Course detail

Management system of contemporary art

FaVU-3PSSUAcad. year: 2018/2019

A number of factors which could be considered "non-artistic" have been influencing the forms of contemporary art since the 1850s. However, like in medieval, Rennaissance, or Baroque periods, social, economic, and institutional factors have strongly determined the concept of artist as an author and the nature of the producion and distribution of her art. Production, distribution, interpretation, and consuption of art and the values connected to it are tied to the existence of historically founded institutions which today find themselves in a complicated mesh of relations. Without understading institutional, cultural-political, and economic contexst in which concrete artworks and operations tied to them (physical, symbolic, market-economical) find themselves and which is frequently the very condition of the artwork's existence or the impulse for its creation (the preservation of the object or of the even as an artwork or even the very identification of the object or event as an artwork), it is not possible nowadays to professionally reflect art. The course deals primarily with system phenomena which academic literature refers to "art management" or "field of artistic production."

Learning outcomes of the course unit

Adademic debate on the lecture topics.

Prerequisites

None.

Co-requisites

Not applicable.

Recommended optional programme components

Not applicable.

Recommended or required reading

Walter BENJAMIN, Autor jako producent. In týž: Agesilaus Santander, Praha 1998, s. 151–174. (CS)
Robert S. NELSON – Richard SHIFF, Kritické pojmy dejín umenia. Bratislava 2004. (CS)
Mária ORIŠKOVÁ (ed.), Efekt múzea: predmety, praktiky, publikum. Antológia textov anglo-americkej kritickej teórie múzea. Bratislava 2006. (CS)
Guy DEBORD, Společnost spektáklu. Praha 2007. (CS)
Daniel BIRNBAUM, Isabelle GRAW: Canvases and Careers Today. Criticism and its Market. Berlin 2008. (EN)
Walter BENJAMIN, Umělecké dílo ve věku své technické reprodukovatelnosti. In týž: Literárněvědné studie. Praha 2009, s. 299–326. (CS)
Gerald RAUNIG – Gene RAY, Art and Contemporary Critical Practice, London 2009. (EN)
Pierre BOURDIEU, Pravidla umění. Brno 2010. (CS)
Tomáš KULKA – Denis CIPORANOV (eds.), Co je umění? Červený Kostelec 2010.
Christian RATTEMAYER, Exhibiting the new Art. New York, London, Amsterdam 2010.
ON CURATING. (NEW) INSTITUTION(ALISM). Issue 21, Dezember 2011.
Claire BISHOP, Radical Museology. London 2013.
Pascal GIELEN (ed.), Institutional Attitudes. Instituting Art in a Flat World, Valiz, Amsterdam 2013.
Brian O´DOHERTY, Uvnitř bílé krychle. Praha 2014.
Peter BÜRGER, Teorie avantgardy. Stárnutí moderny. Praha: VVP AVU, 2015.
Karel MARX, Kapitál I. Praha 1954.
Mary DOUGLAS, How Institutions think. New York 1986.
Juergen HABERMAS, Strukturální přeměna veřejnosti. Praha 2000.
Émile DURKHEIM: Společenská dělba práce. Brno 2004.
Peter VERGO, The New Museology. London 1989.
Suzi GABLIKOVÁ, Selhala moderna. Olomouc 1995.
Francesco POLI, Il sistema dell´arte contemporanea. Roma-Bari 1999.
Babias, MARIUS (ed.), Kunstvermittlung and Vermittlungskunst. Berlin 1994.
Elisabeth MANSFIELD (ed.), Art History and its Institutions. Foundations of a discipline. London – New York 2002.
Petra HANÁKOVÁ, Výstava-trhák. Muzeológia éry blockbustera, In: Galéria – Ročenka Slovenskej národnej galérie 2003, s. 43 – 50, Bratislava 2004.
Nina MÖNTMANN (ed.), Art and its Institutions. Current Conflicts, Critique and Collaborations. London 2006.
Paul O´NEILL (ed.), Curating Subjects. London 2007.
Petra HANÁKOVÁ, Ženy-inštitúcie? Bratislava 2010.
James F. ENGLISH, Ekonomie prestiže. Brno 2011.
Pascale CASANOVA, Světová republika literatury. Praha 2012.

Planned learning activities and teaching methods

Lectures, excursions.

Assesment methods and criteria linked to learning outcomes

Doctoral exam.

Language of instruction

Czech

Work placements

Not applicable.

Course curriculum

1. Art market institutions (the historical development of art market, commercial galleries, auctions)
2. Museum as a specific and historically determined institution bestowing social and political evaluation of artworks, their distribution, and communicaton
3. Forms of communication about artworks in the public (salons, biennals, shows, not-for-profit galleries, site-specific projects)
5. Types of institutions supporting the making and distribution of artworks (foundations, bursaries, grants)
6. Specialist knowledge on art distribution (so-called art management).

Aims

The course provides a historical survey and contemporary working of art management and offers students basic methodological reflection of paradoxes inherent to the system (individual creative freedom vs. social and institutional determinacy). A special emphasis will be put on contemporary thinking on institutional frameworks of art management respective to the discussions regarding institutional critique, new institutionalism, and the speculative turn.

Specification of controlled education, way of implementation and compensation for absences

Mandatory lectures and tutorials.

Classification of course in study plans

  • Programme VUD Doctoral

    branch VUUP_DK4 , 1. year of study, summer semester, 0 credits, compulsory

  • Programme VUD Doctoral

    branch VUUP_DP4 , 1. year of study, summer semester, 0 credits, compulsory

Type of course unit

 

Lecture

6 hours, compulsory

Teacher / Lecturer

Consultantive education

6 hours, compulsory

Teacher / Lecturer