As mentioned before, the British Museum enjoys pointing out that only in London can the Elgin Marbles be seen free of charge. This fact does of course rely on the huge subsidies by the British government, something that is getting more & more problematic in the face of other cutbacks in public spending.

From:
The Art Newspaper

Ten years of free entry, but can it last?
Why the political gain in the United Kingdom outweighs the economic cost
By Javier Pes. Museums, Issue 232, February 2012
Published online: 01 February 2012

Maintaining free entry to the UK’s national museums, as the secretary of state for culture Jeremy Hunt blogged in December on the tenth anniversary of its introduction, doesn’t come cheap: it costs around £44m a year to maintain free admission to national museums that previously charged, or around £354m in total since 1999. And yet he is happy to support it.

Why is the government backing a scheme launched in 2001 by the Labour government it routinely criticises for free-spending? The coalition is committed to reducing the country’s budget deficit, which peaked at more than 10% of gross domestic product before it came to power in 2010. Yet universal free entry, which Scotland and Wales also introduced in 2001, seems sacrosanct even though cutting the deficit is one of the coalition government’s mantras.
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Three new books present contrasting views on the purpose of museums today. The reality is that this is the kind of argument with no right or wrong answer, but all of the different voices merit consideration.

From:
The Art Newspaper

What are museums for?
Three highly contrasting views reflecting current debates and controversies in policy and practice
By Maurice Davies | From issue 224, May 2011
Published online 24 May 11 (Books)

People hold strong opinions about museums. Some assert that their ­primary function should be scholarship, others insist that it’s more important to communicate with a wide audience. In pursuing either of these goals, should museums focus on exploring objects or investigating their contexts—are they about looking at things or telling stories? Adding to the debate, there’s lingering anxiety about relativism; some commentators (and probably many visitors) think museums should strive to be objective, others relish a variety of views.

It has become a cliché to say that museums are today’s churches—special places for contemplation, separate from day-to-day concerns; conversely, there’s an argument that museums should aim to be commonplace, part of normal life. It is intriguing that museums were once talked of as places that reinforced cultural hegemonies, but now they are more often seen as democratising access to art, and even as politically correct when they attempt to include groups formerly omitted from history. While some believe museums have changed far too much, others think they haven’t been transformed enough. The books reviewed here reveal differing views about the role of museums.
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Cleaning controversies regarding poor attempts to restore artefacts are not new – the Parthenon Marbles attracted similar attention based on problems caused by the treatment of the sculptures in the 1930s.

from:
The Art Newspaper

European treatment harms African works?
Questions are being raised about a protective coating applied to Ife sculptures
By Martin Bailey | From issue 223, April 2010

LONDON. African art specialists are questioning the recent conservation of Ife sculptures in Madrid in preparation for an international touring exhibition. They are concerned that Spanish conservators applied an inappropriate coating intended to protect the sculptures during the tour and after they are returned to Nigeria, and might even have removed ancient surface patina.

John Picton, a professor at the University of London’s School of Oriental and African Studies and former deputy director of the National Museum in Lagos, says that the ancient brass heads have developed “a shiny surface”. Other specialists have also expressed concerns about the treatment by conservators at the Instituto del Patrimonio Cultural de España (Spanish Cultural Heritage Institute).
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More coverage of the return of a manuscript from the British Library to Benevento in Italy. The return was made possible by new laws allowing the return of items looted during the Nazi era.

From:
The Art Newspaper

Benevento Missal returns home
Sixty-five years after the end of the second world war, the precious manuscript is the first item of Nazi-era loot to be returned by a UK national museum
By Martin Bailey | Web only
Published online 24 Nov 10 (News)

BENEVENTO, ITALY. Laureato Maio, the 84-year-old cathedral librarian, lifted the early 12th-century missal from its box, and brought it to his lips. He closed his eyes and kissed the bound codex for a full minute, deep in thought. On 11 November, 65 years after the end of the World War II, the precious manuscript from Benevento (near Naples) became the first item of Nazi-era loot to be returned by a UK national museum, in this case the British Library.

Maio is the 49th librarian at Benevento Cathedral since records began, in the year 998. He remembers the chapter library in the late 1930s, in his early teens, and as a young seminary student he witnessed the terrible destruction wrought on his city by allied bombing in 1943. The cathedral was almost totally destroyed, but its manuscripts were saved. However, soon afterwards one of the early codices disappeared: a missal written in Benevento’s unique script soon after 1100.
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When asked about returning the Parthenon Marbles, the British Museum likes to fall back on the arument that they couldn’t do so without a change in the law – making it a matter for the government. Yet at the same time, the government indicates that the issue is one for the trustees of the British Museum.

The government would like you to believe that the British Museum is entirely independent of government – the reality though is that the two are closely tied together – seeing the British Museum as a completely separate entity that is in complete control of all decisions is an inaccurate understanding of things. This is evidenced here, by the fact that (for whatever peculiar reasons) the British Museum can’t access large amounts of its own money because it is being with held by the government.

From:
The Art Newspaper

Treasury withholds museum donations
British Museum is denied access to £42.5m of its own cash
By Martin Bailey | From issue 218, November 2010
Published online 5 Nov 10 (News)

LONDON. UK national museums, including the British Museum and the National Gallery, have found it difficult to access over £50m donated by philanthropists, because of Treasury regulations. These are funds from donations and bequests which went into museums’ financial reserves and later fell under government control.

The scale of the potential problem is enormous, since the reserves for all national museums total £285m. The museums have not publicised the difficulty, fearing that this might rock the boat during delicate discussions with government.
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Two different people both seem to be advocating that loans of artefacts between museum are the way of the future. in the case of the British Museum however, this is always something that is done very much on their terms – they won’t countenance any sort of longer term loaning. It buys them some sympathy, when they can tell people how much of their collection has been lent out – but in most cases these loans are made for less than a year. MacGregor seems to like the idea of sharing to nearby museums – actually allowing the original owners of the artefacts to see them again in their own country is clearly a more contentious issue however.

The second article sees lending in far more equitable terms – partly as a way of helping museums to deal with an art market inflated by wealthy private collectors.

From:
Museums Association

MacGregor – Museums can be Lending Libraries
Rebecca Atkinson
05/10/2010 international level

Neil MacGregor, director of the British Museum (BM), has called for national museums to be seen as “lending libraries” from which partner museums can borrow objects to use as they wish.

Speaking at the Museums Association conference, MacGregor discussed the History of the World in 100 Objects collaboration between the BM, the BBC and regional museums.
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The New Acropolis Museum has taken a long time to get to this stage, but many in Greece seem desperate to stop it from being built at all, despite the fact that the proper procedures have been followed & that the building has been deliberately designed to avoid disturbing the archaeological remains below.

From:
Athens News

FRIDAY , 23 MAY 2003
No. 13015
Acropolis Museum builders unfazed by imminent court ruling
JOHN HADOULIS

PROTESTERS opposed to the construction of Athens’ new Acropolis Museum in an area rife with archaeological remains have reportedly won a legal battle in their campaign to halt the project, but Greek media indicate that a final court decision on the issue could take months.

Reports on May 19 said that the Council of State sided with residents of Makriyianni – the area selected for the new museum at the foot of the Acropolis – who claim that the building’s foundations will damage a valuable housing complex dating from the Classical to the early Christian era.
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The declaration on “Universal Museums” has been met with trepidation by many, who think that it exhibits an out of date approach to cultural property & international diplomacy.

From:
The Art Newspaper

“A George Bush approach to international relations”
ICOM and lobby groups react with hostility to appeal by leading museum directors to view collections acquired in earlier times as important to “universal museums”
By Martin Bailey

LONDON. In our January issue we published the declaration on “universal museums”, signed by the directors of more than 30 of the world’s greatest museums. These included the British Museum, the Metropolitan Museum of Art, the Louvre, the Hermitage, the Berlin State Museums and the Rijksmuseum (The Art Newspaper, no. 132, January 2003, pp.1,6).

The statement argued that “objects acquired in earlier times must be viewed in the light of different sensitivities and values, reflective of that earlier era.” Despite demands for repatriation, the directors stressed the importance of the “universal museum”, where world culture is on display.
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