263 Résultats
Classification:
livres
livres
Titre:
Logic of the collection
Logic of the collection
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In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical—and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the(...)
$39.00
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Résumé:
In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical—and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the(...)
Titre:
Logic of the collection
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$39.00
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Résumé:
In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical—and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the display of art. In our age of digital media, how does a particular artwork get selected for a museum collection? Which symbolic criteria must this artwork satisfy for it to obtain value? And in what ways does the institution of the museum remain relevant? 'Logic of the Collection' is framed by Boris Groys’s original and provocative proposition: an artwork is considered historically relevant if it fits the logic of the museum collection. In these critical essays, the philosopher and theorist of art and media analyzes the relationship between the logic of the collection and various modern ideologies. He reflects on the explosion of art production and distribution through the ascendency of digital media as well as the ways in which the accumulated artworks will be collected and preserved in the future, as the potential limits of public and private collections are reached.
Logic of the collection
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$39.00
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Résumé:
In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical—and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the display of art. In our age of digital media, how does a particular artwork get selected for a museum collection? Which symbolic criteria must this artwork satisfy for it to obtain value? And in what ways does the institution of the museum remain relevant? 'Logic of the Collection' is framed by Boris Groys’s original and provocative proposition: an artwork is considered historically relevant if it fits the logic of the museum collection. In these critical essays, the philosopher and theorist of art and media analyzes the relationship between the logic of the collection and various modern ideologies. He reflects on the explosion of art production and distribution through the ascendency of digital media as well as the ways in which the accumulated artworks will be collected and preserved in the future, as the potential limits of public and private collections are reached.
Classification:
livres
livres
Publication:
août 2021
août 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$32.95
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Résumé:
How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations – much of it wrong. 'Cataloguing Culture' examines how colonialism operates(...)
$32.95
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Résumé:
How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations – much of it wrong. 'Cataloguing Culture' examines how colonialism operates(...)
Titre:
Cataloguing culture: legacies of colonialism in museum documentation
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$32.95
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How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations – much of it wrong. 'Cataloguing Culture' examines how colonialism operates in museum bureaucracies. Using the Smithsonian’s National Museum of Natural History as her reference, Hannah Turner organizes her study by the technologies framing museum work over two hundred years: field records, the ledger, the card catalogue, the punch card, and eventually the database. She examines how categories were applied to ethnographic material culture and became routine throughout federal collecting institutions. As Indigenous communities encounter the documentary traces of imperialism while attempting to reclaim what is theirs, this publication shines a light on access to and return of cultural heritage.
Cataloguing culture: legacies of colonialism in museum documentation
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$32.95
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Résumé:
How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations – much of it wrong. 'Cataloguing Culture' examines how colonialism operates in museum bureaucracies. Using the Smithsonian’s National Museum of Natural History as her reference, Hannah Turner organizes her study by the technologies framing museum work over two hundred years: field records, the ledger, the card catalogue, the punch card, and eventually the database. She examines how categories were applied to ethnographic material culture and became routine throughout federal collecting institutions. As Indigenous communities encounter the documentary traces of imperialism while attempting to reclaim what is theirs, this publication shines a light on access to and return of cultural heritage.
Classification:
livres
livres
Publication:
décembre 2020
décembre 2020
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$53.50
(disponible en magasin)
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"The new curator: exhibiting architecture and design" examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the 'new curator'. Instead(...)
$53.50
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Résumé:
"The new curator: exhibiting architecture and design" examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the 'new curator'. Instead(...)
Titre:
The new curator: exhibition architecture and design
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$53.50
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Résumé:
"The new curator: exhibiting architecture and design" examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the 'new curator'. Instead of exhibiting finished works or artefacts, the rise of 'performative curation' provides a space where experimental methods for encountering design ideas are being tested. Here, the role of the curator is not that of 'custodian' or 'expert' but with the intent to create a shared space of encounter with audiences. To illustrate this phenomenon, the book explores a diverse, international range of exhibitions. Divided into six themes, a series of project profiles are contextualized through conversations with influential curators and cultural producers such as Paola Antonelli, Kayoko Ota, Mimi Zeiger, Catherine Ince, Aric Chen, Zoë Ryan, Beatrice Leanza, Prem Krishnamurthy, Marina Otero Verzier, Brook Andrew, Carroll Go-Sam, Rory Hyde, Eva Franch i Gilabert, Patti Anahory and Paula Nascimento.
The new curator: exhibition architecture and design
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$53.50
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Résumé:
"The new curator: exhibiting architecture and design" examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the 'new curator'. Instead of exhibiting finished works or artefacts, the rise of 'performative curation' provides a space where experimental methods for encountering design ideas are being tested. Here, the role of the curator is not that of 'custodian' or 'expert' but with the intent to create a shared space of encounter with audiences. To illustrate this phenomenon, the book explores a diverse, international range of exhibitions. Divided into six themes, a series of project profiles are contextualized through conversations with influential curators and cultural producers such as Paola Antonelli, Kayoko Ota, Mimi Zeiger, Catherine Ince, Aric Chen, Zoë Ryan, Beatrice Leanza, Prem Krishnamurthy, Marina Otero Verzier, Brook Andrew, Carroll Go-Sam, Rory Hyde, Eva Franch i Gilabert, Patti Anahory and Paula Nascimento.
Classification:
livres
livres
Publication:
mai 2021
mai 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$45.00
(disponible en magasin)
Résumé:
In recent years, the specific formats and challenges of exhibiting architecture and design, both built and speculative, have often been used as critical devices for identifying, communicating, and convening the public around shared matters of concern. These have increasingly included urgent questions of equity and justice, labor, gender, race, class, community, and(...)
$45.00
(disponible en magasin)
Résumé:
In recent years, the specific formats and challenges of exhibiting architecture and design, both built and speculative, have often been used as critical devices for identifying, communicating, and convening the public around shared matters of concern. These have increasingly included urgent questions of equity and justice, labor, gender, race, class, community, and(...)
Titre:
Futures of the architectural exhibition: Five conversations on the display of space
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In recent years, the specific formats and challenges of exhibiting architecture and design, both built and speculative, have often been used as critical devices for identifying, communicating, and convening the public around shared matters of concern. These have increasingly included urgent questions of equity and justice, labor, gender, race, class, community, and lifestyle in relation to spatial issues of density, economy, policy, infrastructure, climate, and sustainability. This book records a discussion of critical approaches to the representation of architecture through conversations with seven contemporary curators working inside and outside of the museum. Mario Ballesteros (Archivo Diseño y Arquitectura), Giovanna Borasi (Canadian Center for Architecture), Ann Lui (Future Firm), Ana Miljacki (Critical Broadcasting Lab, MIT), Zoë Ryan (ICA, University of Pennsylvania), Martino Stierli (Museum of Modern Art), and Shirley Surya (M+, Hong Kong) speculate on the specific challenges and potentials of exhibiting space.
Futures of the architectural exhibition: Five conversations on the display of space
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Résumé:
In recent years, the specific formats and challenges of exhibiting architecture and design, both built and speculative, have often been used as critical devices for identifying, communicating, and convening the public around shared matters of concern. These have increasingly included urgent questions of equity and justice, labor, gender, race, class, community, and lifestyle in relation to spatial issues of density, economy, policy, infrastructure, climate, and sustainability. This book records a discussion of critical approaches to the representation of architecture through conversations with seven contemporary curators working inside and outside of the museum. Mario Ballesteros (Archivo Diseño y Arquitectura), Giovanna Borasi (Canadian Center for Architecture), Ann Lui (Future Firm), Ana Miljacki (Critical Broadcasting Lab, MIT), Zoë Ryan (ICA, University of Pennsylvania), Martino Stierli (Museum of Modern Art), and Shirley Surya (M+, Hong Kong) speculate on the specific challenges and potentials of exhibiting space.
Classification:
livres
livres
Publication:
septembre 2022
septembre 2022
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$46.99
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"Biennials: The exhibitions we love to hate" examines one of the most significant recent transitions in the contemporary art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice.(...)
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"Biennials: The exhibitions we love to hate" examines one of the most significant recent transitions in the contemporary art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice.(...)
Titre:
Biennials: The exhibitions we love to hate
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"Biennials: The exhibitions we love to hate" examines one of the most significant recent transitions in the contemporary art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. These exhibitions are also said to have provided increased visibility for certain types of new art practices, notably those that are socially and politically committed, research-based and site-specific, and to have undermined some of the more traditional art media, such as painting, drawing or sculpture. They have been responsible for substantially reshaping the contemporary art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums’ acquisitions and exhibitions. Rafal Niemojewski, Director of the Biennial Foundation, deftly unpicks the critical discussion and controversy surrounding contemporary biennials. Branded by some critics as showcases of neo-liberalism run amok, in which culture has become synonymous with the dollar-generating leisure industry, biennials have also been associated with the production of monumental artworks which are both highly consumable and photogenic (Instagrammable). The exhibitions we love to hate? This engaging publication makes an essential contribution to a fascinating cultural debate.
Biennials: The exhibitions we love to hate
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$46.99
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Résumé:
"Biennials: The exhibitions we love to hate" examines one of the most significant recent transitions in the contemporary art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. These exhibitions are also said to have provided increased visibility for certain types of new art practices, notably those that are socially and politically committed, research-based and site-specific, and to have undermined some of the more traditional art media, such as painting, drawing or sculpture. They have been responsible for substantially reshaping the contemporary art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums’ acquisitions and exhibitions. Rafal Niemojewski, Director of the Biennial Foundation, deftly unpicks the critical discussion and controversy surrounding contemporary biennials. Branded by some critics as showcases of neo-liberalism run amok, in which culture has become synonymous with the dollar-generating leisure industry, biennials have also been associated with the production of monumental artworks which are both highly consumable and photogenic (Instagrammable). The exhibitions we love to hate? This engaging publication makes an essential contribution to a fascinating cultural debate.
Classification:
livres
livres
Publication:
mai 2021
mai 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$34.50
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Résumé:
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(...)
$34.50
(disponible sur commande)
Résumé:
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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$34.50
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Résumé:
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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$34.50
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Résumé:
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.
Classification:
livres
livres
Publication:
janvier 2021
janvier 2021
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$53.95
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'The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modeled after the iconic French film(...)
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Résumé:
'The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modeled after the iconic French film(...)
Titre:
The Exhibitionist: journal on exhibition making. The first six years
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'The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modeled after the iconic French film journal Cahiers du cinéma, The Exhibitionist has served a critical role in examining current curatorial practices by focusing specifically on the exhibition format as a site of experimentation and inquiry. The Exhibitionist has historicized, analyzed and critiqued a phenomenon it is itself symptomatic of—the rise of the curator since the 1960s, the ensuing explosion of curatorial creativity and the growing fascination with the discipline of curating.
The Exhibitionist: journal on exhibition making. The first six years
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Résumé:
'The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modeled after the iconic French film journal Cahiers du cinéma, The Exhibitionist has served a critical role in examining current curatorial practices by focusing specifically on the exhibition format as a site of experimentation and inquiry. The Exhibitionist has historicized, analyzed and critiqued a phenomenon it is itself symptomatic of—the rise of the curator since the 1960s, the ensuing explosion of curatorial creativity and the growing fascination with the discipline of curating.
Classification:
livres
livres
Publication:
février 2017
février 2017
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
Prix:
$45.95
(disponible sur commande)
Résumé:
In 1968, Robert Smithson reacted to Michael Fried’s influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator’s connection with a work of art as a momentary visual engagement, Smithson’s non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the(...)
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Résumé:
In 1968, Robert Smithson reacted to Michael Fried’s influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator’s connection with a work of art as a momentary visual engagement, Smithson’s non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the(...)
Titre:
Beyond objecthood: the exhibition as a critical form since 1968
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In 1968, Robert Smithson reacted to Michael Fried’s influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator’s connection with a work of art as a momentary visual engagement, Smithson’s non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form—and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the “participatory.”
Beyond objecthood: the exhibition as a critical form since 1968
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Résumé:
In 1968, Robert Smithson reacted to Michael Fried’s influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator’s connection with a work of art as a momentary visual engagement, Smithson’s non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form—and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the “participatory.”
Classification:
livres
livres
Publication:
février 2017
février 2017
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
Titre:
L'Art d'aimer les objets
L'Art d'aimer les objets
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$29.95
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Résumé:
L’écriture du patrimoine français a longtemps hésité entre la glorification des collections nationales et la critique de la perte du contexte des œuvres – aux dépens d’une approche du processus de patrimonialisation, de ses acteurs et de ses pratiques. On fait ici le pari d’une histoire de l’art d’aimer certains objets, en croisant les savoirs et les émotions, les(...)
$29.95
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L’écriture du patrimoine français a longtemps hésité entre la glorification des collections nationales et la critique de la perte du contexte des œuvres – aux dépens d’une approche du processus de patrimonialisation, de ses acteurs et de ses pratiques. On fait ici le pari d’une histoire de l’art d’aimer certains objets, en croisant les savoirs et les émotions, les(...)
Titre:
L'Art d'aimer les objets
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$29.95
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L’écriture du patrimoine français a longtemps hésité entre la glorification des collections nationales et la critique de la perte du contexte des œuvres – aux dépens d’une approche du processus de patrimonialisation, de ses acteurs et de ses pratiques. On fait ici le pari d’une histoire de l’art d’aimer certains objets, en croisant les savoirs et les émotions, les investissements personnels et les disciplines institutionnelles, les projections et les appropriations. Les exemples choisis vont de la Révolution à nos jours et envisagent aussi bien les chefs-d’œuvre de l’art au musée que l’inscription de la société dans les dispositifs patrimoniaux contemporains. On constate chaque fois que l’attachement pour des choses jugées précieuses accroît leur profondeur et leur densité, engage des identifications de leurs " amis " et travaille enfin à différentes représentations collectives. La cristallisation patrimoniale autorise ainsi, sinon une unité imaginée des héritages, au moins l’ambition de leur construction commune.
L'Art d'aimer les objets
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Résumé:
L’écriture du patrimoine français a longtemps hésité entre la glorification des collections nationales et la critique de la perte du contexte des œuvres – aux dépens d’une approche du processus de patrimonialisation, de ses acteurs et de ses pratiques. On fait ici le pari d’une histoire de l’art d’aimer certains objets, en croisant les savoirs et les émotions, les investissements personnels et les disciplines institutionnelles, les projections et les appropriations. Les exemples choisis vont de la Révolution à nos jours et envisagent aussi bien les chefs-d’œuvre de l’art au musée que l’inscription de la société dans les dispositifs patrimoniaux contemporains. On constate chaque fois que l’attachement pour des choses jugées précieuses accroît leur profondeur et leur densité, engage des identifications de leurs " amis " et travaille enfin à différentes représentations collectives. La cristallisation patrimoniale autorise ainsi, sinon une unité imaginée des héritages, au moins l’ambition de leur construction commune.
Classification:
livres
livres
Publication:
octobre 2016
octobre 2016
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
Titre:
The keeper
The keeper
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$64.95
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Résumé:
The Keeper accompanies an exhibition dedicated to the act of preserving objects, artworks and images. Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have(...)
$64.95
(disponible sur commande)
Résumé:
The Keeper accompanies an exhibition dedicated to the act of preserving objects, artworks and images. Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have(...)
Titre:
The keeper
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$64.95
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Résumé:
The Keeper accompanies an exhibition dedicated to the act of preserving objects, artworks and images. Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have created sanctuaries for endangered images and artifacts. Through works spanning the 20th century, The Keeper tells the stories of various individuals through the objects they chose to safeguard.
The keeper
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$64.95
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Résumé:
The Keeper accompanies an exhibition dedicated to the act of preserving objects, artworks and images. Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have created sanctuaries for endangered images and artifacts. Through works spanning the 20th century, The Keeper tells the stories of various individuals through the objects they chose to safeguard.
Classification:
livres
livres
Publication:
août 2016
août 2016
Sujet:
Muséologie
Muséologie
