INDUSTRY INSIGHT
The Business of
THE ARTS By Meaghan Branham
Creating and Consuming Culture in a Pandemic
I
n the 1400s, as Italy emerged from a time of uncertainty and fear brought on by the devastation of the plague, people found themselves seeking comfort in art, which allowed them to revel in celebrations and contemplations of life. That period became known as the Renaissance. Some predict a similar transformation in our own world in the coming years.
That prediction may not be too far off. In the past year, people found themselves dealing with anxiety, uncertainty and stress, and many had more time than usual on their hands. People dove into new hobbies, new ways to express themselves or new ways to keep busy in the midst of a global trauma. They turned to sewing, knitting, painting, interior decorating, music, photography and many other activities. There’s science to back up that urge to create: According to a 2016 study at Drexel University, just 45 minutes of making art can significantly lower levels of cortisol, a hormone made in response to danger — or to the stress of, say, a global pandemic. That we need the arts should never be called into question, especially after a year when so many of us found solace in them. The question should be, how have the arts been hit hardest, how can we help them, and what will they look like moving forward? Here, we’ll take a
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look at some of the hardest-hit sectors of the arts and what COVID-19 changed for them.
Museums
The world of art galleries, museums and art fairs faced an especially difficult challenge in the past year. Some estimates paint a grim picture of their future, predicting that roughly one-third of U.S. museums may have to permanently close their doors as a result of the pandemic. But it’s not all bad news, and most of our art sanctuaries aren’t going out without a fight. Even while closed, Central Florida’s museums and galleries pivoted quickly. Institutions like the Cornell Fine Arts Museum at Rollins College, the Albin Polasek Museum & Sculpture Gardens and the Charles Hosmer Morse Museum of American Art, all in Winter Park, began offering virtual tours or transferring their audio tours online. The Orlando Museum of Art started its #MuseumFromHome program, offering materials online like printables and virtual discussions with artists to allow patrons a new version of an immersive experience. Outdoor spaces with exhibits like Leu Gardens implemented social distancing and mask requirements. It proved effective, with many people more than willing to show up. From the comfort of their homes, they explored the halls of museums with the same
MEAGHAN BRANHAM is the managing editor for i4 Business, where she oversees the company’s digital media strategy, handles client relationship marketing for the print and digital magazines, and serves as one of the lead writers.
