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Tag: art museum

Crowdsourcing can replace every job, including museum curation! The new “exile a piece of art” admission ticket adds interactivity to the art appreciation process!

Background:

Art museums often display a wide variety of pieces.

Some art pieces may be considered to be pretentious or otherwise without merit.

Unfortunately, currently there is no way to express that displeasure in an actionable form.

Proposal:

Art museums should sell two categories of ticket: a regular-priced general admission ticket (Figure 1), and a special “curator” ticket (Figure 2).

This “curator” ticket would cost 10 times as much as a normal ticket, but would have a special feature: it would allow the admitted individual to select any one piece of artwork in the museum to be “exiled” back to the archives and removed from display.

(It would be replaced by a randomly-chosen other piece from the museum’s not-on-display archives.)

The exiled artwork would not be eligible to be displayed again until a certain amount of time had passed (or perhaps until all the other artworks in the museum had been rotated back on display).

This has two important properties:

  • It removes the need for curation, since every gallery will become a constantly-churning disaster zone of works being semi-randomly removed from display and returned from the museum archives.
  • It allows museum visitors to actively participate in the art-appreciation process, rather than only being passive observers.

 

 

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Fig. 1: This standard museum admission ticket is utterly uninspiring. Let’s improve things (see Figure 2).

 

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Fig. 2: The “curator” ticket has a tear-off ticket stub (shown at far right) that can be put in a pocket next to any artwork that the museum-goer wishes to remove from display. Once a day, museum employees will go through the museum and remove any artwork with an “exile” ticket associated with it. That “exiled” artwork will be replaced by a randomly-chosen piece of similar dimensions from the archives.

Conclusion:

This new “crowdsourced” approach to curation can be applied to museums of all types—not just art museums.

PROS: Adds interactivity to art museums and helps museums raise funds. Leverages the “wisdom of the crowds.”

CONS: Some jerk with extra money to spend might just go to the museum every day and exile their favorite art pieces to prevent others from enjoying them.

You will TRULY appreciate art after surviving the ART OBSTACLE COURSE! Brave a swamp of deadly crocodiles in order to catch a single glimpse of “Dogs Playing Poker”—you’ll never accuse it of being kitsch art again.

Background:

Something that is difficult to obtain tends to be appreciated more than something that is easy to obtain.

For example, people rate the same wine more highly when it has an expensive price tag.

We can use this information to design a new style of art museum that will be a huge hit with all art aficionados.

The issue:

Traditional museums (Fig. 1) barrage the viewer with fine art at a relentless pace. It becomes hard to appreciate the technical skill of a single painting when 948 of the world’s finest 19th century impressionist paintings are crammed into a single.

So we need to both slow down the viewer and make them feel like they are engaging with the art, rather than being bombarded by it.

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Fig. 1: When people expend a lot of effort (or money) on something, they tend to more highly value it. But this art museum just has the art hanging right there on the wall—no effort required!

Proposal:

The solution is to turn every art gallery into a harrowing obstacle course. It won’t be possible to just dismissively waltz through a gallery that represents 40,000 hours of oil painting effort. No—if you want to see the art in this gallery, you will need to work for it.

  • Lift a heavy wall that is obscuring a work of art (Figure 2).
  • Swim through an underwater passageway (Figure 3).

The trial that you must endure in order to view the art could also follow the theme of the art in some way. For example:

  • Sit on a wooden plank for an hour, baking in the hot sun, with no food, shelter, or water. If you can manage that, then the plank will lower into a vault that hosts The Raft of the Medusa.
  • Traverse a hallway that is constantly being pelted by paintballs from an automated gun in order to prove your worthiness to view the Jackson Pollock collection.
  • Order some soup at the art museum cafeteria. Then present your receipt to an attendant in order to be admitted to the Andy Warhol collection.
  • Push an enormous boulder up a ramp and onto a pressure plate in order to gain entrance to the Titian collection, featuring The Myth of Sisyphus.
  • Face your fears and wade through a pit of snakes in order to view . . . oh wait, it’s just the gift shop? No wonder no one buys anything.

 

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Fig. 2: If you want to see the famous work of art at the end of this hallway, you’ll need to lift a heavy wall and hold it up (or convince someone else to) while you appreciate the artwork.

 

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Fig. 3: You’d better leave your cell phone behind before you swim under the wall. Hopefully the art on the other side is worth it. Extremely noteworthy works of art might also be defended by electric eels.

 

Other options would surely present themselves to a creative museum curator. A few ideas:

  • Hold perfectly still in front of a sensor. After 2 minutes, a window will open, allowing you to see the artwork. If you move, the window closes again.
  • Use a pair of binoculars to find the work of art, which has been placed in an alcove on a distant high-rise apartment.
  • Pedal a bike fast enough to generate the power required to electromagnetically lift shutters that block your view of a painting.
  • Climb a knotted rope up to a lofted gallery.
  • Work together with several people to press a set of buttons simultaneously, which will briefly reveal a work of art.

PROS: This museum will let art aficionados really demonstrate their dedication.

CONS: Many rich museum donors are 80+ years old, and would be at high risk of being devoured by crocodiles in the “rope swing” obstacle. This would prevent them from making further donations to the museum.

 

TITLE: The secret to making THE BEST ART MUSEUM possible and acquiring a collection for less than 1% the normal price of famous art. The secret ingredient: ART FORGERY.

The issue:

It’s difficult to fully appreciate certain types of art from just a photo, especially large pieces or three-dimensional works like statues.

For example:

Unfortunately, these famous works are spread throughout the world, and are not all easy to access (especially if you’re on a budget).

Proposal:

Let’s start a new art museum called “THE BEST ART MUSEUM.”

This is no idle boast—the museum really will contain the best art in the world, for one simple reason: all the art in the museum is a FAKE.

Actually, let’s revise that: “fake” has a negative connotation, but really, who can even tell the difference between an original work and a high-quality forgery? (See Figure 1.)

So let’s say that each piece in this museum is an extremely accurate copy of a famous work.

Fig. 1: Which of these two incredibly accurately drawn M.C. Escher works is the original, and which is the copy? Only the most detail-oriented art historian will be able to tell. And sometimes there isn’t even a distinction: if 100 numbered prints were made from a carved wood block, is there anything that really separates those 100 “official” prints from a 101st print made by museum staff decades later? (Answer: yes, millions of dollars.)

Since the vast majority of art is old enough to be out of copyright, there are no legal hurdles, either!

Additionally, we know that a skillfully-made forgery can fool even well-informed art scholars, so there should be no doubt that the works are every bit as valid from an art-appreciation standpoint as the originals.

This has five huge advantages:

  1. By obtaining only copies of expensive artwork, we free up an enormous amount of money (copies will be cheaper than the originals).
  2. Impossible-to-obtain works of art can be “acquired” in this fashion. (No matter how much money a museum has, the original Sistine Chapel ceiling cannot be purchased.)
  3. Works can be thematically arranged without regard to budget / availability of an artwork.
  4. Duplicate (triplicate?) copies of a work can be placed in multiple locations. So Michelangelo’s David can appear in both the “statues of dudes” and the “Renaissance sculpture” galleries.
  5. Security and insurance can be reduced; there is no need to insure a painting for hundreds of millions of dollars if it can be easily re-created.

Additionally, since none of the pieces in the museum are one-of-a-kind, they can also be offered for sale: the museum can serve as an enormous art showroom. So an art aficionado who really likes a specific painting can just take it right off the wall and purchase it at the gift shop.

Fig. 2: Modern art and abstract impressionism would be a great topic for this museum, except that most of the pieces from 20th century will be copyrighted for the next 100+ years. The museum will need to focus primarily on art from before the 1920s.

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Fig. 3: Abstract art would be extremely easy to replicate; an art student could easily copy several famous out-of-copyright pieces during a summer internship.

PROS: Obtaining famous works of art for a museum no longer requires daring art heists.

CONS: You will have to endure many negative reviews of your museum in high-society publications.