248 Résultats
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livres
livres
Titre:
Exhibition experiments
Exhibition experiments
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Exhibition Experiments is a an anthology which considers experiments with museological form that challenge our understanding and experience of museums and exhibitions. Exploring examples from around the world, this publication investigates a range of topical issues which chart the frontier of museum studies. These include: the popularity and proliferation of museum(...)
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Exhibition Experiments is a an anthology which considers experiments with museological form that challenge our understanding and experience of museums and exhibitions. Exploring examples from around the world, this publication investigates a range of topical issues which chart the frontier of museum studies. These include: the popularity and proliferation of museum(...)
Titre:
Exhibition experiments
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Exhibition Experiments is a an anthology which considers experiments with museological form that challenge our understanding and experience of museums and exhibitions. Exploring examples from around the world, this publication investigates a range of topical issues which chart the frontier of museum studies. These include: the popularity and proliferation of museum experimentation, novel exhibitionary forms and their implications for knowledge and identity, transformations of architecture and design, narrative and navigation, juxtapositions of art with science and ethnography, the fate of conventional notions of "object" and "representation," and the disorientating yet stimulating consequences of all this for museum-going. This collection brings together a mix of art historians, anthropologists, curators, and sociologists to question traditional disciplinary boundaries. Contributors tackle a range of examples of experimentalism from many different countries and exhibition spaces, and combine them with cutting-edge museum theory.
Exhibition experiments
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Exhibition Experiments is a an anthology which considers experiments with museological form that challenge our understanding and experience of museums and exhibitions. Exploring examples from around the world, this publication investigates a range of topical issues which chart the frontier of museum studies. These include: the popularity and proliferation of museum experimentation, novel exhibitionary forms and their implications for knowledge and identity, transformations of architecture and design, narrative and navigation, juxtapositions of art with science and ethnography, the fate of conventional notions of "object" and "representation," and the disorientating yet stimulating consequences of all this for museum-going. This collection brings together a mix of art historians, anthropologists, curators, and sociologists to question traditional disciplinary boundaries. Contributors tackle a range of examples of experimentalism from many different countries and exhibition spaces, and combine them with cutting-edge museum theory.
Classification:
livres
livres
Publication:
mai 2012
mai 2012
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$29.95
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Résumé:
Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic(...)
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Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic(...)
Titre:
The culture of curating and the curating of culture(s)
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Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O’Neill examines the emergence of independent curatorship and the discourse that helped to establish it. O’Neill describes how, by the 1980s, curated group exhibitions - large-scale, temporary projects with artworks cast as illustrative fragments - came to be understood as the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator. O’Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated - and authorized - the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O’Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.
The culture of curating and the curating of culture(s)
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Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O’Neill examines the emergence of independent curatorship and the discourse that helped to establish it. O’Neill describes how, by the 1980s, curated group exhibitions - large-scale, temporary projects with artworks cast as illustrative fragments - came to be understood as the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator. O’Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated - and authorized - the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O’Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.
Classification:
livres
livres
Publication:
septembre 2012
septembre 2012
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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Résumé:
When does an artists creation become art, and where? Does it occur in the solitary confines of an artists studio, or does it require the context of an art gallerys white cube? Studio and Cube is author Brian O'Dohertys long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as Inside the White Cube : The Ideology of the Gallery Space. In Studio(...)
$30.95
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Résumé:
When does an artists creation become art, and where? Does it occur in the solitary confines of an artists studio, or does it require the context of an art gallerys white cube? Studio and Cube is author Brian O'Dohertys long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as Inside the White Cube : The Ideology of the Gallery Space. In Studio(...)
Publication:
novembre 2012
novembre 2012
Titre:
Studio and cube : on the relationship between where art is made and where art is displayed
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When does an artists creation become art, and where? Does it occur in the solitary confines of an artists studio, or does it require the context of an art gallerys white cube? Studio and Cube is author Brian O'Dohertys long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as Inside the White Cube : The Ideology of the Gallery Space. In Studio and Cube, now available in paperback, O'Doherty expands his interpretation to include the artists studio, tracking the relationship between the artwork and the artist from Vermeer through late modernism.
Studio and cube : on the relationship between where art is made and where art is displayed
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$30.95
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Résumé:
When does an artists creation become art, and where? Does it occur in the solitary confines of an artists studio, or does it require the context of an art gallerys white cube? Studio and Cube is author Brian O'Dohertys long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as Inside the White Cube : The Ideology of the Gallery Space. In Studio and Cube, now available in paperback, O'Doherty expands his interpretation to include the artists studio, tracking the relationship between the artwork and the artist from Vermeer through late modernism.
Classification:
livres
livres
Publication:
novembre 2012
novembre 2012
Classification:
livres
livres
Prix:
$27.00
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Résumé:
The postwar ascent of the curator as both cultural broker and creative participant in the work of art has seen the discipline acquire a brief but rich history of its own. Raising Frankenstein: Curatorial Education and Its Discontents unites curatorial studies with the increasingly debated subject of "the educational turn." Edited by Kitty Scott, whose own career as a(...)
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The postwar ascent of the curator as both cultural broker and creative participant in the work of art has seen the discipline acquire a brief but rich history of its own. Raising Frankenstein: Curatorial Education and Its Discontents unites curatorial studies with the increasingly debated subject of "the educational turn." Edited by Kitty Scott, whose own career as a(...)
Titre:
Raising Frankenstein: Curatorial education and its discontents
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The postwar ascent of the curator as both cultural broker and creative participant in the work of art has seen the discipline acquire a brief but rich history of its own. Raising Frankenstein: Curatorial Education and Its Discontents unites curatorial studies with the increasingly debated subject of "the educational turn." Edited by Kitty Scott, whose own career as a curator of contemporary art has taken her from the National Gallery in Ottawa to the Serpentine Gallery in London and the Banff Centre in Alberta, it presents a collection of essays that explores the education and formation of curators. Writings on curatorial pedagogy by Barbara Fischer, Teresa Gleadowe, Francesco Manacorda, Cuauhtémoc Medina and Lourdes Morales offer an overview of recent thought on curatorial pedagogy, elucidating, defining and building on current debates surrounding this subject.
Raising Frankenstein: Curatorial education and its discontents
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Résumé:
The postwar ascent of the curator as both cultural broker and creative participant in the work of art has seen the discipline acquire a brief but rich history of its own. Raising Frankenstein: Curatorial Education and Its Discontents unites curatorial studies with the increasingly debated subject of "the educational turn." Edited by Kitty Scott, whose own career as a curator of contemporary art has taken her from the National Gallery in Ottawa to the Serpentine Gallery in London and the Banff Centre in Alberta, it presents a collection of essays that explores the education and formation of curators. Writings on curatorial pedagogy by Barbara Fischer, Teresa Gleadowe, Francesco Manacorda, Cuauhtémoc Medina and Lourdes Morales offer an overview of recent thought on curatorial pedagogy, elucidating, defining and building on current debates surrounding this subject.
Classification:
livres
livres
Publication:
février 2011
février 2011
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$44.00
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A provocative two-year research project by the Galerie für Zeitgenössische Kunst in Leipzig, Carte Blanche offered an exhibition space for a fee. Collectors, businesses or commercial galleries that rented the space were allowed to do whatever they wanted, provided they not only took on the costs of the exhibition, but also a share in the overall project budget for(...)
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A provocative two-year research project by the Galerie für Zeitgenössische Kunst in Leipzig, Carte Blanche offered an exhibition space for a fee. Collectors, businesses or commercial galleries that rented the space were allowed to do whatever they wanted, provided they not only took on the costs of the exhibition, but also a share in the overall project budget for(...)
Titre:
The captured museum : on Carte blanche, a research project by the Museum of contemporary art in Leipzig
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A provocative two-year research project by the Galerie für Zeitgenössische Kunst in Leipzig, Carte Blanche offered an exhibition space for a fee. Collectors, businesses or commercial galleries that rented the space were allowed to do whatever they wanted, provided they not only took on the costs of the exhibition, but also a share in the overall project budget for operating costs, attendants and publicity. A creative approach to the current economic climate, Carte Blanche was primarily an investigation into the changing relationship between art and commerce, public and private.
The captured museum : on Carte blanche, a research project by the Museum of contemporary art in Leipzig
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Résumé:
A provocative two-year research project by the Galerie für Zeitgenössische Kunst in Leipzig, Carte Blanche offered an exhibition space for a fee. Collectors, businesses or commercial galleries that rented the space were allowed to do whatever they wanted, provided they not only took on the costs of the exhibition, but also a share in the overall project budget for operating costs, attendants and publicity. A creative approach to the current economic climate, Carte Blanche was primarily an investigation into the changing relationship between art and commerce, public and private.
Classification:
livres
livres
Publication:
mai 2011
mai 2011
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
Titre:
Théorie de la restauration
Théorie de la restauration
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La restauration doit viser à rétablir l'unité potentielle de l'oeuvre d'art, à condition que cela soit possible sans commettre un faux artistique ou un faux historique, et sans effacer la moindre trace du passage de l'oeuvre d'art dans le temps.
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La restauration doit viser à rétablir l'unité potentielle de l'oeuvre d'art, à condition que cela soit possible sans commettre un faux artistique ou un faux historique, et sans effacer la moindre trace du passage de l'oeuvre d'art dans le temps.
Publication:
décembre 2010
décembre 2010
Titre:
Théorie de la restauration
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La restauration doit viser à rétablir l'unité potentielle de l'oeuvre d'art, à condition que cela soit possible sans commettre un faux artistique ou un faux historique, et sans effacer la moindre trace du passage de l'oeuvre d'art dans le temps.
Théorie de la restauration
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La restauration doit viser à rétablir l'unité potentielle de l'oeuvre d'art, à condition que cela soit possible sans commettre un faux artistique ou un faux historique, et sans effacer la moindre trace du passage de l'oeuvre d'art dans le temps.
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livres
livres
Publication:
décembre 2010
décembre 2010
Classification:
livres
livres
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$54.95
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Résumé:
Each second year, those interested in the fine arts from all over the world feel attracted to the Biennale di Venezia . In modern times the leading format for internationalization, the number of new foundations has once more rapidly increased in the course of globalization since the eigthies. Biennials are in fact the only exhibition format in which the impact of(...)
$54.95
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Each second year, those interested in the fine arts from all over the world feel attracted to the Biennale di Venezia . In modern times the leading format for internationalization, the number of new foundations has once more rapidly increased in the course of globalization since the eigthies. Biennials are in fact the only exhibition format in which the impact of(...)
Publication:
mai 2011
mai 2011
Titre:
Biennials: Art of a global scale
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Each second year, those interested in the fine arts from all over the world feel attracted to the Biennale di Venezia . In modern times the leading format for internationalization, the number of new foundations has once more rapidly increased in the course of globalization since the eigthies. Biennials are in fact the only exhibition format in which the impact of globalization expresses itself in terms of arts. There is, though, little published information on the biennials of Sao Paulo, Habana, Istanbul, Sidney, or New Delhi, to name but the oldest. To which tradition do biennials belong and what s the importance of this format today? Which developments do they reflect, which ones do they initiate? Through the portraits of 22 selected biennials, the book seeks answers for these questions. Thanks to numerous illustrations and a list of the most important biennials founded, this book gives the first compact overview of this complex topic.
Biennials: Art of a global scale
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Each second year, those interested in the fine arts from all over the world feel attracted to the Biennale di Venezia . In modern times the leading format for internationalization, the number of new foundations has once more rapidly increased in the course of globalization since the eigthies. Biennials are in fact the only exhibition format in which the impact of globalization expresses itself in terms of arts. There is, though, little published information on the biennials of Sao Paulo, Habana, Istanbul, Sidney, or New Delhi, to name but the oldest. To which tradition do biennials belong and what s the importance of this format today? Which developments do they reflect, which ones do they initiate? Through the portraits of 22 selected biennials, the book seeks answers for these questions. Thanks to numerous illustrations and a list of the most important biennials founded, this book gives the first compact overview of this complex topic.
Classification:
livres
livres
Publication:
mai 2011
mai 2011
Classification:
livres
livres
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$34.50
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Résumé:
The Sainsbury Centre for Visual Arts at the University of East Anglia was Norman Foster's first major commission and the project that set him on the road to fame and fortune. It remains highly regarded in the architectural world. In this book, we learn how a major museum is conceived and developed, the role of the sponsor, the nature of collecting, and the experiences of(...)
$34.50
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Résumé:
The Sainsbury Centre for Visual Arts at the University of East Anglia was Norman Foster's first major commission and the project that set him on the road to fame and fortune. It remains highly regarded in the architectural world. In this book, we learn how a major museum is conceived and developed, the role of the sponsor, the nature of collecting, and the experiences of(...)
Titre:
Biography of a building : How Robert Sainsbury and Norman Foster built a great museum
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$34.50
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The Sainsbury Centre for Visual Arts at the University of East Anglia was Norman Foster's first major commission and the project that set him on the road to fame and fortune. It remains highly regarded in the architectural world. In this book, we learn how a major museum is conceived and developed, the role of the sponsor, the nature of collecting, and the experiences of the people who occupy the space.
Biography of a building : How Robert Sainsbury and Norman Foster built a great museum
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$34.50
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Résumé:
The Sainsbury Centre for Visual Arts at the University of East Anglia was Norman Foster's first major commission and the project that set him on the road to fame and fortune. It remains highly regarded in the architectural world. In this book, we learn how a major museum is conceived and developed, the role of the sponsor, the nature of collecting, and the experiences of the people who occupy the space.
Classification:
livres
livres
Publication:
mai 2011
mai 2011
Classification:
livres
livres
Titre:
unExhibit
unExhibit
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$66.00
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Résumé:
This publication takes up the question of the “display as exhibition” in works by Maria Eichhorn, Richard Hamilton, Ann Veronica Janssens, Willem Oorebeek, Karthik Pandian and Mathias Poledna, Joëlle Tuerlinck and Heimo Zobernig. The book not only examines display as a material gesture, but also studies artistic methods of not showing and withdrawing - of “un-exhibiting.”
$66.00
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Résumé:
This publication takes up the question of the “display as exhibition” in works by Maria Eichhorn, Richard Hamilton, Ann Veronica Janssens, Willem Oorebeek, Karthik Pandian and Mathias Poledna, Joëlle Tuerlinck and Heimo Zobernig. The book not only examines display as a material gesture, but also studies artistic methods of not showing and withdrawing - of “un-exhibiting.”
Titre:
unExhibit
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$66.00
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Résumé:
This publication takes up the question of the “display as exhibition” in works by Maria Eichhorn, Richard Hamilton, Ann Veronica Janssens, Willem Oorebeek, Karthik Pandian and Mathias Poledna, Joëlle Tuerlinck and Heimo Zobernig. The book not only examines display as a material gesture, but also studies artistic methods of not showing and withdrawing - of “un-exhibiting.”
unExhibit
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Prix:
$66.00
(disponible sur commande)
Résumé:
This publication takes up the question of the “display as exhibition” in works by Maria Eichhorn, Richard Hamilton, Ann Veronica Janssens, Willem Oorebeek, Karthik Pandian and Mathias Poledna, Joëlle Tuerlinck and Heimo Zobernig. The book not only examines display as a material gesture, but also studies artistic methods of not showing and withdrawing - of “un-exhibiting.”
Classification:
livres
livres
Publication:
juillet 2011
juillet 2011
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$43.95
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Résumé:
Digital technologies are playing an increasingly instrumental role in guiding the curatorial and institutional strategies of contemporary art museums today. Designed around contextual studies of virtuality and the art of exhibition, this interdisciplinary volume applies practice-based research to a broad range of topics, including digital mediation, spatial practice, the(...)
$43.95
(disponible en magasin)
Résumé:
Digital technologies are playing an increasingly instrumental role in guiding the curatorial and institutional strategies of contemporary art museums today. Designed around contextual studies of virtuality and the art of exhibition, this interdisciplinary volume applies practice-based research to a broad range of topics, including digital mediation, spatial practice, the(...)
Titre:
Virtuality and the art of exhibition: curatorial design for the multimedia museum
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$43.95
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Digital technologies are playing an increasingly instrumental role in guiding the curatorial and institutional strategies of contemporary art museums today. Designed around contextual studies of virtuality and the art of exhibition, this interdisciplinary volume applies practice-based research to a broad range of topics, including digital mediation, spatial practice, the multimedial museum, and curatorial design. Rounding out the volume are case studies with accompanying illustrations.
Virtuality and the art of exhibition: curatorial design for the multimedia museum
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Prix:
$43.95
(disponible en magasin)
Résumé:
Digital technologies are playing an increasingly instrumental role in guiding the curatorial and institutional strategies of contemporary art museums today. Designed around contextual studies of virtuality and the art of exhibition, this interdisciplinary volume applies practice-based research to a broad range of topics, including digital mediation, spatial practice, the multimedial museum, and curatorial design. Rounding out the volume are case studies with accompanying illustrations.
Classification:
livres
livres
Publication:
décembre 2011
décembre 2011
Sujet:
Muséologie
Muséologie
