Universitat Internacional de Catalunya

Visual Arts Management

Visual Arts Management
3
11547
1
Third term
op
Main language of instruction: Spanish

Teaching staff


Mrs. GONZALEZ GRAUPERA, Ainhoa - agonzalezg@uic.es

Introduction

The module provides an introduction to the procedures and policies for managing works of art, focusing not only on the custody and activation of collections but also on the relationship with the various agents in the art market. Knowledge of the necessary infrastructure and legal conditions will be covered in other modules.

 

Objectives

 

  • To foster critical thinking, emotional awareness and autonomy of thought, whilst protecting and nurturing curiosity.
  • To understand and analyse the workings of the visual arts ecosystem, as well as the relationships and dynamics between its agents.
  • Develop skills in professional ethics and moral judgement to interpret, analyse and question institutional policies, management decisions and interactions with the art market, in order to act in a transformative way on the reality that surrounds us.
  • Seek creative solutions in the analysis of management policies and procedures (conservation, documentation, acquisition, circulation).
  • Plan and implement sustainable and socially responsible practices, taking into account cultural impact, social inclusion and access for diverse audiences.
  • Coordinate interaction with diverse agents and audiences. Develop collaborative strategies with artists, gallerists, digital platforms, conservators and curators, communities and diverse audiences, fostering mediation, critical engagement and cultural dialogues.

Competences/Learning outcomes of the degree programme

  • CB6 - To have and understand knowledge that provides a basis or opportunity for the student to develop and/or apply original ideas, often in the context of research.
  • CB7 - Students should be able to apply their knowledge and ability to solve problems in new or little-known environments, within broader (or multidisciplinary) contexts related to their area of study.
  • CE8 - To identify the business structures inherent to the creative cultural, visual arts and cultural heritage industries at a national and global level and manage the processes and work procedures involved in their creation, programming, management and production.
  • CG3 - To search for and/or administer economic resources within the framework of an institution or company, or a cultural programme, project or service.
  • CG5 - To act responsibly and produce high-quality, rigorous and efficient work that benefits society.
  • CT1 - To design, direct, produce and assess cultural projects, programmes, strategies, policies or actions that involve a number of different numerous professional profiles, agents and institutions.

Syllabus

The module is organised with student working sessions, visits from experts aimed at drawing on the knowledge and expertise of specialists in various areas of visual arts management, as well as on-site visits to some of the cultural facilities in our city, among others.

1.Artists. Artist studios.

2. Artist residencies

3. Bequests or artists' estates

4. Institutions and governance typologies:

a. Public and private management

b. Hybrid models

c. Consortia and cultural foundations

5. Collecting

a. public vs private

b. collection configuration: 

 i. research strands

 ii. advisory committee

 iii. acquisition policies (European vs American model)

 iv. types of acquisition

 v. shared acquisitions

 vi. study of collections.

6. Art market

a. Galleries (blue chip, mid-range and emerging) / art dealers (session with an expert)

b.    Auction houses

c.    Video distributors (expert session)

d.    Art advisors

e.    Group exercise: Fairs vs. Biennials

7.    Informal practices of management. Alternative/emerging scene.

a.    Independent publications

b.    Funding

c.    Divergent educational programmes

8.    Mediation and accessibility

a.    Lessons learnt

b.    New formats for engaging with the public

9. Art and Sustainability

The programme can be adjusted during the course and according to the group's interests.

Teaching and learning activities

In person



The theoretical classes are the responsibility of the professor of the subject and they combine technical information with knowledge based on the practice and execution of the proposed subjects.

This practical aspect is reinforced by sessions carried out by invited professionals, experts in different aspects or phases of art management: artists, galleries, fairs and the art market; the auctions, etc.

Also two or three trips will be made visiting some of the most important artistic infrastructures of the city, to analyze their characteristics, management and contents.

Bibliography and resources

  • ALONSO FERNÁNDEZ, Luís; GARCÍA FERNÁNDEZ, Isabel. Diseño de exposiciones: concepto, instalación y montaje. Madrid: Alianza, 1999. (Materiales. Arte y música ; 23)
  • DUNCAN, Carol. “The Art Museum as Ritual” en The Art of Art History: A Critical Anthology, ed. De Donald Preziosi. Oxford:Oxford University, 1998
  • EXPÓSITO, Marcelo. Conversación con Manuel Borja-Villel. Madrid: Ediciones Turpial, 2015
  • GARCÍA BLANCO, Ángela. La exposición, un medio de comunicación. Madrid: Akal, 1999. (Arte y estética ; 55)
  • GLASER, Jane R.; ZENETOU, Artemis A. Museums: a place to work: planning museum careers. London: Routledge, 1996. (Museum/Heritage studies)
  • GNYP, Martha: The Shift. Art and the rise of contemporary collectors. Stockholm: Art and Theory Publishing, 2015.
  • HERNÁNDEZ HERNÁNDEZ, Francisca. El museo como espacio de comunicación. Gijón: Trea, 1998. (Biblioteconomía y administración cultural ; 16)
  • HOOPER-GREENHILL, Eilean. Museums and the shaping of knowledge. London: Routledge, 1995. (Museum studies)
  • KAVANAGH, Gaynor (Ed.). Museum provision and professionalism. London: Routledge, 1999. (Museum/Heritage studies)
  • KEENE, Suzanne. Digital collections: museums and the information age. Oxford: Butterworth-Heinemann, 1998.
  • KOTLER, Neil; KOTLER, Philip. Estrategias y marketing de museos. Barcelona: Ariel Patrimonio Histórico, 2001.
  • LAYUNO, María Ángeles. Museos de arte contemporáneo en España: del Palacio de las Artes a la arquitectura como arte. Gijón : Trea, 2004
  • LORD, Barry; LORD, Gail Dexter. Manual de gestión de museos. Barcelona: Ariel Patrimonio Histórico, 1998.
  • LORENTE, Jesús-Pedro, Museología crítica y arte contemporáneo. Zaragoza : Universidad de Zaragoza, 1993
  • MALARO, Marie C. A legal primer on managing museum collections. 2nd ed. Washington: Smithsonian Institution Press, 1998.
  • O'DOHERTY, Brian. Inside the white cube: the ideology of the Gallery Space. San Francisco: Lapis, 1986.
  • RICO, Juan Carlos. Montaje de exposiciones. Madrid: Sílex, 1996. (Museos, arquitectura, arte ; 2)
  • RICO, Juan Carlos. Los espacios expositivos. Madrid: Sílex, 1996. (Museos, arquitectura, arte ; 1)
  • Scénographier l'art contemporain et propos sur la muséographie. Savigny-le-Temple : MNES; Editions W., 1986.
  • Simmons, John E. Things Great and Small: Collections Management Policies. Washington, DC: American
  • Association of Museums. 2018.
  • STORRIE, Calum. The delirious museum: a journey from the Louvre to Las Vegas / Calum Storrie. London; New York : I. B. Tauris, 2006.
  • Thomson, G. 1986. The Museum Environment. London: Butterworths, in Association with the International Institute for Conservation of Historic and Artistic Works.
  • Wheadon, Nico, Museum Metamorphosis: Cultural Change Through Cultural Citizenship, Rowman & Littlefield,
  • 2022
  • VVAA. Reinventing the museum: historical and contemporary perspectives on the paradigm shift / edited by Gail Anderson. Walnut Creek: Rowman & Littlefield, cop. 2004.
  • VVAA. Servicio público : conversaciones sobre financiación pública y arte contemporáneo. Salamanca: Ediciones Universidad de Salamanca: Unión de asociaciones de artistas visuales, 1998.
  • VVAA. The Postcolonial museum: the arts of memory and the pressures of history. Farnham:Ashgate, 2014
  • OBRIST, Hans-Ulrich, A brief history of curating. Dijon : Presses du réel, cop. 2008
  • VVAA. Agency, ambivalence, analysis. Approaching the Museum with Migration in Mind. Milano: Politecnico di Milano, 2013
  • VVAA. Cities, Museums and Soft Power. Xxx: American Alliance of Museums Press, 2015.
  • VVAA, The New Museum Registration Methods. 2nd ed. Washington: American Association of Museums, 2001.

 

Webs de interés

American Association of Museums:  http://www.aam-us.org 

American Institute for Conservation of Historic and Artistic Works: http://www.conservation-us.org/

Electronic Art Intermix. Resource Guide: http://www.eai.org/resourceguide/

International Council of Museums:  http://www.icom.museum/  
Smithsonian Institution Traveling Exhibition Service: http://www.si.edu/exhibitions/travelling.htp 

Matters in Media Art (Tate, MoMA, SFMoMA): http://www.tate.org.uk/about/projects/matters-media-art

 

Teaching and learning material



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