Architecture for Contemporary Art; A configurational Approach to Space and Identity in Guggenheim Museums

Besides its architecture, Guggenheim’s configuration is characterised by its high qualities of art collections. The meaning of a worldwide museum also gives to Guggenheim a commercial identity. The Solomon R. Guggenheim New York was to be an ultimate expression of organic and sculptural architecture. It became a model for Guggenheim’s museums' designs. The modern architecture on which Guggenheim’s organisation is embedded, have shown how buildings besides belonging to a marketplace and besides their displays of fine art, are more important in a social way; the formation of identity in modern society. Over past centuries, science, knowledge and art, were significant. In this way, museums gradually began to exhibit specialised objects. Besides this, the role of a museum started to go beyond the classification of objects. It could be said that museums began to generate their identity through the objects they exhibit, through the social enterprise they represent, and even generate the identity of the objects themselves. Guggenheim’s configuration suggests a museum type based on spatial properties. The cultural intent type defined for Guggenheim Foundation involves two main characteristics; the expansion of business in the field of contemporary arts, and an experimental model for displaying original expressions of artists. The conception of the functional character of the project is reflected in its circulation system and architectural intent. It could be argued that Guggenheim’s genotype is based on controlling spaces allowing visitors of the displays to explore contemporary art on one hand and experiment with modern architectural forms on the other

The Guggenheim Museum Bilbao in scientific journals: Asymmetries between the American art perspective and the European regional planning viewpoint.

Bilbao has gained fame with the Guggenheim Museum, even in the Academic world. Google Scholar yields 2610 outcomes for “Bilbao Guggenheim” and the number of articles published in ISI-WoK listed-journals is 93 up until today. Surprisingly, however, almost 80% of these articles have been published by foreign authors, whereas many prestigious local authors have little or almost no scientific production in the ISI listed journals. This article analyses the connexions between nationality, language and publications, and offers an explanation for the disproportion between foreign and local knowledge, which causes mistaken scientific and public opinions about the “Guggenheim-Effect”.Guggenheim Museum Bilbao. Bibliometrics

The Ambiguities of Iconic Design: Mo Modern Art Museum by Daniel Libeskind

The article is focused on the cultural phenomena of architectural iconism that has become globally widespread due to the continuous pressure of ongoing economic, ideological and cultural globalisation and the reigning interests of the web of building industry that appropriates architectural design for its own financial purposes as well as local political stakeholders who often seek to replicate the success of previous internationally renowned iconic buildings by aspiring to the status of world-class cities. While discussing the global and local cultural contexts in which the so-called ‘Bilbao effect’ triggered the current pursuit of iconic buildings, the author of the article analyses the much publicized recent example of iconic architecture in Eastern Europe – the MO Modern Art Museum that was designed by Daniel Libeskind and opened in Vilnius, the capital of Lithuania in 2018 on the site of an abandoned and eventually demolished cinema in the vicinity of the historical Old Quarters. It is argued that despite of publicity and largely overcooked praises of international architectural media, the museum’s architectural design remains an example of ‘signatory architecture’ that largely ignores the aesthetics of its local urban environment and peculiarities of local historical and cultural context. It is suggested that that despite of claims of being contextual, in fact the building is not and on the contrary: it exhibits most of the aesthetics features that plaque iconic buildings in various localities on different continents

European Capitals of Culture as a tool of enhancing economic development and urban branding, a proposal for Tbilisi, Georgia

Se analiza el desarrollo económico producido por ser capitales culturales, el impacto urbano y socioeconómico que conlleva. Se propone Tbilisi como ejemplo para apreciar el impacto económico de la cultura.Grado en Comerci

The Solomon R. Guggenheim Foundation and Museum

In January 2010, I began an internship at the Solomon R. Guggenheim Foundation and Museum in New York City. The Solomon R. Guggenheim Foundation is the nonprofit organization that owns and operates the New York museum and its affiliate museums around the world. I work within the Foundation\u27s Development Department, focusing on Membership and Individual Development. The following report includes an overview of the organization, a description of my role as an intern within the Development Department, my analysis of the administration of the organization, and my recommendations for the organization that I have developed over the course of my service, which will conclude in April 2010

Guggenheimia maailmalle - case-tutkimus taideorganisaation kansainvälistymisestä

The objective of the research is to explore internationalization of a modern and contemporary art museum and interpret literature of international business in the context of art organization. The purpose of this research is to understand how an organization has internationalized by establishing museums all over the world carrying its own brand name. This research applies literature from international business and earlier museum studies and extends them to the art museum field. The study was conducted as a qualitative single case study focusing on the Guggenheim Foundation. The research data was constructed from news archive of New York Times and Helsingin Sanomat. Based on the findings internationalization process of the Guggenheim Museum has been an ambiguous process. The research suggests that the internationalization of the Guggenheim Museum can be understood through networks. To conclude, based on the network approach it can be described that during the internationalization process Guggenheim Museum interacts with a socio-political network of the foreign market in which the actors of socio-political network and their group of interest can directly or indirectly have an impact on the attempt to internationalize

The Conflicting Obligations of Museums Possessing Nazi-Looted Art

During the Nazi regime, much of Europe’s art was pillaged. This Note addresses the conflicts faced by museums when an original owner or heir of artwork brings an ownership claim against a piece in the museum’s collection. Because of their fiduciary duties, museums are encouraged to protect trust assets. Museums can protect their assets from ownership claims with statutes of limitations and laches defenses, which grow stronger with the passage of time. On the other hand, professional codes of conduct encourage museums to work with heirs when there is a claim of ownership to find a mutually agreeable solution. This Note argues that because museum trustees are given discretion, it is reasonable to follow professional ethical guidelines and thus fulfill their duty of care. When the ownership claim is valid, museums should follow the ethical guidelines and work with the heirs to find an amenable solution. When the ownership claim is invalid, however, museums are under no ethical obligation to forego litigation and work with the heirs. If museums decide to pursue litigation when the claim is valid, though, then that behavior is unethical

Cities of culture and the regeneration game

Capital of Culture (ECoC) programme exactly a year on from its inauguration. This event also saw the transition from Liverpool's "Year of Culture 08‟ to "Year of Environment 09" and a simultaneous event in the Austrian city of Linz to which the Capital of Culture mantle passed, along with Vilnius, Lithuania. An estimated 60,000 people congregated at the Pier Head as well as at the Albert Dock and Wirral bank, for a celebration that included sing-a-longs, firework displays, street artists on illuminated bikes and light projections onto a famous refurbished new museum building making up this World Heritage city. This "Light Night" celebration also kick-started similar events held in cities in England and Scotland, with extended opening of venues. The Light Night theme chosen for Liverpool 08's swansong emulates the Nuit Blanche festival celebrated in dozens of cities such as Paris, Rome, Montreal and Toronto - the largest of which attract 1 to 3 million participants over "late night" weekend extravaganzas (Jiwa et al., 2009). These "eventful cities" (Richards and Palmer 2010) reflect a global trend and network that spreads virtually and geographically (Evans, 2011)