1、PRIVATE ART MUSEUM REPORTPRIVATE ART MUSEUM REPORT2The Twist,Kistefos Museum,Jevnaker,Norway3TABLE OF CONTENTS35 South Koreas Top Five Most Followed Private Art Museums on Instagram36 South Korean Private Art Museums on Local Social Media Platforms36 Private Art Museums on Instagram:Chinese Analysis

2、36 Chinas Top Five Most Followed Private Art Museums on Instagram36 Chinese Private Art Museums on Local Social Media Platforms39 Chinese Private Art Museums on Little Red Book39 Chinas Top Five Most Followed Private Art Museums on Little Red BookCOUNTRY FOCUS:SOUTH KOREA43 Geographical Distribution

3、43 Size of South Korean Private Art Museums43 Programs and Offerings43 Founders 43 Legal Setup43 Legislative Support44 Interview With Mrs.Ahn,Young Joo50 Methodology50 Approach50 Definition of a Private Art Museum53 Description of Data Application for Statistics54 Imprint55 About LARRYS LIST 55 Abou

4、t The Department of Sociology,University of Amsterdam04 Foreword by LARRYS LIST07 Foreword by The Department of Sociology,University of Amsterdam08 Introduction10 Summary of Key FindingsTHE GLOBAL PRIVATE ART MUSEUM LANDSCAPE14 Geographic Allocation of Private Art Museums Globally14 Continent Alloca

5、tion15 Top 10 Countries of Private Art Museums Globally15 Top 10 Cities of Private Art Museums Globally20 Founding Year of Private Art Museums21 Growth Rate of New Private Art Museums21 Number of Artworks in Collection22 Interview With Kiran NadarTHE PRIVATE ART MUSEUM SETUP AND OPERATION26 Legal Se

6、tup26 Number of Employees26 Visitor Numbers 27 Opening Days 27 Entrance Fees27 Programs and Offerings29 Budgeting,Funding and Revenue ModelsTHE PRESENCE OF PRIVATE ART MUSEUMS ON SOCIAL MEDIA30 Private Art Museums on Instagram:Global Analysis30 The Global Top 10 Most Followed Private Art Museums on

7、Instagram33 Private Art Museums on Instagram:Italian Analysis33 Italys Top Five Most Followed Private Art Museums on Instagram35 Private Art Museums on Instagram:South Korean AnalysisSince 2016 when the first PRIVATE ART MUSEUM REPORT1 was released,the world has undergone considerable change with ad

8、vancements in technology,socioeconomic dynamics,and shifts in group mentalities.The impact of these trends has been felt far and wide,including in the art market and,more specifically,in the private art museum scene.These changing dynamics have heightened the role of private museums and their contri

9、butions to society both locally and on a global scale and continued to stir excitement across the evolving landscape.With this in mind,LARRYS LIST is pleased to present the 2023 edition of the PRIVATE ART MUSEUM REPORT,a continuation of the first study conducted in 2015 and 2016 on the global settin

10、g of privately founded contemporary art museums.The report draws on the largest private contemporary art collector database in the world created by LARRYS LIST as well as extensive research performed by the project team from the Department of Sociology of the University of Amsterdam,one of the forem

11、ost institutes for research into economic sociology,sociology of the arts and cultural sociology.The PRIVATE ART MUSEUM REPORT investigates a particular group of contemporary private art collectors:collectors who have decided to make their collections publicly and physically accessible,often with th

12、e goal of promoting art appreciation.Exhibitions in these museums present the founders collection(or parts of it)through permanent and rotating shows.In this way,such collectors move beyond supporting artists to also enhancing the cultural landscapes of their cities and nations.Their collections bec

13、ome cultural icons,and,as ever,this inspires us to highlight the contributions of art collectors to the scale and underline the centrality of their role in the art world ecosystem.Despite the effects of the global pandemic,new museums have continued to open(although not as many as in previous years)

14、and gain wide-1 Published jointly with Art Market Monitor of Artron(AMMA).spread recognition.For example,in 2021 both the Longlati Foundation opened in Shanghai and the Peter Marino Art Foundation opened in Southhampton,and in 2022 the Heidi Horten Collection opened in Vienna.These institutions and

15、others gained headlines beyond the art world,crossing over into the lifestyle and enter-tainment sector and becoming regular features on KOL and celebrity Instagram feeds.While interest in private contemporary art museums has grown along with the number of contributions to the academic body of work

16、surrounding the topic,there is still a lack of deep analysis and global mapping of the private museum landscape.Aside from our first report,Georgina Walkers The Private Collectors Museum:Public Good Versus Private Gain(2019),and the 2021 seminal work of Georgina Adam,The Rise and Rise of the Private

17、 Art Museum,little rigorous research has been conducted or published on the topic.This lack of transparency,in combination with the success of LARRYS LISTs previous PRIVATE ART MUSEUM REPORT as well as more recent reports including The Art Collector Instagram Attention Report(2022)and The Next Gen A

18、rt Collectors Report(2021)all of which received much recognition from the art world and international presshas motivated us to revisit our database and reassess the private art museum scene through continued global research.Additionally,the opportunity to partner with the researchers from the Univer

19、sity of Amsterdams Department of Sociology,who are also passion-ate and curious about the role of private art museums in society,presented the right motivation to take on this project and continue the conversation about the global impact of these institutions.Based on our joint findings,the research

20、 team from the Department of Sociology published a separate report in April 2023.Entitled Beyond the Global Boom:Private Art Museums in the 21st Century,it takes a FOREWORD BY LARRYS LIST4similar approach but with the intention to lay a more robust basis on which future research into such institutio

21、ns,their founders,and their consequences for the art world and society more widely may be built.For their dedication to this project,I would like to extend my thanks to Yoonjin Cho,Ricko Leung,Arianna Ambrosetti,Tyra Wang,Ballad Liao,Summer Tsui,and particularly Jamie Ben-nett for the overall coordi

22、nation and major contribution.I would also like to show my ap-preciation for the Department of Sociology research team from the University of Amster-dam led by Prof.Dr.Olav Velthuis for their detailed and extensive approach.We have been honoured to conduct an in-depth interview with collector and pr

23、ivate museum founder Kiran Na-dar and would also like to thank Yulhee Kim for conducting the interview with Mrs.Ahn,Young Joo,director of Museum SAN.Christoph Noe,Co-Founder and Director of LARRYS LISTHong Kong,April 202357Private art museums first came on my academic radar when I was studying the g

24、lobalization of art markets.Together with a research team,I was doing research in the emerging art markets of Mainland China,Brazil,Russia,and India.As part of this emergence,a remarkable number of private museums had opened in these coun-tries.Many differences notwithstanding,these museums even loo

25、ked the same architecturally and were frequently collecting the same roster of contemporary artists.In China in particular,I was struck by the almost complete absence of public museums showing international modern and contemporary art.Private museums were doing so,however.To me,it seemed like they p

26、layed a crucial role in the emerging Chinese ecosystem.At about the same in the Netherlands,where I live,within a short time span several private museums opened as well,including Museum Voorlinden in Wassenaar.This intrigued me even more,as the Netherlands is usually seen as a country with few high-

27、profile art collectors but with a dense network of public museums exhibiting and collecting modern and contem-porary art.I noted moreover that the opening of these museums often sparked public debate.On the one hand there were voices praising pri-vate museums,seeing them predominantly as generous ph

28、ilanthropic gestures.On the other hand,critical voices wondered what their con-tribution to the ecosystem was and pointed at the tax benefits which their founders frequently receive.I,however,was surprised by how little we actually knew about private museums.At the time,LARRYS LISTs PRIVATE ART MUSE

29、UM REPORT was the first attempt to establish some numbers about them.A number of important studies have since been published on the topic(I am thinking in particular of the two books by the two Georginas:Georgina Walkers academic The Private Collectors Museum and Georgina Adams journalistic The Rise

30、 and Rise of the Private Art Museum).But still,the only systematic overview remained LARRYS LISTs report.So when I received funding from the Dutch Research Council to do research on this topic in 2020,I reached out to LARRYS LIST.We quickly agreed that our team would update the database that they ha

31、d put together in 2015.The task turned out to be a daunting onenot just because of the global ambition which LARRYS LIST and my team at the University of Amsterdam shared,but also because not all private museums provide much information publicly.Moreover,what a private museum exactly is and how to d

32、istinguish it from e.g.,a corporate museum,a public museum,or a private foundation of some other sort,is in many cases not at all obvious.In discussing the many cases in which the members of my research team and I had doubts,we have very much benefited from the LARRYS LIST teams expertise and insigh

33、ts on this topic.Throughout the process,it has been a pleasure to work together with the team at LARRYS LIST,for which we would like to thank them warmly.Prof.Dr.Olav Velthuis,Principal Investigator,Full Professor and Department Chair of Sociology at the University of AmsterdamAmsterdam,April 2023FO

34、REWORD BY THE DEPARTMENT OF SOCIOLOGY,UNIVERSITY OF AMSTERDAMSeven years ago,LARRYS LIST published the first PRIVATE ART MUSEUM REPORT.It was a response to the importance of private art museums in the global art landscape and a nod of respect to the effort and energy invested by collectors along wit

35、h the quality of artworks displayed and the shows curated.The impact of the private museum scene,through aca-demic programs,important publications,artist residencies,and,of course,providing public access to all kinds of art,was undeniablea point that remains true to this day.Since then,the influence

36、 of privately founded contemporary art museums has continued to grow with an increasing number of institutions flourishing all around the world.In fact,since the first report was released,111 museums have opened.2 With museum openings being splashed across newspaper headlines,such as Billionaire Fra

37、nois Pinault US$170m Art Mu-seum to Open in Paris in June 2020,3 Collector Jorge Perez Already Has His Name on a Big Mi-ami Museum.Now Hes Opening One of His Own,4 and Heidi Horten Collection:Billionaires New Museum to Open as Early as Summer 2022,5 the role of the collector and their exceptional st

38、atus is still a central aspect of the private art muse-um.Their desires to share their collections with the world,educate the public,nurture artists careers beyond acquiring their work,and con-tribute to the cultural landscape of their cities and countries come to fruition in the physical(and someti

39、mes also including virtual)spaces of their museums.As with the first edition,our intention remains to conduct research on an academic and inves-tigative level and to update this vital area of knowledge about the art market by revisiting questions such as:How many private art mu-seums are there?Where

40、 are these museums located?How do they operate?We also survey the scene from the perspective of social me-dia with a particular emphasis on Instagram and the presence of private museums on the platform.First,the report investigates the global private art museum landscape.It analyses private museums

41、throughout the world by continent,country,and city and shows the historical development through the founding dates.Additionally,the private art collectionthe backbone of a private museumis examined.We also interview Kiran Nadar of Indias KiranNadarMuseum of Art(KNMA)about her journey from collector

42、to private art museum founder.Next,the study outlines the legal setup and the operation of these museums.It delivers insight into the number of employees,visitor attendance,opening times,and entrance fees.The offerings beyond the exhibition experience as well as private museums sources of income are

43、 also analysed.In the third chapter,private art museums social media is put under the microscope to uncover how these institutions represent themselves online.Continuing on from our previous research on Instagram and its evolving role in the art collecting scene,we explore the use of Instagram by pr

44、ivate art museums and rank which museums hold the most cultural clout as measured by followership sizes.Additionally,we present a comparison between the presence of Chinese private art museums on Instagram,a global platform,and Little Red Book,a local platform,to reveal a more nuanced understanding

45、of the position of these institutions on social media.In the fourth chapter,the study deep dives into the region of South Korea.Among the top three countries with the most private museums in the world,and with an expanding art scene both domestically and internationally,South Korea is positioning it

46、self as a leader in the global art ecosystem.The study explores the 2 A portion of these new institutions have since closed.Currently,98 museums have opened and stayed open since 2016 according to the current reports revised definition of private art museum.3 (14 October,2019.)Billionaire Franois Pi

47、nault US$170m Art Museum to Open in Paris in June 2020.The Value.https:/ um-bourse-de-commerce.4 Cascone,S.(27 September,2019).Collector Jorge Perez Already Has His Name on a Big Miami Museum.Now Hes Opening One of His Own.Artnet.https:/ of museums across the peninsular and their sizes,who the found

48、ers are of these institutions,and the support given to private museums by the government.To close the chapter,we leave off with an interview with Mrs.Ahn,Young Joo,the director of Museum SAN in Wonju,South Korea.Finally,the report comes to an end with an expla-nation of the methodology used to deter

49、mine what is and what is not a private museum.Our aim is not to provide a definitive definition,but rather to highlight the diversity of the scene and all of the formats in which collectors make their private art collections publicly available.Since the research offers a global perspective and museu

50、m setups differ according to regionor,perhaps more so,according to the individu-al collector,we avoided adopting a narrow perspective by placing the main emphasis on the collector and the accessibility of the public to experience the artworks physically instead of other attributes such as collection

51、 size.This methodology is a revised version of our 2016 reports definition,as proposed by the Univer-sity of Amsterdams research team,to better reflect the current situation of the private art museum landscape.As ever,we are fascinated by the role and responsibility attributed to art collectors,part

52、icularly museum founders,thus rendering them as one of the most important players in the art market.In many cases,they invest major resources and personal financial support to share their experiences,promote contemporary art,and enable public access.By revisiting the private art museum ecosystem,our

53、 updated study continues to pay tribute to such collectors and their endeavors by mapping out the landscape and shedding light on collectors engagement in the art world.5 (4 February,2022).Heidi Horten Collection:Billionaires New Museum to Open as Early as Summer 2022.Vindobona.https:/www.vindobona.

54、org/article/heidi-horten-col lection-billionaires-new-museum-to-open-as-early-as-summer-2022.9446152museums established globally within the last decade#1 Germany#2 United States#3 South Korea#4 Italy#4 Greater China There are 446 privately founded contemporary art museums in the world.The top countr

55、ies as ranked by number of private museums are Germany(60),the United States(59),and South Korea(50),followed by Greater China(30)and Italy(30).The top five countries combined are home to half of all private museums in the world.The South Korean capital,Seoul,leads the ranking with 17 museums closel

56、y followed by Berlin with 14,Beijing with 11,New York with 10,and Athens with nine.82%of all existing private museums were founded since 2000,among which 152 have been established globally within the last decade.However,only 21 of those opened between 2020 and 2022.Since 2016,when the first report w

57、as released,111 museums have opened(98 of which remain open).Half of all private art museums identify themselves as foundations.18%of private art museums are accessible by appointment only while the remaining 82%have regular opening days.One third(35%)of private art museums do not charge an entrance

58、 fee.Nine out of 10(88%)private art museums have an Instagram account.11SUMMARY OF KEY FINDINGS127#7 Miami10#4 New York7#7 BrusselsTHE GLOBAL PRIVATE ART MUSEUM LANDSCAPESeoulBerlinBeijingNew YorkAthensShanghaiBrussels GyeonggiLondonMiamiTOP 10 CITIES OF PRIVATE ART MUSEUMS GLOBALLYRANK1234567CITYNU

59、MBER OF MUSEUMS17141110987777The project website of the Department of Sociology of the University of Amsterdam,including an interactive map of private art museums worldwide,can be found athttps:/privatemuseumresearch.org/.138#6 Shanghai7#7 Gyeonggi9#5 Athens7#7 London14#2 Berlin17#1 Seoul11#3 Beijin

60、g14THE GLOBALPRIVATE ART MUSEUM LANDSCAPEGEOGRAPHIC ALLOCATION OF PRIVATE ART MUSEUMS GLOBALLYIn this section,private art museums are geographically categorized according to their physical location;the founding collectors place of residence and/or nationality are not factored.The geographic analyses

61、 are broken down into three levels:the continent,the country,and the city.CONTINENT ALLOCATIONThe largest number of private art museums in the worldexactly halfare found in Europe.Asia takes second place with 24%of global private museums,and North America comes third with 15%.Regions with fewer priv

62、ate museums include the Middle East and Latin America and the Caribbean with 4%each,and Africa and Oceania with less than 2%each.Europes leading position can be attributed to its long-held tradition of private initiatives and private exhibition spaces among many of the countries in the region dating

63、 back to the Renaissance.Starting with the Medicis in Italy in the 15th century,then the“Wunderkammer”in 17th-century Germany,private museums in Europe have been important pioneers for the development of the museum itself.More than just a tradition,European art collectors continue to publicly exhibi

64、t their art collections,with some 222 private museums situated across the continent.Asia takes second place over North America even though the trend of opening private museums in this part of the world only began toward the end of the 20th century.Sustaining the trend from the previous decade,the nu

65、mber of private museums in Asia has been growing continuously in recent years with 46 openings since 2010,which is just about half of all currently operating private art museums CONTINENT ALLOCATION OF PRIVATE ART MUSEUMS2%Oceania2%Africa4%North America50%Europe24%Asia15%Middle East4%Latin America a

66、nd the Caribbean 15across the continent.The increasing number of museums may be partly explained by the lack of contemporary public art museums in the region;private museums fill in the gap left in the public sphere.This explanation is likely also applicable to the Middle East and Africa,where 26 pr

67、ivate museums in total open their doors to the public.TOP 10 COUNTRIES OF PRIVATE ART MUSEUMS GLOBALLYFocusing on the national level,we found private art museums located in 59 countries.Most nations24 to be exacthave just one private museum while 69%have five or less museums.17%are home to between s

68、ix and 10 venues.Only 15%have over 10 museums while only 5%have more than 40.Of those 59 countries with museums,Germany and the United States rival for the top position for the most private art museumstotalling 60 and 59 museums respectivelywith South Ko-rea coming in third with 50 private art museu

69、ms.Greater China and Italy follow with 30 museums each.These top five countries combined are home to half of all private museums in the world.Germany,the United States,and Italy all have long art-collecting traditions and museum her-itages.As such,their positions at the top of the ranking are unsurp

70、rising.China is a newcomer to the contemporary art scene,which only took off after the turn of the millennium with the first private museum opening its doors in 2002.How-ever,due to the sheer size of Chinas art market,its ranking should also come as no surprise.For a discussion of South Koreas priva

71、te art museum scene,see the fourth chapter,Country Focus:South Korea.Notably,the majority of the nations in the top 10 are European with only three Asian countries(South Korea,Greater China,and Japan),the US,and Brazil from outside the region.So,while private museums can be found around the world,th

72、ey are heavily concentrated in just a few places.TOP 10 CITIES OF PRIVATE ART MUSEUMS GLOBALLYSouth Koreas capital,Seoul,leads the city ranking with the highest total number of pri-vate art museums:17.6 Spaces like the Savina Museum have helped bring contemporary art closer to the public since the 1

73、990s.Seoul is fol-lowed by art-collector hubs Berlin and Beijing,taking second and third place with 14 and 11 institutions respectively.The German capital is home to acclaimed venues such as The Feuer-le Collection by Dsir Feuerle and Sara Puig,rendering Berlin as an attractive city for artists to m

74、ove to and as a stellar place for collectors in Germany to build their private museums.Latest additions include Fluentum by Markus Hannebauer,which opened in 2019.New York takes the fourth position with 10 private muse-ums,followed by Athens in fifth place with nine museums.The top 10 cities are fou

75、nd mostly in Europe and Asia with four cities from each continent making the ranking.The remaining two cities are from North America.Despite a global reputation as a trending hotspot for art,no Middle Eastern city is featured.The low position of London on this list is assumedly due to high rent and

76、a chronic lack of available spaces.Los Angeles,which plays an important role in the art world,does not make the ranking as it is home to only two private museums:Frederick R.Weisman Art Foundation,which opened in 1982,and The Broad,which opened in 2015.Looking at the representation of the top five c

77、ountries in the top cities ranking,two US cities,two South Korean cities,and two Chinese cities 6 This figure does not include the museums in the areas adjacent to Seoul that form the Seoul Capital Area.TheFeuerle Collection,Berlin,Germany1859MUSEUMS#2 UNITED STATESTOP 10 COUNTRIES OF PRIVATE ART MU

78、SEUMS GLOBALLYGermany USASouth KoreaGreater ChinaItalySpainFranceBelgiumSwitzerlandGreeceJapanTOP 10 COUNTRIES OF PRIVATE ART MUSEUMS GLOBALLYRANK123467810COUNTRYNUMBER OF MUSEUMS60595030302119111110101950MUSEUMS#3 SOUTH KOREA11MUSEUMS#8 SWITZERLAND11MUSEUMS#8 BELGIUM21MUSEUMS#6 SPAIN60MUSEUMS#1 GER

79、MANY19MUSEUMS#7 FRANCE30MUSEUMS#4 ITALY10MUSEUMS#10 GREECE30MUSEUMS#4 GREATER CHINA10MUSEUMS#10 JAPAN207 The numbers discussed here do not account for private art museums which have since closed.8 It is very likely that the global pandemic played a crucial role in this steep decline.We may see a res

80、urgence of openings as economies recover and the global health situation improves.are featured in the top 10 whereas only one German city makes the ranking despite being home to the most private museums in the world.No Italian cities rank.This demonstrates that,aside from a few heavily populated pla

81、ces,the private museum landscape is not just spread out on a global scale but also locally with a nations museums typically being found in multiple cities rather than concentrated in just one core art hub.For example,the presence of private museums is well spread across South Korea with multiple mus

82、eums in Seoul,Gyeonggi,Jeon-nam,Gwangju,and Jeju Island.FOUNDING YEAR OF PRIVATE ART MUSEUMS82%of all existing private museums were founded between 2000 and 2022,and 197 private museums were built during the 2010s accounting for 45%of all existing ones.7 The peak year for museum openings was 2011 wi

83、th 29 new museums,followed by 2017 with 24 openings.In the last couple of years,this trend has slowed down as only 21 private museums were established between 2020 and 2022.8 11%of museums were founded in the 1990s and 5%between 1970 and 1989.Seven existing museums were established during the 1960s.

84、The statistics regarding the founding year of private museums indicate a large trend of private exhibition spaces opening after the turn of the millennium.In Asian countries especially,the number of private museums has been burgeoning in recent decades,with 75%of museums in Asia built since 2000.Tha

85、t said,it should be noted that the small numbers of museums founded before 1990 reflect the limitations of the data;only museums governed by living collectors or managed by the heirs of the founder are considered.FOUNDING YEAR OF PRIVATE ART MUSEUMS 2%5%11%33%45%5%2020s2000s2010s1990s1970-1980s1960s

86、21GROWTH RATE OF NEW PRIVATE ART MUSEUMSIn the 2016 PRIVATE ART MUSEUM REPORT,we made a number of predictions about the expected growth of the private art museum scene based upon our findings.We believed that there would be a dynamic development in new museum setups in China and the Middle East.In t

87、erms of the rate of increase rather than absolute numbers,that appears to have been an accurate assumption.Since 2016,eight new museums have opened in Mainland China,representing an increase in private museums of 40%,while five have opened in the Middle East making a 38%increase.In contrast,Germanys

88、 private museum sector increased by 33%with 15 new museums,the United States increased by 31%with 14 new museums,Italy increased by 27%with six new museums,and South Korea increased by 12%with five new museums.9NUMBER OF ARTWORKS IN COLLECTION49%of private museum collections include 500 or less artw

89、orks,while 29%consist of more than 1,500 works.22%of the collections comprise of between 501 and 1,500 pieces.The James Turrell Museum in Salta,Argentina,which was founded by the Hess Art Collection,has the smallest collection in this dataset counting only nine works while the largest collection siz

90、e belongs to Germanys Museum Wrth.Spread over three museums and a number of other gallery spaces,founder Reinhold Wrth has amassed 18,300 pieces of artpredominantly paintings and sculptures10that span from the late Middle Ages all the way to the 21st century and include names such as Georg Baselitz,

91、Fernando Botero,David Hockney,Alex Katz,Tony Cragg,and Antony Gormley.NUMBER OF ARTWORKS IN PRIVATE ART MUSEUMS COLLECTIONS22%501 to 1,50049%500 or less29%1,501 or more12%27%33%31%38%40%Mainland ChinaMiddle EastGermanyUnited StatesItalySouth KoreaRATE OF GROWTH OF PRIVATE ART MUSEUMS SINCE 20169 It

92、should be noted that these numbers are calculated with our updated definition of what a private art museum is,and the results may vary using the setcriteria for private art museum status from the previous report.10 Not all are pieces of contemporary art.Kiran NadarINTERVIEW WITH KIRAN NADARName:Kira

93、n Nadar Position:Museum founderLocation:New Delhi and Noida,IndiaMuseum name:KiranNadarMuseum of Art(KNMA)Founding year of the museum:2010Interests:Modern and contemporary Indian artArtists collected:M.F.Hussain,S.H.Raza,Raja Ravi Varma,F.N.Souza,Tyeb Mehta,Rameshwar BrootaOpened in 2010,KNMA was th

94、e first private museum of modern and contemporary art in India.Why did you decide to set up a museum like this?I had initially started collecting to decorate our home but was quickly taken by the lives of art-ists and the community surrounding them.The house began to overflow with artworks,and it di

95、d not feel appropriate to keep them hidden in storage.My husband and I,who already had a history of philanthropic projects,identified an institutional gap across India,and that is how KNMA came to be.It felt like the natural next step to pursue this for the local art scene.Your museum has two locati

96、onsNew Delhi and Noida.Why did you choose these two cit-ies for opening your museum?The museum first opened in Noida at the Hindu-stan Computers Limited campus.New Delhi and Noida are both our homes and the cities where we could most authentically make an impact by making art easily accessible where

97、 people come most often.The cities themselves being buzzing and populous ensure the collection to have an immense reach.Now the museum collection comprises of over 8,000 artworks.How has the collection grown and evolved since the opening of the private museums?The collection continues to grow to fil

98、l gaps so that it best reflects the narrative of our cultural heritage.It is very different between collecting for a personal collection and an institutional col-lection.It is not about pursuing personal taste;rather it is about strategically considering what makes sense for the mission of the colle

99、ction.When I first started collecting,I was very focused on artworks by the Bombay Progressives and 232425The collection continues to grow to fill gaps so that it best reflects the narrative of our cultural heritage.It is very different between collecting for a personal collection and an institution

100、al collection.the following generations,but the collection has since evolved to feature historic works and 19th century masters,such as Raja Ravi Varma.Audience building is one of the emphases of your museum,ensuring accessibility to art and nurturing a museum-going culture among In-dian youth.In wh

101、at ways does your museum achieve this?The museum has a very diverse program with a dedication to education and inspiring appreciation for art.Year-round,KNMA hosts symposiums and lectures for industry experts and students,as well as creative workshops for young families,film screenings,and musical p

102、erformances.The museum actively seeks to increase the participation of the local community into the art world through activities arranged within and outside the gallery setting and hopes to include the socially,economically and,physically excluded population through these programs.What kind of evolu

103、tion have you observed among your audience between the early years of the museum and nowadays?Slow yet steady change in peoples attitudes to the idea of an art museum.Eleven years ago,when KNMA was an infant,it was difficult for us to persuade schools to send their children to an art museum;but,toda

104、y,people are more willing and enthusiastic.Your museum has collaborated with various international institutions.What are the chal-lenges and benefits with these collaborations?And what is next?We have collaborated with institutions ranging from the Venice Biennale by supporting the In-dian Pavilion

105、in 2019,to the Sharjah Art Founda-tion in the UAE,the Public Art Fund in New York,and more recently,Nasreen Mohamedi at the MET Breuer in New Yorkthe first museum retro-spective of the artists work in the United States.Currently on view in Central Park is a large-scale installation by Bharti Kher,An

106、cestors,which is part of the KNMA collection and will eventually be permanently installed in the new museum that we currently building.These collaborations help showcase the Indian art scene internationally and invite dialogues to take place.How many exhibitions do you organize every year?How much a

107、re you involved in curating the exhibitions?Roobina Karode is the director and chief curator at KNMA.Since the museums inception in 2010,she has been behind several of our biggest ex-hibitions.KNMA hosts anywhere from 10 to 12 exhibitions per year.25When did the museum also begin to stage on-line ex

108、hibitions and virtual tours?Initially,our virtual programming was a response to the pandemic to ensure the collection was accessible to the public,nationally and interna-tionally,during lockdowns.Now,we continue to make all our exhibitions virtually available to en-sure KNMA remains inclusive.What d

109、o you think about virtual museums?Virtual initiatives are important for a wide range of applications.As well as making the collection available to a public that may not be able to visit in person,it is also a valuable research tool for cultural practitioners as an ar-chive of past exhibitions.What d

110、o you think the role of a private muse-um is in our world nowadays?In the case of KNMA,we fill a gap that the govern-ment currently does not have the resources to.We preserve cultural heritage and work to inspire current and future generations to appreciate art.Private museums certainly have a role

111、to play as museums worldwide are facing funding challeng-es.Of course,it is important that they have a clear public mission that is not centered primarily on the collecting interest of their founder.You are also building a new Sir David Adjaye OBE-designed private art museum in New Delhi.What specia

112、l features of this new space should we watch out for?We are excited to be working with Sir David Adjaye OBE.A visionary architect,he has a demonstrated history of designing purpose-built cultural centers and is sensitive to the needs and context of the new museum.Set across a wide campus,key feature

113、s will include a dedicated space for the collection,a home for Indias philharmonic,and outdoor area for large-scale installations.While ground has already been broken,the scale of the project is large,and we are still a few years from opening our doors to the public.More will be shared in due course

114、.What is the vision for your museum in the next 10 years?The construction of the new museum is already quite an undertaking for the next few years.It is our intention for it to become the leading destination to engage with Indias rich cultural heritage and contemporary art scene in a meaningful way.

115、The scale of the new museum will also enable us to broaden our commitment to culture,including music,performance,theater,and more.In the meanwhile,we will continue to nurture our existing community that has grown across our current spaces in Noida and central New Delhi.26LEGAL SETUPGenerally,private

116、 art museums are set up either under one or more individuals known as private collectors or under a foundation.A foundation refers to a legal entity that qualifies for various legal advantages.Like the concept of private art museum,there is no global standard definition for a foundation,and so diffe

117、rent localities set different qualifying criteria and provide different benefits for those that do qualify.As a whole organization,foundations are typically still connected to a private individual,considering that they are under the founders name and injected with the collectors initial funding.In m

118、any cases,collectors will consider transforming their private art museums into a foundation.This can help them to establish a museum as an independent institution as well as set it up for the long term.Additionally,a foundation can receive tax benefits in various countries.Another reason why collect

119、ors might prefer their institution to be a non-profit organization is that they want to clearly differentiate themselves from galleries and other commercial organizations.Statistics from our research reveal that half of the museums identify themselves as foundations.The inclination to favor the foun

120、dation setup is more evident in Western countries,such as in Spain,the United States,Italy,and France.In contrast,only 22%of private art museums in South Korea are operating as foundations and just 14%in Mainland China.NUMBER OF EMPLOYEESThe data collected regarding the number of employees in privat

121、e art museums indicates that 51%of private museums have 10 or fewer employees,while 28%operate with a headcount of five or less.One quarter of the museums have 11 to 20 employees while 13%hire 21 to 40 people,and only 10%have a staff size of over 40.Almost all the private art museums that have fewer

122、 than five staff members are in Europe or the United States,revealing that although these two regions have many private art museums,the setups tend to smaller rather than large in scale.More than half of the private museums in Asia have 11 to 20 employees.Museums with the largest staff sizesover 40

123、employeescan be found in various countries:from the United States,Greece,Lithuania,and Trkiye to Brazil,Argentina,South Africa,and Indonesia.VISITOR NUMBERSOnly a few museums make information regard-ing annual visitor numbers publicly available.As such,making a meaningful analysis or draw-ing conclu

124、sions about the overall global private art museum scene is not possible for this cate-gory of inquiry.However,it is safe to say that some of the most visited private museums in-clude The Broad in the United States,Saatchi Gallery in the United Kingdom,Museum Voor-linden in the Netherlands,Museum Fri

125、eder Bur-da in Germany,Museum SAN in South Korea,and Zeitz Museum of Contemporary Art Africa in South Africa,all of which receive over 100,000 visitors annually.Interestingly,these numbers do not necessarily correlate to museums with the highest social media followerships or visibil-ity online.While

126、 Saatchi Gallery has 2.1 million THE PRIVATE ART MUSEUM SETUP AND OPERATION27Instagram followers,Museum Frieder Burda has a drastically smaller account with 14.8k followers.OPENING DAYSAt 82%,the majority of private museums have regular opening hours,which breaks down as 61%of private museums open f

127、ive or more days every week,and 21%open one to four days per week.18%are accessible by appointment only,which is a more favored model in the US and Europe(particularly in Germany and Italy).ENTRANCE FEES35%of private art museums do not charge an entrance fee.17%of the museums charge 5 or less,22%bet

128、ween 6 to 10,and 25%have an entrance fee of more than 10 with just 2%charging over 20.The considerable segment of private art museums that provide free entry often do so with the aim of making the museum as widely accessible as possible.On the other hand,most private art museums that charge entrance

129、 fees also support accessibility by differentiating the prices,thus providing concessions to students and free admission to seniors and children.PROGRAMS AND OFFERINGSAround 84%of private art museums provide additional offerings,services,programs,and projects alongside the exhibition-visiting expe-r

130、ience.Many of these activities can be linked to collectors key motivations for founding a pri-vate museum.Private museum founders often have the mission to educate the public and to NUMBER OF EMPLOYEES IN PRIVATE ART MUSEUMS1 510%13%26%28%23%6 1011 2021 40More than 40Number of Employees12-45-67By ap

131、pointment onlyNUMBER OF DAYS PER WEEK PRIVATE ART MUSEUMS ARE OPEN18%11%50%1%20%Number of Opening DaysThe Twist,Kistefos Museum,Jevnaker,Norway29support the artists in their collection beyond col-lecting their works.Many private museums offer guided tours and public talks with some also of-fering ar

132、tist-in-residence programs.Some have even established their own awards and grants for artists or art critics.Many museums also host performances and screenings.The purpose of many private museums thus becomes not only to provide a physical space for showing their col-lections,but also to demonstrate

133、 the collectors philanthropic missions to support artistic devel-opment and strengthen the local art scene.BUDGETING,FUNDING AND REVENUE MODELSBudgeting can be one of the most challenging aspects to overcome when opening a private museum,often coming down to a matter of the collectors private resour

134、ces and/or personal re-sourcefulness.Private museums typical sources of income can be categorized into four key clusters:the founders resources,self-generated income,contributions from donors,and direct govern-ment subsidies.Most museum founders use their own resources as their primary source of fun

135、ding for the initial setup as well as for cover-ing the continuing costs of operating a museum.Some museums also rely on self-generated in-come to varying degrees.Self-generated income typically consists of entrance fees,shops,food and beverage outlets,or venue hire.33%of private art museums have a

136、cafe or restaurant,and 30%have a museum shop or bookshop.In contrast,a slim 6%of museums have a private donor program,and just 4%receive government subsidies as a source of income.11 These figures are based on the standard adult entrance fee ticket price.All entrance fee prices have been converted t

137、o Euro using the exchange rates listed on www.XE.com obtained during the period of data collection.PRIVATE ART MUSEUMS ENTRANCE FEE PRICES 111 5 Euro35%2%23%18%22%6 10 Euro11 20 EuroMore than 20 EuroFree admissionPrice of Entrance Fee30Hosting exhibitions and presenting public pro-grams are crucial

138、goals for private museums,and,increasingly,the marketing strategies and communication channels through which such events are communicated and advertised have become key to success.In particular,social me-dia has developed into an essential marketing tool for private museums,and the art world more br

139、oadly,with art creators and consumers coming together on such platformsmost no-tably,Instagramto find,support,and connect with one another free of any physical boundary or time constraint.12 Visitors now learn about museums and their exhibitions through Insta-gram posts,YouTube and TikTok videos,and

140、 LinkedIn reviews and articles,often basing de-cisions to visit on user-generated content as well as official museum content.For this reason,public institutions and private museums alike have invested in their online presence to increase their digital influence,keep their audiences engaged and up to

141、 date on the latest happenings as well attract new visitors.This has involved adapting their narratives to pursue a more engaging and attractive commu-nication strategy and making the online public an active part of the museum experience.The audience have become dominant contributors to the conversa

142、tion,transmitting and converting the message as images,videos,and text via posts,stories,and reels.Moreover,as social media tran-scends geographical boundaries and restrictive opening hours,by going online,museums are now able to reach new audiences around the globe to expand their cultural clout an

143、d relevancy.One of the main channels through which muse-ums can achieve this is Instagram.13 As such and following on from our previous research on social media in the art collector space,we explore the use of Instagram by private art museums and re-veal which museums have the largest followings and

144、 therefore greatest visibility online.12 Bennett,J.and Serwart,J.(2022).The Art Collector Instagram Attention Report.LARRYS LIST Ltd.https:/ Instagram is one of the largest social media platforms in the world with 1.21 billion monthly active global users in 2022.Dixon,S.(Feb 15,2023).Number of Insta

145、gram users worldwide from 2020 to 2025.Statista.https:/ this dataset,there are a number of museums that are incorporated into a wider brands Ins-tagram account,such as donumestate which represents The Donum Estate sculpture park,vineyard,and farm.In these cases,we consider the museum to have an acco

146、unt if some upload-ed content is about the collection.PRIVATE ART MUSEUMS ON INSTAGRAM:GLOBAL ANALYSISThe majority of private art museums88%have an Instagram account.Of those accounts,most are small with 45%having 5,000 or less follow-ers and 29%having between 5,001 and 20,000.Only 15%can boast of h

147、aving between 20,001 and 50,000 followers.From here,the percentag-es become minimal with just 5%having 50,001 to 100,000 followers and 6%having 100,001 to 500,000.Less than 2%can claim to have a follow-ership exceeding 500,000.THE GLOBAL TOP 10 MOST FOLLOWED PRIVATE ART MUSEUMS ON INSTAGRAMThe top 1

148、0 ranking of the most followed private art museums from around the world reveals which museums have the largest audiences.Taking the lead position by far is the UKs Saatchi Gallery with more than 2.1 million Instagram followers,followed in second place by Brazilian private museum MALBA with 607k fol

149、lowers,and coming in third is the Italian Fondazione Prada with 493k followers.The top 10 ranking is rather democratic in its geographical distribution with nations repre-senting almost all the continents.There are four private museums from Europe including Saatchi Gallery in the United Kingdom,Fond

150、a-zione Prada in Italy,Fondation Louis Vuitton in France,and Garage Museum of Contemporary Art in Russia.MALBA in Argentina and Instituto Inhotim and IMS in Brazil make three from Latin THE PRESENCE OF PRIVATE ART MUSEUMS ON SOCIAL MEDIA31THE GLOBAL TOP 10 MOST FOLLOWED PRIVATE ART MUSEUMS ON INSTAG

151、RAMNAMELOCATIONRANK1 2 3 4 5 6 7 8 9 10 FOLLOWERS2.1M607k493k408k394k393k271k231k222k221kSaatchi GalleryMuseo de Arte Latinoamericano de Buenos Aires(MALBA)Fondazione PradaThe BroadInstituto InhotimFondation Louis VuittonInstituto Moreira Salles(IMS)Pera MzesiGarage Museum of Contemporary ArtMori Ar

152、t MuseumINSTAGRAM HANDLEsaatchi_gallerymuseomalbafondazionepradathebroadmuseuminhotimfondationlvimoreirasallesperamuzesigaragemcamoriartmuseumLondonBuenos AiresMilan and VeniceLos AngelesBrumadinhoParisRio de Janeiro,So Paulo,and Poos de Caldas IstanbulMoscowTokyoNUMBER OF INSTAGRAM FOLLOWERS OF GLOBAL PRIVATE ART MUSEUM ACCOUNTS5,000 or less6%