Document Type : Original Article
Authors
1 PhD Candidate of Visual Arts, Department of Advanced Studies of Art, School of Visual Arts, College of Fine Arts, University of Tehran, Tehran, Iran
2 Full Professor in Department of Advanced Studies of Art, School of Visual Arts College of Fine Arts, University of Tehran, Tehran, Iran
Abstract
New Institutionalism emerged as an innovative managerial model in the late 1990s and was adopted by several European art institutions, including galleries, art centers, and museums. It remained the dominant framework for these institutions until the end of the first decade of the 21st century. Rooted in curatorial practices and influenced by the critical discourse of "Institutional Critique" and the academic field of "New Museology," this model developed alongside the expansion of biennials, the growing significance of social interaction, and, more broadly, a "social turn" in the art world. Unlike traditional management models, which prioritize creating a seemingly neutral space and emphasize the commercial aspects of art, New Institutionalism transformed art institutions into dynamic, interactive, and audience-centered environments. Despite its initial success, the mainstream application of New Institutionalism did not endure beyond two decades. Factors such as economic crises and conflicting interests led to the dissolution of many associated institutions or their reversion to traditional management practices. Nevertheless, its influence on art institutions and the broader art world remains significant today. This article presents fundamental research that utilizes library resources, a descriptive-analytical method, and a discourse analysis approach. It examines the context and key factors behind the emergence of New Institutionalism, analyzes its functions and impacts on art institutions, and explores the shortcomings of this movement, culminating in an investigation of the reasons for its decline.
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