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<p>Composing a mission statement isn’t as easy as it sounds. Should a mission describe what a museum is doing, or what it should be doing? An analysis of the mission statements of leading US art museums yields some surprising results. | The Art Newspaper | 2011 |</p>
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<p>Chris Dercon, Director, Tate Modern, London Martin Roth, Director General, Dresden State Art Collections/Staatliche Kunstsammlungen Dresden and Incoming Director, Victoria and Albert Museum, London Nancy Spector, Deputy Director and Chief Curator, Solomon R. Guggenheim Museum, New York Moderator | András Szántó, Author and consultant to arts and philanthropic organizations, New York</p>
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<p>Occupying almost 30,000 sq. ft in galleries devoted to international culture in the newly renovated building, which opened last month, “The Art of the Enlightenment”, on view for a whole year, is notable not only for its theme, but for the circumstances of its organization. It is a product of cultural diplomacy writ large. | The Art Newspaper | 2011 |</p>
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<p>Maxwell L. Anderson, The Melvin & Bren Simon Director and CEO, Indianapolis Museum of Art, Indianapolis Lauren Cornell, Executive Director, Rhizome and Adjunct Curator, New Museum of Contemporary Art, New York Peter Reed, Senior Deputy Director of Curatorial Affairs, The Museum of Modern Art, New York Moderator | András Szántó, Author and consultant to arts and philanthropic organizations, New York</p>
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<p>For this issue, Artforum invited artists, curators, and museum experts to write about The Museum Revisited; trends, challenges, and opportunities. András Szántó was among the writers.</p>
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<p>The recession forced North American institutions to reconsider every aspect of what they do. You never want a serious crisis to go to waste,” Rahm Emanuel, President Obama’s hyperactive chief of staff like to say. By that measure, art museums may have been handed a historic opportunity | The Art Newspaper | 2010 | </p>
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<p>In a world mired in economic uncertainty and with cash for the arts disappearing, how do we argue for culture? If you have been following the news about arts funding, you have reason to be concerned| The Art Newspaper | 2010 |</p>
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<p>Klaus Biesenbach, Director, MoMAPS1, New York and a Chief Curator at Large, The Museum of Modern Art, New York; founding Director of Kunst-Werke (KW) Institute for Contemporary Art, Berlin and Berlin Biennale Lynne Cooke, Deputy Director and Chief Curator, Museo Nacional Centro de Arte Reina Sofía, Madrid and Curator at Large, Dia Art Foundation, New York Ann Goldstein, Director, Stedelijk Museum, Amsterdam; former Senior Curator, The Museum of Contemporary Art (MOCA), Los Angeles Moderator | András Szántó, Author and consultant to arts and philanthropic organizations, New York</p>
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<p>The first version of art history is written by dealers. They work on the front lines, making bets on artists and objects long before collectors, critics and curators decide what’s truly valuable | New York Times | 2004 | </p>
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<p>The Dutch system is a paragon of administrative rationality. Many subsidies are channeled through independent foundations with expertise in specific arts fields | New York Times | 2003 |</p>