‘Art education in the age of COVID-19’, The Museum of Contemporary Art (2021)

Review of: ‘Art education in the age of COVID-19’, The Museum of Contemporary Art (2021) https://www.youtube.com/watch?v=2kgukEQd6Mg (YouTube)

Business models transformed by digitalization in contemporary art museums and galleries

In the 21st Century, the common features of the developing digital technol- ogy are compressed information, accelerated information management, big data, multiple interaction, personalization and uninterrupted access and convergence. These features are seen as factors that accelerate access to information, reduce some communication and cost expenses economically, speed up sales and marketing, provide visibility to institutions, and increase ideas and sharing. With the effects of digital technology Contemporary art museums and galleries have experienced digitalization processes in order to maintain their existence and achieve their goals. Digitalization is not limited to being a technical application, but it is a process that transforms contem- porary art institutions as a whole, especially in communication, institution- alism, branding, marketing, finance and sustainability. Therefore, digital technology requires to be available to institutions. Being a contemporary art institution requires being intellectually and technologically renewed in institutional, managerial and communicative terms. The mission and sustain- ability of art and art institutions should be ensured in harmony with technol- ogy. Therefore, new business models have been required in the digitalization processes in art institutions and the need for changing business models will increase as technology develops. Purpose of the study: To identify the new business models of contemporary art museums and galleries, and in parallel, the features they need in human resources, and to raise awareness on this issue. In this study, the hybrid structure of new business models needed in contemporary art institutions has been revealed as a whole. In the study, it has been revealed based on the examples and the viewpoints of authorized persons that, managerial digital strategies in contemporary art museums and galleries should contain the distinction specific to art. The main result that emerged from the interviews is the hybrid structures of the new business models needed by contemporary art museums and galleries in the digital age, blended with digital technology and the knowledge of art management.

Marginalized Communities are Underrepresented as Creative Contributors

We investigate the socially inferred gender and racial/ethnic identities of influential creative artists in four domains. Women make up 51% of the U.S. population but are underrepresented in contemporary art (28%), fashion (45%), box office film (27%), and popular music (17%). Marginalized racial/ethnic groups make up 39% of the U.S. population yet comprise approximately half that figure in contemporary art (22%), fashion (22%), and film (19%). Black musical artists have higher representation (48%), though higher representation does not equate with equity and inclusion. As for intersectional identity, white men are overrepresented in all four domains by factors ranging from 1.4 to 2 as compared to the U.S. population, and most other gender-racial/ethnic groups are further minoritized. Our study is the first comprehensive, comparative, empirical look at intersectional identity across creative fields. The exclusion of marginalized individuals, including those who are women, American Indian / Alaska Native, Asian, Black, Latinx, and Native Hawaiian / Pacific Islander, is severe. The lack of self-expressed demographic data is a challenge, as is the erasure of certain identity groups from the American Community Survey, including agender, gender noncomforming, nonbinary, and transgender individuals. These are challenges that, if addressed, would enhance our collective understanding of diversity in creative fields. Efforts taken by executives, influencers, and other power brokers to make creative fields more diverse, equitable, and inclusive would amplify the many well-documented benefits of art to individuals and to society.

Spaces and roles of contemporary art in industrial and technological ruins

This article proposes some potential contributions of contemporary art to industrial and technological heritage discussions. The paper analyses the relations among art, industrial ruins, technological trash, heritage, and society from an archaeological perspective, although this standpoint is compared to and complemented with those of art and art history. First, the text presents how industrial sites and technological artefacts from the recent past are transformed for/by the artists. In doing so, it offers a preliminary basic typology of art-obsolescence relations illustrated with cases from Europe, Asia and the Americas. Four major kinds of interactions are introduced: the conversion of abandoned industrial buildings into art galleries and museums; the transformation of larger obsolete industrial/technological areas into creative hubs; the intervention of artists in industrial ruins; and the creative recycling of technological waste. Second, the text infers from the examples provided in the typology three possible functions of art regarding heritage: revelation/addition of value; mediation between the public and dark heritages; and recognition in technological and industrial history. In the end, the paper defends the role of art in the making of industrial and technological heritages, as well as in reconnecting them to society.

A ABERTURA DO TUBO DIGEST�RIO: ENTRE A ARTE E O INTESTINO / The opening of digestive duct: between art and intestine

O texto faz uma introspe��o na no��o anat�mica de tubo digest�rio humano,�questionando a abordagem mecanicista e individualizada da digest�o. Para tanto, � realizado um percurso por trabalhos de artistas que desmontam a no��o de tubo digest�rio mediante elabora��es po�ticas sobre as fezes, proposi��es prost�ticas para o corpo vivo e estrat�gias relacionais. S�o abordados trabalhos de, entre outros, Anna Maria Maiolino, Wim Delvoye, Lygia Clark, Jorge Menna Barreto, bem como os aut�matos do s�culo 18 de Jacques Vaucanson. Nosso intuito aqui � reformular a digest�o como atividade imbricada ao campo da arte e vice-versa.Palavras-chave:Digest�o. Arte contempor�nea. Aut�mato. Pr�tese. Ecologia.�AbstractThis text examines the anatomic idea of the human digestive duct, challenging the mechanistic and individualized approach to digestion. A journey through the works of artists who disassemble the digestive duct, with poetic constructions about human waste, prosthetic propositions for living bodies, and relational strategies, is established.�Works of Anna Maria Maiolino, Wim Delvoye, Lygia Clark, Jorge Menna Barreto are mentioned, as well as the eighteen-century automata of Jacques Vaucanson. Our purpose is to reformulate digestion as a process interwoven with the field of the arts and vice versa.Keywords:Digestion. Contemporary art. Automaton. Prothesis. Ecology.

A ARTE A PARTIR DO SEU LUGAR: O TRABALHO IN SITU DE DANIEL BUREN E OS ESPA�OS EXPOSITIVOS NOS NOS 19701 / Art from its place: Daniel Buren?s in situ work and exhibition spaces in the 1970?s

Pela an�lise de algumas instala��es realizadas pelo artista franc�s Daniel Buren (1938)�durante a d�cada de 1970, procura-se evidenciar a import�ncia dos locais especializados de exposi��o da arte para a constru��o do sentido da hist�ria da arte contempor�nea. Apesquisa ora apresentada se organiza em torno dos escritos de Daniel Buren e na documenta��o fotogr�fica produzida na ocasi�o de cada uma das interven��es analisadas, centrando-se em tr�s pontos principais: na an�lise da situa��o dos museus de arte europeus que ent�o se abriam para a arte contempor�nea; na atua��o comercial e pr�tica das galerias de vanguarda nos Estados-Unidos e, finalmente, no papel exercido no campo art�stico pelos ?novos museus? que, ao final da d�cada de 1970, se consolidam como espa�os importantes para a anima��o da vida cultural no hemisf�rio Norte.Palavras-chave:Trabalho in situ. Museu. Galeria. Novos museus. D�cada de 1970.�AbstractThrough the analysis of some installations carried out by the French artist Daniel Buren (1938) during the 1970s, we seek to highlight the importance of specialized art exhibition sites for the construction of the meaning of the history of contemporary art. The� research presented here is organized around the writings of Daniel Buren and the photographic documentation produced during each of the analyzed interventions, focusing on three main points: the analysis of the situation of European art museums that were then opening up to the contemporary art; in the commercial and practical performance of avant-garde galleries in the United States and, finally, in the role played in the artistic field by the ?new museums? which, at the end of the 1970s, were consolidated as important spaces for the animation of cultural life in the North hemisphere.Keywords:Work in situ. Museum. Gallery. New museums. 1970s.

Stay Gold

This chapter focuses on the experiences of participants in an intergenerational art program for LGBTQIA+ audiences, which takes place at the Museum of Contemporary Art, Tucson (MOCA). In this chapter, the authors outline the impetus and purpose of this program. They consider the impact that it has had on LGBTQIA+ individuals and the formation of an intergenerational community. From combating loneliness to creating connections across generations, this program invites individuals into the museum space who identify as LBTQIA+ but rarely have the opportunity to connect with one another. Facilitators and participants design projects and gallery activities that promote engagement through dialogue and art-making. As such, art provides connections that give participants opportunities to share and learn from one another. Contemporary art and the museum become sites for engagement. Gallery activities and art-making allow participants to experiment with a range of materials and learn new skills through humor, play, creative inquiry, and collaboration.

Re-Presenting Art History

Can reenactment both as reactivation of images and restaging of exhibitions be considered an alternative way of tackling the critical task to re-present art history (i.e., to present it anew) in the here and now, over and over and over again? The gesture of restoring visibility to something no longer present, reactivating or reembodying it as an object/image in and for the present, is here proposed as a (political) act of restitution and historical recontextualization. Examining the boundaries between past and present, original and copy (as well as originality and copyright), repetition and variation, authenticity and auraticity, presence and absence, canon and appropriation, durée and transience, the paper focuses on remediation, reinterpretation, and reconstruction as creative gestures and cultural promises in contemporary art practice, curatorship, and museology.