Where and how an artwork is presented can enhance it or detract from it, or even alter its meaning. Depending on the display, painting and sculpture can denote a religious, political, decorative, or educational significance, as well as aesthetic and commercial value. Just how powerful the effect of placement can be is demonstrated in this book by in-depth case studies and comparisons of art installations around the world and from antiquity to the present, all richly illustrated.
Author Victoria Newhouse continues the investigation she began in her last book, Towards a New Museum, of the critical relationship between container and contents. Not limited to museums, Newhouse branches out to explore noteworthy displays of art in commercial galleries and in private homes and gardens, as well as in a number of unusual venues. She concludes with some guidelines for display that apply as much to the hanging of a picture in a private interior as to the installation of a museum show.
A historian explores the construction of Anacostia Museum's identity from the 1960s to the present by examining the history of its exhibitions. Direct community accessibility was part of the museum's founding mission, but Smithsonian administration, museum staff, and community residents all seemed to have different ideas about the meaning of the “neighborhood museum” concept. Designated a “Smithsonian outpost,” and intended to draw African‐American visitors to the Smithsonian museums on the Mall, the new museum's mission was instead shaped by community advisory groups to focus broadly on African‐American history and culture. Staff efforts to “professionalize” and upgrade museum operations later threatened community access to the exhibition‐development process, and most community/museum interaction was relegated to the program and outreach activities of the education department. The 1994 Black Mosaic exhibition provided an opportunity to devise new ways of integrating the perspectives of a changed community into the exhibition‐development process.Curator, 2005
Written over a thirty-five year career, the essays in Civilizing the Museum introduce students to the powerful, sometimes contested, and often unrealized notion that museums should welcome all because they house the collective memory of all.
Drawing on her experience working in and with museums in the US and throughout the world, Author Elaine Heumann Gurian explores the possibilities for making museums more central and relevant to society.
The twenty-two essays are organized around five main themes:
* museum definitions
* civic responsibility and social service
* architectural spaces
* spirituality and rationality.
And these themes address the elements that would make museums more inclusive such as:
* exhibition technique
* space configurations
* the personality of the director
* the role of social service
* power sharing
* types of museums
* the need for emotion humour and spirituality.
Without abandoning the traditional museum processes, Gurian shows how museums can honour tradition whilst embracing the new.
Enriched by her experience in groundbreaking museums, Gurian has provided a book that provokes thought, dialogue and action for students and professionals in the field to realize the inclusive potential of museums.London and New York: Routledge, 2006
Museums have become ground zero in America's culture wars. Whereas fierce public debates once centered on provocative work by upstart artists, the scrutiny has now expanded to mainstream cultural institutions and the ideas they present. In Displays of Power, Steven Dubin, whose Arresting Images was deemed "masterly" by the New York Times, examines the most controversial exhibitions of the 1990s. These include shows about ethnicity, slavery, Freud, the Old West, and the dropping of the atomic bomb by the Enola Gay. This new edition also includes a preface by the author detailing the recent Sensation! controversy at the Brooklyn Museum. Displays of Power draws directly upon interviews with many key combatants: museum administrators, community activists, curators, and scholars. It authoritatively analyzes these episodes of America struggling to redefine itself in the late 20th century.New York: New York University Press, 1999
In twelve essays on such diverse Smithsonian Institution holdings as the Hope Diamond, the Wright Flyer, wooden Zuni carvings, and the Greensboro, North Carolina Woolworth lunch counter that became a symbol of the Civil Rights movement, Exhibiting Dilemmas explores a wide range of social, political, and ethical questions faced by museum curators in their roles as custodians of culture.
Focusing on the challenges posed by the transformation of exhibitions from object-driven “cabinets of curiosities” to idea-driven sources of education and entertainment, the contributors—all Smithsonian staff members—provide a lively and sometimes provocative discussion of the increasingly complex enterprise of acquiring and displaying objects in a museum setting.
Exhibiting, Encountering and Studying Music in Interwar Europe: Between National and International Community
Vol. 32. P. 207–223.
This chapter investigates the revival of cultural and scientific internationalism after the First World War. It does so by focusing on events in which music was the subject of transnational intellectual exchanges. Three cases illustrate the ways in which music was represented and used in such contexts: the international exhibition Musik im Leben der Völker, held in Frankfurt in 1927; the First International Congress of Popular Arts (1928), which took place in Prague with League of Nations backing; and, finally, several musical activities within the framework of the 1930 world’s fairs at Antwerp and Liége. These events highlight the ambiguity that was intrinsic to both interwar internationalism and the discourse about music: namely simultaneous references to universal values on the one side and ideas about ‘national culture’ on the other.2014
The book aims to provide an introduction to the various factors which relate to exhibitions and to bring together, for the benefit of all concerned as "essential knowledge"
Discusses every stage of exhibition planning, design, and presentation. Belcher addresses key intellectual and conceptual elements in exhibition design, as well as practical elements such as safety, climate, and lighting. Belcher also focuses on audience research and evaluation.
[электронный ресурс] // ULR: https://pl.b-ok.cc/book/2369347/41fd8e (дата обращения 05.11.2019).United States: Smithsonian Institution Press, 1991
From the White Cube to a critical museography: the development of interrogative, plural and subjective museum discourses
Из книги: Museum Critique to the Critical Museum P. 115–128.
In the second half of the twentieth century, museums and art galleries throughout the western world enshrined a modern way of display consisting of white walls with sparse pictures, each illuminated with an aura of artificial light to induce a silent epiphany, which would lead visitors along a predetermined path: the advancement of art according to the modernist canon. The reference model was the permanent exhibition of MoMA's painting and sculpture collection, arranged by Alfred Barr Jr. in 1958, and revised by William Rubin from 1973 onwards to make these rooms even more austere and unadorned, with fewer benches, which were harder and narrower. Nothing invited the viewer to engage in a dialogue and discussion with possible companions or chance passers-by on adjacent seats, but rather to follow in silent reverence a solitary itinerary of contemplation. Hence, it is not surprising that this museum was compared, in a seminal article by Carol Duncan and Allan Wallach, to temples of Christian pilgrimage, since it is supposed that the faithful worshipers in these ’cathedrals of modernity’ had to walk devoutly absorbed, following a path of initiation into modern dogmas.1 That article is considered a museological landmark, reproduced in best-selling manuals for museum studies courses, while the authors have become world acclaimed scholars whose books are the inspiration for the work of many other museum analysts. Yet, the impact of their texts had a limited effect on museum practice, which continued for years placidly immune to the criticism of theorists.
Museum Frictions is the third volume in a bestselling series on culture, society, and museums. The first two volumes in the series, Exhibiting Cultures and Museums and Communities, have become defining books for those interested in the politics of museum display and heritage sites. Another classic in the making, Museum Frictions is a lavishly illustrated examination of the significant and varied effects of the increasingly globalized world on contemporary museum, heritage, and exhibition practice. The contributors—scholars, artists, and curators—present case studies drawn from Africa, Australia, North and South America, Europe, and Asia. Together they offer a multifaceted analysis of the complex roles that national and community museums, museums of art and history, monuments, heritage sites, and theme parks play in creating public cultures. Whether contrasting the transformation of Africa’s oldest museum, the South Africa Museum, with one of its newest, the Lwandle Migrant Labor Museum; offering an interpretation of the audio guide at the Guggenheim Bilbao; reflecting on the relative paucity of art museums in Peru and Cambodia; considering representations of slavery in the United States and Ghana; or meditating on the ramifications of an exhibition of Australian aboriginal art at the Asia Society in New York City, the contributors highlight the frictions, contradictions, and collaborations emerging in museums and heritage sites around the world. The volume opens with an extensive introductory essay by Ivan Karp and Corinne A. Kratz, leading scholars in museum and heritage studies.
Contributors. Tony Bennett, David Bunn, Gustavo Buntinx, Cuauhtémoc Camarena, Andrea Fraser, Martin Hall, Ivan Karp, Barbara Kirshenblatt-Gimblett, Corinne A. Kratz, Christine Mullen Kreamer, Joseph Masco, Teresa Morales, Howard Morphy, Ingrid Muan, Fred Myers, Ciraj Rassool, Vicente Razo, Fath Davis Ruffins, Lynn Szwaja, Krista A. Thompson, Leslie Witz, Tomás Ybarra-Frausto