Editing Contemporary art (section)

==Institutions==
[[File:MOCA North Miami.jpg|thumb|The [[Museum of Contemporary Art, North Miami|Museum of Contemporary Art]] in [[Miami, Florida]]]]
[[File:Kiasma against pink sky, 2008.jpg|thumb|[[Kiasma]], a contemporary art museum in [[Helsinki]], [[Finland]]]]

The functioning of the art world is dependent on art institutions, ranging from major museums to private galleries, non-profit spaces, art schools and publishers, and the practices of individual artists, curators, writers, collectors, and philanthropists. A major division in the art world is between the for-profit and non-profit sectors, although in recent years the boundaries between for-profit private and non-profit public institutions have become increasingly blurred.{{Citation needed|date=February 2018}} Most well-known contemporary art is exhibited by professional artists at commercial [[Contemporary art gallery|contemporary art galleries]], by private collectors, [[Art auction|art auctions]], corporations, publicly funded arts organizations, [[contemporary art museums]] or by artists themselves in [[artist-run space]]s.<ref>{{Cite news|url=https://news.artnet.com/market/art-language-philippe-meaille-french-chateau-310458|title=Largest Art & Language Collection Finds Home - artnet News|date=2015-06-23|work=artnet News|access-date=2018-09-10|language=en-US|archive-date=2017-07-28|archive-url=https://web.archive.org/web/20170728155433/https://news.artnet.com/market/art-language-philippe-meaille-french-chateau-310458|url-status=live}}</ref> Contemporary artists are supported by grants, awards, and prizes as well as by direct sales of their work. Career artists train at [[art school]] or emerge from other fields.{{Citation needed|date=February 2018}}

There are close relationships between publicly funded contemporary art organizations and the commercial sector. For instance, in 2005 the book ''Understanding International Art Markets and Management'' reported that in Britain a handful of dealers represented the artists featured in leading publicly funded contemporary art museums.<ref>Derrick Chong in Iain Robertson, ''Understanding International Art Markets And Management'', Routledge, 2005, p95. {{ISBN|0-415-33956-1}}</ref> Commercial organizations include galleries and art fairs.<ref>{{Cite web|url=http://theconversation.com/with-commercial-galleries-an-endangered-species-are-art-fairs-a-necessary-evil-116680|title=With commercial galleries an endangered species, are art fairs a necessary evil?|last=Grishin|first=Sasha|website=The Conversation|date=14 May 2019 |language=en|access-date=2019-12-05|archive-date=2019-12-05|archive-url=https://web.archive.org/web/20191205102258/http://theconversation.com/with-commercial-galleries-an-endangered-species-are-art-fairs-a-necessary-evil-116680|url-status=live}}</ref>

Corporations have also integrated themselves into the contemporary [[art world]], exhibiting contemporary art within their premises, organizing and sponsoring contemporary art awards, and building up extensive corporate collections.<ref>Chin-Tao Wu, ''Privatising Culture: Corporate Art Intervention Since the 1980s'', Verso, 2002, p14. {{ISBN|1-85984-472-3}}</ref> Corporate advertisers frequently use the prestige associated with contemporary art and [[coolhunting]] to draw the attention of consumers to [[luxury goods]].<ref>Jasmin Mosielski, ''Coolhunting: Evaluating the Capacity for Agency and Resistance in the Consumption of Mass Produced Culturally-Relevant Goods'' (Ph.D. diss., Carleton Univ., 2012); and Peter Andreas Gloor and Scott M. Cooper, ''Coolhunting: Chasing Down the Next Big Thing'' (NYC: AMACOM, 2007), 168-70. {{ISBN|0814400655}}</ref>

The institutions of art have been criticized for regulating what is designated as contemporary art. [[Outsider art]], for instance, is literally contemporary art, in that it is produced in the present day. However, one critic has argued it is not considered so because the artists are self-taught and are thus assumed to be working outside of an art historical context.<ref>Gary Alan Fine, ''Everyday Genius: Self-Taught Art and the Culture of Authenticity'', University of Chicago Press, 2004, pp42-43. {{ISBN|0-226-24950-6}}</ref> Craft activities, such as textile design, are also excluded from the realm of contemporary art, despite large audiences for exhibitions.<ref>Peter Dormer, ''The Culture of Craft: Status and Future'', Manchester University Press, 1996, p175. {{ISBN|0-7190-4618-1}}</ref> Art critic Peter Timms has said that attention is drawn to the way that craft objects must subscribe to particular values in order to be admitted to the realm of contemporary art. "A ceramic object that is intended as a subversive comment on the nature of beauty is more likely to fit the definition of contemporary art than one that is simply beautiful."<ref>Peter Timms, ''What's Wrong with Contemporary Art?'', UNSW Press, 2004, p17. {{ISBN|0-86840-407-1}}</ref>