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Contemporary Art Museums Around the World

This is an overview of the centers, institutes and museums around the world that specialize in contemporary art.

EUROPEAN CONTEMPORARY ART MUSEUMS

1. Institute of Contemporary Arts (ICA), London (England)
   
2. Baltic Centre for Contemporary Art, Gateshead (England)
   
3. Nykytaiteen museo Kiasma (Museum of Contemporary Art), Helsinki (Finland)
   
4. Rooseum Center for Contemporary Art, Malmö (Sweden)
   
5. Malmö Konsthall (Sweden)
   
6. Bildmuseet, Umeå (museum of contemporary art and visual culture) (Sweden)
   
7. Museet for Samtidskunst (Museum of Contemporary Art), Roskilde (Denmark)
   
8. Centre for Contemporary Art, Warsaw (Poland)
   
9. 218ac Galleria d’Arte Contemporanea, Piacenza (Italy)
   
10. Castello di Rivoli: Museo d’Arte Contemporanea, Turin (Italy)
    
11. Galleria Comunale d’Arte Moderna e Contemporanea, Rome (Italy)
    
12. The Foundation and the Center for Contemporary Art, Prague (Czech Republic)
    
13. De Pont Stichting voor Hedendaagse Kunst (Foundation for Contemporary Art), Tilburg (Netherlands)
    
14. Musée des Arts Contemporains (MAC), Hornu (Belgium)
    
15. Museu d’Art Contemporani de Barcelona (Spain)
    
16. The Rodriquez-Amat Foundation for Contemporary Art and Culture, Les Olives, Catalonia (Spain)
    

AMERICAN CONTEMPORARY ART MUSEUMS

1. New Museum of Contemporary Art, New York (USA)
   
2. P.S.1 Contemporary Art Center, New York (USA)
   
3. Museum of Contemporary Art, Chicago (USA)
   
4. Museum of Contemporary Photography, Chicago (USA)
   
5. Museum of Contemporary Art, Los Angeles (USA)
   
6. Museum of Contemporary Art, San Diego (USA)
   
7. The Institute of Contemporary Art, Boston (USA)
   
8. Mass MOCA (Massachusetts Museum of Contemporary Art), North Adams (USA)
   
9. The Contemporary Arts Center, Cincinnati (USA)
   
10. Museum of Contemporary Art, Cleveland (USA)
    
11. Kemper Museum of Contemporary Art, Kansas City (USA)
    
12. Center of Contemporary Arts (COCA), St. Louis (USA)
    
13. Contemporary Arts Museum, Houston (USA)
    
14. ArtPace: A Foundation for Contemporary Art, San Antonio (USA)
    
15. The Chinati Foundation, a contemporary art museum near Marfa, Texas, based upon the ideas of its founder, Donald Judd (USA)
    
16. Boulder Museum of Contemporary Art (USA)
    
17. Contemporary Arts Center, New Orleans (USA)
    
18. Museum of Contemporary Art, North Miami (USA)
    
19. Center for Contemporary Art, Seattle (USA)
    
20. Institute for Contemporary Art, University of Pennsylvania (USA)
    
21. The Aldrich Museum of Contemporary Art, Ridgefield (USA)
    
22. Real Art Ways: a center for contemporary culture, Hartford (USA)
    
23. Contemporary Art museum, Raleigh (USA)
    
24. Centre for Maine Contemporary Art, Rockport (USA)
    
25. The Mattress Factory, Museum of Contemporary Art, Pittsburgh (USA)
    
26. Pirate: A Contemporary Art Oasis, Denver (USA)
    
27. Portland Institute for Contemporary Art (USA)
    
28. Contemporary Art of Center of Virginia, Virginia Beach (USA)
    
29. The Contemporary: Atlanta Contemporary Art Center (USA)
    
30. Urban Institute for Contemporary Arts, Grand Rapids (USA)
    
31. Southeastern Center for Contemporary Art, Winston-Salem (USA)
    
32. Palm Beach Institute of Contemporary Art (PBICA) (USA)
    

CONTEMPORARY ART MUSEUMS IN OTHER PARTS OF THE WORLD

1. Musée d’art contemporain de Montréal (Canada)
   
2. The Power Plant: Contemporary Art Gallery, Toronto (Canada)
   
3. Museo de Arte y Diseño Contemporáneo, Costa Rica
   
4. Museu de Arte Contemporânea da Universidade de São Paulo (Brazil)
   

5. Museu de Arte Contemporânea de Niterói, (Brazil)
   
6. Museo de Arte Contemporáneo (MAC), Universidad de Chile, Santiago (Chile)
   
7. Museum of Contemporary Art, Sydney (Australia)
   
8. Australian Centre for Contemporary Art, (Australia)
   
9. Judith Wright Centre for Contemporary Arts, Brisbane (Australia)
   
10. Centre for Contemporary Photography, Fitzroy, Victoria (Australia)
    
11. Centre of Contemporary Art, Christchurch (New Zealand)
    
12. Tehran Museum of Contemporary Art (Iran)
    
13. The Contemporary Art Centre, Skopje (Macedonia)
    
14. National Museum of Contemporary Art, Seoul (Korea)
    
15. Museum of Contemporary Art, Tokyo (Japan)
    
16. Hara Museum of Contemporary Art, Tokyo (Japan)
    

5 Steps To Art Appreciation

I still remember when I was first invited to an art gallery by my friends and my instinctive reaction was a feeling of apprehension. It was a strange feeling as I have always loved art especially paintings, so why the anxiety. It dawned on me that I was not worried about experiencing the paintings but how to react to them, what to say and how to converse about them so as to not look like a complete moron to my friends.

This very unusual problem led me to explore and find a simple and down-to-earth approach to art appreciation. The idea is to demystify the process and make it easy to enjoy art. Here are some steps that I came up with to make it an easy learning experience

Tip No. 1 Make it a habit to observe and appreciate art

In order to understand your own specific interests and inclinations in art, develop a habit of observing seriously any art object that you come across be it a painting or a sculpture. We often overlook art objects sitting right in front of us. How many of us honestly take some of the free minutes in our office to look at the paintings on our office walls.

If we spend sometime in observing and appreciating art that we are exposed to in everyday life, we will learn a great deal about what things attract and appeal to us the most and also what are the things that you dislike. In a nutshell you will understand more clearly your likes and dislikes in art

Tip No. 2 Develop your own unique art sense

Once you have spent some time in examining your own preferences in art, you can move towards understanding the forms of visual art that connect with you most. For some it is the lifelike representations in sculpture and for others it is the ability of a painter to depict a memory in vivid colors. To many of us all art forms are a treat for the senses and a tribute to the efforts of the artist

As you organize your own reactions to different forms of art, you will learn to recognize small differences and minor variations of colors and shapes that make a painting likeable or not so appealing to you

Tip No. 3 Research the pieces that you like

Now that you have an understanding of the colors, shapes and styles that interest you the most you should research these further to see if they represent a specific art style or a particular form of art, for example in paintings it could be abstracts, figurative or a combination of colors and theme that represent a definite pattern and style of painting

As you progress further, this research will help you to find more and more distinctively the artists and the media that you like the most. Many a times the styles and colors that appeal to us have a special meaning for us and may originate from a specific region of the world or maybe an art form that we were exposed to early in life and has left a significant impression on us. Sometimes it is the art that you experienced on a great vacation that left great memories and gave you a strong liking for it for life, the reasons for liking some art form are endless some thought to it may give you some clues

Tip No. 4 Refine your art sense

You have already explored and created your own art personality and are equipped with the knowledge of the styles of art that appeal to you the most. Your research has provided you with enough information to feel confidant to give reactions to different styles and also decide what appeals to you in different paintings whether it is the artist’s attempt to express his feelings or the emotions the painting evokes in you.

A very important tool that can help to refine your art sense is to keep an art journal. Before you get put off by this seemingly complex work let me quickly point out that it is the simplest form of keeping a dairy. It is a log of the art pieces that you see and your reactions to each piece, this log can be an important means in refining and enriching your unique art sense. Another important benefit of this art journal is that it can serve as a very effective way of relieving stress. No kidding…keeping an art journal is one of the key activities in art therapy which is a form of therapy that uses creativity and art in the healing process

Tip No. 5 Open up to new experiences in art

The last and most significant tip in the art appreciation process is to keep your mind open and receptive to new art experiences. One of the disadvantages of having developed a definite pattern of likes and dislikes in your art personality is to get trapped in this pattern. Do not cage yourself in this citadel of your own creation but remain open to new and totally different creations and art forms.

The whole purpose of art appreciation is to open your subconscious mind to be receptive to new experiences and creations. You will be amazed when you read your own art log as time passes to see your tastes change over time to different themes and styles. Always remember that the objective of art appreciation is to recognize and understand your own love of art and artistry.

By Anu Darbha

For more info please email the author at anudarbha@paintandcraft.com

If you are an art lover please visit my art related websites http://www.artseden.com and http://www.paintandcraft.com for a unique art experience

no name for ART #2

National Gallery Vision 2100

For today’s audiences, 20th-century art is old and 19th-century art – ancient. Can galleries overcome this challenge? questioned Michael Archer in ‘How modern art became history’, an article published in The Guardian on March 28.

He applauds the policy of Nicholas Penny, the newly appointed director of the National Gallery in London, UK, to move towards ‘less attention to blockbuster temporary exhibitions and more emphasis on presenting the collection sympathetically’.

Blockbusters are perhaps not where it’s at. However, temporary exhibits can be used to relate and say something about the permanent collection in very meaningful ways. Temporary exhibits get the best-looking collateral and tv commercials. When related, the benefits of temporary exhibits can have a spillover to the permanent collection. So, by and large, I’d agree with Penny with his choice.

It is the responsibility of a gallery director to protect the value of the collection. In addition, his role is to leverage its intrinsic artistic value and show it to the gallery audience, through various modern forms of communication and showcasing. I love for example how the National Gallery showcases and teaches about Degas’ famous painting ‘Miss La La’ in its interactive online ‘Painting of the Month’.

Penny’s plan is to concentrate on pre-20th century work. This does sound rather ‘boring’ to me. I have my favorites from all times. And, yesterday is as much part of history as a day two centuries ago. I am not clear on the true motivation for this. ‘Concentrate’ seems an ill-chosen word as most of history happened pre-20th century. I feel that museums should not only look at the artwork they already have on hand, to make the strategic decision on what to feature in the upcoming decades. Surely, there has to be a vision regarding showcasing the voice of art, as it has emerged and as is emerging.

In a prior interview, Penny stated “I think that a major gallery should be prepared to introduce people to something they know nothing about.” I wholeheartedly disagree. I think the purpose of an art gallery should be to show people something that helps them contemplate their own reality. Usually, that involves bringing them something they are already familiar with and presenting it in an entirely new way, and/or in more detail.

The good news is that Penny has a lot more experience in running a world-league art museum than I’ll ever have, so I have good faith. Time will tell if we need to bring in a whole new breed of curators and museum directors… Because, after all, we’re moving towards 2100.

Abstract Painting – Art Without Meaning ?

This article might be a tat controversial. Perhaps that’s why I include it: to offer you a wide range of perspective on abstract art.

“Can art be of importance without meaning? Must “good” art convey the zeitgeist of the times in which it was created? Does “depth of meaning” correlate directly to “goodness” of art?

A definition of terms here would be of value but the terms in question are so based on individual and subjective opinion that the defintions would be questioned.

Abstract painting, particulary the nonobjective painting of many artists since the 1940s is arguably devoid of meaning. In fact many artists want it that way. They prefer to see purely compositional factors, the tenets of design as the measure of their works. Does this relegate them to the level of design, not truly “high art.”

Abstract paintings can do two things. 1) They can ascend to the highest level of design, and 2) they may transcend it to “high art.” Just as Kurt Schwitters paper snips transcend the craft of hobbyists cutting paper, and Joseph Cornell’s boxes transcend the craft of cabinet makers or box designers – so can an abstract paintings transcend design.

The criteria of meaning needs some discussion in my opinion. The “meanings” that some narrow-sighted critics refer to as being the paramount criterion of “high art” revolve around historic, philosophic, and religious dimensions. These meanings purportedly reflect the highest ideals and aspirations of man and god(God?).

I appreciate meanings as much as the next person. I like the classical, epic struggles of mythology, the ancient renditions of the history of the world, the religious icons of every century, the struggles of mankind and every individual in mankind. These are wonderful meanings and certainly worthy of artistic depiction.

Now consider the meaning of a man/woman who struggles to create pure beauty. The artist. The artist who wants to create not only “high art” but does so without the tools of religious thought, without the maps of cultural revolutions, without the applause of an informed and socially motivated political movement, without the traditions of a craftsmens guild. Consider this courageous individual.

These individuals not only attempt real, although only mortal, creation at its highest level – they do so in a unique and hardwon individual style. In addition, their work is meant to free, enhance and amplify your perception of art and beauty in all of its mysterious manifestations.

That “is” meaning. You can witness this meaning in its visual record of each abstract painting. No, not every painting is a masterpiece – and it can’t fall back on cliche’ or a social nomenclature. It stands as a testament to a real struggle to push something to the highest level of art with no help from all the other “manifold meaning packages” that were the reason for art in previous centuries.

By Tia Marks.
Contemporary Art Gallery

Tia Marks is the Executive-Editor of Contemporary Art Gallery – The Online magazine for Trends in the Visual Arts. CAG specializes in abstract painting, artist interviews, exhibitions, sculpture, collage, ceramics, prints, jewelry, essays, and art world announcments.

Correctly Displaying Fine Art Photography

By Sam Zaydel

Though most quality prints are printed on Archival papers, such as Fuji Crystal Archive Papers or Kodak Endura Professional Papers, it is essential to consider a few important aspects to maximize the life of any print you are planning to display.

Things to Avoid

* Avoid placing your Fine Art Prints in direct exposure to sunlight.

* Avoid places with high levels of moisture or humidity.

* Close to a source of direct heat, like near a wall heater, or a furnace.

Consider the Sun

If you are going to frame the print, and are planning on hanging it on the wall, you should consider the placement first of all. We recommend placing your print on a wall which does not receive direct sunlight. What’s wrong with sunlight? Well, sunlight is a full spectrum light, which means it packs many different frequencies of light, including UV (ultra-violet). The problem with UV is its effect on photographic papers. UV causes fading, simply put, regardless of the quality of paper used to produce the print. This does not mean that all prints, regardless of the paper, or method used to produce them, fade at the same rate.

Archival papers are meant to last. Special chemicals are used to protect these papers from long-term effects of UV, moisture and other factors. However, even archival prints are not immortal. While Archival papers are meant to last, over time they will also show signs of age. The good news? They will likely outlive you.

Print Comparison

If you were to compare a print produced on a high-end inkjet printer using standard inks to a Fine Art Print produced in a Lab on Archival paper, initially they may appear of equal quality. But many inks are water based, and are not rated for archival usage. Such a print, if displayed properly, will perhaps last 3 to 5 years before any fading becomes visible. On the other hand, an archival print, also displayed properly, will last 50 or more years. Back to Top.

To Summarize

Place your prints into a quality frame, and hang it somewhere out of sun’s direct rays. There’s nothing wrong with light falling on the prints. After all, full spectrum light means your photos are going to shine. Indirect light is best, because it will not accelerate natural aging of your prints, and will provide soft even illumination. In today’s hi-tech world you may be able to purchase a frame with UV shielded glass, which is ideal, if your prints are going to receive quite a bit of direct sun light.

Try to hang you photos away from sources of heat and moisture, because both cause materials such as paper, and glues or tapes used to mount photos into mats to warp. The last thing you want to see is your print rippling in its frame.

Written by Professional Photographer, and an owner of a Photography Selling Service. To learn more about this, and many other general, as well as more specific photography related subjects, or to explore a Fine Art Photography gallery, please consider visiting WorldonPaper.com Contemporary Fine Art Gallery.

Art Patron William Bowmore, who gifted $17+ million to museums, died.

William Bowmore was a life-long art patron and one of Australia’s most generous philanthropists. He died at age 98 on January 9. Bowmore’s fine art gifts to the Art Gallery of South Australia (AGSA) and other Australian museums such as the Newcastle Region Art Gallery have been valued to be in excess of $17 million.

Following his heart and lifelong passion for art, Bowman started collecting Australian art. In the late ’60s, he began traveling to London. There he made the connections at auction houses and beyond enabling him to purchase international paintings from old masters, and other such works.

After almost half a century of collecting, Bowmore began donating works of art in 1990. Among his most noted contributions to the AGSA are sculptures by Rodin, Roman antiquities and Islamic arts. In 1995 Bowmore facilitated its acquisition of his renowned Rodin sculpture collection.

In 2004 his donation of 45 rare early Middle-Eastern ceramics was key in establishing the first and still only dedicated Islamic gallery in an Australian art museum. Among his other gifts are important works in the British, French, Italian and Dutch collections, two fine Roman sculptures dating from the first and second centuries AD, and the rare seventeenth century Yakob ‘Polonaise’ Islamic carpet.

Mr Bowmore’s gifts to the Newcastle Region Art Gallery included works by Australian artists Sidney Nolan (famed for his Ned Kelly art ~ see illustration), William Dobell, Conrad Martens.

It also included international artists Auguste Rodin, Max Ernst and Jacob Epstein as well as ceramics by Japan’s major artists including Shoji Hamada.

Bowmore has received many awards and honors. The AGSA named the William Bowmore Gallery in his honor in 1997 and has presented three exhibitions of his collections. Born in Dalby, Queensland in 1909, Bowmore taught cello at the Newcastle Conservatorium. He was also a businessman who operated hospitals and hotels.

Mr Bowmore was well respected throughout Australia for his generosity and relentless energy and love for the arts.

PULSE Contemporary Art Fair 2007

PULSE Contemporary Art Fair capped off an extraordinary year with its third Miami edition, held December 5-9, which drew substantial crowds and impressive sales.

PULSE Miami confirmed the Fair’s role as a leader in the highly competitive art market. It is a pioneering art fair.

From Chicago: Carl Hammer Gallery’s Chris Ware – Branford the Bee, The Best Bee in the World, 2003. Pen and Ink Drawing w Blue Pencil Overmarking on Bristol Board

With a record attendance of over 16,000 visitors, strong sales from the first day, a new venue that allowed expanded cultural programming and the hosting of Kaikai Kiki’s inaugural GEISAI Miami, PULSE Miami proved to be one of Miami’s most popular destinations during Art Basel Miami Beach.

The fair followed its successful invitational format, representing approx. 70-80 galleries invited by the PULSE Invitational Committee.

Exhibitors included:

US / CANADA Ambrosino Gallery | Miami Angles Gallery | Santa Monica Artcore / Fabrice Marcolini | Toronto Jeff Bailey Gallery | New York Bank | Los Angeles bitforms gallery | New York Rena Bransten Gallery | San Francisco BravinLee programs | New York Chambers Fine Art | New York Catharine Clark Gallery | San Francisco Conner Contemporary Art | Washington D.C. Charles Cowles Gallery | New York Davidson Contemporary | New York DCKT Contemporary | New York Finesilver Gallery | Houston Freight + Volume | New York Carl Hammer Gallery | Chicago Richard Heller Gallery | Santa Monica Kinz, Tillou + Feigen | New York Paul Kopeikin Gallery | Los Angeles LaMontagne Gallery | Boston Nathan Larramendy Gallery | Ojai Locust Projects | Miami Lyons Wier Ortt | New York Walter Maciel Gallery | Los Angeles Magnan Projects | New York Robert Mann Gallery | New York Heather Marx Gallery | San Francisco Nicholas Metivier Gallery | Toronto moniquemeloche | Chicago Mark Moore Gallery | Santa Monica Postmasters | New York P.P.O.W. | New York Max Protetch | New York SALTWORKS | Atlanta Julie Saul Gallery | New York Schroeder Romero | New York Jack Shainman Gallery | New York Shoshana Wayne Gallery | Santa Monica Spinello Gallery | Miami Frederieke Taylor Gallery | New York Margaret Thatcher Projects | New York Virgil de Voldere | New York Winkleman Gallery | New York Pavel Zoubok Gallery | New York

EUROPE agenzia04 | Bologna Galerie Anne Barrault | Paris Galerie Anita Beckers | Frankfurt BISCHOFF/WEISS | London Changing Role Gallery | Naples/Rome Vera Cortes | Lisbon Galerie Volker Diehl | Berlin Galleri Faurschou | Copenhagen Galeria Fucares | Madrid galerieKleindienst | Leipzig Galerie Ernst Hilger/ Hilger contemporary | Vienna La Fabrica Galeria | Madrid Mogadishni | Copenhagen magnus müller | Berlin Mummery + Schnelle | London perugi artecontemporanea | Padova Galerie Stefan Röpke | Cologne Rubicon Gallery | Dublin Rokeby | London Galerie Jette Rudolph | Berlin Galerie Michael Schultz Berlin | Berlin Galería Senda | Barcelona Springer + Winckler Galerie | Berlin TRAVESIA CUATRO | Madrid Keith Talent Gallery | London TORCH Gallery | Amsterdam Union | London Anne de Villepoix | Paris Galerie Zurcher | Paris ASIA PACIFIC Mizuma Art Gallery | Tokyo ZENSHI | Tokyo SOUTH AMERICA Baró Cruz | Sao Paulo Nina Menocal | Mexico City MIDDLE EAST Braverman Gallery | Tel Aviv Noga Gallery of Contemporary Art | Tel Aviv

Pulse moved from the tent it occupied for two years to a newly renovated 40K sq ft venue in the Wynwood District. This is to be its permanent venue.

Recommended Buy a Combo and Save Money! ARTnews + Art in America: only $69.90 (Save $66.10). These magazines really appreciate art.

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