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So yes, it did change. Before that, it was more free-form. When we saw a great work of art, we would acquire it. Now, when we see a great work of art, we say, how does it fit?

Bruce J Altshuler

How is it going to show with the other works by that artist or by other artists? SD: Any recent acquisitions you can tell us about? Maybe even ones that will be on view when the Broad opens to the public on September 20?

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We continue to collect many of the artists we were collecting in —Jeff Koons, Cindy Sherman, and a number of others. SD: Over the years, have there been ones that got away? EB: Certainly over the years there are pieces that got away that I wish we had acquired.

We feel pretty good about our collection, particularly those artists we have in depth, like Cindy Sherman, Jeff Koons, Cy Twombly, Andy Warhol, and others. We keep trying to improve the quality of the collection. And at the same time we are acquiring works of younger artists, like Mark Bradford, who is a good friend, and Mark Grotjahn, and a number of others.

Temporarily Possessed: The Semi-Permanent Collection

Today, we are not aggressively looking for artists who have not been shown in museums or major galleries. This was my way of resisting. To request images—including exhibition installation views and permanent collection works—or MCA-created text or media, fill out a media and image application.

"Skin Fruit" at The New Museum Of Contemporary Art curated by Jeff Koons

Search Query. Decade index s s s s s s s s s s All Books Installation Mixed media Moving image and sound Painting Performance Photography Sculpture Works on paper. Featured Work. A primarily beige-looking canvas is actually composed of many small dots of light blues, pinks, o Short A primarily beige-looking canvas is actually composed of many small dots of light blues, pinks, oranges, and purples. Image not available. On view Lynda Benglis , Bhai , A golden object, that may or may not be enclosing something, is composed of many folds almost lik Short A golden object, that may or may not be enclosing something, is composed of many folds almost like a stiff fabric, but appears to be hand-shaped metal.

On view Jonathan Borofsky , As I was awakening, it seemed I was being chased by the spirits at 2, , , On view DIS , Apology , A rectangular column of white paper with a black border rests on a concrete floor in a neat stack Short A rectangular column of white paper with a black border rests on a concrete floor in a neat stack that is nearly as tall as the paper is wide. On view David Hammons , Praying to Safety , On view Leslie Hewitt , Untitled , On view Jene Highstein , Floating World , Photograph of a person-sized rounded outdoor sculpture made of grey, textured stone Short Photograph of a person-sized rounded outdoor sculpture made of grey, textured stone.

On view Jim Isermann , Untitled flower painting , On view Arthur Jafa , LeRage , On view Glenn Ligon , Untitled , A body of black text is printed on a white rectangle with even borders of white space on all four Short A framed text, black on white, reads "I feel most colored when I am thrown against a sharp white background". This phrase is repeated and gradually becomes distorted until illegible at the bottom. And the Shigeru Ban design reflects the adaptable nature of the institution. Ban also discusses the importance of designing a building that could accommodate any sort of artwork. Yes, he admits, Calder has been his favorite artist since he attended high school in Tokyo, when he checked out a book on the artist from the library and conveniently forgot to return it.

Ban says that designing a kunsthalle is not substantially different from designing a museum with a collection. It shaped their plans for visitor circulation. The lack of a permanent collection, he suggests, allows for a less linear viewing experience.

Collecting the New: Museums and Contemporary Art: Edited by Bruce Altshuler

The notion of an open-ended building designed for an open-ended program hints at another possibility. In the absence of a permanent collection or a single compelling masterpiece to show off, the architecture of a kunsthalle can become an especially important image for and symbol of the institution itself. This has been the case with other kunsthalles as well, such as the Contemporary Arts Center in Cincinnati with its energetic and edgy building by Zaha Hadid , and the more subtle David Adjaye structure for the MCA Denver.


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Designed by London architect Farshid Moussavi , the four-story, hyperangular, stainless-steel, gem-shaped building is, if anything, a monument to dynamism. Back in Aspen, Shigeru Ban expects the architecture, which essentially takes the form of a box, to be dynamic in one other way. He recognizes that his most distinctive design element, the woven screen that wraps around the building, also creates odd, leftover spaces for artist interventions.

And in this way, a sense of experimentation and a focus on living artists is written into the skin as well as the guts of the building.

Contemporary art on the move - The Museum of Contemporary Art closed 3 September 2017

All Rights Reserved. Patent and Trademark Office. Features October Kunsthalles are flexible spaces designed for showing, not collecting, art. But how do they survive—and raise money—without outgrowing their model?