 Visiting a museum in 2021 is almost as challenging as it was in 2020. Last year museums around the world were closed for at a minimum of six months while attendance at the top 100 museums dropped a whopping of 77%! Some museums are beginning to reopen after being closed for a full year, while others had opened yet are closed again as I write this due to third waves of COVID. Fortunately for the art-starved some museums have fast-tracked their online offerings and provide dynamic ways to engage and experience art from home. I share here my favorite interactive digital works, programs and ongoing live events offered on Zoom, Instagram Live and YouTube. Interactive Online ExhibitionsYayoi Kusauma at 92 years old is one of the world’s most famous contemporary artists. This year several exhibitions of her work are featured in museums around the globe. Some offer experiences from home including Gropius Bau's exhibition Yayoi Kusauma: A Bouquet of Love I Saw in The Universe. Gropius Bau’s guide delivers an experience that allows you to explore Kusauma’s works online. It explores Kusauma’s works from her lengthy artistic career and reveals how her art goes well beyond the iconic polka dots. There is depth to Kusauma’s art that address social and cultural themes. Another excellent interactive where you can experience the art and learn about the artist is Alice Neel’s New York exhibition put online by The Met. The exhibition celebrates Alice Neel, a painter of real life in New York City. I love one of her quotes, “One of the reasons I painted was to catch life as it goes by, right hot off the griddle”. My favorites are her works of pregnant women; she paints what male artists typically do not. Galleries of Alice Neel’s works are here. There’s much to explore. Take your time.  Live Virtual EventsA handful of museums offer live events online via social platforms and/or on Zoom. One of my favorites is Instagram Live—events are typically live in the museum and led by a curator or guide through a special exhibition. The downside is it is tough to know when these events are scheduled. Another venue is Facebook live events. I suggest following your favorite museum on Facebook to be notified of events offered. Below are a handful of events you can plan for. Newark Museum from Home: The Newark Museum offers a robust roster of online events; most are free. Signing up for their newsletter will give you the scoop on upcoming events. Events include cooking classes based on artworks, art and happy hour, virtual tours and more. I love their tagline: ‘Virtual experiences for all at #NMOAathome. The Frick Collection in New York City offers weekly cocktail with a curator, a mini series exploring a work of art via YouTube Live. They also offer free Zoom sessions titled “Continue the Conversation” that explore a work of art with guided conversation. Canadian McMichael Collection. One of my favorite Canadian museums is the McMichael Collection. They have an excellent collection to explore online, as well as offer free guided virtual tours around specific exhibitions. Currently they are offering A Like Vision: The Group of Seven at 100. It is excellent.  More to Explore...There are other alternatives including recorded art talks by Harvard University. They offer a series of brief featuring in-depth views of art objects--Art Talks at the Harvard Museum. Another is Heni Talks, one of my favorite sites for excellent quality videos on various topics in art history.
Cheers and enjoy! PS Check out my platform Art History For Real which offers unique Mini Courses on art history through a modern lens!
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Really! I just launched Art History For Real, an online learning platform that delivers unconventional learning experiences about art history with online self-paced, courses available in two formats, Mini Courses and Deep Dives. My goal is to bring the inspirational world of art to learners with courses that teach art differently than traditional online or in-person art history classes or museum programs. Art History For Real courses share art and its stories through a modern lens. My goal is to make art relevant, fun, instructive and inspirational. And most importantly, that it connects to learners’ life experiences.
Why I Started Art History For Real Debbie Morrison, Art History For Real, Founder
As a museum-goer, educator and docent I saw how people wanted to experience art and culture in museums but couldn’t because of barriers inherent to museum experiences that included and were not limited to: unwelcoming environments and elitist attitudes. With COVID there are additional barriers that make visiting museums onerous and, in some cases, impossible! Visitors getting to museums is not the only challenge,cultural institutions are struggling with making themselves appear relevant and in-tune with the real world.
I decided to create an alternative for people to engage with art. I put my twenty-plus years’ experience in curriculum design, Master’s Degree in education, background in art history and passion for sharing art with others to work by creating approachable learning experiences that inspire new ways of thinking about art, other cultures and life.
Learning experiences at Art History For Real (AHFR) are unique with courses that explore art through unconventional lenses, like Fashionistas That Rocked Art History and 7 Kickass Women in Art History. Courses and conversations are designed to involve learners with interactive content and reflection activities that prompt learners to consider and apply insights to their own work and life experiences. Passive online learning about art history is out, engaged learning is in!
Unique Learning Experiences
Mini Courses
Mini Courses are short, two-to-three-hour courses that present art history through a modern lens with courses such as 7 Kickass Women in Art History and A Short History of Wine Drinking Culture through 7 Famous Paintings. Content is divided into ten-minute learning chunks or segments and include: images of artworks, interactive digital collages and images, exploration videos, stories and more—all designed to entertain, motivate and inspire. Reflection activities are designed to involve learners by posing questions to prompt thought and reflection, and to challenge learners to consider different perspectives. Other activities encourage leaners to apply their ideas and opinions through writing or creating. Learners are also invited to participate in course discussion forums to share opinions. Learning, as all educators know, is not achieved through passive consumption of content, but requires learners do something with the content through a mode of application. That is the goal with Mini Courses, to foster inspiration, ideas and new perspectives about culture, art and current events with engaged learning. 
Deep Dives
Deep Dives are in-depth courses that focus on more traditional topics of art history, and dig deep into key topics of art and culture from real-world perspectives. Courses are self-directed, fully online and divided into eight modules with over twenty hours of learning content delivered in condensed segments. Learners’ journeys can be as deep or broad as they choose. Content includes videos, journal articles, textbook readings, images, interactive digital collages, and more. Module assignments include reflection activities, writing assignments, artworks analysis and creating visual projects. Assignments are designed to promote thought, build knowledge and develop skills of interpretation and cultural analysis. In keeping with the philosophy of self-directed learning, leaners complete self-assessment using self-grading tools. Who is Art History For Real For?
Art History For Real is for people who are curious, who want to engage and be active in exploring art and its history, consider different cultures and viewpoints and be part of a learning community. I invite you to explore our courses at Art History For Real to learn more, and to sign up for a free preview of any course. Join us and be part of a learning community! You can also find us on Instagram and Facebook!
 Museums will be forever changed after 2020. A tsunami named COVID-19 crashed into the museum world and turned it upside down. The director of the Louvre said the Coronavirus has created the worst crisis for its institution in peacetime. Museums worldwide are still experiencing the effects. Over 28% of museum staff have been furloughed, museums worldwide have serious budget shortfalls, and according to the American Alliance of Museums one third of US museums are at risk of permanently closing. As I write this, thirty percent of museums worldwide are closed due to Coronavirus, and those that have opened are seeing drastic reductions in visitors. One worrisome example is the Van Gogh Museum in Amsterdam. Visitor traffic is down significantly. Typical number of visitors per day was in the 6,500 range, now it’s closer to 400 according to the museum director. Some museums, like those in Los Angeles-area where I live have been closed since March and won’t reopen until 2021. Museum attendance is not expected to recover to pre-COVID numbers until at least 2023, if not later. Compounding museums’ woes is the devastating tragedy of George Floyd’s death. It has been a catalyst for museum workers and the public to demand that racial inequities be addressed within museums’ staff and board of directors, as well as within its collections. Change is needed. For way too long museums have been irrelevant and unapproachable to the average person, There is an intellectual elitism associated with museums that they have perpetuated by their policies and practices. But there is a sliver lining. With any seismic upheaval like this one there is opportunity. Museums have been forced to re-evaluate how they serve the public given they are fundamentally, public-serving institutions. Even museums not funded by government dollars are obliged to serve the public given the tax policies and breaks for donors that allow these institutions to operate as non-profits. COVID has created an opportunity for museums to re-think how to engage with the public, how to make their spaces dynamic and relevant both online and in-person. Changes So Far With the initial COVID induced shut downs in March, museums around the world closed. Yet even when schools and other institutions re-opened, museums remain shuttered. Most perplexing were the museums that chose not to re-open even when they had the green light to do so. The message to the general public is clear—museums are in the category of “non-essential”. Museums and the culture they provide appear discretionary. Fortunately many museums were quick to assert their relevancy. They reacted by engaging virtual visitors with Instagram contests and live events, online virtual tours and YouTube videos. Others were later to the party but nevertheless adapted with online offerings. Some still haven’t figured it out—they have failed to offer coherent or adequate programs or resources online. They are stagnate in a fast-changing environment that demands adaptability. But change is happening in some museums, with new approaches to online offerings, collecting practices, exhibition and operational strategies. Below are three areas where change is happening, visible change that will move museums forward.  Screenshot of MoMA's website page featuring curated, multi-media online exhibitions: "Virtual Views" 1. Online Presence It is exciting that many museums now liken the online visitor to the in-person one. Savvy museums have realized that the number of visitors who can visit online to its website, is exponentially larger than those who can visit in-person to its physical location. There is enormous potential to leverage digital technologies to attract and provide an experience for people who could never visit a given museum in-person. But it will be a shift for museums to consider online visitors the same as in-person ones. Typically museums have counted visitor numbers through tickets sales or entry counters. It’s been a metric for success. But similar to other public serving entities affected by the Coronavirus, the model needs to change. Below is a curated list of museums who have responded to the current environment of increased digital consumption, and offer robust and engaging online programs.
2. Rethinking Approaches to Exhibitions, Collecting and Interpretation Museums are re-thinking everything including what they exhibit and collect and how they interpret their collections in light of racial injustices underscored by recent events. The discussion about repatriation of artifacts is also taking on new significance. The pressure is on. Deaccessioning, where museums sell works of art to buy other works of art, is another hot topic. Some museums are selling artworks to fund purchases of works to balance inequities within their collections. But it’s not so easy for smaller museums especially. What happens when a key piece of art, one that is the main draw for the museum, is put up for sale? How does this impact the sustainability of the museum? One case study is Baltimore Museum of Art. It recently put up for sale three of its best-known works of art in order to use funds from the sales to purchase other works, with the goal of achieving equity within its collection. There was a huge uproar in the museum community. The sale was halted just hours before it was scheduled to begin. Two board members resigned over the controversy. This is just one of many ongoing debates within the museum world in 2020.  Image of painting by Philip Guston that was to be part of the exhibition that was postponed until 2024 because of concerns about works that show hooded Klansmen. The Klan paintings “require interpretation" according to the four museums who were putting on the exhibition (New York Times, September 25, 2020). Exhibitions in 2020 are also being re-examined, and not without controversy. A recent example is the postponement of a retrospective of Philip Guston’s works, originally scheduled for 2020. It is now postponed until 2024. The much-anticipated exhibition included works of cartoonish-style paintings of the Klu Klux Klan. Guston was the son of persecuted Jewish parents who immigrated to Canada from the Ukraine in 1913. The announcement from the four museums putting on the exhibition stated “postponing the exhibition until a time at which we think that the powerful message of social and racial justice that is at the center of Philip Guston’s work can be more clearly interpreted”. The statement went on to say that the additional voices and and perspectives need to be considered, and this would “take time”. But four years is ludicrous. Critics abound. The postponement is symbolic of all that is wrong with museums: the decades-long history of racial inequalities, the condescending nature of museums towards visitors, (that the public can’t contextualize and analyze artworks on their own), not to mention the glacial pace of change (case in point with this exhibition - four years to re-interpret the works). On the positive side, issues are being discussed and voices heard. 3. Addressing change: @ChangetheMuseum and @abettergugenheim There has also been pressure for change within museums’ ranks. Social media has played a role by allowing anonymous individuals to post experiences of racial profiling, undermining and discrimination experienced while working within museums. An Instagram account, @ChangetheMuseum is one platform, with over forty thousand followers. Some stories are shocking, museums are called out, often with names of museums and occasionally specific employees. The account has received criticism given their anonymous posters, and their call to boycott museums in October with their campaign #NoMuseumOctober. But the stories need to be heard. One hundred and sixty nine employees from the Guggenheim Museum in New York banded together calling themselves, ‘A Better Guggenheim’ and sent a letter to its board with allegations of sexism, racism and a toxic work place. The group's Instagram account, @abetterguggenheim, calls out the injustices at the museum publicly and demands that key people in leadership roles at the museum resign. The campaign is ongoing, and last month one of those named to resign did so. The New Museum Experience: 2021 and Beyond The museum in-person experience with COVID restrictions creates barriers for visitors, with limits on visitor numbers, the need for online bookings, and the constrained movement within the museum due to social distancing requirements, all which affect people’s willingness to visit. We already are seeing the effects as mentioned. As I've discussed, now is a great time for the museum experience to change, for museums to adapt to the needs of visitors, to shift their focus to involve and engage visitors. Below is a list of outcomes that museums could strive for, that leverage the challenges of 2020, in order to reset and re-create the visitor experience with new approaches and strategies.
Despite the challenges facing the museum world I am optimistic, but cautiously so. Some museums will be able to adapt, and are already doing so by taking bold steps to create dynamic experiences. MoMA in New York is a good example, as is the McMichael Canadian Art Collection. I look forward to visiting museums that prevail beyond 2021—online and in-person; those that can create a museum experience that is visitor-focused, dynamic, engaging, relevant and real. I can hardly wait. If there’s ever a time we need museums it’s now. They provide solace, relaxation, fun, conversation, discussion and inspiration. They take us out of the everyday; give us a break from reality. Yet these experiences will be a thing of the past when museums reopen post-COVID-19, at least in the short-term. While the majority of museums globally are still under lockdown, we can look to Europe and Asia to get a glimpse of what to expect as they prepare to re-open retail businesses and museums later this month (May). A handful of museum leaders within the US have also shared insight giving hints into what we can expect upon reopening. Unfortunately it doesn’t look pretty, in fact it looks brutal—impersonal, restrictive. Not conducive to a fun, engaging or connected experience. Masks will be a given, there’ll be plexiglass barriers between museum staff and visitors, markings on the floor and signs with directions to enforce social distancing and the flow of visitor traffic. In Asian museums temperature checks will be standard.  Image: The Met Museum in NYC, a few days prior to shut down for COVID-19, March 2020. Museums Opening Soon… In Belgium, museums have the green light to open on May 19. The Royal Museums of Fine Arts, a collection of six museums in Brussels shared its guidelines:
Museums in Germany are able to open now so long as government guidelines for social distancing are followed. Most are making plans to reopen shortly, some have already including a group of museums in the state of Brandenburg. The Brandenburg’s Museum Association published its guidelines:
In Beijing, China restrictions are more rigorous. Philip Tinari, director and CEO of the UCCA Center for Contemporary Art shared UCCA’s shared planned guidelines for the museum reopening on May 21 in a podcast on the Art Newspaper. They included mandatory masks, strict social distancing, temperature checks for visitors, and scanning of an app that provides details of a person’s travel history. In the United States restrictions will look similar to those of European museums. An article published in the Wall Street Journal on May 2 shared insight based on interviews from museum leaders. Highlights:
 Image: A typical museum experience prior to COVID-19. This type of experience, children touching exhibits, visitors in close proximity, will be a thing of the past for the short term at least. Image: Shutterstock The (Brutal) Museum Experience Based on the insights shared here, the museum experience doesn’t look at all welcoming, in fact it looks pretty grim. Here’s how I see it:
As a museum-lover, I’ve missed frequenting museums since the lockdown. I miss the escapism, the feeling of being removed from the real world. I miss the connection. I'll be reluctant to visit museums once they reopen if the experience is anything like the current shopping experience for essentials. I struggle with the face masks, barriers and signs for social distancing—it’s disconcerting. Let’s hope when museums reopen they can overcome the social disconnectedness these barriers create and deliver an experience where people feel welcome, engaged and connected. Time will tell. I hope it will be sooner rather than later. Further Reading:
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