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Journal articles on the topic 'Cultural and art institutions'
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Markellou, Marina P. "Appropriation art and cultural institutions." Queen Mary Journal of Intellectual Property 3, no. 2 (2013): 145–54. http://dx.doi.org/10.4337/qmjip.2013.02.03.
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Odo, Franklin, and Paul Ong. "Art & Cultural Institutions and AAPI Communities." AAPI Nexus: Policy, Practice and Community 5, no. 1 (2007): v—xii. http://dx.doi.org/10.17953/appc.5.1.bku628337t00jnr7.
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Kasbayeva, Gulnaz, Assiya Mamyrbekova, and Bagila Tairova. "Culture management in cultural and art institutions: A cultural analysis." Scientific Herald of Uzhhorod University Series Physics, no. 55 (February 5, 2024): 730–38. http://dx.doi.org/10.54919/physics/55.2024.73kd0.
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Relevance. The object of this research is the managerial culture in the museums of the Republic of Kazakhstan. The study considers a management culture in museums on a large scale, as museums of the Republic of Kazakhstan are a part of the world culture and their development occurs not in self-isolation from the world, but in this world, though in time of experiencing economic and political crises, and in time of a pandemic. Purpose. The paper examines the general history of museum development in Kazakhstan, management culture, and management itself. The management culture is shown from ethical and practical sides. The study demonstrates management as a new strategy of museum management in the modern world. The basic work of museums and their reaction to challenges of the modern world is also briefly shown, i.e., the new role of museums in the modern world is considered. Methodology. The desk research method was used: analysis of modern research of the last three years on the museums of the Republic of Kazakhstan, management culture and management in museums. Results/Conclusions. The article concludes that museums, despite their conservatism, can respond to the challenges of the time and adapt to the needs of society. Moreover, the culture of management in museums is changing in order to dictate to society what is relevant and interesting, rather than passively fulfilling its demands. The management culture dictates to museum workers new approaches to effective museum management, and the museum has become not only a centre of history and culture preservation but also an active centre of public education.
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Oliveri, Vicki, Glenn Porter, Pamela James, Jenny Wise, and Chris Davies. "Art crime: discussion on the Dancing Shiva acquisition." Journal of Criminological Research, Policy and Practice 6, no. 4 (2020): 307–19. http://dx.doi.org/10.1108/jcrpp-03-2020-0033.
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Purpose This paper aims to explore how stolen Indian antiquities were purchased by a major Australian collecting institution, despite cultural protection policies designed to prevent such inappropriate acquisitions. Using the acquisition of the Dancing Shiva as a case study, the purpose of this paper is to examine how collecting institutions such as the National Gallery of Australia experience difficulty when determining legal title through provenance research. The impact of incautious provenance research produces significant risk to the institution including damaging its social responsibility credentials and reputation when the acquisition is discovered to be stolen. Design/methodology/approach This research applies a qualitative case study method and analysis of sourced official policy documents, personal communication with actors involved with the case, media reports and published institutional statements. Findings This work identifies four contributing factors that resulted in the National Gallery of Australia’s acquisition of stolen Indian artefacts: a misguided level of trust of the art dealer based on his professional reputation; a problematic motivation to expand the gallery’s Asian art collection; a less transparent and judicious acquisition process; and a collaboration deficiency with cultural institutions in India. Crime preventative methods would appear to be a strategic priority to counter art crime of this nature. Research limitations/implications Additional research into how collecting institutions can be effectively supported to develop and implement crime preventative methods, especially less-resourced institutions, can potentially further enhance cultural heritage protection. Practical implications Fostering a higher degree of transparency and institutional collaboration can enhance cultural heritage protection, develop a greater level of institutional ethics and social responsibility and identify any potential criminal activity. Changing the culture of “owning” to “loaning” may provide a long-term solution for cultural heritage protection, rather than incentivising a black market with lucrative sums of money paid for artefacts. Social implications Art crime involving the illegal trade of antiquities is often misinterpreted as a victimless crime with no real harm to individuals. The loss of a temple deity statue produces significant spiritual anguish for the Indian community, as the statue is representative not only of their God but also of place. Collecting institutions have a social responsibility to prioritise robust provenance policy and acquisition practices above collection priorities. Originality/value Art crime is a relatively new area within criminology. This work examines issues involving major collecting institutions acquiring stolen cultural heritage artefacts and the impact art crime has on institutions and communities. This paper unpacks how motivations for growing more prestigious collections can override cultural sensibilities and ethical frameworks established to protect cultural heritage. It highlights the liabilities associated with purchasing antiquities without significant due diligence regarding provenance research and safeguarding cultural heritage. It also emphasises the importance for collecting institutions to establish robust acquisition policies to protect the reputation of the institutions and the communities they represent.
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Walden, Lauren. "Cultural diplomacy and internationalism in regional art institutions." Visual Studies 34, no. 4 (2019): 350–63. http://dx.doi.org/10.1080/1472586x.2020.1715242.
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Hermawati, Sri Hermawati, Supriadi Didin, Turnip Yehezkiel Petrus, Srimoko Gandung Joko, Saryanto, and Tarwiyah Tuti. "Transmission of Hadroh Kuntulan Banyuwangi Art through Community-Based Art Education." Mudra Jurnal Seni Budaya 40, no. 1 (2025): 1–9. https://doi.org/10.31091/mudra.v40i1.2859.
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This research explores cultural strategies through education, specifically focusing on Community-Based Art Education (CBAE) in Banyuwangi. In order to achieve the stated objective, a qualitative descriptive method was adopted to examine the Kuntulan art form, particularly Hadroh Kuntulan. The art form consisted of playing Hadroh music accompanied by sholawat singing and pencak silat movements that have evolved into dance. This investigation was conducted in Banje Hamlet, Bubuk Village, Rogodjampi District, Banyuwangi Regency, East Java, at Islamic Junior High School 8 & Art Studio Gholet Dhulur. The location was selected primarily due to the presence of the Using tribe, which, unlike more well-known groups such as the Baduy and Sasak tribes, remains relatively unknown. Typically, cultural transmission through Community-Based Art Education (CBAE) is facilitated by integrating educational institutions. Within the context of the present exploration, this studio played a central role. In Indonesia, art education is usually incorporated into a school's intracurricular and extracurricular curriculum. These institutions typically form school-age music groups comprising students from various schools. Within this construct, schools and social institutions function as program planners, students as learners, and the broader community as a source of cultural knowledge. The results obtained from this study show that the integration of cultural arts into the school curriculum through partnerships with social institutions plays a crucial role in preserving cultural heritage. It also emphasized that the resilience of these cultural traditions is sustained through the active support and inclusiveness of the community.
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Wang, Mingjin. "A Comparative Study of Public Art Education by the State Theaters in Korean and China." SHS Web of Conferences 158 (2023): 02008. http://dx.doi.org/10.1051/shsconf/202315802008.
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As a contributor to the construction of a modern public cultural service system, theaters, together with libraries, art galleries, cultural centers, etc., shoulder the social responsibility of public art education. Public art education takes public art service institutions as the carrier. At present, schools are the most popular and developed institutions among public cultural service institutions. With the advancement of socialization, public cultural and art institutions are flourishing. Funded and operated by the government, more and more public institutions bear the social responsibility of public art education in the new era and shape the diversified forms of public arts education. With National Theater of Korea and the National Theater for the Performing Arts as the objects for its research, this paper analyzes the similarities and differences between the measures for public art education in the two countries through a comparative study.
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Rius-Ulldemolins, Joaquim, and Ricardo Klein. "From artistic direction to cultural management: governance and management of Barcelona's artistic institutions in the twenty-first century." International Journal of Public Sector Management 34, no. 1 (2020): 33–49. http://dx.doi.org/10.1108/ijpsm-03-2020-0082.
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PurposeDuring the twentieth and twenty-first centuries, debate about the governance and management of national cultural institutions has largely focused on the problematic relationship between art and the economy. However, several more recent changes have made this discussion outdated. These include loss of autonomy in the art world, transformation of cultural production and distribution and instrumentalisation of cultural policies to generate a new context leading to the emergence of art managers.Design/methodology/approachIn terms of cultural policy, the interplay between the governance and management of national cultural institutions is currently problematic, with the work of art managers now replacing the previous “art versus economy” binomial. Here, we demonstrate the growing centrality of the governance paradigm and generation of public value in the local context, by qualitatively examining the discourses of politicians and national cultural institution managers in Barcelona.FindingsWe concluded that a new interface between policymakers and managers has appeared in twenty-first century cultural institutions, and that this has replaced the previous antagonism between artistic directors and managers. Finally, although there is a consensus that the objective of national cultural institutions should be to enhance public value, we also identified the presence of a symbolic battle over how this public value is defined and who should evaluate it.Originality/valueThis paper reveals the centrality of this new debate: policymakers and managers have developed discourses and strategies so that their vision of public value now predominates. In turn, this debate has become the new “battlefield” of cultural policy and reflects a rebalancing between the artistic and political spheres.
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Gawthrop, Rob. "Performance, Art, Institutions and Interdisciplinarity." Arts 13, no. 3 (2024): 79. http://dx.doi.org/10.3390/arts13030079.
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How have funding, art education, and politics affected the development of performance and interdisciplinary art? In England in particular, performance as an experimental and radical art practice developed largely from underground activities, political action and a range of art forms. Funding bodies, colleges and art institutions eventually accommodated, albeit to a limited extent, this activity. As financial circumstances were sometimes difficult, artists often provided their own support structures and organisations. Some of these became established as they became successful. Performance art split from the theatrical and became defined as live art. In more recent times, conditions shifted again, and critical, experimental, or avant-garde theatre, film, music, etc., found refuge within contemporary art. Performance however, became increasingly confined and restricted by: the regulatory and academic requirements within universities; the need for evidence for some form of public or social purpose by funding bodies; and the increasingly hostile social and political circumstances. This research draws partly from personal experience and reflects on cultural conditions since the 1970s.
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Šapoka, Kęstutis. "(Šiuolaikinio) meno institucija kaip ideologinė medija." Lietuvos kultūros tyrimai 10 (2018): 111–24. https://doi.org/10.53630/lkt.2018.8.
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The article analyses (contemporary) art system and institutions as ideological media. The author uses the concepts of repressive state apparatus and ideological state apparatuses formulated by philosopher Louis Althusser, according to which the essence of military, religious, educational, as well as cultural institutions is the spread of ideological propaganda, ensuring ideological subjectivation. This means that each individual adopts the ideology of dominant social class as its own model of thinking. Both totalitarian states and those that promote liberal capitalism use ideological interpellation. It is precisely on this global ideological order that focuses the article, looking though the specific prism at the (contemporary) art system. (Contemporary) art institutions are interpreted as a ruphor of repressive neoliberal ideology and a kind of media, on the one hand, spreading neoliberal consumerist propaganda. On the other hand, the purpose of such institutions, in addition to the dissemination of ideological propaganda, is self-legtimation and the assurance of functioning of self-serving mechanics. “Art” and “aesthetics”, as autonomous and ideologically independent fields, are suitable for both purposes.
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Kalashnyk, Mariya. "From the street to the gallery: Evolution and influence of street art on contemporary art culture." Interdisciplinary Cultural and Humanities Review 3, no. 2 (2024): 45–53. https://doi.org/10.59214/cultural/2.2024.45.
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The purpose of this study was to investigate the mechanisms and consequences of integrating street art into formal art institutions and urban projects, as well as its impact on the development of the contemporary art market. The study included a survey of students of the Faculty of Arts at Kryvyi Rih State Pedagogical University. The results of the study highlighted the significance of street art as a means of visual expression of social, political, and cultural issues. Street art, specifically graffiti and murals, acts not only as an art form, but also as a platform for intensifying social dialogue and protest. The study found that street art has been successful in addressing concerns associated with human rights violations, political injustice, and environmental issues, thus mobilising social movements. The study confirmed that street art is an essential tool for conveying social and political messages that influence public opinion and promote social change. The use of public spaces to express ideas on topical issues enables street art to serve as a visual manifesto of contemporary social consciousness. The integration of street art into the gallery context reinforces its cultural and social impact, ensuring the recognition and preservation of works. This process fosters cultural dialogue and heritage creation, expanding the boundaries of traditional art and enhancing its impact on contemporary society. The study also confirmed that the commercialisation of street art has both positive and negative impacts. While it increases the accessibility and professional opportunities for artists, it can also threaten the authenticity and critical acuity of the art form. Maintaining a balance between commercial interests and cultural values is important to ensure its long-term relevance in the modern world. The analysis of the feedback from the students of the faculty of art confirmed that the use of latest technologies in street art opens wide opportunities for innovation in artistic practice and interaction with the public, which contributes to its development and influence on the cultural and social sphere
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Xing, Yipeng. "The Impact of Establishing Professional Art and Cultural Institutions on Australian Art Companies." Journal of Humanities, Arts and Social Science 8, no. 6 (2024): 1521–25. http://dx.doi.org/10.26855/jhass.2024.06.038.
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Pluszyńska, Anna. "Copyright Management by Contemporary Art Exhibition Institutions in Poland: Case Study of the Zachęta National Gallery of Art." Sustainability 12, no. 11 (2020): 4498. http://dx.doi.org/10.3390/su12114498.
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The mission of cultural institutions is the expression of sustainable development, which assumes a specific social order based on respect for the right of access to culture and care for the common good which is cultural heritage, in order to preserve it for future generations. To best implement its social mission, the essence of museum activities is not only collecting resources but also promoting the collection. In addition, promotion in accordance with the principle of openness and the conviction that cultural heritage is a common good, which is why it should be available to the widest possible public. Copyright in artworks often stands in the way of implementing an open approach to the dissemination of collections. Contemporary museums and galleries of art are in a special situation; their collections are not yet in the public domain, and so they cannot be freely distributed. The undertaken research problem explores how cultural institutions in Poland manage the copyright of collections in order to carry out their mission in a sustainable way. In this context, copyright is treated as an important intangible resource of a cultural institution. The case study was used as the research strategy in order to understand the subject. Activities implemented at the Zachęta National Gallery of Art in Warsaw were described.
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Zadvornyi, Sergii. "HUMAN-GEOGRAPHICAL FEATURES OF FUNCTIONING OF THE BASIC NETWORK OF CULTURAL INSTITUTIONS OF TERNOPIL CITY TERRITORIAL COMMUNITY." SCIENTIFIC ISSUES OF TERNOPIL VOLODYMYR HNATIUK NATIONAL PEDAGOGICAL UNIVERSITY. SERIES: GEOGRAPHY 51, no. 2 (2021): 91–100. http://dx.doi.org/10.25128/2519-4577.21.2.11.
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The article is devoted to the human-geographical study of the basic network of cultural institutions of the Ternopil city territorial community. The parameters of the territory and settlement network of the community are considered, which are the determining conditions during the structuring of geospace. The legislative principles of creating a basic network of cultural institutions of the local level are analyzed. The modern basic network of cultural institutions of the Ternopil territorial community is a consequence of the reform of the cultural sphere and the implementation of the decentralization reform. It went through three stages of its organizational formation.
 The basic network of culture of the local level of the Ternopil territorial community includes 39 institutions. More than 56% of the network's facilities are located in the city of Ternopil. According to the form of ownership and organizational and legal form, they are divided into 9 communal institutions, 1 communal enterprise and 29 establishments that are directly in communal ownership.
 The component structure of the sphere of culture and art of the community is formed by the following types of institutions: club-type cultural institutions, libraries, art schools, orchestras and cinemas. Primary socio-cultural services of the basic network are provided by 13 club-type cultural institutions. They are represented by the palace of culture, houses of culture and clubs (branches). Library institutions are the most numerous in the system of the basic network, the share of which reaches 51%. Among all 20 institutions of the community, the main role in this area is given to the Ternopil city centralized library system. Primary art education is represented by 2 music schools and 1 art school. The only municipal enterprise in the field of cinematography is the Ternopil Film Commission. A special feature of the basic network of cultural institutions of the Ternopil community is the presence of two orchestras. A significant addition to the basic network of community cultural institutions are communal institutions engaged in similar or related activities. Governing bodies ensure the systematic functioning of institutions and the implementation of measures to implement a consistent cultural policy.
 The territorial organization of cultural institutions of the local level of the Ternopil city community is an orderly network, where the connections between them are manifested in the formation of various combinations. Within the community, the functioning of 6 cultural and artistic systems was identified, which are combined into three types of different hierarchical levels (1 urban, 5 basic and 5 primary). The geospatial specifics of the location of the elements of the basic network result in the indicators of providing the city and basic administrative-territorial units of the community with cultural and art institutions. They are sufficient to ensure the sustainable functioning of the network and the provision of socio-cultural services.
 In the context of the spread of innovation diffusion, the rural area of the community is cascaded into three suburban zones: near (up to 6 km), medium (7-17 km), remote (over 18 km). The first zone meets the criteria of the village of Kurivtsi, the second – Malashivtsi, Glyadky, Chernykhiv, Ivankivtsi, Pleskivtsi, Kobzarivka, the third – Horodyshche, Nosivts, Vertelka.
 Problems of the organization of rendering of cultural services are revealed: outdated material and technical base; outflow of highly qualified creative specialists; insufficient funding from the budget; conservative forms and methods of providing cultural services; the initial level of development of cultural and creative industries. An important feature of the network of institutions of the Ternopil community is the real prospects for its expansion and improvement of functioning through the opening of new modern institutions. An important area of constant activation of socio-cultural activities is the constant increase of various forms of cultural mobility and touring activities.
 Key words: institution, network, community, culture, art, city, geocultural space, decentralization.
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Forkert, Kirsten. "Tactical Media and Art Institutions." Third Text 22, no. 5 (2008): 589–98. http://dx.doi.org/10.1080/09528820802440425.
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Canas, Eugenia. "Cultural Institutions and Community Outreach: What Can Art Therapy Do?" Canadian Art Therapy Association Journal 24, no. 2 (2011): 30–33. http://dx.doi.org/10.1080/08322473.2011.11415549.
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Kisiel, Przemysław. "The Future of Art Museums: Reflections on a Young Audience." Przegląd Socjologii Jakościowej 20, no. 3 (2024): 14–35. http://dx.doi.org/10.18778/1733-8069.20.3.02.
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Art museums in Poland have been undergoing a very profound transformation over the last decades and have been transformed from institution based on the concept of the object-centered museum to the institution based on the concepts of the client-centered museum and the community-centered museum. This direction of the transformation seems to be very rational and completely justified, as the functions that museum institutions can fulfil are highly dependent on visitor interest. However, these changes may not be fully successful, because art museums have very little interest from young adults, who are a very important segment of the cultural audience, as the future of museum institutions will depend on them. The aim of this article is to analyse – based on the results of a qualitative study carried out – the way in which young adults perceive the institutions of art museums and to identify those directions of change that could cause them to become more attractive. The conclusions formulated based on the study make it possible to define the directions of the desired transformations, and their implementation may induce young adults to take a greater interest in the cultural offer proposed by museums.
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Ablewicz, Joanna. "Misje i cele instytucji kultury." Studia Prawa Publicznego, no. 3 (47) (November 8, 2024): 9–37. http://dx.doi.org/10.14746/spp.2024.3.47.1.
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This article uses various examples to show how the different goals of cultural institutions are being realised in practice. The mission of each cultural institution is the starting point for many plethora of tasks carried out by the in- stitution. It is clearly intended to exhibit why and for whom the institution exists, what it does, what its values are and what it aims to become. This mission should be unique for each cultural institution and permanent. Selected mission state- ments are discussed with examples to demonstrate whether cultural institutions articulate it correctly and understand their importance. An objective, on the other hand, is one of the elements of a cultural institution’s mission; it is something that the cultural institution wants to achieve through the actions it undertakes and, as indicated, follows from the mission. Objectives are a detailed refinement of the mission and may change in response to the changing environment in which the cultural institution operates. The article discusses the objectives of cultural institutions deriving from specific legal acts, and the way in which they are formulated by individual entities, and also analyses statutes, regulations and other acts concerning how specific cultural institutions function. Particular attention is paid to the objectives of cultural institutions from the perspective of the recipient, as it is the recipient who really decides (through participation in the cultural activities of the institution) whether the institution properly ful- fils its objectives. An analysis of selected goals of cultural institutions shows that, as a rule, these institutions define their objectives in a very general way, merely repeating the wording indicated, for example, in the Cultural Activities Act. Objectives formulated in this way do not correctly reflect the scope of the cultural institution’s activities.
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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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Petrova, Larisa. "The culture of hospitality: From art residences to new types of inclusive institutions." Managing of Culture 4, no. 1 (2025): 93–98. https://doi.org/10.70202/2949-074x-2025-4-1-93-98.
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The relevance of the topic of hospitality in the cultural sphere is due to its growing importance in the modern world, which is characterized by globalization and cultural diversity. The peer-reviewed collection “Extraordinary Hospitality” (Vyksa, 2022) offers an understanding of this concept through the prism of art residencies, which are becoming an important tool for the development of cultural institutions, intercultural dialogue and overcoming social barriers. With the increasing number of art residencies and their institutionalization in Russia, there is a need for their theoretical understanding and development of practical recommendations, which makes this collection especially relevant. The purpose of the article is to provide an overview of the key ideas and approaches set out in the collection, as well as to show how the concept of hospitality can be applied to create more open and inclusive cultural spaces. The authors of the collection explore hospitality not only as the provision of physical space, but also as the creation of an atmosphere of trust, respect and mutual understanding. Particular attention is paid to the role of art residencies in the transformation of cultural processes, their interaction with local communities and the impact on the development of regional projects. The main theses include an analysis of the philosophical foundations of hospitality (Jacques Derrida), consideration of art residencies as “active places of transformation” and platforms for cultural exchange, as well as a study of their role in the decolonization of art and the formation of site-specific works. The collection presents practical recommendations for organizing the work of art residencies: from formulating a mission to creating a comfortable environment for artists. The importance of involving local communities and taking into account the regional context is also emphasized. The collection is addressed to curators, art managers, critics, researchers of contemporary art and everyone interested in the development of cultural institutions. It will be useful both as a practical guide to creating and managing art residencies, and as a source of theoretical knowledge about the concept of hospitality in a broad humanitarian context.
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Shetelya, N. "FORMATION OF CULTURAL AND EDUCATIONAL ENVIRONMENT OF ART INSTITUTIONS OF HIGHER EDUCATION." Ukrainian professional education, no. 9-10 (September 7, 2021): 204–10. http://dx.doi.org/10.33989/2519-8254.2021.9-10.263667.
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In the article, based on the theoretical analysis of the leading groups of sources and work experience of the Communal Institution of Higher Education «Uzhgorod Institute of Culture and Arts» of the Zakarpattia Regional Council, the essence of the concept of «cultural and educational environment» of the artistic institution of higher education is investigated and substantiated, and the ways of forming such an environment are outlined.
 Based on the works by O. Pilevych, O. Rebrova, H. Buchkivska, E. Mertens, and other scientists, it is found that the cultural-educational environment of art institutions of higher education is a complex integrated concept. It characterizes the spiritual space of the institution and the set of educational and cultural-educational pedagogical conditions and means those develop and shape the personality of the future specialist in the field of culture. The specifics (features of an art institution, the role of the environment in the process of education and upbringing of young people, a resource that enables their professional creative growth) and characteristics of such an environment are determined, and examples of the implementation of the tasks of its formation by means of the work of vocal and choral art collectives are given.
 Conducting and researching the peculiarities of the formation of a cultural and educational environment in the conditions of an art institution of higher education made it possible to identify the main trends and characteristics of the development of such an environment. They are the following: the formation of the spiritual culture of youth, the assimilation of universal and national values, professional development, the formation of performing skills, the realization of individual creative abilities, and moral and aesthetic education in the conditions of the artistic collective and through the collective, readiness for active artistic and creative activity.
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Kucharski, Olgierd. "The specific regulation of working time in museums. A critical approach." Gubernaculum et Administratio 26, no. 2 (2022): 55–65. http://dx.doi.org/10.16926/gea.2022.02.04.
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This article analyses the provisions of the law on cultural activity regarding the working time of employees in museums. The provisions of the Act cover a very diverse group of entities, in particular: theatres, operas, operettas, philharmonics, orchestras, film institutions, cinemas, museums, libraries, cultural centres, art centres, art galleries and research and documentation centres in various fields of culture. The scope of their activities and the resulting need to organise the working time of their employees are radically different. As a result, when referring to the institution described in this article, i.e. a museum, the regulations on working time contained in the Act on cultural activity are often inadequate to the actual principles of operation.It is also very important that working time regulations, especially those referring to the necessity of respecting the employee’s free time, are classified as second generation human rights. Restrictions on employee rights in this area should be deeply justified. Meanwhile, with reg ard to museum employees, the time regulations contained in the Cultural Activities Act raise serious objections.
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Mikdadi, Salwa. "Arab Art Institutions and Their Audiences." Review of Middle East Studies 42, no. 1-2 (2008): 55–61. http://dx.doi.org/10.1017/s002631840005152x.
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Leaders of Arab art institutions are negotiating new grounds for the arts with new money, new audiences, and—in the case of the Gulf countries—also new locations. They are playing a key role in devising alternate strategies to reach audiences and create civic dialogue through the arts, while negotiating economic, political, and artistic concerns that are helping to shape future cultural policies in the region. This paper explores the institutionalization of Arab art practices in Jordan, Lebanon, Palestine, and the United Arab Emirates, and the relationship of these arts organizations to their audiences. The reasons for selecting these four countries is that compared to other Arab countries, they have a large number of individual art initiatives, as well as new and diverse types of institutions. Each country has a specific context in which the art organizations were established and function. However, the focus of this paper is the relationship of the art institutions to their audiences and the strategies they use to encourage discourse on art and its content in the public sphere. The paper is based on discussions with twenty-one art professionals who represent almost all leading art institutions in the Jordan, Lebanon, Palestine and United Arab Emirates (UAE).
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Grigar, Ewa. "Inventing the New Art World: On Art Institutions and Their Audience." Przegląd Socjologii Jakościowej 17, no. 3 (2021): 126–41. http://dx.doi.org/10.18778/1733-8069.17.3.07.
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Howard S. Becker (2005 [1982]) and Vera L. Zolberg (1990) suggested the advent of new audiences to be one of the main common motors of change in artistic practice, where art institutions play an important role in delivering both aesthetic and educational experiences, but can also be criticized for persistent exclusivity and for how they create a participatory environment.
 The aim of this article is to examine the present-day relationship of art museums and galleries with their audiences while taking into account the role played by the advent of a new sociology of art, museum sociology, and the audience development, with all of them questioning the role of museums as socio-cultural institutions focused on the democratization of culture. By employing empirical research conducted in selected art institutions in the Czech Republic and Poland, I will examine how young visitors view art institutions in light of their recent quest for becoming the inclusive platforms of gaining knowledge about art, which promote and facilitate active participation rather than passive consumption.
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Vigneron, Frank. "‘Ink Art’ as strategy for Hong Kong institutions." Journal for Cultural Research 21, no. 1 (2017): 92–117. http://dx.doi.org/10.1080/14797585.2017.1281473.
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Foley, Bob. "A national art information strategy for canada." Art Libraries Journal 19, no. 1 (1994): 7–9. http://dx.doi.org/10.1017/s0307472200008610.
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Libraries cannot any longer align themselves with their institutions’ priorities because public institutions in Canada are undergoing a fundamental restructuring, the outcome of which is unclear. Federal and provincial governments are transferring responsibilities to the municipal level, putting cultural funding in direct competition with schools, hospitals, social and emergency services. Multi-culturalism will alter the mandate, collections, programming and staffing of cultural institutions. Art librarians, lacking the ability to communicate with decision-makers, need a strategy to allow them to embrace new values and technology or they will be swept aside in the rapid change already evidenced daily which marginalizes the library and calls into question time-honoured traditions such as free access to information.
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Haines, Chelsea, and Gemma Sharpe. "Art, Institutions, and Internationalism, 1945–73." ARTMargins 8, no. 2 (2019): 3–14. http://dx.doi.org/10.1162/artm_e_00232.
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Lindelof, Anja Mølle. "Publikumsudvikling – strategier for inddragelse eller institutionel udvikling?" K&K - Kultur og Klasse 42, no. 118 (2014): 69–86. http://dx.doi.org/10.7146/kok.v42i118.19836.
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The term ‘audience development’ is currently employed in cultural policy and within art institutions in order to address questions concerning cultural participation. It centers on two parallel discussions: On the one hand it addresses participation as a democratic ideal, and on the other hand it frames specific forms of audience engagement and the inherent and diverging understandings of participation. This article shows how the discourse developed about audience development reduces the discussion to either legitimizing existing cultural policy practice or to strategies for arts marketing, and it suggests that other important perspectives from e.g. performance studies are overlooked in the discussion of art institutions and their current dilemmas. The article presents a model that sums up four parallel discussions unfolding about audience development: cultural practices, aesthetic strategies for interaction, post performance reflections and everyday life. It is argued that all of these four perspectives need to be addressed for audience development to sincerely challenge the prevailing understanding of art institutions and their current dilemmas.
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Makulbekov, А., and T. Dronzina. "THE ART AUDIENCE AS A CULTURAL PHENOMENON." Adam alemi 89, no. 3 (2021): 16–23. http://dx.doi.org/10.48010/2021.3/1999-5849.02.
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Despite some theories based on the concept of “arts for art” and denying the connection with the public, in trend art cannot exist in Russia without the public. Only through the public art transmit an artistic message and realize its social functions. Re- lations with the public especially determine the development of art, the conditions for the existence of its institutions. Therefore, they always remain among the main subjects in the studies of the social functioning of art, bringing to the foreground one or another aspects of interaction. Modern civilizational trends are globalization, urbanization and the information technology rev- olution - which contributed to the rapid development of mass communication media, opened up unprecedented opportuni- ties for introducing wider masses to culture and art, turned art into an element of everyday life of a mass person.
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Olender, Jacek. "Art and cultural institutions as social extensions of personal self-identity." AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard VI, no. 2-3 (2015): 57–71. http://dx.doi.org/10.26913/60202015.0112.0003.
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Wahida, Adam, and Muhammad Hendra Himawan. "Batik in Malaysia and Indonesia: A collaboration for reconciling issues of cultural heritage." International Journal of Education Through Art 18, no. 1 (2022): 89–103. http://dx.doi.org/10.1386/eta_00084_1.
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Conflict claims for the cultural heritage of batik between Indonesia and Malaysia have created tensions between the people of these two countries. The Indonesian and Malaysian governments have never involved academics and arts education institutions in resolving such conflict claims, yet, these communities can play a significant role in post-conflict reconciliation efforts. This article describes a conflict reconciliation method initiated by academics, artists and art educators through a collaborative art project between art higher education institutions in Malaysia and Indonesia. Ways in which collaborations within and across the art and education communities may address the understanding and reconciliation of issues related to cultural heritage conflict are explored.
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Rinehart, Richard. "Access to art collections using Encoded Archival Description and beyond: the future of large-scale consortium projects." Art Libraries Journal 26, no. 3 (2001): 33–39. http://dx.doi.org/10.1017/s0307472200012311.
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In a Herculean effort to distribute information about art collections on a previously unknown scale, museums, arts organizations, libraries, and archives have been hard at work developing standards and implementing testbed projects, large-scale union databases which integrate and disseminate information. Two such projects are ‘Conceptual and Intermedia Online’ (CIAO) and ‘Museums and the Online Archive of California’ (MOAC), both using the Encoded Archival Description to describe and provide access to art and other cultural collections. But what is the future of such collaborations and the content portals they spawn? Will they be able to scale up to include hundreds or thousands of institutions, using current models? What are the limitations for such consortia? What are the limitations for participating institutions? Several options appear on the horizon, and one simple need suggests looking to decentralization, and back to the individual institution, for the solution to sharing art and cultural content on a truly vast scale.
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Xiao, Xiao. "Education Choice, Cultural Practice, and Personal Growth of Music Examinees from the Perspective of Chinese Art College Entrance Examination." International Education Forum 2, no. 2 (2024): 21–27. http://dx.doi.org/10.26689/ief.v2i2.6743.
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From the perspective of the Chinese art college entrance examination, this research examines the education choice, cultural practice, and personal growth of music examinees, and expounds that the art examination is not only a unique way to enter higher education in China but also an important cultural phenomenon. The aim is to deeply explore the multi-dimensional influence of art examination and its practice in private art education institutions. By applying a combination of quantitative and qualitative research methods, this study provides insights into understanding the experience of music examinees, improving the quality of arts examination and cultural practices, and optimizing the management and teaching practices of private art training institutions. It can also provide a valuable reference for relevant decision-makers, practitioners, students, and their families in the choice and practice of music education.
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Xie, Xitong. "Fine Art of China in the Late XXth Century: New Names, Concepts, Cultural Institutions." Общество: философия, история, культура, no. 2 (February 21, 2024): 155–60. http://dx.doi.org/10.24158/fik.2024.2.21.
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The article analyzes the historical and cultural prerequisites for the development of visual art of the 1990s of the XX century in the People’s Republic of China as different from the traditional national art. The first part of the article gives a preliminary overview of the development of the artistic process in the 1990s for the first time. The artists of the new generation were influenced by the culture of socialist realism. The second part analyzes the reasons for the emergence of the phenomenon of new generation artists in the 1990s, which were formed under the influence of the market system. Market mechanisms stimulated the arrival of new artists and the for-mation of the commercial sector of the art market. The article describes the motives, socio-cultural and mental grounds for the success of new artists in the situation of the creative industries market. It is proved that the driv-ing force of changes in Chinese art culture was the formation of the system of art process facilitation, institu-tionalization and commercialization of exhibition and exposition spaces, (genesis of symbiotic institute of pro-fessional curatorship, art criticism and art dealership), as well as the experience of borrowing and cultural diffu-sion of mainland China with its island partners – Hong Kong, Macau. Around the 1990s, many small or private galleries were gradually established in China. The emergence of curators increased the number of artists of a new generation, outlook and new concepts.
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Osińska, Karolina. "Pozycja dzieła i instytucji sztuki w dobie mediów społecznościowych: Zachęta oraz Cosmos Muzeum." Sztuka i Kultura 6 (December 18, 2023): 101–206. http://dx.doi.org/10.12775/szik.2022.003.
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This work focuses on considering the position that an artwork and an institution of art hold in the age of social media. Two popular places in Warsaw: Zachęta and Cosmos Muzeum were used as examples for undertaking a comparative analysis. The work has been divided into two parts – the first is of a theoretical and methodological nature. It introduces the complex issues of contemporary art, visuality in social media, as well as the art of narration and self-creation. The second part of the work is a comparative analysis of two examples – each of them contains subsections on the identity of a place and its history, presence in social media and activities outside art. The direct inspiration for taking up the considerations was the fate of a series of installations created by the Japanese contemporary artist Yayoi Kusama, which once broke popularity records on Instagram, and Kusama was called “the most instagrammed artist in the world”. The collection of materials for analysis took place at a specific time, during the coronavirus pandemic, which left a clear mark on the activities of cultural institutions. It was a time when social media benefited and through which cultural institutions could continue their activities and reach recipients. For many cultural institutions and museums, the pandemic has become an opportunity to find new forms of communication and present art and Zachęta can be used as an example. This is important especially for contemporary art, which is often perceived as difficult to accept and incomprehensible. The article also presents the main problems and issues of contemporary art against the background of the specificity of contemporary culture immersed in the virtual world, with social media at the forefront. The article also focuses on the issue of visuality and aesthetics.
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Nakamura, Setsuko. "The Art Library of the National Research Institute for Cultural Properties, Tokyo." Art Libraries Journal 38, no. 2 (2013): 26–30. http://dx.doi.org/10.1017/s0307472200018009.
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The National Research Institute for Cultural Properties, Tokyo had its beginnings in the Institute of Art Research, which was the first institution to specialise in research in fine art in Japan. The library at the Institute played a central role from the very start, acquiring and making accessible its large collection of material related to fine art, with an emphasis on books and photographs. In recent years, we have also begun to play a role as an archive and information centre. What were the original aims and objectives behind the establishment of the library, and how have its activities changed? Amidst the many developments in recent years – the role of the internet, now a major information tool, the organisational changes at the Institute itself – it is essential that we continue to do the work for which we have long been recognised in art history research and the preservation and utilisation of cultural properties, and at the same time find ways to collaborate with related institutions.
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Mahony, Emma. "Opening Spaces of Resistance in the Corporatized Cultural Institution: Liberate Tate and the Art Not Oil Coalition." Museum and Society 15, no. 2 (2017): 126–41. http://dx.doi.org/10.29311/mas.v15i2.828.
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In the current economic climate where state subsidies for the arts have been steadily eroded, there is a consensus in support of the good of corporate sponsorship for cultural institutions. This article seeks to problematize this consensus by critiquing the strategies that corporations employ in their sponsorship agreements with public cultural institutions and opening up a discussion around the ethical issues this poses for their recipients. It then examines how a coalition of subversive arts collectives, that come together under the banner ‘Art Not Oil’, have begun to successfully shatter this consensus through a sustained campaign of unauthorized live art interventions enacted inside cultural institutions. It argues that the unique strategy of resistance they employ operates at an interstitial distance to the public cultural institutions they target, from where they open up spaces of resistance ultimately capable of rewriting the cultural sectors’ corporatized value system.Key Words: Corporate sponsorship, Public cultural sector, Liberate Tate, Simon Critchley, Interstitial distance
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Molokova, T. "HISTORICAL AND CULTURAL RETROSPECTIVE FORMATION OF FINE ART IN MARIUPOL." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 24 (2022): 52–58. http://dx.doi.org/10.34079/2226-2849-2022-12-24-52-58.
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The article attempts to analyze the formation and development of fine art in the city of Mariupol. It provides historical background regarding the activities of artists whose lives and works are connected with Mariupol. The author in particular thoroughly studied the characteristic features of the works by Arkhip Kuindzhi is an artistic symbol of Mariupol, described his creative progress and artistic heritage. In addition, the paper attempts to analyze the works by Oleksandr Mogilevskyi, Viktor Arnautov, Albert Makhotin, Serhiy Barannik, etc. The study gives the characteristics of the fine art of the city in the modern period, describes the creative heritage of the most famous artists of Mariupol in the late 20th century – early 21st century (Halyna Harkina, Volodymyr Miski-Ohlu, Pavlo Ponomarenko, Oksana Pehotska, Oleksandr Bondarenko, etc.). The author highlights specific features of the creative methods and searches of modern Mariupol artists, depicts their educational activities. The article gives considerable attention to the educational activities of art institutions in Mariupol, characterizes the work of the Art School of the City Council in Mariupol, the Art School in Mariupol named after Arkhip Kuindzhi, the ART-Center Institution, the Sova Art Center, describes the activities of the Mariupol-87 creative association, which united avant-garde artists. The research indicates that the fine art is actively developing in Mariupol; it is diverse and rich in terms of subjects and creative methods. Key words: fine art, historical retrospective, painting, watercolor, oil paints, easel painting, landscape, still life, art education, creative method, realism, modernism.
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Siegenthaler, Fiona, and Marie-laure Allain Bonilla. "Introduction: Decolonial Processes in Swiss Academia and Cultural Institutions." TSANTSA – Journal of the Swiss Anthropological Association 24 (May 1, 2019): 4–13. http://dx.doi.org/10.36950/tsantsa.2019.24.6833.
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This introduction discusses aspects of decolonial processes and their relevance with regard to Swiss cultural institutions and higher education by presenting key concepts of decolonial thinking such as coloniality, modernity and de-linking. Boaventura de Sousa Santos’s suggestions for decolonising Western universities are juxtaposed with actual decolonial processes taking place in different academic, (art) education and museum settings in Switzerland and abroad, and their political dimensions are scrutinised. The introduction concludes by presenting current debates, research projects and suggestions for practical implementation, as reflected in the contributions to the Special Issue.
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Zemīte, Ieva. "CHALLENGES FOR A 21st CENTURY CULTURAL ORGANISATION: CULTURAL ENTREPRENEURSHIP." Culture Crossroads 7 (November 14, 2022): 86–95. http://dx.doi.org/10.55877/cc.vol7.230.
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In parallel with the development of scientific discourse, a dialogue about the making of cultural entrepreneurship offer becomes more and more significant also among practitioners because the necessity to take a risk and attract resources to the achievement of artistic goals increases. Cultural organisations, which have been state subsidised so far, are often forced to function according to business principles, hence a need arises to define new notions and analyse the specific nature of these activities. It determines the main differences between activities of classical and cultural entrepreneurship. The cultural exception principle defined in the UNESCO Convention has created preconditions which ensure that culture sector institutions and organisations are not under the free market rule, and their contents are protected. At the same time a system is created which allows leaders of organisations, relying on their special status, to demand both financial and material resources which are necessary to ensure the functioning of cultural organisations and institutions. It does not always ensure development-oriented management. The distinction of pure art, culture industry, creative industry and related industries determines the most essential breakdown of the industry into sectors, which also marks the differences in funding their activities. However, entrepreneurship also means creating new values in the context of pure art. It means taking a risk and attracting the necessary resources to achieve the goals.
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Belousova, Daria S. "The Impact of Cultural Industries on the Development of Performative Art in the Regions." Observatory of Culture 20, no. 3 (2023): 302–12. http://dx.doi.org/10.25281/2072-3156-2023-20-3-302-312.
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The article examines the development of contemporary performative practices in the regions and the influence of cultural industries on them. The concepts of “performance art”, “art activism”, and “happening” are discussed. The dichotomy of exclusive/ mass is revealed: performative art is an exclusive personified creative act, and mass art is presented in the form of typical standardised works that are available for the general public. The question of cultural institutions is highlighted and their influence on the development of actual art in regions and the formation of cultural identity of the city is analysed. The author considers the problem of institutional critique as a tool for the development of cultural industries, confirming a hierarchical vertical hierarchy and levelling the work of artists in a situation of insecurity. There are given examples of how performative art forms cultural environment and becomes a trigger for development of regional cultural industries, creating around itself a field of scientific and philosophical discourse and involving the fields of mass-marketing, advertising, media and related financial components. The author analyses the process of globalisation and demonstrates the most effective way for regional contemporary art to integrate into the general cultural process - to offer innovative forms. Examples of successful implementation of this method are given.
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Setiyawan, Dimas Bagus. "The Transformasi Pendidikan Seni di Indonesia Pacsa Kemerdekaan Tahun 1945-1950." Jurnal Pendidikan Sejarah 13, no. 1 (2024): 70–88. https://doi.org/10.21009/jps.131.04.
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The development of art education in Indonesia has a long history, including during the early period of Indonesian independence. This research aims to analyze the development of art education during the early years of independence from 1945 to 1950. One of the methods used in this research is qualitative research with a historical approach, which involves five stages: topic selection, heuristics, source criticism, interpretation, and historiography. The results of this research indicate that at the beginning of Indonesian independence in 1945, art education played a significant role in building cultural identity and national recovery. During the colonial era, education in Indonesia was heavily discriminated against, with limited educational opportunities only available to children from privileged backgrounds. In the period from 1945 to 1950, art education became a means to awaken nationalism, strengthen cultural identity, and appreciate traditional art as cultural heritage. During this period, art education not only shaped a generation of creative artists but also explored Indonesia's rich cultural roots and used them as a source of inspiration. In the early years of independence, there were not many formal educational institutions established, but the rapid development of art significantly influenced the formation of art education institutions in Indonesia. Therefore, art organizations and art exhibitions played a crucial role in nurturing the creativity of artists.
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Žukauskienė, Odeta. "Muziejų kultūra: kintantys diskursai ir institucinė kritika." Lietuvos kultūros tyrimai 2 (2012): 14–31. https://doi.org/10.53630/lkt.2012_1.1.
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Critical museum discourse seeks to urge fundamental changes in the institutional norms and policies. Therefore, the paper examines the questions raised by the new museology and institutional critique covering a wide range of issues related to the museum normative practices, power relations, canonical ways of representations, art-world narratives, curatorial practices and other issues. The article also discusses the theory of museums and the development of institutional critique in Lithuania. Aspects of Lithuanian art institutions critically evaluated in theory and practice are discussed, anti-institutional initiatives by artists and perspectives of institutional critique in Lithuania considered. Contemporary artists have developed various practices of institutional critique questioning art institution, and its legitimizing powers, art management strategies, exhibit organization and exposition methods. However, art institutions adopting the critical art practice neutralize and make it ineffective. Thus, institutional critique is in constant search of new ways how to overpower the structuring of artistic life and enclosure of public spaces.
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Gureeva, Anna A., and Svetlana A. Korolkova. "How to teach sight interpreting applying a scenario-situation model." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (2022): 402–8. http://dx.doi.org/10.18500/1817-7115-2022-22-4-402-408.
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The article deals with sight interpreting as a necessary stage of teaching the interpreter to work with a foreign delegation within a cultural programme. Proper cross-cultural communication requires skills and experience in working with the authentic Russian and foreign texts, parallel glossaries, in order to enrich the professional thesaurus, and train translation of cultural discourse texts. Training interpreting at the initial stage by modelling a communicative situation, standard for the interpreter’s professional practice, via integrated scenes, allows to adapt to the environment of cross-linguistic and cross-cultural interaction, forming and perfecting psychological and cognitive skills and knowledge of the interpreter’s professional competence. The authors propose tasks and exercises, developed on the textual material represented by leaflets of famous cultural and entertainment institutions: museums, art galleries, planetariums, theaters, zoos, concert and opera halls, etc. The tasks and exercises aim at mastering skills and knowledge necessary for the interpreter’s work in various settings of the Cultural Programme communicative situation: a city or a museum tour, an interview with artists, presentations of art and cultural objects, ceremonial opening of cultural institutions, art exhibitions. The authors believe that teaching sight interpreting by such tasks and exercises also promotes progressive training of such interpreting types as one-way liaison interpreting (the interpretation of a guide’s speech), two-way liaison interpreting (dialogue communication between members of a foreign delegation with cultural institutions’ representatives, representatives of art community), “simplified” consecutive interpretation (used in numerous scenarios of the communicative situation).
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Mykhailova, Yu, and L. Kaznacheieva. "Cultural cooperation between Western Ukrainian cultural and leisure centers with European countries." Culture of Ukraine, no. 75 (March 21, 2022): 16–21. http://dx.doi.org/10.31516/2410-5325.075.02.
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The purpose of the article is to study and clarify the main forms of cultural cooperation of Western European cultural and leisure centers with European countries.
 The methodology. The descriptive method and the systemic approach were applied, the review references of the National library of Yaroslav Mudryi “On cultural cooperation of Ukraine with foreign countries” for 2017–2020 and numerous Internet sources were worked out.
 The results. It was found out that cultural and leisure centers, including the ones in Western Ukraine, take an active part in intercultural cooperation between Ukraine and European countries. As European countries have for a long time involved culture as a factor in humanitarian development, and leading European countries allocate significant funds and attract the best professionals to implement largescale cultural projects and to increase their presence in Ukraine, so the increase of the number of cultural projects, programs, European culture days, printed and electronic publications, media product will justify themselves as the means of increasing the interest of the Ukrainian public in Europe. By cultural and leisure centers we mean various forms of cultural institutions that are part of the basic network of cultural institutions, including libraries, museums, galleries, reserves, exhibition halls, theaters, philharmonics, concert organizations, art groups, cinemas, film and video distribution enterprises, associations, palaces and houses of culture, other club establishments, educational establishments in the field of culture, art schools, studios, parks of culture and recreation. These institutions carry the lion’s share of all art exhibitions, projects, events and other cultural events taking place in Ukraine. In Western Ukraine, cultural and leisure centers are one of the main subjects in the process of cultural development of the country, without which it is impossible to achieve the strategic goals of Ukraine’s development in the field of culture. Among the events that promote European integration of Ukraine there are international festivals with European representatives, exhibitions, concerts, thematic events, master classes, workshops, trainings, training courses, creative laboratories, scientific cooperation — conferences, forums, seminars which take place in Lviv, Ternopil, IvanoFrankivsk, Volyn, Rivne regions in offline and online formats.
 The scientific novelty: the article attempts to study the role of cultural and leisure centers of Western Ukraine in the formation of a single European sociocultural space.
 The practical significance. The analyzed practical experience of European cooperation of cultural and leisure centers of Western Ukraine can be borrowed by the institutions of other regions.
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G., Abipova,. "Issues of Financial Reform of Culture and Art Institutions." Bulletin of Science and Practice, no. 1 (January 15, 2023): 252–55. http://dx.doi.org/10.33619/2414-2948/86/34.
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In the article, the importance of financial reform in order to ensure the financial stability of institutions in the field of culture and art of our country in the conditions of the market economy was studied, and the main tasks in its implementation were determined. A financial reform program was proposed as a result of the study. At the same time, the profitability index was obtained in the evaluation of the results of the financial reform of cultural and art institutions.
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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 (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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Modlinski, Artur, and Luis Moreira Pinto. "Managing substitutive and complementary technologies in cultural institutions." Management 25 (November 27, 2020): 1–10. http://dx.doi.org/10.30924/mjcmi.25.s.2.
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Digitalization and artificial intelligence are changing modern business organizations. New technologies help to analyze business environment, track customers, control work performance and improve prod-ucts. The aforementioned phenomenon has received considerably little attention in current literature on culture management. Our goal is to find (1) what types of technologies are used by cultural institutions (CIs) and (2) for what reason. The hypothesis of the article is that CIs use various technologies and tools. Websites, leaflets and audiovisual materials of 139 CIs around the world (theaters, art galleries, opera houses, museums) were analyzed. It was found that CIs use both complementary (CT) as well as substitutive technologies (ST) for managerial and mission-oriented purposes. In our article, the matrix of technologies used by CIs is proposed. Our findings suggest that CIs adapt to changing technological environment by implementing tools that support them in the mission’s fulfillment and management. Moreover, new technologies are used by CIs as both employees’ reinforcement as well as their replace-ment.
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Timko, Tomáš. "Institutionalization of Independent Public Art and its Influence on Social Taste." Street Art & Urban Creativity 7, no. 2 (2021): 66–73. https://doi.org/10.25765/sauc.v7i2.396.
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The present paper deals with the persistent trend of transferring independent, or anonymous, even illegal, public artwork into institutions. From the postmodern era (e.g. artists Keith Haring) to the present (e.g. an artist Banksy, etc.), several significant cases have provided evidence that public art has become popular and sought-after by the audience. Nowadays, in addition to the classical media, the Internet, which has become, so to speak, the ‘voice of the people’, significantly facilitates the massive popularization of independent public art. However, such a demand makes many cultural institutions conceive of dramaturgy accounting for the most significant trends, the primary goal being attracting visitors. This results, among other things, in the formation of the aesthetic taste of the audience or the whole society. The paper seeks answers to these questions: whether or how the authenticity of independent artwork changes when transferred into the institution; how the popularity of public art shapes the dramaturgy of art institutions in Czech and Slovak cultures; how it modifies the aesthetic taste of the wide audience.
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Pashkus, Margarita, Vadim Pashkus, and Anna Koltsova. "Impact of Strong Global Brands of Cultural Institutions on the Effective Development of Regions in the Context of the Covid-19 Pandemic." SHS Web of Conferences 92 (2021): 01039. http://dx.doi.org/10.1051/shsconf/20219201039.
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Research background: In the context of the coronavirus pandemic, when cultural objects were unable to function normally for a long time, their income has significantly decreased, and state support is not enough to implement strategic projects. This is due to a sharp decline in the incomes of the population of these countries and a prolonged shutdown of large- scale production, even the stagnation of entire sectors of the economy. Purpose of the article: The article is devoted to the problem of the formation of strong brands of cultural institutions, in particular, art museums and galleries and their impact on the competitiveness of the region. Methods: We use statistical, and regression methods for analysis, which are used to assess the mutual influence of traffic flows to museums and other cultural objects on the total income in the art market. Findings & Value added: The analysis showed that work on the image, strengthening the brands of cultural institutions, increasing the level of recognition in the world and close ties with recognized art-dominants in the future will allow cultural institutions to attract significant financial flows and improve their competitive position in the world market. As the scientific increment can be considered, the results of analysis the relationship between the strong brands of art museums and other cultural objects and the tourist attractiveness of their locations, as well as the mutual influence of cultural object brands on the territory’s brand. It is proposed to modify the methodology for evaluating the brand value in an art Museum or gallery.