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L’exposition se déploie sous de multiples formes dans les musées, mais aussi dans les centres d’art, les lieux culturels, dans l’espace public ou encore dans les entreprises et les collectivités. Serge Chaumier explore ce foisonnement et tente de le sérier ; l’auteur avance les raisons qui conduisent les expositions à être moins centrées sur les objets et les collections(...)
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L’exposition se déploie sous de multiples formes dans les musées, mais aussi dans les centres d’art, les lieux culturels, dans l’espace public ou encore dans les entreprises et les collectivités. Serge Chaumier explore ce foisonnement et tente de le sérier ; l’auteur avance les raisons qui conduisent les expositions à être moins centrées sur les objets et les collections(...)
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Traité d'expologie : les écritures de l'exposition
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L’exposition se déploie sous de multiples formes dans les musées, mais aussi dans les centres d’art, les lieux culturels, dans l’espace public ou encore dans les entreprises et les collectivités. Serge Chaumier explore ce foisonnement et tente de le sérier ; l’auteur avance les raisons qui conduisent les expositions à être moins centrées sur les objets et les collections et davantage tournées vers les discours et les narrations. « Fascinante polysémie qui témoigne à la fois de la richesse du médium et de la difficulté d’en circonscrire les langages, les registres, les canevas et les styles ». Parce que les musées et les expositions sont désormais moins souvent des lieux d’apprentissage que de mise en éveil des curiosités, l’écriture de l’exposition doit se réinventer ; cet ouvrage s’emploie à en dessiner les nouveaux contours, à fouiller le langage des concepteurs et fait surgir les nouvelles configurations du rapport avec les visiteurs.
Traité d'expologie : les écritures de l'exposition
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L’exposition se déploie sous de multiples formes dans les musées, mais aussi dans les centres d’art, les lieux culturels, dans l’espace public ou encore dans les entreprises et les collectivités. Serge Chaumier explore ce foisonnement et tente de le sérier ; l’auteur avance les raisons qui conduisent les expositions à être moins centrées sur les objets et les collections et davantage tournées vers les discours et les narrations. « Fascinante polysémie qui témoigne à la fois de la richesse du médium et de la difficulté d’en circonscrire les langages, les registres, les canevas et les styles ». Parce que les musées et les expositions sont désormais moins souvent des lieux d’apprentissage que de mise en éveil des curiosités, l’écriture de l’exposition doit se réinventer ; cet ouvrage s’emploie à en dessiner les nouveaux contours, à fouiller le langage des concepteurs et fait surgir les nouvelles configurations du rapport avec les visiteurs.
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books
books
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December 2012
December 2012
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Museology
Museology
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Museum directors are beginning to question the role of their museums in the production of knowledge and participation, in creating links between the present and the past. Museum education has evolved as a practice in its own right, questioning, expanding, and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as(...)
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Museum directors are beginning to question the role of their museums in the production of knowledge and participation, in creating links between the present and the past. Museum education has evolved as a practice in its own right, questioning, expanding, and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as(...)
Title:
Contemporary curating and museum education
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Museum directors are beginning to question the role of their museums in the production of knowledge and participation, in creating links between the present and the past. Museum education has evolved as a practice in its own right, questioning, expanding, and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as an integrated practice? In this anthology, scholars employed at a range of museums address this question.
Contemporary curating and museum education
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Museum directors are beginning to question the role of their museums in the production of knowledge and participation, in creating links between the present and the past. Museum education has evolved as a practice in its own right, questioning, expanding, and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as an integrated practice? In this anthology, scholars employed at a range of museums address this question.
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books
books
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February 2016
February 2016
Subject:
Museology
Museology
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books
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$70.00
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How many times have you heard the term “curate” in the past few years? But what exactly does it mean? Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or biennale. With an emphasis on the "now" and the most recent exhibitions, this book(...)
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How many times have you heard the term “curate” in the past few years? But what exactly does it mean? Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or biennale. With an emphasis on the "now" and the most recent exhibitions, this book(...)
Title:
The new curator: researcher, commisioner, keeper, interpreter, producer, collaborator
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How many times have you heard the term “curate” in the past few years? But what exactly does it mean? Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or biennale. With an emphasis on the "now" and the most recent exhibitions, this book examines the variety and richness of curating practices today, from public commissions such as Art Angel to experimental projects such as the Ghetto Biennale in Haiti, or the Rhizome digital archive.
The new curator: researcher, commisioner, keeper, interpreter, producer, collaborator
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How many times have you heard the term “curate” in the past few years? But what exactly does it mean? Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or biennale. With an emphasis on the "now" and the most recent exhibitions, this book examines the variety and richness of curating practices today, from public commissions such as Art Angel to experimental projects such as the Ghetto Biennale in Haiti, or the Rhizome digital archive.
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books
books
Publication:
April 2016
April 2016
Subject:
Museology
Museology
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books
books
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$32.50
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Between 1969 and 1974, Lucy Lippard curated four exhibitions of contemporary art, which have become renowned as her “numbers shows.” Each took the population of the city in which it was shown as its title: 557,087 in Seattle, 955,000 in Vancouver, 2,972,453 in Buenos Aires and c. 7,500, which opened in Valencia, California, before touring the U.S. and then traveling to(...)
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Between 1969 and 1974, Lucy Lippard curated four exhibitions of contemporary art, which have become renowned as her “numbers shows.” Each took the population of the city in which it was shown as its title: 557,087 in Seattle, 955,000 in Vancouver, 2,972,453 in Buenos Aires and c. 7,500, which opened in Valencia, California, before touring the U.S. and then traveling to(...)
Title:
From conceptualism to feminism: Lucy Lippard’s numbers shows,1969-74
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Between 1969 and 1974, Lucy Lippard curated four exhibitions of contemporary art, which have become renowned as her “numbers shows.” Each took the population of the city in which it was shown as its title: 557,087 in Seattle, 955,000 in Vancouver, 2,972,453 in Buenos Aires and c. 7,500, which opened in Valencia, California, before touring the U.S. and then traveling to London. From Conceptualism to Feminism follows Lippard’s curatorial trajectory, analyzing her transition from a writer about art to a maker of exhibitions, and tracing her growing political engagement and involvement with feminism. Extensive photographic material is complemented by a major new essay by Cornelia Butler and interviews with Lucy Lippard, Seth Siegelaub and with artists in c. 7,500. The volume also includes an analysis of artists’ initiatives in Argentina, which give a context for Lippard’s emerging political consciousness. From Conceptualism to Feminism is the third publication in Afterall’s Exhibition Histories series, which investigates exhibitions that have shaped the way contemporary art is experienced, made and discussed.
From conceptualism to feminism: Lucy Lippard’s numbers shows,1969-74
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Between 1969 and 1974, Lucy Lippard curated four exhibitions of contemporary art, which have become renowned as her “numbers shows.” Each took the population of the city in which it was shown as its title: 557,087 in Seattle, 955,000 in Vancouver, 2,972,453 in Buenos Aires and c. 7,500, which opened in Valencia, California, before touring the U.S. and then traveling to London. From Conceptualism to Feminism follows Lippard’s curatorial trajectory, analyzing her transition from a writer about art to a maker of exhibitions, and tracing her growing political engagement and involvement with feminism. Extensive photographic material is complemented by a major new essay by Cornelia Butler and interviews with Lucy Lippard, Seth Siegelaub and with artists in c. 7,500. The volume also includes an analysis of artists’ initiatives in Argentina, which give a context for Lippard’s emerging political consciousness. From Conceptualism to Feminism is the third publication in Afterall’s Exhibition Histories series, which investigates exhibitions that have shaped the way contemporary art is experienced, made and discussed.
Form:
books
books
Publication:
August 2012
August 2012
Subject:
Museology
Museology
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books
books
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$56.95
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The study of the museum visitor has undergone a radical transformation. This collection brings together imaginative research that encourages new conclusions. Some questions involve the visitor's identity, what she brings to her museum experience. Can we gain entry into this experience? Does more technology really increase access to the objects themselves? Others probe the(...)
$56.95
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The study of the museum visitor has undergone a radical transformation. This collection brings together imaginative research that encourages new conclusions. Some questions involve the visitor's identity, what she brings to her museum experience. Can we gain entry into this experience? Does more technology really increase access to the objects themselves? Others probe the(...)
Title:
Visiting the visitor: an enquiry into the visitor business in museums
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The study of the museum visitor has undergone a radical transformation. This collection brings together imaginative research that encourages new conclusions. Some questions involve the visitor's identity, what she brings to her museum experience. Can we gain entry into this experience? Does more technology really increase access to the objects themselves? Others probe the very nature of museum-going and exhibition making, demanding that we reexamine the traditional exhibition to reposition the visitor and her meaning-making at the center. Each author here has asked unfamiliar questions and responded with fresh answers.
Visiting the visitor: an enquiry into the visitor business in museums
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The study of the museum visitor has undergone a radical transformation. This collection brings together imaginative research that encourages new conclusions. Some questions involve the visitor's identity, what she brings to her museum experience. Can we gain entry into this experience? Does more technology really increase access to the objects themselves? Others probe the very nature of museum-going and exhibition making, demanding that we reexamine the traditional exhibition to reposition the visitor and her meaning-making at the center. Each author here has asked unfamiliar questions and responded with fresh answers.
Form:
books
books
Publication:
October 2016
October 2016
Subject:
Museology
Museology
Form:
books
books
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$34.95
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A curatorial situation is always one of hospitality. It implies invitations to artists, artworks, curators, audiences, and institutions; people and objects are received, welcomed, and temporarily brought together. It offers resources for material and physical support while also responding to a need for recognition, respect, or attention. Finally, and very importantly, a(...)
$34.95
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A curatorial situation is always one of hospitality. It implies invitations to artists, artworks, curators, audiences, and institutions; people and objects are received, welcomed, and temporarily brought together. It offers resources for material and physical support while also responding to a need for recognition, respect, or attention. Finally, and very importantly, a(...)
Title:
Cultures of the curatorial 3: Hospitality. Hosting relations in exhibitions
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A curatorial situation is always one of hospitality. It implies invitations to artists, artworks, curators, audiences, and institutions; people and objects are received, welcomed, and temporarily brought together. It offers resources for material and physical support while also responding to a need for recognition, respect, or attention. Finally, and very importantly, a curatorial situation operates in the space between an unconditional acceptance of the other and exclusions legitimized through various rules and regulations. This publication analyzes, from the perspective of hospitality, the curatorial within the current sociopolitical context through key topics concerning immigration, conditions along borders, and accommodations for refugees. The contributions in this volume, by international curators, artists, critics, and theoreticians, deal with conditions of decontextualization and displacement, encounters between the local and the foreign, as well as the satisfaction of basic human needs.
Cultures of the curatorial 3: Hospitality. Hosting relations in exhibitions
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A curatorial situation is always one of hospitality. It implies invitations to artists, artworks, curators, audiences, and institutions; people and objects are received, welcomed, and temporarily brought together. It offers resources for material and physical support while also responding to a need for recognition, respect, or attention. Finally, and very importantly, a curatorial situation operates in the space between an unconditional acceptance of the other and exclusions legitimized through various rules and regulations. This publication analyzes, from the perspective of hospitality, the curatorial within the current sociopolitical context through key topics concerning immigration, conditions along borders, and accommodations for refugees. The contributions in this volume, by international curators, artists, critics, and theoreticians, deal with conditions of decontextualization and displacement, encounters between the local and the foreign, as well as the satisfaction of basic human needs.
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books
books
Publication:
July 2016
July 2016
Subject:
Museology
Museology
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books
books
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$44.00
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In an empty factory unit tucked away in Berlin’s Köpenicker Strasse, The Proletarian Building Exhibition was mounted with the humblest of resources in 1931. It marked the first action by a group of revolutionary architects, builders, and students forming the Kollektiv für sozialistisches Bauen under the architect Arthur Korn. Taking aim at modernist architects(...)
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In an empty factory unit tucked away in Berlin’s Köpenicker Strasse, The Proletarian Building Exhibition was mounted with the humblest of resources in 1931. It marked the first action by a group of revolutionary architects, builders, and students forming the Kollektiv für sozialistisches Bauen under the architect Arthur Korn. Taking aim at modernist architects(...)
Publication:
May 2016
May 2016
Title:
Collective for a socialist architecture: proletarian building exhibition 1931
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In an empty factory unit tucked away in Berlin’s Köpenicker Strasse, The Proletarian Building Exhibition was mounted with the humblest of resources in 1931. It marked the first action by a group of revolutionary architects, builders, and students forming the Kollektiv für sozialistisches Bauen under the architect Arthur Korn. Taking aim at modernist architects participating in the German Building Exhibition and CIAM, they cast architecture as an instrument of power, questioned capitalist solutions to the housing question, and unveiled planning approaches imported from the then-Soviet Union. A full facsimile of the exhibition manifesto/catalog and exhibition panels is featured in addition to contributing essays by contemporary architects, writers and educators, and the Collectives’ Annual Report including a proposed work program and statement of intent. Historical photos are interspersed throughout providing a full reconstruction of this significant architectural and sociopolitical event.
Collective for a socialist architecture: proletarian building exhibition 1931
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In an empty factory unit tucked away in Berlin’s Köpenicker Strasse, The Proletarian Building Exhibition was mounted with the humblest of resources in 1931. It marked the first action by a group of revolutionary architects, builders, and students forming the Kollektiv für sozialistisches Bauen under the architect Arthur Korn. Taking aim at modernist architects participating in the German Building Exhibition and CIAM, they cast architecture as an instrument of power, questioned capitalist solutions to the housing question, and unveiled planning approaches imported from the then-Soviet Union. A full facsimile of the exhibition manifesto/catalog and exhibition panels is featured in addition to contributing essays by contemporary architects, writers and educators, and the Collectives’ Annual Report including a proposed work program and statement of intent. Historical photos are interspersed throughout providing a full reconstruction of this significant architectural and sociopolitical event.
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books
books
Publication:
May 2016
May 2016
Form:
books
books
Price:
$20.00
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Edité par l'Institut du patrimoine, UQAM. Incluant des contributions de John Impert (Restitution of Art amd Antiquities: What are the implications of Holocaust restitution for museums that collect antiquities?), Marie-Hélène Foisy (Quelle place pour les publications d'exposition dans les musées?), Laurie Guillemette (L'écrit dans l'exposition; Analyses et études de cas),(...)
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Edité par l'Institut du patrimoine, UQAM. Incluant des contributions de John Impert (Restitution of Art amd Antiquities: What are the implications of Holocaust restitution for museums that collect antiquities?), Marie-Hélène Foisy (Quelle place pour les publications d'exposition dans les musées?), Laurie Guillemette (L'écrit dans l'exposition; Analyses et études de cas),(...)
Title:
Muséologies: les cahiers d'études supérieures, volume 2, avril 2008
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Edité par l'Institut du patrimoine, UQAM. Incluant des contributions de John Impert (Restitution of Art amd Antiquities: What are the implications of Holocaust restitution for museums that collect antiquities?), Marie-Hélène Foisy (Quelle place pour les publications d'exposition dans les musées?), Laurie Guillemette (L'écrit dans l'exposition; Analyses et études de cas), Geneviève Provencher-St-Cyr (L'action coopérative. Une proposition d'ancrage des musées dans la vie régionale), John Porter - directuer du Musée national des beaux-arts du Québec (Entrevue un), Marc Mayer - directeur du Musée d'art contemporain de Montréal (Entrevue deux), Virginie Soulier , Ève-Lyne Cayouette-Ashby, Émilie Allain, Nellie Demers(Colloque étudiant en muséologie de l'UQAM et de l'UDEM: Le rôle social du musée), Mathieu Dormaels (Rôle social des musées: une autre 'nouvelle' muséologie)
Muséologies: les cahiers d'études supérieures, volume 2, avril 2008
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Edité par l'Institut du patrimoine, UQAM. Incluant des contributions de John Impert (Restitution of Art amd Antiquities: What are the implications of Holocaust restitution for museums that collect antiquities?), Marie-Hélène Foisy (Quelle place pour les publications d'exposition dans les musées?), Laurie Guillemette (L'écrit dans l'exposition; Analyses et études de cas), Geneviève Provencher-St-Cyr (L'action coopérative. Une proposition d'ancrage des musées dans la vie régionale), John Porter - directuer du Musée national des beaux-arts du Québec (Entrevue un), Marc Mayer - directeur du Musée d'art contemporain de Montréal (Entrevue deux), Virginie Soulier , Ève-Lyne Cayouette-Ashby, Émilie Allain, Nellie Demers(Colloque étudiant en muséologie de l'UQAM et de l'UDEM: Le rôle social du musée), Mathieu Dormaels (Rôle social des musées: une autre 'nouvelle' muséologie)
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books
books
Publication:
April 2008, Montréal
April 2008, Montréal
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books
books
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$32.95
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On his quest for the "Delirious museum", Storrie takes a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas. He encounters on his way the museum architecture of John Soane, Carlo Scarpa and Daniel Libeskind, the exhibitions of El Lissitsky and of Frederick Kiessler, and the work of artists as varied as Marcel Duchamps, Andy(...)
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On his quest for the "Delirious museum", Storrie takes a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas. He encounters on his way the museum architecture of John Soane, Carlo Scarpa and Daniel Libeskind, the exhibitions of El Lissitsky and of Frederick Kiessler, and the work of artists as varied as Marcel Duchamps, Andy(...)
Title:
The delirious museum: a journey from the Louvre to Las Vegas
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On his quest for the "Delirious museum", Storrie takes a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas. He encounters on his way the museum architecture of John Soane, Carlo Scarpa and Daniel Libeskind, the exhibitions of El Lissitsky and of Frederick Kiessler, and the work of artists as varied as Marcel Duchamps, Andy Warhol, Marcel Broodthaers, Sophie Calle and Mark Dion. Calum Storrie is an architect, curator and exhibition designer, who has written extensively on museums.
The delirious museum: a journey from the Louvre to Las Vegas
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On his quest for the "Delirious museum", Storrie takes a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas. He encounters on his way the museum architecture of John Soane, Carlo Scarpa and Daniel Libeskind, the exhibitions of El Lissitsky and of Frederick Kiessler, and the work of artists as varied as Marcel Duchamps, Andy Warhol, Marcel Broodthaers, Sophie Calle and Mark Dion. Calum Storrie is an architect, curator and exhibition designer, who has written extensively on museums.
Form:
books
books
Publication:
February 2008, London, New York
February 2008, London, New York
Subject:
Museology
Museology
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books
books
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$84.95
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des(...)
$84.95
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des(...)
Title:
Le musée des monuments francais
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des Monuments français dont l'ambition, héritée de la Révolution française, est de proposer une anthologie de l'art national. En 2007, la dernière métamorphose du musée des Monuments français le place au cœur du dispositif de la Cité de l'architecture et du patrimoine, pour en faire l'instrument d'une politique culturelle novatrice, associant mémoire et projet.
Le musée des monuments francais
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des Monuments français dont l'ambition, héritée de la Révolution française, est de proposer une anthologie de l'art national. En 2007, la dernière métamorphose du musée des Monuments français le place au cœur du dispositif de la Cité de l'architecture et du patrimoine, pour en faire l'instrument d'une politique culturelle novatrice, associant mémoire et projet.
Form:
books
books
Publication:
November 2007, Paris
November 2007, Paris
Subject:
Museology
Museology
