Arte Contempor Nea

In the authentic heart of the historical district of Naples, the Madre • Donnaregina contemporary art museum it is the emblem and the living container of a path that it has returned to the Campania region a central role. In the international comparison on the imaginary and the contemporary artistic declinations: space and the time of invention, the web of relationships between memory, conservation, new scenarios of experimentation, are grafted on research strategies, permanent laboratories that investigate the roots themselves of the creative project. Opened in 2005, the Madre museum owes its name to the nineteenth-century building built near the old one convent of Donnaregina, reconstructed and extended in 1325 at the behest of Queen Mary of Hungary, wife of Charles II of Naples. With its 7,200 square meters of exhibition space [installations site-specific, works from the permanent collection in progress, areas for temporary exhibitions], the Madre museum explores the horizons of cultural identity sedimented that invites to original paths of creation of 'current' values, between genius loci and visions a measure of the third millennium.

Artwork by Morris Louis, Robert Motherwell, Dan Graham, Hans Hofmann, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, Jason Rhoades, Robert Smithson, Cy Twombly, Lawrence Weiner, Dan Flavin, Hans Haacke, Edward Kienholz. Text by Boris Groys, Petra Kipphoff.

Museums and public art have traditionally taken significantly different approaches to customer engagement, but throughout history they have also worked together in some urban contexts, notably as landmarks of so-called cultural districts. Public Art and Museums in Cultural Districts reviews their changing interactions in many different types of cities since the Enlightenment, or even before, going back to the etymological origins of museums and monuments in classical antiquity. The type of historical enquiry presented within the volume is not intended as a total narrative, but the international study cases considered convey a global panorama of the shifting paradigms set in different periods by some cultural neighbourhoods and emulated worldwide. Blurring boundaries between art history, museology and urbanism, this critical account explores past tensions, achievements and failures, giving insightful consideration to present policies and pointing out reasonable recommendations for the future regarding public heritage. Presenting for the first time an insights into the role of collections of public art as landmarks of cultural districts, this book considers collections displayed outdoors from the double perspective of curatorial outreach and civic values. This book will fill a gap in the existing museum studies literature, hitherto mainly focused on indoor collecting and curatorial policies, but increasingly more and more attentive to their outside context. As such, the book should be of great interest to academics, researchers and students working in the fields of art, heritage, museum studies and urban history. It should also be of value to professionals working in the museum and art sectors.

In the 1990s, a new wave of globalization changed the field of cultural production in many African countries and paved the way for major new cultural events. In particular, during the last two decades, an ever growing series of art and cultural centers were and still are being established - often against the background of broader national (art) histories and the historic prominence of the state as the primary patron of the arts. In considering the historical genealogy of these 'new spaces, ' this book examines: the infrastructures and public spaces they create, the theoretical discourses they tap into and explore, the aesthetic and (cultural) political debates they stir, the role they play in the field of cultural institutions and cultural activism, and their relations with state and municipal institutions. (Series: African Art and Visual Cultures - Vol. 2) [Subject: African Studies, Cultural Studies, Art

This book offers an overview of how to manage private art collections, providing essential insights on art wealth management, art investment, art governance, and succession planning for art assets. It offers practical recommendations on sound art collection governance, but also examines the background of art markets and price building, including the influence of fashion and trends. Throughout history, art patronage has played an important role in the wealth of ultra-high-net-worth families and led to private museums funded by philanthropist collectors in order to celebrate their own tastes and leave a lasting legacy. Today, as a result of the growth of art investing by a new generation of wealthy collectors, not only artists but also wealthy families, sophisticated investors and their close advisors now face a more complex set of financial and managerial needs. As such, the contributions in this book will be of interest to collecting families, family offices, and professional advisors seeking to integrate art into their overall wealth management strategy, and to scholars in the fields of cultural economics, art dealers, curators, and art lovers.