Art collections

Leaders all around the world, especially those at the helm of organizations, are known to be enthusiastic art collectors. Nonetheless, little research has been done on the impact of the leaders' art collecting pursuits on the development of their leadership approaches, This study sought to investigate the extent to which art collecting enahled 10 Brazilian leaders-cum-art collectors to attain leadership singularity through a close study of their speech in one-on-one, semi-structured, and online interviews. It examined the extent to which the interviewees' "signifiers" words whose meanings depend on context revealed the impact of art collecting on their attainment of leadership "singularity" - the uniqueness of an individual's style characterized by an absolute in différence to social conventions. The interviewees' use of polarizing signifiers to describe the business world as harsh and calculated in stark contrant to the warmth they associated with art showed how they used art collecting as a buffer to shield them against unpleasant leadership realities. Moreover, their employment of signifiers and meanings, which recurred in both their business and art worlds, also illustrated how art collecting served as a transitional object for them to define their singular selves and their leadership approaches. Finally, the interviewees' connecting signifiers revealed how art collecting challenged them to build an inclusive work environment or society by promoting openness to diverse perspectives. What this research study has affirmed is that something as seemingly trivial as words can surface the power of art in sustaining ambiguities and ambivalences for the cultivation of individuel and leadership singularities with ripple effccts on people around us

This interview with the orthodontist and art collector with Dr. Anna Dzhurkova is based on quote questions from the book by Bogomil Raynov, dedicated to his own collecting passions. It was published in the "Manager"" magazine - issue. 5 (271) May-June 2021.

L’œuvre d’art européocentrée s’est historiquement définie en tant qu’objet visuel unique. Or, à partir des années 1960, des artistes ont fait éclater ce modèle en artifiant le vivant et en révélant la portée artistique des clivages entre nature et culture, humain et non-humain. Dès lors qu’elles rentrent dans une collection, que deviennent ces œuvres mixtes mêlant le vivant à l’objet ? À travers quatre études de cas récentes comprenant de la moisissure, des insectes, des animaux ou encore des corps humains, cet article vise à comprendre comment les chargés de conservation font exister ces entités composites dans une collection, et dans quelle mesure leur caractère vivant peut être préservé. Relevant les paradoxes de l’objectualisation de l’art et ses conséquences, il s’attarde sur le rôle de la durée d’exposition ou du protocole dans le bricolage des ontologies pluralistes et provisoires de ces œuvres.

Pensando sobre as possibilidades de construção de vínculos, parece-nos pertinente abordarmos a Coleção Amazoniana de Arte da UFPA, que se configura no diálogo continuado e na troca entre sujeitos, com suas subjetividades, vivências, desejos e escolhas. Pensamos nas fricções ativadas por múltiplos atores que propõem dinâmicas de relaçãoo com o lugar e seus habitantes. É sobre esses atores e suas presenças na Amazoniana que nos debruçaremos neste trabalho.

“If the “French case”, as Françoise Vergès once wrote, has long been characterised by a republican resistance – acting mostly as a veil over its colonial past – to the “epistemologies of the South” and postcolonial critique, how do we go about reinventing innovative cultural policies that take these contributions into account? How can we do this while setting time back in motion, liberating us from the presentism to which we seem compelled in Europe, particularly in France? How should we rethink the question of the collection, the constitution of a collection of international works emancipated from the positivism of history, if not by questioning the “regimes of veridiction” and their underlying time scenarios?” Aliocha Imhoff et Kantuta Quirós

Karya seni merupakan hal yang kompleks. Bukan saja perihal konsep gagasan
yang diusung oleh seniman, atau nilai estetik pada tampilan visual, namun proses
dibalik layar sebelum karya tersebut disajikan untuk publik. Selama karya tersebut
ditampilkan di ruang pamer, bisa dikatakan publik “memiliki” karya tersebut untuk
diapresiasi. Hingga pada saatnya karya tersebut berpindah tangan menuju ruang
koleksi. Durasi waktu dari mulai karya tersebut dibuat di studio seniman, kemudian
dipamerkan di ruang galeri, kemudian menjadi karya koleksi diperlukan rantai
komunikasi dari berbagai pihak. Tanpa disadari, terdapat peran penting dari sebuah
profesi di balik sajian karya seni ini yang selalu hadir pada setiap rangkaian proses.
Dia adalah Art Handler atau dalam bahasa Indonesia berarti Penangan Seni, profesi
yang bertugas menangani karya (Art Handling). Profesi ini dibutuhkan selama proses
hulu ke hilir kepemilikan karya seni, mulai dari dipamerkan di Galeri untuk “dimiliki”
publik hingga dikoleksi oleh Museum atau Kolektor Pribadi. Secara singkat, tahap
tahap pekerjaan yang dilakukan Art Handler ini meliputi pengemasan karya,
pendistribusian karya, pemasangan dan penurunan karya, hingga pemeliharaan dan
penyimpanan karya. Pada praktiknya, sinergi antara pihak-pihak terkait yang saling
berkelindan, dimana Art Handler salah satunya merupakan hal penting demi menjaga
nilai karya seni itu sendiri.

Kata kunci : Penangan Seni, Penanganan Seni, Galeri, Museum

RESUMO: O Museu de Escultura Comparada oficialmente inaugurado a 28 de Fevereiro de 1964, perdura na penumbra empoeirada das salas do piso térreo no Palácio Nacional de Mafra. Permanece à mercê de um sonho muito antigo, que para os dias de hoje se tornou numa verdadeira necessidade. Um museu como os de lá de fora, que preza pelo que há de mais antigo, dinamizado pela comparação e pela rica fonte didática que apresenta. O seu nobre acervo carrega consigo vários ares de outros tantos episódios nacionais e é testemunho da maior injustiça artística, resultando na antítese entre o desprezo pelo gesso e o triunfo da cura dos seus originais e da perseverança dos que cuidam da arte. Assim pretendemos com este artigo, denunciar o estado atual deste museu e dar a conhecer a existência desta preciosa coleção, na esperança da sua reabertura ao público. ABSTRACT: The Museum of Comparative Sculpture officially inaugurated on February 28, 1964, lingers in the dusty twilight of the rooms on the ground floor of the Palácio Nacional de Mafra. It remains at the mercy of a very old dream, which for today has become a real necessity. A museum like the ones abroad, which values the ancient, dynamized by the comparison and the rich didactic source that presents. Its noble collection carries with it many other national episodes and is a testimony of the greatest artistic injustice, resulting in the antithesis between contempt for plaster and the triumph of the healing of its originals and the perseverance of those who take care of art. Thus we intend with this article, denounce the current state of this museum and let it be known the existence of this precious collection, in the hope of its reopening to the public.

Επιμέλεια έκδοσης ‐ Editors:
Αμαλία Τσιτούρη, Εύη – Μαρία Πιτσιάβα 
Amalia Tsitouri, Evi – Maria Pitsiava
Τα άρθρα του τόμου αντικατοπτρίζουν τις απόψεις των συγγραφέων τους. 
Ελληνική Επιτροπή ICOM-CECA 
© Διεθνές Συμβούλιο Μουσείων – Ελληνικό Τμήμα 
Αθήνα 2010
ISBN  978‐960‐99312‐1‐2
http://network.icom.museum/fileadmin/user_upload/minisites/icom-greece/Ekdoseis/ICOM_-_CECA_proceedings_June_2009.pdf

First published as:
Opper, A. 2021. Open House. In Charlton, J, Cohen, L, Leyde, Leigh, Mokgojwa, K, Nettleton, A and Rankin-Smith, F. Seen, Heard and Valued: WAM celebrates 40 Years of the Standard Bank African Art Collection: 248-253. Wits Art Museum (WAM): Johannesburg.

ISBN: 978-1-990971-99-0

Luigi Baiesi was a very interesting man for Bolognese culture and art between 19th and 20th century. He collected important ancient clay statues and wrote funny comedies, ballads and sonnets in dialect but, most of all, he worked on some of the most important monument of the town during those decades. This article aims to describe and make known life and work of this forgotten eclectic man.

Two Collections of Modern Art in the First Czechoslovak Republic and Their Creators-Vincenc Kramář and Josef Polák

erratum: please note, that images from page 49 are from Estslovak Museum's collection  (Východoslovenské múzeum v Košiciach)

Obstinação e entusiasmo pela arte, visão mercadológica e construção de um legado artístico-histórico-cultural latino-americano, num contexto globalizado, são aspectos marcantes na trajetória de 50 anos, desde o embrião que daria origem à Coleção Costantini. Neste artigo, estes aspectos serão apresentados por meio de dois pilares temáticos: como se formou e evoluiu a coleção, com as mudanças nos critérios de escolha e aquisições, para que se chegasse à constituição atual; e o da forma de trazê-la ao
público, movimento que se iniciou nos anos 1990 em parceria com outros museus, passou pelo estabelecimento de um acervo em um espaço museológico próprio, o Malba, e incluiu uma revisão curatorial na exposição comemorativa de 15 anos da instituição, a Verboamérica

Over the years, several artworks have been compiled at various campuses of Istanbul Technical University (ITU) forming a modest collection. These artworks, however, have never been identified, documented, catalogued, and/or studied in an art historical manner. The purpose of this paper is to identify and analyze the artworks in the ITU Art Collection Inventory for the first time and provide suggestions for its development. Initially, all campuses and faculties/facilities of ITU were visited and the artworks found in each location were recorded based on the guidelines set by the International Council of Museums (ICOM). The findings have been categorized and presented according to different campuses of ITU as well as the types of artworks, which include forty-five paintings, nineteen sculptures, four engravings, one mural, and one panel, a total of seventy works. Recommendations have been developed based on the content of the inventory in accordance with ITU's mission, vision, and history. The relationship between science, technology, and art has been the main focus of the general suggestions, which have been made for ITU to build a strong relationship with artists and academics in the campus as well as with ITU's Rectorate Art Gallery to innovate new forms of artworks in the contemporary art field. It should be noted that most of the artwork were tributes to prominent Turkish scientists and scholars. The relationship between art and science observed in most of the artworks is suggested to become the binding factor for the cohesiveness of the ITU Art Collection.

The book "Frames of Reference – From the Bank of Greece Collection" accompanies the namesake exhibition at the Benaki Museum, Pireos Annexe, organised by the Centre for Culture, Research and Documentation of the Bank of Greece on the occasion of the 90-year anniversary from the Bank’s start of operations, in 1928. It was on that same year, 1928, that the Bank began collecting artworks, dating from the mid-19th century to this day, gradually forming its Collection that presently comprises around 3,000 pieces.
This book presents a selection of 157 creatioms by significant Greek artists. Three broad themes are taken into account, centred on “frames of reference” which have at times, yet consistently, preoccupied and inspired Greek artists: reference to antiquity; the approach of everyday life; landscape as a guide to artistic expres- sion.
Frames of Reference allow for and encourage multiple readings and interpretations of the ways in which each of the above themes has served different goals – be it artistic, ideological or social – through time, conveying corresponding messages to the Greek society. Thus, the Collection itself becomes a “frame of reference” of artworks that contribute to a timeless rendering of aspects of the Greek cultural identity.      ||||||||||||||||||||||||||||||       

Το βιβλίο «Τόποι αναφοράς – Από τη Συλλογή της Τράπεζας της Ελλάδος» αποτελεί τη συνοδευτική έκδοση της ομότιτλης έκθεσης στο Μουσείο Μπενάκη της οδού Πειραιώς, οργάνωσης του Κέντρου Πολιτισμού, Έρευνας και Τεκμηρίωσης της Τράπεζας με αφορμή την επέτειο 90 ετών από την έναρξη της λειτουργίας της, το 1928.
Είναι την ίδια χρονιά, το 1928, που η Τράπεζα ξεκινά να συλλέγει τα καλλιτεχνικά αποκτήματά της, τα οποία χρονολογούνται από τα μέσα του 19ου αιώνα μέχρι τη σύγχρονη εποχή, για να φθάσει σήμερα η Συλλογή της να αριθμεί περίπου 3.000 έργα τέχνης. Στην έκδοση παρουσιάζεται μία επιλογή 157 έργων αξιόλογων Ελλήνων καλλιτεχνών. Για τη μελέτη τους λαμβάνονται υπόψη κύριες θεματικές που αποτέλεσαν και συνεχίζουν να αποτελούν «τόπους αναφοράς» διαχρονικής σημασίας για τη νεοελληνική τέχνη: η αναφορά στην αρχαιότητα, η προσέγγιση του καθημερινού κόσμου, το τοπίο ως οδηγός για την καλλιτεχνική έκφραση.
Το ενδιαφέρον εστιάζεται στις πολλαπλές αναγνώσεις των έργων και στις ερμηνείες με τις οποίες κάθε θεματική εξυπηρέτησε ανά εποχή διαφορετικούς στόχους – καλλιτεχνικούς, ιδεολογικούς, κοινωνικούς –προωθώντας τα αντίστοιχα μηνύματα προς την ελληνική κοινωνία. Έτσι, και η ίδια η Συλλογή της Τράπεζας της Ελλάδος προσεγγίζεται ως ένας «τόπος αναφοράς» έργων τέχνης που επιχειρούν να διατυπώσουν διαχρονικά όψεις της ελληνικής πολιτισμικής ταυτότητας.

This is my text (English version) from the book I co-edited, "Paradox 1990s. Curatorial Concepts During Meciarism". Each of us eight curators did homage to one of the most important curatorial projects which happened in 1990s, in the situation the democracy was once again disputable in Slovakia. The support for contemporary art was very small and it was the result of the work of just few personalities, that contemporary art didn't dissapear from the scene.

Metropolitan Museum of Art between 1929-64, who claimed, "it is now considered to be modern", although he did not quote any references. 4 Paul Post, curator of the Zeughaus in Berlin, mentions Grancsay's report in his article of 1938, adding a personal note that he never received an answer from Grancsay concerning why he deemed it a forgery. 5 After Grancsay's statement, however, in historiography the Possenti Saddle was regarded as a fake product. 6 In spite of this, according to the museum's latest opinion in 2012, it dates from c. 1450. 7 Apart from regarding it as a forgery, Grancsay also claimed that the Possenti Saddle was confused with a similar one, which differs from it in certain details (Fig. 2). 8 According to him, this other saddle was once in the Possenti Collection, then in the collection of Marchese D… in Milan, and thereafter in the Aicholz Collection in Vienna. 9 Paul Post also

Napoli, 1980. Museo di Capodimonte, 7 Marzo. Con i ringraziamenti all'artista giunge dal Ministero per i Beni Culturali e Ambientali il decreto di acquisizione del Grande Cretto Nero che Alberto Burri aveva donato l'anno prima, germe di quella che sarebbe diventata la prima sezione in Italia di arte contemporanea in un museo d'arte antica. Galleria Lucio Amelio, 1° Aprile. Viene presentata la mostra Beuys by Warhol con i ritratti che il guru della Pop art fece dello Sciamano, opere che suggellano l'incontro a Napoli tra i due grandi artisti di cui resta oggi un bellissimo filmato trasmesso dalla Rai. 23 Novembre. Il terremoto da tragica potenza devastatrice si trasforma in impulso creativo e "ricostruttivo" con l'avvio del progetto di Amelio per Terrae Motus. Mentre infaticabile prosegue l'attività delle gallerie, iniziano qui le vicende delle prime due grandi collezioni pubbliche d'arte contemporanea della città, suggerendo fatidicamente una data di inizio per una mostra e per un primo passo nella ricognizione documentale sull'arte a Napoli negli ultimi decenni.

Comisariado. Pedro Luis Cembranos utiliza el formato documental para realizar una exhaustiva investigación, donde la intriga y el misterio planean sobre la muerte de un famoso galerista, editor y marchante de arte francés. Este sugestivo relato, que se muestra acompañado de los parajes por donde discurrió la vida y la muerte de Vollard, va desvelando pausadamente, no sólo los detalles concretos que afectan a un legado en particular, sino los complicados entresijos personales y legales ocultos en la penumbra de los cuartos traseros del coleccionismo y del mercado del arte europeo del siglo XX.

Praha se v meziválečném období stala jedním z předních center emigrace z bývalého ruského impéria, a to i díky vstřícnému postoji mladé republiky a její politické reprezentace. Publikace, věnovaná výtvarné scéně "ruské Prahy", se neomezuje na autorky a autory, kteří se octli v emigraci v Československu, ale sleduje naopak místo Prahy v síti kontaktů ruské emigrace jako takové. Zároveň mapuje vztahy místní exilové komunity s dalšími středisky emigrace, především Paříží. Perspektiva institucionálních rámců, akvizičních praxí a strategií a jejich politických motivací umožňuje zabývat se ruskou sbírkou Karáskovy galerie, státními nákupy ruského umění, Archivem a galerií slovanského umění Slovanského ústavu, skupinou Skytové a výtvarnou expozicí Ruského kulturně-historického muzea jako symptomatickými příklady, na kterých lze ukázat proměňující se hranice pojmu ruského umění mimo Rusko a vztah výtvarné produkce k uměleckým tradicím předrevolučního Ruska. Pro popisované výstavy a umělecké sbírky jsou charakteristické bohaté mezinárodní kontakty a překračování hranic místních kontextů. Kniha proto klade důraz zejména na popis kulturních transferů a tím se snaží postihnout dynamiku vztahů s mezinárodní ruskou komunitou i místním kulturním děním.

Encontrar, comprender, atesorar y promover imágenes que expresan la experiencia singular de la cultura y la sociedad cubanas a lo largo de la
historia, así como dialogar con sus creadores, se ha convertido en una motivación y un desafío para la familia. Así, en el intento de comprender a Cuba y a su arte, el coleccionismo de los Rice ha ido transitando el trecho que va del azar, inherente a toda exploración espontánea, a la formación de un nexo afectivo e intelectual con el hallazgo, que es el mismo camino que va de la intuición al conocimiento, de la serendipia a la búsqueda consciente, de la apreciación al compromiso y al testimonio. Fue así como la relación con el arte de la Isla se convirtió, más allá de las imágenes, en una suerte de historia de amor con Cuba y su cultura.

With everything that's going on in the world around us today also art seems to be on the verge of urgency. "I think what we really need is an idea for the future, and innovation for the future," told me renown collector and gallerist Rolf Ricke. I met up with him in Berlin to talk about the current state of the art world. Who would know these things better than him-an advocate of contemporary art for over 50 years?

Over the years, several artworks have been compiled at various campuses of Istanbul Technical University (ITU) forming a modest collection. These artworks, however, have never been identified, documented, catalogued, and/or studied in an art historical manner. The purpose of this paper is to identify and analyze the artworks in the ITU Art Collection Inventory for the first time and provide suggestions for its development. Initially, all campuses and faculties/facilities of ITU were visited and the artworks found in each location were recorded based on the guidelines set by the International Council of Museums (ICOM). The findings have been categorized and presented according to different campuses of ITU as well as the types of artworks, which include forty-five paintings, nineteen sculptures, four engravings, one mural, and one panel, a total of seventy works. Recommendations have been developed based on the content of the inventory in accordance with ITU's mission, vision, and history. The relationship between science, technology, and art has been the main focus of the general suggestions, which have been made for ITU to build a strong relationship with artists and academics in the campus as well as with ITU's Rectorate Art Gallery to innovate new forms of artworks in the contemporary art field. It should be noted that most of the artwork were tributes to prominent Turkish scientists and scholars. The relationship between art and science observed in most of the artworks is suggested to become the binding factor for the cohesiveness of the ITU Art Collection.

During the interwar period, two public collections of foreign modern art were created in the First Czechoslovak Republic. Among the prominent initiators of acquiring French modern art by the Moderni Galerie was Vincenc Kramář, a distinguished collector and art historian. During that same period, the East Slovak Museum in Košice started to purchase pieces of modern art from Hungarian artists, which was in turn inspired by a lawyer and art historian, Josef Polák. Although both collections originated from political events, neither would have been possible without the passion or the abilities of Kramář and Polák. The article presents these two art historians and their efforts to promote the collecting of modern art. Dwie kolekcje sztuki nowoczesnej Pierwszej Republiki Czechosłowackiej...

Come Closer: The Biennale Reader presents various perspectives on class, race, and gender differences as they manifest themselves in the specific contexts of post-socialist states-in their histories as well as in the present day. The focus is on art as a specific language that can mediate various experiences, while centering on emotions, intimacy, and care. This reader includes republished texts as well as newly commissioned contributions from both emerging and established artists, social and political scientists, and art historians from Eastern Europe, Asia, and the United States. COME CLOSER The Biennale Reader Vít Havránek, Tereza Stejskalová (Eds.) $24.95 / €19.00 / $33.95 CAN ISBN 978-3-95679-570-1 9 7 8 3 9 5 6 7 9 5 7 0 1 5 2 4 9 5