III) Historical circumstances and social or economic factors.
 
Some works of art remain in private collections or are not made available for public exhibition. Museums may not have access to these works, or they may be too fragile or valuable to be shown regularly. Sometimes works are excluded for political, social or moral reasons. Some works, because of their controversial content, may be censored or not accepted by museums, particularly in contexts where they are deemed inappropriate for the public. Museums may also choose not to exhibit certain works simply because they are not perceived as significant at a given time. Tastes and selection criteria may change over time, and some works may be rediscovered at a later date.


 
II) The institutional recognition

The inclusion of a work in a museum often depends on its recognition by artistic and cultural institutions. Curators, art historians and experts play a central role in this selection process. A work may not be exhibited if it has not yet been recognised or validated by these players. 
For example, curators are professionals who work in museums and galleries. They select and acquire works for permanent collections and temporary exhibitions. Art historians are researchers who specialise in the study of art through the ages.
They analyse styles, techniques, social and political contexts, and artistic influences. There are also art critics, who are independent journalists, writers or experts who evaluate and comment on works of art, usually for a wider audience. Their opinions often influence public and institutional perceptions of a work. A positive review from an influential critic can help a work to gain wider recognition and enter museums or important collections. 
 
 
The institutional recognition of works of art is a complex process, involving many players, each with a different influence. While some of these players (such as curators and art historians) assess works according to academic and artistic criteria, others (such as art dealers and collectors) are more influenced by economic and social considerations. This network of players helps to shape the way in which certain works are valued and others set aside, which can reinforce inequalities based on the dominant interests and preferences in the art world.


 

THE SELECTION OF ART PIECE IN EXHIBITIONS CAN CREATE INEQUALITY... 
V) Inequality

 

The selective display of works of art in museums can reinforce many forms of inequality, whether social, cultural, racial or economic. Here are some points to consider:

  • Unequal access to art: Museums, often located in large cities or in elitist institutions, can exclude people from certain regions, modest backgrounds or marginalised communities from access to art. If art is centralised in museums that are inaccessible or expensive, this limits equality of access to culture. 
  • Economic inequality: Museum management involves conservation, exhibition and management costs which can lead to a concentration of works of art in certain prestigious institutions, often financed by patrons or private institutions. This can lead to a situation where art has become an asset reserved for an elite, and works accessible to the general public are often limited to those that are not perceived as having a high market value.
  • Gender inequality: Historically, museums have largely favoured works of art by men, relegating women to the periphery of the art world. Even today, many institutions continue to favour a male perspective in their collections and exhibitions, reinforcing gender inequality. Female artists have often been under-represented, and their work has sometimes been ignored or devalued.









  • Racial and colonial inequality: Museums have long been criticised for collecting and exhibiting artworks from colonised peoples, often without the consent of the communities concerned, and in a context where these objects were reduced to exotic 'curiosities'. This has contributed to the marginalisation of certain cultures, while reinforcing racial and colonial hierarchies. The absence or under-representation of non-Western artists in museum collections can also reinforce this inequality.
 
IV) Taste
 
Taste, as a social and aesthetic norm, plays a major role in the exhibition of certain works and the exclusion of others. This taste is not universal, but depends on a series of historical, social and economic factors that favour certain art forms and marginalise others. As a result, it can reinforce inequalities by creating a system where only certain artistic voices are valued and where a large part of the population does not recognise itself in the cultural representations offered by museums.
 
Museum institutions have often been influenced by ideas of 'refined taste' or 'good culture', which were historically associated with high social classes. This taste, often rooted in classical principles (beauty, harmony, technical mastery), has been promoted to the detriment of other forms of expression. Artists who are perceived as "masters" or "geniuses" are often those who adhere to a certain aesthetic ideal, or who succeed in conforming to institutional expectations. On the other hand, artists whose work deviates from aesthetic standards may be ignored, reducing their visibility in museums. 
For example, folk art, women's art and the art of certain non-Western cultures were often considered less 'noble' or 'intellectually stimulating', contributing to their exclusion from museum spaces.
In a system where the value of a work is partly determined by its market, taste can also be influenced by economic considerations. Works of art that are deemed "tasteful" in art circles, and are therefore popular with collectors and institutions, have a greater chance of being exhibited. This reinforces a circle in which only works with a high market value are put forward, often excluding more accessible or less expensive forms of art.
 
Taste changes over time. What was considered 'good' or 'beautiful' a few decades ago can be re-evaluated in the light of social and political changes. However, these revisions of taste are often slow and can be influenced by power dynamics. For example, modern art was initially rejected by established institutions before gradually being integrated into museums, and even today, certain forms of contemporary or experimental art are sometimes ignored by institutions that prefer works that are more 'traditional' or more in line with the expectations of major galleries.

 

Sources : 

 

 https://collectie.wereldmuseum.nl/?query=search=packages=OnViewWM#/query/752cd8ab-7802-4f8b-9b9f-35c313789d65

 

 https://en.wikipedia.org/wiki/Wayana

 

Book  : "FASHION HISTORY" a global view, Linda Welters, Abby Lillethun

 

 
  
 
 
 
Visite of the Worldmuseum in Rottedam of the exebition, with interview of tow professionals.
 

 

 

 

 
To conclude,
the exhibition of a work of art in a museum is often the result of a combination of artistic recognition, institutional choices, historical circumstances and sometimes social or economic factors.
Indeed, the selection of works exhibited in museums can reinforce inequalities by marginalizing certain artists, cultures or social classes, while privileging norms and narratives that are not representative of a society's social, cultural and historical diversity. What comes into play is not only the condition of the object or work, but also how and with what it was conceived. The selection of works in a museum is highly complex, and many factors come into play. What's important to remember is that this selection remains subjective. For example, some painters become known only after their deaths, because they were precursors, too far ahead of their time and therefore misunderstood during their lifetime...
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Title: Do Women Have To Be Naked To Get Into the Met. Museum?

Artist: Guerrilla Girls (American, established New York, 1985)

Publisher: Guerrilla Girls (American, established New York, 1985)

Date: 1989

Medium: Lithograph
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I) The value and prestige in the materials and technics

 

The composition of an object's materials plays a crucial role in the perception of its value and prestige, particularly in the field of art. The use of rare or precious materials, such as gold, marble, precious stones or ivory, automatically confers a prestigious status on a work of art. These materials have historically been associated with wealth, power and the elite. For example, a sculpture in gold or marble will often have a higher perceived value than one in wood or terracotta. 

Durable materials, such as stone or metal, are often considered more prestigious because they stand the test of time. A work in bronze, for example, can survive for centuries, while works in more fragile materials risk degradation. 

Some materials require more complex technical mastery, which can enhance the prestige of a work. Fine ceramics, blown glass and marble sculpture, for example, require technical expertise that enhances the object's symbolic and economic value.

 

In contemporary art, some artists choose to use non-traditional materials, such as everyday objects, plastics or recycled waste. Although these materials are less prestigious in terms of cost, innovation and originality in their use can paradoxically make them prestigious, especially if the work questions important social or aesthetic issues. The conscious choice of a "humble" or banal material can become a powerful artistic act.

In short, the composition of materials influences the perceived prestige of a work of art through their rarity, symbolism, durability, or the know-how required to work them.

 

An object made using historic techniques may have a higher value if it is perceived as an authentic testimony to the past, a preservation of disappearing know-how, or a tribute to art history. However, if the emphasis is on innovation or personal expression, the same work could be perceived as less innovative and lose its value in certain contemporary contexts. So it all depends on the context in which the object is appraised and the expectations of the market or institution.

Museums seek to present works deemed important to the history of art, whether for their technique, their originality, their influence or their contribution to the evolution of an artistic movement. Certain works are considered essential because of their cultural or aesthetic impact. Like for example Mona Lisa by Leonardo da Vinci, exhibited at the Louvre in Paris.


Why are some open ones exposed and others not? 

How can the selective exhibition of works of art in museums reinforce several forms of inequality?
VI) DESIGN TEXTILE

For my textile design project, we visited the Worldmuseum in Rotterdam.
It's part of the 'Culture in Motion' collection in the Global Collection.
My object comes from Suriname, located in the north of South America, a country rich in ethnic, cultural and linguistic diversity. With Paramaribo as its capital, it is bordered by Guyana to the west, French Guyana to the east and the Atlantic Ocean to the north. It comes from tribes called the Wayana, indigenous people of Suriname. Suriname was a Dutch colony where African slaves were used on coffee, cocoa, indigo, cotton and sugar cane plantations.
The object, it 's made from natural materials such as cotton, macaw feathers, toucan beaks and glass beads. It has been dated to before 1904. It is apparently part of a feathered costume.
According to my research, this object was worn on a special occasion called the MARAKÉ. A ceremony where the Wayana dance and sing. This ceremony lasts several months, and is a kind of purification when the young people enter another important age bracket, such as puberty. This object is a kind of protection and a sign of power.

Here is the video of my presentation : 


 

The cover picture is the replica that I made for my Design textil project.


 


Interview with two professionals speakers from the Worldmuseum in Rotterdam.

How do you dO the selection, with who ?

“The Wereldmuseum Rotterdam opened in 1885 and currently holds a collection of around 80.000 objects. During the nineteenth and early twentieth century, the largest part of this collection was brought to Rotterdam from all over the world by traders, explorers, the military, and missionaries.Collectors gathered these objects as mementos, souvenirs and presents for loved ones, and as objects to study or to trade. Collections meant to bring prestige and to show which, usually privileged, group you belonged to.The objects were meant to help gain a better understanding of the world. People who were unable to travel for themselves, could join in on the wonder of these unknown, faraway places.This stimulated curiosity about the different peoples of the world but also confirmed one's own norm and often led to prejudice against the other. Little is known about how local people viewed these Rotterdam collectors' fascination with their cultural heritage.”