Relationship between museums and non western collections

Contemporary Art and the Museum in the Global Age — Fórum Permanente

relationship between museums and non western collections

The trend in non-Western art history is on contemporary art, which places the Credit Left, CAAC/Pigozzi Collection, Geneva; Right, Metropolitan Museum of Art during the annual College Art Association conference this winter. . a pedestrian-mall hallway between galleries of modern art and the Michael. rect connection between the individual, events and objects; as Frisch points out, memory ing with non-Western groups and non-Western collections? Between. have museums with collections that include non- Western art taken into account the .. structured the relationship between Western and non- Western artists.

In April, homeland security agents relieved the Honolulu Museum of Art of seven ancient Indian artefacts believed to have been acquired through Subhash Kapoor, a New York-based art dealer. Kapoor, who currently languishes in police custody in India, presided over a vast criminal operation whose full scope authorities are still trying to understand. Operation Hidden Idol has piled further pressure on American museums to ensure that their collections are not home to illegally acquired artefacts.

In the last 10 years, public collections including the Getty Museum in Los Angeles and the Met have given up hundreds of tarnished objects. In acquiring these illicit antiquities, museums failed to do due diligence in determining the authenticity and provenance of objects. They have since lost millions of dollars.

Sometimes, these claims have little to do with the illicit trade.

relationship between museums and non western collections

One of Egypts most famous artifacts, the Rosetta Stone, which is the key to Ancient Egypts hieroglyphic language has been taken away to a museum as well. Some people argue that these artifacts should be in major cities like New York or London so different people can see them and learn about them. While others argue they should be in museums of the countries they originated from. Until recently, Natvie Americans could not claim ownership rights to artifacts found in their land.

My College Education: Museums

It wasn't until when the federal government passed the Native American Graves protection act. This meant Native Americans could reclaim their artifacts from museums.

After the tribes claim ownership, then they get to decide what happens to the artifacts. Some museums, however do not want to hand them all over. Some try to make a deal with these tribes to only return a few artifacts. There are many artifacts looted from countries, tribes, or religous groups.

One of the earliest works of art known to be looted during a war, was the steele of King Naram-Sin of Akkad.

relationship between museums and non western collections

This artifact is now in the Louvre Museum in Paris. In western literature, the Palladion was the earliest and most important taken statue. On the other hand, the global space absorbs the privilege of representing history including the variant of art history in the Western world. It also threatens to undermine the system of the art world. The new presence of those who were formerly outsiders was not yet in sight when Araeen launched his project in In the meantime, art geography, too, has been changing rapidly, as is indicated by a new terminology.

Museums and looted art: the ethical dilemma of preserving world cultures | Culture | The Guardian

The term of the so-called third world no longer characterizes the new art geography. In this respect, the global art market has become a distorting mirror. Success in the market does not necessarily mean local acceptance in the societies whose problems are addressed by the local artists and vice versa. The art market and public acceptance are strangely divided. Exklusion, which was an important step forward in discussing and promoting? Museums, on the contrary, do not migrate even if their collections travelbut have to shape a new audience or are themselves shaped by a local audience.

But, then, how do museums lend themselves to globalization in the strict sense, if such a sense exists? In this case, art museums would expect a global future where they look the same everywhere. But such a conclusion is premature and rests on superficial observations that conceal new and unexpected developments.

Contemporary Art and the Museum in the Global Age

Certainly, we watch the explosion of art museums in many parts of the world. They represent a new geography of institutions that sometimes are less than ten years old. They usually reflect economic prosperity and serve the representation and global share value of local capital. But museums are by definition local, and they ultimately live from the expectation of local audiences. This also involves a notion of art that, presently, does not divide one society from another, but instead, separates the economic elite from the majority in any given culture.

It may be useful to situate museum foundations in opposition to new art fairs and biennials, which, after having initially turned up in places such as Istanbul, have meanwhile reached Shanghai.

The difference is that such events are ephemeral and reflect a marketing strategy whereby local artists are granted only the privilege of being shown within the context of accepted international art. Thus, the responsible curators, mostly foreigners, guarantee or pretend to guarantee a high level of acceptance and attention for local artists.

The Johannesburg Biennial opened inone year after the first democratic elections. It surely served high political goals. Museums, by definition, are local institutions that cannot keep pace with such fashionable exhibitions. Though they may even serve as hosts for them, their key problem is the collection, which calls for a difficult choice, even if we exclude the intervention of private collectors: Either a museum collection is local and thus cannot capture the interest of the visitors and sponsors, or it represents an international level that is economically inaccessible and puts off local artists.

Finally, such public institutions ultimately rely on a local audience that does not share the taste of the art world.

  • Museums and looted art: the ethical dilemma of preserving world cultures
  • The Non-Western Collections

Its strategies of representation link it to local culture. The question is whether, and to what extent, contemporary art can represent localculture, even with critical aims, or whether art is simply explaining its own existence.

relationship between museums and non western collections

We can also turn the question around. What does a local audience, which in many parts of the world remains unfamiliar with art, expect to see in an art museum? To quote Colin Richards, we may ask ourselves: We must speak, therefore, of worlds in the plural. This does not mean only that it has multiplicity within itself.

Rather, we must accept that it changes from one place to another. This is valid even for collections whose art works change meaning wherever they are shown: They do not simply own one possible meaning or, alternatively, a universal significance, but are subjected to the comprehension of a local audience. Thus, the art world may eventually become a permeable, porous entity that disintegrates within a larger whole or yields to a diversity of systems.

Even in the West, the museum age is not considerably older than what we call modern art and is thus not independent from clearly circumscribed historical and social conditions. World art and global art The new geography of art institutions affects not only the domain of contemporary art but also exerts pressure on major museums in the West when faced with the controversy over world art that brings with it possible repatriation claims. The declaration makes the claim to serve the globe and not just the West.

The global rhetoric hardly conceals the material and economic aspects underlying such plans. Recently, it has been reported that Hong Kong has been chosen as a location for a giant art center that will surpass anything in the West while continuing Western strategies. It seems that a clash of institutions and concepts represents a new global museum economy. Nearby, the so-called National Museum for Western Art in Tokyo was originally founded for identifying the West as a local culture and for distinguishing Western heritage and Western influence from the native patrimony.

He claimed to overcome the traditional dualism between Western art and ethnic artifacts, which he considered an outdated colonial attitude. Ironically, his project also expresses an early guilt complex.

The young Malraux was sentenced by the French Indochina administration for a colonial crime in He was charged with the theft of old temple sculptures that he intended to sell on the international art market. The famous book Malraux, paradoxically, still worshiped the museum, even if he dreamed of an ideal and universal museum. Meanwhile, the Museum, as an idea whether with or without wallshas become a problem for so-called global art, which is still a recent phenomenon.

Non-Western artists entertain a double bias against art heritage, both against their own ethnic traditions, and against art history in the Western sense of modernism.

In their post-ethnic and post-historical attitude, they question two main functions of the Western museum. In the West, in the meantime, museums appear divided by two contradictory roles that cannot be easily reconciled. Traditionally, museums served as a collection of past art that underwent canonization inside the doors of the museum: In late modernism, however, museums have unexpectedly turned into an ephemeral stage for living art, which is often created for, and even commissioned by museums.

I only remind you of so-called site-specific works and installation art. This leads us to the question of the institutionalization of so-called global art.

It is, in this respect, necessary to make a distinction. In my opinion, the question concerns the role of the local art museum, especially outside the West, and its survival. Inthe senior curator of the Taipeh Museum of Contemporary Art, Kao Chien-hui, addressed such issues when she launched an exhibition whose topic was the institution as such.

One piece with the title MoMAo Museum Museum of my Art only ridiculed the museum for being a stage for self-promotion rather than a representative of the art world as such.

The show certainly revealed a desire to involve the local audience in collection and display policies. The French speakers further limited the discussion by reducing it to contemporary art as a Western topic, as if the globalization of art production, as the most conspicuous manifestation of contemporary art, had not yet happened.

The problem rests with the expectations of their audience. But what is their audience?

relationship between museums and non western collections

On the one hand, museums need to attract global tourism, which means claiming their share in a new geography of world cultures.