Space and value in the contemporary art museum: The journey of a performance document at Tate

2017 ◽  
Vol 3 (1) ◽  
pp. 15-26
Author(s):  
Acatia Finbow
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Contemporary Art Museum ◽  
A Performance

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.

Economic valuation of a contemporary art museum: correction of hypothetical bias using a certainty question

2009 ◽  
Vol 33 (3) ◽  
pp. 185-199 ◽  
Author(s):  
Ana María Bedate ◽  
Luis César Herrero ◽  
José Ángel Sanz
Keyword(s):  
Contemporary Art ◽  
Economic Valuation ◽  
Art Museum ◽  
Hypothetical Bias ◽  
Contemporary Art Museum

scholarly journals Museo y Musa. Referencias y repercusión del proyecto de Molezún realizado en Roma | Museum and Muse. References and consequences of Molezún’s project in Rome

ZARCH ◽  
2016 ◽  
pp. 70
Author(s):  
Marta García Alonso
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Art Museum ◽  
Hispanic American ◽  
National Architecture ◽  
Arte Contemporáneo ◽  
Contemporary Art Museum

En 1953 Ramón Vázquez Molezún recibió el Premio Nacional de Arquitectura con su proyecto Museo de Arte Contemporáneo. Fue su segundo galardón en poco más de dos años, después de haber recibido en 1951 el premio de la I Bienal Hispanoamericana con el proyecto Teatro al Aire Libre Homenaje a Gaudí. Paradójicamente, gracias a estos dos ejercicios de carácter académico realizados durante su estancia como pensionado en la Academia Española de Bellas Artes de Roma, Molezún se convirtió, sin haber construido una sola obra, en una referencia tanto para los arquitectos españoles como para los estudiantes de las escuelas de arquitectura de nuestro país. El propio Museo de Arte Contemporáneo fue en aquella época un proyecto clave en el devenir de su obra y uno de los más influyentes entre sus colegas. Este artículo estudia, en un primer lugar, el contexto de esa propuesta de museo, de esa idea que fue dibujada por Ramón Vázquez Molezún sin intención de ser construida, tratando de desvelar las claves proyectuales de su esencia: a este respecto las alusiones a Gaudí y Wright, pero también a sus viajes por Europa son citas obligadas. Después trata de analizar en qué medida este proyecto, un museo convertido en musa, pudo servir de inspiración para la generación de otros muchos proyectos sí construidos, propios y ajenos.In 1953, Ramón Vázquez Molezún received the National Architecture Prize for his Contemporary Art Museum project. It was his second award in little more than two years, after receiving the First Hispanic-American Biennial Prize for his Open-air theatre; tribute to Gaudi. Paradoxically, thanks to these academic works made during his stay as a pensioner at the Spanish Academy of Fine Arts in Rome, Molezún became, without having built any construction yet, a model for both architects and architecture students of our country. The Contemporary Art Museum was, at the time, a key project in the progression of Molezun’s career, and one of the most influential works among his colleagues. First of all, this article studies the context of this museum, of the concept drawn by Ramón Vázquez Molezún without any intention of building it, trying to uncover the keys of its essence. Gaudi and Wright allusions, as well as his travels around Europe, are mandatory stops. Secondly, the article tries to analyze in what measure this project, a museum made muse, could have been an inspiration for a great number of built projects, both Molezún’s and others.

Remasters of American Comics: Sequential Art as New Media in the Transformative Museum Context

2020 ◽  
pp. 275-288
Author(s):  
Damian Duffy
Keyword(s):  
African American ◽  
New Media ◽  
Contemporary Art ◽  
Fine Art ◽  
Art Museum ◽  
Sequential Art ◽  
University Of Illinois ◽  
Racial Inclusion ◽  
Museum Of Contemporary Art ◽  
Contemporary Art Museum

This chapter includes a 2009 essay by multi-faceted University of Illinois at Urbana-Champaign professor Damian Duffy highlighting the curatorial philosophies that avoid confronting the conceptual challenge of bringing the comics medium into the museum by attempting to fit comics, to one extent or another, into traditional fine art frameworks, including as examples the 2003 Contemporary Art Museum Houston exhibition Splat, Boom, Pow!, Masters of American Comics 2005, UCLA Hammer Museum and Museum of Contemporary Art, Comic Release! from Carnegie Mellon University, and his own curatorial work in partnership with John Jennings on the exhibitions Other Heroes: African American Comics Creators, Characters, and Archetypes. This chapter discusses new media, if we still need canons, comics versus fine art, comics as non-art, lone genius versus collaboration, display tactics, narrative, and racial inclusion.

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