Back in 2006 I wrote on an NPR story that is probably even more relevant now than then.
The story centered around the Museum of Online Museums, a curated list of museums of all sorts around the world that had online presences. As I noted, the philosophy behind it is
The guys who run MoOM absolutely believe that seeing art in a physical museum is often a necessity and can be a transforming experience. But they also believe there are a lot of interesting collections of material out there that people should see, but that they wouldn’t necessarily ever want to drive to. They also point out that one would never have the time to visit all the bricks and mortar museums out there either so having the art online provides welcome and needed access.
Since the site has a mix of well known museums alongside ones that were curated by amateurs, the story raised the question about who is qualified to call themselves a museum and what actually constitutes qualifications.
My blog and others have countless examples of how being well trained doesn’t necessarily ensure the production of a quality product. I think the same could reasonably be said of a curator at a prestigious bricks and mortar institution. The inclusion in the story of a professor of Native American Indian studies saying that mainstream museums haven’t done a good job representing Native American cultural groups futher clouds the concept of who is qualified to assemble a collection. (Additionally, the professor is quoted as saying most tribal groups resist the term museum in favor of cultural center because it connotes something that is old and dull.)
[…]
Is the collection of magazine covers featuring the US Flag from one month 1942 more valid than the site featuring steel and coal magazine ads from all of 1966 simply because the former is on the Smithsonian site?
The same questions have been applied to who gets to call themselves artists/musicians/actors as well as what constitutes a legitimate theatre/opera/orchestra/dance company and who are just dabblers.
The answers have become more difficult to arrive at with the proliferation of so many channels of dissemination. You don’t necessarily need to have performed in an established location or be represented by a music label to be a successful and recognized music artist, for example.