Who – and perhaps more importantly, what – determines which crafts and designs end up in the collections and exhibitions of Danish museums? It’s a relevant question on several fronts – not only in terms of the visitor experience, but also regarding which works are preserved for posterity in museum collections. Ultimately, the selection process holds great significance for the makers behind the works – financially, yes, but even more so in terms of the validation and visibility that come with being included in a collection.
Several museums that currently exhibit craft and design – including Trapholt, Designmuseum Danmark, CLAY, and Glas – Museum of Glass Art – share in these articles the criteria they use when acquiring artworks. For some, the aim is to add something new or historically significant to their collections – pieces that are currently missing and have preservation value. For others, donations have played a key role, though the bar for quality has steadily risen over time. Finally, the desire to create engaging experiences for visitors – and thereby generate ticket revenue – is an important factor for those museums that do not receive state funding.
Exhibitions Shape Collections
Formkraft also spoke with Professor Anders V. Munch from the Department of Design, Media, and Educational Science at the University of Southern Denmark (SDU), to hear whether he sees any overarching trends in how museums acquire objects for their collections.
He refers to a postdoctoral study by PhD Rosita Satell, noting that although the museum law provides a general framework for museum collecting, in practice it often seems to be the exhibitions themselves that determine what ends up in the collection. ‘This frequently happens through donations from companies or designers, or via foundation funding,‘ he explains.
Donations may create an imbalance
This practice, he believes, has an impact on the collections. ‘Exhibitions are, of course, part of the overall strategy, but they follow different criteria for relevance, and the collection can therefore take on a somewhat random character if it is overly shaped by exhibitions. Companies may also come to play a major role through donations to spectacular installations, which may then occupy a great deal of space in the collection,’ he explains.
‘Museums typically have to apply for funding if they see a relevant work at auction, and there is often little in the budget for regular acquisitions. When it comes to design collections, there are arguably even fewer permanent funds, as donations are frequently relied upon. Some museums, however, have affiliated friends’ associations that donate money for acquisitions, which provides better opportunities to obtain works in line with the museum’s strategy. But in general, the acquisition strategy may in practice serve more as a framework for what not to pursue – or what to politely decline,’ says Anders V. Munch.
