In recent developments, the De Pere Cultural Foundation has initiated legal action against Exhibits Development Group (EDG), a St. Paul-based company that specializes in traveling exhibitions. The lawsuit, filed in a Wisconsin court last month, accuses EDG of repeatedly breaching its contract to produce exhibitions on topics like the Beatles, the Grammy Awards, dinosaurs, and Lego for the Mulva Cultural Center. EDG is known for curating traveling art exhibitions featuring works by renowned artists such as Rembrandt, Picasso, Joan Miró, Edgar Degas, and Marc Chagall, among others.
The foundation claims that EDG “could not live up to its promises” and failed to secure artifacts for the dinosaur exhibition, citing unspecified “terrorist attacks in the Middle East” as the cause. The foundation is seeking at least $1.4 million in damages.
While the lawsuit remains unresolved, it brings to the forefront the burgeoning yet underexplored business of traveling exhibition companies, a vital component for smaller and regional museums.
The lawsuit traveling exhibition companies like EDG have become indispensable for museums with limited resources, offering access to exhibitions that might otherwise be too costly or complex to produce independently. One such company, Curatorial, was founded in 1988 by CEO Graham Howe, focusing primarily on photography shows due to their ease of transport. Curatorial now operates both for-profit and nonprofit arms, providing services that range from facilitating museum-originated shows to staging independent exhibitions and collaborating with artists and estates.
“We’re offering an economical, shared cost model that represents a better deal than they would have if they were doing it themselves,” said Phillip Prodger, Curatorial’s executive director. “Museums, particularly small museums with limited resources, have access to collections that they may not have access to on their own.”
Graham Howe added, “There’s always been a fundamental truth about art museums and museums in general: they’re always squeezed. They always need to do more programming for less money, and that’s a reality that we responded to.”
With around 500 to 600 of the 35,000 museums in the United States capable of hosting traveling exhibitions, mid-size science museums and institutions without permanent collections, like the Mulva Cultural Center, are the most frequent clients. These institutions often rely on companies like EDG and Landau Traveling Exhibitions for “turnkey” shows. The costs for these exhibitions can vary widely, with Landau charging between $20,000 to $100,000 for a three-month run, depending on the rarity and importance of the items and the complexity of the logistics.
“A lot of the ones we deal with come either from one or a limited number of sources, like one museum, one private collection, or one foundation,” said Jeff Landau, director of Landau Traveling Exhibitions.
Over his 35-year career, Landau has organized a diverse range of traveling exhibitions, including shows on artists like Robert Indiana, Elizabeth Catlett, and David Hockney.
Exhibition Hub, a Brussels-based company founded in 2015, has recently concentrated on digital art and immersive exhibitions, such as “Van Gogh: The Immersive Experience.” According to John Zaller, the company’s US executive producer, these highly commercial exhibitions attract visitors who might not typically visit a museum. “But then when they come, they say, ‘Wow, I really like this museum. I think I’m going to become a member,'” Zaller said.
As the demand for traveling exhibitions grows, so do the challenges. The lawsuit, which raised costs for shipping, crating, and other logistical aspects, has placed additional pressure on companies like Curatorial and the American Federation for the Arts (AFA). AFA, which has focused on exhibitions featuring underrepresented artists following the 2020 murder of George Floyd, has had to navigate similar difficulties. The organization fundraises to make such exhibitions more accessible to museums, often arranging payment plans for institutions.
“The way that we operate, some of those costs we have to pass on, and not all museums are prepared to pay it,” said Prodger. “It’s a really difficult situation.”
For immersive exhibitions, additional hurdles such as technology development and installation staff further complicate the process. Zaller emphasized the importance of managing expectations, particularly when costs rise unexpectedly.
“Museums were kind of at the point where they were ready to take on these kinds of shows, and they weren’t necessarily doing as many of them as they felt they should,” said Pauline Forlenza, AFA’s director and CEO, discussing the shift towards more inclusive exhibitions.
As the industry continues to evolve, communication between exhibition companies and museums remains crucial. Clear goals and expectations are key to avoiding disputes like the one currently unfolding between the De Pere Cultural Foundation and EDG.