Archivo y coleccionismo: fotografía española en el s. XX
[EN] The group named HUMG950 (COPA) "COntemporaneidad y PAtrimonio" –Contemporaneity and Legacy- has promoted the scientific dissemination sessions "Fotografía: COntemporaneidad y PAtrimonio" –Photography: Contemporaneity and Legacy-, funded by the University of S...
| Autores: | , |
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/90244 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/90244 |
| Access Level: | acceso abierto |
| Palabra clave: | Arte Producción artística Estética Teoría del Arte Gestión cultural Educación artística Investigación artística |
| Sumario: | [EN] The group named HUMG950 (COPA) "COntemporaneidad y PAtrimonio" –Contemporaneity and Legacy- has promoted the scientific dissemination sessions "Fotografía: COntemporaneidad y PAtrimonio" –Photography: Contemporaneity and Legacy-, funded by the University of Seville and for the purpose of starting one of the group's research topics: connecting contemporaneity and legacy. Due to the social and economic situation in our country, photography was never adknowledged by the Spanish establishment or collections. Photography in Spain had less opportunities than it had in countries in our area, which is the reason why collection is a fairly new discipline and there is such a small number of collections and collectors specifically involved in the subject of photography. The foundations for this complex situation are based on several fields: on the one hand it depended on artists and theorists' training and on the other hand it depended on the photography schedule planned by the public or private establishment. The search for social appreciation or even just the economic concern are part of the reasons which lead to the origination of a collection. But there is a different way of collecting which approaches the need for being part of the cultural collective. This is achieved by joining two important characters: the collector and the patron. Talking about photography collecting in contemporary art makes us think about a relatively recent trend. Private collections, which are sometimes thought of as models, have been devised since the 1980s despite the fact that French and American museums led the way in collecting art on a patrimonial base since the 1950s. This took them to collect works by nearly exclusively their fellow countrymen. |
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