Аннотация
Анатацыя
Abstract
Introduction
I. Evolution of the modern art museum conceptions
II. The museums of modern art and their synopsis
Conclusion
Literature
Glossary
Introduction
In the life of every person, art plays an important role – it contributes to the socialization of personality, the development of imagination, educates, introduces history, the most important values of society, makes you think about many events, problems, and questions of life. Art has several hypostases, which include music, theater, cinema, photography, literature, and painting. Throughout the history of mankind, art has developed along with it, and in the XXth century there was a transition to new forms of expression through art. That's when it appeared the current in this area of life, and with it the concept of “modern art”.
When James Smithson left his fortune to the U.S. government, he stipulated that it be used for “the increase and diffusion of knowledge” [3]. After debating using the gift to establish a library or a university, Congress instead decided that knowledge could best be increased and diffused in the new republic by creating a public museum. The Smithsonian Institution, established in 1846, now includes 19 museums, 9 research centers, and a zoological park.
Museums developed in response to the human need to understand the world by using collections of objects – abstractions of the real world – to make sense of the chaos around them. The collecting and ordering of things is a universal human trait that takes different forms in a diverse array of human cultures. The earliest evidence of collecting is utilitarian objects and grave goods that were part of the material culture of the earliest humans. One writer has suggested that the making and keeping of collections stems from “the human propensity to inquire and acquire” and the “twin concepts of preservation and interpretation” [3].
The purpose of the work is the description of the museums of modern art as worldwide phenomenon.
The tasks of the work are:
1) to analyze the evolution of the modern art museum conceptions;
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I. Evolution of the modern art museum conceptions
The characteristics of the external and internal space of the museum have changed greatly over several centuries of its existence, which was due not only and not so much to the change of architectural styles, but rather to the attitude of the museum to the object stored and displayed by it and to the viewer who should see this object.
Thus, the museum turns from a place of accumulation of rarities into a “reservoir storing the objectified values of past cultures” [7], a place where objects are collected for to study, not to enjoy them. And if a collection of rarities is typical for the Renaissance, then in Modern times collections are being formed that paint a complete picture of the historical development of the country, people and art. Adopting the function of explaining and interpreting reality (including historical ones) and replacing religious institutions that previously performed this role, the museum acts as a kind of “temple of science”, which takes to assume the sacred function of giving and producing meanings. This installation formed the appropriate type of museum, the prototype of which is the Greek temple with all its inherent emotional and semantic connotations and the corresponding organization of the interior space and architectural appearance. Neoclassicism, combined with artistic techniques characteristic of the ancient tradition and proposed for museum projects in 1803 by Jean Durand, determined the appearance of the museum for several decades to come.
The concept of preservation is closely related to the concept of collecting because for collections to be useful the objects in them have to endure. Some objects are much more durable than others, thus the material the objects were composed of determined, in large part, what went into early collections. For example, preserving organic matter is particularly difficult – animal skins, plant-based materials, leather, and textiles require much more care to preserve so that they can be passed on from one generation to the next than do ceramics or stone.
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II. The museums of modern art and their synopsis
The modern art movement has had a significant impact on the course of art history. Starting with the onset of Impressionism and ending as Pop Art emerged, the period lasted nearly a century, culminating in countless important works – many of which are now housed by modern art museums.
Modern art is a harmony of inner, meaningful content and external appearance.
The modern museum dates to the time when collections began to be made for the specific purpose of exhibiting the objects to the public, but this is not an easy-to-define moment [13].
Visiting a modern art museum may or may not be at the top of to do list. Even if you are not the greatest fan of modern art, or do not fully understand it, you should still give the experience a try with an open mind. Even if you find some of the art to be quite ugly, the idea is to have that experience open your mind creatively.
By creating the concept of the exhibition, the author creates a scenario for the viewer, according to which he must move around the museum, perceive the works, placing visual and emotional accents. Additional elements such as sound, lighting and interactive elements of the exhibition help the viewer to better perceive contemporary art and not just to be in a museum, but to get into a certain environment where the game is played according to its own rules and the result of this game is productive museum communication.
The work contains 10 museums of modern art, which not only fill the minds of visitors with creative thoughts, but also delight random passers-by with their designs.
Stiftung Insel Hombroich in Neuss, Germany, is a museum founded by art collector Karl-Heinrich Muller in 1987. This museum is an offer to forget about the hustle and bustle of the city and fashion trends for a while. There are absolutely no signs on its territory, so museum guests can explore this space close to nature on their own, finding their favorite trails and views [1].
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Conclusion
The cultural phenomenon of contemporary art museums is ”dictated” by art itself, which is based on a different artistic “construction” that completely does not fit into the usual exposition hierarchies. This “construction” is “timeless”. She goes into the sphere of radical artistic gesture and life realities, figurative and analytical practices and forms of criticism.
Since the end of the XXth century, there has been a rapid development of contemporary art museums, and they are looking for new ways of representation, directorial solutions for exhibiting their exhibits.
But the modernity of art does not depend directly on the room in which it is exhibited – it can be either a specially built museum building, new in form and content, with an original architectural solution, or a traditional one.
In modern conditions, the museum turns out to be the place where, thanks to representation, an artifact is transformed into a work of art and variants of the “story” about the process of its creation are formed.
Based on the results of the analysis of the activities of contemporary art museums over the past century, two main types of exposure can be distinguished. The first of them is used in the largest museums. They implemented a “modernist project” of art. The second is the latest architectural “modules” with a completely detached space from the exposition, where visitors are involved in the “game of constructive plans”.
Recently, the museum of modern art has been trying to focus not on names, but on reflecting the artistic process in its space. If earlier viewing a work in a museum was a communication between the artist and the viewer, now it is a communication between the work itself and the museum visitor, and the main meaning lies in the perception of the work. The artist puts a certain model into his work, which acquires many meanings depending on the spiritual, personal, and social attitudes of the viewer.
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2. Giebelhausen M. New museum theory and practice: an introduction. Oxford, 2006. P. 44.
3. Latham, K.; Simmons, J.E. Foundations of Museum Studies: Evolving Systems of Knowledge; Libraries Unlimited: Santa Barbara, CA, 2014.
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12. Accueil – Centre Pompidou. [Электронный ресурс]. Режим доступа: https://www.centrepompidou.fr/, свободный/.
13. MAXX Museo nazionale delle Arti del XXI secolo. [Электронный ресурс]. Режим доступа: http://www.fondazionemaxxi.it/.
14. Tate Modern Tate. [Электронный ресурс]. Режим доступа: http://www.tate.org.uk/visit/tate-modern/.
15. The Guggenheim Museums and Foundations. [Электронный ресурс]. Режим доступа: https://www.guggenheim.org/.
