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Site-specific installations are created for a specific location and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums. Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. This book provides an in-depth account of the paradoxical situation when site-specific installations are being preserved and put on display in a museum context. Tatja Scholte offers a conceptual framework for scholars and professionals in order to better understand the transformative nature of site-specific installation art and to support decision-making in museums as to conserving and presenting these artworks over time. The case studies provide insight into the diversity of artistic production over the last forty years. They explore how site-specific installations gain new meanings and forms in a museum context, and, vice versa, how these artworks become agents for change of professional routines and museum strategies.

Installations (Art). --- Site-specific art. --- ART / Collections, Catalogs, Exhibitions / Permanent Collections. --- Site-specific installation, museum, conservation, exhibition, spatial theory. --- Installation art --- Art, Modern --- Environment (Art) --- Site art --- Site-specific arts --- Arts, Modern

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The ROTOЯ partnership between Huddersfield Art Gallery and the University of Huddersfield was established in 2011. ROTOЯ I and II was a programme of eight exhibitions and accompanying events that commenced in 2012 and was completed in 2013. ROTOЯ continues into 2014 and the programme for 2015 and 2016 is already firmly underway. In brief, the aim of ROTOЯ is to improve the cultural vitality of Kirklees, expand audiences, and provide new ways for people to engage with and understand academic research in contemporary art and design. Why ROTOЯ , Why Now?As Vice Chancellors position their institutions’ identities and future trajectories in context to national and international league tables, Professor John Goddard1 proposes the notion of the ‘civic’ university as a ‘place embedded’ institution; one that is committed to ‘place making’ and which recognises its responsibility to engaging with the public. The civic university has deep institutional connections to different social, cultural and economic spheres within its locality and beyond.A fundamental question for both the university sector and cultural organisations alike, including local authority, is how the many different articulations of public engagement and cultural leadership which exist can be brought together to form one coherent, common language. It is critical that we reach out and engage the community so we can participate in local issues, impact upon society, help to forge well-being and maintain a robust cultural economy. Within the lexicon of public centered objectives sits the Arts Council England’s strategic goals, and those of the Arts and Humanities Research Council – in particular its current Cultural Value initiative. What these developments reveal is that art and design education and professional practice, its projected oeuvre as well as its relationship to cultural life and public funding, is now challenged with having to comprehensively audit its usefulness in financially austere times. It was in the wake of these concerns coming to light, and of the 2010 Government Spending Review that ROTOЯ was conceived. These issues and the discussions surrounding them are not completely new. Research into the social benefits of the arts, for both the individual and the community, was championed by the Community Arts Movement in the 1960s. During the 1980s and ‘90s, John Myerscough and Janet Wolff, amongst others, provided significant debate on the role and value of the arts in the public domain. What these discussions demonstrated was a growing concern that the cultural sector could not, and should not, be understood in terms of economic benefit alone. Thankfully, the value of the relationships between art, education, culture and society is now recognised as being far more complex than the reductive quantification of their market and GDP benefits. Writing in ‘Art School (Propositions for the 21st Century)’, Ernesto Pujol proposes:‘…it is absolutely crucial that art schools consider their institutional role in support of democracy. The history of creative expression is linked to the history of freedom. There is a link between the state of artistic expression and the state of democracy.’ When we were approached by Huddersfield Art Gallery to work collaboratively on an exhibition programme that could showcase academic staff research, one of our first concerns was to ask the question, how can we really contribute to cultural leadership within the town?’ The many soundbite examples of public engagement that we might underline within our annual reports or website news are one thing, but what really makes a difference to a town’s cultural identity, and what affects people in their daily lives? With these questions in mind we sought a distinctive programme within the muncipal gallery space, that would introduce academic research in art, design and architecture beyond the university in innovative ways. Published

Conceptual art --- Installation art --- ART / Conceptual. --- Pasternak, Gil --- McAra, Catriona --- Powell, Anna, --- Swindells, Steve, --- Stansbie, Lisa, --- Almond, Kevin, --- Brennand, Kathryn --- Swindells, Barber, --- Procktor, Patrick --- Massey, Ian --- Townsley, Jill, --- Swann, David, --- Swindells, Stephen, --- Brass Art (Artistic Group), --- Arts. --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Arts, Primitive --- arts in general --- Graphic design --- Health care --- Photography --- Research

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"The Event of Art presents, in fifty-two modular chapters and over eight hundred pages and images, the works of artist Marc Lafia. The book interweaves essays, notes, photographic archives, and a host of exhibitions wherein Lafia traverses his wide body of work and examines how his early strategies of cultural reading of photography and film, of interface, network culture, and social media, transform into an investigation of materiality itself. If his interest was once the way media becomes the message, his interest later becomes the realm of the sensible and the sensate in themselves. Here he presents art as the medium itself, giving us wide permission to explore and examine our deepest feelings and senses, our world and its becoming.The book is introduced by two essays. The first is by curator and art dealer Mathieu Borysevicz, where he recounts meeting Lafia at his first artist residency, and the many projects they would go on to do together. He introduces Lafia’s interest in recording as it becomes digital and computational where ""recording is not only memory, and a data structure, but a permutational instrument and ever-changing horizon of iterations.” The other introductory essay is by critic Daniel Coffeen, who writes, ""while Lafia may not have a traditional medium – there is no such thing anymore – he does in fact have one consistent medium: imaging making itself, its apparati of creation, consumption, and circulation. In fact Lafia’s medium is the discourse of art – what it is, how it comes to be, how we experience it.”The Event of Art presents the work of art as a complex material and societal event. The event is multiple, a continual becoming of perception, being, materiality, participation, a coming to the senses and the making, shaping and opening to them, not only of one’s self, but the world becoming."

Photography, Contemporary Art, Public Art, Performance. Film Theory, Installation Art, Archives, Algorithms, Social Media, Cinema, Visual Arts, Artificial Intelligence, Media Studies, Image, Processing, Feminist Theory, Information Systems, Cultural Histories, Computer Networks, Identity (Culture), Cultural Studies, Media Studies, Self and Identity, Social Media

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Installation art has become mainstream in artistic practices. However, acquiring and displaying such artworks means that curators and conservators are challenged to deal with obsolete technologies, ephemeral materials, and other issues concerning care and management of these artworks. By analyzing three in-depth case studies, the author sheds new light on the key concepts of traditional conservation - authenticity, artist's intention, and the notion of ownership - while exploring how these concepts apply in contemporary art conservation.

Museology --- Art --- installations [visual works] --- conservation [discipline] --- museology --- exhibiting --- installatiekunst --- museumkunde --- Installations (Art) --- Art, Modern --- Museum exhibits. --- Art museums. --- Conservation and restoration. --- Display techniques --- Displays, Museum --- Museum displays --- Museums --- Exhibitions --- Museum techniques --- Art collections --- Art galleries --- Galleries, Art --- Galleries, Public art --- Picture-galleries --- Public art galleries --- Public galleries (Art museums) --- Arts facilities --- Modern art --- Nieuwe Ploeg (Group of artists) --- Installation art --- Environment (Art) --- Galleries and museums --- Museum conservation methods. --- Conservation methods, Museum

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Suitable for designers, architects, and museum professionals who conceive, design, plan, and produce thematic exhibitions, this book offers an introduction to the subject for students of architecture, interior design, exhibition design, scenography, and visual communication.

museumbeleid --- tentoonstellingen --- publiekswerking --- architectuur --- musea --- Exhibitions --- Museum exhibits --- Art objects --- Design --- Art objects. --- Design. --- Exhibition buildings. --- 069.53 --- Bric-a-brac --- Objects, Art --- Objets d'art --- Art --- Decoration and ornament --- Decorative arts --- Object (Aesthetics) --- Antiques --- Display techniques --- Displays, Museum --- Museum displays --- Museums --- Museum techniques --- Exhibits --- Expositions --- Industrial arts --- Industrial exhibitions --- International exhibitions --- Technology --- World's fairs --- Sales promotion --- Fairs --- Event centers --- Events centers --- Exhibit buildings --- Exhibit halls --- Exhibition centers --- Exhibition halls --- Exposition buildings --- Exposition centers --- Fair buildings --- Buildings --- Museologie ; collecties ; techniek van het tentoonstellen --- Expos (Exhibitions) --- Exhibition buildings --- Tentoonstellingen ; vormgeven ; ontwerpen --- Exhibition design --- Tentoonstellen ; typologieën --- Museologie ; museumpresentatie ; voorstelling van tentoonstellingen --- Exhibit stands --- Installations (Art) --- Installation art --- Exhibition stands --- Art, Modern --- Environment (Art) --- Stands (Furniture) --- Equipment and supplies --- Musea (Parijs) --- museumbeleid. --- tentoonstellingen. --- publiekswerking. --- architectuur. --- Musea (algemeen). --- museumcollecties. --- Musea (algemeen) --- museumcollecties