FAU Galleries has the same policy as Ewig Gallery: we do not sell the art. If the artists are opened to sales, and buyers ask, we connect them directly with each other. When artists ask us about commission, we answer that we take none but welcome donations to the galleries if they find it appropriate, as they allow us to continue our work. Since we provide exhibition honorariums to our exhibiting artists, some artists who make large sales donate a percentage back to the gallery voluntarily. Usually, only the really large sales, not student works, of course.

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One thing that may be different at FAU Galleries than in other non-profit academic spaces though is that I often insist on adding a price range on the exhibited artworks that are on the market for sale, regardless of me selling it or not. Because we exhibit artists from all walks of life, from grad students to internationally known artists, I think it is educational to have the discussion of “how much is this worth?”. I also place the appraisal value for collections items. This transparency is for educational purposes. It allows me to have discussions about monetary value, versus cultural value, versus market value or insurance value. We don’t teach our art students or art historians enough about these topics, finding the dirty concerns outside of the realm of academic interest, but it is crucial to our students understanding of our field. It also allows us to discuss the sales commission versus honorarium profit system. They are all important concerns in the arts. We all agree that “Exposure” is everyone’s least favorite form of compensation. ?

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Best,

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Hi Sydney,

This might have been mentioned already (apologies if it has) but… A few years ago, my former colleagues and I successfully applied for the NEH’s Preservation Assistance Grants for Smaller Institutions Program: . (At the time, we needed to replace our racks so that we could maximize storage for a collection of textiles.)

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It was a straightforward process, and the staff are really helpful if you have questions.

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Good luck,

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announces the , set for Saturday, Feb. 8, from 1 to 5 p.m. CT.?

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Launched in 2024, the Forum is dedicated to institutionalizing object-based learning and museum-enhanced pedagogy through the artistic and scholarly investigation of the American South. In addition to the free, in-person gathering at the museum, the program will live stream on , with the entire program available on-demand.

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Located in Alabama, Auburn University resides in a region rich in all forms of creative expression—visual arts, music, food, literature and fashion. Additionally, the?, including the Imprinting the South Collection, features numerous artists from and influenced by the South, providing ample opportunities for The Jule to collaborate with faculty, other museum professionals and peer institutions. The organizing theme for 2025 is “Teaching Making,” inviting scholars and practitioners to deepen understanding of connections between art, instruction and place through a series of presentations, conversations and audience exchanges.

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Panelists include:

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• Randi Evans, PhD, manager of public practice and community partnerships, The Jule Collins Smith Museum of Fine Art, Auburn University
• Michelle Millar Fisher, The Ronald C. and Anita L. Wornick Curator of Contemporary Decorative Arts, Museum of Fine Arts Boston
• Andrew Freear, director, , School of Architecture, Planning and Landscape Architecture, Auburn University; Maura E. Lucking, PhD, assistant professor, School of Architecture & Urban Planning, University of Wisconsin–Milwaukee
• Kyes Stevens, founder and director, .

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Hi Sydney,

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One federal grant program that supports collections care, including storage equipment (but NOT construction or renovation), is IMLS. Here’s a link to last year’s funding opportunity – this year’s is not available yet.

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It does require at least a 1:1 match.?

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Good luck!

Laura

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*** We apologise for any cross-posting***

UCL Press is delighted to announce the publication of a new open access book that may be of interest to list subscribers Contemporary Art and the Display of Ancient Egypt, by Alice Stevenson.
Download it free: https://bit.ly/3PADq06

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Contemporary Art and the Display of Ancient Egypt
Alice Stevenson
Free download: https://bit.ly/3PADq06

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Artistic interventions are now a popular means of delivering fresh perspectives on museum displays, including in galleries devoted to ancient Egypt. Installations are commonly said to put the past and present ‘into dialogue’ with each other, offering external critical voices on the work of decolonisation.

Contemporary Art and the Display of Ancient Egypt?argues that the contemporary and the ancient do not necessarily inform each other. Instead they are mediated by, and mediations of, the museum that produces them. Rather than explore how contemporary artists have been inspired by Egypt, this book examines how they have shaped the language and discourse around study of the Egyptian past by looking at the wider field of public display in which both have been historically situated. Building on this critical history of practice, the book draws from experiments in bringing contemporary artistic sculptures, conceptual pieces, multimedia films, sounds, smells and performances into galleries: at the British Museum in London, the Egyptian Museum in Turin and the State Museum of Egyptian Art in Munich. These are used to explore what contemporary art does in these spaces, the motivations for inviting artists in, and the legacies of those interventions. It ends with a reflection on how academics and curators can be involved in the creative process and how artists contribute to academic research.

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Free download: https://bit.ly/3PADq06

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uclpress.co.uk | @uclpress

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