Search Results (53)

This paper examines two Australian women art collectors of contemporary art, Sydney-based Gene Sherman, and Melbourne-based Naomi Milgrom, each of whom is subject to case study analysis, interrogating their role and participation in arts-related scenarios, to highlight collector behaviour and discern legacy building strategies and mechanisms. Using observations from these trajectories and case study scholarship of historically significant women collectors as a category of evidence, in addition to theoretical concepts to frame the analysis, I argue that women collectors hold inherent ambitions to construct a legacy. By employing strategic mechanisms in the form of publishing and archiving protocols, collaborative exhibitions with museums and institutions, and philanthropic initiatives, women collectors advance legacy building. Further, women collectors develop innovative and unorthodox programs incorporating multi-disciplinary approaches to facilitate legacy. Finally, I assert that women collectors leverage their positions, connections, and collections to support these legacy-building aspirations. Through a consideration of the women collectors’ active engagement with the art market, together with a comparative analysis of historical collector behaviour present within the relevant literature, this study has revealed several key findings. Collector behaviours discerned in the case studies comprise clearly articulated and intentional legacy building, sustained archival practices to preserve histories, innovation, collaboration with actors to facilitate legacy, and assertive leveraging of position, status and collections to strengthen legacy objectives. Full article

Contemporary cultural infrastructure globally faces a critical architectural challenge: balancing the demand for spatial adaptability (e.g., flexible layouts, interactive technologies) with the absolute necessity of inclusive access for diverse demographics. This tension is particularly acute in rapidly urbanizing environments. However, current research lacks integrated methodologies to systematically evaluate these intersecting issues. This paper addresses this gap by developing a systematic, multi-method framework for post-occupancy evaluation (POE). To empirically illustrate and test the applicability of this framework, a comparative multi-case study was conducted in Wuhan, China, focusing on two distinct exhibition hall typologies within the Hubei Science and Technology Museum and the Qintai Art Museum. Grounded in environmental psychology, the methodology systematically triangulates spatial mapping, behavioral observation, and semi-structured interviews. The empirical application reveals that while highly adaptive elements enhance curatorial flexibility, they frequently introduce unintended cognitive barriers that disproportionately exclude vulnerable visitor groups. For the international research community, this study contributes a culturally responsive evaluation protocol, providing researchers with operational tools to systematically decode the socio-spatial frictions between adaptable exhibition design and universal inclusivity. Full article

Contemporary art conservation increasingly relies on digital technologies capable of delivering accurate, non-invasive documentation across multiple scales. Within this framework, the study addresses the challenges of documenting and monitoring artworks integrated into historical architectural contexts, proposing an interdisciplinary and need-driven approach where conservation requirements guide technological choices. The methodology combines four survey techniques (static and mobile laser scanning, photogrammetry, and structured-light acquisition) to evaluate their effectiveness within a multi-scale workflow supporting conservation-oriented documentation. The workflow is tested on the Centro per la Scultura Contemporanea in Cagli, Italy, a museum where contemporary installations are structurally and conceptually connected within the historical architectural space. The paper presents a comparative assessment of the four sensors, considering both qualitative and quantitative parameters. Comparative analyses of the resulting point clouds was carried out using cloud-to-cloud distance measurements with a terrestrial laser scanning dataset as reference. Error distribution and geometric deviations are assessed to evaluate the performance of each sensor according to the scale and purpose of the survey. The results demonstrate that accessible and portable instruments can produce datasets targeted at conservation processes, when integrated within coherent digital workflows, in which architectural, spatial, and object-scale models are combined to create a digital documentation framework. Full article

An ecological approach in the broadest sense arguably places art in a context that is unconstrained by disciplinary categories. It is focused on the form of art in context and on all the variables that account for its making and the contexts of its use at the time of its making. The argument of the paper is centred on a set of Yolŋu bark paintings exhibited in the Madayin exhibition that opened in the Hood Museum at Dartmouth College in New Hampshire in September 2022. In a period of 80 years Yolŋu art has moved from a moment of first contact to becoming a global contemporary phenomenon, while maintaining its cultural distinctiveness. Rather than using an ecological approach to examine Yolŋu culture, Yolŋu art as a mode of action exemplifies the ways in which the natural environment is integral to their sense of being in the world. Full article

In contemporary museum design, architects increasingly treat spatial experience as a medium of visitor engagement, yet movement is often reduced to a problem of routing and orientation rather than recognised as engagement in its own right. This study shows how Steven Holl’s parallax operates as a motivational mechanism at the Kiasma Museum of Contemporary Art. Parallax, a phenomenological and ecological construct, is examined through oblique thresholds, overlapping perspectives, and layered illumination. Integrating phenomenology, ecological psychology, and spatial configuration analysis, this study links embodied perception to measurable spatial properties. Spatial relations were quantified using space syntax—axial line analysis, justified graphs, and isovist analysis—alongside luminance and visual saliency mapping of Kiasma’s second and third floors. The results reveal a dominant ring structure in which visibility tightens at thresholds and views shift continuously along the route. Pronounced brightness gradients accompany these transitions and intensify perceived change along the sequence. These coupled spatial and luminous strategies may encourage exploratory navigation, positioning wayfinding as integral to the museum experience. This study argues that parallax links spatial configuration to embodied engagement, emerging as a perceptual effect produced through the interaction of spatial layout, luminous modulation, and bodily movement rather than functioning as a fixed design principle. Full article

In 1897, King Leopold II of Belgium opened the Brussels International Exposition, which, in the Palace of the Colonies, showcased objects and people from the Congo Free State. They were displayed as the property of the King, who was the founder and sole owner of the Congo Free State from 1885 to 1908. The Palace of the Colonies was a combination of classically inspired imperial architecture and references to the Congo. The exposition was a huge success. As a result, the King built Africa Palace, a permanent ethnographic museum dedicated to his idea of Congo. It was located adjacent to his palace in Tervuren, now a suburb outside of Brussels. In 2018, the museum reopened as AfricaMuseum. This paper examines the inherent colonial frame of AfricaMuseum, both physically and ideologically, that continue to limit a significant socio-political shift for the museum, and the contemporary art pieces by Congolese and Burundian artists that have been tasked with the heavy lifting in shifting the narrative. Full article

This paper presents an overview of a research line developed at the Istituto Centrale per il Restauro within the CHANGES (Cultural Heritage Active Innovation for Next-Gen Sustainable Society) project, funded under the Italian National Recovery and Resilience Plan. The research was developed in different phases: a first one dedicated to the study of the deep background and the state of the art in the ICR background: history, methodologies and research in the field; a second phase was dedicated to the selection of a specific urban art mural, as a key study with conservation problems connected to some of the principal preservation treatments related to the outdoor context; the mural was also identified as a beloved icon in the public space with a profound socio-cultural meaning for the community. Nido di Vespe, created in 2014 by the artist Lucamaleonte is part of a broader artistic project called M.U.Ro-Museum of Urban Art of Rome, an open-air public art museum located in the Quadraro district in Rome, designed by the artist Diavù. A third phase focused on the research in ICR laboratories, specifically addressing: cleaning, reintegration, and protection strategies adapted to dynamic outdoor environments. A multi-step cleaning system based on polyvinyl alcohol-borax semi-interpenetrated hydrogels loaded with nanostructured fluids was developed to selectively remove spray-paint vandalism while preserving the chemically similar original pictorial layers. The reintegration phase investigated acrylic and urea-aldehyde resins as binders to produce compatible, reversible, and UV-traceable retouching and infilling materials. For surface protection, multilayer coating systems incorporating nanoparticles with antimicrobial, photocatalytic, and UV-stabilizing properties were formulated to enhance durability and chromatic stability. Laboratory tests on mock-ups simulating typical street and urban art materials and morphologies showed satisfactory results, while diagnostic investigations on Nido di Vespe provided the reference data to calibrate the experiments with real mural conditions. Cleaning tests demonstrated promising removal efficiency, influenced by the chemical composition, thickness of the overpainted layers, and surface roughness. The reintegration system met the expected performance requirements, as the tested binders provided good results and allowed the development of compatible, reversible, and distinguishable solutions. Protective coatings showed good results in terms of chromatic stability and surface integrity; however, the long-term behavior of both reintegration, cleaning, and protection systems requires further evaluation. The results achieved so far support the development of sustainable and flexible conservation strategies for the conservation of contemporary street and urban murals and will guide the future application of the selected materials and methodologies in pilot conservation interventions on the mural chosen as a meaningful case study within the broader research. Full article

This article examines the significant contributions of Helga de Alvear as a gallerist, collector, and patron, a pivotal figure in the evolution of the Spanish and international contemporary art market. Her legacy is particularly notable through the establishment of the Helga de Alvear Museum in the city of Cáceres, intended to share her vast collection of over 3000 works and foster exhibition, research, conservation, and education. The study analyzes her art collection, highlighting its substantial international minimalist art component, contextualizing its development with her personal and professional journey. Furthermore, it explores the institutionalization of her legacy, from the Helga de Alvear Foundation to the creation and evolution of the museum, its innovative architecture and museography, and its impact on Cáceres’s urban landscape. Full article

The Buades Gallery (1973–2003) was not merely a commercial space in Madrid. In the history of art in Spain, it served as a professional and political node for Spanish conceptualism, an art form which, due to its idiosyncrasies, required its own channels of distribution. This article seeks to examine the trajectory of Mercedes Buades in alignment with this movement, re-evaluating her role from a feminist perspective and highlighting the importance of certain agents who have traditionally been invisibilised. To this end, a theoretical approach is adopted, following the sociology of art and the social history of art, paying particular attention to the contributions of Enrico Castelnuovo, Pierre Bourdieu and Núria Peist. These frameworks enable an analysis of the role of the gallerist as a structuring agent within the artistic field, capable of generating symbolic capital and establishing dynamics of production, circulation and consumption in the context of post-Franco Spain, a country that lacked a consolidated museum infrastructure at the time. Even so, Mercedes Buades established a model of gallery practice that, beyond its commercial dimension, contributed decisively to the symbolic configuration of contemporary art in Spain and formed part of a network of artistic visibility that promoted experimental art. Full article

The TOWCHED project explores how arts and heritage-based educational methodologies can support sustainable development by enhancing key transversal competencies in learners, particularly children and youth. In response to the global challenges outlined in the sustainable development goals (SDGs), this project promotes inclusive and participatory approaches to education that foster social cohesion, intercultural understanding, and civic engagement. Partnering with museums, TOWCHED develops cross-curricular pedagogical interventions, such as experiential, blended, and collection-mediated learning, that link cultural heritage with contemporary social and environmental concerns. These approaches aim to strengthen creativity, critical thinking, collaboration, and self-awareness. TOWCHED demonstrates that heritage collection-based education can play a vital role in transforming schools and other learning environments into hubs for sustainable, lifelong learning. By embedding cultural expression and heritage into educational practices, the project offers a compelling model for empowering individuals to navigate and shape a more equitable and interconnected world. This paper has two aims. First, we introduce TOWCHED, an interdisciplinary project recently funded by the Horizon Europe program of the European Union to preserve and promote education for sustainability in the heritage context. Second, we introduce a set of tools related to the project. Full article

Drawing on the epistemological tradition of feminist care theory and care ethics, this article analyzes Boris Groys’s contribution to the philosophy of care in order to highlight the implications of care issues in the context of art, which is an important reference point for both his and my own investigation. After an introductory overview of the problematic and conceptualization of care, I address Groys’s position. I then provide insights into feminist care ethics and the philosophy of the body, care aesthetics and care work, before turning to art care. In a concluding synthesis, I argue for a different philosophy of care in the light of a reorientation of our understanding of care work in general and in the art world in particular. Methodologically, I combine philosophical exegesis and critical theory, referring to the feminist critique of the Western philosophical tradition as expressed in Groys’s work. I remain at the discursive level of the philosophical study of care and its dialog with the broader field of feminist theory and care ethics, including in relation to care work and art care in the contemporary museum economy. Full article

Archaeology is a well-established discipline that sheds light on human history and uncovers the mysteries of materials, their origins, production methods, and areas of use. It provides significant insights into various topics such as the production history of glass and other materials, trade routes, manufacturing processes, degradation mechanisms, regional usages, and coloring com-positions. Glass, an ancient yet contemporary material, can transmit, absorb, and reflect light. Appreciating glass art requires recognizing its rich history, offering artists technical and aesthetic possibilities in modern life and architecture. This study examines the influence of archaeological research and the artistic character of ancient glass on contemporary glass art. Archaeological findings from Turkey and around the world have been reviewed, with a particular focus on the Phrygian Valley, located in and around Eskişehir, an important region for the Phrygian civilization. Artifacts unearthed through excavations and sur-face surveys conducted in the Phrygian Valley, and preserved in the Eskişehir Eti Archaeology Museum, have been analyzed. The museum houses approximately 22.500 artifacts, including sculptures, steles, ceramics, glass vessels, metal objects, jewelry, and coins. Inspired by these artifacts and Phrygian culture, original glass designs have been created using techniques such as stained glass, lampworking, and glass painting. The aim of the study is to interpret Phrygian art and culture through innovative designs. Full article

In March 2022, an auction house in Zurich sold two female figurines made from mammoth ivory, along with other prehistoric artefacts. This is a rare occurrence because the scarcity and value of Paleolithic figurines have limited their presence in the international art market. Researchers from the Archaeological Museum Hamburg and the University of Tübingen subsequently undertook in situ and non-destructive investigations to illuminate the authenticity of the two figurines. We conducted a comprehensive analytical study that included detailed microscopic optical observations and spectroscopic investigations. This methodological approach, combined with a thorough comparison to contemporary ivory figurine replicas, proved effective and clearly demonstrated that the specimens were forgeries. Research efforts of this kind are crucial, as they significantly help reduce the spread of intentional fakes posing as genuine artefacts in the art market. By doing so, we foster collaboration between academic institutions and the art market to preserve and protect the integrity and value of authentic archaeological and cultural heritage. Full article

Contemporary art consumption is predominantly online, driven by algorithmic recommendation systems that dictate artwork visibility. Despite not being designed for curation, these algorithms’ machinic ways of seeing play a pivotal role in shaping visual culture, influencing artistic creation, visibility, and associated social and financial benefits. The Algorithmic Pedestal was a gallery, practice-based research project that reported gallerygoers’ perceptions of a human’s curation and curation achieved by Instagram’s algorithm. This paper presents a technical analysis of the same exhibit using computer vision code, offering insights into machines’ perception of visual art. The computer vision code assigned values on various metrics to each image, allowing statistical comparisons to identify differences between the collections of images selected by the human and the algorithmic system. The analysis reveals statistically significant differences between the exhibited images and the broader Metropolitan Museum of Art digital collection. However, the analysis found minimal distinctions between human-curated and Instagram-curated images. This study contributes insights into the perceived value of the curation process, shedding light on how audiences perceive artworks differently from machines using computer vision. Full article

The Daitokuji Old Collection’s 500 Luohans Paintings 五百羅漢圖, painted by Southern Song Mingzhou 明州 artists Lin Tinggui 林庭珪 and Zhou Jichang 周季常, have become a focal point in recent studies on the Chinese Buddhist material culture of the Song Dynasty. Among the 500 Luohans series, five paintings are related to the ancient Indian legend of Emperor Aśoka’s creation of 84,000 stupas. These paintings include “Building a Stupa” (No.78), “King Aśoka Stupa Emitting Light” (No.79), “Precious Stupa on the Rock” (No.80), and “Miracle of Light-Emitting Relics” (No.81), which are currently housed in the Daitokuji 大德寺 in Kyoto, Japan, and “Luohans Watching the Relics’ Light” (B5), which is housed in the Museum of Fine Arts in Boston, the US. However, the way in which the “King Aśoka Stupa” 阿育王塔 and “Relics’ Light” 舍利光 series were integrated into the overall visual narrative of the 500 Luohans in the Daitokuji and Boston collections, as well as the profound meanings and social-cultural contexts embedded in these images, have been rarely studied in depth. The introduction of the miraculous relics theme into the Daitokuji Old Collection’s 500 Luohans Paintings originates from an earlier version by the monk Fa Neng. However, Fa Neng’s version recorded by the Northern Song literati Qin Guan 秦觀 does not mention the King Aśoka Stupa. The artists had considerable freedom in depicting miraculous relic phenomena and King Aśoka Stupa. The specific details of King Aśoka Stupa’s background in Tiantai Mountain 天台山, such as rock bridges, waterfalls, and rock caves, as well as the craftsmanship of King Aśoka Stupa, reflect particular contemporary ideas. The vivid depictions of the “King Aśoka Stupa” and “Relics’ Light” in the Daitokuji Present Collection and the Boston Collection of the 500 Luohans may indicate a close connection between the creation of these images and the fervent Relics Worship at King Aśoka Temple 阿育王寺 in Mingzhou during Southern Song. This paper synthesizes these images, ancient Chinese and Japanese manuscripts, and fieldwork insights to interpret the sources and significance of these images. Full article