Established in 1977 and celebrated worldwide around the 18th of May, the International Museum Day aims to increase the public awareness about the role of museums in developing society.
Museum and Memory is the theme for the 2011 edition, showing how museums collect and transmit the individual and collective memories of our communities through objects.
These objects, many of them rare and in need of special care and conservation, are expressions of our natural and cultural heritage, fundamental witnesses of our identity.
To preserve the transmission of this cultural heritage to future generations, the International Council of Museums has initiated close institutional partnerships with other organisations that feel concerned by these questions and share ICOM’s preoccupation for the preservation of memory: the UNESCO “Memory of the World” programme, the Co-ordinating council of Audiovisual Archives Associations (CCAAA), the International Council on Archives (ICA), the International Council on Monuments and Sites (ICOMOS) and the International Federation of Library Associations and Institutions (IFLA).
During the International Museum Day 2011, museums around the world will organise several activities and will be open extended hours, often with free entrance.
On this page you can scroll down and have a glimpse of what will be on offer in the several continents.
IMD 2011 will focus on the African continent whose cultural contribution to the world is often unknown and deserves to be promoted.
Showing posts with label art programs. Show all posts
Showing posts with label art programs. Show all posts
Flash:Light by Nuit Blanche New York 2011: images of the event and "Let Us Make Cake" video
On May 7 Nuit Blanche New York presented Flash:Light, a major art event that took place on Mulberry Street and Bowery, NY.
Now you can watch some of images from the event that gathered the general public and art lovers in this part of the city.
The video "Let Us Make Cake", a 20-minute loop projection-mapped footage resulting from the collaboration between Nuit Blanche New York and Light Harvest Studios, was shown on the 174-foot façade of the New Museum (235 Bowery).
The video "Equation of Time" by Jeff Grantz, an architectural projection mapping showing the Audemars Piguet Signature movements, is expected to be available for viewing in the next few days.
The Art Inquirer wishes to thank Anna Muesig for her generous collaboration.
Now you can watch some of images from the event that gathered the general public and art lovers in this part of the city.
The video "Let Us Make Cake", a 20-minute loop projection-mapped footage resulting from the collaboration between Nuit Blanche New York and Light Harvest Studios, was shown on the 174-foot façade of the New Museum (235 Bowery).
Let Us Make Cake (New Museum, NYC) from Nuit Blanche New York on Vimeo.
The video "Equation of Time" by Jeff Grantz, an architectural projection mapping showing the Audemars Piguet Signature movements, is expected to be available for viewing in the next few days.
The Art Inquirer wishes to thank Anna Muesig for her generous collaboration.
Summer Courses at Sotheby's Institute of Art - New York
Enrollment in the 4-week summer courses at Sotheby's Institute of Art in New York is now open to college students, professionals in the field, experts-in-training and career-changers and international students while visiting the U.S. on a tourist visa.
Without any formal entry requirements, these courses allow students to develop professional expertise, critical thinking skills, and enhance their knowledge of art and about the international art market, while at the same time providing interesting and compelling insights into the art world, lectures, guest speaker interviews, and site visits led by Sotheby’s Institute of Art faculty, international experts, and leading practitioners in the field.
The intensive 4-week courses will be divided in two sessions:
31 May – 23 June, 2011:
Emerging Markets in the Global Art World.
Explore contemporary art from emerging markets such as China, Korea, India, and the Middle East, and examine developments in regions that lie beyond what was once neatly defined as "the West."
Legal Adventures & Misadventures in the Art World.
Gain an overview of important legal issues and cases in art by exploring subjects such as copyright, fair use and the appropriation of images by artists. No legal background is required.
Being a Curator in the 21st Century.
Examine today's most influential curators and seminal exhibitions of contemporary art from around the world, and analyze how the 'business' of curating has evolved over the last two decades.
Art of the Object.
Explore first-hand the essential characteristics of individual objects, covering key aspects of connoisseurship from construction to condition reports, to fully understand what to look for when assessing works of art.
Impressionism to Now.
In this intensive introduction to modern and contemporary art, students examine different movements, schools and the kinds of visual art-making practices that have proliferated since the late nineteenth century.
Contemporary Art in New York.
Get an insider's look at today's vibrant contemporary art market in New York through gallery, museum, auction house, and studio visits and gain an understanding of both contemporary art history and the newest developments.
5 July – 28 July, 2011:
Contemporary Art: Market Theory & Practice.
Students analyze the business aspects of the market for contemporary art and explore the theories behind how monetary values are attributed to objects considered by some to be priceless, and others to be worthless.
Art Marketing & Communications.
Explore the full range of marketing approaches that visual arts businesses and organizations use to communicate about their activities, attract collectors and visitors, and build their institutional brands.
How to Run a Gallery.
Gain an overview of the gallery business, from initial funding, forming an artist roster, and procuring artwork, to exhibition planning, marketing and communication strategies, and negotiating prices.
Art and Collectors.
Investigate changing taste and historical trends in collecting. Topics include motivations of historical and contemporary collectors, the economics of collecting (supply and demand), connoisseurship, and aesthetics.
Moving Images: Contemporary Photography, Video, and Film.
Explore the uses (and abuses) of the moving image in art today, while examining shifts in contemporary photography, the emergence of the artist's film, the growth of video-installations, and other critical issues in the field.
Contemporary Art in New York.
Get an insider's look at today's vibrant contemporary art market in New York through gallery, museum, auction house, and studio visits and gain an understanding of both contemporary art history and the newest developments.
All courses are offered on a non-credit basis. Students who wish to take the 4-week intensive courses for credit should inquire about requirements from their home institution. It is advisable to seek approval prior to taking the course as credit acceptance is at the discretion of individual institutions.
For students who have received approval to take the course for credit, some seminars and field trips are mandatory, and there may be an additional exam or written assignments due at the end of the course.
The registration for the Summer Study Courses at the Sotheby's Institute of Art in New York can be made online, by phone or fax.
For further information or questionsabout Public Programs, please email: publicprogramsNY@sothebysinstitute.com
This article contains excerpts from artandeducation.net and Sotheby's Institute of Art - New York
Without any formal entry requirements, these courses allow students to develop professional expertise, critical thinking skills, and enhance their knowledge of art and about the international art market, while at the same time providing interesting and compelling insights into the art world, lectures, guest speaker interviews, and site visits led by Sotheby’s Institute of Art faculty, international experts, and leading practitioners in the field.
The intensive 4-week courses will be divided in two sessions:
31 May – 23 June, 2011:
Emerging Markets in the Global Art World.
Explore contemporary art from emerging markets such as China, Korea, India, and the Middle East, and examine developments in regions that lie beyond what was once neatly defined as "the West."
Legal Adventures & Misadventures in the Art World.
Gain an overview of important legal issues and cases in art by exploring subjects such as copyright, fair use and the appropriation of images by artists. No legal background is required.
Being a Curator in the 21st Century.
Examine today's most influential curators and seminal exhibitions of contemporary art from around the world, and analyze how the 'business' of curating has evolved over the last two decades.
Art of the Object.
Explore first-hand the essential characteristics of individual objects, covering key aspects of connoisseurship from construction to condition reports, to fully understand what to look for when assessing works of art.
Impressionism to Now.
In this intensive introduction to modern and contemporary art, students examine different movements, schools and the kinds of visual art-making practices that have proliferated since the late nineteenth century.
Contemporary Art in New York.
Get an insider's look at today's vibrant contemporary art market in New York through gallery, museum, auction house, and studio visits and gain an understanding of both contemporary art history and the newest developments.
5 July – 28 July, 2011:
Contemporary Art: Market Theory & Practice.
Students analyze the business aspects of the market for contemporary art and explore the theories behind how monetary values are attributed to objects considered by some to be priceless, and others to be worthless.
Art Marketing & Communications.
Explore the full range of marketing approaches that visual arts businesses and organizations use to communicate about their activities, attract collectors and visitors, and build their institutional brands.
How to Run a Gallery.
Gain an overview of the gallery business, from initial funding, forming an artist roster, and procuring artwork, to exhibition planning, marketing and communication strategies, and negotiating prices.
Art and Collectors.
Investigate changing taste and historical trends in collecting. Topics include motivations of historical and contemporary collectors, the economics of collecting (supply and demand), connoisseurship, and aesthetics.
Moving Images: Contemporary Photography, Video, and Film.
Explore the uses (and abuses) of the moving image in art today, while examining shifts in contemporary photography, the emergence of the artist's film, the growth of video-installations, and other critical issues in the field.
Contemporary Art in New York.
Get an insider's look at today's vibrant contemporary art market in New York through gallery, museum, auction house, and studio visits and gain an understanding of both contemporary art history and the newest developments.
All courses are offered on a non-credit basis. Students who wish to take the 4-week intensive courses for credit should inquire about requirements from their home institution. It is advisable to seek approval prior to taking the course as credit acceptance is at the discretion of individual institutions.
For students who have received approval to take the course for credit, some seminars and field trips are mandatory, and there may be an additional exam or written assignments due at the end of the course.
The registration for the Summer Study Courses at the Sotheby's Institute of Art in New York can be made online, by phone or fax.
For further information or questionsabout Public Programs, please email: publicprogramsNY@sothebysinstitute.com
This article contains excerpts from artandeducation.net and Sotheby's Institute of Art - New York
Applications are open for 3rd Edition of the INOV-ART internship programme
The 3rd edition of INOV-ART will award 150 scholarships for the completion of international professional internships in the following areas and respective number of vacancies: Architecture and Urbanism (17); Performing Arts (22); Visual Arts (17); Cinema and
Audiovisual (22); Design (17); Writing and Editing (8); Management, Creative Industries and
Marketing (15); New Media (12); Heritage (8); Educational Services (12);
Audiovisual (22); Design (17); Writing and Editing (8); Management, Creative Industries and
Marketing (15); New Media (12); Heritage (8); Educational Services (12);
INOV-ART is intended for young people between 18 and 30 years old who have been residing in Portugal for over 1 year by the time they apply, who are unemployed, looking for their first job or for a new job. The candidates must possess proven qualifications in the fields of the arts and culture that they are applying to, attested by a higher education diploma, or a specialised artistic education certificate and proven experience.
Joint applications resulting from a prior agreement established between candidates and placement organisations may be submited.
Internships are expected to last between three and six months, with abroad ones being carried out between July and December 2011. The selected candidates will receive financial support, health insurance during the period of internship abroad (when applicable) and personal accident insurance covering all seminar days, the internship abroad and days spent travelling.
The deadline for applying to the 3rd edition of INOV-ART is April 15, 2011 (at 16:59:59h local time in mainland Portugal).
Candidates should consult the rules and details of the programme and its calendar before submiting their applications.
INOV-ART is an initiative of the Ministry of Culture, fostered, managed and executed by DGArtes and funded by Instituto do Emprego e Formação Profissional, I.P. with the aim of professionalization and specialization of young people in the fields of the arts and culture through the completion of professional internships at renowned organisations (“professional internship” is understood to mean the development of activities supervised by and internship coordinator which do not focus primarily on academic research, teaching, studying, nor individual projects that are not part of the activity of the placement organisation).
Subscribe to:
Posts (Atom)