-
Gabriele Finaldi - 'The National Gallery: Looking Forward As Well As Back'
Gabriele Finaldi, formerly Deputy Director of the Prado, became Director of the National Gallery in 2015. In this talk, he considers the Gallery’s past influences; its future; and the challenges that lie ahead.
The Gallery houses one of the finest collections anywhere in the world, but how does the art of the past speak across time? In an increasingly technological world, what is the significance of the authentic experience of great art? How does a historic collection engage with the contemporary world?
Gabriele's lecture forms part of The Sackler Research Forum's 'Facing the Future' series. Please see our channel for additional lectures from this.
The slides contained within this lecture are permissible under Fair Dealing in United Kingdom law. Should you have any concerns regarding t...
published: 23 May 2017
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大英博物館
大英博物館, by Wikipedia https://ja.wikipedia.org/wiki?curid=40835 / CC BY SA 3.0
#大英博物館
#ロンドンの博物館
#考古博物館
#イギリスの文化
#浮世絵の美術館・博物館
#第一級指定建築物の博物館
#東洋学
#イギリス帝国
#ロンドンの観光地
#カムデン区の建築物
大英博物館(だいえいはくぶつかん、英: British Museum)は、イギリス・ロンドンのカムデン区にある博物館である。
世界最大の博物館の一つで、古今東西の美術品や書籍や略奪品など約800万点が収蔵されている(うち常設展示されているのは約15万点)。
収蔵品は美術品や書籍のほかに、考古学的な遺物・標本・硬貨やオルゴールなどの工芸品、世界各地の民族誌資料など多岐に渡る。
ハンス・スローン 大英博物館の起源は、アイザック・ニュートンの後を継いで王立協会会長を務め、古美術収集家として知られたハンス・スローンの収集品にさかのぼる。
スローンは遺言で、政府が博物館を建設するとの条件の下で、自身が収集した蔵書・手稿・版画・硬貨・印章など8万点をイギリス政府に有償で寄贈することを指示した。
管財人達はイギリス議会に働きかけ、議会はすでに国に所有されていたコットン蔵書と、売りに出されていたハーレー蔵書を合わせて収容する博物館を設立することを決定した。
博物館の設立には宝くじ売り上げが充てられることになり、1753年に博物館法によって設立され、一般向けには1759年1月15日に開館した。
初代館長は著名な医師で発明家でもあったゴーウィン・ナイト(Gowin Knight)。
当初はモンタギュー・ハウスで開設していたが展示品が増えるにつれて手狭になり、1823年にジョージ4世が父親から相続した蔵書を寄贈したことが契機となってキングズライブラリ...
published: 31 Jul 2021
-
The Ultimate Top 10 of the Biggest Art Galleries in the World
This video is an article-based video ranking the top 10 mega-galleries today. Feel free to share your thoughts on the increasing influence of art galleries in the art world in the comments! Read the entire article here: https://www.contemporaryartissue.com/top-10-of-the-biggest-art-galleries-in-the-world/
🌟 Overview: Career Advice for Artists
→ https://www.contemporaryartissue.com/advice-for-artists/
🍿 Watch Next (Key Videos for Artists)
→ Self-Taught Success: https://youtu.be/sZOiXiyR3VY
→ How To Make Money as an Artist: https://youtu.be/UQx3rPdWsas
→ Develop Your Art Style: https://youtu.be/A3kyKh44EbY
→ The Art World Explained: https://youtu.be/l2AbWnljIc0
📖 Recommended Books:
→ Art World & Career Advice: https://amzn.to/46anb09
→ How To Become A Successful Artist: https://amzn.to/3Y...
published: 01 Nov 2021
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The Paul Mellon Lectures: Iwona Blazwick, Director of Whitechapel Gallery
17 November 2021
5:00 – 6:30 pm
The fourth of six lectures on the topic of The Museum and Gallery Today, part of the 2021 Paul Mellon Lectures.
What Are Collections Good For?
The accumulation of cultural artefacts, books, plants or animals is a characteristic of nearly all civilisations. We may understand them as symbols of power and wealth, or find in them a site of veneration and ritual. Certainly they are centres of research and connoisseurship. For artists, entry into an art collection is an endorsement – a means of conserving work for posterity – and, critically, it’s a livelihood. Yet in the twenty-first century the collection has manifested itself in unprecedented and unexpected modes. Whether as an arena for protest or as a work of art, collections are being taken on some intrig...
published: 22 Nov 2021
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The Paul Mellon Lectures: Gabriele Finaldi, Director of the National Gallery
20 October 2021
5:00 – 6:30 pm
The first of six lectures on the topic of The Museum and Gallery Today, part of the 2021 Paul Mellon Lectures.
A Gallery ‘for the Use of the Public’: The National Gallery at Two Hundred
In 2024 the National Gallery will be two hundred years old. Founded by Parliament in the slipstream of Enlightenment ideas of the social and educational benefits of public museums, it has become over time a treasure house of European painting as well as a London landmark; a magnet for international tourism as well as a centre for high level research in the material sciences. It hosts exhibitions visited by tens of thousands of people and also seeks to explore remote corners of the art historical landscape. It is the only national museum of historic painting that has a prac...
published: 05 Nov 2021
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Mining the Museum: Contemporary Art and Decolonial Practice in Southeast Asia
This event is part of the Decolonising Curating and the Museum in Southeast Asia lecture series.
Speakers: Pamela N. Corey (Fulbright University Vietnam) and Vera Mey (SOAS)
Discussant: Shabbir Hussain Mustafa (National Gallery Singapore, Singapore Art Museum)
Chair: Stephen Murphy (SOAS)
In his groundbreaking 1992 exhibition/intervention Mining the Museum, artist Fred Wilson extracted materials from the Maryland Historical Society’s collection and curated them as disconcerting displays of historical violence, for example, placing slave shackles among other ornate objects of silverware in a display titled Metalworks, 1793-1880. Wilson’s profound artistic gesture of juxtaposing seemingly incongruous objects unearthed a latent power dynamic in the task of exhibiting history, exemplifying w...
published: 18 Oct 2021
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Museums in a Global Age
Date: Tuesday 4 October 2016
Time: 6.30-8pm
Venue: Wolfson Theatre, New Academic Building
Speakers: Richard Armstrong, Adrian Ellis, Tiffany Jenkins
Chair: JJ Charlesworth
A panel discussion considering the roles and responsibilities of museums as cultural dialogue takes on a new urgency in diverse national contexts. How do museums engage with and reflect the world they inhabit?
Richard Armstrong has served as the Director of the Solomon R Guggenheim Museum and Foundation since November 2008. Armstrong works with senior staff to maximize all aspects of the Foundation’s operations: permanent collections, exhibition programs, acquisitions, documentation, scholarship, and conservation. Previously, Armstrong was The Henry J. Heinz II Director of Carnegie Museum of Art, where he also se...
published: 10 Oct 2016
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Malcolm Rogers: The Art Museum in the 21st Century
Malcolm Rogers' lecture, 'The Art Museum in the 21st Century', delivered as part of his Humanitas Visiting Professorship in Museums, Galleries and Libraries at the University of Oxford, May 2012.
Drawing on his long and eminent career at the Museum of Fine Arts in Boston, as well as on his extensive experience as an art historian, Rogers set out his reflections on the ideal of accessibility; both its importance in a democratic age but also the challenges, pragmatic and philosophical, which the concept encounters. He made a trenchant case against the excesses of an academic-theoretical approach to the public presentation of works of art, and championed instead the more inclusive ways in which a museum might display its treasures to the widest possible audience.
-http://strategicdialogue.o...
published: 04 Jun 2014
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The People's Story
This is a BSL tour of the People's Story Museum in Edinburgh
published: 01 Apr 2022
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The Impact of Prints in Museums: What Do Curators Say?
"The Impact of Prints in Museums: What Do Curators Say?"
October 28, 2022
Jonathan Bober, National Gallery of Art
Stephen Coppel, British Museum
Nadine Orenstein, The Metropolitan Museum of Art
Naoko Takahatake , The Getty Research Institute
Moderated by David Tunick, President, IFPDA, hosted by the IFPDA Print Fair 2022 on-site at the Jacob K. Javits Convention Center.
IFPDA Home: https://www.ifpda.org
IFPDA Foundation: https://www.ifpdafoundation.org
IFPDA Print Fair: https://www.fineartprintfair.org
published: 22 Dec 2022
55:43
Gabriele Finaldi - 'The National Gallery: Looking Forward As Well As Back'
Gabriele Finaldi, formerly Deputy Director of the Prado, became Director of the National Gallery in 2015. In this talk, he considers the Gallery’s past influenc...
Gabriele Finaldi, formerly Deputy Director of the Prado, became Director of the National Gallery in 2015. In this talk, he considers the Gallery’s past influences; its future; and the challenges that lie ahead.
The Gallery houses one of the finest collections anywhere in the world, but how does the art of the past speak across time? In an increasingly technological world, what is the significance of the authentic experience of great art? How does a historic collection engage with the contemporary world?
Gabriele's lecture forms part of The Sackler Research Forum's 'Facing the Future' series. Please see our channel for additional lectures from this.
The slides contained within this lecture are permissible under Fair Dealing in United Kingdom law. Should you have any concerns regarding the use of an image on our channel, please contact
[email protected]
https://wn.com/Gabriele_Finaldi_'The_National_Gallery_Looking_Forward_As_Well_As_Back'
Gabriele Finaldi, formerly Deputy Director of the Prado, became Director of the National Gallery in 2015. In this talk, he considers the Gallery’s past influences; its future; and the challenges that lie ahead.
The Gallery houses one of the finest collections anywhere in the world, but how does the art of the past speak across time? In an increasingly technological world, what is the significance of the authentic experience of great art? How does a historic collection engage with the contemporary world?
Gabriele's lecture forms part of The Sackler Research Forum's 'Facing the Future' series. Please see our channel for additional lectures from this.
The slides contained within this lecture are permissible under Fair Dealing in United Kingdom law. Should you have any concerns regarding the use of an image on our channel, please contact
[email protected]
- published: 23 May 2017
- views: 1056
9:38
大英博物館
大英博物館, by Wikipedia https://ja.wikipedia.org/wiki?curid=40835 / CC BY SA 3.0
#大英博物館
#ロンドンの博物館
#考古博物館
#イギリスの文化
#浮世絵の美術館・博物館
#第一級指定建築物の博物館
#東洋学
#イギリス帝国
#ロンドンの観光地...
大英博物館, by Wikipedia https://ja.wikipedia.org/wiki?curid=40835 / CC BY SA 3.0
#大英博物館
#ロンドンの博物館
#考古博物館
#イギリスの文化
#浮世絵の美術館・博物館
#第一級指定建築物の博物館
#東洋学
#イギリス帝国
#ロンドンの観光地
#カムデン区の建築物
大英博物館(だいえいはくぶつかん、英: British Museum)は、イギリス・ロンドンのカムデン区にある博物館である。
世界最大の博物館の一つで、古今東西の美術品や書籍や略奪品など約800万点が収蔵されている(うち常設展示されているのは約15万点)。
収蔵品は美術品や書籍のほかに、考古学的な遺物・標本・硬貨やオルゴールなどの工芸品、世界各地の民族誌資料など多岐に渡る。
ハンス・スローン 大英博物館の起源は、アイザック・ニュートンの後を継いで王立協会会長を務め、古美術収集家として知られたハンス・スローンの収集品にさかのぼる。
スローンは遺言で、政府が博物館を建設するとの条件の下で、自身が収集した蔵書・手稿・版画・硬貨・印章など8万点をイギリス政府に有償で寄贈することを指示した。
管財人達はイギリス議会に働きかけ、議会はすでに国に所有されていたコットン蔵書と、売りに出されていたハーレー蔵書を合わせて収容する博物館を設立することを決定した。
博物館の設立には宝くじ売り上げが充てられることになり、1753年に博物館法によって設立され、一般向けには1759年1月15日に開館した。
初代館長は著名な医師で発明家でもあったゴーウィン・ナイト(Gowin Knight)。
当初はモンタギュー・ハウスで開設していたが展示品が増えるにつれて手狭になり、1823年にジョージ4世が父親から相続した蔵書を寄贈したことが契機となってキングズライブラリーが増設された。
1857年には6代目館長(主任司書)アントニオ・パニッツィの下で、現在も大英博物館を象徴する建造物となっている円形閲覧室が中庭の中央部に建設された。
しかし収蔵品の増加に追いつかないため、1881年に自然史関係の収集物を独立させた自然史博物館がサウス・ケンジントンに分館として設立された。
円形閲覧室のパノラマ写真 1973年には図書部門がロンドン国立中央図書館等と機能的に統合されて大英図書館となり、1997年に書庫と図書館機能は完全に独立しセント・パンクラスの大英図書館新館に移った。
旧大英博物館図書館は書庫を取り払って円形閲覧室のみを残し、現在は博物館の各室を繋ぐ自由通路でありミュージアムショップや料理店を附設する屋根付きの中庭(グレート・コート:ノーマン・フォスター設計)とされている。
また、館に収蔵されている美術品や書籍などのうち展示されていないものも事前予約をすれば実際に見ることができる、スチューデント・ルームと呼ばれる部屋が館内に数か所ある。
大英博物館の収蔵品は多くが個人の収集家の寄贈によるものである。
また創設以来、1970年代の3か月間を除き、入場料は無料である。
2018-2019会計年度の収入は79百万ポンド以上で、その大半は政府からの助成金であり、次いで非営利事業・営利事業の収入、企業・個人・財団等からの寄付がある。
大英博物館は国家機関に準じてはいるが、1963年の大英博物館法(British Museum Act 1963) 、また1992年の博物館・美術館法(Museums and Galleries Act 1992)により規律されている。
大英博物館は、25人の理事(トラスティ〈Trustee〉と呼ばれる)からなる理事会によって運営されている。
大英博物館長(Director of the British Museum)と、出納官(accounting officer)は、理事会によって任命される。
世界中の博物館との連携による巡回展計画や国際訓練プログラムがある。
4棟からなる館全体の設計者はRobert Smirke(1823年)。
ギリシャの神殿の柱を模した柱とペディメントがある。
グレート・コート 中庭にあたる「グレート・コート」はガラス天井を持つ、ヨーロッパ最大の屋根付き広場である。
Foster and Partnersのノーマン・フォスターによって設計され、2000年にオープンした。
展示面積57,000平方メートル。
収蔵品には大英帝国時代の植民地から持ち込まれたものも多く、その殆どが独立した現在では、文化財保護の観点や宗教的理由から国外持ち出しが到底許可されないような貴重な遺物も少なくない。
『パルテノン・スキャンダル—大英博物館の「略奪美術品」—』(ISBN 978-...
https://wn.com/大英博物館
大英博物館, by Wikipedia https://ja.wikipedia.org/wiki?curid=40835 / CC BY SA 3.0
#大英博物館
#ロンドンの博物館
#考古博物館
#イギリスの文化
#浮世絵の美術館・博物館
#第一級指定建築物の博物館
#東洋学
#イギリス帝国
#ロンドンの観光地
#カムデン区の建築物
大英博物館(だいえいはくぶつかん、英: British Museum)は、イギリス・ロンドンのカムデン区にある博物館である。
世界最大の博物館の一つで、古今東西の美術品や書籍や略奪品など約800万点が収蔵されている(うち常設展示されているのは約15万点)。
収蔵品は美術品や書籍のほかに、考古学的な遺物・標本・硬貨やオルゴールなどの工芸品、世界各地の民族誌資料など多岐に渡る。
ハンス・スローン 大英博物館の起源は、アイザック・ニュートンの後を継いで王立協会会長を務め、古美術収集家として知られたハンス・スローンの収集品にさかのぼる。
スローンは遺言で、政府が博物館を建設するとの条件の下で、自身が収集した蔵書・手稿・版画・硬貨・印章など8万点をイギリス政府に有償で寄贈することを指示した。
管財人達はイギリス議会に働きかけ、議会はすでに国に所有されていたコットン蔵書と、売りに出されていたハーレー蔵書を合わせて収容する博物館を設立することを決定した。
博物館の設立には宝くじ売り上げが充てられることになり、1753年に博物館法によって設立され、一般向けには1759年1月15日に開館した。
初代館長は著名な医師で発明家でもあったゴーウィン・ナイト(Gowin Knight)。
当初はモンタギュー・ハウスで開設していたが展示品が増えるにつれて手狭になり、1823年にジョージ4世が父親から相続した蔵書を寄贈したことが契機となってキングズライブラリーが増設された。
1857年には6代目館長(主任司書)アントニオ・パニッツィの下で、現在も大英博物館を象徴する建造物となっている円形閲覧室が中庭の中央部に建設された。
しかし収蔵品の増加に追いつかないため、1881年に自然史関係の収集物を独立させた自然史博物館がサウス・ケンジントンに分館として設立された。
円形閲覧室のパノラマ写真 1973年には図書部門がロンドン国立中央図書館等と機能的に統合されて大英図書館となり、1997年に書庫と図書館機能は完全に独立しセント・パンクラスの大英図書館新館に移った。
旧大英博物館図書館は書庫を取り払って円形閲覧室のみを残し、現在は博物館の各室を繋ぐ自由通路でありミュージアムショップや料理店を附設する屋根付きの中庭(グレート・コート:ノーマン・フォスター設計)とされている。
また、館に収蔵されている美術品や書籍などのうち展示されていないものも事前予約をすれば実際に見ることができる、スチューデント・ルームと呼ばれる部屋が館内に数か所ある。
大英博物館の収蔵品は多くが個人の収集家の寄贈によるものである。
また創設以来、1970年代の3か月間を除き、入場料は無料である。
2018-2019会計年度の収入は79百万ポンド以上で、その大半は政府からの助成金であり、次いで非営利事業・営利事業の収入、企業・個人・財団等からの寄付がある。
大英博物館は国家機関に準じてはいるが、1963年の大英博物館法(British Museum Act 1963) 、また1992年の博物館・美術館法(Museums and Galleries Act 1992)により規律されている。
大英博物館は、25人の理事(トラスティ〈Trustee〉と呼ばれる)からなる理事会によって運営されている。
大英博物館長(Director of the British Museum)と、出納官(accounting officer)は、理事会によって任命される。
世界中の博物館との連携による巡回展計画や国際訓練プログラムがある。
4棟からなる館全体の設計者はRobert Smirke(1823年)。
ギリシャの神殿の柱を模した柱とペディメントがある。
グレート・コート 中庭にあたる「グレート・コート」はガラス天井を持つ、ヨーロッパ最大の屋根付き広場である。
Foster and Partnersのノーマン・フォスターによって設計され、2000年にオープンした。
展示面積57,000平方メートル。
収蔵品には大英帝国時代の植民地から持ち込まれたものも多く、その殆どが独立した現在では、文化財保護の観点や宗教的理由から国外持ち出しが到底許可されないような貴重な遺物も少なくない。
『パルテノン・スキャンダル—大英博物館の「略奪美術品」—』(ISBN 978-...
- published: 31 Jul 2021
- views: 16
14:08
The Ultimate Top 10 of the Biggest Art Galleries in the World
This video is an article-based video ranking the top 10 mega-galleries today. Feel free to share your thoughts on the increasing influence of art galleries in t...
This video is an article-based video ranking the top 10 mega-galleries today. Feel free to share your thoughts on the increasing influence of art galleries in the art world in the comments! Read the entire article here: https://www.contemporaryartissue.com/top-10-of-the-biggest-art-galleries-in-the-world/
🌟 Overview: Career Advice for Artists
→ https://www.contemporaryartissue.com/advice-for-artists/
🍿 Watch Next (Key Videos for Artists)
→ Self-Taught Success: https://youtu.be/sZOiXiyR3VY
→ How To Make Money as an Artist: https://youtu.be/UQx3rPdWsas
→ Develop Your Art Style: https://youtu.be/A3kyKh44EbY
→ The Art World Explained: https://youtu.be/l2AbWnljIc0
📖 Recommended Books:
→ Art World & Career Advice: https://amzn.to/46anb09
→ How To Become A Successful Artist: https://amzn.to/3YwtjvS
→ Art History: https://amzn.to/3I0ri5I
→ Overview of books: https://www.contemporaryartissue.com/the-ultimate-guide-to-the-best-books-for-self-taught-artists/
✏️ Recommended Tools & Ressources:
→ Squarespace for artist websites: squarespace.syuh.net/9W4rDY
→ Artenda for art opportunities: https://artenda.net
→ Artfacts for career rankings: https://artfacts.net/register?ref=596b983667cd4ef3ecd9afcb78629b0da0baa51e
❤️ Support us on Patreon:
→ https://www.patreon.com/contemporaryartissue
ℹ️ About CAI:
CAI is the abbreviation of 'Contemporary Art Issue,' a hybrid platform for contemporary art including:
→ Online Magazine: https://www.contemporaryartissue.com/online-magazine/
→ Advice for Artists: https://www.contemporaryartissue.com/advice-for-artists/
→ CAI Gallery: https://www.contemporaryartissue.com/cai-gallery/
→ Webshop: https://www.contemporaryartissue.com/products/
👨 About the host Julien Delagrange:
Julien Delagrange is an art historian, contemporary artist, and the founder and director of CAI. Delagrange studied Science of Arts at Ghent University, Belgium, and worked for the Centre for Fine Arts (BOZAR) in Brussels, the Jan Vercruysse Foundation, the Ghent University Library, and has contributed to the international contemporary art scene as an art critic, lecturer, curator, gallery director, consultant, advisor, and as an artist. As an artist, he is represented by Galerie Sabine Bayasli in Paris, France, and Gallery Space60 in Antwerp, Belgium.
🎯 The mission of the CAI YouTube channel:
→ To empower artists by providing adequate and industry-approved advice for artists for long-term success in the highest realms of the art world, sharing inside information and proven strategies based on real-life experiences in the art world.
→ To contribute to the online canonization of recent art history, having its finger at the pulse of contemporary art.
🌐 https://www.contemporaryartissue.com
📧
[email protected]
Every effort has been made to trace copyright holders. However, if you feel you have inadvertently been overlooked, please take up contact with Contemporary Art Issue.
Table of contents
0:00 – Introduction: The Art Gallery
1:12 – 10. Victoria Miro
2:13 – 9. Lehmann Maupin
2:59 – 8. Perrotin
3:53 – 7. Thaddaeus Ropac
5:22 – 6. Lisson Gallery
6:39 – 5. White Cube
7:42 – 4. David Zwirner
8:50 – 3. Pace Gallery
9:55 – 2. Hauser & Wirth
11:57 – 1. Gagosian
https://wn.com/The_Ultimate_Top_10_Of_The_Biggest_Art_Galleries_In_The_World
This video is an article-based video ranking the top 10 mega-galleries today. Feel free to share your thoughts on the increasing influence of art galleries in the art world in the comments! Read the entire article here: https://www.contemporaryartissue.com/top-10-of-the-biggest-art-galleries-in-the-world/
🌟 Overview: Career Advice for Artists
→ https://www.contemporaryartissue.com/advice-for-artists/
🍿 Watch Next (Key Videos for Artists)
→ Self-Taught Success: https://youtu.be/sZOiXiyR3VY
→ How To Make Money as an Artist: https://youtu.be/UQx3rPdWsas
→ Develop Your Art Style: https://youtu.be/A3kyKh44EbY
→ The Art World Explained: https://youtu.be/l2AbWnljIc0
📖 Recommended Books:
→ Art World & Career Advice: https://amzn.to/46anb09
→ How To Become A Successful Artist: https://amzn.to/3YwtjvS
→ Art History: https://amzn.to/3I0ri5I
→ Overview of books: https://www.contemporaryartissue.com/the-ultimate-guide-to-the-best-books-for-self-taught-artists/
✏️ Recommended Tools & Ressources:
→ Squarespace for artist websites: squarespace.syuh.net/9W4rDY
→ Artenda for art opportunities: https://artenda.net
→ Artfacts for career rankings: https://artfacts.net/register?ref=596b983667cd4ef3ecd9afcb78629b0da0baa51e
❤️ Support us on Patreon:
→ https://www.patreon.com/contemporaryartissue
ℹ️ About CAI:
CAI is the abbreviation of 'Contemporary Art Issue,' a hybrid platform for contemporary art including:
→ Online Magazine: https://www.contemporaryartissue.com/online-magazine/
→ Advice for Artists: https://www.contemporaryartissue.com/advice-for-artists/
→ CAI Gallery: https://www.contemporaryartissue.com/cai-gallery/
→ Webshop: https://www.contemporaryartissue.com/products/
👨 About the host Julien Delagrange:
Julien Delagrange is an art historian, contemporary artist, and the founder and director of CAI. Delagrange studied Science of Arts at Ghent University, Belgium, and worked for the Centre for Fine Arts (BOZAR) in Brussels, the Jan Vercruysse Foundation, the Ghent University Library, and has contributed to the international contemporary art scene as an art critic, lecturer, curator, gallery director, consultant, advisor, and as an artist. As an artist, he is represented by Galerie Sabine Bayasli in Paris, France, and Gallery Space60 in Antwerp, Belgium.
🎯 The mission of the CAI YouTube channel:
→ To empower artists by providing adequate and industry-approved advice for artists for long-term success in the highest realms of the art world, sharing inside information and proven strategies based on real-life experiences in the art world.
→ To contribute to the online canonization of recent art history, having its finger at the pulse of contemporary art.
🌐 https://www.contemporaryartissue.com
📧
[email protected]
Every effort has been made to trace copyright holders. However, if you feel you have inadvertently been overlooked, please take up contact with Contemporary Art Issue.
Table of contents
0:00 – Introduction: The Art Gallery
1:12 – 10. Victoria Miro
2:13 – 9. Lehmann Maupin
2:59 – 8. Perrotin
3:53 – 7. Thaddaeus Ropac
5:22 – 6. Lisson Gallery
6:39 – 5. White Cube
7:42 – 4. David Zwirner
8:50 – 3. Pace Gallery
9:55 – 2. Hauser & Wirth
11:57 – 1. Gagosian
- published: 01 Nov 2021
- views: 166960
1:31:04
The Paul Mellon Lectures: Iwona Blazwick, Director of Whitechapel Gallery
17 November 2021
5:00 – 6:30 pm
The fourth of six lectures on the topic of The Museum and Gallery Today, part of the 2021 Paul Mellon Lectures.
What Are Coll...
17 November 2021
5:00 – 6:30 pm
The fourth of six lectures on the topic of The Museum and Gallery Today, part of the 2021 Paul Mellon Lectures.
What Are Collections Good For?
The accumulation of cultural artefacts, books, plants or animals is a characteristic of nearly all civilisations. We may understand them as symbols of power and wealth, or find in them a site of veneration and ritual. Certainly they are centres of research and connoisseurship. For artists, entry into an art collection is an endorsement – a means of conserving work for posterity – and, critically, it’s a livelihood. Yet in the twenty-first century the collection has manifested itself in unprecedented and unexpected modes. Whether as an arena for protest or as a work of art, collections are being taken on some intriguing new adventures. This talk explores some of their most recent iterations and asks, at a time when capitalist excess, its extractive procedures and exorbitant costs are under scrutiny, what are collections good for?
Established in 1994, this lecture series was named in honour of Paul Mellon (Yale College, class of 1929), the philanthropist, collector of British art, and founder of both the Yale Center for British Art (YCBA) in New Haven and the Paul Mellon Centre for Studies in British Art (PMC). Co-organised by the two institutions, these biennial lectures have traditionally been given by a specialist in British art, first at the National Gallery, London, and again at the YCBA in New Haven.
This year’s series, entitled The Museum and Gallery Today, is exclusively online and features individual talks from some of the world’s most distinguished museum and gallery directors. The lectures are presented as free live webinars. Registration is required.
About the speaker
Iwona Blazwick is Director of the Whitechapel Gallery, London since 2001 and is a curator, critic and lecturer. She was formerly at Tate Modern and London’s Institute of Contemporary Arts as well as working as an independent curator in Europe and Japan. Blazwick is series editor of Whitechapel Gallery/MIT Documents of Contemporary Art. She has written monographs and articles on many contemporary artists and published extensively on themes and movements in modern and contemporary art, exhibition histories and art institutions.
https://wn.com/The_Paul_Mellon_Lectures_Iwona_Blazwick,_Director_Of_Whitechapel_Gallery
17 November 2021
5:00 – 6:30 pm
The fourth of six lectures on the topic of The Museum and Gallery Today, part of the 2021 Paul Mellon Lectures.
What Are Collections Good For?
The accumulation of cultural artefacts, books, plants or animals is a characteristic of nearly all civilisations. We may understand them as symbols of power and wealth, or find in them a site of veneration and ritual. Certainly they are centres of research and connoisseurship. For artists, entry into an art collection is an endorsement – a means of conserving work for posterity – and, critically, it’s a livelihood. Yet in the twenty-first century the collection has manifested itself in unprecedented and unexpected modes. Whether as an arena for protest or as a work of art, collections are being taken on some intriguing new adventures. This talk explores some of their most recent iterations and asks, at a time when capitalist excess, its extractive procedures and exorbitant costs are under scrutiny, what are collections good for?
Established in 1994, this lecture series was named in honour of Paul Mellon (Yale College, class of 1929), the philanthropist, collector of British art, and founder of both the Yale Center for British Art (YCBA) in New Haven and the Paul Mellon Centre for Studies in British Art (PMC). Co-organised by the two institutions, these biennial lectures have traditionally been given by a specialist in British art, first at the National Gallery, London, and again at the YCBA in New Haven.
This year’s series, entitled The Museum and Gallery Today, is exclusively online and features individual talks from some of the world’s most distinguished museum and gallery directors. The lectures are presented as free live webinars. Registration is required.
About the speaker
Iwona Blazwick is Director of the Whitechapel Gallery, London since 2001 and is a curator, critic and lecturer. She was formerly at Tate Modern and London’s Institute of Contemporary Arts as well as working as an independent curator in Europe and Japan. Blazwick is series editor of Whitechapel Gallery/MIT Documents of Contemporary Art. She has written monographs and articles on many contemporary artists and published extensively on themes and movements in modern and contemporary art, exhibition histories and art institutions.
- published: 22 Nov 2021
- views: 407
1:29:23
The Paul Mellon Lectures: Gabriele Finaldi, Director of the National Gallery
20 October 2021
5:00 – 6:30 pm
The first of six lectures on the topic of The Museum and Gallery Today, part of the 2021 Paul Mellon Lectures.
A Gallery ‘for...
20 October 2021
5:00 – 6:30 pm
The first of six lectures on the topic of The Museum and Gallery Today, part of the 2021 Paul Mellon Lectures.
A Gallery ‘for the Use of the Public’: The National Gallery at Two Hundred
In 2024 the National Gallery will be two hundred years old. Founded by Parliament in the slipstream of Enlightenment ideas of the social and educational benefits of public museums, it has become over time a treasure house of European painting as well as a London landmark; a magnet for international tourism as well as a centre for high level research in the material sciences. It hosts exhibitions visited by tens of thousands of people and also seeks to explore remote corners of the art historical landscape. It is the only national museum of historic painting that has a practising artist’s studio in the building as well as an attached digital laboratory. Central to its purpose is the sharing of the collections and expertise for the benefit of the public. As the National Gallery approaches its bicentenary, Gabriele Finaldi will discuss why this matters and identifies the challenges the gallery faces on the threshold of the third century of its existence.
Established in 1994, this lecture series was named in honour of Paul Mellon (Yale College, class of 1929), the philanthropist, collector of British art, and founder of both the Yale Center for British Art (YCBA) in New Haven and the Paul Mellon Centre for Studies in British Art (PMC). Co-organised by the two institutions, these biennial lectures have traditionally been given by a specialist in British art, first at the National Gallery, London, and again at the YCBA in New Haven.
This year’s series, entitled The Museum and Gallery Today, is exclusively online and features individual talks from some of the world’s most distinguished museum and gallery directors. The lectures are presented as free live webinars. Registration is required.
Gabriele Finaldi has been Director of the National Gallery since August 2015. He was previously Deputy Director for Collections and Research at the Museo Nacional del Prado, Madrid, a position he took up in 2002. Prior to his role at the Prado, he was a curator at the National Gallery between 1992 and 2002, where he was responsible for the later Italian paintings in the collection (Caravaggio to Canaletto) and the Spanish collection (Bermejo to Goya). Finaldi studied art history at the Courtauld Institute of Art, where he completed his doctorate in 1995 on the seventeenth-century Spanish painter who worked in Italy Jusepe de Ribera. He has curated exhibitions in Britain, Spain, Italy, Belgium and the US. He has written catalogues and scholarly articles on Velázquez and Zurbarán, Italian Baroque painting and religious iconography.
https://wn.com/The_Paul_Mellon_Lectures_Gabriele_Finaldi,_Director_Of_The_National_Gallery
20 October 2021
5:00 – 6:30 pm
The first of six lectures on the topic of The Museum and Gallery Today, part of the 2021 Paul Mellon Lectures.
A Gallery ‘for the Use of the Public’: The National Gallery at Two Hundred
In 2024 the National Gallery will be two hundred years old. Founded by Parliament in the slipstream of Enlightenment ideas of the social and educational benefits of public museums, it has become over time a treasure house of European painting as well as a London landmark; a magnet for international tourism as well as a centre for high level research in the material sciences. It hosts exhibitions visited by tens of thousands of people and also seeks to explore remote corners of the art historical landscape. It is the only national museum of historic painting that has a practising artist’s studio in the building as well as an attached digital laboratory. Central to its purpose is the sharing of the collections and expertise for the benefit of the public. As the National Gallery approaches its bicentenary, Gabriele Finaldi will discuss why this matters and identifies the challenges the gallery faces on the threshold of the third century of its existence.
Established in 1994, this lecture series was named in honour of Paul Mellon (Yale College, class of 1929), the philanthropist, collector of British art, and founder of both the Yale Center for British Art (YCBA) in New Haven and the Paul Mellon Centre for Studies in British Art (PMC). Co-organised by the two institutions, these biennial lectures have traditionally been given by a specialist in British art, first at the National Gallery, London, and again at the YCBA in New Haven.
This year’s series, entitled The Museum and Gallery Today, is exclusively online and features individual talks from some of the world’s most distinguished museum and gallery directors. The lectures are presented as free live webinars. Registration is required.
Gabriele Finaldi has been Director of the National Gallery since August 2015. He was previously Deputy Director for Collections and Research at the Museo Nacional del Prado, Madrid, a position he took up in 2002. Prior to his role at the Prado, he was a curator at the National Gallery between 1992 and 2002, where he was responsible for the later Italian paintings in the collection (Caravaggio to Canaletto) and the Spanish collection (Bermejo to Goya). Finaldi studied art history at the Courtauld Institute of Art, where he completed his doctorate in 1995 on the seventeenth-century Spanish painter who worked in Italy Jusepe de Ribera. He has curated exhibitions in Britain, Spain, Italy, Belgium and the US. He has written catalogues and scholarly articles on Velázquez and Zurbarán, Italian Baroque painting and religious iconography.
- published: 05 Nov 2021
- views: 650
1:27:26
Mining the Museum: Contemporary Art and Decolonial Practice in Southeast Asia
This event is part of the Decolonising Curating and the Museum in Southeast Asia lecture series.
Speakers: Pamela N. Corey (Fulbright University Vietnam) and V...
This event is part of the Decolonising Curating and the Museum in Southeast Asia lecture series.
Speakers: Pamela N. Corey (Fulbright University Vietnam) and Vera Mey (SOAS)
Discussant: Shabbir Hussain Mustafa (National Gallery Singapore, Singapore Art Museum)
Chair: Stephen Murphy (SOAS)
In his groundbreaking 1992 exhibition/intervention Mining the Museum, artist Fred Wilson extracted materials from the Maryland Historical Society’s collection and curated them as disconcerting displays of historical violence, for example, placing slave shackles among other ornate objects of silverware in a display titled Metalworks, 1793-1880. Wilson’s profound artistic gesture of juxtaposing seemingly incongruous objects unearthed a latent power dynamic in the task of exhibiting history, exemplifying what Walter Mignolo described as an act of aesthetic and epistemological disobedience. Taking a cue from Wilson’s intervention, Pamela N. Corey and Vera Mey discussed specific case studies from Southeast Asia in which contemporary artists use the museum as a site and medium for decolonial critiques.
https://wn.com/Mining_The_Museum_Contemporary_Art_And_Decolonial_Practice_In_Southeast_Asia
This event is part of the Decolonising Curating and the Museum in Southeast Asia lecture series.
Speakers: Pamela N. Corey (Fulbright University Vietnam) and Vera Mey (SOAS)
Discussant: Shabbir Hussain Mustafa (National Gallery Singapore, Singapore Art Museum)
Chair: Stephen Murphy (SOAS)
In his groundbreaking 1992 exhibition/intervention Mining the Museum, artist Fred Wilson extracted materials from the Maryland Historical Society’s collection and curated them as disconcerting displays of historical violence, for example, placing slave shackles among other ornate objects of silverware in a display titled Metalworks, 1793-1880. Wilson’s profound artistic gesture of juxtaposing seemingly incongruous objects unearthed a latent power dynamic in the task of exhibiting history, exemplifying what Walter Mignolo described as an act of aesthetic and epistemological disobedience. Taking a cue from Wilson’s intervention, Pamela N. Corey and Vera Mey discussed specific case studies from Southeast Asia in which contemporary artists use the museum as a site and medium for decolonial critiques.
- published: 18 Oct 2021
- views: 918
1:33:25
Museums in a Global Age
Date: Tuesday 4 October 2016
Time: 6.30-8pm
Venue: Wolfson Theatre, New Academic Building
Speakers: Richard Armstrong, Adrian Ellis, Tiffany Jenkins
Chair: JJ...
Date: Tuesday 4 October 2016
Time: 6.30-8pm
Venue: Wolfson Theatre, New Academic Building
Speakers: Richard Armstrong, Adrian Ellis, Tiffany Jenkins
Chair: JJ Charlesworth
A panel discussion considering the roles and responsibilities of museums as cultural dialogue takes on a new urgency in diverse national contexts. How do museums engage with and reflect the world they inhabit?
Richard Armstrong has served as the Director of the Solomon R Guggenheim Museum and Foundation since November 2008. Armstrong works with senior staff to maximize all aspects of the Foundation’s operations: permanent collections, exhibition programs, acquisitions, documentation, scholarship, and conservation. Previously, Armstrong was The Henry J. Heinz II Director of Carnegie Museum of Art, where he also served as Chief Curator and Curator of Contemporary Art. From 1981 to 1992, he was a curator at the Whitney Museum of American Art, where he organized four Biennials, as well as several other exhibitions.
Adrian Ellis is a global thought leader in international arts and culture whose work spans the fields of cultural strategy, policy, and economics. He is Founding Director of AEA Consulting, one of the world's leading arts, culture and entertainment consulting firms. Prior to founding AEA, he served as Executive Director of The Conran Foundation in London, where he planned and managed the creation of the Design Museum.
Tiffany Jenkins (@tiffanyjenkins) is an academic, broadcaster and columnist, and author of Keeping Their Marbles: How Treasures of the Past Ended Up in Museums and Why They Should Stay There. She has been a visiting fellow at LSE, Department of Law and was previously the director of the Arts and Society Programme at the Institute of Ideas.
JJ Charlesworth (@jjcharlesworth) is an art critic, writer and commentator. JJ studied fine art at Goldsmiths College, London, in the mid-1990s, before turning his hand to criticism. His writing on artists, reviews and commentaries on art, culture and politics have appeared in many publications including ArtReview, Art Monthly, Flash Art, Modern Painters, Time Out London, the Daily Telegraph and online platforms art-agenda and ArtNet News. Since 2006 has worked on the editorial staff of ArtReview, and is currently the magazine's publisher. He has lectured and taught extensively, and in 2016 completed his PhD - a study of art criticism in Britain during the 1970s.
Just economics and politics? Think again. While LSE does not teach arts or music, there is a vibrant cultural side to the School - from weekly free music concerts in the Shaw Library, and an LSE orchestra and choir with their own professional conductors, various film, art and photographic student societies, the annual LSE photo prize competition, the LSE Literary Festival and artist-in-residence projects. For more information please view the LSE Arts website.
Founded in 1949, ArtReview (@ArtReview_) is one of the world’s leading international contemporary art magazines, dedicated to expanding contemporary art’s audience and reach. Aimed at both a specialist and a general audience, the magazine features a mixture of criticism, reviews, reportage and specially commissioned artworks, and offers the most established, in-depth and intimate portrait of international contemporary art in all its shapes and forms.
https://wn.com/Museums_In_A_Global_Age
Date: Tuesday 4 October 2016
Time: 6.30-8pm
Venue: Wolfson Theatre, New Academic Building
Speakers: Richard Armstrong, Adrian Ellis, Tiffany Jenkins
Chair: JJ Charlesworth
A panel discussion considering the roles and responsibilities of museums as cultural dialogue takes on a new urgency in diverse national contexts. How do museums engage with and reflect the world they inhabit?
Richard Armstrong has served as the Director of the Solomon R Guggenheim Museum and Foundation since November 2008. Armstrong works with senior staff to maximize all aspects of the Foundation’s operations: permanent collections, exhibition programs, acquisitions, documentation, scholarship, and conservation. Previously, Armstrong was The Henry J. Heinz II Director of Carnegie Museum of Art, where he also served as Chief Curator and Curator of Contemporary Art. From 1981 to 1992, he was a curator at the Whitney Museum of American Art, where he organized four Biennials, as well as several other exhibitions.
Adrian Ellis is a global thought leader in international arts and culture whose work spans the fields of cultural strategy, policy, and economics. He is Founding Director of AEA Consulting, one of the world's leading arts, culture and entertainment consulting firms. Prior to founding AEA, he served as Executive Director of The Conran Foundation in London, where he planned and managed the creation of the Design Museum.
Tiffany Jenkins (@tiffanyjenkins) is an academic, broadcaster and columnist, and author of Keeping Their Marbles: How Treasures of the Past Ended Up in Museums and Why They Should Stay There. She has been a visiting fellow at LSE, Department of Law and was previously the director of the Arts and Society Programme at the Institute of Ideas.
JJ Charlesworth (@jjcharlesworth) is an art critic, writer and commentator. JJ studied fine art at Goldsmiths College, London, in the mid-1990s, before turning his hand to criticism. His writing on artists, reviews and commentaries on art, culture and politics have appeared in many publications including ArtReview, Art Monthly, Flash Art, Modern Painters, Time Out London, the Daily Telegraph and online platforms art-agenda and ArtNet News. Since 2006 has worked on the editorial staff of ArtReview, and is currently the magazine's publisher. He has lectured and taught extensively, and in 2016 completed his PhD - a study of art criticism in Britain during the 1970s.
Just economics and politics? Think again. While LSE does not teach arts or music, there is a vibrant cultural side to the School - from weekly free music concerts in the Shaw Library, and an LSE orchestra and choir with their own professional conductors, various film, art and photographic student societies, the annual LSE photo prize competition, the LSE Literary Festival and artist-in-residence projects. For more information please view the LSE Arts website.
Founded in 1949, ArtReview (@ArtReview_) is one of the world’s leading international contemporary art magazines, dedicated to expanding contemporary art’s audience and reach. Aimed at both a specialist and a general audience, the magazine features a mixture of criticism, reviews, reportage and specially commissioned artworks, and offers the most established, in-depth and intimate portrait of international contemporary art in all its shapes and forms.
- published: 10 Oct 2016
- views: 1963
1:01:26
Malcolm Rogers: The Art Museum in the 21st Century
Malcolm Rogers' lecture, 'The Art Museum in the 21st Century', delivered as part of his Humanitas Visiting Professorship in Museums, Galleries and Libraries at ...
Malcolm Rogers' lecture, 'The Art Museum in the 21st Century', delivered as part of his Humanitas Visiting Professorship in Museums, Galleries and Libraries at the University of Oxford, May 2012.
Drawing on his long and eminent career at the Museum of Fine Arts in Boston, as well as on his extensive experience as an art historian, Rogers set out his reflections on the ideal of accessibility; both its importance in a democratic age but also the challenges, pragmatic and philosophical, which the concept encounters. He made a trenchant case against the excesses of an academic-theoretical approach to the public presentation of works of art, and championed instead the more inclusive ways in which a museum might display its treasures to the widest possible audience.
-http://strategicdialogue.org/humanitas
-http://www.torch.ox.ac.uk/humanitas
-http://www.crassh.cam.ac.uk/programmes/humanitas-visiting-professorships
*
Humanitas is a series of Visiting Professorships at Oxford and Cambridge designed to bring leading academics, practitioners and scholars to both universities to address major themes in the arts, social sciences and humanities. Created by Lord Weidenfeld, the programme is managed and funded by the Institute for Strategic Dialogue and co-ordinated in Cambridge by the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) and in Oxford by the Research Centre for the Humanities (TORCH).
https://wn.com/Malcolm_Rogers_The_Art_Museum_In_The_21St_Century
Malcolm Rogers' lecture, 'The Art Museum in the 21st Century', delivered as part of his Humanitas Visiting Professorship in Museums, Galleries and Libraries at the University of Oxford, May 2012.
Drawing on his long and eminent career at the Museum of Fine Arts in Boston, as well as on his extensive experience as an art historian, Rogers set out his reflections on the ideal of accessibility; both its importance in a democratic age but also the challenges, pragmatic and philosophical, which the concept encounters. He made a trenchant case against the excesses of an academic-theoretical approach to the public presentation of works of art, and championed instead the more inclusive ways in which a museum might display its treasures to the widest possible audience.
-http://strategicdialogue.org/humanitas
-http://www.torch.ox.ac.uk/humanitas
-http://www.crassh.cam.ac.uk/programmes/humanitas-visiting-professorships
*
Humanitas is a series of Visiting Professorships at Oxford and Cambridge designed to bring leading academics, practitioners and scholars to both universities to address major themes in the arts, social sciences and humanities. Created by Lord Weidenfeld, the programme is managed and funded by the Institute for Strategic Dialogue and co-ordinated in Cambridge by the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) and in Oxford by the Research Centre for the Humanities (TORCH).
- published: 04 Jun 2014
- views: 178
38:47
The People's Story
This is a BSL tour of the People's Story Museum in Edinburgh
This is a BSL tour of the People's Story Museum in Edinburgh
https://wn.com/The_People's_Story
This is a BSL tour of the People's Story Museum in Edinburgh
- published: 01 Apr 2022
- views: 349
52:15
The Impact of Prints in Museums: What Do Curators Say?
"The Impact of Prints in Museums: What Do Curators Say?"
October 28, 2022
Jonathan Bober, National Gallery of Art
Stephen Coppel, British Museum
Nadine Orens...
"The Impact of Prints in Museums: What Do Curators Say?"
October 28, 2022
Jonathan Bober, National Gallery of Art
Stephen Coppel, British Museum
Nadine Orenstein, The Metropolitan Museum of Art
Naoko Takahatake , The Getty Research Institute
Moderated by David Tunick, President, IFPDA, hosted by the IFPDA Print Fair 2022 on-site at the Jacob K. Javits Convention Center.
IFPDA Home: https://www.ifpda.org
IFPDA Foundation: https://www.ifpdafoundation.org
IFPDA Print Fair: https://www.fineartprintfair.org
https://wn.com/The_Impact_Of_Prints_In_Museums_What_Do_Curators_Say
"The Impact of Prints in Museums: What Do Curators Say?"
October 28, 2022
Jonathan Bober, National Gallery of Art
Stephen Coppel, British Museum
Nadine Orenstein, The Metropolitan Museum of Art
Naoko Takahatake , The Getty Research Institute
Moderated by David Tunick, President, IFPDA, hosted by the IFPDA Print Fair 2022 on-site at the Jacob K. Javits Convention Center.
IFPDA Home: https://www.ifpda.org
IFPDA Foundation: https://www.ifpdafoundation.org
IFPDA Print Fair: https://www.fineartprintfair.org
- published: 22 Dec 2022
- views: 395