ART&TOWN

Museums are thinking about the future . They think together with all scenarios and all thought patterns . Museums are thinking, looking for solutions, discussing and researching.   Museums have many responsibilities, so it is somewhat impossible to fit into a definition. Especially, it is very thought-provoking to define and frame the museums of the future : For example, will museums physically host visitors or will they be needed? What percent of museum professionals will work as human and what percent as robots? Will every museum be able to prepare themselves for virtual reality environments? Will each museum be able to present new technologies to its visitors? Will they be able to align their mission and vision, even before their collection? What do we understand by sustainable museum architecture and a sustainable museum? Do museum laboratories actually transform themselves while preparing humanity for the future? While climate activists continue their actions in museums, will th

+ "I WANT TO BECOME A MUSEOLOGIST!" - "THEN, BE ONE OF THEM!" When we examined the academic programs for Museology , we realized that they were directed to some programs that are not related to   Museology or that do not fully cover the competencies of the discipline. What does this mean? In the lists of master programs, those who want to be museologists; we have seen that it is equipped with programs such as curatorial studies, art gallery management, art consultancy, art history, archeology, sociology, etc. which are among the stakeholders of museology but do not cover museology as the only discipline. Museology is one of the academic programs that includes many disciplines. A  museologist must be versatile. It's not enough just to be an expert in curatorial scenarios or just know art history. A museologist can be an architect, an engineer, an art historian, sometimes an art consultant, sometimes a corporate communicator, sometimes an exhibition specialis

Museum audience-centered approach or corporate identity branding oriented? Logo branding, identities, museums sustainability, visual language, universalization, audiences and internationalization processes...  One focus for all. One logo.  Would you take a huge risk on the unknown one?  Who do you work with? Museums, their logos, their designers and their stories of creation... How hard to find most of them. Why is it so hard? Why do museums avoid explaining the creation process of their corporate identities as they transition to digitalization? While seeing almost all the breakthroughs in social media on their websites, why is the logo design process, the chief factor of their branding, not mentioned? Well, at least we talked about it.  There is a website like this: Museum World Ranking   where you can vote for museums and see their ranking according to various categories, you can also check some current news. We preferred the list according to the "ranking" category.  Her

Thomas Hoving, Eleanor Lambert, Diana Vreeland... you recognize them?  It all glamorous started when Thomas Hoving was the Met's director. Well... The appointment of Hoving as the director of the Metropolitan Museum of Art is shown as the most obvious example of the transition to the audience-centered museum.  Hoving's view of the museum as a place of mass entertainment made The Met one of the most arrogant and commercial museums of its time during his tenure between 1967 and 1977. He has often stated that instead of thinking about the exhibitions he has chosen, he focuses on the sensation and interest they will bring as a result. The important thing for him was to be flamboyant, to be remarkable and to create a bombshell. That's what happened. It was quite important to him that the display of works of art was a show, as he wanted to exhibit them in galleries with bright fabrics, bright colors (turquoises, reds, purples...) and giant banners with gold inscriptions also wa