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Sources of Funding for Cultural Institutions in Russia at the Turn of the 21 st Century 151
- The publication of newspapers and magazines, covering the problems of the organisation; - Scientific publications such as monographs, catalogues; - Art books about museums, designed for audiences of all ages. One advantage of the Shchetinins’ Art Gallery (Barnaul, Altai Territory) is publishing, through which they popularise Altai artists not only in the Altai region, but also in the West Siberian region. Publishing activities are undertaken at the expense of the gallery, not the artists. The Shchetinins’ Art Gallery publishing output is of two types: informational catalogues and publications of monographic character. Informational catalogues are of high quality, as they are accompanied by an introductory article. The articles are written by T. M. Stepanskaya, I. Shchetinina and A. Lisitskaya. T. M. Stepanskaya was the author of introductory articles to the catalogues of artists I. Shchetinina, A. Shchetinin, A. Emelyanov, N. Ponomarev, I. Hayrulinova and others. In cooperation with Grafiks printing house, the Shchetinins’ Art Gallery published many exhibition catalogues in the 2000s, such as Mr.
by the album Irina Shchetinina (2009), a scientific catalogue published for the exhibition “The Companions: Prokopiy Shchetinin and his generation” (2009), the catalogue Alexander Emelyanov (2006) and a popular academic publication Dynasty of the Artists Shchetinins in the Culture of Altai Territory (2012). In the period from 2001 to 2012, the art gallery issued forty one editions. The Shchetinins’ gallery has reached the status of a research institution, as it investigates important art movements of the 20 th -early 21 st
century. The periodical press regularly publishes articles about the Shchetinins’ Art Gallery written by the gallery’s researcher A. Lisitskaya, for example, Ringtones of Soul Strings (2008) which marked the 5th anniversary of the gallery, This Is Our Victory! (2010), The Language of Painting (2010) about the exhibition for the 70th anniversary of the Altai Union of Artists of Russia,
about the exhibition Contemporary Artists of Altai. 15
stage in Russia. At present there is little information about those who are willing to sponsor or support cultural organisations, and patrons often have little understanding of those who are in need. Both sides need up-to-date, systematic information about each other, in order to find potential partners and establish appropriate contacts.
15 Ibid., p. 87. www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro I. V. Chernyaeva
152 Unlike charity, sponsorship and donations do not involve any financial or other obligation on the part the organisation is receiving support. Motives of charities can be very diverse - psychological, economic, etc. Benefactors might be motivated by ordinary human altruism, the pride of making a personal contribution to culture, or gratitude for the opportunity to act in a sociable environment. However, modern patrons usually are not so disinterested, and maintaining a positive image of the company, advertising opportunities and certain tax benefits all play an important role in the allocation of money. In Russia today, donating money to cultural institutions can be perceived as an indication of the public and social security of the donor company, suggesting it was not established in order to grab excessive profits then self-destruct. In the late 20 th century, the term “sponsor” came into common usage in Russia. What is the difference between this and the traditional and somewhat forgotten term “patron”? The term Maecenate (a synonym for patronage) is derived from the name of Maecenas, a wealthy citizen of the Augustan age and patron of poets; similarly a patron is a person possessing power and wealth enough to provide protection and material support to artistic masters, or for any undertakings in artistic life. Patronage has been known since ancient times: kings, princes, churches, political rulers and bankers have all been important patrons. Noble and merchant patronage was of great importance for the development of the arts, museums and artistic crafts in Russia, especially in the late 19 th -early 20 th centuries. Well- known patrons of this time included P. M. and S. M. Tretyakovy, A. A. Bakhrushin, S. L. Mamontov, K. M. Tenisheva, S. I. and P. I. Shchukiny, and I. A. and M. A. Morozovy. A sponsor is one who provides material support to the artists for the purpose of the self-promotion of the donor. This term has spread relatively recently; it is associated with modern life, since art patronage in the business world is considered to be good manners and good advertising. That is not to say that the phenomenon is new: in fact many powerful people became art patrons in earlier times to enhance their reputation or see their names captured by history, and this could also be called a kind of self- advertisement. However, in modern times this relationship is more direct. The tendency is usually natural and beneficial: on the one hand the sponsor helps the artist, and on the other hand, s/he gets a good reputation. The situation is more complicated when the negative reputation of sponsor impacts artist’s reputation (and sometimes vice-versa). Thus, these two terms are different by their definitions: a patron supports art out of the generosity of his/her heart, i.e. without expecting any return from the side of artist, while the sponsor helps his/her country and its people in return for advertising and beneficial cooperation; www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro Yüklə 12,44 Mb. Dostları ilə paylaş:
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