225 Résultats
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In this examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York. (...)
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In this examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York. (...)
Publication:
décembre 1998, Cambridge, Mass.
décembre 1998, Cambridge, Mass.
Titre:
Power of display : a history of the exhibition installations at the museum of modern art
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In this examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York. Focusing on over two hundred photographs of the visually rich but overlooked history of exhibitions, Staniszewski documents and deciphers an essential chapter of twentieth-century art and culture and provides a historical and theoretical framework for a primary area of contemporary aesthetic practice--installation-based art. Among the artists, designers, architects, and curators whose installations the author features are Dennis Adams, Alfred H. Barr, Jr., Herbert Bayer, René d'Harnoncourt, Ray and Charles Eames, Hans Haacke, David Hammons, Philip Johnson, Frederick Kiesler, Barbara Kruger, Louise Lawler, El Lissitzky, Adrian Piper, Lilly Reich, William Rubin, Paul Rudolph, Edward Steichen, Giuseppe Terragni, and Kirk Varnedoe.
Power of display : a history of the exhibition installations at the museum of modern art
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In this examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York. Focusing on over two hundred photographs of the visually rich but overlooked history of exhibitions, Staniszewski documents and deciphers an essential chapter of twentieth-century art and culture and provides a historical and theoretical framework for a primary area of contemporary aesthetic practice--installation-based art. Among the artists, designers, architects, and curators whose installations the author features are Dennis Adams, Alfred H. Barr, Jr., Herbert Bayer, René d'Harnoncourt, Ray and Charles Eames, Hans Haacke, David Hammons, Philip Johnson, Frederick Kiesler, Barbara Kruger, Louise Lawler, El Lissitzky, Adrian Piper, Lilly Reich, William Rubin, Paul Rudolph, Edward Steichen, Giuseppe Terragni, and Kirk Varnedoe.
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livres
Publication:
décembre 1998, Cambridge, Mass.
décembre 1998, Cambridge, Mass.
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livres
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$77.00
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This book illuminates the history of a century of the artists' association known as the Vienna Secession and traces the evolution of a temple of art into a major exhibition centre.
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This book illuminates the history of a century of the artists' association known as the Vienna Secession and traces the evolution of a temple of art into a major exhibition centre.
Publication:
avril 1998, Stuttgart
avril 1998, Stuttgart
Titre:
The Vienna Secession : from temple of art to exhibition hall
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This book illuminates the history of a century of the artists' association known as the Vienna Secession and traces the evolution of a temple of art into a major exhibition centre.
The Vienna Secession : from temple of art to exhibition hall
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This book illuminates the history of a century of the artists' association known as the Vienna Secession and traces the evolution of a temple of art into a major exhibition centre.
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livres
livres
Publication:
avril 1998, Stuttgart
avril 1998, Stuttgart
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In 1993, the artist Vito Acconci and the architect Steven Holl were invited to redesign the then existing façade of the Storefront Gallery in New York. As a response to its urban context and its function as an art space - the gallery is situated on the ground floor(...)
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In 1993, the artist Vito Acconci and the architect Steven Holl were invited to redesign the then existing façade of the Storefront Gallery in New York. As a response to its urban context and its function as an art space - the gallery is situated on the ground floor(...)
Titre:
Acconci, Holl : storefront for art and architecture
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In 1993, the artist Vito Acconci and the architect Steven Holl were invited to redesign the then existing façade of the Storefront Gallery in New York. As a response to its urban context and its function as an art space - the gallery is situated on the ground floor of a low building on the outskirts of Soho - Acconci and Holl created a versatile façade which may be opened up in different ways according to the season or function as an optical screen separating the inner space from the street. The different functions, answering to the needs of inner and outer space and creating links and transparencies or establishing borders, serve to provide visitors with ever-changing local and spatial relations.
Acconci, Holl : storefront for art and architecture
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In 1993, the artist Vito Acconci and the architect Steven Holl were invited to redesign the then existing façade of the Storefront Gallery in New York. As a response to its urban context and its function as an art space - the gallery is situated on the ground floor of a low building on the outskirts of Soho - Acconci and Holl created a versatile façade which may be opened up in different ways according to the season or function as an optical screen separating the inner space from the street. The different functions, answering to the needs of inner and outer space and creating links and transparencies or establishing borders, serve to provide visitors with ever-changing local and spatial relations.
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livres
livres
Publication:
janvier 2001, Bregenz
janvier 2001, Bregenz
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livres
livres
Titre:
Architecture et musée
Architecture et musée
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Actes du colloque organisé au Musée royal de Mariemont.
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Actes du colloque organisé au Musée royal de Mariemont.
Publication:
mars 2001, Tournai
mars 2001, Tournai
Titre:
Architecture et musée
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Actes du colloque organisé au Musée royal de Mariemont.
Architecture et musée
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Actes du colloque organisé au Musée royal de Mariemont.
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livres
livres
Publication:
mars 2001, Tournai
mars 2001, Tournai
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livres
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$75.00
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The grand exhibitions of the Victorian and Edwardian eras are the lens through which Peter Hoffenberg examines the economic, cultural, and social forces that helped define Britain and the British Empire. He focuses on major exhibitions in England, Australia, and India between the Great Exhibition of 1851 and the Festival of Empire sixty years later, taking special(...)
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The grand exhibitions of the Victorian and Edwardian eras are the lens through which Peter Hoffenberg examines the economic, cultural, and social forces that helped define Britain and the British Empire. He focuses on major exhibitions in England, Australia, and India between the Great Exhibition of 1851 and the Festival of Empire sixty years later, taking special(...)
Publication:
janvier 1900, Berkeley
janvier 1900, Berkeley
Titre:
An empire on display : English, Indian, and Australian exhibitions from the Crystal Palace to the Great War
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The grand exhibitions of the Victorian and Edwardian eras are the lens through which Peter Hoffenberg examines the economic, cultural, and social forces that helped define Britain and the British Empire. He focuses on major exhibitions in England, Australia, and India between the Great Exhibition of 1851 and the Festival of Empire sixty years later, taking special interest in the interactive nature of the exhibition experience, the long-term consequences for the participants and host societies, and the ways in which such popular gatherings revealed dissent as well as celebration. Hoffenberg shows how exhibitions shaped culture and society within and across borders in the transnational working of the British Empire. The exhibitions were central to establishing and developing a participatory imperial world, and each polity in that world provided distinctive information, visitors, and exhibits. Among the displays were commercial goods, working machines, and ethnographic scenes. Exhibits were intended to promote external commonwealth and internal nationalism. The imperial overlay did not erase significant differences but explained and used them in economic and cultural terms. The exhibitions in cities such as London, Sydney, and Calcutta were living and active public inventories of the Empire and its national political communities. The process of building and consuming such inventories persists today in the cultural bureaucracies, museums, and festivals of modern nation-states, the appeal to tradition and social order, and the actions of transnational bodies.
An empire on display : English, Indian, and Australian exhibitions from the Crystal Palace to the Great War
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Résumé:
The grand exhibitions of the Victorian and Edwardian eras are the lens through which Peter Hoffenberg examines the economic, cultural, and social forces that helped define Britain and the British Empire. He focuses on major exhibitions in England, Australia, and India between the Great Exhibition of 1851 and the Festival of Empire sixty years later, taking special interest in the interactive nature of the exhibition experience, the long-term consequences for the participants and host societies, and the ways in which such popular gatherings revealed dissent as well as celebration. Hoffenberg shows how exhibitions shaped culture and society within and across borders in the transnational working of the British Empire. The exhibitions were central to establishing and developing a participatory imperial world, and each polity in that world provided distinctive information, visitors, and exhibits. Among the displays were commercial goods, working machines, and ethnographic scenes. Exhibits were intended to promote external commonwealth and internal nationalism. The imperial overlay did not erase significant differences but explained and used them in economic and cultural terms. The exhibitions in cities such as London, Sydney, and Calcutta were living and active public inventories of the Empire and its national political communities. The process of building and consuming such inventories persists today in the cultural bureaucracies, museums, and festivals of modern nation-states, the appeal to tradition and social order, and the actions of transnational bodies.
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livres
livres
Publication:
janvier 1900, Berkeley
janvier 1900, Berkeley
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livres
livres
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Focusing on the Oxford University Museum, the Edinburgh Museum of Science and Art, and the Natural History Museum of London, Yanni explores how such institutions reflected varying, often contradictory concepts of nature -- from the handiwork of God to a resource to be exploited. She(...)
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Focusing on the Oxford University Museum, the Edinburgh Museum of Science and Art, and the Natural History Museum of London, Yanni explores how such institutions reflected varying, often contradictory concepts of nature -- from the handiwork of God to a resource to be exploited. She(...)
Titre:
Nature's museums : Victorian science & the architecture of display
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Focusing on the Oxford University Museum, the Edinburgh Museum of Science and Art, and the Natural History Museum of London, Yanni explores how such institutions reflected varying, often contradictory concepts of nature -- from the handiwork of God to a resource to be exploited. She explains how the rise of museums accompanied and influenced the transformation of science from a "gentleman's hobby" to a paying profession. And she shows how the buildings themselves remain invaluable guides to the Victorians' ambiguous perception of the natural world. Through careful social and historical accounts of the buildings, their displays, and their reception, Yanni's work deepens our understanding of the emerging power of museums in Darwin's century.
Nature's museums : Victorian science & the architecture of display
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Focusing on the Oxford University Museum, the Edinburgh Museum of Science and Art, and the Natural History Museum of London, Yanni explores how such institutions reflected varying, often contradictory concepts of nature -- from the handiwork of God to a resource to be exploited. She explains how the rise of museums accompanied and influenced the transformation of science from a "gentleman's hobby" to a paying profession. And she shows how the buildings themselves remain invaluable guides to the Victorians' ambiguous perception of the natural world. Through careful social and historical accounts of the buildings, their displays, and their reception, Yanni's work deepens our understanding of the emerging power of museums in Darwin's century.
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livres
livres
Publication:
mars 2000, Baltimore
mars 2000, Baltimore
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livres
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
Publication:
avril 2000, Cambridge
avril 2000, Cambridge
Titre:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
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livres
livres
Publication:
avril 2000, Cambridge
avril 2000, Cambridge
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livres
livres
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L'entrepôt : Musée Bordeaux
L'entrepôt : Musée Bordeaux
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Construit au début du XIXe siècle, au moment où le port de Bordeaux cherche une seconde vie, l'entrepôt Lainé a abrité les épices et les marchandises précieuses ramenées des colonies pendant plus d'un siècle. Désaffecté, menacé de destruction, il est heureusement racheté par la ville de Bordeaux en 1973 pour devenir un lieu à vocation culturelle. Une nouvelle(...)
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Construit au début du XIXe siècle, au moment où le port de Bordeaux cherche une seconde vie, l'entrepôt Lainé a abrité les épices et les marchandises précieuses ramenées des colonies pendant plus d'un siècle. Désaffecté, menacé de destruction, il est heureusement racheté par la ville de Bordeaux en 1973 pour devenir un lieu à vocation culturelle. Une nouvelle(...)
Titre:
L'entrepôt : Musée Bordeaux
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Construit au début du XIXe siècle, au moment où le port de Bordeaux cherche une seconde vie, l'entrepôt Lainé a abrité les épices et les marchandises précieuses ramenées des colonies pendant plus d'un siècle. Désaffecté, menacé de destruction, il est heureusement racheté par la ville de Bordeaux en 1973 pour devenir un lieu à vocation culturelle. Une nouvelle page de son histoire commence alors. Réaménagé par les architectes Pistre & Valode et Andrée Putman qui lui rendent son aspect d'origine, l'entrepôt devient musée d'art contemporain, offrant aux artistes une architecture épurée.
L'entrepôt : Musée Bordeaux
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Construit au début du XIXe siècle, au moment où le port de Bordeaux cherche une seconde vie, l'entrepôt Lainé a abrité les épices et les marchandises précieuses ramenées des colonies pendant plus d'un siècle. Désaffecté, menacé de destruction, il est heureusement racheté par la ville de Bordeaux en 1973 pour devenir un lieu à vocation culturelle. Une nouvelle page de son histoire commence alors. Réaménagé par les architectes Pistre & Valode et Andrée Putman qui lui rendent son aspect d'origine, l'entrepôt devient musée d'art contemporain, offrant aux artistes une architecture épurée.
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livres
livres
Publication:
avril 2000, Paris
avril 2000, Paris
Classification:
livres
livres
Titre:
Museums and memory
Museums and memory
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$28.50
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Museums today are more than familiar cultural institutions and showplaces of accumulated objects; they are the sites of interaction between personal and collective identities, between memory and history. The essays in this volume consider museums from personal experience and historical study, and from the memories of museum visitors, curators, and(...)
$28.50
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Museums today are more than familiar cultural institutions and showplaces of accumulated objects; they are the sites of interaction between personal and collective identities, between memory and history. The essays in this volume consider museums from personal experience and historical study, and from the memories of museum visitors, curators, and(...)
Titre:
Museums and memory
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Museums today are more than familiar cultural institutions and showplaces of accumulated objects; they are the sites of interaction between personal and collective identities, between memory and history. The essays in this volume consider museums from personal experience and historical study, and from the memories of museum visitors, curators, and scholars. Representing a variety of fields—history, anthropology, art history, and museum scholarship—the contributors discuss museums across disciplinary boundaries that have separated art museums from natural history museums or local history museums from national galleries. The essays range widely over time (from the Renaissance to the second half of the twentieth century), and place (China, Japan, the United States, and Germany), in exhibitions explored (photography, Native American history, and “Jurassic technology”), and institution (the Chinese Imperial Collection, Renaissance curiosity cabinets, and modern art museums). Memory operates thematically among the essays in diverse and provocative ways. The papers are organized according to three suggestive themes: experimental ways of theorizing and designing contemporary museums with an explicit interest in history and memory; discussions of personal encounters with historical exhibits; and the professional risks at stake for collectors and curators who shape the institutional presentation of history and memory. The contributors are Susan A. Crane, Wolfgang Ernst, Michael Fehr, Paula Findlen, Tamara Hamlish, Alexis Joachimides, Suzanne Marchand, Julia A. Thomas, and Diana Drake Wilson.
Museums and memory
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$28.50
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Museums today are more than familiar cultural institutions and showplaces of accumulated objects; they are the sites of interaction between personal and collective identities, between memory and history. The essays in this volume consider museums from personal experience and historical study, and from the memories of museum visitors, curators, and scholars. Representing a variety of fields—history, anthropology, art history, and museum scholarship—the contributors discuss museums across disciplinary boundaries that have separated art museums from natural history museums or local history museums from national galleries. The essays range widely over time (from the Renaissance to the second half of the twentieth century), and place (China, Japan, the United States, and Germany), in exhibitions explored (photography, Native American history, and “Jurassic technology”), and institution (the Chinese Imperial Collection, Renaissance curiosity cabinets, and modern art museums). Memory operates thematically among the essays in diverse and provocative ways. The papers are organized according to three suggestive themes: experimental ways of theorizing and designing contemporary museums with an explicit interest in history and memory; discussions of personal encounters with historical exhibits; and the professional risks at stake for collectors and curators who shape the institutional presentation of history and memory. The contributors are Susan A. Crane, Wolfgang Ernst, Michael Fehr, Paula Findlen, Tamara Hamlish, Alexis Joachimides, Suzanne Marchand, Julia A. Thomas, and Diana Drake Wilson.
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livres
livres
Publication:
juin 2000, Stanford
juin 2000, Stanford
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livres
livres
Prix:
$78.00
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Résumé:
The Fondation Cartier unveils their newest exhibition space in the center of Paris, designed by Pritzker Prize–winning architect Jean Nouvel. In October 2025, the Fondation Cartier opens the doors of its new venue in a historic building in Paris. French architect Jean Nouvel (born 1945) rethought the building's interiors to offer a modular architectural machine at the(...)
$78.00
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The Fondation Cartier unveils their newest exhibition space in the center of Paris, designed by Pritzker Prize–winning architect Jean Nouvel. In October 2025, the Fondation Cartier opens the doors of its new venue in a historic building in Paris. French architect Jean Nouvel (born 1945) rethought the building's interiors to offer a modular architectural machine at the(...)
Publication:
janvier 2026
janvier 2026
Titre:
The Fondation Cartier pour l’art contemporain by Jean Nouvel
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The Fondation Cartier unveils their newest exhibition space in the center of Paris, designed by Pritzker Prize–winning architect Jean Nouvel. In October 2025, the Fondation Cartier opens the doors of its new venue in a historic building in Paris. French architect Jean Nouvel (born 1945) rethought the building's interiors to offer a modular architectural machine at the service of artistic creativity.
The Fondation Cartier pour l’art contemporain by Jean Nouvel
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The Fondation Cartier unveils their newest exhibition space in the center of Paris, designed by Pritzker Prize–winning architect Jean Nouvel. In October 2025, the Fondation Cartier opens the doors of its new venue in a historic building in Paris. French architect Jean Nouvel (born 1945) rethought the building's interiors to offer a modular architectural machine at the service of artistic creativity.
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livres
livres
Publication:
janvier 2026
janvier 2026
