Via The New York Times, 3 June 2024, By Ted Loos
When Melissa Chiu began her tenure as the director of the Hirshhorn Museum and Sculpture Garden 10 years ago, she had a stray thought about the institution’s location, on the National Mall, and its appearance, a doughnut-shaped concrete structure by the architect Gordon Bunshaft with a certain resemblance to a spaceship.
“Maybe some of our visitors thought it was the Air and Space Museum,” she said of the popular institution next door, which, like the Hirshhorn, is part of the Smithsonian and which was getting more than six million visitors a year at the time. “So, OK,” she said, “that’s not a bad thing.”
Chiu — who is appearing this week at the Art for Tomorrow conference in Venice with the artist and writer John Akomfrah to discuss how artists and museums can work together to address social, political and ecological issues — did not wait around for confusion to boost attendance at her museum. (The annual conference was founded by The New York Times, and is convened by the Democracy & Culture Foundation, with panels moderated by Times journalists.)
The number of people visiting the Hirshhorn has increased dramatically since she started in 2014, when the museum received 552,000 visitors. In 2018 and 2019 that figure was up more than 50 percent, and even in the post-lockdown phase of the pandemic, a time when many museums have faced a slump in visitors, the numbers are still well above that decade-old baseline.
The issue of attendance has been a focus of museums large and small across the country lately, as tourism has shifted, interest on the part of younger people has waned in some places and regional demographics have changed. Museums have taken various steps to manage the challenge: featuring newer and sometimes lesser-known artists, catering more to local audiences, and adding technological enhancements to attract nontraditional visitors.
Seated in her office surrounded by high-energy art — including Lucio Fontana’s “Spatial Concept: Expectations” (1962), a red canvas with large, dramatic slashes in its canvas— Chiu talked about what she calls “radical accessibility,” her guiding principle.
“How do we welcome everyone?” she said. “Radical accessibility became an important way of working for us when we thought about really fulfilling our national mission.”
