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de Rosset, Tomasz F. "MIECZYSŁAW TRETER, CONTEMPORARY MUSEUMS." Muzealnictwo 60 (July 9, 2019): 103–7. http://dx.doi.org/10.5604/01.3001.0013.2802.
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In 2019, the National Institute for Museums and Public Collections in cooperation with the Państwowy Instytut Wydawniczy published the 1917 book by Mieczysław Treter titled Contemporary Museums as the first volume in the Monuments of Polish Museology Series. The study consists of two parts originally released in ‘Muzeum Polskie’ published by Treter in Kiev; it was an ephemeral periodical associated with the Society for the Protection of Monuments of the Past, active predominantly in the Kingdom of Poland, but also boasting numerous branches in Polish communities throughout Russia. The Author opens the first part of a theoretical format with a synthesized presentation of the genesis of the museum institution (also on the territory of the Polish-Lithuanian Commonwealth), to later follow to its analysis in view of its collecting and displaying character, classification according to the typical factual areas it covers, chronology, and territory (general natural history museums, general history ones, technological ones, ethnographic ones, historical-social ones, historical-artistic ones); moreover, he tackles questions like a museum exhibition, management, a museum building. In Treter’s view the museum’s mission is not to provide simple entertainment, neither is it to create autonomous beauty (realm of art), but it is of a strictly scientific character, meant to serve science and its promotion, though through this museums become elitist: by serving mainly science, they cannot provide entertainment and excitement to every amateur, neither are they, as such, works of art to which purely aesthetical criteria could be applied. The second part of Treter’s study is an extensive outline of the situation of Polish museums on the eve of WWI, in a way overshadowed by the first congress of Polish museologists, and in the perspective of the ‘museum world’ of the Second Polish Republic. It is an outline for the monograph on Polish museums, a kind of a report on their condition as in 1914 with some references to later years. Through this it becomes as if a closure of the first period of their history, which the Author, when involved in writing his study, could obviously only instinctively anticipate.
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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.
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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Szafrański, Wojciech. "‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING." Muzealnictwo 62 (September 13, 2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.
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The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.
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Mastandrea, Stefano, Gabriella Bartoli, and Giuseppe Bove. "Learning through Ancient Art and Experiencing Emotions with Contemporary Art: Comparing Visits in Two Different Museums." Empirical Studies of the Arts 25, no. 2 (July 2007): 173–91. http://dx.doi.org/10.2190/r784-4504-37m3-2370.
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The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that drive people to visit museums of ancient versus contemporary art. Results show that people who visit the Guggenheim Museum have higher socio-economic status (education and profession) and visit museums more frequently than those who attend the Borghese Museum. Additionally, educational level relates to the enjoyment of the visit and to the nature of the aesthetic experience; visit conduction by Borghese visitors was driven by the intent of understanding and knowing, while those who attended the Guggenheim took an emotional approach to their experience.
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HANCOCKS, ANTHEA. "Art Museums in Contemporary Society." Curator: The Museum Journal 31, no. 4 (December 1988): 257–66. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00697.x.
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Mačianskaitė, Vilma. "Contemporary Lithuanian Artists: Career Opportunities." Art History & Criticism 13, no. 1 (December 1, 2017): 88–110. http://dx.doi.org/10.1515/mik-2017-0007.
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Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.
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Matuscak, Melissa. "Redefining Production-Contemporary Art Museums in Post-Industrial Spaces: The Massachusetts Museum of Contemporary Art." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 55–66. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35479.
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Robichaud, Lise. "ArTSchives: un tremplin vers divers types de musées et vers la création artistique." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (October 17, 2016): 90. http://dx.doi.org/10.26443/crae.v43i1.19.
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Abstract: The article introduces arTSchives, a visual art teaching model that integrates the concepts of museum, archives, and experiential learning. Its purpose is to help understand contemporary artwork of the archival type while proposing artistic creation channels that integrate the concept of archives. The author conducted a content analysis of visual art installations that resulted in a list of potential archive sources. This particular type of teaching promotes the visiting of contemporary art museums as well as natural sciences, human sciences and other types of specialised museums.KEYWORDS: Contemporary; museums; teaching model; Acadian cultural context; art appreciation; archival art; artistic creation; art galleryRésumé: L’article présente un modèle d’enseignement des arts visuels intitulé arTSchives qui intègre les notions de musée, d’archives et d’apprentissage expérientiel. Le but est de faciliter la compréhension des œuvres d’art contemporain de genre archivistique tout en proposant des pistes de création artistique intégrant le concept d’archives. L’auteure a procédé par une analyse de contenu d’installations en arts visuels ce qui a mené à l’énumération d’une liste d’exemples de sources d’archives possibles. Ce type particulier d’enseignement encourage la fréquentation des musées d’art contemporain ainsi que des musées de sciences naturelles, sciences humaines et autres musées spécialisés.MOTS CLES: Contemporain; musées; modèle d’enseignement; contexte culturel acadien; appréciation artistique; art archivistique
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Bashirova, Elza, Elena Denisenko, Kamilla Akhmetova, and Vilnur Kadirov. "Museum and center for contemporary art: design principles and functional features." E3S Web of Conferences 274 (2021): 01019. http://dx.doi.org/10.1051/e3sconf/202127401019.
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The article discusses the topical issue of the establishment of museum and center for contemporary art. The objective of the research is to analyze the historical background of contemporary art museums; to review the world design practice of them according to urban planning, functional, architectural and expositional criteria; to reveal functional features’ trends and to identify the design principles of an advanced center for contemporary art. We collected more than 45 leading examples to compile a matrix using classification and analysis methods. As a result, we reached the museums’ functional features: administrative, exhibition, educational, recreational are fixed functions; storage and research functions are optional; cultural and entertainment are particularly additional functions. At first, art museums and centers are focused on adaption to visitors and intersection with them, secondly, on the exhibit. To sum up, we define the design principles of the ideal architectural model on the basis of urban planning, architectural, sociocultural and technological radicals. In conclusion, it is revealed that contemporary art centers have absorbed most of the historical functions of the museum and today are one of the developed types of the multifunctional architecture.
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Kartseva, Е. А. "Contemporary Art in the Classic Museum: Strategies for a Productive Dialogue." Voprosy kul'turologii (Issues of Cultural Studies), no. 9 (August 5, 2021): 19–27. http://dx.doi.org/10.33920/nik-01-2009-02.
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A variety of strategies for incorporating contemporary art are found today in almost all world museums. Domestic institutions in recent years have also taken a course on contemporary art, which has become the occasion of numerous discussions. Not all are advocates of such integrations, suggesting that for contemporary art there are specialized institutions. However, with the changing role of the museum in the modern world, the acquisition of new functions, as well as the development of contemporary art practices, classical cultural institutions are less and less able to resist the expansion of contemporary art. The article formulates the advantages and risks of including contemporary art in a classical museum, and offers scenarios for a productive cultural dialogue.
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Roldan, Joaquin, Rocio Lara‐Osuna, and Antonio Gonzalez‐Torre. "The Project ‘Art for Learning Art’ in Contemporary Art Museums." International Journal of Art & Design Education 38, no. 3 (August 2019): 572–82. http://dx.doi.org/10.1111/jade.12245.
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KARAYILANOĞLU, Gamze, and Burçin Cem ARABACIOĞLU. "DIGITAL INTERACTIVE EXPERIENCES IN CONTEMPORARY ART MUSEUMS." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 10, no. 4 (October 1, 2020): 423–40. http://dx.doi.org/10.7456/11004100/007.
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Wawrzak, Małgorzata. "MIECZYSŁAW TRETER (1883–1943): PRECURSOR OF POLISH MUSEOLOGY." Muzealnictwo 60 (September 25, 2019): 273–84. http://dx.doi.org/10.5604/01.3001.0013.5008.
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Mieczysław Treter is by no means an ordinary individual: an art historian, aesthetician, museum practitioner and theoretician-museologist, an individual of many professions, lecturer, journal editor, member of numerous organizations, propagator of Polish art abroad, manager, exhibition organizer. In the interwar period one of the most influential critics and art theoreticians, among the museum circles he was mainly known as the author of the recently reissued 1917 publication called Contemporary Museums. Museological Study. Beginnings, Types, Essence, and Organization of Museums. Public Museum Collections in Poland and Their Future Development. Born on 2 August 1883 in Lvov, in 1904 Mieczysław Henryk Treter started working with the Prince Lubomirski Museum as the scholarship holder of the Lvov Ossolineum. In 1910, he became Curator at the Museum, performing this function until the outbreak of WW I. He participated in the First Congress of Polish Museologists, held in Cracow on 4 and 5 April 1914. During WW I, he was in Kharkov and Crimea, and it was there that he wrote his most important study Contemporary Museums. In 1917, having moved to Kiev he became involved in the activity of the social movement for the care of Polish monuments throughout the former Russian Empire. In 1918, he returned to Lvov, became member of the national Eastern Galicia Conservation Circle, and retook the position of the Curator at the Prince Lubomirski Museum, to finally become its Director. On 4 February 1922, Mieczysław Treter was appointed Director of the State Art Collections, the position he retained until 1924. In 1926, he became Director of the Society for the Promotion of Polish Art Abroad, whose main task was to promote works of Polish artists in Poland and abroad. He passed away in Warsaw on 25 October 1943. Systematizing the theoretical knowledge and the report on the existing museums in the country deprived of its statehood in the book Contemporary Museums created a departure point for its Author, who following Poland’s regaining independence worked out the organization of state collections. Treter’s proposals were to regulate the position of Polish museum institutions complicated due to the partition period, for them, while rivaling foreign museums, to become elements boosting the young state’s prestige.
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Duthie, Emily. "The British Museum: An Imperial Museum in a Post-Imperial World." Public History Review 18 (December 31, 2011): 12–25. http://dx.doi.org/10.5130/phrj.v18i0.1523.
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This article examines the British Museum’s imperialist attitudes towards classical heritage. Despite considerable pressure from foreign governments, the museum has consistently refused to return art and antiquities that it acquired under the aegis of empire. It is the contention of this article that the British Museum remains an imperialist institution. The current debates over the British Museum’s collections raise profound questions about the relationship between museums and modern nation states and their nationalist claims to ancient heritage. The museum’s inflexible response to repatriation claims also encapsulates the challenges inherent in presenting empire and its legacy to contemporary, post-imperial audiences.
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Germana, Gabriela, and Amy Bowman-McElhone. "Asserting the Vernacular: Contested Musealities and Contemporary Art in Lima, Peru." Arts 9, no. 1 (February 7, 2020): 17. http://dx.doi.org/10.3390/arts9010017.
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This essay examines three museums of contemporary art in Lima, Peru: MAC (Museum of Contemporary Art), MALI (Lima Art Museum), and MASM (San Marcos Art Museum). As framed through curatorial studies and cultural politics, we argue that the curatorial practices of these institutions are embedded with tensions linked to the negotiation of regional, national, and international identities, coloniality, and alternate modernities between Western paradigms of contemporary art and contemporary vernacular art in Peru. Peruvian national institutions have not engaged in the collection of contemporary art, leaving these practices to private entities such as the MAC, MALI, and MASM. However, these three institutions have not, until recently, actively collected contemporary vernacular Peruvian art and its by-products, thus inscribing this work as “non-Western” through curatorial practices and creating competing conceptions of the contemporary. The curatorial practices of the MAC, MALI, and MASM reflect the complex and contested musealities and conceptions of the contemporary that co-exist in Lima. This essay will address this environment and the emergence of alternative forms of museality, curatorial practices, and indigenous artist’s strategies that continually construct and disrupt different modernities and create spaces for questioning constructs of contemporary art and Peruvian cultural identities.
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Knobloch, Iva. "Svaz československého díla: muzeum jako platforma modernizace." Muzeum Muzejní a vlastivedná práce 57, no. 1 (2020): 15–24. http://dx.doi.org/10.37520/mmvp.2019.003.
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The text demonstrates the metamorphosis of the new platform of modernization of the industrial society: The European Network of Museums of Decorative Arts in the second half of XIXth century. After the foundation of German Werkbund in 1907, the new wave of a reform movement concerning the quality of manufactured objects of everyday use arose, embracing both artistic and economic aims. Museums played an important role as a mediator of synergy between art and business. The formative task of the museums was the education in the matters of aesthetics and good taste, inspired by Deutscher Werkbund initiative: Gustav Edmund Pazaurek’s Department of Aesthetic Aberrations in Stuttgart and The German Museum of Art in Trade and Industry in Hagen. These strategies had influenced the museums in the Czech lands after the foundation of the Association of the Czechoslovak Werkbund and its cooperation with The Museum of Decorative Arts in Prague. Under Karel Herain, the director of the museum, the activism had been focused on art contests, exhibitions of local contemporary works, the industrial production and the networking with the contemporary producers abroad. The collaboration with the Swedish Werkbund in the 1930’s and the personality of Hugo Steiner-Prag reveal unusual and complex concepts of modernity in the core of the Association of the European Werkbund.
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Twitchin, Mischa. "Concerning “the Eurocentric African Problem” (Meschac Gaba)." Open Cultural Studies 3, no. 1 (January 1, 2019): 276–85. http://dx.doi.org/10.1515/culture-2019-0025.
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Abstract Even as it is often eclipsed by reference to the “contemporary,” modernity is widely celebrated in European museums and galleries. When refracted through the commitments of an avowedly Black artistic agenda, how might these institutions reconceive their understanding of modernism in light of African, diasporic, or Afropean perspectives? How might concerns with African agency be enacted in these cultural spaces as they project historical narratives and produce a “public” memory in their own image? What are the implications of the fact that critical resistance to modes of cultural appropriation may, nonetheless, reproduce a discourse that attempts to immunise itself from the association of modernism with colonialism? In the formation of modernist canons, what role might an example of African conceptual art have to play, even when consigned to a museum’s storage space? This paper explores such questions through the paradoxes engaged by Mechac Gaba’s reflections on his 1997-2002 project, “Museum for Contemporary African Art,” now owned by Tate Modern. In particular, it considers the dichotomy between “modern” and “traditional” as this has been constitutive of twentieth-century art history, informing a sense of the African presence within European museums. How might reference to the “contemporary” here relate to the potentials of decolonial cultural politics within such spaces?
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Butler, Shelley Ruth, Conal McCarthy, and Fiona P. McDonald. "Book Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 241–52. http://dx.doi.org/10.3167/armw.2013.010115.
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SANDELL, Richard, and Eithne NIGHTINGALE, eds., Museums, Equality and Social JusticePHILLIPS, Ruth B., Museum Pieces: Towards the Indigenization of Canadian MuseumsBUSZEK, Maria Elena, ed., Extra/Ordinary: Craft and Contemporary ArtHANSEN, Tone, ed., (Re)Staging the Art Museum
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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
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Picot, Nicole. "Museum Libraries in France: Their Wealth and Their Influence." Art Libraries Journal 24, no. 4 (1999): 17–19. http://dx.doi.org/10.1017/s0307472200019751.
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The following words preface Francoise Cachin’s introduction to Marie-Thérèse Cavignac’s Les bibliothèques des musées en Aquitaine: Richness and diversity! Reading this volume demonstrates how wide and varied is the subject matter of the museum libraries in the Aquitaine region, whether it be the library in the Bonnat Museum in Bayonne or in the national museum at the Château de Pau, those in museums specialising in the history of Aquitaine, the Pays Basque or the Périgord, or those in museums dealing with prehistory or contemporary art or seaplanes, the customs service or folk art.This description is just as valid for the rest of France. Considerable effort has been put into the modernisation of French museums during the last twenty years or so and their libraries have benefited from this renewal as well. I would like in this paper to describe some of the strengths of libraries and documentation centres in museums of art, and to try and define their role within their institutions and within the network of French art libraries.
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Tsiara, Syrago. "Contemporary Greek Art in Times of Crisis: Cuts and Changes." Journal of Visual Culture 14, no. 2 (August 2015): 176–81. http://dx.doi.org/10.1177/1470412915595587.
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This essay addresses the issue of cuts in the cultural sector in Greece during the last five years and its consequences on the sustainability of artistic production, institutional survival and emerging forms of collaboration, self-management and art in public space. It describes new practices and strategies of cultural institutions and the relationship between the private and public spheres. Long-term artistic projects, such as the Athens and Thessaloniki Biennale, public museums like the State Museum of Contemporary Art, private organizations and artist initiatives are discussed in the context of crisis.
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De Nigris, Ornella. "Chinese art museums: organisational models and roles in promoting contemporary art." International Communication of Chinese Culture 5, no. 3 (March 6, 2018): 213–28. http://dx.doi.org/10.1007/s40636-018-0113-x.
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Bruno, Joana Sarmet Cunha. "O Museu de Arte Contemporânea de Niterói, RJ: uma estratégia de promoção da imagem da cidade." Revista Brasileira de Estudos Urbanos e Regionais 4, no. 1/2 (May 31, 2002): 91. http://dx.doi.org/10.22296/2317-1529.2002v4n1-2p91.
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Esse artigo discute o papel da cultura nos atuais projetos de renovação urbana, analisando o uso contemporâneo dos novos museus na tentativa de promover uma imagem positiva para as cidades. Trata-se de estudar o papel dos equipamentos culturais no desenvolvimento urbano, visando uma elevação geral no prestígio e no capital simbólico das cidades, bem como na auto-estima e no sentimento de pertencimento da população local. Para tal, analisaremos um dos casos mais paradigmáticos em que o museu se torna símbolo, “marca registrada” da cidade em que ele foi construído: o Museu de Arte Contemporânea de Niterói, RJ. Assim, o estudo está voltado para os efeitos do MAC sobre a cidade de Niterói, abordando a relação entre urbanismo e cultura.Palavras-chave: planejamento urbano; marketing de cidades; produção de imagens; políticas culturais; novos museus. The Museum of Contemporary Art of Niterói, RJ, Brazil: A Promotion Strategy of the City ImageAbstract: This article proposes the discussion about the role of culture in the late urban renovation projects, analyzing the contemporary use of new museums in the attempt to promote a positive image to the cities. We will study the role of cultural equipment on urban development, objecting a promotion on the cities' prestige and symbolic capital, as well as on it's inhabitants self-esteem and feeling of belonging. We will analyze one on the most paradigmatic cases in which a museum becomes the symbol or the 'registered trademark' of the city it was built: the Museum of Contemporary Art of Niterói, RJ, Brazil. So, the study focuses the effects of this museum on the city of Niterói, approaching the relation between urbanism and culture.Keywords: urban planning; city marketing; image-making; cultural politics; new museums.
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Salim, Polniwati, Christianto R, and Sri Rachmayanti. "PERANCANGAN DESAIN INTERIOR MUSEUM DENGAN TEKNIK INTERAKTIF SEBAGAI RUANG PUBLIK MASA KINI." Jurnal Dimensi Seni Rupa dan Desain 15, no. 1 (September 1, 2018): 45. http://dx.doi.org/10.25105/dim.v15i1.4196.
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Abstract
This study aims to analyze a museum interior design to be able to find the latest output regarding displaying or circulation techniques in a public space, especially museum. This study background is a public phenomenon visited by museums nowadays, which is seen on their social media accounts. Especially for contemporary and art design museums, it becomes an attractive icon for young people, as well as seniors. However, there are many things that need to be considered in designing a museum interior where many factors support for a success interior design, including: display techniques, gallery categorization, signage systems, and lighting. This study will examine how to applied the above items. As a comparison, contemporary art museums in Jakarta and New York. By doing these comparisons, researcher expected there will be a resume on how designing a good contemporary art museum. With good and attractive interior
design in a contemporary art museum, it will further increased visitors interest and the awareness of the community to explore the museum. The method used is by observing and documenting techniques and analyzing the interior of research objects, combined with literature studies, hopefully this research can contribute to the museum design technique as an ergonomic and interactive public space for the wider community. For future development of the museum, this research contributes for a better, good and friendly display techniques.
Abstrak
Penelitian ini bertujuan untuk menganalisa perancangan interior sebuah
museum untuk dapat ditemukan luaran terbaru perihal teknik display
maupun sirkulasi dalam sebuah ruang publik yakni museum. Latar belakang penelitian adalah fenomena masyarakat luas yang terlihat kesadaran untuk berkunjung ke museum, yang terlihat pada akun sosial media masyarakat jaman sekarang yang demikian semarak, khususnya untuk museum bernafaskan contemporary dan art design, menjadi satu ikon menarik bagi kalangan muda, juga para senior. Namun demikian banyak hal yang perlu diperhatikan pada perancangan sebuah interior museum dimana banyak factor yang mendukung kesuksesan sebuah desain museum, antara lain dalam hal teknik display, pengkategorian gallery, system signage, maupun pencahayaan. Dengan design interior yang baik dan menarik pada sebuah museum kontemporer, diharapkan akan semakin menaikkan minat para pengunjung dan kesadaran masyarakat akan semakin meningkat untuk mengeksplorasi isi dari museum tersebut. Metode yang digunakan adalah dengan teknik pengamatan dan pendokumnetasian serta analisa interior objek penelitian, dipadukan dengan studi literature, diharapkan penelitian ini memberikan kontribusi pada teknik perancangan museum sebagai sebuah ruang public yang ergonomis dan interaktif menyenangkan bagi masyarakat
luas. Untuk pengembangan museum ke depannya, penelitian ini memberikan sumbangsih perihal teknik display yang baik dan bersahabat
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Szlifman, Mariel. "Diseño y arte contemporáneo: el desafío de los museos." kepes 12, no. 12 (December 3, 2015): 353–78. http://dx.doi.org/10.17151/kepes.2015.12.12.17.
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Suciu, Silvia. "De la muzeul-templlu la muzeul forum - evoluția muzeului în spațiul public." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 224–44. http://dx.doi.org/10.47802/amet.2017.31.12.
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A nu arăta o operă de artă înseamnă a nu-i permite să fiinţeze. (Boris Groys) Museums and their public haven’t always been as we know them today. In 17th century, curiosity cabinets (mirabilia) have been realized by nobles and aristocrats; the only public of these cabinets was the collector and his fellows, belonging to the same social class. The first museums as public institutions appear in 18th century, continuing to develop during 19th century, but their image and accessibility is very different from nowadays. The situation changes after the World War II, when appear a lot of theoretical studies about museums and their public. The Museum-Temple is transforming into Museum-Forum, where every member of the community must feel represented. In the second part of the article we realized a classification of the museums and a description of each specific class which form this cultural diversity: art museums, history museums, anthropology museum, natural history museums, technical museums, monetary museums. Historical and contemporary examples of museums can be found through this study.
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Malinina, I. "The Use of Augmented Reality in Contemporary Art." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 1 (February 2021): 20–29. http://dx.doi.org/10.33625/visnik2021.01.020.
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The article analyzes the use of augmented reality (AR) in creative projects of contemporary art. Features of application of augmented reality technologies are investigated. The author reviews the possibilities and options for using augmented reality technology to support museums and galleries. This article will help contemporary artists to better understand these technologies, understand the role of AR in modern society and assess its prospects. Analysis of scientific research has shown that the use of augmented reality in art is increasingly of interest to artists and scientists. There are also articles dedicated to improving the learning experience of art gallery visitors using augmented reality. The present study reveals the chronology of research on this phenomenon. An analysis of the experience of Ukrainian, European and American artists and designers in the implementation of AR‑technologies in the field of culture has also been conducted, on the basis of which a system of thematic areas of augmented reality in contemporary art has been presented. There are five areas where augmented reality in the field of art is used. These are museums of history and art and exhibition halls, art city tourism, film industry, concerts and television. But it turns out that the number of these areas is not final. Eventually, AR will be used in other art venues. The materials of this article provide recommendations for the spread of augmented reality technologies in art. With the help of these technologies, the image of an innovative progressive museum and exhibition hall, open to new opportunities, can be created, which gives the opportunity to attract new visitors, generating a unique complex interactive experience. So far, augmented reality is used exclusively in art, but more and more artists and designers are beginning to move towards interactive implementations in their work. Many of these authorial experiments grow into unique creative projects and provide enormous advantages in the system of culture and art.
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Redler, Hannah. "From interventions to interactions: Science Museum Arts Projects’ history and the challenges of interpreting art in the Science Museum." Journal of Science Communication 08, no. 02 (June 19, 2009): C04. http://dx.doi.org/10.22323/2.08020304.
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Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on peoples’ everyday lives.
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Engel, Deena, and Glenn Wharton. "Managing Contemporary Art Documentation in Museums and Special Collections." Art Documentation: Journal of the Art Libraries Society of North America 36, no. 2 (September 2017): 293–311. http://dx.doi.org/10.1086/694245.
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Kustow, Michael. "Profiles and situations of some museums of contemporary art." Museum International (Edition Francaise) 24, no. 1 (April 24, 2009): 33–59. http://dx.doi.org/10.1111/j.1755-5825.1972.tb01388.x.
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Kasfir, Sidney Littlefield. "Museums and Contemporary African Art: Some Questions for Curators." African Arts 35, no. 4 (December 1, 2002): 9–87. http://dx.doi.org/10.1162/afar.2002.35.4.9.
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Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (March 5, 2019): 158. http://dx.doi.org/10.3390/rel10030158.
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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the university students who took my interview on this issue. I will also discuss the treatment of artwork with religious connotations in light of education in Japan. These exhibitions of Christian artwork provide important evidence on the contemporary reception of Christianity in Japan and, more broadly, on Japanese attitudes toward religious minorities.
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Kataoka, Mami. "Diasporic Art of the Asia Pacific in Modern and Contemporary Art Museums." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (July 6, 2020): 207–12. http://dx.doi.org/10.1163/23523085-00601020.
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Jahre, Lutz. "Collaboration between artists and librarians in a German magazine." Art Libraries Journal 23, no. 1 (1998): 22–23. http://dx.doi.org/10.1017/s0307472200010774.
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In 1997 the German art libraries magazine, AKMB-news: Informationen zu Kunst, Museum und Bibliothek, began a series of collaborations with contemporary artists, who provide original visual or conceptual contributions for some issues of the journal. The artists’ work refers mostly to the context of museums and libraries.
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Jagodzińska, Katarzyna. "Historyczne mury dla nowych muzeów. Muzealna moda na początku XXI wieku." Kultura i Społeczeństwo 55, no. 4 (November 22, 2011): 171–90. http://dx.doi.org/10.35757/kis.2011.55.4.9.
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The Author considers a trend, which comes from the west, to use post-industrial developments for museums. The article includes issues concerning adaptation of post-industrial developments for museum functions, references to history and identity of the building concerned, as well as relations of an institution — which is hosted within the historical construction — with the surroundings. The museums which have been selected for the analysis are representative for a boom observed in Poland since the beginning of the 21st century — the majority of newly-established museums are located in adapted old buildings, the museums representing almost exclusively only two categories: historical museums and contemporary art museums. The Author seeks an answer to a question whether museums must follow current trends. She concludes that a quest for success translating to a good image and high attendance is and certainly shall remain an important goal of a museum. She warns, however, of dangers related with a museum trying to be a “trendy” place to attend, especially in the times of public life commercialization, which is more and more common.
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Franklin, Renee Brummell. "Romare Bearden Graduate Museum Fellowship Program—Outreach to Inreach—A Generation of Cultivating Tomorrow’s Leaders." Public Historian 40, no. 3 (August 1, 2018): 193–210. http://dx.doi.org/10.1525/tph.2018.40.3.193.
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This article chronicles the twenty-six-year history of the Saint Louis Art Museum Romare Bearden Graduate Museum Fellowship, which was created to increase the number of professional staff from underrepresented backgrounds working in museums. It provides an overview of early supporters/founders of the program and details the trajectory of a generation of Bearden Fellows, most of whom are now professionally engaged in museums and arts-related careers. This case study also examines the benefits of staff diversity to the inclusive culture sought by museums as they cultivate new audiences and search for innovative strategies to maintain their relevance and community relationships. It calls upon museums to view diversity as an evolutionary conversation by examining the motivations and objectives that constitute the contemporary “diversity and inclusion” discourse.
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Mersmann, Birgit. "Performing the City’s Urban Imaginary – the New Taipei City Museum of Art." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 30 (December 30, 2017): 53–66. http://dx.doi.org/10.18778/0208-6107.30.04.
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Aspiring global cities, such as Taipei City in Taiwan, seek to accumulate cultural capital. For future-oriented local and global self-representation, they design cutting-edge contemporary museums. This paper analyzes the “urban imaginary” as constructed by new urban museumscapes. Choosing a case-study approach, it explores the embedding of a vanguard art museum project in Taiwan – the New Taipei City Museum of Art in Taipei – into long-term urban planning strategies. In order to understand the purpose and process of how the new museum of contemporary art. is devised as a public space of cultural self-representation and urban identity building, the study monitors the complete design process from the city government’s urban and institutional planning strategy to the architectural design. Evidence shows that the pathways of urban place-making for art and through art and design in Taipei are strongly determined by the historical role and current geopolitical repositioning of the city.
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Bilski, Emily D. "The Lives of Objects beyond Ownership." Internationales Archiv für Sozialgeschichte der deutschen Literatur 46, no. 1 (June 1, 2021): 300–322. http://dx.doi.org/10.1515/iasl-2021-0018.
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Abstract Provenance history sheds light on the relationship between works of art and the social, political, and economic conditions of their biographies. Engaging with the provenance of objects establishes a cultural conversation across time and space with previous owners. For artworks in museums, the public has now entered into that conversation. Museums, as custodians of art and educators of the public, can play a significant role in going beyond the question of ownership to get to the heart of what provenance reveals about the meanings of art: the ways people bring art into their lives, and the ways that objects are loved and studied. This essay delves into these human aspects of provenance, which are too often absent from museum displays, and argues in favor of making this information more visible to the public. Finally, works by contemporary artists Hans Haacke and Maria Eichhorn are discussed as examples of projects that successfully expose complicated object histories and provenance within museum installations.
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Molldrem Harkulich, Christiana. "Gregg Deal's White Indian (2016): The Decolonial Possibilities of Museum Performance." Contemporaneity: Historical Presence in Visual Culture 7 (October 30, 2018): 45–52. http://dx.doi.org/10.5195/contemp.2018.239.
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Gregg Deal (Pyramid Lake Paiute) is a performance and visual artist whose work deals explicitly in decolonizing the contemporary experience of Indigenous peoples. An analysis of his performance ofWhite Indian in 2016 at the Denver Art Museum opens up the possibilities of performance as a method for museums to decolonize their spaces and curation.
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Ulemnova, Olga L. "A.F. Mantel’s Art Collection in Museums of the Volga Region: Reconstruction Experience." Observatory of Culture 16, no. 4 (September 13, 2019): 386–405. http://dx.doi.org/10.25281/2072-3156-2019-16-4-386-405.
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A characteristic feature of the artistic life of Russia at the turn of the 19th—20th centuries was the growth in the number of private art collections and the expansion of the social composition of collectors due to the addition of industrialists, merchants and intellectuals. After the Russian Revolution of 1917, these collections became one of the important sources in the formation of art collections of metropolitan and provincial museums of Russia. The article is devoted to one of the most interesting private collections of the Kazan province — the collection of A.F. Mantel, formed at the beginning of the 20th century from paintings and graphics by the leading masters of the World of Art association: A.N. Benois, I.Ya. Bilibin, A.F. Gaush, B.M. Kustodiev, D.I. Mitrokhin, G.I. Narbut, N.K. Roerich and others. The article reveals the fates of once famous works of the artists from the World of Art association, which were shown at the association’s exhibitions and published in well-known books, magazines and almanacs such as Apollo, Libra, Rosehip, At Dawn and others. A.F. Mantel’s collection played an important role in the formation of museums in several cities of the Volga region — Kazan, Tetyushi, Kozmodemyansk — becoming one of the sources of contemporary national art collections. Due to various reasons, the most of the collection, including the part received by museums, was lost in the late 1910s — 1930s. Relying on archival and literary sources and museum collections, the author, for the first time, managed to restore, with a high degree of accuracy, the composition of the part of A.F. Mantel’s collection that was purchased for museums of Tetyushi and Kozmodemyansk, and to clarify the composition of the Kazan Museum’s collection.
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Fontal, Olaia. "Museums as Creators of Identity: Keys to an Inclusive Museology in Contemporary Art Museums." International Journal of the Inclusive Museum 1, no. 1 (2008): 89–96. http://dx.doi.org/10.18848/1835-2014/cgp/v01i01/44283.
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Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.
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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.
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Al-Amri, Mohammed. "Contemporary trends in art education." Journal of Arts and Social Sciences [JASS] 6, no. 2 (January 1, 2016): 221. http://dx.doi.org/10.24200/jass.vol7iss1pp221-241.
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This research aims to present the most important contemporary trends in Art Education focusing on the analysis of the relationship between these trends and their related concepts. It also aims to revive some traditions of art education that are based on a scientific approach, with the aim of improving current practices to achieve quality in both art teaching and art production. The aim is also to offer recommendations for developing the teaching of art in accordance with the most recent approaches in the field. The researcher used the descriptive analytical approach to review and analyze these trends. The study shows that there are a number of trends which can be adopted to improve the quality of the input, the process and the output of teaching of art. These include quality assurance standards in art education, cultural diversity in art education, making use of professional artists in schools, creating partnerships with art museums and teacher education colleges and other educational institutions, using new technologies in teaching art, and assessing students’ performance using the “art portfolio” method. Most of these techniques and approaches have proved successful in developed countries. Thus, the researcher recommends that these trends be encouraged in order to improve the curriculum and instruction of Art Education in the Arab countries.
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Stanton, Cathy. "Outside the Frame: Assessing Partnerships between Arts and Historical Organizations." Public Historian 27, no. 1 (2005): 19–37. http://dx.doi.org/10.1525/tph.2005.27.1.19.
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Using as a case study a 2003 exhibit created jointly by the Massachusetts Museum of Contemporary Art (MASS MoCA) and Historic New England/Society for the Preservation of New England Antiquities, this article investigates collaborations between contemporary art museums and historical institutions, focusing on the place these organizations occupy in the culture-based "new economies" of many postindustrial places. While cautioning against the ways in which such projects can cast history in a purely aesthetic light while contributing to the socioeconomic inequities that characterize postindustrial economies, the article also argues that arts/history partnerships offer opportunities to create innovative critical statements and to reach new and diverse audiences.
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Mazurenko, Ekaterina I. "CONTEMPORARY ART MUSEUMS AND GALLERIES IN MOSCOW LEISURE SERVICES MARKET." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2018): 96–104. http://dx.doi.org/10.28995/2073-6401-2018-1-96-104.
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Haapalainen, Riikka. "Contemporary art and the role of museums as situational media." Journal of Visual Art Practice 5, no. 3 (November 18, 2006): 153–66. http://dx.doi.org/10.1386/jvap.5.3.153_1.
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Kerr, John. "The Art of Violent Protest and Crime Prevention." Arts 7, no. 4 (October 8, 2018): 61. http://dx.doi.org/10.3390/arts7040061.
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This article examines violent protest in art museums. There is a long history of art museums being used as sites of protest. As spaces full of meaning, they represent ideal locations for people to try to shape the present and the future. From peaceful demonstrations to terrorist attacks, the current risks of protest to art museums is high. Motivated by ideological, political and social reasons, these protests include those that specifically target art objects within the art museums, as well as others that use the sites as stages on which to protest. This article is based predominantly on secondary sources; however, it also uses empirical research data collected by the author during observation research at art museums in London in March 2017 and July 2017. The article begins by considering why art museums attract so many protests. It argues that as ‘sites of persuasion’, art museums can be battlegrounds on which people look to shape how society is constructed and perceived. It then examines contemporary and historical case studies in Brazil and the UK to help our understanding of violent protests and the challenges they pose to art museums. Following this, the article proposes that as art museums are important sites of persuasion, there must be more awareness of the threats they face from violent protests in order to shape crime prevention approaches. The article finishes by arguing that although protests can be highly problematic for people involved with art museums, the ongoing appeal of these spaces as sites of protest shows the significance of art museums as important locations of cultural meaning.
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Tzanev, Peter. "Ectoplastic Art Therapy as a Genre of Contemporary Art." Arts 8, no. 4 (October 15, 2019): 134. http://dx.doi.org/10.3390/arts8040134.
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Art therapy is the successor of “psychological Modernism”, which during the late 19th and early 20th centuries included medical psychology as well as theories and practices related to more speculative practices of hypnosis, somnambulism, interpretation of dreams, automatic writing and spiritualism. Art therapy emerged in the second half of the 20th century as a new psychological genre and, the author argues, a new kind of art that offered the opportunity for psychological “salvation” in a “psychological society”. This article explores an experimental project called “Ectoplastic Art Therapy” begun in 2002 by the author as a form of therapy and as a form of contemporary art. This therapy has been performed in various institutional settings, such as therapeutic centers, museums and galleries, as well as educational seminars and courses. Focusing on the usual marginalization that accompanies conventional art therapy within the established framework of the contemporary art system, this article examines the situations in which an art therapist could present his practice as a contemporary artist. The author prompts questions concerning the possible kinds of self-presentation that can be found in art therapy as a form of contemporary art.
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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.
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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.