Relevant bibliographies by topics / Museum of Contemporary Art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Museum of Contemporary Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Museum of Contemporary Art"

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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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Pane, Imam Faisal, and Rahmita Dewi Lubis. "Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.

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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. There are few steps made in the process of completing the design; the first one is by collecting data from the literature, books, journal, magazine, the internet, survey, and interview. And from the data collected, the design for Museum and Gallery of Contemporary Art will be produced.
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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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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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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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Delibaltova, Vasya. "Contemporary art as tool for reinterpretation of museum exposition." New Trends and Issues Proceedings on Humanities and Social Sciences 3, no. 5 (July 7, 2017): 62–67. http://dx.doi.org/10.18844/prosoc.v3i5.1962.

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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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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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Ilinskaya, N. I. "ART MEDIATION IN RUSSIA AND FRANCE: GENERAL AND DIFFERENCES." Arts education and science 1, no. 4 (2020): 149–54. http://dx.doi.org/10.36871/hon.202004019.

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The article discusses the phenomenon of art mediation. The relevance of this problem is due to the fact that the concept of art mediation, or "museum as a cultural mediator", is relatively new in Russia. It is mainly adopted in our country by contemporary art museums, often nonstate. At the same time, in a number of countries around the world, and especially in France, the concept of art mediation (médiation culturelle), or "museum-mediator", firmly rooted in museum practice, in the legal field, as well as in university education and training, practically forcing out the more familiar for Russia term "museum pedagogics" (pédagogie muséale). In this regard, it is important to think about and understand the French experience in this field and how it can be applied in the Russian context, outside the still relatively small sphere of private and contemporary art museums, where this experience is already being applied.
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Dissertations / Theses on the topic "Museum of Contemporary Art"

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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.

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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.

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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.

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Cass, Nicholas. "Contemporary art and heritage : interventions at the Brontë Parsonage Museum." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12608/.

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In this thesis I examine the Contemporary Arts Programme at the Brontë Parsonage Museum, with a particular focus on the commissioning and installation of artwork in the period interior of the museum. Reading the work of Paula Rego, Cornelia Parker, Su Blackwell, Charlotte Cory and Catherine Bertola through the literature of heritage and dialogical aesthetics, I seek to map the unexplored liminal territory between the Brontë Parsonage Museum as 'shrine' and the contemporary art installations as 'intervention'. The purpose, through following a trajectory which has its origin in what Malinowski described as 'foreshadowed problems', has been to produce a rich account of the ways in which art and heritage practices intersect. A reflexive ethnographic stance, in which the process has developed through and in, rather than prior to, the research process, acknowledges my own position as artist, museum educator and academic, engaged with a particular site where I have used visitor comment books and semi structured interviews with artists, staff and visitors to produce this account. This stance acknowledges that writing about art is itself a creative practice and should not be seen as existing as an independent, external addition; to be so, it would remain a 'shadow' of that which it describes. Instead, it is my purpose to map the complexity of these installations as points of reference in the broader topology of heritage practice and contemporary art to demonstrate that they are not reducible to the paradigmatic arguments which are used to describe their existence within the museum space. Often characterised as 'social outreach, public relations, economic development and art tourism', I argue it is more productive to consider these 'interventions' as dialogic heritage, both in order to understand their 'affective' role in the process of interpreting the legacy of the Brontës, and to understand ways in which they address visitor experience.
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Moser, Susan. "K-12 Educational Programs in Contemporary Art Museums: An Examination of University and Non-University Non-Collecting Institutions of Contemporary Art." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4031.

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This museum thesis project will provide an overview of kindergarten through 12th-grade (K-12) educational programs at six non-collecting art institutions within the United States, contextualized within a selected historiography of art museum education. This project is designed to aid the Virginia Commonwealth University Institute for Contemporary Art (ICA). The ICA is a non-collecting institution that will be located on VCU’s Monroe Park campus. As the ICA staff sets out to articulate a vision and scope for its K-12 education programs, it will benefit from the information offered in this thesis project, especially given that there is no existing literature specifically about K-12 programs at non-collecting museums of contemporary art.
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DEGRAAF, NATHAN MARK. "MILIEU, MEANING AND ARCHITECTURE: CONTEMPORARY INSTALLATION ART GALLERY DESIGN." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.

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Soltys, Hannah, and Hannah Soltys. "Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626142.

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In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephemeral artworks.
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Seiler, Jena M. "Sensing Security through Contemporary Art and Ethnographic Encounters." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou151022822064186.

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MENDES, PATRICIA STEINTHAL DE ANDRADE. "THE INTERLACE OF ART AND ARCHITECTURE IN THE CONTEMPORARY MUSEUM SCENE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25576@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
O intenso movimento em torno da construção, ampliação e reforma dos museus de arte em todo o mundo aponta para uma valorização do papel da arquitetura na circulação da arte, como evento midiático ou como geradora de novas centralidades urbanas, e na adequação dos museus às importantes transformações que ocorrem no campo da arte desde os anos 1960. O trabalho apresenta três abordagens do tema, contempladas uma em cada capítulo. O primeiro examina a participação da arquitetura nas estratégias de representação e de comunicação no ato da exposição, o segundo trata da arquitetura icônica que transforma o museu em imagem e símbolo que circula na mídia a serviço da instituição, uma terceira abordagem coloca o foco na arquitetura efêmera e trabalha com a ideia do museu como espaço contingencial que não se ancora em uma estrutura fixa, mas num sistema de conexões sociais e espaciais.
The intense movement revolving around the construction, expansion and remodeling of art museums throughout the world signals the growing importance of the role of architecture in the circulation of art, whether as a media even or as a generator of new urban centralities, and in the adaptation of museums to the important transformations that have occurred in the field of art since the 1960s. The paper presents three approaches to the theme, each contemplated in a chapter. The first examines the participation of architecture in the communication and representation strategies in the act of exhibition, the second addresses iconic architecture that transforms the museum into image and symbol that appears in the media at the institution s service, the third chapter focuses on ephemeral architecture in the context of art, working with the idea of the museum as an undetermined space that is not anchored to a fixed structure, but to a system of social and spatial connections.
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Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.

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Books on the topic "Museum of Contemporary Art"

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Galleries, inc Swann. Contemporary art. New York: Swann Galleries, 2003.

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Contemporary art. New York: Swann Galleries, 2001.

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Galleries, inc Swann. Contemporary art. New York: Swann Galleries, 2002.

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Galleries, inc Swann. Contemporary art. New York: Swann Galleries, 2004.

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Sotheby's (Firm). Contemporary art afternoon. New York: Sotheby's, 2003.

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Maggie, Toy, ed. Contemporary museums. West Sussex, UK: John Wiley & Sons, 1997.

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Kaitavuori, Kaija. Museum of Contemporary Art guide. Helsinki: Museum of Contemporary Art, 1993.

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Kurigami, Kazumi. Hara Museum of Contemporary Art. Tokyo, Japan: The Museum, 1985.

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Roberto, Montero Castro, ed. Caracas Museum of Contemporary Art. Caracas: Public Relations Dept. of Lagoven, 1988.

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Museum, Glenbarra Art, ed. Contemporary Indian art: Glenbarra Art Museum Collection. Japan: Glenbarra Japan Co. Ltd., 1993.

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Book chapters on the topic "Museum of Contemporary Art"

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Jankauskas, Jennifer. "Strategies for Acquiring Contemporary Art." In Museum Collecting Lessons, 43–56. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003216384-4.

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Leung, Isaac. "Museum Frenzy." In The Routledge Handbook of Contemporary Art in Global Asia, 225–32. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003285298-22.

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Loeseke, Annette. "The Politics of Contemporary Art Museums." In Curating the Contemporary in the Art Museum, 125–38. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003177081-12.

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Man, Eva Kit Wah. "A Museum of Hybridity: The History of the Display of Art in the Public Museum of Hong Kong and Its Implications for Cultural Identities." In Chinese Contemporary Art Series, 71–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_10.

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Laine, Anna. "Engagements in the ethnographic museum and contemporary art galleries." In Practicing Art and Anthropology, 87–93. London, UK ; New York, NY, USA : Bloomsbury Academic, 2018. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003086444-5.

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von Bismarck, Beatrice. "Reform(ulat)ing Infrastructures – Becoming Museum." In Curating the Contemporary in the Art Museum, 13–25. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003177081-3.

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Mavini, Christina. "Engaging New Museum Audience Through Art Workshops: The Case of “Adult Art” at Macedonian Museum of Contemporary Art." In Strategic Innovative Marketing and Tourism, 327–35. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12453-3_37.

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Strnad, Brigita. "Children’s Engagement with Contemporary Art in the Museum Context." In Multimodal Perspectives of Language, Literacy, and Learning in Early Childhood, 169–90. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-44297-6_9.

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Ekeberg, Jonas. "The Rise and Fall of a Nordic Art Institution." In Curating the Contemporary in the Art Museum, 97–109. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003177081-10.

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Greaves, Kerry. "What's Happening? Feminism, the Contemporary, and Curating in the Art Museum." In Curating the Contemporary in the Art Museum, 139–52. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003177081-13.

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Conference papers on the topic "Museum of Contemporary Art"

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Livatino, Salvatore. "Virtual Museum of Contemporary Art." In 17th International Conference on Artificial Reality and Telexistence (ICAT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icat.2007.55.

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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Ásványi, Katalin, Zsuzsanna Fehér, and Melinda Jászberényi. "THE CRITERIA FRAMEWORK FOR SUSTAINABLE MUSEUM DEVELOPMENT." In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.3.

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Purpose –The purpose of this study is to identify the criteria for sustainable museums found in reference literature and specified in our research, and to suggest guidelines for museums to follow. Methodology –In our primary research, the criteria for a sustainable museum were interpreted along four pillars, for which in-depth expert interviews were conducted with Hungarian museum professionals. Semi-structured interviews were used to explore the viewpoints, expectations, and perceptions of museum staff. Findings – In terms of environmental sustainability, Hungarian contemporary museums place less emphasis on making the museum building itself more sustainable. However, it is worthwhile for institutions that have long-term plans to become more and more eco-friendly. The issue of economic sustainability is the most problematic for Hungarian museums, which can be greatly improved with an active support community that helps museums either through volunteer work or financially. From a social point of view, one of the most important tasks of museums is to ensure equal opportunities, to reach the widest possible range of people, which is facilitated if the museum can function as a community space that adequately involves museum visitors and if it continuously strengthens its role in education. In terms of cultural sustainability, the responsibilities of museums are collection management, maintaining quality, and artistic vitality. Contribution – We conceptualize and provide a framework for sustainable museums. Through our research, we have contributed to broadening the theoretical background of sustainable museums from the perspective of contemporary art museums.
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Canbakal Ataoğlu, Nihan, Habibe Acar, and Aysel Yavuz. "Museum’s Open Space." In 3rd International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2020. http://dx.doi.org/10.38027/n382020iccaua3163635.

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Museums are institutions that carry on the cultural and artistic treasures of societies to future generations. Economic social, cultural and philosophical thoughts in the world have changed the understanding of museology. At the beginning of the 20th century, modern architects brought new expansions to classical museum typology. In the 1970s, museums began to draw attention as the city's landmark and meeting points. Along with the museums, courtyards, squares and gardens, which are open spaces of museums, have also changed. By joining the city life, they became new social attraction centers. Museums and museum open space from Turkey and the world in the study areas, classified under the headings of traditional and contemporary, will be analyzed under the headings of form, style, material, elements of boundry, planting design, activities area, urban furniture, and function. In order to demonstrate the changing today’s museum’s open space; an analysis will be made using spatial experiences, observations, syntactic analysis technique. Study’s contribution to the literature will be determined by the design approaches of contemporary and traditional museum open spaces. As part of the museum identity and character, it will be pointed out that the open spaces of the museum are as important as the design of the museum buildings.
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Widharini, Febrika, and Dorien Kartikawangi. "Integrated Marketing Communication at Museum MACAN: Modern and Contemporary Art in Nusantara." In The 2nd International Conference on Inclusive Business in the Changing World. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008433205200529.

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Morozova, K. I. "CONTEMPORARY ART IN A CLASSICAL MUSEUM (BASED ON THE RESULTS OF A SURVEY OF MUSEUM VISITORS IN SAINT PETERSBURG)." In Месмахеровские чтения - 2022. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604789377_579.

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Guo, Jie. "The Space Design of the Contemporary Art Museums." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.169.

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Mitrović, Aleksandar. "VIRTUAL ART MUSEUM AS EDUCATIONAL CONTENT ICT IN TEACHING FINE ARTS (THEORETICAL ASPECT)." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.417m.

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The educational goal of teaching fine arts is to adopt visual literacy and visual expressiveness. Learning by means of information and communication technologies (ICT) involves the use of digital devices for the effective and creative extension of knowledge. The production of electronic educational materials is increasing daily, and thanks to the Internet, it is available on almost all ICT devices. In this paper virtual museums are presented as educational contents of ICT in the teaching of fine arts, as well as their method of application in teaching. The contents presented by virtual museums provide an interactive and non- interactive method of learning and exploration. The interactive educational content of virtual museums is often in the form of educational applications or websites that can be found on ICT and have well-intended educational goals. The contemporary approach and use of ICT in the teaching of fine arts provides new learning opportunities that focus on the aesthetic experience and theoretical aspect of visual content. Given that it takes less time to adopt pictorial content than to adopt verbal content, today’s approach to fine arts education involves the use of ICT.
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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.

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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
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Reports on the topic "Museum of Contemporary Art"

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.308086.

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.309177.

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Westermann, Mariët, Liam Sweeney, and Roger Schonfeld. Art Museum Staff Demographic Survey 2018. Ithaka S+R, January 2019. http://dx.doi.org/10.18665/sr.310935.

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Sweeney, Liam, Deirdre Harkins, and Joanna Dressel. Art Museum Staff Demographic Survey 2022. Ithaka S+R, November 2022. http://dx.doi.org/10.18665/sr.317927.

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Sweeney, Liam, and Joanna Dressel. Art Museum Director Survey 2022: Documenting Change in Museum Strategy and Operations. Ithaka S+R, October 2022. http://dx.doi.org/10.18665/sr.317777.

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Schonfeld, Roger, and Liam Sweeney. Organizing the Work of the Art Museum. Ithaka S+R, July 2019. http://dx.doi.org/10.18665/sr.311731.

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Van Eck, Steve. Neighborhood Economic Impacts of Contemporary Art Centers. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6319.

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Fox, Andrew, and Sadie Walters. North Carolina Museum of Art West Building Expansion. Landscape Architecture Foundation, 2015. http://dx.doi.org/10.31353/cs0940.

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Sweeney, Liam, and Jennifer Frederick. Ithaka S+R Art Museum Director Survey 2020. Ithaka S+R, November 2020. http://dx.doi.org/10.18665/sr.314362.

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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