Reframing the National Art Museum: the Trajectory and Controversy towards the Operational Autonomy: the Case of the National Museum of Modern and Contemporary Art, Korea

2020 ◽  
Vol 53 ◽  
pp. 71-99
Author(s):  
Yon Jai Kim
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
National Museum ◽  
Operational Autonomy

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 Collections of Japanese Art in Ukraine

2020 ◽  
Vol 3 (2(6)) ◽  
pp. 109-123
Author(s):  
Alla Ozhoha-Maslovska
Keyword(s):  
19Th Century ◽  
Political System ◽  
Art Museum ◽  
National Museum ◽  
Literature Information ◽  
Professional Literature ◽  
Art Collections ◽  
Japanese Art ◽  
Post War ◽  
The 19Th Century

The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collections of The Bohdan and Varvara Khanenko National Museum of Arts in Kyiv, Odessa Museum of Western and Oriental Arts, the Chinese Palace of “Zolochiv Castle” Museum-Reserve, as well as Kharkiv Art Museum are explored. Finally, modern tendencies in the collection of Japanese art in Ukraine are determined.

Museum Libraries in France: Their Wealth and Their Influence

1999 ◽  
Vol 24 (4) ◽  
pp. 17-19
Author(s):  
Nicole Picot
Keyword(s):  
Contemporary Art ◽  
Subject Matter ◽  
Folk Art ◽  
National Museum ◽  
Considerable Effort ◽  
French Art ◽  
History Of ◽  
The Subject

The following words preface Francoise Cachin’s introduction to Marie-Thérèse Cavignac’s Les bibliothèques des musées en Aquitaine: Richness and diversity! Reading this volume demonstrates how wide and varied is the subject matter of the museum libraries in the Aquitaine region, whether it be the library in the Bonnat Museum in Bayonne or in the national museum at the Château de Pau, those in museums specialising in the history of Aquitaine, the Pays Basque or the Périgord, or those in museums dealing with prehistory or contemporary art or seaplanes, the customs service or folk art.This description is just as valid for the rest of France. Considerable effort has been put into the modernisation of French museums during the last twenty years or so and their libraries have benefited from this renewal as well. I would like in this paper to describe some of the strengths of libraries and documentation centres in museums of art, and to try and define their role within their institutions and within the network of French art libraries.

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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