According to Sunday’s New York Times, The Beat Museum is rubbing elbows with some real heavyweights—institutions such as The Metropolitan Museum of Art, The Museum of Modern Art, the American Museum of Natural History, the National Gallery of Art, the Brooklyn Museum, the Ringling Museum of Art, and the Smithsonian Institution, among others. John Hanc’s article “At Shrine to Beats, Squares Are Welcome, Too” is featured as part of a 32-page special section on the evolving (and often overlapping) world of museums, art galleries, and auction houses.
You can read the article itself online, but for the full effect you’ll have to get your hands on the rather hefty print edition, where we’re nestled between full-page, full-color spreads announcing such exhibitions as Edvard Munch’s Scream (MoMA, NYC) and the work of pop-artist Roy Lichtenstein (National Gallery of Art).
I’ll be honest—it’s profoundly validating to be amongst such respected and well-established institutions—but moreover, recognition is more than just good press. The Beat Generation, too, had humble beginnings and limited resources, yet their work had little regard for material limitations. Jack Kerouac aspired to write the Great American Novel, and Allen Ginsberg sought the greatness of Walt Whitman as a man of letters. Our purpose at The Beat Museum is not only to preserve their works, but to elevate these visionaries to a place their genius deserves.
Read John Hanc’s article, “At Shrine to Beats, Squares Are Welcome, Too” »