The art of philanthropy? The formation and development of the Walker Art Gallery

2018 ◽  
pp. 166-189
Author(s):  
James Moore
Keyword(s):  
Financial Support ◽  
Modern Art ◽  
Art World ◽  
Art Gallery ◽  
Local Authorities ◽  
Art Galleries ◽  
Popular Art ◽  
The Gift ◽  
Elite Influence ◽  
The City

The opening of Liverpool’s Walker Art Gallery provided the city with one of the country’s most modern art galleries, complementing the impressive neoclassical architecture that had emerged around the famous St. George’s Hall. Yet a gallery aimed at promoting popular art education was decidedly unpopular with many of Liverpool’s population. The partisan nature of the gift by well-known brewer and Conservative A.B. Walker was flavoured with corruption and revealed the difficulties that municipal art institutions faced when accepting financial support from controversial local donors. It also revealed that although municipalisation promised a more democratic age, financial limitations on local authorities meant that elite influence in the local art world remained strong.

scholarly journals Kualanamu Art Gallery & Exhibition Center (Structure as Elements of Aesthetics)

2018 ◽  
Vol 2 (2) ◽  
pp. 115-121
Author(s):  
Samsul Bahri ◽  
Febby Khafilwara
Keyword(s):  
Human Resources ◽  
Ethnic Group ◽  
Art Gallery ◽  
Art Galleries ◽  
Considerable Potential ◽  
The Third ◽  
Works Of Art ◽  
The City

Medan is the third largest city in Indonesia, so it has considerable potential in the field of Art. A lot of potential and human resources that could be developed in the city of Medan. The city characterized by the culture of various Ethnic this hope was able to preserve the culture of each ethnic group. Art galleries and exhibition is expected to become a new tourism venue in the city of Medan and the iconic place of the development of works of art in the city of Medan. With the approach of the structure as elements of aesthetic in architecture

scholarly journals Recovering of an identity: restoration works of the Orsini-Colonna castle in Avezzano, Italy

X ◽  
2020 ◽  
Author(s):  
Marco Felli ◽  
Antonello Incerto
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Historical Development ◽  
Modern Art ◽  
Historic Buildings ◽  
Art Gallery ◽  
Corps Of Engineers ◽  
Concert Hall ◽  
The World ◽  
The City

The Orsini Colonna castle of Avezzano represents one of the most important historic buildings in the internal area of Abruzzo. Founded at the end of the fifteenth century, on the rests of an older structure, with continuing modification till the sixteenth century, the building had several damages with the earthquake of January thirteenth 1915, which destroyed the entire city Avezzano and the neighborhood, causing more than 30000 victims. After the quake event, the efforts and the works for the preservation didn’t have the time to start, because of the beginning of the world wars; in particular, the castle suffered more damages with the three different bombardments on the city in 1943 and 1944. The first works of recovering and restoration were achieved in 1964 by the Genio Civile of Avezzano, the corps of engineers, with the direction of Tommaso Orlandi; in this intervention, the building had been interested by the recovering of the structures, with the reconstruction of the perimeter walls, also with the purpose of avoiding deterioration and the complete abandonment. The second works were conducted by the architect Alessandro Del Bufalo, who designed the restoration of the entire building, inserting an internal concert hall in the courtyard with a new structure in steel and glass, recovering the castle basement under the towers, and creating a modern art gallery museum in the second level. The works finished in 1994. This paper aims to redefine the historical development of the building, focusing in particular on the restoration interventions of the last century, and their different methods in the efforts of preservation, which approached to the preservation and reconstruction of the building in different ways.

Mede, Cuthy (1949--)

2018 ◽  
Author(s):  
Laurel Birch de Aguilar
Keyword(s):  
White Light ◽  
Religious Beliefs ◽  
Modern Art ◽  
Lake Malawi ◽  
Local People ◽  
City Center ◽  
Art Gallery ◽  
Mother And Child ◽  
The City ◽  
Fluorescent Tube

Born in Zimbabwe in 1949 to Malawian parents, Cuthbert (Cuthy) Mede grew up on Likoma Island, Lake Malawi. Internationally, Mede is considered the most well known Malawian artist. Known for his cubist forms and pointillist style, Mede unites modern art techniques with traditional Malawian subjects, and his work is inspired by his religious beliefs and local imagery. With a single dot giving perspective to his pointillism paintings, Mede’s most well recognized style emerges in wavy lines of white light over portraits of local people, or vivid primary colors of dancing, celebrations, and movement. His subjects are distinctly local: a woman with snuff; a witchdoctor; a mother and child; traditional instruments; cooking pots; images of imaginary spirit forms in reds, oranges and blues. Cuthy Mede taught modern art in Chancellor College as a young man, but soon became a successful artist. Mede opened the first art gallery in Malawi, the Gallerie Africaine in the city center, in Lilongwe in the early 1980s, and exhibited his works throughout Malawi from 1970s on, finding success worldwide. In recent years Mede is known for his fluorescent tube white garden and his purely white artworks.

Lagos Art World: The Emergence of an Artistic Hub on the Global Art Periphery

2019 ◽  
Vol 63 (1) ◽  
pp. 170-196 ◽  
Author(s):  
Jess Castellote ◽  
Tobenna Okwuosa
Keyword(s):  
Critical Mass ◽  
Art Museum ◽  
Global City ◽  
Art World ◽  
The West ◽  
Art Galleries ◽  
Art Auctions ◽  
Art Worlds ◽  
Global Art ◽  
The City

Abstract:The global geography of art has changed greatly in recent years. Whereas global art hubs were formerly found only in the West, they now exist in locations all over the world, including Africa. Though some art worlds in Asia and Latin America have been studied in recent times, there is insufficient empirical data on art worlds in Africa. This is a study of the Lagos art world, which shows how an “art system,” with all of its attendant structures and agents, has emerged in the city of Lagos, Nigeria, in the last few years. Lagos reflects the dynamics of globalization and is building up the art infrastructure and the critical mass needed for a sustainable art world: an ambitious and fast-growing group of young local collectors, an art fair, an international photography festival, regular art auctions, new art galleries, historical and critical publications, a university art museum, symposiums, art foundations, residencies, and competitions. Lagos is becoming not only a “global city,” but also a “global art hub.”

scholarly journals Analysis of the Modern Gallery Activities as an Element of the Tourism Infrastructure of the City

2019 ◽  
Vol 29 (4) ◽  
pp. 552-559
Author(s):  
Irina Kalinina ◽  
Polina Maksimova
Keyword(s):  
Comparative Analysis ◽  
Art Market ◽  
Theoretical Background ◽  
Art Gallery ◽  
Art Galleries ◽  
Gift Shop ◽  
The City

Nowadays, due to the insufficiently developed theoretical background of gallery business, gallery owners mainly rely on their intuition, analysis of the art market, and numerous sketchy theoretical works and tips. The article presents a comparative analysis and characteristics of the art galleries of the city of Irkutsk, not mentioned previously in the literature. A list of resources necessary for the formation and promotion of attractiveness of art galleries for tourists has been developed. It was created on the basis of the analysis of the activities of Russian and foreign galleries in terms of their tourism attractiveness and cooperation with tourist companies. At the same time, it is mentioned that measures aimed at developing of the tourism attractiveness of the gallery, which are quite often commercial by their nature, should promote the brand of the territory where the gallery is located, preserving its uniqueness. They should in no way turn the art gallery into a gift shop selling art souvenirs.

scholarly journals Art on Tyneside

1970 ◽  
pp. 53
Author(s):  
John Millard
Keyword(s):  
Nordic Countries ◽  
Art Gallery ◽  
Art Galleries ◽  
Local Council ◽  
The People ◽  
Art Historians ◽  
The City ◽  
As If

Many people will not visit art galleries because they think they are boring, and that art is not meant for them. In Britain, and I believe in Nordic countries as well, art has been made the preserve of an educated elite and the majority feel excluded from its mysteries. Distrust of art and lack of interest in art galleries has even been encouraged by art curators and art historians. It is as if we have conspired to ensure that art galleries are unpopular, and this is a situation which is of course wholly unacceptable to someone like me who is paid by a local council and who believes that art has an important role to play in peoples lives. As curator of the city art gallery, I do not work for an educated elite but for all the people of Newcastle. 

scholarly journals Меценатство и коллекционирование в провинции: на примере галереи искусств М.Ф. Коннова в Оренбурге

2021 ◽  
pp. 76-91
Author(s):  
O.I. Kober
Keyword(s):  
Art History ◽  
Present Stage ◽  
Art Gallery ◽  
Art Galleries ◽  
Cultural Center ◽  
Educational Activities ◽  
The 1960S ◽  
First Time ◽  
The City

Collecting works of art in the modern Russian provinces is still a poorly studied topic of art history. The relevance of the study is determined by considering the main activities of private art galleries in Orenburg, which is being done for the first time. The author points out the factors that led to the collection of works by Orenburg artists, who was influenced by the graduates of the Moscow State Academic Art Institute named after V.I. Surikov since the 1960s. Changes in the methodological work of art galleries with viewers and buyers at the present stage are noted. The object of the analysis is the art gallery “On Pushkinskaya” as an example of exhibition, information and educational activities. The study emphasizes the role of the personality of the gallery owner M. F. Konnov, a collector, philanthropist and artist, thanks to whom the art gallery has become a cultural center of the city. Коллекционирование произведений искусства в современной российской провинции остается малоизученной темой искусствоведения. Актуальность исследования обусловлена рассмотрением основных направлений деятельности частных художественных галерей Оренбурга, что делается впервые. Указываются факторы, предопределившие собирание картин коллектива оренбургских художников, сформировавшегося под влиянием выпускников Московского художественного института им. В.И. Сурикова, приехавших в степной город в 1960-е годы. Отмечаются изменения в методической работе арт-галерей со зрителями и покупателями на современном этапе. Объектом анализа является галерея искусств «На Пушкинской» как образец выставочной, информационной, образовательной и просветительской деятельности по приобщению зрителей к современному искусству. В исследовании подчеркивается роль личности владельца галереи М.Ф. Коннова, коллекционера, мецената и художника, благодаря которому галерея искусств превратилась в культурный центр города.

scholarly journals Contemporary Lithuanian Artists: Career Opportunities

2017 ◽  
Vol 13 (1) ◽  
pp. 88-110
Author(s):  
Vilma Mačianskaitė
Keyword(s):  
Modern Art ◽  
Art Market ◽  
Art Gallery ◽  
Art Galleries ◽  
Career Opportunities ◽  
Art Scene ◽  
Main Factors ◽  
Global Art ◽  
The Relationship ◽  
Contemporary Artists

Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.

Some Aspects of Identity Politics of Kharkiv Local Authorities After 2013

2018 ◽  
Vol 6 (1) ◽  
pp. 68-81
Author(s):  
Denys Kutsenko
Keyword(s):  
Development Strategy ◽  
Identity Politics ◽  
Central Government ◽  
Research Question ◽  
Interesting Case ◽  
Cultural Development ◽  
Local Authorities ◽  
New Policies ◽  
National Flag ◽  
The City

AbstractThe paper analyzes the transformation of identity politics of Kharkiv local authorities after the Euromaidan, or Revolution of Dignity, the annexation of Crimea, and the War in Donbass. Being the second largest city in Ukraine and becoming the frontline city in 2014, Kharkiv is an interesting case for research on how former pro-Russian local elites treat new policies of the central government in Kyiv, on whether earlier they tried to mobilize their electorate or to provoke political opponents with using soviet symbols, soviet memory, and copying Russian initiatives in the sphere of identity.To answer the research question of this article, an analysis of Kharkiv city and oblast programs and strategies and of communal media were made. Decommunisation, as one of the most important identity projects of Ukrainian central authorities after 2014, was analyzed through publications in Kharkiv’s city-owned media as well as reports from other scholars. Some conclusions are made from the analysis of these documents: Kharkiv development strategy until 2020, Complex program of cultural development in Kharkiv in 2011–2016 (and the same for 2017–2021), The regional program of military and patriotic training and participation of people in measures of defense work in 2015–2017, Program of supporting civil society in 2016–2020 in Kharkiv region and the city mayor’s orders about the celebration of Victory Day (9 May), the Day of the National Flag (23 August), the Day of the City (23 August) and Independence Day (24 August) in 2010–2015.

Roman Inscriptions in the City of Birmingham Museum and Art Gallery

1976 ◽  
Vol 44 ◽  
pp. 28-43
Author(s):  
J. J. Wilkes
Keyword(s):  
United Kingdom ◽  
Second World War ◽  
World War ◽  
Art Gallery ◽  
The United Kingdom ◽  
Small Collection ◽  
The City ◽  
Second World

The nineteen stones described below form a small collection of Latin inscriptions now housed in the City of Birmingham Museum and Art Gallery. They have been acquired since the Second World War from older collections assembled at various places in the United Kingdom. With the exception of two, all are recorded as found in Rome and sixteen have been published in volume VI of the Corpus Inscriptionum Latinarum (CIL). The findspot of one (no. 6) is not recorded, while that of another (no. 13), although not attested, was almost certainly Rome. The publications in CIL were based in most cases on manuscript copies made between the fifteenth and ninetenth centuries; in the case of eight stones this republication (nos. 2, 3, 5, 9, 11, 12, 17 and 18) provides corrections or amendments to the relevant entries in CIL. All measurements are metric.

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