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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for(...)
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for(...)
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Museum architecture : texts and projects by artists
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for how museums should be constructed. When discussing the increasing number of museums and exhibition spaces for modern art which have come into being in recent years, the deep-seated differences of opinion between architects and artists keep coming to the fore. The discussion seems to be almost exclusively dominated by the point of view of the architect and defined by his/her interests. The needs of the art itself are being widely neglected and the voice of the artist is simply not being heard. Donald Judd, the American sculptor and minimalist artist, once noted that museums are so rarely built on functional lines these days, the trend being more towards the creation of a showpiece for the architect. Why are painters and sculptors not asked for their input? The very obvious question was addressed by the Espace de l’art concret when in 1997, it asked a number of well-known artists to come up with ideas and projects for a museum for concrete art. They were invited to submit their ideal utopian suggestions as well as very concrete and architectural proposals and written statements. These are documented in this publication, supplemented with the material for the collection owned by the Kunsthaus in Bregenz and expanded with an extensive anthology of texts by artists on this subject. The résumé of the contributions presents a searing criticism of contemporary museum architecture by its most important users. Their voice will at last find an ear in the current architectural discussion about the new cathedrals of the post-industrial society.
Museum architecture : texts and projects by artists
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for how museums should be constructed. When discussing the increasing number of museums and exhibition spaces for modern art which have come into being in recent years, the deep-seated differences of opinion between architects and artists keep coming to the fore. The discussion seems to be almost exclusively dominated by the point of view of the architect and defined by his/her interests. The needs of the art itself are being widely neglected and the voice of the artist is simply not being heard. Donald Judd, the American sculptor and minimalist artist, once noted that museums are so rarely built on functional lines these days, the trend being more towards the creation of a showpiece for the architect. Why are painters and sculptors not asked for their input? The very obvious question was addressed by the Espace de l’art concret when in 1997, it asked a number of well-known artists to come up with ideas and projects for a museum for concrete art. They were invited to submit their ideal utopian suggestions as well as very concrete and architectural proposals and written statements. These are documented in this publication, supplemented with the material for the collection owned by the Kunsthaus in Bregenz and expanded with an extensive anthology of texts by artists on this subject. The résumé of the contributions presents a searing criticism of contemporary museum architecture by its most important users. Their voice will at last find an ear in the current architectural discussion about the new cathedrals of the post-industrial society.
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books
books
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January 1900, Cologne
January 1900, Cologne
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Museology
Museology
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books
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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(...)
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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(...)
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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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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.
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books
books
Publication:
July 2003, Minneapolis
July 2003, Minneapolis
Subject:
Museology
Museology
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books
books
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$66.99
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Nina Mö ntmann's timely book extends the decolonisation debate to the institutions of contemporary art. In a thoughtfully articulated text, illustrated with pertinent examples of best practice, she argues that museums and galleries of contemporary art have a responsibility to "decenter" their institutions, removing from their collections, exhibition policies and(...)
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Summary:
Nina Mö ntmann's timely book extends the decolonisation debate to the institutions of contemporary art. In a thoughtfully articulated text, illustrated with pertinent examples of best practice, she argues that museums and galleries of contemporary art have a responsibility to "decenter" their institutions, removing from their collections, exhibition policies and(...)
Title:
Decentring the museum: Contemporary art institutions and colonial legacies
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Nina Mö ntmann's timely book extends the decolonisation debate to the institutions of contemporary art. In a thoughtfully articulated text, illustrated with pertinent examples of best practice, she argues that museums and galleries of contemporary art have a responsibility to "decenter" their institutions, removing from their collections, exhibition policies and infrastructures a deeply embedded Euro-centric cultural focus with roots in the history of colonialism. In this, she argues, they can learn from the example both of anthropological museums (such as the Humboldt Forum in Berlin and the British Museum), which are engaged in debates about the colonial histories of their collections, and of small-scale art spaces (such as La Colonie in Paris or Savvy Contemporary in Berlin), which have the flexibility to initiate different kinds of conversation – for example, by programming exhibitions and events in collaboration with local diasporic communities from the global south.
Decentring the museum: Contemporary art institutions and colonial legacies
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Nina Mö ntmann's timely book extends the decolonisation debate to the institutions of contemporary art. In a thoughtfully articulated text, illustrated with pertinent examples of best practice, she argues that museums and galleries of contemporary art have a responsibility to "decenter" their institutions, removing from their collections, exhibition policies and infrastructures a deeply embedded Euro-centric cultural focus with roots in the history of colonialism. In this, she argues, they can learn from the example both of anthropological museums (such as the Humboldt Forum in Berlin and the British Museum), which are engaged in debates about the colonial histories of their collections, and of small-scale art spaces (such as La Colonie in Paris or Savvy Contemporary in Berlin), which have the flexibility to initiate different kinds of conversation – for example, by programming exhibitions and events in collaboration with local diasporic communities from the global south.
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books
books
Publication:
December 2023
December 2023
Subject:
Museology
Museology
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books
books
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$62.00
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Artificial intelligence is becoming an increasingly important topic in the cultural sector. While museums have long focused on building digital object databases, the existing data can now become a field of application for machine learning, deep learning and foundation model approaches. This goes hand in hand with new artistic practices, curation tools, visitor analytics,(...)
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Artificial intelligence is becoming an increasingly important topic in the cultural sector. While museums have long focused on building digital object databases, the existing data can now become a field of application for machine learning, deep learning and foundation model approaches. This goes hand in hand with new artistic practices, curation tools, visitor analytics,(...)
Title:
AI in museums: Reflections, perspectives and applications
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Artificial intelligence is becoming an increasingly important topic in the cultural sector. While museums have long focused on building digital object databases, the existing data can now become a field of application for machine learning, deep learning and foundation model approaches. This goes hand in hand with new artistic practices, curation tools, visitor analytics, chatbots, automatic translations and tailor-made text generation. With a decidedly interdisciplinary approach, the volume brings together a wide range of critical reflections, practical perspectives and concrete applications of artificial intelligence in museums, and provides an overview of the current state of the debate.
AI in museums: Reflections, perspectives and applications
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Artificial intelligence is becoming an increasingly important topic in the cultural sector. While museums have long focused on building digital object databases, the existing data can now become a field of application for machine learning, deep learning and foundation model approaches. This goes hand in hand with new artistic practices, curation tools, visitor analytics, chatbots, automatic translations and tailor-made text generation. With a decidedly interdisciplinary approach, the volume brings together a wide range of critical reflections, practical perspectives and concrete applications of artificial intelligence in museums, and provides an overview of the current state of the debate.
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books
books
Publication:
April 2024
April 2024
Subject:
Museology
Museology
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books
books
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''The Art Institution of Tomorrow'' is a unique manifesto for raising the standard of institutional practices across the world. It suggests that existing art institutions are not equipped to deal with the radical social, economic and environmental change we are living through and engage with advancement in the arts, and that unless they re-focus on their core purpose and(...)
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''The Art Institution of Tomorrow'' is a unique manifesto for raising the standard of institutional practices across the world. It suggests that existing art institutions are not equipped to deal with the radical social, economic and environmental change we are living through and engage with advancement in the arts, and that unless they re-focus on their core purpose and(...)
Title:
The art institution of tomorrow: Reinventing the model
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''The Art Institution of Tomorrow'' is a unique manifesto for raising the standard of institutional practices across the world. It suggests that existing art institutions are not equipped to deal with the radical social, economic and environmental change we are living through and engage with advancement in the arts, and that unless they re-focus on their core purpose and fundamentally transform their organisational structure and operational models, they will start to lose their relevance and influence.
The art institution of tomorrow: Reinventing the model
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''The Art Institution of Tomorrow'' is a unique manifesto for raising the standard of institutional practices across the world. It suggests that existing art institutions are not equipped to deal with the radical social, economic and environmental change we are living through and engage with advancement in the arts, and that unless they re-focus on their core purpose and fundamentally transform their organisational structure and operational models, they will start to lose their relevance and influence.
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books
books
Publication:
December 2024
December 2024
Subject:
Museology
Museology
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books
books
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$13.50
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"1. The tropics is a state of mind. A different perception of space, time and geography that resists neoliberalism’s efficiency, overproduction, overconsumption, and over accumulation."
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"1. The tropics is a state of mind. A different perception of space, time and geography that resists neoliberalism’s efficiency, overproduction, overconsumption, and over accumulation."
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Manual for exhibition making in the Tropics #125
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"1. The tropics is a state of mind. A different perception of space, time and geography that resists neoliberalism’s efficiency, overproduction, overconsumption, and over accumulation."
Manual for exhibition making in the Tropics #125
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"1. The tropics is a state of mind. A different perception of space, time and geography that resists neoliberalism’s efficiency, overproduction, overconsumption, and over accumulation."
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books
books
Publication:
April 2024
April 2024
Subject:
Museology
Museology
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books
books
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$29.95
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This book presents a study that conceptualizes, tests, and practically applies the spatial strategy for the European Kunsthalle. The investigation is the result of the activities incorporated into a two-year work practice from 2005 to 2007.
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This book presents a study that conceptualizes, tests, and practically applies the spatial strategy for the European Kunsthalle. The investigation is the result of the activities incorporated into a two-year work practice from 2005 to 2007.
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Institution building : artists, curators, architects in the struggle for institutional space
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This book presents a study that conceptualizes, tests, and practically applies the spatial strategy for the European Kunsthalle. The investigation is the result of the activities incorporated into a two-year work practice from 2005 to 2007.
Institution building : artists, curators, architects in the struggle for institutional space
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This book presents a study that conceptualizes, tests, and practically applies the spatial strategy for the European Kunsthalle. The investigation is the result of the activities incorporated into a two-year work practice from 2005 to 2007.
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books
books
Publication:
December 2009
December 2009
Subject:
Museology
Museology
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books
books
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and(...)
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and(...)
Subject:
Museology
Museology
Publication:
February 2009, Durham & London
February 2009, Durham & London
Title:
Contested histories in public space: memory, race and nation
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and display of national narratives, the contributing historians, anthropologists, and other scholars delve into representations of contested histories at such “sites” as a British Library exhibition on the East India Company, a Rio de Janeiro shantytown known as “the cradle of samba,” the Ellis Island immigration museum, and high-school history textbooks in Ecuador.
Contested histories in public space: memory, race and nation
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and display of national narratives, the contributing historians, anthropologists, and other scholars delve into representations of contested histories at such “sites” as a British Library exhibition on the East India Company, a Rio de Janeiro shantytown known as “the cradle of samba,” the Ellis Island immigration museum, and high-school history textbooks in Ecuador.
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books
books
Publication:
February 2009, Durham & London
February 2009, Durham & London
Subject:
Museology
Museology
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books
books
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$115.00
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The German architect and theorist Gottfried Semper was a founder of Modernism. Forced to leave Dresden in 1849, he composed this important manifesto on the phenomenology of materials and the systematization of the ideal museum while in exile. Published in transcription for the first time, with original line breaks, this volume includes all drawings and some manuscript(...)
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Summary:
The German architect and theorist Gottfried Semper was a founder of Modernism. Forced to leave Dresden in 1849, he composed this important manifesto on the phenomenology of materials and the systematization of the ideal museum while in exile. Published in transcription for the first time, with original line breaks, this volume includes all drawings and some manuscript(...)
Publication:
December 2008, Vienna, Los Angeles
December 2008, Vienna, Los Angeles
Title:
The ideal museum ; practical art in metals and hard materials
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The German architect and theorist Gottfried Semper was a founder of Modernism. Forced to leave Dresden in 1849, he composed this important manifesto on the phenomenology of materials and the systematization of the ideal museum while in exile. Published in transcription for the first time, with original line breaks, this volume includes all drawings and some manuscript pages in facsimile.
The ideal museum ; practical art in metals and hard materials
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The German architect and theorist Gottfried Semper was a founder of Modernism. Forced to leave Dresden in 1849, he composed this important manifesto on the phenomenology of materials and the systematization of the ideal museum while in exile. Published in transcription for the first time, with original line breaks, this volume includes all drawings and some manuscript pages in facsimile.
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books
books
Publication:
December 2008, Vienna, Los Angeles
December 2008, Vienna, Los Angeles
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books
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$32.99
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il(...)
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il(...)
Title:
White cube, l'espace de la galerie et son idéologie
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il développe également une véritable dramaturgie de la perception, où l'espace d'exposition est le laboratoire d'un art qui ne se conçoit plus sans sa relation au spectateur.
White cube, l'espace de la galerie et son idéologie
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il développe également une véritable dramaturgie de la perception, où l'espace d'exposition est le laboratoire d'un art qui ne se conçoit plus sans sa relation au spectateur.
Form:
books
books
Publication:
December 2008, Zürich
December 2008, Zürich
Subject:
Museology
Museology
