263 Résultats
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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(...)
Titre:
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.
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livres
livres
Publication:
août 2012
août 2012
Sujet:
Muséologie
Muséologie
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livres
livres
Titre:
Who owns antiquity?
Who owns antiquity?
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Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of(...)
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Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of(...)
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Who owns antiquity?
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Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial.
Who owns antiquity?
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Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial.
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livres
livres
Publication:
mai 2008, Princeton, Oxford
mai 2008, Princeton, Oxford
Sujet:
Muséologie
Muséologie
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livres
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The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is(...)
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The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is(...)
Titre:
icam print 02 december 2007 International confederation of architectural museums
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The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is only superficially a decisive issue. If one considers the lengths taken by the custodian's of Le Corbusier's estate to secure a suitable new home for what is without doubt a painting of artistic note, and so a market value and with it a place in an art history context, then it is worth waiting to see the place conceded on the art market one day to project-related sketches and drawings by contemporary star architects. The whole history of the conception and realisation of important works of architecture within a context of culture history ought to feature more prominently in the collection policy of icam members to ensure its suitability for research purposes. It remains to be seen what price is attributed to these comprehensive documents, these convolutes, in the competition between private collectors. This notwithstanding, the 'market' for collecting is just as crucial to icam members as the continuing debate on 'originals', and safeguarding them in times of digital architecture production. icamprint will focus increasingly on these and related issues, opening the discussion to all of the member institutions, to develop into an indispensable medium providing orientation on key issues for all icam members.
icam print 02 december 2007 International confederation of architectural museums
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The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is only superficially a decisive issue. If one considers the lengths taken by the custodian's of Le Corbusier's estate to secure a suitable new home for what is without doubt a painting of artistic note, and so a market value and with it a place in an art history context, then it is worth waiting to see the place conceded on the art market one day to project-related sketches and drawings by contemporary star architects. The whole history of the conception and realisation of important works of architecture within a context of culture history ought to feature more prominently in the collection policy of icam members to ensure its suitability for research purposes. It remains to be seen what price is attributed to these comprehensive documents, these convolutes, in the competition between private collectors. This notwithstanding, the 'market' for collecting is just as crucial to icam members as the continuing debate on 'originals', and safeguarding them in times of digital architecture production. icamprint will focus increasingly on these and related issues, opening the discussion to all of the member institutions, to develop into an indispensable medium providing orientation on key issues for all icam members.
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livres
livres
Publication:
octobre 2007, Vienna
octobre 2007, Vienna
Sujet:
Muséologie
Muséologie
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In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital(...)
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In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital(...)
Titre:
Punctuation: Art, Politics, and Play
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In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital art, from emoticons to dance pieces, Brody suggests that instead of always clarifying meaning, punctuation can sometimes open up space for interpretation, enabling writers and visual artists to interrogate and reformulate notions of life, death, art, and identity politics.
Punctuation: Art, Politics, and Play
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In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital art, from emoticons to dance pieces, Brody suggests that instead of always clarifying meaning, punctuation can sometimes open up space for interpretation, enabling writers and visual artists to interrogate and reformulate notions of life, death, art, and identity politics.
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livres
livres
Publication:
mai 2008, Durham, London
mai 2008, Durham, London
Sujet:
Muséologie
Muséologie
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When does an artist's creation become art, and where? Does it occur in the solitary confines of an artist's studio or does it require the context of an art gallery's white cube? What is the relationship between these two culturally charged spaces? How does the site of art's presentation shape the meaning and determine even the very possibility of its existence?
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When does an artist's creation become art, and where? Does it occur in the solitary confines of an artist's studio or does it require the context of an art gallery's white cube? What is the relationship between these two culturally charged spaces? How does the site of art's presentation shape the meaning and determine even the very possibility of its existence?
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Studio and Cube: on the relationship between where art is made and where at is displayed
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When does an artist's creation become art, and where? Does it occur in the solitary confines of an artist's studio or does it require the context of an art gallery's white cube? What is the relationship between these two culturally charged spaces? How does the site of art's presentation shape the meaning and determine even the very possibility of its existence?
Studio and Cube: on the relationship between where art is made and where at is displayed
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When does an artist's creation become art, and where? Does it occur in the solitary confines of an artist's studio or does it require the context of an art gallery's white cube? What is the relationship between these two culturally charged spaces? How does the site of art's presentation shape the meaning and determine even the very possibility of its existence?
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livres
livres
Publication:
avril 2008, New York
avril 2008, New York
Sujet:
Muséologie
Muséologie
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livres
Titre:
Thinking about Exhibitions
Thinking about Exhibitions
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The essays investigate exhibitions in settings outside of the traditional gallery as well as innovative work in extending cultural debates within the museum. Texts have been grouped in sections which focus on the history of the exhibition, forms of staging and spectacle, and questions of curatorship, spectatorship and narrative.
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The essays investigate exhibitions in settings outside of the traditional gallery as well as innovative work in extending cultural debates within the museum. Texts have been grouped in sections which focus on the history of the exhibition, forms of staging and spectacle, and questions of curatorship, spectatorship and narrative.
Sujet:
Muséologie
Muséologie
Publication:
décembre 1995, London, New York
décembre 1995, London, New York
Titre:
Thinking about Exhibitions
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The essays investigate exhibitions in settings outside of the traditional gallery as well as innovative work in extending cultural debates within the museum. Texts have been grouped in sections which focus on the history of the exhibition, forms of staging and spectacle, and questions of curatorship, spectatorship and narrative.
Thinking about Exhibitions
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The essays investigate exhibitions in settings outside of the traditional gallery as well as innovative work in extending cultural debates within the museum. Texts have been grouped in sections which focus on the history of the exhibition, forms of staging and spectacle, and questions of curatorship, spectatorship and narrative.
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livres
livres
Publication:
décembre 1995, London, New York
décembre 1995, London, New York
Sujet:
Muséologie
Muséologie
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livres
livres
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As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped(...)
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As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped(...)
Titre:
The future of the museum: 28 Dialogues
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As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped potential of art museums. Each of the twenty-eight conversations in this book explores a particular topic of relevance to art institutions today and tomorrow. What emerges from the series of in-depth conversations is a composite portrait of a generation of museum leaders working to make institutions more open, democratic, inclusive, experimental and experiential, technologically savvy, culturally polyphonic, attuned to the needs of their visitors and communities, and concerned with addressing the defining issues of the societies around them. The dialogues offer glimpses of how museums around the globe are undergoing an accelerated phase of reappraisal and reinvention.
The future of the museum: 28 Dialogues
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As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped potential of art museums. Each of the twenty-eight conversations in this book explores a particular topic of relevance to art institutions today and tomorrow. What emerges from the series of in-depth conversations is a composite portrait of a generation of museum leaders working to make institutions more open, democratic, inclusive, experimental and experiential, technologically savvy, culturally polyphonic, attuned to the needs of their visitors and communities, and concerned with addressing the defining issues of the societies around them. The dialogues offer glimpses of how museums around the globe are undergoing an accelerated phase of reappraisal and reinvention.
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livres
livres
Publication:
janvier 2021
janvier 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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Gathering together fresh perspectives from 28 leading art and museum figures—including artists, architects, curators, and museum directors—from all over the world, this collection of interviews and contributions shares idiosyncratic views, feedback, and visions of what is and what should or should not be a museum in the 21stcentury, both inherently and in our(...)
$39.95
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Gathering together fresh perspectives from 28 leading art and museum figures—including artists, architects, curators, and museum directors—from all over the world, this collection of interviews and contributions shares idiosyncratic views, feedback, and visions of what is and what should or should not be a museum in the 21stcentury, both inherently and in our(...)
Titre:
Museum of the future: Now what?
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Gathering together fresh perspectives from 28 leading art and museum figures—including artists, architects, curators, and museum directors—from all over the world, this collection of interviews and contributions shares idiosyncratic views, feedback, and visions of what is and what should or should not be a museum in the 21stcentury, both inherently and in our fast-changing cultural ecosystem. Showing the diversity of today’s thinking about the museum, this tome constitutes a valuable handbook to navigate its ever-evolving landscape.
Museum of the future: Now what?
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$39.95
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Résumé:
Gathering together fresh perspectives from 28 leading art and museum figures—including artists, architects, curators, and museum directors—from all over the world, this collection of interviews and contributions shares idiosyncratic views, feedback, and visions of what is and what should or should not be a museum in the 21stcentury, both inherently and in our fast-changing cultural ecosystem. Showing the diversity of today’s thinking about the museum, this tome constitutes a valuable handbook to navigate its ever-evolving landscape.
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livres
livres
Publication:
octobre 2021
octobre 2021
Sujet:
Muséologie
Muséologie
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livres
livres
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$42.95
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After visiting hundreds of museums across Alberta, Lianne McTavish chronicles some of the most challenging and unexpected sites where the idea of the museum is being reshaped. Addressing themes of place, land, colonization, rurality, heritage, childhood, and play, McTavish reveals the museum visitor as multifaceted, with locals and tourists often interpreting museums(...)
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After visiting hundreds of museums across Alberta, Lianne McTavish chronicles some of the most challenging and unexpected sites where the idea of the museum is being reshaped. Addressing themes of place, land, colonization, rurality, heritage, childhood, and play, McTavish reveals the museum visitor as multifaceted, with locals and tourists often interpreting museums(...)
Titre:
Voluntary detours: small town and rural museums
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After visiting hundreds of museums across Alberta, Lianne McTavish chronicles some of the most challenging and unexpected sites where the idea of the museum is being reshaped. Addressing themes of place, land, colonization, rurality, heritage, childhood, and play, McTavish reveals the museum visitor as multifaceted, with locals and tourists often interpreting museums very differently. Case studies include the World Famous Gopher Hole Museum, Fort Chipewyan Bicentennial Museum, Blackfoot Crossing Historical Park, and the Museum of Fear and Wonder. A key chapter analyzing sites devoted to resource extraction explores how these places promote settler colonial understandings of land use. By contrast, Indigenous museums and cultural centres defy colonial messages in displays that adapt and refuse conventional museum formats. Honouring local, rural, and Indigenous knowledge, 'Voluntary Detours' enriches critical accounts of the past, present, and future of museums.
Voluntary detours: small town and rural museums
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After visiting hundreds of museums across Alberta, Lianne McTavish chronicles some of the most challenging and unexpected sites where the idea of the museum is being reshaped. Addressing themes of place, land, colonization, rurality, heritage, childhood, and play, McTavish reveals the museum visitor as multifaceted, with locals and tourists often interpreting museums very differently. Case studies include the World Famous Gopher Hole Museum, Fort Chipewyan Bicentennial Museum, Blackfoot Crossing Historical Park, and the Museum of Fear and Wonder. A key chapter analyzing sites devoted to resource extraction explores how these places promote settler colonial understandings of land use. By contrast, Indigenous museums and cultural centres defy colonial messages in displays that adapt and refuse conventional museum formats. Honouring local, rural, and Indigenous knowledge, 'Voluntary Detours' enriches critical accounts of the past, present, and future of museums.
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livres
livres
Publication:
octobre 2021
octobre 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
Prix:
$36.95
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Résumé:
What happens when feminist and queer care ethics are put into curating practice? What happens when the notion of care based on the politics of relatedness, interdependence, reciprocity, and response-ability informs the practices of curating? Delivered through critical theoretical essays, practice-informed case studies, and manifestos, the essays in this book offer(...)
$36.95
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What happens when feminist and queer care ethics are put into curating practice? What happens when the notion of care based on the politics of relatedness, interdependence, reciprocity, and response-ability informs the practices of curating? Delivered through critical theoretical essays, practice-informed case studies, and manifestos, the essays in this book offer(...)
Titre:
Radicalizing care: Feminist and queer activism in curating
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What happens when feminist and queer care ethics are put into curating practice? What happens when the notion of care based on the politics of relatedness, interdependence, reciprocity, and response-ability informs the practices of curating? Delivered through critical theoretical essays, practice-informed case studies, and manifestos, the essays in this book offer insights from diverse contexts and geographies.
Radicalizing care: Feminist and queer activism in curating
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$36.95
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What happens when feminist and queer care ethics are put into curating practice? What happens when the notion of care based on the politics of relatedness, interdependence, reciprocity, and response-ability informs the practices of curating? Delivered through critical theoretical essays, practice-informed case studies, and manifestos, the essays in this book offer insights from diverse contexts and geographies.
Classification:
livres
livres
Publication:
octobre 2021
octobre 2021
Sujet:
Muséologie
Muséologie
