32517 - Laboratory of Visual Arts Management

Learning outcomes

The student is expected to learn tools and methods to manage visual arts organizations. In particular, the student is expected to: - Understand the role of public sector in increasing the value of cultural heritage and the arts - Learn more about international arts markets - Think about contemporary art as a way of local development - Create and develop innovative visual arts projects.

Course contents

Course description

In this course, students will be given the opportunity to learn about, engage with, and discuss a wide range of issues relating to visual arts management including events, decisions about curatorship and display, education, interpretation, learning, marketing and sponsorship.

Using lectures and presentations, outside visits and workshop activities, participants will explore many aspects of what it means to make an art gallery, museum or cultural venue more accessible for all visitors, how to develop creative thinking, the importance.

Wednesday 10 May 2023, 15.00 – 18.00

Lecture 1: Introduction to Visual Arts Management and workshop activity (Sylvia Lahav)

Thursday 11 May 2023, 12.00 – 15.00

Lecture 2: Museums and Galleries as Cultural Entrepreneurs and workshop activity (Sylvia Lahav)

Friday 12 May 2023, 13.00 – 16.00

Lecture 3: Visit to paradisoterrestre® (Via De’ Musei, 4, Bologna) and a talk from Nicole.

Monday 15 May 2023, 16.00 – 19.00

Lecture 4: A chance to meet artists Paolo Ghezzi and Nadia Antonello at their workshop in the Giardini Marherita, Studio Antonello Ghezzi - Palazzina Liberty Giardini Margherita, Piazzale Mario Jacchia 1/4, Bologna

paolo@antonelloghezzi.com [http:]

nadia@antonelloghezzi.com [http:]

Tuesday 16 May 2023, 16.00 – 19.00

Lecture 5: Visit to Adiacenze Gallery (Vicolo Spirito Santo, 1, Bologna) a hybrid exhibition space devised as a workshop for cultural innovation that focuses on emerging art and on investigating the contemporary world in all its multiple facets in order to understand the role of art in Italian culture.

Director Amerigo Mariotti says,

‘I am convinced that a methodology based on multilateral thinking, a hybrid process of creation, mutually reinforces each field involved in the experimentation. This is already happening, but I hope we will increasingly be able to see more realities where, for example, an artist works in an architect’s studio, as well as in a research and development department of a company or within a university’.

Adiacenze: https://www.bolognawelcome.com/en/places/museums-and-art-galleries/adiacenze-2

Wednesday 17 May 2023, 15.00 – 18.00

Lecture 6: Education and Learning in Museums (Sylvia Lahav) and a talk from James M. Bradburne, architect and museologist, since July 2015 General Director (Direttore generale) of the Pinacoteca di Brera (Brera Art Gallery) and Biblioteca Nazionale Braidense (Braidense National Library).

Thursday 18 May 2023, 16.00 – 17.00

Lecture 7: Presentations

Friday 19 May 2023, 13.00 – 16.00

Lecture 8: Presentations

 

 

Readings/Bibliography

Anderson, D. and Great Britain. Department of National Heritage. (1997), A common wealth: museums and learning in the United Kingdom, a report to the Department of National Heritage. [London]: Department of National Heritage.

Bal, M. (2001), Looking in: the art of viewing. Amsterdam: G+B Arts International.

Baldry H, The Case for the Arts (1981), Martin Secker and Warburg, London.

Barker E. Contemporary Cultures of Display (1999), Yale University Press with The Open University.

Belting, H. (2003), Art history after modernism. Chicago; London: University of Chicago Press.

Bennett, T. (1995), The birth of the museum: history, theory, politics. London; New York: Routledge.Bishop, C. Radical Museology, (2014) Koenig Books, London.

Duncan, C. (1995), Civilizing Rituals: Inside Public Art Museums: Routledge.

Elkins, J. (1996), The object stares back: on the nature of seeing. New York; London: Simon & Schuster.

Falk, J.H. (2009). Identity and the Visitor Experience. Left Coast Press. Walnut Creek.

https:// www.academia.edu /2105958/The_museum_environment_and_the_visitor_experience

Hill, E, O’Sullivan C, O’Sullivan T, (1995), Creative arts Marketing Scotprint Ltd. UK

Gillmore, a., & Rentschler, R. (2002). Changes in museum management: A Custodial or Marketing emphasis? Journal of Management Development, 21 (10), 745 – 760

http:// dro.deakin.edu.au /eserv/DU:30008525/rentschler-changesinmuseum-post-2002.pdf

Goulding, C, (2000). The museum environment and the visitor experience. European Journal of Marketing, 34 (3/4), 261- 278 (http:// www.academia.edu /2105958/The_museum_environment_and_the_visitor_experience (download pdf)

Grenfell, M. and Hardy, C. (2007), Art rules: Pierre Bourdieu and the visual arts. Oxford: Berg,

Gumbrecht, H. U. (2004), Production of presence: what meaning cannot convey. Stanford, Calif.: Stanford University Press; [London: Eurospan, distributor].Kirby, Alan. Digimodernism: How New Technologies Dismantle the Postmodern and Reconfigure Our Culture, Continuum, London 2011

Hooper-Greenhill, E. (1994), The educational role of the museum. London: Routledge.

Hooper-Greenhill, E. (2000), Museums and the interpretation of visual culture. New York: Routledge.

Jay, M. (1993), Downcast eyes: the denigration of vision in twentieth-century French thought. Berkeley; London: University of California Press.

Kolb M.B. Marketing for Cultural Organisations (2005), Thomson Learning, London. Mitchell, W. J. T. (1995), Picture theory: essays on verbal and visual representation. Chicago, Ill.; London: University of Chicago Press.

Lahav, S. (2023). Curating, Interpretation and Museums: When Attitude Becomes Form (1st ed.). Routledge. https://doi.org/10.4324/9781003213130

Maisaraf Marman. The Museum Environment and the visitor experience. Mitchell, W. J. T. (2005), What do pictures want? : the lives and loves of images. Chicago: University of Chicago Press.

Mitchell W.J.T. (ed) Art and the Public Sphere Ed (1990). The University of Chicago Press, Chicago.

Morris, I. B. a. F. (2000), Tate Modern Handbook: Tate Publishing. Showing the Twentieth Century p. 28-39

O’Neill P. and Wilson M (eds), Curating and The Educational Turn (2010), Open Editions, London 84-106

Pearce S. (ed) Art in Museums (1995) The Athlone Press. Audiences a curatorial dilemma. 143-163

Spalding, F. (1998), The Tate: a history. London: Tate Gallery.

Scheff Bernstein, Joanne, Standing Room Only: Marketing Insights for Engaging Performing Arts Audiences. 2014 357-370

Tusa, J. (1999), Art matters: reflecting on culture. London: Methuen.

O'Toole, M. (1994), The language of displayed art. London: Leicester University Press.

Preziosi, D. (1989), Rethinking art history: meditations on a coy science. New Haven; London: Yale University Press.

Ravelli, L. (2006), Museum texts: communication frameworks. London; New York: Routledge.

Serota, N. (2000), Experience or Interpretation The Dilemma of Museums of Modern Art. London: Thames and Hudson.

Sontag. (1967), Against interpretation, and other essays: Eyre & Spottiswoode.

Tusa, J. (1999), Art matters: reflecting on culture. London: Methuen.

1. Geoffrey Norris, Daily Telegraph, 17 September 2007
2.Danny Newman, Subscribe Now! Building Audiences Through DynamicSubscription Promotion, 1981
3.Diane Ragsdale, Mission: Possible, AMA day event and AGM 2007,and Move On Up Conference, June 2008, New Zealand
4.Did You Know? 2.0 and Shift Happens, yplanevisualthinking,dannybridge, You Tube
5.Charles Leadbetter, We Think: Why mass creativity is the next bigthing, 2007
6.Charles Handy in The Age of Unreason (1989), referred to thephenomenon of the frog that when placed in water that is slowly heated up passively sits, unaware of its changing environment, and allows itself to be boiled alive – a metaphor for organisations remaining oblivious to or unmoved by the changing world around them.

7.Diane Ragsdale, Mission: Possible, AMA day event and AGM 2007, and Move On Up Conference, June 2008, New Zealand

8. Wolf Brown, Assessing the Intrinsic Impacts of Live Performance, January 2007

9.Diane Ragsdale, Mission: Possible, AMA day event and AGM 2007, and Move On Up Conference, June 2008, New Zealand

Chong, D. 2002. Arts Management: Critical Perspectives on a New Sub-discipline. London: Routledge (Electronic book)

http://www.telegraph.co.uk/culture/art/art-features/7710497/Tate-Modern-at-ten-how-Middle-Britain-learned-to-love-Modern-Art.html

https://www.google.co.uk/search?client=safari&rls=en&q=tate+annual+report+and+accounts+2012-13&ie=UTF-8&oe=UTF-8&gfe_rd=cr&ei=qubpU4_gH4Oo4Aak4YDQAg#q=tate+annual+reports&rls=en

http://www.vam.ac.uk/content/articles/v/v-and-a-mission-and-objectives/

http://www.coram.org.uk/about-us/our-reports-and-accounts

https://www.academia.edu/2105958/The_museum_environment_and_the_visitor_experience

Audience Knowledge Digest: Why people visit museums and galleries, and what can be done to attract them, Morris Hargreaves and McIntyre, Manchester, March 2007

Morris Hargreaves and McKintyre So Many Galleries, So Little Time, The Impact of Evening Gallery Opening, Market Research Analysis, September 2002

http:// mhminsight.com /static/pdfs/culture-segments/en.pdf

http://www.vam.ac.uk/__data/assets/pdf_file/0003/243345/Funding-Agreement-2013-15-2015-16-Compressed.pdf

http://www.tate.org.uk/download/file/fid/11451http://www.vam.ac.uk/__data/assets/pdf_file/0004/243346/Annual-Report-and-Accounts-2013-2014.pdf

Greenhow, C. and Robelia, B. (2009), Old Communication, New Literacies: Social Network Sites as Social Learning Resources. Journal of Computer-Mediated Communication, 14: 1130–1161. doi: 10.1111/j.1083-6101.2009.01484.x

Bennett, T. (1995), The birth of the museum : history, theory, politics. London ; New York: Routledge.

Hooper-Greenhill, E. Changing Values in the Art Museum - Re-thinking Communication and Learning.

Preziosi, D. (1998a), The art of art history : a critical anthology. Oxford: Oxford University Press.

Serota, N. (2000), Experience or Interpretation The Dilemma of Museums of Modern Art. London: Thames and Hudson.

Tusa, J. (1999), Art Matters. London: Methuen

Morris, I. B. a. F. (2000), Tate Modern Handbook: Tate Publishing.

Teaching methods

Frontal lectures, visits

Assessment methods

The final assignment for the course will involve the students creating their own museum: deciding on a theme for the museum, researching work from any collection, devising education, interpretation and communication, marketing and fundraising. Each student will need to prepare a ten-minute PowerPoint presentation introducing the museum. They will also need to make their own museum guide.

Final grade: 

• <18: fail
• 18-23:sufficient
• 24-27: good
• 28-30: very good
• 30 e lode: excellent

Teaching tools

Power point

Guests

Visits

Office hours

See the website of Sylvia Joan Lahav