This handbook provides the definitive guide to commissioning contemporary art. Every step and stage is revealed and demystified from the initial invitation to an artist to the financing of a project, from the drafting of contracts to the final siting and installation of works, from the care and preservation of commissioned pieces to their interpretation and publicity. Combining theoretical and conceptual considerations with practical ones, Buck and McCleans lively and instructive text is supplemented with copious quotations and insights from some of the best-known artists, curators, commissioners and museum directors of today, including Nicholas Serota, Hans Ulrich Obrist, Jeff Koons, Vito Acconci, Mark Wallinger, Anish Kapoor, RoseLee Goldberg, Thomas Krens, Anne Pasternak, Barbara Gladstone, Mera Rubell, and Olafur Eliasson, to provide a detailed and informed how-to guide to the commissioning process.

The definitive guide on everything one needs to know about commissioning contemporary art In an age of blockbuster exhibitions and public art projects, the most exciting artworks are often those that have been specially commissioned for a specific site or event. This invaluable guide reveals and demystifies every stage of the commissioning process—from the initial invitation to an artist and the financing of a project to the final installation of works. Combining theoretical and conceptual considerations with practical ones, the text is supplemented with copious quotations and insights from some of the best-known artists, curators, commissioners, and museum directors of today. It is an essential guide for anyone involved in the process of commissioning new art—private collectors, foundations, public bodies, museums, galleries, and artists themselves—as well as those fascinated by the inner workings of the contemporary art world.

"All we wanted to do was make art accessible, non-academic, non-elitist, gossipy and fun" (Russell Tovey, quoted in the New York Times) Engaging, informative and open to everyone, Talk Art established itself as the must-listen cultural podcast in both the UK and the US, and it has now garnered 1.5 million downloads. With infectious enthusiasm, Russell and Robert have opened the doors to the art world and have welcomed people of all ages and backgrounds into the conversation. Talk Art, the book, is a beautiful and accessible celebration of contemporary art and a guidebook to navigating and engaging with the art world. Informal and jargon-free, this book proves that art really is for everyone. With a wealth of knowledge, Talk Art will become the must-have book that art lovers return to again and again. The book features highlights from interviews with: Tracey Emin, Rose Wylie, Helen Cammock, Jordan Casteel, Edward Enninful, Jerry Saltz, Elton John, Billy Porter, Grayson Perry, Michael Stipe, Lena Dunham, Rose McGowan, Ian McKellen, Deborah Frances-White, David Shrigley, Toyin Ojih Odutola and Michael Craig-Martin, among others. Chapters include: • Art & Feminism • Photojournalism as Art • Art & Political Change • How to Navigate the Art World • How do I Create My Own Collection? • Make Your Own Art • Highlights from popular features of the podcast, including 'Art Heist' and 'Favourite Colour'

This open access book investigates whether and how theoretical findings and insights in contemporary art conservation can be translated into the daily work practices of conservators or, vice versa, whether and how the problems and dilemmas encountered in conservation practice can inform broader research questions and projects. For several decades now, the conservation of contemporary art has been a dynamic field of research and reflection. Because of contemporary art’s variable constitution, its care and management calls for a fundamental rethinking of the overall research landscape of museums, heritage institutions, private-sector organizations and universities. At first, this research was primarily pursued by conservation professionals working in or with museums and other heritage organizations, but increasingly academic researchers and universities became involved, for instance through collaborative projects. This book is the result of such collaboration. It sets out to bridge the “gap” between theory and practice by investigating conservation practices as a form of reflection and reflection as a form of practice.

The Artangel Trust has been credited with providing artists with all the money and logistics they need to create one-off dream projects. An independent art commissioning agency based in London, it has operated since 1985 and is responsible for producing some of the most striking ephemeral and site-specific artworks of the last decades, from Rachel Whiteread’s House to Jeremy Deller’s The Battle of Orgreave. Artangel’s existence spans three decades, which now form a coherent whole in terms of both art historical and political periodisation. It was launched as a reaction to the cuts in funding for the visual arts introduced by the Thatcher government in 1979 and has since adapted in a distinctive way to changing cultural policies. Its mixed economic model, the recourse to public, private and corporate funds, is the result of the more general hybridisation of funding encouraged by successive governments since the 1980s and offers a contemporary case study on broader questions concerning the specificities of British art patronage. This book aims to demonstrate that the singular way its directors have responded to the vagaries of public funding and harnessed new national attitudes to philanthropy has created a sustainable independent model, but also that it has been reflected more formally, in their approach to site. The locational art produced by the agency has indeed mirrored new distinctions between public and private spaces, it has reflected the social and economic changes the country has gone through and accompanied the new cultural geographies shaping London and the United Kingdom. Looking into whether their funding model might have had a formal incidence on the art they helped produce and on its relation to notions of publicness and privacy, the study of Artangel gives a fresh insight into new trends in British site-specific art.

This essential handbook offers art professionals and collectors an accessible legal analysis of important principles in art law, as well as a practical guide to legal rights when creating, buying, selling and collecting art in a global market. Although the book is international in scope, there is a particular focus on the US as a major art centre and the site of countless key international court cases. This authoritative but accessible and wide-ranging volume is essential reading for arts advisors, collectors, dealers, auction houses, museums, investors, artists, attorneys and students of art and law.

How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.

Owning Art offers an informative, authoritative and richly anecdotal route through the minefield of the contemporary art world. This entertaining and easy-to-use handbook is set to become every collector's indispensable companion.

In the 1970s young artists "discovered" quilts and began experimenting with contemporary styles. Today quilt art is a staple of art exhibits nationwide. This handsomely illustrated introduction provides a useful guide to the contemporary art of quilting for quilters and collectors alike. The book illustrates the various styles of quilt art, introduces both established and emerging artists, and discusses aspects of their art as well as the process of quilt making. In addition to information about how to value and where to purchase quilts, the reader will learn how to commission a quilt and work directly with an artist, and will find information about what quilt costs generally run. Kate Lenkowsky gives an overview of exhibition and marketing opportunities and lists art quilt organizations at the national, regional, and local levels. Collectors will find a guide to resources on the conservation of new materials and options for displaying quilts in the home and elsewhere. This is a wonderful gift for anyone interested in viewing and collecting contemporary American art quilts.

An updated edition of this essential practical handbook for all those involved in or studying the dynamic field of curating.