DOCSLIB.ORG

Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction HOW TO BEGiN? INTRODUCTION ——— ÖZGE ERSOY 4 INTRODUCTION How to Begin? Envisioning the Impact of Guggenheim Abu Dhabi seeks to introduce a set of responses to the yet- unbuilt Guggenheim Abu Dhabi Museum. In a setting where all strategic plans and arguments are conjectural, this book presents a collection of possible scenarios au- thored by artists, curators, writers, and critics. The proj- ect invites Regine Basha, Hassan Khan, Didem Özbek, Sohrab Mohebbi, and Sarah Rifky to imagine the pos- sible upcoming changes in contemporary art production and infrastructure in their locales or the larger area that comprises the Eastern Mediterranean and the Persian Gulf, also known as the Middle East. Starting from per- sonal viewpoints, the authors of these texts attempt to pose, rather than answer, the following questions: How can the Guggenheim Abu Dhabi position itself as some- thing more than a pragmatic tool to boost tourism in its city? What role can the museum play in the existing art infrastructure in the Middle East? How would artists, curators, administrators, and other cultural producers act within alternate scenarios? Post-Cold War changes in politics, economy, and the balance of power have had an impact on manifes- tations and aspirations of art. Proliferation of interna- tional biennials, artist residencies, and expansion of art museums around the world have put two concepts at the center of many artistic practices and art institutions: mobility and flexibility. “Global” has entered into art jar- gon. Contemporary art now assumes different roles and meanings: it does not only refer to a phenomenon that relates to a time not long past, but it also has symbolic 1 and ideological connotations. 1 See Hans Belting, “Contemporary Art as Global Art: A Critical Estimate,” in The Global Art World: Audiences, Markets, and Museums, eds. Hans Belting and Andrea Buddensieg (Ostfildern: Hatje Cantz Verlag, 2009). 5 HOW TO BEGiN? The rhetoric of contemporary art is associated with art markets more than ever. Many critics consider the emergence of new art markets, abundance of biennials, and expansion of art museums into new geographies as part of larger economic projects. In addition, contem- porary art moves from aesthetic concerns to social and political issues, and from Euro-American codes of art history to politics of diversity and difference.2 In the midst of these changes, modern and contemporary art museums are under the spotlight. In March 2001, Newsweek championed the Guggenheim as the first “global museum.” “At the fore- front of forward-thinking museums is the Guggenheim,” Cathleen McGuigan and Peter Plagens argued, “It’s ex- panding with a global franchise to reach far more people and generate money from new sources. And it’s been a pioneer in using cutting-edge architecture since Frank Lloyd Wright’s spiral building opened on Fifth Avenue in 1959.”3 The authors considered the expansion of the Guggenheim as a successful venture, according to a set of criteria based on visitor numbers, internationaliza- tion of the audience, increase in the budget income, and diversification of the funding sources. In 1999, only two years before McGuigan and Plagens’s article, Thomas Krens, director of the Solomon R. Guggenheim Foundation between 1988 and 2008, ar- gued: “[the concept of globalization] is being shaped around us. To try to resist these forces, or to some- how pretend they don’t exist, I think, is suicidal from an institutional standpoint.”4 So far, the Solomon R. 2 See Ken Lum, “Unfolding Identities,” in Belonging and Globalization, ed. Kamal Boullata (Beirut: Saqi Books, 2008). 3 Peter Plagens and Cathleen McGuigan, “State of the Art,” Newsweek (March 26, 2001). 4 Krens quoted in Michael Brenson, The Guggenheim, Corporate Populism, and the Future of the Corporate Museum (New York: The Vera List Center at the New School, 2002), 6. 6 ÖZGE ERSOY Guggenheim Museum, in collaboration with corporate and government partners, has created a constellation of museums in Venice, Bilbao, and Berlin. According to Krens, the expansion of the Guggenheim has been indis- pensable to respond the changing needs of art museums. In this view, “going global” allows the Guggenheim to gain the lead in New York, compete outside of the United States, attract diversified funds in larger amounts, reach an international audience, and enhance its image in the arts. To achieve these goals, the Guggenheim adopts economies of scale in administration, programming, and finances: the Foundation decentralizes the manage- ment of its permanent collection, finds international partners to secure more funds, delegates its administra- tive and programming responsibilities to its partners, and thereby assumes the contended role of being a pio- neer for the 21st century art museums. This strategy of expansion has come under some heavy criticism. Critic Herbert Muschamp says: “I prefer [Krens’] ostentation to the demure connoisseurial postur- ings of his colleagues at other museums, but flamboy- ance is no substitute for self-reflection, and without that quality Krens has come to resemble a modern version of Wagner’s Bavarian patron, mad Kind Ludwig, putting up palace after palace until his wits gave out.”5 Criticisms, like Muschamp’s, that are suspicious of the premise of grandiose and semi-autonomous Guggenheim satellite museums surfaced with the Guggenheim Museum Bilbao. Opened in 1997, the Guggenheim Museum Bilbao is considered a historic novelty in the museum world. The museum has become a success story as it rejuvenated 5 Muschamp quoted in Michael Brenson, The Guggenheim, Corporate Populism, and the Future of the Corporate Museum, 26. 7 HOW TO BEGiN? the city’s image, and acted as the engine of an economic transformation. The museum has helped Bilbao to shift from an industrial to a services city; to generate addi- tional income for the Basque treasuries and employment for local residents; to promote the cultural assets of the city; to hone its role as the capital of the Basque Country; to attract external flows, including intellectual capital, cultural tourists, investment, as well as private compa- nies. It has therefore assisted the city to remain competi- tive in terms of culture, business, and infrastructure.6 However, the nexus of art, culture, and econ- omy has been under close scrutiny as well. “The ‘Krensification’ of the museum is one such historical structure that prompts questions as to what is its most proper public, what are its strategies of collecting, what discourse or spectacle has become hegemonic, and what is really being displayed in Bilbao,” academics Ana Maria Guasch and Joseba Zulaika argue.7 The Guggenheim Museum Bilbao has been severe- ly criticized for the following contested reasons, among many others: it has been dependent on the Solomon R. Guggenheim Museum in New York for decisions regard- ing the administration as well as programming; it has absorbed a large percentage of local financial resources allocated for arts and culture; it has failed to interact with local artistic communities; it has adopted the logic of gentrification, as the decision of this investment origi- nated from Bilbao’s decay and ruination; and last but not least, it has been promoted through its architecture and media-driven images rather than the art collection and 6 See Jon Azua, “Guggenheim Bilbao: ‘Coopetitive’ Strategies for the New Culture-Economy Spaces,” in Learning from the Bilbao Guggenheim, eds. Anna Maria Guasch and Joseba Zulaika (Reno, NV: Center for Basque Studies at the University of Nevada, 2005). 7 Anna Maria Guasch and Joseba Zulaika, “Introduction: Learning from the Bilbao Guggenheim: The Museum as a Cultural Tool,” in Learning from the Bilbao Guggenheim, 8. 8 INTRODUCTION museum programming.8 In 2010, thirteen years after the Guggenheim Bilbao Museum opened its doors, controversies and criticisms against the Guggenheim Foundation regain momentum, as it is now embarking on a new satellite museum project in Abu Dhabi, the capital of the United Arab Emirates. In the fall of 2007, officials representing Abu Dhabi and the Guggenheim Foundation announced their agreement to build a new 450,000-square-foot museum. Scheduled to open in 2014, the largest Guggenheim to date is to be built on Saadiyat Island, a planned district off the coast of Abu Dhabi, which will host residential communities, leisure and tourism facilities, the New York University Abu Dhabi Campus, as well as the Louvre Museum Abu Dhabi, the Zayed National Museum, and the Performing Arts Center—all with the aim of estab- lishing an unprecedented concentration of contemporary cultural resources. The Guggenheim Abu Dhabi Museum will host its own modern and contemporary art collec- tion, display works from the Foundation’s collection, and organize exhibitions and education programs “with a particular focus on Middle Eastern contemporary art.”9 Criticisms do not only target the museum but also the major funder of the project—the Emirate of Abu Dhabi. In February 2009, Sharon Waxman wrote in ARTNews: “Is it possible, some academics and art experts ask, to create an ‘oasis of culture’ in a place that has no history of museums, no community of artists to speak of, no collectors, no donors, and where the local pas- sions run to falcons and racehorses rather than to Pablo 8 See Joseba Zulaika, “Desiring Bilbao: The Krensification of the Museum and its Discontents,” in Learning from the Bilbao Guggenheim. 9 More information can be found at: http://www.guggenheim.org/abu-dhabi. 9 HOW TO BEGiN? Picasso and Jeff Koons?”10 Sweeping generalizations like this reveal a condescension toward artistic cultures in the loosely-defined region, also called the Middle East. They do not reflect the complex node of arts and cul- ture, tourism, and urban development in the UAE in the post-9/11 era, or the strategies of the Guggenheim Abu Dhabi that determine a “regional coverage area” for its programming and collection.
Load more

Recommended publications
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Gender Performance in Photography
    PHOTOGRAPHY (A CI (A CI GENDER PERFORMANCE IN PHOTOGRAPHY (A a C/VFV4& (A a )^/VM)6e GENDER PERFORMANCE IN PHOTOGRAPHY JENNIFER BLESSING JUDITH HALBERSTAM LYLE ASHTON HARRIS NANCY SPECTOR CAROLE-ANNE TYLER SARAH WILSON GUGGENHEIM MUSEUM Rrose is a Rrose is a Rrose: front cover: Gender Performance in Photography Claude Cahun Organized by Jennifer Blessing Self- Portrait, ca. 1928 Gelatin-silver print, Solomon R. Guggenheim Museum, New York 11 'X. x 9>s inches (30 x 23.8 cm) January 17—April 27, 1997 Musee des Beaux Arts de Nantes This exhibition is supported in part by back cover: the National Endowment tor the Arts Nan Goldin Jimmy Paulettc and Tabboo! in the bathroom, NYC, 1991 €)1997 The Solomon R. Guggenheim Foundation, Cibachrome print, New York. All rights reserved. 30 x 40 inches (76.2 x 101.6 cm) Courtesy of the artist and ISBN 0-8109-6901-7 (hardcover) Matthew Marks Gallery, New York ISBN 0-89207-185-0 (softcover) Guggenheim Museum Publications 1071 Fifth Avenue New York, New York 10128 Hardcover edition distributed by Harry N. Abrams, Inc. 100 Fifth Avenue New York, New York 10011 Designed by Bethany Johns Design, New York Printed in Italy by Sfera Contents JENNIFER BLESSING xyVwMie is a c/\rose is a z/vxose Gender Performance in Photography JENNIFER BLESSING CAROLE-ANNE TYLER 134 id'emt nut files - KyMxUcuo&wuieS SARAH WILSON 156 c/erfoymuiq me c/jodt/ im me J970s NANCY SPECTOR 176 ^ne S$r/ of ~&e#idew Bathrooms, Butches, and the Aesthetics of Female Masculinity JUDITH HALBERSTAM 190 f//a« waclna LYLE ASHTON HARRIS 204 Stfrtists ' iyjtoqra/inies TRACEY BASHKOFF, SUSAN CROSS, VIVIEN GREENE, AND J.
    [Show full text]
  • The Vision of a Guggenheim Museum in Bilbao
    HARVARD DESIGN SCHOOL THE VISION OF A GUGGENHEIM MUSEUM IN BILBAO In a March 31, 1999 article, the Washington Post? posed the following question: "Can a single building bring a whole city back to life? More precisely, can a single modern building designed for an abandoned shipyard by a laid-back California architect breath new economic and cultural life into a decaying industri- al city in the Spanish rust belt?" Still, the issues addressed by the article illustrate only a small part of the multifaceted Guggenheim Museum of Bilbao. A thorough study of how this building was conceived and made reveals equally significant aspects such as getting the best from the design architect, the master handling of the project by an inexperienced owner, the pivotal role of the executive architect-project man- ager, the dependence on local expertise for construction, the transformation of the architectural profession by information technology, the budgeting and scheduling of an unprecedented project without sufficient information. By studying these issues, the greater question can be asked: "Can the success of the Guggenheim museum be repeated?" 1 Museum Puts Bilbao Back on Spain’s Economic and Cultural Maps T.R. Reid; The Washington Post; Mar 31, 1999; pg. A.16 Graduate student Stefanos Skylakakis prepared this case under the supervision of Professor Spiro N. Pollalis as the basis for class discussion rather to illustrate effective or ineffective handling of an administrative situation, a design process or a design itself. Copyright © 2005 by the President and Fellows of Harvard College. To order copies or request permission to repro- duce materials call (617) 495-4496.
    [Show full text]
  • GUGGENHEIM FOUNDATION and ITS GLOBAL NETWORK a Thesis
    GUGGENHEIM FOUNDATION AND ITS GLOBAL NETWORK A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Masters of Arts Xingyu Hai December, 2012 GUGGENHEIM FOUNDATION AND ITS GLOBAL NETWORK Xingyu Hai Thesis Approved: Accepted: _________________________________ _________________________________ Advisor School Director Mr. Durand Pope Dr. Ann Usher _________________________________ _________________________________ Committee Member Dean of the College Mr. Rod Bengston Dr. Chand Midha _________________________________ _________________________________ Committee Member Dean of the Graduate School Mr. Neil Sapienza Dr. George R. Newkome _________________________________ Date ii ABSTRACT This work deals with the Guggenheim Foundation’s “Global Museum Network” and its international collaborations with a variety of partners. It also includes a look at the global business management model that has been developed by the Guggenheim Foundation administrators. The main purpose of this work is to examine the “branding system” which was created and utilized by the Guggenheim Foundation and to analyze the system’s advantages and disadvantages within their global operation. The Guggenheim brand system depends on the multination art policies, the development of foreign funding sources, and dealing with international partners and sponsors. iii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION……………………………………………….…....1 II. CULTURE LEGACY OF AMERICAN PHILATHOPIST…………..3 III. BRAND, BRANDING
    [Show full text]
  • School of Architecture 2010–2011
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Architecture 2010–2011 School of Architecture 2010–2011 BULLETIN OF YALE UNIVERSITY Series 106 Number 4 June 30, 2010 BULLETIN OF YALE UNIVERSITY Series 106 Number 4 June 30, 2010 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a special disabled veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation Managing Editor: Linda Koch Lorimer or gender identity or expression. Editor: Lesley K. Baier University policy is committed to a∞rmative action under law in employment of PO Box 208230, New Haven CT 06520-8230 women, minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans.
    [Show full text]
  • North Adams in Context
    Mill Town, Factory Town, Cultural Economic Engine: North Adams in Context Kay Oehler Stephen Sheppard Blair Benjamin C3D Report NA1.2006 Copyright 2006 Mill Town, Factory Town, Cultural Economic Engine: North Adams in Context We must examine social context to understand the community effects of a cultural organization. This is especially true for a newcomer to the neighborhood like MASS MoCA. Ethnographic and anecdotal evidence suggest that the most important signs of community development impact are at the neighborhood level. The social context of the community and the organization, and their relationship to one another, are what concerns us in this report. Drawing upon newspaper articles, local ethnographic sources, and Census and other town data we will provide a background on the development of the Massachusetts Museum of Contemporary Art (MASS MoCA), how it came to exist, why it exists in North Adams, the cultural history of North Adams, and a brief economic history of North Adams. The study of North Adams is a first step in developing a template by which we can study and compare neighborhood regeneration through the introduction of a new cultural arts organization. Through a series of reports we will present a variety of perspectives – historical, anthropological, economic, and sociological – to analyze and discuss the results of North Adams’ attempt to regenerate itself by collaborating with the development of a major new cultural arts organization, MASS MoCA. The tools we develop throughout this project are replicable yet flexible enough to allow for comparable studies in a variety of neighborhoods and communities. The geographic location of North Adams has shaped its history Stephen Sheppard 2004 We will see that North Adams, while economically and socially troubled in the 1980s, has a rich social history.
    [Show full text]
  • Changing of the Guard,” 1988
    Guggenheim Museum Archives Reel-to-Reel collection “Changing of the Guard,” 1988 PART 1 FREDERICK WOOLWORTH Ladies and gentlemen, my name is Fred Woolworth. I’m president of the Art Dealers Association of America, which represents and includes 126 of the most important fine art visual dealers across America. We’re very happy to be here tonight to present the Seventh Annual Art Dealers Association lecture series which runs from tonight each Tuesday through October 25. I want to take this opportunity to thank the staff of the Guggenheim and the director, Tom Krens, for giving us this space for this evening. [00:01:00] And it’s my honor to introduce the moderator of tonight, Mr. Charlie Cowles, who I’ve known for many, many years, the former publisher of Art Forum, curator of the Seattle, Washington Museum, president and owner of the Charles Cowles Gallery, and Chairman of the Board of the New York Studio School, which is a small art school, which has its offices in the old Whitney Building on Eighth Street. Charles, if you could introduce your panel. Thank you. CHARLES COWLES Thank you. I’d like to thank you all for coming. I see we have a full house. (applause) [00:02:00] We have not spent hours rehearsing this. I’m going to introduce each of the participants and ask them then to introduce themselves by talking about their recent past and hopeful future, and that’s the future is really what this panel’s all about, that we need to know a little bit about the past to go into the future.
    [Show full text]
  • Wyma Summer 2014
    FRONT MATTERS 1% Museum: The Guggenheim Goes Global CHLOE WYMA apartment complexes, “elite villas,” and twenty-nine hotels—including a “seven star” resort—to house visitors to the island. One evening this March, a bell rang out in Since it was announced in 2006, the the Guggenheim museum. A deluge of what Guggenheim’s multimillion-dollar deal with looked like thousands of dollar bills rained the Arab emirate’s Tourism Development down from the museum’s ramps onto the & Investment Company (TDIC) has been heads of puzzled museumgoers below. In an promoted under the auspices of cultural agitprop-style intervention reminiscent of pluralism. “Our commitment to interna- Yippie activist Abbie Hoffman’s 1967 stunt tional communication and global cultural on the trading fl oor of the New York Stock exchange—realized through our museums, Exchange, members of the activist art group collections, and programs—is inclusive,” Global Ultra Luxury Faction, or G.U.L.F., wrote then–Guggenheim Foundation dropped the fake bills in protest against director Thomas Krens in a press release: degrading labor conditions in distant Abu “The Guggenheim implicitly regards all Dhabi, where the Guggenheim is building a contemporary cultures and their traditions new satellite museum. The bills—inscribed as potential partners in the fi eld of aesthetic with slogans reading “What does an ethical discourse—we are both respectful of difference global museum look like?”—fi rst and foremost and excited by it.” implicated the museum in networks of labor As a 2009 Human Rights Watch report abuse halfway across the globe. But the action and subsequent investigations make clear, also shed light on the Guggenheim’s decades- however, this feel-good rhetoric of global long neoliberal turn.
    [Show full text]
  • Permanent Richard Serra Installation to Open June 2005 at Guggenheim Museum Bilbao
    1 PERMANENT RICHARD SERRA INSTALLATION TO OPEN JUNE 2005 AT GUGGENHEIM MUSEUM BILBAO Largest Site-Specific Sculptural Commission in Modern History Permanent Collection of Modern and Contemporary Masters Reinstalled The Guggenheim Museum Bilbao announces that the permanent installation of seven new large-scale works by the American artist Richard Serra will open to the public on June 8, 2005. These new works join the artist’s existing work, Snake (1994–97), in a 430-foot-long gallery in the Frank Gehry-designed museum, creating a site-specific installation of a scale and ambition unparalleled in modern history. This installation has been sponsored by ArcelorMittal. In recognition of this funding, the gallery featuring the Serra installation has been renamed the ArcelorMittal Gallery. Richard Serra is one of the leading sculptors of the 20th century, renowned for his challenging and groundbreaking work, which focuses on the production process, the specific characteristics of his materials and the experience of time through space. “One of the Guggenheim Museum Bilbao’s main acquisition guidelines is to commission works by the world’s most important artists,” said Guggenheim Museum Bilbao Director General Juan Ignacio Vidarte. “This historic commission of work by Richard Serra makes the Museum a pilgrimage site for anyone interested in the present and future state of sculpture.” “Richard Serra’s commission is the culmination of a 35-year relationship between the artist and the Guggenheim,” said Thomas Krens, Solomon R. Guggenheim Foundation Director. “This gallery was envisioned to hold art of the 21st century and Serra, working on such a monumental scale, is the perfect artist to realize its full potential.” 2 Installation Details The Serra installation, titled The Matter of Time, builds on the language developed in his Torqued Ellipses, which were first exhibited in the mid nineties and were universally recognized as a significant breakthrough in the history of sculpture.
    [Show full text]
  • The Power of the Word Along the Great Road
    chapter one the power of the word along the Great Road Boston : in the beginning ◆ William Bradford’s Of Plymouth Plantation was written near the Great Road long before there was such a road, and published in 1630. It’s still a fascinating read. The first American to publish a book of poems was Ann Bradstreet, in 1650. Born in Northamptonshire, England, she emigrated to Boston in 1630, as a founder of the Massachusetts Bay Colony. Phyllis Wheatley was born in Africa and brought to America as a slave. Freed and living in Boston, she published a book of poems in 1773; she was the first African American to do so. The Word—the American English written word, in poems, sermons, memoirs, histo- ries—began in and near Boston, and swept west. Today, US 20 begins three miles west of Massachusetts Bay, in Ken- more Square, under the shadow of Fenway Park’s fabled left field wall, the “Green Monster.” In the 1950s, US 20 began two miles farther east, almost at the sea; at the west end of Boston’s Public Garden, next to Boston Common, the heart of the old city. It is tempting to deal with these historic places and their associations, but Boston is too big a subject for a book about a highway that simply starts west from there. Dozens of major American writers have significant connections to Boston or Cambridge, often through Harvard University: Cotton Mather, Edgar Allan Poe, Oliver Wendell Holmes, Henry Wadsworth Longfellow, T. S. Eliot, e. e. cummings, Elizabeth Bishop, Robert Lowell, Charles Olson, John Berryman (whose poem pays “Homage to Mistress Brad- street”), Robert Creeley, John Ashberry, Frank O’Hara, Robert Bly, Kenneth Koch, George Plimpton, Donald Hall, Adrienne Rich, and so 1 © 2008 State University of New York Press, Albany 2 ◆ twenty west on and on.
    [Show full text]
  • One of the Finest College Art Museums in the Country, the Williams College
    Williams College Museum of Art The Williams College Museum of Art (WCMA) houses over 12,000 works that span the history of art. The museum’s principle mission is to encourage multidisciplinary teaching through encounters with art objects that traverse time periods and cultures. An active, collecting museum, its strengths are in modern and contemporary art, photography, prints, and Indian painting. The museum is also noted for its stellar collection of American art from the late 18th century to the present. With the largest collection in the world of works by the brothers Charles and Maurice Prendergast, the museum is a primary center for study of these American artists in a transatlantic context of the 19th and early 20th centuries. Special exhibitions curated by museum staff, faculty, students, and guest curators focus on new scholarship and alternative perspectives. The museum commissions new art, emphasizes the development of innovative exhibitions that place art in a broad cultural context, explores the connections between past and present, and strives to raise critical questions about the interpretation of art and art history. The Williams College Museum of Art is a collaborative partner with the Massachusetts Museum of Contemporary Art and the Yale University Art Gallery for Sol LeWitt: A Wall Drawing Retrospective. WCMA also provides leadership for Kidspace, a collaborative project with MASS MoCA and the Clark. Kidspace is a contemporary art gallery and art-making space for children, families, and the general public. History of the Williams College Museum of Art Karl Weston, the museum’s founder and first director, established the Williams College Museum of Art (WCMA) in 1926 to provide Williams students with the opportunity for firsthand observation of fine works of art, a privilege he maintained was essential to the study of art.
    [Show full text]
  • Guggenheim Museum Bilbao: Cultural Tourism
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UNO 800- 521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. THE GUGGENHEIM MUSEUM BILBAO: CULTURAL TOURISM, URBAN RENEWAL, AND POLITICAL RISK by John Thomas Suau submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment o f The Requirement for the Degree o f Master o f Arts m Arts Management, Interdisciplinary lie VaiLFossiVanFossen StorrAnnie Robert Goler CUL&UU^S Laura Gomez Dean^jf CAS Date 1999 American University Washington, D.C.
    [Show full text]