Artist Files and Art Students: Expanding Audience Through Collaboration Between an Art Museum Library and a Contemporary Art History University Course

2020 ◽  
Vol 45 (2) ◽  
pp. 166-175
Author(s):  
Madeline Rislow ◽  
Amelia Nelson
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Museum ◽  
Art Students ◽  
University Course

Challenges in using moving images at the MAC/VAL, Vitry-sur-Seine

2009 ◽  
Vol 34 (3) ◽  
pp. 11-15
Author(s):  
Céline Latil
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Moving Images ◽  
Audiovisual Archives ◽  
Contemporary Art Museum

This article describes the documentation centre at the contemporary art museum MAC/VAL in Vitry-sur-Seine in the Val-de-Marne, outside Paris, and in particular its audiovisual collections. It outlines the problems that have to be faced when seeking to make this material – documentaries and artists’ videos, whether purchased or produced in-house, even the museum’s audiovisual archives – available to the centre’s users.

scholarly journals The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 111
Author(s):  
Camila Maroja
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Native People ◽  
Amazon Rainforest ◽  
Critical Practice ◽  
Sacred Place ◽  
Art Practices ◽  
Environmental Work ◽  
Global Art ◽  
Venice Biennale

During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

Plant Stories are Love Stories Too: Moss + Curation

Public ◽  
2021 ◽  
Vol 32 (64) ◽  
pp. 54-61
Author(s):  
Toby Katrine Lawrence ◽  
Michelle Jacques
Keyword(s):  
North America ◽  
Art History ◽  
Art Museum ◽  
Cross Cultural ◽  
Knowledge Systems ◽  
Love Stories ◽  
White Settler ◽  
Black Canadian ◽  
Learning Research ◽  
Professional Resources

In 2020, after a year of dreaming, we officially embarked on the development of Moss Projects: Curatorial Learning + Research, an educational and philosophical space that aims at peeling away the colonial layers of the art museum, within the context of Turtle Island (now North America), to imagine something else. This initiative supports peer-to-peer pedagogies alongside Indigenous, Black, and People of Colour-led and allied inquiry and practices, valuing diverse knowledge systems and modes of organization beyond dominant parameters of curation, art, and art history. As white settler and Black Canadian curators, we are founding Moss Projects as a collaborative, reflexive, and praxis-based process, utilizing our professional resources for curatorial incubation and to establish spaces and mechanisms for sharing cross-cultural and cross-disciplinary methodologies.

Who (or What) is an AI Artist?

Leonardo ◽  
2021 ◽  
pp. 1-9
Author(s):  
Kieran Browne
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Market ◽  
Art World ◽  
Significant Disagreement ◽  
History And Theory

Abstract The mainstream contemporary art world is suddenly showing interest in “AI art”. While this has enlivened the practice, there remains significant disagreement over who or what actually deserves to be called an “AI artist”. This article examines several claimants to the term and grounds these in art history and theory. It addresses the controversial elevation of some artists over others and accounts for these choices, arguing that the art market alienates AI artists from their work. Finally, it proposes that AI art's interactions with art institutions have not promoted new creative possibilities but have instead reinforced conservative forms and aesthetics.

scholarly journals Vanitas Obsolescentum An exhibition of images

2021 ◽  
Author(s):  
Lianne Wing Yan Ho
Keyword(s):  
Contemporary Art ◽  
North American ◽  
Art History ◽  
Conceptual Development ◽  
17Th Century ◽  
North American Society ◽  
Dutch Golden Age ◽  
American Society ◽  
Relationship Of ◽  
The Relationship

Vanitas Obsolescentum is a comment on the obsolescence of contemporary commodity. It draws from prominent theories of obsolescence and appropriates 17th century Dutch Vanitas paintings. This paper begins by addressing themes relevant to the conceptual development of the series, including theories of obsolescence as presented by Packard, Papanek and Slade, the relationship of Dutch Golden Age society to contemporary North American society, Dutch Vanitas paintings, and appropriation of the Vanitas genre in contemporary art history and within this series. It provides a rationale for the use of holography as medium to express concepts of transience and hyperreality. This paper concludes with a discussion of the specifics of Vanitas Obsolescentum, including the symbolism and meaning of each piece within the series.

scholarly journals Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture

2019 ◽  
Vol 23 (3) ◽  
pp. 210-224
Author(s):  
Elizabeth M. Merrill
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Public Forum ◽  
Museum Architecture ◽  
Art And Culture ◽  
Frank Gehry ◽  
Daniel Libeskind ◽  
Temporary Exhibitions

As epitomised in the works of Renzo Piano, Frank Gehry, and Daniel Libeskind, the ‘new museum’ of art claims its own architectural typology. With asymmetrical silhouettes, gallery spaces that eschew the much derided ‘white cube’, and cleverly conceived circulation systems, the new museum has been heralded as revolutionising the display of art. Yet its function extends beyond the display and conservation of art. The new art museum is conceived as a multifaceted cultural centre – a public forum – where art and culture are democratised, and families, scholars, students, tourists, and teachers come together. At the same time, the new museum competes with other entertainment venues on a commercial level. As a cultural factory replete with an ambitious programme of temporary exhibitions, media facilities, restaurants, and shops, the new museum emphasises consumption as much as it does contemplation. In fact, the array of non-artrelated diversions contained in the new museum is often more important to the institution’s success than the art itself.

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