful hush, is to think, in practical terms, of an enormous liability. When, in March, the swift advance of COVID-19 closed museums across the country, some predicted losses of tens of millions of dollars. “Our primary responsibility, and our most valuable asset, is creating a condition for human beings to be in the same space as works of art,” Gary Tinterow, the director of the.
Yet as the Met, the Frick, MFAH, and other institutions have demonstrated this spring, even a categorically, irrefutably different experience of these collections can also be singularly rewarding. “One of the things that museums do so well is they offer a space for contemplation,” says Nancy Ireson, deputy director for collections and exhibitions and Gund Family Chief Curator at the Barnes Foundation in Philadelphia. “At a time that can be quite upsetting, we wanted to make sure we didn’t disappear.” If quippy commentary from scholars and artists was already de rigueur at many museums and galleries, under lockdown, it acquired a compelling new immediacy and intimacy.
Since the museum closed, the Barnes’s YouTube subscribers have increased 900%. “People are saying, you know, ‘I make a point of stopping my day at lunchtime and listening to talk about art for five or 10 minutes,’” Ireson continues. “We realized that lots of people are still working from home, or they’ve got, so it wasn’t about disrupting your day entirely. Just that point of contact is crucial.”
Tinterow has observed much the same of MFAH’s largely local following, who have dialed in for events like “Coffee with a Curator” and the “MFAH on the Mat” weekly yoga class in droves. “Our members, our supporters, our donors, our community members miss us and they want to stay in touch,” he says. “Previously, our website was very transactional.
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