Established in 2004 in celebration of the 40th anniversary of the bank, the Central Bank Museum, formerly known as the Money Museum, has recently undergone an extensive and modern rebranding into a state-of-the-art facility. Its immersive design guides patrons on a tour through the history of money in the country and the significant role that the bank plays in the country’s economic development.

The process involved the help of both local and foreign expertise, among them Caribbean Entertainment Technologies, Canadian-based Lord Cultural Resources and US-based Blue Water Studios.

Chieftess of the Gullah/Geechee Nation Queen Quet, Princess Dana Firas of Jordan, Dame Fiona Reynolds and John Orna-Ornstein are among the speakers for an international conference taking place in Bermuda next month, which will also feature Bermudians among its speakers and panelists. 

Gail Lord, President and Co-founder of Lord Cultural Resources, will be one the plenary speakers at this conference to address a need for planning services in the museum, cultural and heritage sector.

Gail Lord, President and Co-founder of Lord Cultural Resources has twice researched the issue of revitalizing Ontario Place, and keeps landing on the Ontario Science Centre as a natural fit.

Gail is quoted advocating for this change: “The big trend in the world is clustering of culture, education and entertainment — clustered on the water. This is where the world is going, and Toronto should be as advanced as the rest of the world.”

Dallas — The Orchestra of New Spain’s overall mission of bringing immediacy and cultural relevance to artistic traditions of Hispanic heritage has probably never been more pertinent and more necessary.

“The City of Dallas, through the Office of Cultural Affairs, has acknowledged that historically different communities have been supported at different levels,” said Joy Bailey-Bryant, vice-president with Lord Cultural Resources, in a report from KERA’s Art & Seek last fall. “And that the city has been instrumental in supporting some organizations more heavily than others.”

Imagine the home of that person you know who loves dogs a little too much: figurines, stuffed animals, artwork that elevates house pets to the realm of saints.

Add cutting-edge touch-screen tables and a high-class Park Avenue address, and you more or less have the American Kennel Club’s Museum of the Dog, which recently moved to New York, its original home, after decades in the suburbs of St. Louis.

As part of the 50th Anniversary of the Museum Studies Program (MMSt50), MUSSA invited four incredible panelists – Jim Shedden (Manager of Publishing at the Art Gallery of Ontario), Shaniqua Liston (Operations Manager at Kingston Penitentiary Tours), Kathleen Brown (Chief Operating Officer of Lord Cultural Resources), and Karen Carter (Founding Executive Director of Myseum of Toronto) - to speak on their respective approaches to risk in professional settings.

A new kind of urban park, The Bentway repurposes the space under Toronto’s Gardiner Expressway. The string of outdoor rooms brings much-needed breathing space to the core.

The Bihar Museum is an unexpected attraction in Patna with all the amenities of a modern art house — Japanese aesthetics couched in a 21st Century environment-friendly structure that houses a collection firmly focused on the state as the central character in the story of India.

Canada-based Lord Cultural Resources was hired as the master consultant for the project. Japanese firm Maki and Associates, which won the contract as the main architectural consultant, proposed to execute the design with the help of Mumbai-based Opolis Architects.

On the evening of Tuesday, January 29, 2019, the City of Long Beach and Eighth District Councilmember Al Austin kicked off a City-wide effort to create an operating vision for an African American Cultural Center, to serve as a community hub for African American arts, culture, and history. Over 80 residents and community leaders attended to provide input, ask questions, and hear presentations from Councilmember Austin, Deputy City Manager Kevin Jackson, and the consultants, Lord Cultural Resources and Environ Architecture, Inc.

Holocaust survivor Fishel Goldig feels he has a responsibility to share his story.
"Survivors — we have an obligation. Our obligation is to tell the story to many, many people, as many as we possible can," he said. "When you listen to a survivor, you also become a witness."

Gail Dexter Lord visited Longwood Gardens in Pennsylvania on Thursday, January 24, to engage in a conversation on cultural diplomacy in a changing world. During Lord’s time at Longwood, she discussed the strategic planning process cultural organizations around the world use to influence opinion leaders and improve communities.

100 Black women and gender non-conforming artists were being positioned and lights were being arranged so that each face could be made visible to a single camera lens. I remember patiently waiting for the photographer Ebti Nabag and her team to say they were ready when I was suddenly overcome by a wave of emotion.

The two rising powers in Asia, China and India, are using art as a means to win over investors and the global intelligentsia, says Associate Professor John Zarobell from the University of San Francisco.

This winter has been marked by a series of art world protests at prestigious museums in the U.S. and abroad, directly connecting the art world with issues that are presumably outside its reach, such as the opioid addiction and immigration, both of which have been elevated to the level of national crisis.

Singapore's National Gallery is in that honeymoon phase the National Gallery of Australia enjoyed in its early days. Inaugural director, Eugene Tan, has encouraged his curators to set the agenda, resulting in a highly original series of exhibitions exploring the art of south-east Asia and its relationship to the rest of the world.

Among 12 million objects and specimens in the collection of National Museums Scotland (NMS), its director Gordon Rintoul names a massive wooden feast bowl from the Cook Islands as a favourite. Once owned by a Tahitian princess who improbably settled in Fife in the late 1800s, the artefact stands today in the Grand Gallery of the National Museum of Scotland in Edinburgh as a testament to the country’s connections with the wider world. True to its earliest origins in the Scottish Enlightenment, the museum is “a place where people can explore the whole world under one roof”, Rintoul says.

An exhibition at the Museum of the City of New York — including photographs that have never been published before — shows the pioneering player with his teammates and his family.

From prestigious biennials and triennials to ambitious new museums and exhibitions focused on everything from climate change to the work of Leonard Cohen and the distinctive style of Frida Kahlo, a slew of worldwide art events makes this year an exciting one for art-loving travelers.

For its architecture and landscape, these are the museums that you can not miss. Next, we show you which are the museums that most attract visitors for their architecture and landscapes.

You don’t need a reminder that Black history is American history year-round. You’ll find that to be the case at several museums and cultural centers that spotlight the work, talent and history of the Black experience. From capture to enslavement to civil rights and cultural identity, experience Black History Month through the lens of curated artifacts and art by paying a visit to one of these gatekeepers of our history.

The ruins of Casa Sperimentale, an experimental concrete treehouse built by Giuseppe Perugini and Uga de Plaisant, have been digitally recorded for a new exhibition.

Patrick Weber and Sabine Storp, architects and researchers at The Bartlett, undertook the project in order to comprehensively document the architectural oddity, which is now in a precarious state.

Architects Fei and Chris Precht developed The Farmhouse as a way to reconnect people in cities with agriculture and help them live in a more sustainable way

The biggest project of Frank Gehry’s career is moving ahead in his hometown of Toronto—and reaching new heights for the architect and for the city.

On the Grand River in Cambridge, Ontario, a glimmering glass addition by Toronto-based firm RDHA brings a flamboyant edge to the former Galt Post Office, an early 19th-century heritage building that had sat vacant for nearly a decade.

Whether an art gallery, a museum, a science institution, a historic site or a cultural attraction, venues need technology to bring their story to life. The average visitor to a cultural attraction is increasingly digitally savvy and expects a world-class and engaging experience they can self-curate. Venues must not only deliver both the traditional basics but also embrace emerging technologies.

Digital skills are spread thin in cultural organisations, with only one in six of those in the most senior strategic roles identifying web or digital activity as forming a part of their work.

Turkish firm Melike Altinisik Architects (MAA) recently announced about designing the Robot Science Museum (RSM), which is expected to officially open in Seoul, South Korea in 2022. However, the museum’s first exhibit will launch two year early when a team of robots will begin constructing it.

Along with robotics, the museum will also include exhibits with Artificial Intelligence, Augmented Reality and Virtual Reality systems, holographic tech, and training courses.

Can the experience of viewing art in person truly be replicated online?
In much of the world, the Internet has changed the way people consume information, access knowledge and information, and get their share of entertainment. Chances are while you’re reading this very article online, you’ll be listening to a handpicked playlist on Spotify or Apple Music, maybe as a prelude to a Netflix or Hulu binge. While it seems every other part of human culture has been digitized, the realm of fine arts is on its way to doing the same.

The Guggenheim Museum and New York University's Courant Institute of Mathematical Sciences have detailed a joint project to preserve computer-based artworks, starting with Shu Lea Cheang's Brandon and John F. Simon Jr.'s Unfolding Object.

The days of the old, stuffy, and pretentious museums are slowly becoming a relic of the past.

You might view the museum as a place for the wealthy to spend their yearly bonuses on overly minimal paintings that will be placed in storage, never to be seen again, except when the work appreciates and is up for auction. Yet, this is not the case anymore.

In 1970, Black Aesthetics, a group of community artists and residents from Hyde Park, located on Chicago’s South Side, approached the Museum of Science and Industry with a request for collaboration. The museum agreed, and hosted its first art exhibition that year. Since then, the event has grown into the Juried Art Exhibition, a long-running gallery of African American art.

A Tufts University project seeks to make “history more visible” — from slavery to Black Lives Matter — with a map of historic African-American sites in Boston and beyond.

A growing number of companies are building their business models around the selfie, attracting people with destinations that beg visitors to take out the phone and snap away.

Instagram playgrounds, as some people are calling them, are a new type of destination where consumers pay between $25 and $50 to experience a creative, themed environment, custom-designed to make their next self-portrait stand out on social media.

In recent years, museums across the United States have worked to diversify their collections, sometimes even selling work by white male artists to buy art by women and artists of color. But according to a new study, they still have a lot of work to do.

Five years ago, I launched the My Brother’s Keeper initiative calling on all Americans to take action on behalf our nation’s boys and young men of color. It was a call to make sure every child felt valued, safe, and supported by their community—a call to help these young men in particular see hope and opportunity in their future.

With a century of hindsight, the Bauhaus and Harvard seem like an odd coupling; the latter, a then-WASPy bastion of American educational privilege, and the former, a European school hellbent on a revolution in the arts. The nascent Bauhaus even had a quasi-religious tone, as stated in founder Walter Gropius’ manifesto: “We will embrace architecture and sculpture and painting…which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.”

When the Memphis-based community arts organiser Victoria Jones worked at a non-profit specialised in gallery spaces for local artists, she noticed the shows were not well attended by people of colour, even if a black artist was being exhibited. So, around four and half years ago, Jones decided to start her own non-profit organisation specifically for black artists and viewers in the city, The Collective (The CLTV). Run by young black creatives, it aims to empower black communities through the arts.

The forthcoming World Healthcare Congress, Europe, which takes place in Manchester in March, will ‘have an arts, health and social change agenda throughout’ explains Clive Parkinson, head of Arts for Health at Manchester Metropolitan University, the UK’s longest established arts and health unit.

Warmest congratulations to Minister Rodriguez on an inspired appointment of an inspiring leader Alexandra (Sasha) Suda for our National Gallery. Dr. Suda is distinguished by her curatorial creativity. We look forward to what she will accomplish as a cultural champion in both the national and international art arenas at the helm of our NGC.

This year marks the 50th anniversary of Congresswoman Shirley Chisholm’s swearing-in as the first African American woman in Congress. To commemorate the historic event, the National Archives is having a special document exhibit in the East Rotunda Gallery of the National Archives Building in Washington, DC, through April 3, 2019. Today’s post comes from Michael J. Hancock inf the National History Office.

Helen Zughaib’s paintings are bright and accessible. They also depict a people in crisis..

Zughaib begins the series with an artist statement, which grounds viewers in some of the history of the Arab Spring, the wave of protests that swept much of the Middle East beginning in late 2010. It led to the overthrow of dictators in some countries, but to grueling civil war in others. In Syria, the ensuing conflict has displaced millions, and left hundreds of thousands dead.

There’s never really a sleepy year to visit Hong Kong, but 2019 is particularly ripe for visitors. Spearheaded by the dynamic entrepreneur Adrian Cheng of K11 and New World Development, the rejuvenation of Tsim Sha Tsui harbourfront is just the starting point.

Two recent developments underscore Miami’s emergence as a force to be reckoned with in the cash-flush world of modern arts philanthropy.

First, the region’s preeminent funder, the John S. and James L. Knight Foundation, announced a $37 million investment in Miami’s growing arts ecosystem. And second, Miami’s most prominent arts patron, billionaire real estate developer Jorge M. Pérez, announced the creation of two major annual art awards.