The Aldrich is one of the few non-collecting contemporary art museums in the United States. Founded on Ridgefield's historic Main Street in 1964, the Museum enjoys the curatorial independence of an alternative space while maintaining the registrarial and art-handling standards of a national institution. Exhibitions feature work by emerging and mid-career artists, and education programs help adults and children to connect to today's world through contemporary art. The Museum is located at 258 Main Street, Ridgefield, CT 06877.
It is true that art museums are about the stubborn, matter-of-factness of things: the works of art. But access to the Art Institute's collection has always been enhanced by words and reproduced images. With the launch of our redesigned Web site, we acknowledge the importance of digitized access to the works of art.
Here you will learn about the character and structure of our collection and our educational programs and exhibitions. You will also learn how to visit and contact us easily. I very much look forward to seeing you at the museum.
James Cuno
President and Eloise W. Martin Director
The Austin Museum of Digital Art (AMODA) is a
non-profit institution that promotes access to and appreciation of
digital art. Currently AMODA is a nomadic institution, holding
exhibitions, showcases, lectures, youth programs and other events at
various locations around Austin, often in collaboration with other arts
and educational organizations. Ultimately, AMODA is envisioned as a
permanent venue for digital art -- a world class art museum in downtown
Austin, open to the public. Our goal is to make AMODA a leading center
in the community for art presentation, education and outreach.
Our
mission is to engage the public, educate the community and support
artists in the creation, understanding and appreciation of digital art.
The Smithsonian's Hirshhorn Museum and Sculpture Garden is a leading voice for contemporary art and culture and provides a national platform for the art and artists of our time. We seek to share the transformative power of modern and contemporary art with audiences at all levels of awareness and understanding by creating meaningful, personal experiences in which art, artists, audiences and ideas converge. We enhance public understanding and appreciation of contemporary art through acquisition, exhibitions, education and public programs, conservation, and research.
See art differently. See art happen. Lux Art Institute is redefining the museum experience to make art more accessible and personally meaningful. At Lux, you don't just see finished works of art; you see the artistic process firsthand, engaging with internationally recognized artists in a working studio environment.
Edward Jean Steichen (March 27, 1879 - March 25, 1973) was an American photographer, painter, and art gallery and museum curator.
Edward Steichen's "Flatiron Building" (1904)
Kalighat painting of Hanuman the Monkey God teasing open his chest to reveal Rama & Sita enshrined within it; Indian (Calcutta); c.1865 - 70.Museum no. IS.231-1953.
In general, I recommend artists price their work as low as they can possibly bear to start out. Remember, it is more important to cultivate on-going relationships with dealers and consultants than to sell one piece.
Ultimately, it is better for the work to be out there than sitting in your studio. I believe art is a process, a verb, not a noun. And, part of the process necessitates that the work be exhibited, purchased and appreciated by others.
Remember, this is just a starting point. If you are fortunate enough to have a gallery representative, they should work with you in helping to determine a realistic price for you work. Ultimately, your prices will establish themselves as you start showing your work and getting a reaction.
Medium, size, complexity, cost of production and previous sales history, also play important roles in determining the final sales price. But the bottom line could just as easily be determined by how much an artist is attached to a particular piece.
an increase in price is only justified when this balance shifts…either the demand increases, or the supply decreases.
the work you present publicly should all be of the highest caliber and of equal value. If you are particularly attached to a particular piece and want to price it twice as much as the other work in the show, it is better to just mark the piece sold and keep it for yourself until your work increases in value to a point where the price you want is justified.
* What is the number and quality of the venue of group and solo exhibitions?
* Are the shows all local or spread out nationally or even internationally?
* Are there any museum shows?
* Does the artist have any critical published reviews?
* What kinds of publications and who are the writers?
* Have any catalogs been done in conjunction with any of the shows?
* What is the artists sales history?
* Is there a long list of collectors?
* Are the collectors mainly private collectors, or are there public institutions listed?
* Any permanent museum collections?
From Wikipedia: "Tipu's Tiger (a.k.a. Tippoo's Tiger) is an automaton, representing a tiger savaging a European soldier, or employee of the British East India Company. It is currently on display in the Victoria and Albert Museum, London."
http://en.wikipedia.org/wiki/Tipu%27s_Tiger
Tomer Hanuka is an illustrator and a cartoonist based in New York City. He works on a range of projects for magazines, book publishers, ad agencies and film studios. In 2008 he won the British Desgin Museum award as part of the Penguin Classics Deluxe Editions. Currently he teaches at the School of Visual Arts and is working on a graphic novel with his twin brother.
Yumiko Kayukawa was born in the small town of Naie in Hokkaido, Japan. The panoramic beauty of her surroundings and feelings of communication with the native animals inspired her to paint the things around her. As a teenager she also fell in love "with the energy and giddiness" of American pop-culture through her exposure to rock n' roll, film, and fashion. By the age of 16, she had debuted into the art world with a comic-book (Manga) feature.
After graduating from Art school, she continued to paint, but struggled with truly expressing herself in her art. Fortunately, this frustration took a dramatic turn during a visit to Seattle where Yumi painted a picture at the request of an American friend. In comic-book style, two girls sit entwined atop a mushroom, Japanese symbols and American pop art styles melding together in lively color and bold lines. Yumi now realized her art persona - sagacious Japanese tradition in synergy with the jubilant irreverence of American pop culture.
What does she see for her future as an artist? "I'd rather my paintings hang next to rock star pin-ups than on museum walls. Ultimately I want to connect with people all over the world on that level", she says with a smile. When we look at her work, it's obviously just a matter of time.