Accumulating the hot is the 1st publication at the questions and demanding situations that museums face in buying and maintaining modern paintings. simply because such artwork has now not but withstood the try out of time, it defies the conventional knowing of the artwork museum as an establishment that collects and monitors works of original aesthetic and ancient worth. by way of buying such artwork, museums gamble at the destiny. furthermore, new applied sciences and substitute conceptions of the paintings have created particular difficulties of conservation, whereas social, political, and aesthetic adjustments have generated new different types of works to be collected.
Following Bruce Altshuler's advent at the ecu and American heritage of museum accumulating of artwork by means of residing artists, the publication includes newly commissioned essays via twelve extraordinary curators representing quite a lot of museums. First thought of are basic concerns together with the purchase strategy, and gathering via common survey museums and museums that target smooth and modern artwork. Following are teams of essays that tackle amassing specifically media, together with prints and drawings, new (digital) media, and movie and video; and nationwide- and ethnic-specific amassing (contemporary artwork from Asia, Africa, and Latin the United States, and African-American art). The last essay examines the conservation difficulties created through modern works--for instance, what's to be performed while deterioration is the artist's cause?
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Extra resources for Collecting the New: Museums and Contemporary Art
Anyone who bought Frida Kahlos in the 1930s because she was a vibrant curiosity in the burgeoning field of Mexican painting or because she was the colorful wife of the world famous Diego Rivera, and then sold them off in the 1950s or 1960s when Latin American art fell from favor, will appreciate the shortsightedness of such a move—and the exorbitant cost of correcting it now. Neither are museum collections piggy banks waiting to be broken to pay for enthusiasms of the moment. If patrons are truly persuaded that a given work is worthy of the institution they serve, then they should, as a rule, be prepared to pay for it themselves rather than relying of patrons of previous times to pay for 32 | R O B E R T S TO R R it through the sale of the works those predecessors once believed in with equal conviction.
Committee members—a mixture of board members, collectors, patrons, and occasionally scholars with a proven interest in the kind of art dealt with by the given committee (photography, prints and illustrated books, and architecture and design also have committees at MoMA)—are the only ones to vote on whether to accept or reject a specific proposal, since they are the ones who fund the acquisitions or shoulder fiduciary responsibility for the museum as a whole. Committee members may not come to the table with their own proposals, although prior to a meeting they may consult with curators about their interest in giving or paying for a work.
NOTE S 1. Harper’s Magazine, January 1962, reprinted in Leo Steinberg, Other Criteria: Confrontations with Twentieth-Century Art (New York: Oxford University Press, 1972). 2. “Yes . . ” 60 Minutes, CBS, September 19, 1993. C. , mounted an exhibition of sculpture by Cy Twombly. The exhibition, originally organized by the Basel Kunstmuseum and the De Menil Collection in Houston, was shown not in I. M. Pei’s late-modernist East Building, which houses the museum’s permanent collection of twentieth-century art and is the site of most special exhibitions of work from the modern and postwar periods, but in John Russell Pope’s mid-century Neoclassical West Building.
Collecting the New: Museums and Contemporary Art