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testi per esame monografico, Dispense di Lingua Inglese

alcuni testi che possono essere usati per la preparazione dell'esame

Tipologia: Dispense

2019/2020

Caricato il 11/06/2024

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THE INTERRELATIONSHIP OF THE ARTS
Close ties among the arts happen because artists share a special
purpose: the revelation of values. Moreover, every artist must use some
medium, some kind of "stuff" that can be formed to communicate that
revelation (content) about something (subject matter). All artists share
some elements of media, and this sharing encourages their interaction.
For example, painters, sculptors, and architects use colour, line, and
texture. Sculptors and architects work with the density of materials.
Rhythm is basic to the composer, choreographer, and poet. Words are
fundamental for the poet, novelist, dramatist, and composer of songs
and operas. Images are basic to the painter, filmmaker, videographer,
and photographer. Artists constitute a commonwealth - they share the
same end and similar means.
Appropriation
Artistic appropriation occurs when artists combine their basic medium
with the medium of another art or arts but keep their basic medium
clearly dominant. For example, music is the basic medium for composers
of opera. The staging may include architecture, painting, and sculpture.
The language of the drama may include poetry.
The dance, so dependent on music, is often incorporated in opera, and
sometimes in contemporary opera, so are photography and even film.
Yet music almost always dominates in opera. We may listen to
Beethoven's Fidelio or Bizet's Carmen time after time, yet it is hard to
imagine anyone reading the librettos over and over again.
Although essential to opera, the drama, as well as the staging, rarely
dominates the music. Often the librettos by themselves are essentially
silly.
Nevertheless, drama and the other appropriated arts generally enhance
the feelings interpreted by the music. Except for opera, architecture is
the art that appropriates the most. Its centering of space makes room for
the placement of sculpture, painting, and photography; the reading of
poetry, and the performance of drama, music, and dance.
The size of architecture itself tends to make it prevail over any of the
incorporated arts, the container prevailing over the contents.
THE ART MARKET
The visual arts market has no direct counterpart in the other arts. Its
distinction arises from the fact that original artworks can be bought, sold,
and collected. The possession of original artwork is valued not just for
pleasure. but also for the status the artwork can attribute to its owner,
and for the value it assumes in the marketplace.
Even though the number of buyers and collectors represents only a tiny
percentage of the number of people who attend museums. the arts
market and especially the changes that have occurred over the last three
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THE INTERRELATIONSHIP OF THE ARTS

Close ties among the arts happen because artists share a special purpose: the revelation of values. Moreover, every artist must use some medium, some kind of "stuff" that can be formed to communicate that revelation (content) about something (subject matter). All artists share some elements of media, and this sharing encourages their interaction. For example, painters, sculptors, and architects use colour, line, and texture. Sculptors and architects work with the density of materials. Rhythm is basic to the composer, choreographer, and poet. Words are fundamental for the poet, novelist, dramatist, and composer of songs and operas. Images are basic to the painter, filmmaker, videographer, and photographer. Artists constitute a commonwealth - they share the same end and similar means. Appropriation Artistic appropriation occurs when artists combine their basic medium with the medium of another art or arts but keep their basic medium clearly dominant. For example, music is the basic medium for composers of opera. The staging may include architecture, painting, and sculpture. The language of the drama may include poetry. The dance, so dependent on music, is often incorporated in opera, and sometimes in contemporary opera, so are photography and even film. Yet music almost always dominates in opera. We may listen to Beethoven's Fidelio or Bizet's Carmen time after time, yet it is hard to imagine anyone reading the librettos over and over again. Although essential to opera, the drama, as well as the staging, rarely dominates the music. Often the librettos by themselves are essentially silly. Nevertheless, drama and the other appropriated arts generally enhance the feelings interpreted by the music. Except for opera, architecture is the art that appropriates the most. Its centering of space makes room for the placement of sculpture, painting, and photography; the reading of poetry, and the performance of drama, music, and dance. The size of architecture itself tends to make it prevail over any of the incorporated arts, the container prevailing over the contents.

THE ART MARKET

The visual arts market has no direct counterpart in the other arts. Its distinction arises from the fact that original artworks can be bought, sold, and collected. The possession of original artwork is valued not just for pleasure. but also for the status the artwork can attribute to its owner, and for the value it assumes in the marketplace. Even though the number of buyers and collectors represents only a tiny percentage of the number of people who attend museums. the arts market and especially the changes that have occurred over the last three

decades have had a profound effect on visual arts as a whole. These changes, of course, have affected the nature of the art that is produced. Although the size and operation of the visual arts market changed dramatically after 1980, the major players largely remained the same. They included dealers and galleries, auction houses, critics, and major collectors. Specialization in particular categories or styles of art is important for galleries and dealers since as small businesses, specialization allows them to develop relationships and reputations with artists, buyers, and sellers. In a market where information about originality, value, quality, and availability requires specialized knowledge, their expertise is essential. For at least the last century, art critics, museum curators, and selected major collectors (together with the most prominent dealers) have acted as the experts on the contemporary market. Indeed, they traditionally play a central role in determining which artists and artworks are recognized and how they are valued. The other major players in the lite arts market are the auction houses. Although at one time primarily wholesalers, the two leading auction houses -Christie's and Sotheby's - became the major actors in the sector during the 1980s.

A SHOWCASE FOR THE LATEST TRENDS: THE VENICE BIENNALE

The history of the Venice Biennale dates back to 1895, the year of its foundation. It is the oldest and most widely recognized cultural event in the world of contemporary art. The International Art Exhibition usually runs from June to November every two years. While the Biennale’s origins are tied to the visual arts, its program has been extended to include other performative and other forms of art. In the 1930’s new festivals were inaugurated: Music, Cinema, and Theatre (the Venice Film Festival in 1932 was the first film festival ever organized). In 1980 the first International Architecture Exhibition took place and in 1999 Dance made its debut at the Venice Biennale. The layout of the exhibition in the 20th^ century was characteristic of how the space was used as it was influenced by the Salon exhibition styles in Paris. The Biennale was set up with a central exhibition building consisting of connected galleries of international, geopolitical groups and national themed rooms. In 1999 the new Biennale kicked off and the historical spaces of the Arsenale (Artiglierie, Isolotto, Tese, Gaggiandre) became exhibition sites, while new headquarters were created for live performances. Gradually the character pf the exhibition changed as special commissioners were appointed to prepare national shows. This led to a progressively stronger emphasis on national identity in later editions.

VIDEO ART

Video as a medium, distinguished from the commercial efforts of the television establishment, was introduced in the 1960s. just as the Lumiere brothers used film primarily as a documentary medium, artists first used video to record and document performances that were site specific and of limited duration. And just as Melies favored fantasy over reality in his early films, generations of

Developing and drafting the policy is an opportunity to review and set down the museum’s goals and how they should be achieved if this has not already been done, and all staff members should be invited to contribute at this stage. The policy must be clearly written so it can be useful guide to staff and the public. It must address the needs of the collections in relation to the overall goal of the museum. Also, it should include plans for periodic review and updating. The collections management policy may address a wide range of collections management subjects that can be chosen and written specifically to fit the needs of each museum. The ICOM Code of Ethics for Museum can provide direct assistance with developing the collections management policy. Section Two, entitled “Museums that maintain collections hold them in trust for the benefit of society and its development”, directly addresses the critical elements of collections management, and reference to it throughout the drafting process will provide helpful guidelines. Collections management procedures are the various activities by which collections management policies are converted into specific management actions. Procedures are most useful and provide consistency of action when formalised into a written document. Procedures are needed to implement all areas of policy. Subjects for written procedures will mirror the subjects that are addressed in the collections management policy. As with the collections management policy, procedures can be written specifically for and costumized to fit the need of your museum.

TIME BASED MEDIA CONSERVATION AT THE SOLOMON GUGGENHEIM

MUSEUM

Time-based media conservation aims to determine and monitor the acceptable degree of short-, middle-, and long-term change that an artwork may undergo in response to different display environments, technological developments, curatorial and exhibition-design concepts, or technicians’ preferences. To understand and preserve a work of media art, the responsible conservator considers the artist’s intention as week as the work’s technical components and analyzed the relationship between the two. Whether and how a device or technology can be exchanged will depend on its significance to the individual artwork. To make an informed assessment, the conservator must fully understand the function and characteristics of involved technologies and identify their specific impact on the artwork’s aesthetic, conceptual, an historical identity. While certain tasks have to be delegated to respective experts, such as media technicians, video engineers, programmers, film-lab professionals, service technicians, and similar specialists, the responsibility for the artwork should never be out-sourced. The active communication of

conservation goals and the close supervision of all specialists’ services are essential for preserving an artwork’s integrity. When media artworks enter the collection, the museum reaches out to the artist to obtain as much information about the artwork as possible. Previous iterations of the work are researched, the aesthetic and conceptual meanings of its technical constituents are explored, and possible future changes are discussed, However, since a media artwork exists only in its installed state, a deeper understanding of its behaviours and limits of variability can be established only on the occasion of its installation. While is usually takes media work a number of iterations to fully develop its identity, close monitoring of these first iterations is essential for building institutional knowledge of the piece. The work-defining parameters are best captured on-site during the install and in dialogue with artists (if available), their assistants, and involved staff, such as media technicians.