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Architectural design and the curatorial share a non-disciplinary background, and aim to assemble diverse forms of knowledge rather than specializing. Inherently transdisciplinary, then, they are at odds with the increasing division of labor in all fields of knowledge and practice. In the face of professionalization, which limits our capacity to intervene comprehensively,(...)
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Summary:
Architectural design and the curatorial share a non-disciplinary background, and aim to assemble diverse forms of knowledge rather than specializing. Inherently transdisciplinary, then, they are at odds with the increasing division of labor in all fields of knowledge and practice. In the face of professionalization, which limits our capacity to intervene comprehensively,(...)
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Curatorial design: A place between
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Architectural design and the curatorial share a non-disciplinary background, and aim to assemble diverse forms of knowledge rather than specializing. Inherently transdisciplinary, then, they are at odds with the increasing division of labor in all fields of knowledge and practice. In the face of professionalization, which limits our capacity to intervene comprehensively, design and the curatorial challenge specialization and produce relational knowledge. They intend to create an in-between place, as together they form a novel practice that—in combining heterogenous forms of knowledge—takes center stage rather than serving as a moderator or mediator of sorts. What unites them is the assertion of a relational form, the autonomy of which consists precisely in teasing out relations between different elements. What happens to architectural design when it consciously enters a relationship with the curatorial? The book is aimed at practitioners and educators in the field of architecture and design, as well as curators and exhibition makers. It contains three photo series by Armin Linke that accompany the three sections of the book: "Public School for Architecture", "Total Reconstruction," and "Designing for Co-Habitation."
Curatorial design: A place between
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Architectural design and the curatorial share a non-disciplinary background, and aim to assemble diverse forms of knowledge rather than specializing. Inherently transdisciplinary, then, they are at odds with the increasing division of labor in all fields of knowledge and practice. In the face of professionalization, which limits our capacity to intervene comprehensively, design and the curatorial challenge specialization and produce relational knowledge. They intend to create an in-between place, as together they form a novel practice that—in combining heterogenous forms of knowledge—takes center stage rather than serving as a moderator or mediator of sorts. What unites them is the assertion of a relational form, the autonomy of which consists precisely in teasing out relations between different elements. What happens to architectural design when it consciously enters a relationship with the curatorial? The book is aimed at practitioners and educators in the field of architecture and design, as well as curators and exhibition makers. It contains three photo series by Armin Linke that accompany the three sections of the book: "Public School for Architecture", "Total Reconstruction," and "Designing for Co-Habitation."
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books
books
Publication:
March 2025
March 2025
Subject:
Museology
Museology
Form:
books
books
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$45.95
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Summary:
"Learning to see" is an engaging and profound account of how professional artists and designers create and how they teach others to do it. Keith Sawyer, a leading creativity researcher, spent over ten years interviewing a hundred professors who've taught in 50 different colleges, universities, and institutes. He also interviewed students to learn about the personal(...)
$45.95
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Summary:
"Learning to see" is an engaging and profound account of how professional artists and designers create and how they teach others to do it. Keith Sawyer, a leading creativity researcher, spent over ten years interviewing a hundred professors who've taught in 50 different colleges, universities, and institutes. He also interviewed students to learn about the personal(...)
Title:
Learning to see: Inside the world's leading art and design schools
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"Learning to see" is an engaging and profound account of how professional artists and designers create and how they teach others to do it. Keith Sawyer, a leading creativity researcher, spent over ten years interviewing a hundred professors who've taught in 50 different colleges, universities, and institutes. He also interviewed students to learn about the personal transformation they go through as they learn to see and think like successful creative professionals. Learning to See describes project assignments and studio class sessions in over 20 different disciplines, revealing the shared essence of art and design.
Learning to see: Inside the world's leading art and design schools
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"Learning to see" is an engaging and profound account of how professional artists and designers create and how they teach others to do it. Keith Sawyer, a leading creativity researcher, spent over ten years interviewing a hundred professors who've taught in 50 different colleges, universities, and institutes. He also interviewed students to learn about the personal transformation they go through as they learn to see and think like successful creative professionals. Learning to See describes project assignments and studio class sessions in over 20 different disciplines, revealing the shared essence of art and design.
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books
books
Publication:
April 2025
April 2025
Subject:
Museology
Museology
Form:
books
books
Price:
$27.00
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Summary:
Le développement des collections est un aspect discret du travail en musée. Invisible aux yeux du public, il joue un rôle central dans la définition et la transmission du patrimoine collectif. Ce livre explore le collectionnement dans les musées de société et en décrit le ronronnement quotidien. Se dégageant des discours institutionnels, cet ouvrage met de l’avant la(...)
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Le développement des collections est un aspect discret du travail en musée. Invisible aux yeux du public, il joue un rôle central dans la définition et la transmission du patrimoine collectif. Ce livre explore le collectionnement dans les musées de société et en décrit le ronronnement quotidien. Se dégageant des discours institutionnels, cet ouvrage met de l’avant la(...)
Title:
Collections et collectionnement: Une ethnologie du quotidien muséal
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Le développement des collections est un aspect discret du travail en musée. Invisible aux yeux du public, il joue un rôle central dans la définition et la transmission du patrimoine collectif. Ce livre explore le collectionnement dans les musées de société et en décrit le ronronnement quotidien. Se dégageant des discours institutionnels, cet ouvrage met de l’avant la perspective des acteurs responsables des collections et interroge notre rapport aux objets qui y sont conservés. Cette ethnologie du quotidien muséal repose sur une enquête de terrain menée dans trois musées de société au Québec : le Musée de la civilisation à Québec, le Musée POP à Trois-Rivières et l’Écomusée du fier monde à Montréal. Elle dépeint la collection à la fois comme un outil permettant aux musées de se définir, comme une expérience professionnelle, comme un espace de négociation et comme un objet aux contours continuellement redessinés. Sous cet angle, la collection muséale devient un processus de qualification dynamique de la culture matérielle ancré dans un quotidien fait de normes, de pratiques, d’expériences, de relations, de contraintes et de questionnements.
Collections et collectionnement: Une ethnologie du quotidien muséal
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Le développement des collections est un aspect discret du travail en musée. Invisible aux yeux du public, il joue un rôle central dans la définition et la transmission du patrimoine collectif. Ce livre explore le collectionnement dans les musées de société et en décrit le ronronnement quotidien. Se dégageant des discours institutionnels, cet ouvrage met de l’avant la perspective des acteurs responsables des collections et interroge notre rapport aux objets qui y sont conservés. Cette ethnologie du quotidien muséal repose sur une enquête de terrain menée dans trois musées de société au Québec : le Musée de la civilisation à Québec, le Musée POP à Trois-Rivières et l’Écomusée du fier monde à Montréal. Elle dépeint la collection à la fois comme un outil permettant aux musées de se définir, comme une expérience professionnelle, comme un espace de négociation et comme un objet aux contours continuellement redessinés. Sous cet angle, la collection muséale devient un processus de qualification dynamique de la culture matérielle ancré dans un quotidien fait de normes, de pratiques, d’expériences, de relations, de contraintes et de questionnements.
Form:
books
books
Publication:
March 2025
March 2025
Subject:
Museology
Museology
Form:
books
books
Title:
The Manifesta decade : debates on contemporary art exhibitions and biennials in post-wall Europe
The Manifesta decade : debates on contemporary art exhibitions and biennials in post-wall Europe
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Manifesta, the first itinerant European biennial for contemporary art, emerged in a post-wall, globalizing Europe. Founded in 1993, it organized traveling exhibitions aimed at providing a new framework for cultural exchange and collaboration between artists and curators from across the continent. "The Manifesta decade" marks Manifesta's ten years of exhibits with original(...)
$43.95
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Summary:
Manifesta, the first itinerant European biennial for contemporary art, emerged in a post-wall, globalizing Europe. Founded in 1993, it organized traveling exhibitions aimed at providing a new framework for cultural exchange and collaboration between artists and curators from across the continent. "The Manifesta decade" marks Manifesta's ten years of exhibits with original(...)
Subject:
Museology
Museology
Publication:
September 2005, Cambridge, Mass.
September 2005, Cambridge, Mass.
Title:
The Manifesta decade : debates on contemporary art exhibitions and biennials in post-wall Europe
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Summary:
Manifesta, the first itinerant European biennial for contemporary art, emerged in a post-wall, globalizing Europe. Founded in 1993, it organized traveling exhibitions aimed at providing a new framework for cultural exchange and collaboration between artists and curators from across the continent. "The Manifesta decade" marks Manifesta's ten years of exhibits with original essays, unpublished images, and texts that not only document the different Manifesta exhibits but also examine the cultural, curatorial, and political terrain of the Europe from which they sprang. Including contributions from philosophers, historians, and anthropologists, interviews with architect Rem Koolhaas and historian Jacques Le Goff, and essays by such curators and writers as Okwui Enwezor, Boris Groys, Maria Hlavajova, and Hans Ulrich Obrist, the collection traces the cultural and political developments of Europe in the 1990s. It reflects the debates incited by exhibitions such as "Magiciens de la terre", Documenta, and "After the wall" and explores the changing roles of curators and artists in the new geo-political context. The issues discussed include the effect of communism's collapse on Eastern Europe, the role of biennials in the context of globalization, and the ephemerality of exhibitions versus the permanence of the museum. The book's second section traces the history of Manifesta, from its conceptual foundations and contributions to artistic practices of the 1990s to the relationship of a roving biennial to themes of multiculturalism, migration and diaspora. At a moment when biennials continue to proliferate worldwide, "The Manifesta decade" takes Manifesta as a case study to look critically at the landscape from which new exhibition paradigms have emerged. The book's 100 images, both color and black and white, include unpublished installation shots of each Manifesta exhibition.
The Manifesta decade : debates on contemporary art exhibitions and biennials in post-wall Europe
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$43.95
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Summary:
Manifesta, the first itinerant European biennial for contemporary art, emerged in a post-wall, globalizing Europe. Founded in 1993, it organized traveling exhibitions aimed at providing a new framework for cultural exchange and collaboration between artists and curators from across the continent. "The Manifesta decade" marks Manifesta's ten years of exhibits with original essays, unpublished images, and texts that not only document the different Manifesta exhibits but also examine the cultural, curatorial, and political terrain of the Europe from which they sprang. Including contributions from philosophers, historians, and anthropologists, interviews with architect Rem Koolhaas and historian Jacques Le Goff, and essays by such curators and writers as Okwui Enwezor, Boris Groys, Maria Hlavajova, and Hans Ulrich Obrist, the collection traces the cultural and political developments of Europe in the 1990s. It reflects the debates incited by exhibitions such as "Magiciens de la terre", Documenta, and "After the wall" and explores the changing roles of curators and artists in the new geo-political context. The issues discussed include the effect of communism's collapse on Eastern Europe, the role of biennials in the context of globalization, and the ephemerality of exhibitions versus the permanence of the museum. The book's second section traces the history of Manifesta, from its conceptual foundations and contributions to artistic practices of the 1990s to the relationship of a roving biennial to themes of multiculturalism, migration and diaspora. At a moment when biennials continue to proliferate worldwide, "The Manifesta decade" takes Manifesta as a case study to look critically at the landscape from which new exhibition paradigms have emerged. The book's 100 images, both color and black and white, include unpublished installation shots of each Manifesta exhibition.
Form:
books
books
Publication:
September 2005, Cambridge, Mass.
September 2005, Cambridge, Mass.
Subject:
Museology
Museology
Form:
books
books
Price:
$24.95
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Summary:
What begins as a meditation on "the museum" becomes, in this book, a far-reaching critical examination of how art history and museums have guided and controlled not only the way we look at art but the ways in which we understand modernity itself. Originally delivered as the 2001 Slade Lectures in the Fine Arts at Oxford University, the book makes its deeply complex(...)
$24.95
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Summary:
What begins as a meditation on "the museum" becomes, in this book, a far-reaching critical examination of how art history and museums have guided and controlled not only the way we look at art but the ways in which we understand modernity itself. Originally delivered as the 2001 Slade Lectures in the Fine Arts at Oxford University, the book makes its deeply complex(...)
Title:
Brain of the earth's body : art, museums and the phantasms of modernity
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What begins as a meditation on "the museum" becomes, in this book, a far-reaching critical examination of how art history and museums have guided and controlled not only the way we look at art but the ways in which we understand modernity itself. Originally delivered as the 2001 Slade Lectures in the Fine Arts at Oxford University, the book makes its deeply complex argument remarkably accessible and powerfully clear. Concentrating on a period from the beginning of the nineteenth century to the beginning of the twentieth, Donald Preziosi presents case studies of major institutions that, he argues, have defined--and are still defining--the possible limits of museological and art historical theory and practice. These include Sir John Soane's Museum in London, preserved in its 1837 state; the Crystal Palace Exhibition of 1851; and four museums founded by Europeans in Egypt in the late nineteenth century, which divided up that country's history into "ethnically marked" aesthetic hierarchies and genealogies that accorded with Europe's construction of itself as the present of the world's past, and the "brain of the earth's body." Through this epistemological and institutional archaeology, Preziosi unearths the outlines of the more radical Enlightenment project that academic art history, professional museology, and art criticism have rendered marginal or invisible. Finally, he sketches a new theory about art, artifice, and visual signification in the cracks and around the margins of the "secular theologisms" of the globalized imperial capital called modernity.
Brain of the earth's body : art, museums and the phantasms of modernity
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$24.95
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Summary:
What begins as a meditation on "the museum" becomes, in this book, a far-reaching critical examination of how art history and museums have guided and controlled not only the way we look at art but the ways in which we understand modernity itself. Originally delivered as the 2001 Slade Lectures in the Fine Arts at Oxford University, the book makes its deeply complex argument remarkably accessible and powerfully clear. Concentrating on a period from the beginning of the nineteenth century to the beginning of the twentieth, Donald Preziosi presents case studies of major institutions that, he argues, have defined--and are still defining--the possible limits of museological and art historical theory and practice. These include Sir John Soane's Museum in London, preserved in its 1837 state; the Crystal Palace Exhibition of 1851; and four museums founded by Europeans in Egypt in the late nineteenth century, which divided up that country's history into "ethnically marked" aesthetic hierarchies and genealogies that accorded with Europe's construction of itself as the present of the world's past, and the "brain of the earth's body." Through this epistemological and institutional archaeology, Preziosi unearths the outlines of the more radical Enlightenment project that academic art history, professional museology, and art criticism have rendered marginal or invisible. Finally, he sketches a new theory about art, artifice, and visual signification in the cracks and around the margins of the "secular theologisms" of the globalized imperial capital called modernity.
Form:
books
books
Publication:
July 2003, Minneapolis
July 2003, Minneapolis
Subject:
Museology
Museology
Form:
books
books
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$30.00
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Summary:
We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann's groundbreaking 1969 exhibition When Attitudes Become Form, also(...)
$30.00
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Summary:
We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann's groundbreaking 1969 exhibition When Attitudes Become Form, also(...)
Subject:
Museology
Museology
Publication:
March 2008, Berlin, Dijon, New York, Manchester
March 2008, Berlin, Dijon, New York, Manchester
Title:
Harald Szeemann Individual Methodology
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Summary:
We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann's groundbreaking 1969 exhibition When Attitudes Become Form, also at the Kunsthalle, introduced European audiences to artists like Joseph Beuys, Eva Hesse, Richard Serra and Lawrence Weiner. It also introduced the now-commonplace practice of curating an exhibition around a theme. Since Szeemann's death in 2005, there has been research underway at his archive in Tessin, Switzerland. An invaluable resource, this volume provides access to previously unpublished plans, documents and photographs from the archive, along with important essays by Hal Foster and Jean-Marc Poinsot. There is also an informative interview with Tobia Bezzola--curator at the Kunsthauz Zurich and Szeemann's collaborator for many years. Two of Szeemann's most ambitious exhibitions are presented as case studies: Documenta V (1972) and L'Autre, the 4th Lyon Biennial (1997). A biography, an illustrated chronology of Szeemann's exhibitions and a selection of his writings complete this exhaustive survey.
Harald Szeemann Individual Methodology
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$30.00
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Summary:
We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann's groundbreaking 1969 exhibition When Attitudes Become Form, also at the Kunsthalle, introduced European audiences to artists like Joseph Beuys, Eva Hesse, Richard Serra and Lawrence Weiner. It also introduced the now-commonplace practice of curating an exhibition around a theme. Since Szeemann's death in 2005, there has been research underway at his archive in Tessin, Switzerland. An invaluable resource, this volume provides access to previously unpublished plans, documents and photographs from the archive, along with important essays by Hal Foster and Jean-Marc Poinsot. There is also an informative interview with Tobia Bezzola--curator at the Kunsthauz Zurich and Szeemann's collaborator for many years. Two of Szeemann's most ambitious exhibitions are presented as case studies: Documenta V (1972) and L'Autre, the 4th Lyon Biennial (1997). A biography, an illustrated chronology of Szeemann's exhibitions and a selection of his writings complete this exhaustive survey.
Form:
books
books
Publication:
March 2008, Berlin, Dijon, New York, Manchester
March 2008, Berlin, Dijon, New York, Manchester
Subject:
Museology
Museology
Form:
books
books
Title:
Hans Ulrich Obrist : Everything you always wanted to know about curating (but were afraid to ask)
Hans Ulrich Obrist : Everything you always wanted to know about curating (but were afraid to ask)
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Everything you ever wanted to know about Hans Ulrich Obrist butwere afraid to ask has now been asked, revealing the truth from the beginning of his career as a young curator in his Zurich kitchen to his recent position as co-director of the Serpentine in London. This book is a "production of reality conversations", otherwise known as interviews. It undertakes the(...)
$27.00
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Summary:
Everything you ever wanted to know about Hans Ulrich Obrist butwere afraid to ask has now been asked, revealing the truth from the beginning of his career as a young curator in his Zurich kitchen to his recent position as co-director of the Serpentine in London. This book is a "production of reality conversations", otherwise known as interviews. It undertakes the(...)
Title:
Hans Ulrich Obrist : Everything you always wanted to know about curating (but were afraid to ask)
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Everything you ever wanted to know about Hans Ulrich Obrist butwere afraid to ask has now been asked, revealing the truth from the beginning of his career as a young curator in his Zurich kitchen to his recent position as co-director of the Serpentine in London. This book is a "production of reality conversations", otherwise known as interviews. It undertakes the impossible: pinning down this peripatetic curator, and affirming the wisdom of an artist who told Obrist "don't go" when he contemplated leaving the art world for other fields. Interviews by Jean Max Colard, Robert Fleck, Jefferson Hack, Nav Haq, Sophia Krzys Acord, Brendan McGetrick, Ingo Niermann, Paul O'Neill,Philippe Parreno & Alex Poots, Juri Steiner, Gavin Wade, et al. Foreword by Tino Sehgal, afterword by Yona Friedman.
Hans Ulrich Obrist : Everything you always wanted to know about curating (but were afraid to ask)
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Summary:
Everything you ever wanted to know about Hans Ulrich Obrist butwere afraid to ask has now been asked, revealing the truth from the beginning of his career as a young curator in his Zurich kitchen to his recent position as co-director of the Serpentine in London. This book is a "production of reality conversations", otherwise known as interviews. It undertakes the impossible: pinning down this peripatetic curator, and affirming the wisdom of an artist who told Obrist "don't go" when he contemplated leaving the art world for other fields. Interviews by Jean Max Colard, Robert Fleck, Jefferson Hack, Nav Haq, Sophia Krzys Acord, Brendan McGetrick, Ingo Niermann, Paul O'Neill,Philippe Parreno & Alex Poots, Juri Steiner, Gavin Wade, et al. Foreword by Tino Sehgal, afterword by Yona Friedman.
Form:
books
books
Publication:
March 2011
March 2011
Subject:
Museology
Museology
Form:
books
books
Title:
Institutional critique
Institutional critique
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$29.00
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This contemporary reassessment of the Institutional Critique movement, launched in the late 1960s by artists including Michael Asher and Hans Haacke, grew out of a symposium held at the Los Angeles County Museum of Art. It looks at Institutional Critique's central aim, the exposure and ironization of the structures and logic of museums and art galleries, and recent(...)
$29.00
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Summary:
This contemporary reassessment of the Institutional Critique movement, launched in the late 1960s by artists including Michael Asher and Hans Haacke, grew out of a symposium held at the Los Angeles County Museum of Art. It looks at Institutional Critique's central aim, the exposure and ironization of the structures and logic of museums and art galleries, and recent(...)
Title:
Institutional critique
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$29.00
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Summary:
This contemporary reassessment of the Institutional Critique movement, launched in the late 1960s by artists including Michael Asher and Hans Haacke, grew out of a symposium held at the Los Angeles County Museum of Art. It looks at Institutional Critique's central aim, the exposure and ironization of the structures and logic of museums and art galleries, and recent developments that engage with and echo it. IC has been raised again by Andrea Fraser, Renee Green and Fred Wilson, among others, and has been vigorously reoriented in recent years to address issues such as globalization. Contributors include Alexander Alberro, Mike Kelley, Hans Haacke, Lauri Firstenberg, Andrea Fraser, Renee Green and others.
Institutional critique
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Summary:
This contemporary reassessment of the Institutional Critique movement, launched in the late 1960s by artists including Michael Asher and Hans Haacke, grew out of a symposium held at the Los Angeles County Museum of Art. It looks at Institutional Critique's central aim, the exposure and ironization of the structures and logic of museums and art galleries, and recent developments that engage with and echo it. IC has been raised again by Andrea Fraser, Renee Green and Fred Wilson, among others, and has been vigorously reoriented in recent years to address issues such as globalization. Contributors include Alexander Alberro, Mike Kelley, Hans Haacke, Lauri Firstenberg, Andrea Fraser, Renee Green and others.
Form:
books
books
Publication:
October 2007, Zurich
October 2007, Zurich
Subject:
Museology
Museology
Form:
books
books
Title:
Curating Subjects
Curating Subjects
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$36.00
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Summary:
This book is a welcome addition to he growing literature about exhibition making. Moving away from autobiographical, first person narratives, Curating Subjects instead invites its broad range of contributors to comment upon the curatorial endeavours of others. Conflating and colliding the past and the present with possible futures this book unfolds as an idiosyncratic(...)
$36.00
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Summary:
This book is a welcome addition to he growing literature about exhibition making. Moving away from autobiographical, first person narratives, Curating Subjects instead invites its broad range of contributors to comment upon the curatorial endeavours of others. Conflating and colliding the past and the present with possible futures this book unfolds as an idiosyncratic(...)
Title:
Curating Subjects
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$36.00
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This book is a welcome addition to he growing literature about exhibition making. Moving away from autobiographical, first person narratives, Curating Subjects instead invites its broad range of contributors to comment upon the curatorial endeavours of others. Conflating and colliding the past and the present with possible futures this book unfolds as an idiosyncratic conversation that is at once informative, entertaining, and often revealing.
Curating Subjects
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$36.00
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Summary:
This book is a welcome addition to he growing literature about exhibition making. Moving away from autobiographical, first person narratives, Curating Subjects instead invites its broad range of contributors to comment upon the curatorial endeavours of others. Conflating and colliding the past and the present with possible futures this book unfolds as an idiosyncratic conversation that is at once informative, entertaining, and often revealing.
Form:
books
books
Publication:
October 2011, London
October 2011, London
Subject:
Museology
Museology
Form:
books
books
Price:
$39.95
(available to order)
Summary:
With this richly illustrated history of industrial design reform in nineteenth-century Britain, Lara Kriegel demonstrates that preoccupations with trade, labor, and manufacture lay at the heart of Victorian-era debates about cultural institutions. Through aesthetic reform, Victorians sought to redress the inferiority of British crafts in comparison to those made on the(...)
$39.95
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Summary:
With this richly illustrated history of industrial design reform in nineteenth-century Britain, Lara Kriegel demonstrates that preoccupations with trade, labor, and manufacture lay at the heart of Victorian-era debates about cultural institutions. Through aesthetic reform, Victorians sought to redress the inferiority of British crafts in comparison to those made on the(...)
Title:
Grand Designs: Labor, empire and the museum in Victorian culture
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With this richly illustrated history of industrial design reform in nineteenth-century Britain, Lara Kriegel demonstrates that preoccupations with trade, labor, and manufacture lay at the heart of Victorian-era debates about cultural institutions. Through aesthetic reform, Victorians sought to redress the inferiority of British crafts in comparison to those made on the continent and in the colonies. Declaring a crisis of design and workmanship among the British laboring classes, reformers pioneered schools of design, copyright protections, and spectacular displays of industrial and imperial wares, most notably the Great Exhibition of 1851. Their efforts culminated with the establishment of the South Kensington Museum, predecessor to the Victoria and Albert Museum, which stands today as home to the world’s foremost collection of the decorative and applied arts. Kriegel’s identification of the significant links between markets and museums, and between economics and aesthetics, amounts to a rethinking of Victorian cultural formation. Drawing on a wide range of sources, including museum guidebooks, design manuals, illustrated newspapers, pattern books, and government reports, Kriegel brings to life the many Victorians who claimed a stake in aesthetic reform during the middle years of the nineteenth century. The aspiring artists who attended the Government School of Design, the embattled provincial printers who sought a strengthened industrial copyright, the Exhibition-going millions who visited the Crystal Palace, the lower-middle-class consumers who learned new principles of taste in metropolitan museums, and the working men of London who critiqued the city’s art and design collections are all cast by Kriegel as leading cultural actors of their day. Grand Designs shows how these Victorians vied to upend aesthetic hierarchies in an imperial age and, in the process, to refashion London’s public culture.
Grand Designs: Labor, empire and the museum in Victorian culture
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Summary:
With this richly illustrated history of industrial design reform in nineteenth-century Britain, Lara Kriegel demonstrates that preoccupations with trade, labor, and manufacture lay at the heart of Victorian-era debates about cultural institutions. Through aesthetic reform, Victorians sought to redress the inferiority of British crafts in comparison to those made on the continent and in the colonies. Declaring a crisis of design and workmanship among the British laboring classes, reformers pioneered schools of design, copyright protections, and spectacular displays of industrial and imperial wares, most notably the Great Exhibition of 1851. Their efforts culminated with the establishment of the South Kensington Museum, predecessor to the Victoria and Albert Museum, which stands today as home to the world’s foremost collection of the decorative and applied arts. Kriegel’s identification of the significant links between markets and museums, and between economics and aesthetics, amounts to a rethinking of Victorian cultural formation. Drawing on a wide range of sources, including museum guidebooks, design manuals, illustrated newspapers, pattern books, and government reports, Kriegel brings to life the many Victorians who claimed a stake in aesthetic reform during the middle years of the nineteenth century. The aspiring artists who attended the Government School of Design, the embattled provincial printers who sought a strengthened industrial copyright, the Exhibition-going millions who visited the Crystal Palace, the lower-middle-class consumers who learned new principles of taste in metropolitan museums, and the working men of London who critiqued the city’s art and design collections are all cast by Kriegel as leading cultural actors of their day. Grand Designs shows how these Victorians vied to upend aesthetic hierarchies in an imperial age and, in the process, to refashion London’s public culture.
Form:
books
books
Publication:
November 2007
November 2007
Subject:
Museology
Museology
