Art of Central Asia
68-681: The Speed Art Museum , originally known as the J.B. Speed Memorial Museum , now colloquially referred to as the Speed by locals, is the oldest and largest art museum in Kentucky . It was established in 1927 in Louisville, Kentucky , on Third Street next to the University of Louisville Belknap campus. It receives around 180,000 visits annually. The museum offers visitors a variety of "art experiences" outside its collection and international exhibitions, including
136-449: A collaboration of museums and galleries that are more interested with the categorization of art. They are interested in the potential use of folksonomy within museums and the requirements for post-processing of terms that have been gathered, both to test their utility and to deploy them in useful ways. The steve.museum is one example of a site that is experimenting with this collaborative philosophy. The participating institutions include
204-499: A collection of African art , ancient art , Native American art , American art , European art , and contemporary art . Highlights of the collection include works by: Art museum An art museum or art gallery is a building or space for the display of art , usually from the museum 's own collection . It might be in public or private ownership, be accessible to all, or have restrictions in place. Although primarily concerned with visual art , art museums are often used as
272-510: A family education welcome center, 150-seat cinema, indoor/outdoor café, museum shop, and a multi-functional pavilion for performances, lectures and entertaining. The museum is closed to the public for three years during the construction period. 2013 – The Speed staff relocates offsite to the downtown Louisville neighborhood of Phoenix Hill and opens Local Speed, a satellite space for exhibitions, family activities, programs and special events. 2016 – The museum reopens on March 12. The Speed houses
340-433: A major factor in social mobility (for example, getting a higher-paid, higher-status job). The argument states that certain art museums are aimed at perpetuating aristocratic and upper class ideals of taste and excludes segments of society without the social opportunities to develop such interest. The fine arts thus perpetuate social inequality by creating divisions between different social groups. This argument also ties in with
408-402: A number of online art catalogues and galleries that have been developed independently of the support of any individual museum. Many of these, like American Art Gallery, are attempts to develop galleries of artwork that are encyclopedic or historical in focus, while others are commercial efforts to sell the work of contemporary artists. A limited number of such sites have independent importance in
476-413: A particular issue; galleries and critics are often reluctant to divide their work between the contemporary and non-contemporary. Sociologist Nathalie Heinich draws a distinction between modern and contemporary art, describing them as two different paradigms which partially overlap historically. She found that while " modern art " challenges the conventions of representation , "contemporary art" challenges
544-403: A permanent collection of contemporary art inevitably find this aging. Many use the formulation "Modern and Contemporary Art", which avoids this problem. Smaller commercial galleries, magazines and other sources may use stricter definitions, perhaps restricting the "contemporary" to work from 2000 onwards. Artists who are still productive after a long career, and ongoing art movements , may present
612-513: A section of the public. In classical times , religious institutions began to function as an early form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects, such as Julius Caesar , often donated their collections to temples. It is unclear how easy it was in practice for the public to view these items. In Europe, from the Late Medieval period onwards, areas in royal palaces, castles , and large country houses of
680-604: A series of rooms dedicated to specific historic periods (e.g. Ancient Egypt ) or other significant themed groupings of works (e.g. the gypsotheque or collection of plaster casts as in the Ashmolean Museum ) within a museum with a more varied collection are referred to as specific galleries, e.g. Egyptian Gallery or Cast Gallery . Works on paper, such as drawings , pastels , watercolors , prints , and photographs are typically not permanently displayed for reasons of conservation . Instead, public access to these materials
748-418: A venue for other cultural exchanges and artistic activities, such as lectures, jewelry, performance arts , music concerts, or poetry readings. Art museums also frequently host themed temporary exhibitions, which often include items on loan from other collections. An institution dedicated to the display of art can be called an art museum or an art gallery, and the two terms may be used interchangeably. This
SECTION 10
#1733085163509816-543: Is "distinguished by the very lack of a uniform organizing principle, ideology, or - ism" that is seen in many other art periods and movements. Contemporary art does not have one, single objective or point of view, so it can be contradictory and open-ended. There are nonetheless several common themes that have appeared in contemporary works, such as identity politics , the body, globalization and migration, technology , contemporary society and culture, time and memory, and institutional and political critique. The functioning of
884-480: Is a legitimate and reasonable response to much contemporary art. Brian Ashbee in an essay called "Art Bollocks" criticizes "much installation art, photography, conceptual art , video and other practices generally called post-modern" as being too dependent on verbal explanations in the form of theoretical discourse. However, the acceptance of nontraditional art in museums has increased due to changing perspectives on what constitutes an art piece. A common concern since
952-416: Is also sometimes used to describe businesses which display art for sale, but these are not art museums. Throughout history, large and expensive works of art have generally been commissioned by religious institutions or political leaders and been displayed in temples, churches, and palaces . Although these collections of art were not open to the general public, they were often made available for viewing for
1020-532: Is contemporary is naturally always on the move, anchored in the present with a start date that moves forward, and the works the Contemporary Art Society bought in 1910 could no longer be described as contemporary. Particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has perhaps been a lack of natural break points since the 1960s, and definitions of what constitutes "contemporary art" in
1088-511: Is exhibited by professional artists at commercial contemporary art galleries , by private collectors, art auctions , corporations, publicly funded arts organizations, contemporary art museums or by artists themselves in artist-run spaces . Contemporary artists are supported by grants, awards, and prizes as well as by direct sales of their work. Career artists train at art school or emerge from other fields. There are close relationships between publicly funded contemporary art organizations and
1156-559: Is provided by a dedicated print room located within the museum. Murals or mosaics often remain where they have been created ( in situ ), although many have also been removed to galleries. Various forms of 20th-century art, such as land art and performance art , also usually exist outside a gallery. Photographic records of these kinds of art are often shown in galleries, however. Most museums and large art galleries own more works than they have room to display. The rest are held in reserve collections , on or off-site. A sculpture garden
1224-823: Is reflected in the names of institutions around the world, some of which are considered art galleries, such as the National Gallery in London and Neue Nationalgalerie in Berlin , and some of which are considered museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York City and the National Museum of Western Art in Tokyo . The phrase "art gallery"
1292-557: Is similar to an art gallery, presenting sculpture in an outdoor space. Sculpture has grown in popularity with sculptures installed in open spaces on both a permanent and temporary basis. Most larger paintings from about 1530 onwards were designed to be seen either in churches or palaces, and many buildings built as palaces now function successfully as art museums. By the 18th century additions to palaces and country houses were sometimes intended specifically as galleries for viewing art, and designed with that in mind. The architectural form of
1360-417: Is simply beautiful." Contemporary art can sometimes seem at odds with a public that does not feel that art and its institutions share its values. In Britain, in the 1990s, contemporary art became a part of popular culture, with artists becoming stars, but this did not lead to a hoped-for "cultural utopia". Some critics like Julian Spalding and Donald Kuspit have suggested that skepticism, even rejection,
1428-502: Is to shape identity and memory, cultural heritage, distilled narratives and treasured stories. Many art museums throughout history have been designed with a cultural purpose or been subject to political intervention. In particular, national art galleries have been thought to incite feelings of nationalism . This has occurred in both democratic and non-democratic countries, although authoritarian regimes have historically exercised more control over administration of art museums. Ludwig Justi
SECTION 20
#17330851635091496-653: The British Museum was established and the Old Royal Library collection of manuscripts was donated to it for public viewing. In 1777, a proposal to the British government was put forward by MP John Wilkes to buy the art collection of the late Sir Robert Walpole , who had amassed one of the greatest such collections in Europe , and house it in a specially built wing of the British Museum for public viewing. After much debate,
1564-738: The Guggenheim Museum in New York City by Frank Lloyd Wright , the Guggenheim Museum Bilbao by Frank Gehry , Centre Pompidou-Metz by Shigeru Ban , and the redesign of the San Francisco Museum of Modern Art by Mario Botta . Some critics argue these galleries defeat their purposes because their dramatic interior spaces distract the eye from the paintings they are supposed to exhibit. Museums are more than just mere 'fixed structures designed to house collections.' Their purpose
1632-635: The Guggenheim Museum , the Cleveland Museum of Art , the Metropolitan Museum of Art , and the San Francisco Museum of Modern Art . There are relatively few local/regional/national organizations dedicated specifically to art museums. Most art museums are associated with local/regional/national organizations for the arts , humanities or museums in general. Many of these organizations are listed as follows: Contemporary art Art of East Asia Art of South Asia Art of Southeast Asia Art of Europe Art of Africa Art of
1700-670: The Musée du Louvre during the French Revolution in 1793 as a public museum for much of the former French royal collection marked an important stage in the development of public access to art by transferring the ownership to a republican state; but it was a continuation of trends already well established. The building now occupied by the Prado in Madrid was built before the French Revolution for
1768-622: The Renwick Gallery , built in 1859. Now a part of the Smithsonian Institution , the Renwick housed William Wilson Corcoran 's collection of American and European art. The building was designed by James Renwick Jr. and finally completed in 1874. It is located at 1661 Pennsylvania Avenue NW. Renwick designed it after the Louvre's Tuileries addition. At the time of its construction, it
1836-553: The mystification of fine arts . Research suggests that the context in which an artwork is being presented has significant influence on its reception by the audience, and viewers shown artworks in a museum rated them more highly than when displayed in a "laboratory" setting Most art museums have only limited online collections, but a few museums, as well as some libraries and government agencies, have developed substantial online catalogues. Museums, libraries, and government agencies with substantial online collections include: There are
1904-532: The 17th century onwards, often based around a collection of the cabinet of curiosities type. The first such museum was the Ashmolean Museum in Oxford , opened in 1683 to house and display the artefacts of Elias Ashmole that were given to Oxford University in a bequest. The Kunstmuseum Basel , through its lineage which extends back to the Amerbach Cabinet , which included a collection of works by Hans Holbein
1972-612: The 18th century. In Italy, the art tourism of the Grand Tour became a major industry from the 18th century onwards, and cities made efforts to make their key works accessible. The Capitoline Museums began in 1471 with a donation of classical sculpture to the city of Rome by the Papacy , while the Vatican Museums , whose collections are still owned by the Pope, trace their foundation to 1506, when
2040-401: The 1970s, a number of political theorists and social commentators have pointed to the political implications of art museums and social relations. Pierre Bourdieu , for instance, argued that in spite the apparent freedom of choice in the arts, people's artistic preferences (such as classical music, rock, traditional music) strongly tie in with their social position. So called cultural capital is
2108-507: The 2010s vary, and are mostly imprecise. Art from the past 20 years is very likely to be included, and definitions often include art going back to about 1970; "the art of the late 20th and early 21st century"; "both an outgrowth and a rejection of modern art"; "Strictly speaking, the term 'contemporary art' refers to art made and produced by artists living today"; "Art from the 1960s or [19]70s up until this very minute"; and sometimes further, especially in museum contexts, as museums which form
Speed Art Museum - Misplaced Pages Continue
2176-463: The Americas Art of Oceania Contemporary art is a term used to describe the art of today, generally referring to art produced from the 1970s onwards. Contemporary artists work in a globally influenced , culturally diverse , and technologically advancing world. Their art is a dynamic combination of materials , methods, concepts, and subjects that continue the challenging of boundaries that
2244-653: The Marxist theory of mystification and elite culture . Furthermore, certain art galleries, such as the National Gallery in London and the Louvre in Paris are situated in buildings of considerable emotional impact. The Louvre in Paris is for instance located in the former Royal Castle of the ancient regime , and is thus clearly designed with a political agenda. It has been argued that such buildings create feelings of subjugation and adds to
2312-626: The Speed Concert Series, the Art Sparks Interactive Family Gallery, and the late-night event, After Hours at the Speed . The Speed houses ancient , classical , and modern art from around the world. The focus of the collection is Western art, from antiquity to the present day. Holdings of paintings from the Netherlands, France, and Italy are prominent, and contemporary art and sculptures are also featured. The museum
2380-527: The Younger and purchased by the city of Basel in 1661, is considered to be the first museum of art open to the public in the world. In the second half of the 18th century, many private collections of art were opened to the public, and during and after the French Revolution and Napoleonic Wars , many royal collections were nationalized, even where the monarchy remained in place, as in Spain and Bavaria . In 1753,
2448-634: The acquisition of pre-1940 art. 1970 – New Art Collectors Group forms to assist the museum to acquire contemporary art . 1973 – The North Wing of the museum opens, giving new space for a theatre, offices, indoor sculpture court, and library. 1977 – The Speed celebrates its 50th anniversary in 1977 with the acquisition of Rembrandt's Portrait of a Woman , one of the museum's most significant acquisitions. 1983 – The 1983 Wing opens, designed by Robert Geddes of Princeton. The new wing adds gallery space for permanent collections and special exhibitions. 1996 – Alice Speed Stoll dies, bequeathing over $ 50 million to
2516-433: The active lending-out of a museum's collected objects in order to enhance education at schools and to aid in the cultural development of individual members of the community. Finally, Dana saw branch museums throughout a city as a good method of making sure that every citizen has access to its benefits. Dana's view of the ideal museum sought to invest a wider variety of people in it, and was self-consciously not elitist. Since
2584-409: The areas of decorative arts and furniture. 1964 – Recently donated paintings and furniture from the collection of Mrs. W. Blakemore Wheeler go on view including works by Mary Cassatt , John Constable , Gustave Courbet , Thomas Gainsborough , Paul Gauguin , Pierre-Auguste Renoir , Maurice Utrillo , and James Abbott McNeill Whistler . 1966 – Charter Collectors Group forms to assist the museum in
2652-490: The art world is dependent on art institutions, ranging from major museums to private galleries, non-profit spaces, art schools and publishers, and the practices of individual artists, curators, writers, collectors, and philanthropists. A major division in the art world is between the for-profit and non-profit sectors, although in recent years the boundaries between for-profit private and non-profit public institutions have become increasingly blurred. Most well-known contemporary art
2720-418: The art world. The large auction houses, such as Sotheby's , Bonhams , and Christie's , maintain large online databases of art which they have auctioned or are auctioning. Bridgeman Art Library serves as a central source of reproductions of artwork, with access limited to museums, art dealers , and other professionals or professional organizations. There are also online galleries that have been developed by
2788-623: The commercial sector. For instance, in 2005 the book Understanding International Art Markets and Management reported that in Britain a handful of dealers represented the artists featured in leading publicly funded contemporary art museums. Commercial organizations include galleries and art fairs. Corporations have also integrated themselves into the contemporary art world , exhibiting contemporary art within their premises, organizing and sponsoring contemporary art awards, and building up extensive corporate collections. Corporate advertisers frequently use
Speed Art Museum - Misplaced Pages Continue
2856-418: The early part of the 20th century has been the question of what constitutes art. In the contemporary period (1970 to now), the concept of avant-garde may come into play in determining what artworks are noticed by galleries, museums, and collectors. The concerns of contemporary art come in for criticism too. Andrea Rosen has said that some contemporary painters "have absolutely no idea of what it means to be
2924-516: The endowment to fund the museum, encouraging the museum to never charge admission. The museum underwent a $ 60 million expansion and renovation project from September 2012 to March 2016, designed by architect Kulapat Yantrasast of wHY architecture. During the closure, the museum opened Local Speed, a satellite space in Louisville's East Market District (NuLu) for rotating exhibitions, programs, and events. The 62,500-square-foot North Building doubled
2992-690: The entire building solely intended to be an art gallery was arguably established by Sir John Soane with his design for the Dulwich Picture Gallery in 1817. This established the gallery as a series of interconnected rooms with largely uninterrupted wall spaces for hanging pictures and indirect lighting from skylights or roof lanterns . The late 19th century saw a boom in the building of public art galleries in Europe and America, becoming an essential cultural feature of larger cities. More art galleries rose up alongside museums and public libraries as part of
3060-484: The founder of the Newark Museum , saw the traditional art museum as a useless public institution, one that focused more on fashion and conformity rather than education and uplift. Indeed, Dana's ideal museum would be one best suited for active and vigorous use by the average citizen, located near the center of their daily movement. In addition, Dana's conception of the perfect museum included a wider variety of objects than
3128-544: The grander English country houses could be toured by the respectable for a tip to the housekeeper, during the long periods when the family were not in residence. Special arrangements were made to allow the public to see many royal or private collections placed in galleries, as with most of the paintings of the Orleans Collection , which were housed in a wing of the Palais-Royal in Paris and could be visited for most of
3196-806: The idea was eventually abandoned due to the great expense, and twenty years later, the collection was bought by Tsaritsa Catherine the Great of Russia and housed in the State Hermitage Museum in Saint Petersburg . The Bavarian royal collection (now in the Alte Pinakothek , Munich) was opened to the public in 1779 and the Medici collection in Florence around 1789 (as the Uffizi Gallery). The opening of
3264-461: The largest category of art museums in the country. While the first of these collections can be traced to learning collections developed in art academies in Western Europe, they are now associated with and housed in centers of higher education of all types. The word gallery being originally an architectural term, the display rooms in museums are often called public galleries . Also frequently,
3332-513: The municipal drive for literacy and public education. Over the middle and late twentieth century, earlier architectural styles employed for art museums (such as the Beaux-Arts style of the Metropolitan Museum of Art in New York City or the Gothic and Renaissance Revival architecture of Amsterdam's Rijksmuseum) succumbed to modern styles , such as Deconstructivism . Examples of this trend include
3400-505: The museum. The Speed closes to undertake an extensive renovation. Newer lighting, heating and cooling systems, multi-layered labels about the collection, the Laramie L. Learning Center, and Art Sparks Interactive Family Gallery are put into place. 1997 – The museum reopens. 2012 – The museum begins another major transition with a $ 60 million expansion project that will create a space for larger special exhibitions, new contemporary art galleries,
3468-435: The overall square footage and nearly tripled the gallery space from the previous wing. The expansion created a space for larger special exhibitions, new contemporary art galleries, a family education welcome center, a 150-seat cinema, indoor/outdoor café, museum shop, and a multi-functional pavilion for performances, lectures and entertainment. Additionally, the new Elizabeth P. and Frederick K. Cressman Art Park and Public Piazza
SECTION 50
#17330851635093536-554: The prestige associated with contemporary art and coolhunting to draw the attention of consumers to luxury goods . The institutions of art have been criticized for regulating what is designated as contemporary art. Outsider art , for instance, is literally contemporary art, in that it is produced in the present day. However, one critic has argued it is not considered so because the artists are self-taught and are thus assumed to be working outside of an art historical context. Craft activities, such as textile design, are also excluded from
3604-567: The public a decade later in 1824. Similarly, the National Gallery in Prague was not formed by opening an existing royal or princely art collection to the public, but was created from scratch as a joint project of some Czech aristocrats in 1796. The Corcoran Gallery of Art in Washington, D.C. is generally considered to have been the first art museum in the United States. It was originally housed in
3672-458: The public display of parts of the royal art collection, and similar royal galleries were opened to the public in Vienna , Munich and other capitals. In Great Britain, however, the corresponding Royal Collection remained in the private hands of the monarch, and the first purpose-built national art galleries were the Dulwich Picture Gallery , founded in 1814 and the National Gallery, London opened to
3740-406: The realm of contemporary art, despite large audiences for exhibitions. Art critic Peter Timms has said that attention is drawn to the way that craft objects must subscribe to particular values in order to be admitted to the realm of contemporary art. "A ceramic object that is intended as a subversive comment on the nature of beauty is more likely to fit the definition of contemporary art than one that
3808-565: The recently discovered Laocoön and His Sons was put on public display. A series of museums on different subjects were opened over subsequent centuries, and many of the buildings of the Vatican were purpose-built as galleries. An early royal treasury opened to the public was the Green Vault of the Kingdom of Saxony in the 1720s. Privately funded museums open to the public began to be established from
3876-559: The social elite were often made partially accessible to sections of the public, where art collections could be viewed. At the Palace of Versailles , entrance was restricted to people of certain social classes who were required to wear the proper apparel, which typically included the appropriate accessories, silver shoe buckles and a sword , could be hired from shops outside. The treasuries of cathedrals and large churches, or parts of them, were often set out for public display and veneration. Many of
3944-520: The term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide , Australia , and an increasing number after 1945. Many, like the Institute of Contemporary Art, Boston changed their names from ones using "modern art" in this period, as Modernism became defined as a historical art movement , and much "modern" art ceased to be "contemporary". The definition of what
4012-524: The terms modern art and contemporary art by non-specialists. The classification of "contemporary art" as a special type of art, rather than a general adjectival phrase, goes back to the beginnings of Modernism in the English-speaking world. In London , the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using
4080-399: The traditional art museum, including industrial tools and handicrafts that encourage imagination in areas traditionally considered mundane. This view of the art museum envisions it as one well-suited to an industrial world, indeed enhancing it. Dana viewed paintings and sculptures as much less useful than industrial products, comparing the museum to a department store. In addition, he encouraged
4148-468: The very notion of an artwork . She regards Duchamp 's Fountain (which was made in the 1910s in the midst of the triumph of modern art) as the starting point of contemporary art, which gained momentum after World War II with Gutai 's performances, Yves Klein 's monochromes and Rauschenberg 's Erased de Kooning Drawing . Contemporary artwork is characterised by diversity: diversity of material, of form, of subject matter, and even time periods. It
SECTION 60
#17330851635094216-460: Was already well underway in the 20th century. Diverse and eclectic, contemporary art as a whole is distinguished by the very lack of a uniform, organising principle, ideology, or " -ism ". Contemporary art is part of a cultural dialogue that concerns larger contextual frameworks such as personal and cultural identity, family, community, and nationality. In English, modern and contemporary are synonyms , resulting in some conflation and confusion of
4284-569: Was built in 1927 by Arthur Loomis in the Neo-Classical style . Loomis was already well known in Louisville for landmarks like the Louisville Medical College and Levy Brothers. The original building was designed as an understated Beaux-Arts limestone facade. Hattie Bishop Speed established the museum in memory of her husband James Breckenridge Speed , a prominent Louisville businessman, art collector, and philanthropist. Speed set up
4352-407: Was created for the display of sculptures. 1927 – The Speed Art Museum is built and receives more than 74,000 visitors in the first year. 1928 – The centenary of Kentucky portrait painter Matthew Harris Jouett is celebrated with an exhibition of his portraits, many owned by prominent Louisvillians. 1933 – The museum is incorporated as a privately endowed institution and its board of governors
4420-463: Was established. 1934 – The museum received its first major donation , a valuable collection of North American Indian artifacts given by Dr. Frederick Weygold. 1941 – Dr. Preston Pope Satterwhite donates his collection of 15th century and 16th century French and Italian Decorative Arts including tapestries and furniture . 1944 – Satterwhite donates the English Renaissance room, which
4488-554: Was for example dismissed as director of the Alte Nationalgalerie (Old National Gallery) in Berlin in 1933 by the new Nazi authorities for not being politically suitable. The question of the place of the art museum in its community has long been under debate. Some see art museums as fundamentally elitist institutions, while others see them as institutions with the potential for societal education and uplift. John Cotton Dana , an American librarian and museum director, as well as
4556-615: Was known as "the American Louvre". University art museums and galleries constitute collections of art developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in the West and East, making it a global practice. Although easily overlooked, there are over 700 university art museums in the US alone. This number, compared to other kinds of art museums, makes university art museums perhaps
4624-409: Was moved in its entirety from Devon , England. Dr. Satterwhite's gift necessitated an enlargement of the museum and in his will he provided for the addition that bears his name. Completed in 1954, it was the first of three additions to the original building. 1946 – Paul S. Harris becomes the first professional director of the museum. During his tenure, acquisitions to the collection were made mostly in
#508491