What came to my mind -- and I am sure I am missing steps -- is that first, they come up with a theme. Next, they start researching museums and private collections that have pieces they might include. Continuing, they request permission to use the pieces in the respective collections or museum. And onward, they collaborate with other museums and corporate sponsors to underwrite transit, insurance, packaging (including just what immediately springs to mind). The pieces usually are together and moved to different museums as a unit -- this show was at the Musee D'Orsay in Paris, the Met in NYC, and will wind up on September 29th here in Chicago -- and they will no doubt never be together again. Finally, the works need to be shipped back to where they belong.
What a lot of work! And worth it.
I've been to the National Gallery in London when they've borrowed a single painting from a museum and advertised and raised a lot of excitement about just the single painting. People flocked to see it because it may never again be out of the owner museum or private collection. They flock there because art is often thrilling and satisfies an emptiness within our hearts, brains, and souls.
And while we were there, "Oh, say, do you mind if we go see the modelo of 'Flamingo'?" A guard is consulted, "Might you please tell us where the Calder is? The one like the big one in Federal Plaza?" "You mean the red one?" "Yes, that's the one." Directions and thanks are exchanged and then, there is the Flamingo modelo, here for your viewing pleasure and mine as well.
|There it is! Not in the Post Office basement at all!|
|Panorama just makes it more awesome and the base seem curvy/bent|