Tijdschriftattendering nr 1 2019 2020

2019‐ 2020

Reinwardt Academie Amsterdamse Hogeschool voor de Kunsten

Reinwardt Academy Amsterdam University of the Arts

[TIJDSCHRIFTATTENDERING NR.1] Inhoudsopgaven van recent verschenen tijdschriftnummers

,

sinds 1892 jaargang 118

2014

Inhoud 04 05 07 09 14 17 20 22 24 26 28 30 32 33 35

Van de redactie De archiefervaring Nieuws uit het veld Open Overheid en archieven. Actieve openbaarheid en vervroegde overbrenging, Roland Bisscheroux 'Het gaat niet om wat we aanbieden, maar om wat de mensen zoeken.' Politiek en publiek belang gaan bij het NIOD hand in hand, Floortje Tuinstra De archivaris in de wereld van big data, Charles jeurgens Tien nieuwe archivarissen van de Reinwardt Academie, Els van den Bent Een gedeelde betrokkenheid voor het beheer van familiearchieven, Thea Vermeer Van bunker tot Blue Shield. Bescherming van archiefstukken in woord en daad, Redactie Archievenblad Een vrouwenvereniging in oorlogstijd, Dick Deuzeman Column KVAN Nieuws Uitgelezen Agenda Burgerlijke Stand: 'Ik ben nog lang niet uitgekeken op mijn werk.' In gesprek met Fred van Kan, RenĂŠ Spark

nummer 4 2014

•

3

Inhoud 04 Van de redactie

20 Van Wijn in het Zuiden Het ontstaan van een 'Belgisch' archiefwezen

05 De archiefervaring 24 Brievenreeks 06 De noodzaak van hedendaagse archivering 25 Column 09 lobby voor een nieuw NationaalOntwerp Archief 10 Fotoarchieven presenteren Een keten van keuzes

26 Dura lex sed lex De AVG in de praktijk (deel 2) 29 Gesignaleerd 30 In memoriam Hein de Graaft (1936-2018)

12 Postwaardencollectie terug in overheidshanden 31 Column 14 Archieven en het semantisch web Van documenten naar data

32 Hotspots

17 Strao: ode aan een eeuwenoude traditie

33 Uitgelezen

18 Topstukken in perspectief Van Plakkaat van Verlatinge tot Abdicatie

34 Burgerlijke Stand I 'Kennis delen is dankbaar werk' In gesprek met Welmoed Bons

nummer 5 2019

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3

ISSN

J

0960 -6556

o

5

>

FOR MORE NEWS & ANALYSIS, VISIT theartnewspaper.com

9

770960

655183

INTERNATIONAL EDITION

THE ART NEWSPAPER

UK £8.50/US $14.99/RoW £10.50

U. ALLEMAND! & CO. PUBLISHING LTD. EST. 1983, VOL. XXVIII, NUMBER 312, MAY 2019

.

SPEAKING OUT

GRAND DESIGNS?

UNDER EXPOSED

Experts cast doubt on Macron's fiveyear plan to rebuild Notre Dame

Elusive Vivian Maier will delight collectors at Photo London

Tefaf's Nanne Dekking opens up about the sexual abuse he suffered in a Dutch' cult'

MUSEUMS PAGE23

NEWS PAGES

ART MARKET PAGE 50

Hermitage Leonardos are heading for Italy Benois Madonna will appear at Unesco conference in Fabriano, while Litta Madonna goes to Milan FABRIANO.An Italian town with a population of just 30,000 is to borrow a major Leonardo painting from Russia. The Hermitage, in St Petersburg, has promised the Benais Madonna (1478-80) - one of the most important works in its collection - to a museum in Fabriano, in the Marche region of central Italy. TIlls early Leonardo has only been lent three times since its acquisition by the Hermitage under Tsar Nicholas TI: to Paris (1935), Washington (DC). New York and Los Angeles (1979) and Florence (1984).

Only around 15 universally accepted paintings by Leonardo survive, so there has been intense competition for loans in the SOOth anniversary year of the artist's death on 2 May 1519. The reason for the loan to Fabriano is diplomatic: Unesco is to hold a conference there on "creative cities" from 10-15 June, with 180 international delegations. To celebrate the occasion, the Benais Madonna will hang from 1-30 June in the Pinacoteca Civica Bruno Molajoli.

After Fabriano the Leonardo will travel 40 miles to Perugia, where it will be shown at the Galleria Nazianale dell'Umbria from 4 July-4 August. It is most unusual for a masterpiece to be lent internationally to

venues that are so close to one another. A Hermitage spokesman describes the Leonardo loans as part of its "ongoing cultural relationship" with Italy.

Painted in Florence, the Benais Madonna is said to have been taken to Russia by a band of wandering Italian musicians, although it probably came more conventionallyas the result of a sale in the 1790s.

It later emerged in 1908 in the collection of the Benais family of St Petersburg.

Nicholas II bought the Leonardo six years later for the equivalent of £300,000, which remained the record price for an artwork in real terms up until the 1960s.

The Hermitage has also promised to lend its other Leonardo to Italy. The Litta Madonna will be the centrepiece of the exhibition Around Leonardo: The Madonna Litta and the Master's Workshop at Milan's Musea Poldi Pezzoli (8 November-l0 February 2020).

Painted in 1490-92in Milan, the picture remained in the city and Alexander II bought the Leonardo from the Litta family in 1865. Since the Second World War the CONTINUED ON PAGE 11 .,

HIRST IN FULL BLOOM In an exclusive interview with The Art Newspaper in his Hammersmith studio, Damien Hirst ponders blossoms, Brexit, booming art prices and Hockney, and unveils his 'celebratory' new series of paintings in progress. See Review, pp4- 7

Macron uses Notre Dame fire to encourage national unity

Macron talks to rescuers at Notre Dame in the aftermath of the devastating fire

PARIS. The French President Emmanuel Macron has seized upon the fire that ripped through Notre Dame cathedral last month as a symbol for France's fresh start after months of protest by the Yellow Vests movement.

"We have to become better than we are .. .it is up to us now to renew with the thread of our national project, what made us, what unites us ... We have so much to rebuild ... " Macron told the nation in a TV address on 16 April in which almost every sentence had a double meaning; "the cathedral fire" could easily be switched

with "Yellow Vests' uprising" and "rebuilding Notre Dame" with "reconstructing a fragmented nation". The day before, as flames engulfed the roof of the medieval cathedral, the president had abruptly postponed his much anticipated address to the nation announcing a list of reforms, including income tax relief.

Focusing on the fate of the damaged cathedral the following day, Macron called on the French sense of historical grandeur.

At the same time, Victor Hugo's Notre-Dame de Paris topped Amazon's bestseller list and publishers rushed to reprint paperback

editions. Sales of handbooks, guides, songs, films, cartoons and musicals inspired by the novel also boomed. Just after Macron's speech, the public TV channel Arte broadcast William Dieterle's 1939 Hunchback of Notre-Dame starring Charles Laughton.

Macron drew his inspiration from a significant precedent: the fire that partially destroyed the cathedral of Reims in 1914 when it was hit by a German mortar shell.

"The images were everywhere in newspapers, on posters in the streets. The reality CONTINUED ON PAGE 10 .,

4

THE ART NEWSPAPER

~INTERNATIONALEDITION

THE ART NEWSPAPER The Art Newspaper is published by U. Allemandi & Co. Publishing Ltd, ISSN 0960-6556

Editorialstaff and contributors

Number 312, May 2019

Contents Number 372, May 2079

Editor Alison Cole Deputy editor Julia Michalska Specialist editors (London-based) Fairs and special projects editor Emily Sharpe Venice Biennale supplement editors Ben Luke and Emily Sharpe Museums & Heritage editor Hannah McGivern Exhibitions editor José da Silva Literary editor Donald Lee Assistant digital editor Aimee Dawson Editorial assistant Kabir Jhala

Leaders

Specialist editors (New York-based) Editor. Americas Helen Stoilas Senior editor, Americas Nancy Kenney Deputy art market editor Margaret Carrigan Deputy museums editor Victoria Stapley-Brown Staff reporter Gabriella Angeleti

Simon Jenkins is shocked at architects who regard the fire-ravaged Notre Dame as their plaything Jerry Saltz on a Venice Biennale fit for our times

Contributing editors Gareth Harris (Chief contributing editor) Louisa Buck (Diary. London). Jori Finkel (Los Angeles), Linda Jablonsky (New York), Ben Luke (Review), Anny Shaw (Art Market) Editorial production Production editor Louis Jebb Design James Ladbury, Karin Rees, Kevin Fay Picture editor (London) Katherine Hardy Picture researcher (US) Amanda Perez Sub-editing Dean Gurden, Andrew Mcllwraith, Donatella Montrone, Vivienne Riddoch Correspondents (international) Senior journalist Cristina Ruiz Editors-at-Iarge Georgina Adam, Melanie Gerlis, Jane Morris. Correspondents Martin Bailey (UK), Erica Eisen (UK), Bendor Grosvenor (UK), Maev Kennedy (UK), Ivan McQuisten (UK); Elizabeth Fortescue (Australia). Tim Stone (Australia); Hadani Ditmars (Canada); Richard Unwin (Eastern Europe); Anna Sansom(France); Catherine Hickley (Germany); Darryl D'Mote (India); Lauren Gelfand Feldinger (Israel); Tim Cornwell (Middle East); George Nelson (Russia), Sophia Kishkovsky (Russia); Ayla Jean Yackley (Turkey); Brian Allen (US), David D'Arcy (US), Jonathan Griffin (US), Paul Jeromack (US). Hilarie M. Sheets (US), Jillian Steinhauer (US). Tess Thackara (US), Christian Viveros-Fauné (US), Menachem Wecker (US)

To advertise.please contact: UK. Europe and rest of world KathBoon T: +44 (0)203 586 8041 E: k.boon@theartnewspaper.com

Americas Kathleen Cullen T: +1212 343 0727 E: k.cullen@theartnewspaper.com

6-17 This issue marks a new chapter in the story of The Art

Newspaper, now approaching its 30th year. We began, as

The Louvre struggles to secure loans to its blockbuster Leonardo anniversary show; Linda Yablonsky says The Shed needs to be more daring

Museums & heritage

23-33

Experts tell us why the restoration of Notre Dame will take much longer than five years. The once-private treasures of the Cerruti Villa are opened to the public

Art Market

43-61

Frieze New York feels the pinch as Tefaf gains ground. whileTefafchairman Nanne Dekking opens up on the sexual abuse he suffered

Regulars

To subscribe: The Art Newspaper is published 11 times a year (not in August) UK: £74.80pa; US: $llSpa; Europe €104; RoW ElOS Telephone: +44(0) 1371853 603 Website: subsaibe.theartnewspaper.com Email: subscriptlons@theartnewspaper.com Postal address: Trinity House, Sculpins Lane, Wethersfield CM7 4AY, UK

Contact us: In tihe UK: The Art Newspaper, 17 Hanover Square. London WlSlBN Tel: +44 0203 586 8054 Email: info@theartnewspaper.com In tihe US: 130 West 25th Street Suite 9e. New York, NY 10001 Tel: +12123430727 Fax: +1212 965 5367 Email: nyoffice@theartnewspaper.com Website: theartnewspaper.com

Distribution International retail: Seymour Distribution. 2 East Poultry Avenue, London EGA 9PT Tel: +44 (0)20 7429 4000 Email: info@Seymour.co.uk Specialist retail: Central Beaks, SO Freshwater Road, Chadwell Heath, London, RM81RX Tel: +44 (0)845 458 9925 The Art Newspaper was founded in 1990 by Umberto Allemandi and Anna Somers Cocks on the original concept of II Giomale dellÄrte, founded 1983.

11-. Art New;paper (USPS 067SSI is pu~ished rmnth~ 01 ISSUeS a )'?ar: nol pu~ished in August) by U. />Jlemandi & Co. Publishing LId. 17 _Square.

London WiS 1BN. and by Urnbete ,>Jlemandi & Co Pu~ishinglJSA 10<0 11-. Art ~per.

130 West 25th Street Suite9C. NewYcrk. NY10001 Registration re 5166640. © 11-.ArtNewspaper. 2019. PeriodiGllspostage paid at New York NY 10199 and at additkml ma~lrg once. Postmaster:send us changes of address to The Art Newspaj:B. 130West 25th Street Surte9C. NewYcrk. NY1OOOI,send UK and RoW changes of address to 11-.ArtNew;paper. 17_ Square. London WIS lBN © U. />JIemandi & Co Pu~ingLld. 2019. />JI righ15r~. Nopa"of this """",per(No. 3121 may be reecoceed in whole or in part without writterl consent of the copyright proprietor. Pricesand valuations in The Art News· paper are for the guidance of readers only and no legal re5jXlllSibility whatsoever can be accepted for any such information so given. The Art Ne.vspaper is notresponsible forstatements expressed in thesignedartidesand ntevews. Whilef!VeI'Jcareis taken by the publishers, theeontents of aoetsereotsee the ~billtyofthe Individual advertsers.

JACK YOUNGERMAN Cut-Ups

Editor's letter ALISON COLE

News

Publishing and commercial Publisher Inna Bazhenova Honorary chairman Anna Somers Cocks Chief executive Russell Toone Associate publisher, fairs and events media Stephanie Ollivier Head of subscriptions and membership James Greenwood Head of sales (UK) Kath Boon Head of sales (the Americas) Kathleen Cullen Advertising sales director Henrietta Bentall Marketing manager (the Americas) Steven Kaminski Business Co-ordinator!SalesExecutive (the Americas) Sarah Vitale Design!production (commercial) Daniela Hathaway Digital development director Mikhail Mendelevich System administrator Lucien Ntumba Management accountant Evgenia Spellman Accountant Matha Murali Administrator! book-keeper (the Americas) Anthony Shao Team assistant Hannah Burt

5

Leners A welcome attribution to Leonardo In 11Ie Frame Art that sticks it to you Obituary Edmund Capon. museum director

17 18

a print newspaper, in a tiny office in Fleet Street; we are now part of a multi-media landscape and an industry that is truly global in reach. We are fortunate to have the wonderful support of our readers and the wider art world. But we also know that we need to continue to grow our loyal audience, so that our trusted brand of international art journalism can continue to flourish. We can only do this if we build a powerful subscriber community, not just across print but also across digital. Ultimately, we believe that expert independent reporting is worth investing time and money in - and it has never been more important.

So, as of1 May, we willbe launching a new app, together with a range of subscription options and a metered paywall for non-subscribers; these will allow readers to access our content seamlessly across multiple platforms. These changes will also support our mix of exclusive breaking news; international stories that matter - with 50 reporters across 30 countries and a network of sister papers; in-depth analysis; and agenda-setting investigations. They will also support development of new products, from specialist supplements and our acclaimed Fair Dailies - which will shortly be available online as replica editions, together with the monthly newspapers - to a rich, accessible archive.

So how will it work? If you are an existing subscriber, you will automatically get a "complete" subscription, encompassing all our products across print and digital. All you need to do is follow the instructions on p47 of the Review section. There will also be three new subscription packages: a "group" subscription (for multiple readers within an organisation); and a "digital only" subscription, which embraces the much-improved mobile and tablet experience and includes a "student" subscription option (at a generous discount).

In tandem, we will be embarking on the gentle launch of a metered paywall for non-subscribers. This will offer web visitors three free articles a month, When this limit is up, they will be invited to register and offered a further five free articles a month. If they want to go beyond this limit, they will be invited to subscribe to one of the packages we have designed Thank you for your support as we introduce these changes - and we will be really grateful for any feedback. If you need help or have any questions please email subscriptions@theart:n.ewspaper.cam

62

Venice Biennale 2019

Review

Special focus: a 24-page pull-out, in Review

"Blossoms are ridiculous; I want them to feel ridiculous.

I want you to fall into them"

Why Venice still maners: historical importance and glamour make it an art festival like no other. By Jane Morris Interview; Biennale artistic director Ralph Rugoff on dividing the main exhibition into two venues. five artists to watch and why the Arsenale is a bit like a digestive passage. By Ben Luke Our pick of the pavilions and beyond: The Art Newspaper network selects the shows and events that it's most looking forward to seeing -with a few tips on what to eat and drink. too!

---------~-

RÈVÏEW

Features: Damien Hirst has spent the past 18 months painting cherry blossom. In an exclusive interview with Alison Cole he reveals the breadth of his work Books: Oliver Dickinson examines new discoveries on Cycladic art; PeterdeBoliaon how Bannard changed time in the act of looking Exhibitions: DavidAnfam previews a show that aims to raise Lee Krasner's profile Donald Lee on Goethe the Renaissance man calendar International exhibition listings 19-22

Collisart.,

LLC Frederick D. Hill Daisy Hill Sanders

April25 - May 31, 2019

Specialists in American Art exhibiting at MASTERPIECE London (A3I)

by appointment New York 212.396.0099 www.collisart.com

WASHBURN 177 Tenth Avenue, New York, NY, 10011 (212) 397-6780 I jwashburn@earthlink.ner

I washburngallery.com

.,.~

ISSN

0960 -6556

FOR MORE NEWS & ANALYSIS, VISIT theartnewspaper.com

9

INTERNATIONAL

THE ART NEWS

655190

PER

U. ALLEMAND! & CO. PUBLISHING LTD. EST. 1983, VOL. XXVIII, NUMBER 313, JUNE 2019

ROBUST RICHTER

770960

EDITION

UK £10/US $14.99/RoW £10.50

STORY TIME

HAPPY BUNNIES

German artist's broad appeal continues to attract global buyers

Faith Ringgold's quilts describing the history of civil rights make European debut

New York's $2bn 'giga week'sets new records for Koons, Monet, Bourgeois-and more

ART MARKET PAGE 58

FEATURES PAGE4-5

ART MARKET PAGE49

World·s oldest photo agency faces crisis As Alinari vacates its Italian headquarters, there are hopes

that Tuscan government will rescue the historic collection FLORENCE. Amid reports of financial crisis, the world's oldest photographic agency is selling off its Florence headquarters and moving its vast archive into storage, while the Tuscan government deliberates over whether to save it for the Italian nation.

Fratelli Alinari, established in 1852 by the brothers Leopoldo, Giuseppe and Romualdo Alinari, won renown for capturing post-Unification Italy's monuments, works of art, ruling classes and street life through the pioneering medium of photography.

The firm's collection today holds more than five million items from early daguerreotypes to modern digital images, including 220,000 glass-plate negatives, a library of more than 26,000 volumes and over 1,000 cameras. By comparison, the Victoria and Albert Museum in London, which began acquiring photographs in 1852, owns around 800,000 items.

Alinari is due to vacate its Florentine premises, Largo Alinari 15, by the end of June. The building has been sold to private owners and will be transformed into apartments, according to the Italian newspaper n Fatto Quotidiana. The fragile glass plates are being packed away in 15,000 reinforced boxes in anticipation of the collection's move to Art Defender, a private storage facility north of Florence. "It is the biggest photography transfer in the world," says Claudio de Polo, Alinari's president since 1984.

The works "are too important for a private company" and will only remain in storage "until their definitive transfer" to a public institution where "they can be seen, exhibited and appreciated", De Polo says. In 2008, the collection was

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--Alinari is operating in a very difficult market-· But while De Polo insists that Alinari's imagelicensing and publishing activities will continue, the 23 employees of the FratelliAlinari I.D.EA. publishing house and Fratelli Alinari Foundation for the History of Photography have voiced concerns about the risk to jobs in an open letter on the website of the Italian General Confederation of Labour.

On 14 May, the regional council of Tuscany voted to "guarantee employment security and safeguard the cultural heritage of the Fratelli Alinari archive", and said it welcomed" crisis talks" with union representatives. "The [Tuscan] president Enrico Rossi has clearly expressed his desire not to disperse this patrimony of enormous value for Tuscany and beyond," says the council's vice president and assessor for culture, Monica Bami. On 10 December 2018, the collection was placed under an export ban by the

The Alinari collection has more than five million items, inciudingAllegory ofPhotogrophy(around 189S)

'Portuguese Saatchi' in hot water over alleged €lbn debt

LISBON. The vast modern and contemporary art collection ofJosé Berardo, the ~ Madeira-born collector once dubbed the ~ "Portuguese Saatchi", is at stake after three Portuguese banks filed a lawsuit ~ to recover debts from the businessman totalling almost €lbn. ~ Berardo's 900-strong collection; comprising major works by Pablo ~ Picasso, Nan Goldin and Francis Bacon ~ is on show at the Belém Cultural Center :ii in Lisbon as part of a private-public 5

valued at €138m by the Italian photographer and photography historian Italo Zannier, he adds.

De Polo argues that the move .is necessary for the proper conservation of the photographs, which were exposed to "unsustainable" levels of carbon monoxide pollution because of the building's proximity to Via Nazionale, the road with "the heaviest traffic in Florence". The premises had also run out of space, he says, adding that the firm's holdings have "multiplied 25 times" during his 35-year tenure.

partnership with the Portuguese government. It is one of the most visited museums in Portugal.

In April, three banks filed a lawsuit to recover debts from the entrepreneur totalling €962m. The banks - Caixa Geral de Depósitos (CGD), Novo Banco and BCP - had previously tried to seize a portion of Berardo's collection after he allegedly defaulted on repayments.

The recent controversy prompted the Portuguese parliament to hold an inquiry

that involved summoning Berardo to an open question session. Inthe hearing on 10 May, the businessman insisted that he "has no debts" and stressed that his only capital asset is a garage in Funchal, Madeira. His comments enflamed the Portuguese Prime Minister António Costa who was "shocked" by the entrepreneur's attitude, according to local reports.

Berardo, who is the chairman of the holding company Metalgest, began taking out loans in the late 2000s; the

bank CGD lent the entrepreneur around €400m (€350m to the José Berardo Foundation and €50m to Metalgest).

The three banks began legal proceedings in 2017 in a bid to seize 75% of Berardo's collection, which was pledged as collateral. The art holdings are owned and managed by a company known as the Berardo Collection Association.

After the proceedings stalled, all parties tried to reach an agreement in January but the negotiations broke

CONTINUED ON PAGE 8 f)

down. The latest lawsuit filed in April seeking €962m names José Berardo and three associated companies: the José Berardo Foundation, Metalgest - Sociedade de Cestäo, Sgps, SA and Moagens Associadas, SA. It is unclear if the banks will pursue Berardo's collection under the new lawsuit.

Berardo's lawyer, André Gomes, declined to comment on the case. CGD also declined to comment. A spokesman for BCP says that the bank does not comment on matters involving customer relationships.

Gareth Harris

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THE ART NEWSPAPER Number 313, June 2019

4

~INTERNATIONALEDmON

THE ART NEWSPAPER The Art Newspaper is published by U. Allemandi & Co. Publishing Ltd, ISSN 0960-6556

Editorialstaff and contributors

Contents Number 313, June 2019

Editor Alison Cole Deputy editor Julia Michalska Specialist editors (London-based) Fairs and special projects editor Emily Sharpe Art Market editor Anna Brady Museums & Heritage editor Hannah McGivern Exhibitions editor José da Silva Literary editor Donald Lee Assistant digital editor Aimee Dawson Editorial assistant Kabir Jhala

Leaders

Specialist editors (New York-based) Editor, Americas Helen Stoilas Senior editor, Americas Nancy Kenney Deputy art market editor Margaret Carrigan Deputy museums editor Victoria Stapley-Brown Staff reporter Gabriella Angeleti

Paula Rego says abortion will happen, whatever the law says, Martin Bailey supports the conservators who uncovered a hidden Vermeer Cupid

Contributing editors Gareth Harris (Chief contributing editor), Louisa Buck (Diary, London), Jori Finkel (Los Angeles), Linda Jablonsky (New York), Ben Luke (Review), Anny Shaw (Art Market) Editorial production Production editor Louis Jebb Design James Ladbury, Karin Rees Picture editor (London) Katherine Hardy Picture researcher (US) Winnie Lee Sub-editing Peter Kernan, Andrew Mcllwraith, Donatella Montrone, Vivienne Riddoch, Ben Walsh COlTe5pOlldents(international) Senior journalist Cristina Ruiz Editors-at -large Georgina.Adam, Melanie Genis, Jane Morris. Correspondents Martin Bailey (UK), Erica Eisen (UK), Bendor Grosvenor (UK), Maev Kennedy (UK),lvan Macquisten (UI(); Elizabeth Fortescue (Australia), Tim Stone (Australia); Hadani Ditmars (Canada); Richard Unwin (Eastern Europe); Vincent Noce (France), Anna Sansom (France); Catherine Hickley (Germany); Darryl D'Monte (India); Lauren Gelfond Feldinger (Israel); Tim Cornwell (Middle East); Sophia Kishkovsky (Russia), George Nelson (Russia); Ayla Jean Yackley (Turkey); Brian Allen (US), David D'Arcy (US), Jonathan Griffin (US), Paul Jeromack (US), Hilarie M. Sheets (US), Jillian Steinhauer (US), Tess Thackara (US), Christian Viveros-Fauné (US), Menachem Wecker (US)

News

6-17

Could the "Nude Mona Lisa" be a Leonardo-designed prototype?

And would it fall victim to social media companies' strictures on nudity in art?

Museums & heritage

To advertise. please contact: UK, Europe and rest of world KathBoon T: +44 (0)203 586 8041 E: k.boon@theartnewspaper.com

Americas Kathleen Cullen T: +1212 343 0727 E: k.cullen@theartnewspaper.com

23-46

A "hush-hush" auction raises new questions in old dispute over Bames'slegacy, while the British Film Institute restores and releases a treasury of Victorian films

Publishing and commercial Publisher Inna Bazhenova Honorary chairman Anna Somers Cocks Chief executive Russell Toone Associate publisher, fairs and events media Stephanie Ollivier Head of subscriptions and membership James Greenwood Head of sales (UK) Kath Boon Head of sales (the Americas) Kathleen Cullen Advertising sales director Henrietta Bentall Marketing manager (the Americas) Steven Kaminski Business Co-ordinator/Sales Executive (the Americas) Sarah Vitale Design/production (commercial) Daniela Hathaway Digital development director Mikhail Mendelevitch System administrator Lucien Ntumba Management accountant Evgenia Spellman Accountant Matha Murali Administrator/ book-keeper (the Americas) Anthony Shao Team assistant Hannah Burt

5

49-69 Gerhard Richter's market explained, and the dealer Dominique Lévy on what she thinks of the art market's boys' club

Regulars

To subscribe: The Art Newspaper is published 11 times a year (not in August) UK: £74_80pa: US: $115pa: Europe €104: RoW El05 Telephone: +44(0) 13n 853 603 Website: subscrlbe.theartnewspaper.com Email: subscriptions@theartnewspaper.com Postal address: Timity House, 5culpins Lane, Wethersfield CM7 4AY, UK

Contact US: In the UK: The Art Newspaper, 17 Hanover Square, London WlS lBN Tel: +44 02035868054 Email: info@theartnewspaper.com In the US: 130 West 25th Street, Suite 9(. New York, NY 10001 Tel: +12123430727 Fax: +1212 96S 5367 Email: nyoffice@theartnewspaper.com Website: theartnewspaper.com

Distribution Intemational retail: Seymour Distribution, 2 East Poultry Avenue, London EC1A 9PT Tel: +44 (0)20 7429 4000 Email: info@seymour.co.uk Specialist retail: Central Books, 50 Freshwater Road, Chadwell Heath, London, RM81RX Tel: +44 (0)845 458 9925 The Art Newspaper was founded in 1990 by Umberto Allemandi and Anna Somers Cocks on the onginal concept of II Giomale deliArte, founded 1983. !he Art Newspaper (USPS 067SS) is published month~ 01 issues a year; not published In August) by U. NOmandi & co. Pub· lishing Ltd. 17 HanoverSquare, london WlS 1BN, and by UmbertoAilemandi & Co. Publishing USA Inc, The Art Newspaper, 130 West25th Streel Suite 9(, New York, NY1000l. Registration na: 5166640. © The Art Newspaper, 2019. Perodkas postage paid at NeoN York NY 10199 and at additional mailing offices. Postmaster: send US manges of addressto The Art tewsoeoe.

BOWest 25th Street Suite9C. New Ycrit NY 1000f. send UKand RoW changesof address to !heArt New;paper, 17 Ha"""" Square, London WlS 1BN. © U. Allernandi & Co Publishing Ltd, 2019. All rights reserved. No part of this newspaper (Nu 313) may be reprodeeed in whole or in part WIthout written consent of the copyright propretor Prices and valuations in The Art Nevvspaper are for the guidance of readers only and no legal res~bility whatsoever can be accepted for any such informatiorl so given. The Art Newspaper is not responsible for statements expressed in the signed articles and ntervews. While eJery care is taken by the publishers, the contents of advertisements are the responstäty of the individual advertisers.

Letters

Editor's letter ALISON COLE Last month we announced some important changes at The Art Newspaper.

Thank you again to you, our readers, for bearing with us as these bedded in, The launch of our new app has proved successful and very timely, enabling us to provide rolling daily coverage of the Venice Biennale for the international art world on the go - and for anyone else who could brave the scrum. We hope our short reviews and selections of the best national pavilions - and our romp through the worst on offer - will also prove useful to those who visit the Biermale in the summer and autumn months, The app can be downloaded at the iOS App Store and at bit.lyjtanappand includes a daily diet of the important art news as it breaks as well as our in-depth investigations, previews, reviews and analysis, Since we introduced the changes, we have seen a big leap in new subscriptions, which is a very encouraging start. From this month, we will be featuring a revamped online service - replica editions of our monthly newspapers and our Fair Dailies - just ahead of our focus on Art Basel in Switzerland. As usual, our team of reporters will be there on the ground to produce our special daily newspapers: now all of our readers will have digital access to our Fair Dailies as they appear, with Frieze London and Miami Basel on the slate for later in the year, There have been several enquiries about our new group subscriptions, These can be tailor-made to fit the needs of a team, for an organisation, or for your clients: For information, and to request a quote, readers should email:

groupsubscriptions@theartnewspaper.com.

17

The case for KAWS In The Frame Tilda Swinton brings Orlando into the gallery Obituary I,M. Pel. architect ofthe Louvre pyramid

18 70

Review

Coming soon:

"You don't know much about [film] characters, so you try to fill in the pieces"

Four daily newspapers, published live from Art Basel, 11-14June Available

as replica editions on thear1newspaper,com

Exhibitions: Cindy Sherman transforms herself into stars of the silver screen: Margaret carrigan celebrates the video punch of Ericka Beckman Features: Faith Ringgold hangs her quilt narratives atthe Serpentine Gallery: Gareth Harris on how the Stonewall riots have shaped LGBTQ+ culture Books: Daniel Godfrey focuses on new Michelangelo publications; Jeremy Musson on an all-encompassin~tudy of country house libraries calendar

25-30

Collisart.,

BACK ROOM FRONT ROOM

LLC Frederick D. Hill Daisy Hill Sanders

June - July

Specialists in American Art

exhibiting at MASTERPIECE London (A3!)

by appointment New York 212.396.0099 www.collisart.com

WASHBURN 177 Tenth Avenue, New York, NY, 10011 (212) 397-6780 I jwashburn@earthlink.net

I washburngallery.corn

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INTERNATIONAL EDITION

THE ART NEWSPAPER U. ALLEMAND! & CO. PUBLISHING LTD. EST. 1983, VOL. XXVIII, NUMBER 314, JULY/AUGUST 2019

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UK £10/US $17.99/RoW £10.50

UNBRIDLED PERSPECTIVE

GOLD STANDARD

REVENGE OF

Martin Parr champions a new breed of wedding photographer

The Valadiers, the firstfamily ofl8thcentury decoration, are celebrated

Demand for Louise Bourgeois and her arachnids continues to grow

NEWS PAGE9

REVIEW PAGES

ART MARKET PAGE36

SPIDER-WOMAN

Britain's loss is America's ga i n Export licence procedures to be reviewed following quiet exodus of Roman masterpiece to New York's Metropolitan Museum of Art

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NEW YORK. One of the greatest pieces of Roman sculpture in New York's Metropolitan Museum of Art was quietly exported from Britain last year without being offered to a UK museum. Astonishingly, neither Arts Council England, which administers the export system, nor its adviser at the British Museum suggested a licence should be deferred to allow a UK buyer to match the price. As a result of this incident, the council is now reviewing its procedures, a spokeswoman tells The Art Newspaper.

The sculpture is a wellhead (or puteal) dating from the second century AD, which depicts two legends from Greek mythology: the stories of Narcissus and the abduction of Hylas by the nymphs. It is one of only 70 Roman wellheads with relief decoration that survive worldwide.

A Met press statement says it is "one of the finest and

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So how was the wellhead allowed to leave the UK so easily? the only one whose iconography relates so directly to water". Max Hollein, the museum's director, describes the 'lm-high object as "the finest example of ancient Roman marble sculpture" to be acquired by the Met in more than 50 years.

The sculpted wellhead was excavated in Ostia, the port for Rome, in 1797, by the British artist Robert Fagan. It soon became celebrated as one of the most beautiful of

all ancient sculptures. A plaster cast was owned by the early 19th-century Danish sculptor Bertel Thorvaldsen, who greatly admired the work.

By 1857, the wellhead had been acquired by the eighth Earl ofWemyss and was displayed in the marble hall of Gosford House, his mansion outside Edinburgh.

Last year, the 13th Earl sold it to the Met for an undisclosed price. It went on display at the museum in May in a prominent position in its Greek and Roman galleries. At the piece's unveiling, Hollein referred to its "virtuosic carving" and "captivating" narrative.

So how was the wellhead allowed to leave the UK so easily? Arts Council England had sent the Met's export' licence application to its expert adviser, Peter Higgs, a senior British Museum curator. He was asked to give his views on whether the wellhead fell under the Waverley criteria, which determine whether a licence should be deferred to allow a UK buyer to match the price.

The three Waverley criteria are whether an object is: so closely connected with UK history and national life that its departure would be a misfortune; of outstanding aesthetic importance; and of outstanding significance . for the study of some particular branch of art, learning or history.

Higgs, a specialist in Hellenistic sculpture, judged that the wellhead failed to satisfy the criteria. A British Museum spokeswoman says that although the wellhead "is of fine quality, it was heavily restored in the 18th century so is CONTINUED ON PAGE 8

0

PAINTING HIMSELF AS THE UK'S NEXT PRIME MINISTER UK prime ministerial hopeful Boris Johnson claims to while away the evenings painting with his partner. And, given his other (sometimes very) close relationships with the art world over the years, will the arts win out, too, if he triumphs over his rival Jeremy Hunt? Then again, . there's Brexit... Read more about the candidates' cultural credentials on pages 5 and 8.

§

, A new Wonder of th~ World? Colossal sculpture to span Belgian motorway ~

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LAVAUX-SAINTE-ANNE.A colossal sculpture by the French artist Bemar Venet spanning a Belgian motorway is due to become the largest public work of art in Europe when it is unveiled in October.

The piece, made from two sweeping arcs, is being realised more than 35 years after it was embraced and then rejected by the French government.

The 25D-ton steel sculpture, called Arc Majeur, will be installed on either side of the E411 motorway in Lavaux-Sainte-Anne

Arc mojeurwas first commissioned in 1984

in Belgium between Namur and Luxembourg. The vast piece is in two parts: a large arc made up of three sections measuring 20m each and reaching 60m in height, will be installed on one side of the road, while on the other side will be a smaller arc, measuring 28m. Motorists will be under the impression that they are driving through the all-encompassing sculptural arc.

"There are higher monuments in the world, but no bigger sculpture made by

an artist," says a spokesman for Venet.

"The Statue afLiberty without its pedestal is smaller and the Carcovada [the statue of Jesus Christ in Rio de Janeiro] is half the size."

The €2.5m work is largely funded by the John Cockerill Foundation, the philanthropic arm of the mechanical engineering conglomerate based in Seraing, Belgium. The arcs for the sculpture were made in workshops owned by the John Cockerill company in Seraing.

Arc Majeur was initially commissioned -by the former French culture minister Jack Lang in ~984 under the late President François Mitterrand, and due to be installed on the A6 motorway near the town of Auxerre but a local politician blocked the project. In the mid-2000s, another attempt to install the work was thwarted after officials from the French highway company which oversees the transport network requested that the work be painted red; Venet subsequently refused. "After more than three decades, this time it's for real," the artist says.

Gareth HOllis

THE ART NEWSPAPER Number 314, July/August 2019

4

THE ART NEWSPAPER The Art Newspaper is published by U. Allemandi & Co Publishing Ltd, ISSN 0960-6556

Editorial staff and contributors

Contents Number 314, July/August 2019

Editor Alison Cole Deputy editor Julia Michalska Specialist editors (London-based) Fairs and special projects editor Emily Sharpe Art Market editor Anna Brady Museums & Heritage editor Hannah McGivern Exhibitions editor José da Silva Literary editor Donald Lee Assistant digital editor Aimee Dawson Editorial assistant Kabir Jhala

Leaders

Specialist editors (New York-based) Editor, Americas Helen Stoilas Senior editor, Americas Nancy Kenney Deputy art market editor Margaret Carrigan Deputy museums editor Victoria Stapley-Brown Staff reporter Gabriella Angeleti

Xaviera Simmons says the radical burden at the Whitney Biennial should be shared. Ed Vaizey assesses the arts credentials of Boris Johnson and Jeremy Hunt

Contributing editors Gareth Harris (Chief contributing editor). Louisa Buck (Diary, London), Jori Finkel (Los Angeles), Linda Jablonsky (New York), Ben Luke (Review), Anny Shaw (Art Market) Editorial production Production editor Louis Jebb Design James Ladbury, Karin Rees Picture editor (London) KatbenneHardy Picture researcher (US) Amanda Perez Sub-editing Peter Kernan, Andrew Mcllwraith, Donatella Montrone, Vivienne Riddoch, Ben Walsh Correspondents (international) Senior journalist Cristina Ruiz Editors-at -large Georgina Adam, Melanie Gerlis, Jane Morris. Correspondents Martin Bailey (UK), Erica Eisen (UI(), Bendor Grosvenor (UK), Maev I(ennedy (UK), Ivan Macquisten (UK); Elizabeth Fortescue (Australia), Tim Stone (Australia); Hadani Ditmars (Canada); Richard Unwin (Eastern Europe); Vincent Noce (France), Anna Sansom (France); Catherine Hickley (Germany); Darryl D'Monte (India); Lauren Gelfond Feldinger (Israel); Tim Cornwell (Middle East); Sophia Kishkovsky (Russia), George Nelson (Russia); Ayla Jean Yackley (Turkey); Brian Allen (US), David D'Arcy (US), Jonathan Griffin (US), Paul Jeromack (US), Hilarie M. Sheets (US), Jillian Steinhauer (US), Tess Thackara (US), Christian Viveros-Fauné (US), Menachem Wecker (US)

News

To advertise. please contact: UK, Europe and rest of world KathBoon T: +44 (0)203 586 8041 E: k.boon@theartnewspaper.com

Americas Kathleen Cullen T: +1212 343 0727 E: k.cullen@theartnewspaper.com

Editor's letter ALISON COLE

6-17

Our July/August issue reflects on the key summer stories, In the UK, the prospect of a new prime minister looms large, and while we know almost too much about the candidates' approach to Brexit= with the exception of any practical details as to how it might be delivered - what does a Johnson or Hunt premiership mean for the arts?

On the international front, Sotheby's surprise $3,7bn sale to the French-Israeli tech billionaire Patrick Drahi in June was a bombshell and continues to cause aftershocks: after 31 years on the US stock exchange, the auction house will now join Christie's as a private entity owned by a French billionaire. Controversy continues to dog the art world, whether through artist activism or fierce lobbying over the ethical position adopted by organisations, trustees and directors - perhaps precipitating the recent surprise resignation ofYana Peel from London's Serpentine Gallery - or through artists and curators challenging us to reflect the true gender' and racial diversity of 21st-century society, in the face of-for instance - a Trumpian version of American identity.

On a much lighter note, we have a nod to the wedding season, with the news that wedding photography has finally entered the art world canon.

Over the holiday period, we will continue to provide digital coverage of all our breaking news, as well as our take on the latest happenings in the art world, For those on the move, these can be readily accessed via The Art Newspaper's app. And, for those with time on their hands, our replica editions will allow you to catch up on any newspapers that you have missed. We wish you all a lovely summer.

Martin Parr gives a wedding photographer his own big day.

And wildlife photographers raise awareness of China's illegal trade in animals

Museums & heritage

20-29

Culture initiatives seek to bridge political divisions in East Jerusalem. and a trio of mysterious Elizabethan tapestry maps are restored at the Bodleian Library in Oxford

Publishing and commercial Publisher Inna Bazhenova Honorary chairman Anna Somers Cocks Chief executive Russell Toone Associate publisher, fairs and events media Stephanie Ollivier Head of subscriptions and membership James Greenwood Head of sales (UK) Kath Boon Head of sales (the Americas) Kathleen Cullen Advertising sales director Henrietta Bentall Marketing manager (the Americas) Steven Kaminski Business Co-ordinator/sales Executive (the Americas) Sarah Vitale DeSign/production (commercial) Daniela Hathaway Digital development director Mikhail Mendelevitch System administrator Lucien Ntumba Management accountant Evgenia Spellman Accountant Matha Murali Administrator/ book-keeper (the Americas) Anthony Shao Team assistant Hannah Burt

5

31-38 In addition to buying up artists' estates. blue-chip dealers are investing in destination real estate. And how Sotheby's going private will shape the market

Regulars

To subscribe: The Art Newspaper is published 11 times a year (not in August) UK: £74.80pa: US: $I1Spa:Europe €104: RoW £105 Telephone: +44 (0) 1371853 603 Website: subscribe.theartnewspaper.com Email: subscriptions@theartnewspaper.com Postal address: Trinity House, Sculpins Lane, Wethersfield CM7 4AY, UK

Contact us: In the UK: The Art Newspaper. 17 Hanover Square. London W1S 1BN Tel: +44 0203 586 8054 Email: info@theartnewspaper.com In the US: l30 West 25th Streel. Suite 9(, New York. NY 10001 Tel: +1212 343 0727 Fax: +1212 965 5367 Email: nyoffice@theartnewspaper.com Website: theartnewspaper.com

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The Art Newspaper (USPS 06755) is published monthly{11 issuese year; not published in August) by U. Allemandi &(0. Publishing ltd, 17 HanoverSquare, London WIS IBN, and by Umberto Allemandi & Co. Publishing USA Inc. The Art Newspaper,BO West 25th Street, Suite 9(, New York. NY 10001 Registration no; 5166640, © The Art Newspaper. 2019. Periodicals postage paid at New Vorl< NY 10199 and at additional mailing offices, Postmaster: send US changes of address to The Art Newspaper, 130 West 25th Street, Suite9C. New York, NY100Q1: send UKand RoW changes of address to The Art Newspaper, 17 Hanover Square, London WIS lBN. © u. Allemandi &(0 Publishingltd. 2019. All rights reserved. Nopart of this newspaper (No. 314) may bereproduced in whole or in part without written consent of the copyright proprietor, Prices and valuations in The Art Newspaper are for the guidance of readers only and no legal re5jXlf1SÎbility whatsoever can be accepted for any such information so given. The Art Newspaper is not responsible for statements expressed in the signed articles and interviews. While every care is taken by the publishers, thecontents of advertisements are the resp:msibilityof the individual advertisers

Letters

17

Tracey Emin is wrong on motherhood In The Frame A touch of magicfrom Freddie Mercury's sister Obituary Gloria Vanderbilt. fashion entrepreneur and artist

Review "[What's] most interesting about art for me is the potential for transformation"

18 39

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New subscriber benefit Replica editions of our monthly newspapers and our fair dailies from January 2013 to date Visittheartnewspaper,com

Features: The Turner Prize nominee Helen Cam mock on discovering and reimaginingthe stories of neglected female Italian Baroque composers Exhibitions: New light on the seaside art of Winslow Homer and a retrospective for the many-sided Finnish painter HeleneSchjerfbeck Books: Simon SwyMen Jervis on the tabletop extravaganzas of Luigi Valadier Roger Dunn on how British Arts and Crafts influenced US design culture calendar

17·22

BACK ROOM, FRONT ROOM June 6 -August 2,2019

Coflisart,

Baziotes, William

Ohlson, Doug

Bolorowsky, liya

Parker, Ray

Goldberg, Michael

Pollock, Jackson

Kadish, Reuben

Shaw, Charles Green

De Kooning, Elaine

Smith, Leon Polk

Marca-Relli, Conrad

Stout, Myron

Mason, Alice Trumbull

Youngerman, Jack

Nozkowski, Thomas

Xceron, Jean

Frederick D. Hill Daisy Hill Sanders

Specialists in American Art by appointment New York 212.396.°°99

WASHBURN

www.collisart.com

By Appointment Only, August 5 - 30 177 Tenth Avenue, New York, NY, 10011 (212) 397-6780 I jwashburnrgiearthlink.net

LLC

I washburngallery.com

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107 Eetbaar Nederland is in beweging zegt Michiel Korthals. Daar is hij van onder de

De cover

De coverfoto is dit keer van Kyonne Leyser, een naam die we al Jaren tegenkomen en die klinkt als een klok.Wat een fotograafl En dan springt opeen.s haar foto Wijngaard m Tarragona in het oog, en die mogen we dan gelukkig gebruiken voor de cover. Zomerser kunnen we het niet bedenken.

indruk.Hij schreef onlangs het fascinerende boek Goed Eten, boordevol eetfilosofie.en hij trok met lezingen door het land. Overalontmoette hij wezenlijk geĂŻnteresseerde mensen NIeuwsgierige consumenten naast vernieuwende bestuurders. Als Je het zo leest. gaat het allemaal nog wel goed komen

We hebben een nieuwe groentegoeroe: Norbert Mergen Metz. Hij is wars van opklopperij en gesnoef, wandelt met groot gemak door de wereld van vergeten groente en belandt onverwachtbij die van de komkommer. Was die vroeger niet veel lekkerder? Heerlijk om zo maar van te knagen?

'De komkommer in de superrnarkt heeft geen zaden, want zaden vinden we vies. Daarom worden ze - als ze aanvankelijk alleen maar vrouwelijke bloemen hebben en er dus geen bevruchting is - behandeld met hormonen, zodat er snel geoogst kan worden.'

14 Door het korte verhaal Hoe ik opgroeide als ijskind ben Je terug op de Oudegracht in Utrecht, ter hoogte van de Jansbrug. Het IS zaterdagmiddag in de jaren neĂ&#x2021;jentlg. . .

Hartstikkemooi weer, Je hebt .zm m een ijsje. Grote kans dat je bIJ IJs~al~~.

Venezia geholpen werd door zo n em bijdehandje. Ja, dat was op zeker

Het eitand ronden, kamperen, stomende en woest vulkamsch qebied . geiserskOt was wat Marloes Kemmmg e~~~~a~~~z~ek aan IJsland ver:achtt~,~~~t voor hun speciale keuken ga Je aar me . .

Die arme IJslanders met hun rottende h~l, ramstestikels en schapenkopp~n. Dat pa / de wel even anders uit, want er blijkteen ver IJn Geothermische cuisine in IJsland te zIJ~;;n ook hier gepassioneerde Jonge mensenh traditie vermengenmet durf en exotlsc e experimenten.

En verder: > 6 Berichten> 10 Duivelse precisie - Will Jansen >

Oy -

32 Bouchonwijnen

laten zien - Will

om lekkerte lebberen -

42 Florence by night -

Tieme Hermans>

Jansen>

yang in Vietnam -

Jac Rijks >

62 Dichter bij het eten -

Eerten >

78 Geef je over, dan gaan we je bespelen -

Brabander>

Norbert Mergen>

Jurriaan Geldermans

middeleeuwen -

Will Jansen>

Raymond van der Laan>

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44 Ik wil vooral de verbanden

56 De B van balsamico, bloemen en bottarga -

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Irene de Bruijne >

48 Bier gemaakt van druiven? -

Charlotte Kleyn >

24 Eten zonder strapatsen

Susette

101 Culinaire reis door de mediterraanse

122 Meer vet, meer smaak - Will

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124 Bouillon Leest

128 Wie werkten er mee

Carlina De Lorenzo.

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Huys ten Donck

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Het Buiten verschijnt driemaal per jaar

COLOFON Uitgever Het Buiten is een uitgave van Stichting Het Buiten, Klooster O.L.V. Ter Eem, Daam Fockemalaan 22, 3818 KG Amersfoort www.het-buiten.nl.secretariaat@het-buiten.nl Redactie Jephta DulIaart (hoofdredacteur), Helene Blaak, Nina Wijsbek Contact met de redactie kan via hoofdredacteur@het-bUiten.nl Met medewerking van Fred Vogelzang

HET CANTONSPARK Vermaard stadsgroen in Baarn

Redactie Adviesraad Em. prof. dr. Yme Kuiper (voorzitter), Drs. Anne Mieke Backer, Drs. Epko Bult, Paul Mosterd, Dr. Jet Pijzel-Dommisse, Mr. Sander Schimmelpenninck

Ondernemer en filantroop August Janssen stelde aan het begin van de twintigste eeuween van de rijkste botanische collecties van Nederland samen

Advertentieverkoop Didier van Det (BCM Media), adverteren@het-buiten.nl

Op reis door de Bataafse Republiek in 1799 met het echtpaar Scheltema Een eerste kennismaking met het echtpaar dat in zes zomerse weken meer dan veertig kastelen en buitenplaatsen aandeed in een van de rumoerigste jaren uit de Franse Tijd

Ontwerp Studio Berry Slok, Amsterdam Druk BCM Media BV, Eindhoven

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Copyright/Disclaimer Niets uit deze uitgave mag worden verveelvoudigd en/of openbaar gemaakt worden op welke wijze dan ook zonder voorafgaande schriftelijke toestemming van de uitgever.

Het Buiten is met de grootst mogelijke zorgvuldigheid samengesteld. Toch is het mogelijk dat informatie in dit blad onvolledig of onjuist is. De uitgever aanvaardt geen enkele aansprakelijkheid voor eventueel geleden schade door onjuistheden in dit blad.

Verder in deze editie 6

IN DE ACTUALITEIT Vier vragen aan Susan Lammers, directeur Rijksdienst voor het Cultureel Erfgoed

ISSN 2665-9743 BEELDVERANTWOORDING Foto omslag Fotografe Anouk van Tetering en bewoonster Catharina Groeninx van Zoelen in de gang van de bel-etage in Het Huys ten Donck. Foto Iris Broersma . .

Steunafbeeldingen p. 4 Doornburg: Foto OSSlp van DUivenbode p. 5 Wintertuin Cantonspark: Foto Baarnsche Courant; Echtpaar Scheltema: Tekening Christiaan Andnessen,. Vertrek uit Amsterdam van gezin Scheltema (1807),Stadsarchief Amsterdam; Buitenplaatsen in de Zijpe: Kaart A. Metlu~, Kaart van de landerijen gelegen achter de Schorelse DIJk, Noordhollands Archief p. 6 portret Susan Lammers: Jarno Pors, RCE p. 14 hek Doornburgh: wikimedia commons/ SontY567 p. 18 portret Cathelijne Broers: Jephta Duliaart p. 51 Kasteeltuin Amerongen: Foto Helene Blaak; Bon . voyage: Baron en barones bij de Pyramide van Cheops In Egypte, 1909. Foto collectie Kasteel de Haar p. 52 Groninger. borgenpad: Foto Albert Buist en Ria Kroesen; Henk Helmantel.

Art Revisited, Tolbert NL p. 53 Twickel: Foto Helene Blaak; Westlandse buitenplaatsen: Honselersdijk, Ron Nieuwenhuizen; Doolhof: Foto Stichting Toeristische Activiteiten.

Ruurlo (STAR) p. 56 De Sarijnenhove aan de Zuidbuurt In Vlaardingen. Foto Ron Nieuwenhuizen p. 58 portret Jort Kelder: Tijn Visser

De vergeten buitenplaatsen van de Zijpe DOORN BURGH Buitenplaats van de 21ste eeuw

I

Interview met Maya Meijer-Bergmans en Ben VerfĂźrden Gangmakers van de herontwikkeling HET BUITEN

Colofon

In de zeventiende eeuw was droogmakerij de Zijpe een geliefde plek voor de buitens van Amsterdamse regentenfamilies. Enkele prominente figuren binnen de Republiek der Nederlanden brachten hier hun zomers door en bekleedden functies in het polderbestuur

4

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COLUMN van Cathelijne Broers Dwalen door verhalen

32

BEELD Ingewikkeld erfgoed: Huis De Paauw

34

Huis te Jaarsveld - in gesprek met de nieuwe eigenaar over de op handen zijnde restauratie van tuin en park

40

FOTOREPORTAGE Een nieuwe kijk op het eeuwenoude interieur van Het Huys ten Donck

51

UIT

54

BOEKEN

58

COLUMN van Jort Kelder Een nieuwe generatie adellijken

HET BUITEN

5

How to Build a Story Palace Aimée Taylor and Polly Rodgers

Criminals, Cops and Capers Esther Graham and Rosie Goodwin

Dancing at the Museum Ruth Clarke

Rethinking Self-Led Handling Resources for Schools Eve Armstrong and Lucy Neville

Object Based Learning as an Aspirational Educational Pathway Sharyn Volk and Annelies Van de Ven

Learning for Peace Shannen Lang

Whitworth Mineeraft Steven Roper

Creating an ESOL Resource Pack Amy Todd

Past Stories, Future Voices Kate Kulka and Louise Conaghan

Evaluating the SEND Schools Programme at Historic Royal Palaces Emma Morioka and Deborah Hogan Going Against the Grain Laura Armitage

Action Replay Sophie Farmer

C;~I!'

• heritage learning

GEM champions excellence in heritage learning ISSN 1759-6378

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Vol.232018

,

GEM Case Studies 24

Editor Holly Bee GEM 54 Balmoral Gillingham, ME? 4PG

Road Kent

Copy date: 1 July 2019 Publication: 1 August 2019

office@gem.org.uk

Case Studies is published twice a year by GEM but all opinions expressed remain those of the named authors.

Designed by Steers McGillan Eves 01225465546 Cover: Fitzwilliam Museum

ŠGEM 2019

A large print version is available on request. Please contact the GEM office.

n ex Vol.232018

, 3 How to Build a Story Palace AimĂŠe Taylor and Polly Rodgers 6

Dancing at the Museum Ruth Clarke

8 Evaluating the SEND Schools Programme at Historic Royal Palaces Emma Morioka and Deborah Hogan 10 Going Against the Grain Laura ~rmitage 12 Criminals, Cops and Capers Esther Graham and Rosie Goodwin 14 Rethinking Self-Led Handling Resources for Schools Eve Armstrong and Lucy Neville

16 Learning for Peace Shannen Lang 18 Creating an ESOL Resource Pack

Amy Todd 20 Action Replay Sophie Farmer 22 Object Based Learning as an Aspirational Educational Pathway Sharyn Volk and Annelies Van de Ven 24 Whitworth Mineeraft Steven Roper 26 Past Stories, Future Voices Kate Kulka and Louise Conaghan

Table des matières Table of contents

Introduction Amy Tector Introduction Amy Teetor

3

Einführung Amy Teetor

5

Introducción Amy Teetor

7

I1peAHCAoBHe 3MU Teemop

9

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11

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13

Auto-classification ill an international organization: report from a feasibility study Gesa Buttner

15

Les barrières à l'accès aux documents administratifs au Ministère de l'économie,

de la planification et de l'aménagement du Territoire du Cameroun Jacques Albert Monty

27

The disconnect between archival descriptive technique and records management taxonomies G. Mark Walsh

35

Archivists as amanuenses (scribes) of Indigenous knowledge Nicola Laurent

43

Las nuevas realidades de la reprografia en archivos: de los metadatos a la gestión deprocesos Francisco Javier Crespo Munoz

53

L'archivistique au Maroc: naissance, évolution et situation actuelle Siham Alaoui

63

eko

iv

Table des matières /Table of contents Quelles archives pour la société de demain ? Le débat autour de la collecte des archives en France depuis les années 2000 Marie Ranquet

73

The physical barriers to accessing the documentary heritage at the National Archives of Zimbabwe Forget Chaierera and Antonio Rodrigues

85

El arte de robar Arte: Por una cartografia de los robos en Brasil y sus conexiones Dra. Beatriz Kushnir

93

Archivos digitales, gobierno abierto y transparencia Alicia Barnard

109

The uses of Wi kid ata for galleries, libraries, archives and museums and its place in the digital humanities Stacey Cook

117

Requirements for archives and records management jobs in international organizations with focus on United Nations - A job analysis of the vacancy announcements in 2016 Maik Schmerbauch

125

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Abstracts Résumés Zusammenfassungen Resumenes Pe3IDMe

163 169

,

175 181 187

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197 199

Authors' contact details / Contacts des auteurs Editorial Board / Comité de rédaction

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Cultuurkrant

NL

VOOR PROFESSIONALS DIE WERKEN VOOR CULTUUR OP SCHOOL OF IN DE VRIJE TIJD

Interview • Anthony Heidweiller

~We hebben geen idee van andere tradities' f·

,

t,

Hij realiseerde zich dat hij, als hij niet wilde verzuren, aan het werk moest. En dus richtte Anthony Heidweiller zich na zijn zangoplèiding op jeugdopera. Met name op het vmbo. "Laten wij als kunstenaars het voortouw nemen bij het ontwikkelen van kunstbeleid en -onderwijs dat is afgestemd op een kosmopolitische samenleving."

Ik realiseerde me dat ik, als ik niet wilde verzuren, aan het werk moest. Toen heb ik mijn bedrijf opgericht. Er was toen al van alles voor jeugd - jeugdtheater, jeugddans enzovoort - maar geen jeugdopera."

Door Francine van der Wiel

Misschien is het dat hij vers uit de sportschool komt. Waarschijnlijker is het energieke, strijdlustige verhaal van operazanger en -regisseur Anthony Heidweiller (1961) te wijten aan zijn vaste overtuiging dat het nu de tijd is om door te-pakken met het ontwikkelen van een serieus beleid voor kunsteducatie. cultuurparticipatie en diversiteit, het hele spectrum.

"Alleen door nu te investeren kunnen we kunst stevig verankeren in een kosmopolitische maatschappij", betoogt hij.

"Anders zien we over dertig jaar nog steeds hetzelfde aanbod in de musea en de theaters, met hetzelfde, overwegend witte publiek"

ANTHONY HEIDWEILLER

Anthony Heidweiller:

'Vmbo-docenten zijn de helden van het diversiteitsvraagstuk'

2 Column: Sanne Scholten

taalonderwijs

12 Nieuws

FOTO JELMER DE HAAS

Er is dus werk aan de winkel.

Waar komt uw hartstocht voor kunsteducatie en -participatie vandaan?

"Muziek was voor mij therapie. Ik stotterde vroeger, door muziek vond ik een manier om te communiceren. Daarom wilde ik al snel na mijn opleiding de maatschappij in. Sowieso vond ik het conservatorium een vreselijke tijd. Het wóórd alleen al. Innovatoriilm zou het moeten zijn! Het is behoudend, een ons-kent-onswereldje, waarin je moet voldoen aan bestaande normen. Maar je moet een discipline koppelen aan

talent en authenticiteit, niet aan virtuoslteit," Is dat inzicht geLeideLijk gegroeid?

"Voor mij was de kennismaking met Peter Sellars, de befaamde Amerikaanse operaregisseur; een duidelijke omslag. Hij studeerde Oedipus Rex in bij De Nationale Opera, waar ik toen zong. 'Dear artists, de wereld verhongert en dáárom gaan wij nu Oedipus Rex doen', zei hij. Voor het eerst hoorde ik iemand het woord urgentie gebruiken in verband met opera. Dat was life changing.

Opera "",ordt vaak gezie_n als elitair en moeilijk. Is het dan wel geschikt _aLs educatiediscipline?

Stëlligs''Zlngen is sowieso het béste wat er is. Het helpt je je stem, je ziel te vinden. De stem heeft kleuren, frasering, dynamiek Ofje nou kapper, automonteur, advocaat of zanger wordt; mensen vinden een goede stem prettig. Met dat verhaal kom ik de les.binnen: 'We gaan zingen, niet omdat je operazanger moet worden, maar omdat elke stem en iedereen belangrijk is: In 2011 hebben we de Vocal Statements ontwikkeld. De leerlingen schrijven dan een toespraak rond een thema - dit jaar is het vriendschap - die ze voordragen terwijl de anderen zingen. Die ondersteuning leert ze rustiger te worden, te luisteren naar hun eigen woorden, het ritme."

Een beLangrijke doeLgroep is het ----vmbo. Waarom juist die groep?

"Het vinden van een plek in de West-Europese samenleving is dé problematiek waar kinderen op het vmbo mee worden geconfronteerd. Zij moeten de ruimte en de instrumenten krijgen om hun identiteit te vinden. Dat gun ik hen zó. Het klinkt heel

Lees verder op pagina 3

6 Cock Oieleman over jeugdtheater 7 Interview: Emiel Copini 8 Integratie muziek- en 13 Rubriek: Geld 14 Cijfers: Cultuurparticipatie in Europa 16 Nieuwe publicaties, agenda

DIT IS EEN UITGAVE VAN HET LANDELIJK KENNISINSTITUUT CULTUUREDUCATIE EN AMATEURKUNST • LKCA.NL • INFOlaLKCA.NL • POSTBUS 452, 3500 AL UTRECHT

J

J

Friendship Volume 31, Issue 1

Canlenis Introduction Friendship

Tessa Diphoorn and Eva van Roekei Friend or Foe? A Reflection on the Ethno-Politics of Friendship and Ethnographic Writing in Anthropological Practice Fiona Murphy Being Care-ful Among Friends The Ambiguities of Friendship in Exile Emilie L. Mortensen Living with Ambivalent Friendships Insecurity and (Dis)trust among Youth in Uganda Claire Elisabeth Dungey Hot Topics, Gringo Parties, and the Dependent Independence of Friendship in the Field Daniela Lazoroska Photo Essay: The Way We Were From Summer to Winter, Winter to Spring, Time Will Change us and We Will Change Over Time Coco Duivenvoorde 'I Only Relax with my Friend and my Wife' Between Friends and Family in Swakopmund, Namibia Jack Boulton 'In Friendship One Does Not Count Such Things' Friendship and Money in War-Torn Yemen Marina de Regt Friends and Favours Friendship as Care at the r More- Than-Neoliberal' University Carolina Frossard and Thijs Jeursen Book Review: Tourism and Informal Encounters in Cuba Alexander Chaplin In Conversation: Race-ism â&#x20AC;˘ Sharing an Imperfect Struggle Jordi Halfman

+ HBO-bibliotheek Meer dan een aanbieder van informatiebronnen Podcasts Gevecht om de luisteraar Erfgoedcollecties verbinden?

Gebruik het Termennetwerk Authenticatie Privacyaspecten van single sign-on

2019105

e oudst bekende Nederlandse krant vierde vorig jaar haar vierhonderdste verjaardag. Om dit exemplaar te kunnen bewonderen, moet u naar de Koninklijke Bibliotheek - in Stockholm. In de Gouden Eeuw stond de Republiek bekend als een toonbeeld van persvrijheid. Nederlandse krantenwaren populair, zeker in de landen rond de Oostzee. En niet alleen kranten,ook boeken.Alex Anselmgeest doet in dit nummer verslag van zijn expeditie door Zwedenop zoek naar oude Nederlandse boeken.

Zijn queeste bracht hem onder meer in landgoederen en kastelen waar de tijd heeft stilgestaan.

Goed leesmateriaal om u alvast in vakantiestemmingte brengen.

Wellicht bent u nog niet aan vakantie toe omdat uw vak uw liefhebberij is.

Lees dan vooral de interviews met vijf hogeschoolbibliothecarissen waarin zij nieuwe taken belichten; van een lab waarin studenten en docenten met nieuwe tools kunnen experimenteren tot de 'greene bibliotheek' en research data management. Of duik in de filosofie achter het Termennetwerk van het Netwerk Digitaal erfgoed. En werp zeker een blik op het fenomeen podcast dat aan een opmars bezig is. AI was het maar om er alvast een paar te downloaden voor in het vliegtuig, de trein, op het balkon of uw uitgestorven werkplek. <

COLOFON

INHOUD

lP is samen met InformatieProfessional.nl het onafhankelijke platform voor de informatiespecialist van vandaag en morgen. De lezers werken in de informatie-, bibliotheek-, archief- en erfgoedwereld.

Zomer in Zweden

ISSN: 1385-5328 lP is een uitgave (23ste jaargang) van Uitgeverij lP Charlotte van Pallandtlaan 18 2772 TR Voorburg tel. 06-44 09 19 85 www.informatieprofessional.nl redactieadres lp, Charlotte van Pallandtlaan 2772 TR Voorburg, tel. 06-44 09 19 85, e-mail redactie@informatieprofessional.nl.

18,

redactie Maarten Brinkerink, Wilbert Helmus, Frank Huysmans, Dafne Jansen, Vincent M.A. Janssen, Evelien de Jonge, Stefan Jongen, Leen Liefsoens, Ronald de Nijs (eindredacteur), Matthijs van Otegern, Mirjam Raaphorst, Vincent Robijn, Eric Sieverts, Sjors de Valk en Daniël de Vette. vormgeving Eric van den Berg, egfvdberg@upcmail.nl, Tom van Staveren, graphicislancêupcmall.nl. medewerkers aan dit nummer Alex Alsemgeest, Levien den Boer, Rob Feenstra, Marian Hellema, Raymond Snijders en Jos Westerbeke

m

Afgelopen jaar reisde boekhistoricus Alex Alsemgeest zes maanden door Zweden om het Nederlands erfgoed in kaart te brengen voor de nationale bibliografie. Verslag van een roadtrip.

~

Gevecht om de podcastluisteraar

Privacyaspecten van single sign-on

Alex Alsemgeest

Toegang tot digitale bronnen gebeurt nu vooral via IP-adresherkenning, maar een nieuwe authenticatiemethode is in opkomst: single sign-on, oftewel authenticatie naar de persoon.

Het privacyaspect van de gebruiker verdient hierbij alle aandacht.

~

Termennetwerk Om online collecties van erfgoedinstellingen gemakkelijk doorzoekbaarte maken, is het noodzakelijk dat erfgoedinstellingen gemeenschappelijke 'termen' gebruiken. Het Termennetwerk is hierbij een hulpmiddel.

HBO-bibliotheken

vernieuwen

Grote spelers als Spotify en de BBC vechten om de aandacht van de podcastluisteraar. Ook de bibliotheek- en erfgoedwereld hebben het medium ontdekt.

Een bibliotheek in een hbo-instelling is allang niet meer alleen verantwoordelijk voor de informatiebronnen. Nieuwe taken als onderzoeksondersteuningen een lab voor 21ste-eeuwse vaardigheden komen op haar pad.

Stefan Jongen

Ronald de Nijs

Jos Westerbeke

Marian Hellema

Nieuwe EU-auteursrechtrichtlijn doorgelicht De Europese Raad stemde onlangs in met de nieuwe auteursrechtrichtlijn. Controversiële regels rondom uploadfilters en rechten voor nieuwsuitgevers worden daardoor formeel Europese wetgeving. Maar deze richtlijn bevat nog meer nieuwe regels en uitzonderingen.

abonnementen Voor abonnementsprijzen en andere informatie zie I nformatieProfessiona I, n I, advertentieverkoop Voor informatie over adverteren in blad of op de site: Rajin Roopram, e-mail rajin.roopram@kbenp,nl, tel. 06-15201724.

Het verlenen van toestemming tot publicatie in dit tijdschrift strekt zich tevens uit tot het in enigerlei vorm elektronisch beschikbaar stellen.

Raymond Snijders

RUBRIEKEN ~

Foto van de maand Applebieb

lP I vakblad voor informatieprofessionals I OS/2019

m

m

Walter Swagemakers

Advertentiebibliotheek

Q&A

lP Lingo

m

m

Wisselcolumn

KB Onderzoekskroniek

Spoilerstress

Biebtobiep vernieuwd

m

m

m

Lifehacking

Werk

Column

Chrome schiet onderzoekers te hulp

Katrijn de Kort

Boekwaarde

lP I vakblad voor informatieprofessionals

I OS/2019

~

1 3

Editorial Neil Herrington Teaching race and the British Empire: taking the West India Regiments into the classroom Melissa Bennett

10 Every Day is a School Day: Museum Learning at The Langley Academy Mathew Britten

,

16 Make yourself uncomfortable Tony Butler

21 Should I stay or should I go?

Museums and heritage staff development and student learning from the Erasmus+ international mobility programme Steven Murray

29 Not learning but becoming: a revolution in museum education Rhian Tritton

34 Quality assurance of excellence in heritage learning: a project commissioned for the Hertfordshire, Bedfordshire and Luton Education Forum Cathy Silmon

40 Including audiences and embracing talent: sharing learning from the Cultural Inclusion and Creative Bridges conferences, 2018 Holly Bee

50 Book review Lauren Mihaljek, Alexandra Fitzsimmons

â&#x20AC;¢

A PUBLICATION

EXPANDING OUR COMMUNITY OF PRACTICE: PROFESSIONAL DEVELOPMENT IN MUSEUMS

OF'l'HE

IIMUSEUM EDUCATION ROUNDTABLE KNOWLEDGE IN ACTION

no

EXPANDING OUR COMMUNITY OF PRACTICE: PROFESSIONAL DEVELOPMENT IN MUSEUMS

Guest Editor: Elisabeth Nevins EDITORIAL

â&#x20AC;¢

123

Thoughts on the History of Professional Development Programs in Museums Cynthia Robinson

FROM THE GUEST EDITOR 131

Expanding Our Community of Practice: Professional Development in Museums Elisabeth Nevins

Training Ourselves

-r

13S

Redefining Professional Learning for Museum Education Lynn Uyen Tran, Preeti Gupta and David Bader

147

Embracing Individualism and Encouraging Personal Style in Gallery Teaching Amy Briggs Kemeza

ISS

Creating and Sustaining a Culture of Reflective Practice: Professional Development by and for Museum-Based Maker Educators Rebecca Grabman, Talia Stol, Annie McNamara and Lisa Brahms

168

Invigorating the Muses in the Art Museum with the Performing Arts Susan Martis and Christine Fleming

Training Others 178

Structuring Teacher Independence to Transform Student Learning in the Museum Rebecca Krucoff

187

Connecting Theory and Practice: Using Place-Based Learning in Teacher Professional Development Maia Sheppard, Karen Kortecamp. Sarah Jencks, Jake Flack and Alexandria Wood

201

Providing Teachers With What They Need: Re-thinking Historic Site-based Professional Development After Small-scale Assessment Krystal Kornegay Rose, Sarah Cahill and Christine Baron

210

The Museum Education Department as Training Ground for Scholar-Educators Maeve Montalvo

BOOKREVIEW 218

SlowLooking: TheArt and Practiceof Learning Through Observation Vivian Chun-Wei Lin A PUBLICATION

II

OF THE

MUSEUM

EDUCATION ROUNDTABLE KNOWLEDGE

IN ACTION T"

Inhalt 4 6 8

Nachrichten Literatur Namen

33 33 34

aus der Museumswelt

Autorlnnen Impressum Wichtige Ausstellungen

Museen und Sprache 9

"ÖI auf Leinwand", abgekürzt: "ÖI/Lwd." ist wohl die häufigste Technik bei Gemälden. In einem groBen Museum wurde doch tatsächlich von den dortigen Fachwissenschaftlernbeschlossen, diese Standardformulierung genereli in "ÖI/Leinen" umzubenennen. Argumente waren .Lelchte Sprache" und Abkehr von Abkürzungen, die das Publikum ohnehin nicht verstehe. Leinen kennen wir doch als sommerlichen Bekleidungsstoff. Aber kann das interessierte Publikum .Lwd." wirklich nicht auflösen? MüBtendann nicht noch gängigere Abkürzungen abgeschafft werden, wie etwa Jh. oder Jt., S., H/B/T, sign. und dat., v. Chr. usw. bzw. etc.? Das Argument ist, näher besehen, etwas dünn. Sind es nicht gerade Museen, die sich weltweit gegenseitig mit Akronymen überbieten? In anderen Bereichen sind sie sowieso selbstverständlich, wie etwa UV, Reha und EKG und längst in der Umgangssprache angekommen. Etablierte Abkürzungen machen vieles leichter, eben kürzer. Wirklich problematisch ist allerdings, daB sich .Leinwand" nicht durch "Leinen" austauschen läBt, weil damit nicht das Flachstextil, jondern nur die Leinwandbindung gemeint sein kann. Leinwand gibt es bekanntlich als Hanfleinwand (die groBen Tintorettos und Veronesessind auf Hanfleinwände gemalt), Baumwoll-Leinwände (für kleinere Formate), Jute-Leinwände (für GroBgemälde) oder Gaze-Leinwände,die russische Ikonenmaler zum Überziehenvon Holztafeln verwendeten. In diesem Fall führt somit der Wunsch nach "Leichter Sprache" und angeblich nötiger Auflösung von Abkürzungen zur Falschinformation der Besucher und Katalogieser, etwa, wenn die Objektbeschriftung ein groBes, auf billige Jute gemaltes Ölbild zu einem teureren "ÖI auf Leinen" macht.

Wer .Leichte Sprache" will, muB die durch Sprache abgebildeten Sachverhalte schon genau kennen und darauf achten, daB durch die Verkürzung nicht die wissenschaftliche Differenzierung verlorengeht. Und wer nur auf .Leichte Sprache" setzt, wird bald die sprachmächtigeren Besucher gegen sich haben. Vielleicht sollte man auch mal eine Lanze für die Kultur des Schachtelsatzesbrechen?

"Museum und Sprache" haben es an sich, in der Kommunikation gern allwissend daherzukommen. In vielerlei Hinsicht, bei vielen Objekten, gibt es aber Unsicherheiten, die eigentlich erwünschte Klarheit der Aussage ist gar nicht immer möglich. Existiert dazu bereits ein passender, vielleicht sogar sehr spannender Diskurs in der Wissenschaft oder Öffentlichkeit, sollten Unsicherheiten und Diskurse zu den Exponaten in die Museumskommunikation einflieBen. Gerade durch diese Offenlegung werden Glaubwürdigkeit und Vertrauen gewonnen, dem Vorwurf der Deutungshoheit entgegengewirkt und die Chance genutzt, mit dem Wissen von Vielen momentan Unentscheidbareszu entschlüsseln.

Adelheid Straten

Das MUSEUMAKTUELL-Interview Die Sprachen des Museums (1) Elf Fragen an Dr. Helge Rieder zum Spracheinsatz am Freilichtmuseum Roscheider Hof

12

Michael Stanic Wage es, Museen neu zu denken Karl Lagerfelds Ideen auf den Kopf zu stellen, kann dabei helfen

20

Jörg Engster Geschichte in Geschichten erzählen Eine mobile, inklusive und multimediale Führung durch die Nürnberger Lochgefängnisse

23

Friedrich

Tietjen/Team

Die "Sammlung Artelier" erschlieBt neue Zielgruppen für das Universalmuseum Joanneum 26

Christian

auch

Müller-Straten

Die Sprachen des Museums (2)

31

Englische Fachwörter leichter verstehen und kommunizieren Jetzt gibt es wieder einen Gratistest von KONSERVATIVe

Zum Titelbild Die CULTURA SUISSE ist die Schweizer Fachmesse für Museen, Denkmalpflege sowie für Konservierung und Restaurierung: ein vom Schweizer Markt aus getragener, länderübergreifender Austausch, Networking und Wissenstransfer; die Plattform für Unternehmen, ihre Leistung und Produkte in einem effektiven Markt und Rahmen zu präsentieren; ein interessantes Fachprogramm im begleitenden Kongress. Die CULTURASUISSE wird 2020 zum zweiten Mal ausgetragen wird und zukünftig im 2-Jahres Turnus stattfinden. pp@cultura-suisse.ch https://www.cultura-suisse.ch event-ex ag Amtsstrasse 3, 8610 Zürich-Uster

MUSEUM

des UMJ

AKTUELL

256

I

2019

Anzeige

MUSEUM MANAGEMENT

Volume 34

Numbers 1-3

February-June 2019

I

CURATORSHIP CONTENTS Issue 1 Editorial

James M. Bradburne Articles Post-multicultural challenges for cultural heritage managers and museums in the age of migrations

Fabio Carbone

2

Institutional culture and the work of human rights in Canadian museums

Jennifer Claire Robinson

24

Hiring collection managers: opportunities for collection managers and their institutions and allies

Rebecca Fifield

40

A digital museum's contribution to diversity - a user study

Anne-Britt Gran, Nina Lager Vestberg, Peter Booth and Anne Ogundipe

•

58

Film heritage and neoliberalism

Luca Antoniazzi

79

Art, touch and meaning making: an analysis of multisensory interpretation in the museum

Dimitra Christidou and Palmyre Pierroux Book Review

96 116

Issue 2 Editorial James M. Bradburne

121

The refurbishment of the Royal Palace of Riofrio (Segovia): criteria for enhancing a Royal Site

Maria Barrig6n

122

A clear view: crowdsourcing conservation needs in historic houses using visitor-led photo surveys

C. Oil/on, S. Golfomitsou, C. Storey and K. Lithgow

144

Participation in heritage crowdsourcing

Chiara Bonacchi, Andrew Bevan, Adi Keinan-Schoonbaert,Daniel Pett and Jennifer Wexler

166

Recognising and valuing studënt engagement in science museums

Jennifer DeWitt, Effrosyni Nomikou and Spela Godec

183

The status of natural history museums' utilisation of inclusive education practices in the United States of America

M. Aleksander Wysocki

201

The cornerstones of museum performance. A cross-national analysis

Maria Francisca Blasco López, Nuria Recuero Virto and Sonia San-Martin

211

Book Review

234

Issue 3 Editorial James M. Bradburne

239

'You're my kwertengerl': transforming models of care for central Australian aboriginal museum collections

Jason Gibson

240

Cuban heritage collection: archiving the intangible

Jorge Luis Morej6n

257

The role of collaboration in innovation at cultural and creative organisations. The case of the museum

Chuan Li and Sendy Ghirardi

273

Curatorial agencies and the national museum dilemma at He Xiangning art museum in China

Selina emu-tun Ho

290

Affect and trauma in museums: an interpretive framework for understanding the real thing and its political potential

Elena Stylianou

306

An analysis of negative reviews in top art museums' Facebaak sites

David S. Waller and Helen J. Waller

323

Book Review

339

Routledge Taylor & Francis Group

ww.museumsassociation.org

I June

2019

Contents

Taking root Migration is part of our national identity, but is this story told in museums?

Features Kicking the habitat 22 The world's leading scientists are warning that urgent action is needed to address biodiversity loss. MilesRowland finds out how museums are tackling the challenge head on

Reviews

Regulars

Pitzhanger Manor and Gallery, London 44

News in brief

4

News analysis

6

Stephen Feeke explores an impressive renovation ofJohn Soane's calling card MK Gallery, Milton Keynes

48

Comment and letters

16

Museum of ...

39

Trendswatch

41

Books and digital

56

In practice: Plastics collections

60

Geraldine Kendall Adams discovers a playful Migration stories

28

Patrick Kelly on how museums are acknowledging migration's huge impact on the UK Making waves Eleanor Millstalks to Dominic Tweddle, the director-general of the National Museum of the Royal Navy

32

Bauhaus Museum, Weimar

36

and quirky gallery that captures the town's character wonderfully well Conscience Matters, National War Museum, Edinburgh A thought-provoking exhibition gives Beccy Angus a better understanding of one ofthe darkest periods in human history

52

The List Best in Show

66

Rebecca Swirsky on this new museum devoted to the vastly influential Museums Journal, 42 Clerkenwell Close, London EC1ROAZ journal@museumsassociation.org Editorial 020 7566 7820 Advertising 020 7566 7830 Subscriptions 020 7566 7800 Fax 020 7566 7836 www.museumsassociation.org

•

1920S

design school

Maincover image: African burnet moths at the Oxford University Museum of Natural History This page: the 'rish Immigration Museumin Dublin

Editor Simon Stephens Deputy editor Eleanor Mills Events and content programmer Alex Stevens Staff writer and researcher Geraldine Kendall Adams Website and digital officer Yosola OIorunshola Sub-editor Darren Kirkby Listings Louise Gray Account manager Abigail Lasisi Recruitment advertising Emma Mitchinson

Design Esterson Associates Printed by Walstead UK Subscription rates £110 UK; £170 overseas Contributors Beccy Angus, Mark Barrett, Danny Birchall, Alistair Brown, Ian Collins, Russell Dornan, Stephen Feeke, Anthony Gale, John Holt, Alistair Hudson, Bethan Kapur, Patrick Kelly, Catherine Kennedy, Anita Quye, Miles Rowland, Jane Sfllis. Louise Skidmore, Rebecca Swirsky

Museums Journal is published by the Museums Association (reg charity no 313024) and is editorially independent. Nothing should be taken to be the view of the MA unless stated.

Museums Journal strives to avoid inaccuracies: if readers have a query or complaint they should contact the editor.

For editorial values and submission guidelines see: mus.ms/MJGuidelines ISSN 0-027-416-X © Museums Association 2019 All rights reserved Vol119 No 6

June 20191 Museurnsjournallä

Zwolle

Een klasse apart De koppen van barones Van Pallandt Londen

Lee Krasner Uit de schaduw van Jackson Pollock Tilburg

Bauhausvrouwen Revolutie vanachter het weefgetouw + de tentoonstellingsagenda

36 pagina's gratis bijlage

Beeld omslag: Marta Pan, 'Sculpture flottante', 1960-61.

Kröller-Müller Museum (foto: Jan Fritzi Alamy Stock Photo, 2016)

~NHOUDmuseumtijdschrift.nl nr. 4 / mei-juni 2019

40 MODERNE

20

KUNST

Bram Hammacher Het brein achter de beroemde beeldencollectie van het Kröller-Müller door Kees Keijer MODERNE

26

KUNST

Lee Krasner Lang was ze vooral 'de vrouw van'. Tot .Jockson Pollock stierf door Stefan Kuiper ARCHITECTUUR

11-18

MUSEUM - KORT

36

Na tweeënhalf jaar gaat het museum weer open voor publiek door Bernard Huisman

30 Museumtijdschrifttips: de mooiste tentoonstellingen in binnen- en buitenland

DESIGN

40 71- 77

6: HEDENDAAGSE KUNST

Bauhausvrouwen Over de invloed van hun radicale weefsels op Nederlands textiel door Jet van der Sluis

MUSEUM & MEER hetatelier Lieve Rutte de gevestigde Rob Birza de nieuwkomer Thomas Swinkels boeken & meer

De nieuwe Lakenhal

OUDE KUNST

50

Italiaanse flair Eenwording van Italië door de ogen van de kunstschilders door Adrienne Quarles van Ufford MODERNE KUNST

56 Charlotte van Pallandt 32 49

De maakster van hét beeld van Wilhelmina stond haar mannetje door Sophia Zürcher

COLUMNS

OekdeJong De vrouw die nee zegt Maria Barnas Laure Prouvost

MODERNE

60

KUNST

Natalja Gontsjarova De rebelse Russin die de Moskouse kunstwereld op zijn kop zette door Koen Kleijn

45

/ museumtijdschrift

Museumtijdschrift arrangement Lezing + rondleiding Bauhausvrouwen in Textielmuseum Tilburg +

OUDE KUNST

66

Spaanse Gouden Eeuw De overtreffende

trap van 'net echt'

door Darien Tamis

museumtijdschrift /

INHOUD

ZOMER

Mannelijke vliegende herten meten zo'n

Aangeboden:

Scm

4.000 hectare voor natuurindusieve landbouw

Hun indrukwekkende kaken zijn niet geschikt om mee te bijten: dat doen de vrouwtjes. p. 20

Staatsbosbeheer ondersteunt agrariërs zoals Maurits Tepper, die boert mét de natuur. p. 38

1 jaar

Nederland bestaat voor kunnen zaden

VaD

het waterdrieblad ronddobberen Bloemen zijn bijzaak voor de meeste waterplanten.

Maar wel een prachtige bijzaak. p. 4

11°/0 uitbos Feiten en fabels over bomenkap. p. 42

Eropuit Waterpret, flirtende reeën, nachtvlinders spotten ... in de zomer is er veel te beleven! p. 28

Meedoen Midden in het bos kamperen en meteen de boswachter een handje helpen? Het kan op Landgoedkamp Buitenzorg. p. 32

Helpen

Op het Kootwijkerzand kan de temperatuur oplopen tot meer dan

Nattigheid "N

a de droge zomer van 2018 ben ik blij met elke regenbui. Bij het waterschap hebben we het vaak over het weer. Of het nu vriest dat het kraakt, regent dat het giet of dat er al weken geen wolkje aan de lucht is, het weer heeft altijd grote invloed op het waterbeheer. De droge zomer was voor het waterschap een spannende periode. We vroegen ons bijvoorbeeld af of de watervoorraad van het Ijsselmeer voldoende zou zijn. En weten niet wat de gevolgen zijn van die droogte voor natuur en landbouw. Ondertussen verdeelden we samen met andere waterbeheerders het beschikbare water zo goed mogelijk over Nederland. Vanuit de IJssel,en het IJsselmeer brachten we het water via aanvoerroutes in ons waterschapgebied. Veengebieden, kwetsbare natuur en dijken kregen bij een tekort als eerste water. We hebben 30 miljoen kuub ingelaten in het veengebied Noordwest Overijssel met het Natura 2000-gebied Wieden-Weerribben. Dat was voldoende, maar het is nog onbekend wat de droogte heeft gedaan met de maaivelddaling. Nu we 2019 begonnen met een neerslagtekort in plaats van het gebruikelijke overschot, voelt de gemiddelde waterschapper al nattigheid.

50~ Celcius

Zwannie Visser,

toe. Manager Patricia van Lieshout hoopt op donaties om er weer een goedgekeurd speeltoestel van te maken. p.33

In deze grote zandverstuiving waan je je soms in de woestijn. p. 12

Voor niets gaat de zon op Gratis of betaald genieten van de natuur?

p.10

11 kilometer zomerse verkoeling Verfrissende kanotocht door de Brabantse Biesbosch

Over lanen en lijnen 5x gezichtsbepalende

lanensteiseis

Krabben als het kriebelt Hoe komen dieren van hun parasieten af?

p.

18

p.24

p.36

Wordt 2019 weer een droogjaar?"

Adviseur Hydrologie Waterschap Drents Overijsselse Delta

De zandspoorbaan in de Schoorise Duinen is aan vervanging

Natuurlijke airco Een koele stad is een groene stad

p.59

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Coverbeeld Alberto Ghizzi Panizza/Biosphoto

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Artdirection en vormgeving Yke Bartels, Jitske Wed man

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Lithografie Willem Grafische Bewerkingen, Halle

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