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'The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modeled after the iconic French film(...)
$53.95
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Summary:
'The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modeled after the iconic French film(...)
Title:
The Exhibitionist: journal on exhibition making. The first six years
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'The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modeled after the iconic French film journal Cahiers du cinéma, The Exhibitionist has served a critical role in examining current curatorial practices by focusing specifically on the exhibition format as a site of experimentation and inquiry. The Exhibitionist has historicized, analyzed and critiqued a phenomenon it is itself symptomatic of—the rise of the curator since the 1960s, the ensuing explosion of curatorial creativity and the growing fascination with the discipline of curating.
The Exhibitionist: journal on exhibition making. The first six years
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$53.95
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Summary:
'The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modeled after the iconic French film journal Cahiers du cinéma, The Exhibitionist has served a critical role in examining current curatorial practices by focusing specifically on the exhibition format as a site of experimentation and inquiry. The Exhibitionist has historicized, analyzed and critiqued a phenomenon it is itself symptomatic of—the rise of the curator since the 1960s, the ensuing explosion of curatorial creativity and the growing fascination with the discipline of curating.
Form:
books
books
Publication:
February 2017
February 2017
Subject:
Museology
Museology
Form:
books
books
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$45.95
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Summary:
In 1968, Robert Smithson reacted to Michael Fried’s influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator’s connection with a work of art as a momentary visual engagement, Smithson’s non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the(...)
$45.95
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Summary:
In 1968, Robert Smithson reacted to Michael Fried’s influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator’s connection with a work of art as a momentary visual engagement, Smithson’s non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the(...)
Title:
Beyond objecthood: the exhibition as a critical form since 1968
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In 1968, Robert Smithson reacted to Michael Fried’s influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator’s connection with a work of art as a momentary visual engagement, Smithson’s non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form—and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the “participatory.”
Beyond objecthood: the exhibition as a critical form since 1968
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Summary:
In 1968, Robert Smithson reacted to Michael Fried’s influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator’s connection with a work of art as a momentary visual engagement, Smithson’s non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form—and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the “participatory.”
Form:
books
books
Publication:
February 2017
February 2017
Subject:
Museology
Museology
Form:
books
books
Title:
L'Art d'aimer les objets
L'Art d'aimer les objets
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L’écriture du patrimoine français a longtemps hésité entre la glorification des collections nationales et la critique de la perte du contexte des œuvres – aux dépens d’une approche du processus de patrimonialisation, de ses acteurs et de ses pratiques. On fait ici le pari d’une histoire de l’art d’aimer certains objets, en croisant les savoirs et les émotions, les(...)
$29.95
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L’écriture du patrimoine français a longtemps hésité entre la glorification des collections nationales et la critique de la perte du contexte des œuvres – aux dépens d’une approche du processus de patrimonialisation, de ses acteurs et de ses pratiques. On fait ici le pari d’une histoire de l’art d’aimer certains objets, en croisant les savoirs et les émotions, les(...)
Title:
L'Art d'aimer les objets
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L’écriture du patrimoine français a longtemps hésité entre la glorification des collections nationales et la critique de la perte du contexte des œuvres – aux dépens d’une approche du processus de patrimonialisation, de ses acteurs et de ses pratiques. On fait ici le pari d’une histoire de l’art d’aimer certains objets, en croisant les savoirs et les émotions, les investissements personnels et les disciplines institutionnelles, les projections et les appropriations. Les exemples choisis vont de la Révolution à nos jours et envisagent aussi bien les chefs-d’œuvre de l’art au musée que l’inscription de la société dans les dispositifs patrimoniaux contemporains. On constate chaque fois que l’attachement pour des choses jugées précieuses accroît leur profondeur et leur densité, engage des identifications de leurs " amis " et travaille enfin à différentes représentations collectives. La cristallisation patrimoniale autorise ainsi, sinon une unité imaginée des héritages, au moins l’ambition de leur construction commune.
L'Art d'aimer les objets
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$29.95
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Summary:
L’écriture du patrimoine français a longtemps hésité entre la glorification des collections nationales et la critique de la perte du contexte des œuvres – aux dépens d’une approche du processus de patrimonialisation, de ses acteurs et de ses pratiques. On fait ici le pari d’une histoire de l’art d’aimer certains objets, en croisant les savoirs et les émotions, les investissements personnels et les disciplines institutionnelles, les projections et les appropriations. Les exemples choisis vont de la Révolution à nos jours et envisagent aussi bien les chefs-d’œuvre de l’art au musée que l’inscription de la société dans les dispositifs patrimoniaux contemporains. On constate chaque fois que l’attachement pour des choses jugées précieuses accroît leur profondeur et leur densité, engage des identifications de leurs " amis " et travaille enfin à différentes représentations collectives. La cristallisation patrimoniale autorise ainsi, sinon une unité imaginée des héritages, au moins l’ambition de leur construction commune.
Form:
books
books
Publication:
October 2016
October 2016
Subject:
Museology
Museology
Form:
books
books
Title:
The keeper
The keeper
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$64.95
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The Keeper accompanies an exhibition dedicated to the act of preserving objects, artworks and images. Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have(...)
$64.95
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Summary:
The Keeper accompanies an exhibition dedicated to the act of preserving objects, artworks and images. Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have(...)
Title:
The keeper
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$64.95
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The Keeper accompanies an exhibition dedicated to the act of preserving objects, artworks and images. Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have created sanctuaries for endangered images and artifacts. Through works spanning the 20th century, The Keeper tells the stories of various individuals through the objects they chose to safeguard.
The keeper
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$64.95
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Summary:
The Keeper accompanies an exhibition dedicated to the act of preserving objects, artworks and images. Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have created sanctuaries for endangered images and artifacts. Through works spanning the 20th century, The Keeper tells the stories of various individuals through the objects they chose to safeguard.
Form:
books
books
Publication:
August 2016
August 2016
Subject:
Museology
Museology
Form:
books
books
Price:
$50.00
(available to order)
Summary:
The category of the museum, as it has been understood by museums of contemporary art over the last 30 years, is in need of a reassessment. This volume reflects on the museum of contemporary art in all its paradoxical characteristics. Over four chapters consisting of three theoretical essays and a section dedicated to discussion, questions regarding the roles and tasks of(...)
$50.00
(available to order)
Summary:
The category of the museum, as it has been understood by museums of contemporary art over the last 30 years, is in need of a reassessment. This volume reflects on the museum of contemporary art in all its paradoxical characteristics. Over four chapters consisting of three theoretical essays and a section dedicated to discussion, questions regarding the roles and tasks of(...)
Title:
Now-Tomorrow-Flux: an anthrology on the Museum of Contemporary Art
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Summary:
The category of the museum, as it has been understood by museums of contemporary art over the last 30 years, is in need of a reassessment. This volume reflects on the museum of contemporary art in all its paradoxical characteristics. Over four chapters consisting of three theoretical essays and a section dedicated to discussion, questions regarding the roles and tasks of the museum of contemporary art are addressed. The anthology discusses the museum of contemporary art’s double character as a site of production as well as conservation, and emphasizes its relation to different public spheres, also exploring ways of dealing with the standards that emerge from the practices of collecting, organizing and educating. Included are contributions from art historians and cultural experts Claire Bishop, Büro trafo.K, Martha Buskirk, Beatriz Colomina, Bettina Funcke, Adrian Heathfield, Christian Kravagna, Oliver Marchart, Donald Preziosi, Sophia Prinz, Beat Wyss and Artur Zmijewski.
Now-Tomorrow-Flux: an anthrology on the Museum of Contemporary Art
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$50.00
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Summary:
The category of the museum, as it has been understood by museums of contemporary art over the last 30 years, is in need of a reassessment. This volume reflects on the museum of contemporary art in all its paradoxical characteristics. Over four chapters consisting of three theoretical essays and a section dedicated to discussion, questions regarding the roles and tasks of the museum of contemporary art are addressed. The anthology discusses the museum of contemporary art’s double character as a site of production as well as conservation, and emphasizes its relation to different public spheres, also exploring ways of dealing with the standards that emerge from the practices of collecting, organizing and educating. Included are contributions from art historians and cultural experts Claire Bishop, Büro trafo.K, Martha Buskirk, Beatriz Colomina, Bettina Funcke, Adrian Heathfield, Christian Kravagna, Oliver Marchart, Donald Preziosi, Sophia Prinz, Beat Wyss and Artur Zmijewski.
Form:
books
books
Publication:
May 2017
May 2017
Subject:
Museology
Museology
Form:
books
books
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$39.95
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Summary:
What is the role of the curator when organizing digital art exhibitions in offline and online spaces? Analyzing the influence and impact of curating digital art through more than 20 interviews with artists and curators plus an extensive timeline, this book focuses on how the work of curators, artists and designers created fresh possibilities for reconfiguring traditional(...)
$39.95
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Summary:
What is the role of the curator when organizing digital art exhibitions in offline and online spaces? Analyzing the influence and impact of curating digital art through more than 20 interviews with artists and curators plus an extensive timeline, this book focuses on how the work of curators, artists and designers created fresh possibilities for reconfiguring traditional(...)
Title:
Curating digital art: from presenting and collecting digital art to netwiorked co-curation
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$39.95
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Summary:
What is the role of the curator when organizing digital art exhibitions in offline and online spaces? Analyzing the influence and impact of curating digital art through more than 20 interviews with artists and curators plus an extensive timeline, this book focuses on how the work of curators, artists and designers created fresh possibilities for reconfiguring traditional models for presenting and accessing digital art.
Curating digital art: from presenting and collecting digital art to netwiorked co-curation
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Price:
$39.95
(available to order)
Summary:
What is the role of the curator when organizing digital art exhibitions in offline and online spaces? Analyzing the influence and impact of curating digital art through more than 20 interviews with artists and curators plus an extensive timeline, this book focuses on how the work of curators, artists and designers created fresh possibilities for reconfiguring traditional models for presenting and accessing digital art.
Form:
books
books
Publication:
November 2021
November 2021
Subject:
Museology
Museology
Form:
books
books
Price:
$47.00
(available to order)
Summary:
This publication offers a possible history of art since 1989 told through the moments when art becomes public. The anthology addresses some of the myriad worlds conjured by art and the telling of their histories. It is guided by three questions: What is the ‘global’ for art and exhibition-making, or why has it been what it has? How have agents including artists and(...)
$47.00
(available to order)
Summary:
This publication offers a possible history of art since 1989 told through the moments when art becomes public. The anthology addresses some of the myriad worlds conjured by art and the telling of their histories. It is guided by three questions: What is the ‘global’ for art and exhibition-making, or why has it been what it has? How have agents including artists and(...)
Title:
Art and its worlds: Exhibitions, institutions and art becoming public
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$47.00
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This publication offers a possible history of art since 1989 told through the moments when art becomes public. The anthology addresses some of the myriad worlds conjured by art and the telling of their histories. It is guided by three questions: What is the ‘global’ for art and exhibition-making, or why has it been what it has? How have agents including artists and curators experimented with different forms of exhibition? And how do these exhibitionary moments connect to longer-term and institutional trajectories? Key texts previously published in Afterall journal appear alongside newly commissioned essays, artist contributions, conversations and translations, exploring exhibition as a material, embodied and political practice, while inviting a new location for past art and bringing it into the present for what is to come.
Art and its worlds: Exhibitions, institutions and art becoming public
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$47.00
(available to order)
Summary:
This publication offers a possible history of art since 1989 told through the moments when art becomes public. The anthology addresses some of the myriad worlds conjured by art and the telling of their histories. It is guided by three questions: What is the ‘global’ for art and exhibition-making, or why has it been what it has? How have agents including artists and curators experimented with different forms of exhibition? And how do these exhibitionary moments connect to longer-term and institutional trajectories? Key texts previously published in Afterall journal appear alongside newly commissioned essays, artist contributions, conversations and translations, exploring exhibition as a material, embodied and political practice, while inviting a new location for past art and bringing it into the present for what is to come.
Form:
books
books
Publication:
October 2021
October 2021
Subject:
Museology
Museology
Form:
books
books
Title:
La Magie du Musée
La Magie du Musée
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$22.95
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Ce livre est un entretien entre Alejandro Jodorowsky et Philippe de Montebello sur l’expérience vécue de l’art dans le musée.Dans cet échange instructif et passionné entre ces deux fi gures éminentes, l’entretien aborde tout d’abord le rôle du musée, de ses origines à aujourd’hui à travers son histoire, et évoque aussi les enjeux du marché de l’art, ainsi que la question(...)
$22.95
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Summary:
Ce livre est un entretien entre Alejandro Jodorowsky et Philippe de Montebello sur l’expérience vécue de l’art dans le musée.Dans cet échange instructif et passionné entre ces deux fi gures éminentes, l’entretien aborde tout d’abord le rôle du musée, de ses origines à aujourd’hui à travers son histoire, et évoque aussi les enjeux du marché de l’art, ainsi que la question(...)
Title:
La Magie du Musée
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$22.95
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Ce livre est un entretien entre Alejandro Jodorowsky et Philippe de Montebello sur l’expérience vécue de l’art dans le musée.Dans cet échange instructif et passionné entre ces deux fi gures éminentes, l’entretien aborde tout d’abord le rôle du musée, de ses origines à aujourd’hui à travers son histoire, et évoque aussi les enjeux du marché de l’art, ainsi que la question de la place de l’art contemporain dans le musée. Le débat central devient ensuite celui de la question de l’art dans le musée.En quoi consiste l’expérience de l’oeuvre? Et comment peut-on la rendre perceptible dans l’espace du musée? Si pour l’artiste qu’est Alejandro Jodorowsky l’art doit guérir l’humanité, Philippe de Montebello, dans son rôle de conservateur et d’amateur d’art, évoque l’expérience de l’oeuvre comme l’expérience du regard à travers le temps passé à la contempler. Et si la magie du musée consistait en cet optimisme qui y pénètre, et où l’on trouve le dépassement de soi?
La Magie du Musée
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$22.95
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Summary:
Ce livre est un entretien entre Alejandro Jodorowsky et Philippe de Montebello sur l’expérience vécue de l’art dans le musée.Dans cet échange instructif et passionné entre ces deux fi gures éminentes, l’entretien aborde tout d’abord le rôle du musée, de ses origines à aujourd’hui à travers son histoire, et évoque aussi les enjeux du marché de l’art, ainsi que la question de la place de l’art contemporain dans le musée. Le débat central devient ensuite celui de la question de l’art dans le musée.En quoi consiste l’expérience de l’oeuvre? Et comment peut-on la rendre perceptible dans l’espace du musée? Si pour l’artiste qu’est Alejandro Jodorowsky l’art doit guérir l’humanité, Philippe de Montebello, dans son rôle de conservateur et d’amateur d’art, évoque l’expérience de l’oeuvre comme l’expérience du regard à travers le temps passé à la contempler. Et si la magie du musée consistait en cet optimisme qui y pénètre, et où l’on trouve le dépassement de soi?
Form:
books
books
Publication:
September 2021
September 2021
Subject:
Museology
Museology
Form:
books
books
Actions:
Price:
$67.95
(available to order)
Summary:
Museums rarely present objects as migrants. Yet they often arrive there by way of a migratory process, a historical echo of the flows of migration that have dominated the news over the past decade. As individuals migrate, so do cultures, skills, religions, ideas, objects, and materials. This is nothing new, and yet its recent acceleration forces us to think about a world(...)
$67.95
(available to order)
Summary:
Museums rarely present objects as migrants. Yet they often arrive there by way of a migratory process, a historical echo of the flows of migration that have dominated the news over the past decade. As individuals migrate, so do cultures, skills, religions, ideas, objects, and materials. This is nothing new, and yet its recent acceleration forces us to think about a world(...)
Title:
Migration: the journey of objects
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$67.95
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Summary:
Museums rarely present objects as migrants. Yet they often arrive there by way of a migratory process, a historical echo of the flows of migration that have dominated the news over the past decade. As individuals migrate, so do cultures, skills, religions, ideas, objects, and materials. This is nothing new, and yet its recent acceleration forces us to think about a world in which migration is a constant and the traditional distinction between “native” and “immigrant” is of less relevance. Published together with an exhibition at the Röhsska Museum of Design and Craft in Gothenburg, this volume examines these shifts and how they continuously influence how knowledge is formed.
Migration: the journey of objects
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$67.95
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Summary:
Museums rarely present objects as migrants. Yet they often arrive there by way of a migratory process, a historical echo of the flows of migration that have dominated the news over the past decade. As individuals migrate, so do cultures, skills, religions, ideas, objects, and materials. This is nothing new, and yet its recent acceleration forces us to think about a world in which migration is a constant and the traditional distinction between “native” and “immigrant” is of less relevance. Published together with an exhibition at the Röhsska Museum of Design and Craft in Gothenburg, this volume examines these shifts and how they continuously influence how knowledge is formed.
Form:
books
books
Publication:
December 2021
December 2021
Subject:
Museology
Museology
Form:
books
books
Actions:
Price:
$25.95
(available in store)
Summary:
Through conversations with curators and participating artists, this book revisits some of the most groundbreaking yet under-researched European and US public art exhibitions of the 1980s and 1990s. It focuses on questions central to all these projects: How can art productively navigate political tensions? How have artists and curators addressed the ethical asymmetries of(...)
$25.95
(available in store)
Summary:
Through conversations with curators and participating artists, this book revisits some of the most groundbreaking yet under-researched European and US public art exhibitions of the 1980s and 1990s. It focuses on questions central to all these projects: How can art productively navigate political tensions? How have artists and curators addressed the ethical asymmetries of(...)
Title:
Assuming asymmetries: Conversations on curating public art projects of the 1980s and 1990s
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$25.95
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Summary:
Through conversations with curators and participating artists, this book revisits some of the most groundbreaking yet under-researched European and US public art exhibitions of the 1980s and 1990s. It focuses on questions central to all these projects: How can art productively navigate political tensions? How have artists and curators addressed the ethical asymmetries of the border condition, of inside and outside, working across walls and fences—whether physical, political, or social? Why is participation so hard to catalyze and conduct? How have artworks come to constitute a practice of “situated knowledge,” engaging with the contexts in which they are produced or exhibited? And finally, what can we learn from the exhibitions discussed here when developing new, respectful forms of curating today?
Assuming asymmetries: Conversations on curating public art projects of the 1980s and 1990s
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Price:
$25.95
(available in store)
Summary:
Through conversations with curators and participating artists, this book revisits some of the most groundbreaking yet under-researched European and US public art exhibitions of the 1980s and 1990s. It focuses on questions central to all these projects: How can art productively navigate political tensions? How have artists and curators addressed the ethical asymmetries of the border condition, of inside and outside, working across walls and fences—whether physical, political, or social? Why is participation so hard to catalyze and conduct? How have artworks come to constitute a practice of “situated knowledge,” engaging with the contexts in which they are produced or exhibited? And finally, what can we learn from the exhibitions discussed here when developing new, respectful forms of curating today?
Form:
books
books
Publication:
February 2022
February 2022
Subject:
Museology
Museology
