This article is part of our latest Design special report, about homes for multiple generations and new definitions of family.
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The word “mingei,” meaning “folk craft,” was coined in 1925 by the Japanese philosopher and art historian Soetsu Yanagi to celebrate the beauty of everyday objects made by anonymous craftspeople. Yanagi was a founder and the first director of the Japan Folk Crafts Museum, which opened in Tokyo in 1936. Forty-two years later, his philosophy inspired the creation of the Mingei International Museum in San Diego, which contains objects from 140 countries and many eras (as well as works by known artists and designers) and defines mingei as “art of the people.” It reopened on Sept. 3 after a three-year renovation.

Located since 1996 in a Spanish Colonial building in Balboa Park that was constructed for the 1915-17 Panama-California Exposition, the revitalized museum recommits itself to the idea of community — of shared space, culture and creativity. “We are making an effort to offer radical hospitality — every visitor counts equally, so they discover that art is for them or about them,” said its executive director, Rob Sidner. As redesigned by the architect Jennifer Luce of Luce et Studio in La Jolla, the interior spaces are now more open and welcoming. Materials and craft are celebrated in every component of the renovation, including commissions from renowned female designers and artists.

Noting a lack of natural flow between the museum and the park, Ms. Luce offered new pathways and attractions. “We wanted to show that Mingei connects to everyone’s cultural backgrounds by bringing them in to explore and become curious,” she said. The admission-free first floor, or commons level, has a public gallery, stepped “amphitheater” seating, a cafe, a coffee bar, a shop and an education center; Ms. Luce calls it “the living room of the park.”

Trenton, NJ—The Discoverer Blog recently published its list of the coolest museum in each state in the country. The Old Barracks Museum is pleased to be named the Coolest Museum in New Jersey, named alongside the Getty Museum in California, the Metropolitan Museum of Art in New York, and the Philadelphia Museum of Art in Pennsylvania. This prestigious honor is wonderful news that the Old Barracks Museum is proud to share! The entire list can be seen here: https://blog.thediscoverer.com/the-coolest-museum-in-each-state/

Built in 1758 to house British soldiers sent to protect the colonial borders in the French and Indian War, the Trenton barracks were once the largest building in Trenton. During the American Revolution, the building stood witness to the Battle of Trenton, where General George Washington defeated Colonel Rall and his Hessian troops. After this battle, Washington ordered the building be used as a military hospital specializing in smallpox inoculations – the first of its kind in North America! Visitors take a guided tour of the portion of the barracks that has been restored to interpret this 18th century history, and are invited to view galleries on NJ’s involvement in the French and Indian War, the Battle of Trenton, and the Trenton women who saved the Barracks from being forgotten in the early 20th century.

Special events occur throughout the year. Highlights are the Battle of Trenton reenactments held every December during Patriots Week (www.patriotsweek.com), Colonial Summer Day Camp, Tavern Night Fundraiser in September, the Beulah Oliphant Award in March, “America, We Served!”: Three Centuries of African American Soldiers in February, frequent lectures and author discussions, and more.

General visitation is $10 for adults, $8 for students and seniors. Active duty military personnel are free of charge, and the Old Barracks Museum is a proud Blue Star Museum. Special events have various prices, visit www.barracks.org for more information.

ABOUT THE OLD BARRACKS MUSEUM: The Old Barracks Museum preserves the history of a building that was built as a French and Indian War military barracks and used as a Revolutionary War hospital. It also stood witness to Washington’s crucial victory at the Battle of Trenton. At the beginning of the 20th century, members of the Daughters of the American Revolution and the Colonial Dames organized The Old Barracks Association and spearheaded a campaign to purchase the building. The building has been used as a museum for over a century, and has frequently been used as a symbol for the state of New Jersey. The Old Barracks Museum welcomes visitors from across the state as well as around the world.

Contact:
Lauren Ronaghan/Old Barracks Museum
101 Barracks Street
Trenton, NJ  08608
609 396-1776
lronaghan@barracks.org

The wait is over. This past weekend, after more than seven years of planning and three years of construction, Dartmouth celebrated the dedication of the expanded Hood Museum of Art—and opened its doors to the public.
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“Today the Hood once again commits to sharing its art generously,” John Stomberg, the Virginia Rice Kelsey 1961s Director of the Hood, told a standing-room only crowd of 350 friends and contributors to the $50 million project at the formal dedication ceremony in Alumni Hall on Friday afternoon.

​The Baltimore Museum of Art has received a $3.5 million donation to support the position of chief curator, one of the largest endowment gifts the museum has seen since its founding in 1914.

The role will be renamed after the donors, the Baltimore-based philanthropists Eddie C. and C. Sylvia Brown. It is held by Asma Naeem, a specialist in American art and contemporary Islamic art who was appointed last August.
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“We see this endowment for chief curator as being a very significant statement, especially naming a person of color,” Mr. Brown, the founder and chief executive of Brown Capital Management, said. “That really appealed to us.”

Making good on its mission to “create transformative experiences through art, for the benefit of all the people forever,” CMA has opened its digital archives to the public through a partnership with Creative Commons Zero (CC0), a global nonprofit dedicated to the free distribution of otherwise copyrighted images.

30,000 artwork images — nearly half of the museum’s entire collection — are now available for digital users to remix, research, merchandise, print, and explore. Better yet, released metadata for more than 61,000 works will allow scholars to more easily investigate conduct research into provenance and object histories. 

Earlier this month, presiding over his first press conference as the newly installed director of the Metropolitan Museum of Art, Max Hollein stood at the spotlit entrance to tenebrous galleries and spoke about the artist being surveyed within. “Delacroix is a defining figure in European art in the 19th century,” he said. “He is one of the great colorists in art history. But his work is always about human nature in all its complexities.”
Such a trajectory of thinking—to begin with the wide-angle historical view, take in the surface allure, and then drill down into the more philosophical implications—is a hallmark of the Austrian-born museum prodigy’s approach to art, and one of the reasons why his arrival at the institution widely viewed as the greatest encyclopedic museum in the world has been cause for such excitement among those in the field.

Last Friday, when the Metropolitan Museum of Art announced that it was planning to vacate the so-called Met Breuer three years early, handing the Brutalist building over the the Frick in 2020, it was clear that a decision was finally taking shape around one of the most vexing quandaries facing the Met: How can the venerable encyclopedic institution, with works stretching back to the earliest recorded human creations, meaningfully embrace contemporary art without giving off the vibe of a graying relative desperately trying to act cool?
The answer to that question comes in the shape of the museum’s 49-years-young new director, Max Hollein, whose vision for the Met’s embrace of the recent and the now ranges far beyond headline-grabbing shows of evening-sale artists, or even the more sensitive hybrid exhibitions that have been piloted at the Met Breuer since the experiment began in 2016. “Holistic” is a word for his path forward for the museum, and it’s one Hollein uses frequently.

As a child growing up in Alabama in the 1950s and ‘60s, Jack Whitten was not permitted inside his segregated local museum in Birmingham. Now, the late artist is the subject of a major exhibition at the Met Breuer in New York. Its title, aptly, is “Odyssey: Jack Whitten Sculpture 1963–2017” (on view through December 2).

As recently as 1992, a proposed tour of the Whitney Museum of American Art’s Jean-Michel Basquiat retrospective was canceled when no other museums came forward to take it. Last spring, one of Basquiat’s paintings sold for $110.5 million, becoming the most expensive work by an American artist ever sold at auction.


 

​For many native San Diegans, class field trips to museums such as the Museum of Man or the San Diego History Center in Balboa Park often meant listening to heroic tales about Spanish explorers and friars who established the state’s first mission. The brutal treatment of indigenous peoples, however, was hardly touched upon.
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In recent years, however, a number of museums around the country, as well as in Balboa Park, have embarked upon journeys to “decolonize” both their collections and their messaging. Locally, this means changing not only how the story of San Diego’s past is told, but also who tells it. The San Diego Museum of Man in particular has been at the fore. Last year, it established the position of Director of Decolonizing Initiatives, which is currently held by Jaclyn Roessel. These actions and hires aim to identify colonizing practices in each of its departments and create a strategic plan for museum-wide decolonization. 

​The first Friday of each month is a special day for the arts in Phoenix.  Art galleries remain open late into the night, and city streets give way to artisans, food trucks, and performers.  Thousands of people – young and old – gather to enjoy, support, and appreciate the arts.  As we do most First Fridays, my daughter and I are on the Artlink Trolley, which connects the arts districts of Phoenix. We arrive at the Heard Museum and it has never been more evident that the mission we set out to achieve nearly three years ago with the museum – to engage new audiences and celebrate contemporary Native American artwork – has been accomplished.  The entry court is packed with visitors who’ve come to see the new exhibit Dear Listener by Nicholas Galanin, an artist the New York Times called a “standout,” while the music of experimental hip-hop group Shabazz Palaces echoes from inside.  The vibrant, celebratory spirit of First Friday and the Heard Museum are in full harmony.