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'The Curatorial Conundrum' looks at the burgeoning field of curatorship and tries to imagine its future. Indeed, practitioners and theorists consider a variety of futures: the future of curatorial education; the future of curatorial research; the future of curatorial and artistic practice; and the institutions that will make these other futures possible. Contributors(...)
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'The Curatorial Conundrum' looks at the burgeoning field of curatorship and tries to imagine its future. Indeed, practitioners and theorists consider a variety of futures: the future of curatorial education; the future of curatorial research; the future of curatorial and artistic practice; and the institutions that will make these other futures possible. Contributors(...)
Title:
The Curatorial Conundrum: What to Study? What to Research? What to Practice?
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'The Curatorial Conundrum' looks at the burgeoning field of curatorship and tries to imagine its future. Indeed, practitioners and theorists consider a variety of futures: the future of curatorial education; the future of curatorial research; the future of curatorial and artistic practice; and the institutions that will make these other futures possible. Contributors examine the proliferation of graduate programs in curatorial studies over the last twenty years, and consider what can be taught without giving up what is precisely curatorial, within the ever-expanding parameters of curatorial practice in recent times.
The Curatorial Conundrum: What to Study? What to Research? What to Practice?
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Summary:
'The Curatorial Conundrum' looks at the burgeoning field of curatorship and tries to imagine its future. Indeed, practitioners and theorists consider a variety of futures: the future of curatorial education; the future of curatorial research; the future of curatorial and artistic practice; and the institutions that will make these other futures possible. Contributors examine the proliferation of graduate programs in curatorial studies over the last twenty years, and consider what can be taught without giving up what is precisely curatorial, within the ever-expanding parameters of curatorial practice in recent times.
Form:
books
books
Publication:
June 2016
June 2016
Subject:
Museology
Museology
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books
books
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$58.95
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Museum directors are beginning to question the role of their museums in the production of knowledge and participation, in creating links between the present and the past. Museum education has evolved as a practice in its own right, questioning, expanding, and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as(...)
$58.95
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Summary:
Museum directors are beginning to question the role of their museums in the production of knowledge and participation, in creating links between the present and the past. Museum education has evolved as a practice in its own right, questioning, expanding, and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as(...)
Title:
Contemporary curating and museum education
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Museum directors are beginning to question the role of their museums in the production of knowledge and participation, in creating links between the present and the past. Museum education has evolved as a practice in its own right, questioning, expanding, and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as an integrated practice? In this anthology, scholars employed at a range of museums address this question.
Contemporary curating and museum education
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Museum directors are beginning to question the role of their museums in the production of knowledge and participation, in creating links between the present and the past. Museum education has evolved as a practice in its own right, questioning, expanding, and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as an integrated practice? In this anthology, scholars employed at a range of museums address this question.
Form:
books
books
Publication:
February 2016
February 2016
Subject:
Museology
Museology
Form:
books
books
Title:
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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Summary:
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.
Form:
books
books
Publication:
May 2008, Princeton, Oxford
May 2008, Princeton, Oxford
Subject:
Museology
Museology
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books
books
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$34.95
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Summary:
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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Summary:
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?
Title:
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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$34.95
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Summary:
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?
Form:
books
books
Publication:
April 2008, New York
April 2008, New York
Subject:
Museology
Museology
Form:
books
books
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$34.95
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This seventh volume in Afterall’s Exhibitions Histories series focuses on the radical project ‘an Exhibit’ (at the ICA, London in 1957), which emerged from a decade of testing the formats and possibilities of exhibition-making. A collaboration between two artists, Richard Hamilton and Victor Pasmore, and a critic and curator, Lawrence Alloway, the show was(...)
$34.95
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Summary:
This seventh volume in Afterall’s Exhibitions Histories series focuses on the radical project ‘an Exhibit’ (at the ICA, London in 1957), which emerged from a decade of testing the formats and possibilities of exhibition-making. A collaboration between two artists, Richard Hamilton and Victor Pasmore, and a critic and curator, Lawrence Alloway, the show was(...)
Title:
Exhibition, design, participation: 'an exhibit' 1957 and related projects
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This seventh volume in Afterall’s Exhibitions Histories series focuses on the radical project ‘an Exhibit’ (at the ICA, London in 1957), which emerged from a decade of testing the formats and possibilities of exhibition-making. A collaboration between two artists, Richard Hamilton and Victor Pasmore, and a critic and curator, Lawrence Alloway, the show was simultaneously an investigation into abstract environmental forms and a participatory experiment that would fundamentally transform the role of the viewer.
Exhibition, design, participation: 'an exhibit' 1957 and related projects
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$34.95
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Summary:
This seventh volume in Afterall’s Exhibitions Histories series focuses on the radical project ‘an Exhibit’ (at the ICA, London in 1957), which emerged from a decade of testing the formats and possibilities of exhibition-making. A collaboration between two artists, Richard Hamilton and Victor Pasmore, and a critic and curator, Lawrence Alloway, the show was simultaneously an investigation into abstract environmental forms and a participatory experiment that would fundamentally transform the role of the viewer.
Form:
books
books
Publication:
August 2016
August 2016
Subject:
Museology
Museology
Form:
books
books
Title:
Photogénie de l'exposition
Photogénie de l'exposition
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L'exposition d'œuvres d'art est caractérisée par son aspect éphémère, elle finit toujours par disparaître pour ne rester dans la mémoire qu'à travers les traces que sont les catalogues et les archives. Parmi ces archives les vues d'expositions jouent un rôle à la fois singulier, transparent et déterminant. Photographie et Exposition sont étroitement liées, toutes deux(...)
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Summary:
L'exposition d'œuvres d'art est caractérisée par son aspect éphémère, elle finit toujours par disparaître pour ne rester dans la mémoire qu'à travers les traces que sont les catalogues et les archives. Parmi ces archives les vues d'expositions jouent un rôle à la fois singulier, transparent et déterminant. Photographie et Exposition sont étroitement liées, toutes deux(...)
Title:
Photogénie de l'exposition
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L'exposition d'œuvres d'art est caractérisée par son aspect éphémère, elle finit toujours par disparaître pour ne rester dans la mémoire qu'à travers les traces que sont les catalogues et les archives. Parmi ces archives les vues d'expositions jouent un rôle à la fois singulier, transparent et déterminant. Photographie et Exposition sont étroitement liées, toutes deux consistent à « montrer » et surtout à « mettre en lumière». Cet ouvrage fait le point sur le nouveau statut des photographies de vues d’exposition : fonction documentaire complexe, entre archive et support de représentation, elles n’ont pas qu’une valeur testimoniale, mais s’inscrivent aussi dans le contexte postmoderne comme des outils artistiques et curatoriaux.
Photogénie de l'exposition
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L'exposition d'œuvres d'art est caractérisée par son aspect éphémère, elle finit toujours par disparaître pour ne rester dans la mémoire qu'à travers les traces que sont les catalogues et les archives. Parmi ces archives les vues d'expositions jouent un rôle à la fois singulier, transparent et déterminant. Photographie et Exposition sont étroitement liées, toutes deux consistent à « montrer » et surtout à « mettre en lumière». Cet ouvrage fait le point sur le nouveau statut des photographies de vues d’exposition : fonction documentaire complexe, entre archive et support de représentation, elles n’ont pas qu’une valeur testimoniale, mais s’inscrivent aussi dans le contexte postmoderne comme des outils artistiques et curatoriaux.
Form:
books
books
Publication:
August 2018
August 2018
Subject:
Museology
Museology
Form:
books
books
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$32.95
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Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. In 2012, the forum was staged sequentially at Cooper Gallery (Dundee), Baltic Centre for Contemporary Art (Gateshead), Goldsmiths(...)
$32.95
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Summary:
Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. In 2012, the forum was staged sequentially at Cooper Gallery (Dundee), Baltic Centre for Contemporary Art (Gateshead), Goldsmiths(...)
Title:
Hubs and fictions: on current art and imported remoteness
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Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. In 2012, the forum was staged sequentially at Cooper Gallery (Dundee), Baltic Centre for Contemporary Art (Gateshead), Goldsmiths University of London, and operated as a satellite event to Edgar Schmitz’s exhibition “Surplus Cameo Decor,” curated by Sophia Yadong Hao at Cooper Gallery. The book functions as a deliberately discontinuous reader; it juxtaposes documents, negotiations, and reflections from and on these conversations. The publication also includes a preface by Andrea Phillips, a new image sequence by Schmitz, and a suite of reflexive annotations exchanged between Hao and Schmitz.
Hubs and fictions: on current art and imported remoteness
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$32.95
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Summary:
Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. In 2012, the forum was staged sequentially at Cooper Gallery (Dundee), Baltic Centre for Contemporary Art (Gateshead), Goldsmiths University of London, and operated as a satellite event to Edgar Schmitz’s exhibition “Surplus Cameo Decor,” curated by Sophia Yadong Hao at Cooper Gallery. The book functions as a deliberately discontinuous reader; it juxtaposes documents, negotiations, and reflections from and on these conversations. The publication also includes a preface by Andrea Phillips, a new image sequence by Schmitz, and a suite of reflexive annotations exchanged between Hao and Schmitz.
Form:
books
books
Publication:
November 2016
November 2016
Subject:
Museology
Museology
Form:
books
books
Title:
L'Art d'aimer les objets
L'Art d'aimer les objets
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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(...)
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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(...)
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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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$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.
Form:
books
books
Publication:
October 2016
October 2016
Subject:
Museology
Museology
Form:
books
books
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$70.50
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Summary:
What is the role of the museum in society today? In this time of fundamental economic and social change, should museums be safe civic spaces or open a floor for challenge and change? Can museums contribute to the economic development of communities? If so, how best to guard against the effects of gentrification so that they do not further limit opportunity for low-income(...)
$70.50
(available to order)
Summary:
What is the role of the museum in society today? In this time of fundamental economic and social change, should museums be safe civic spaces or open a floor for challenge and change? Can museums contribute to the economic development of communities? If so, how best to guard against the effects of gentrification so that they do not further limit opportunity for low-income(...)
Title:
New museums: intentions, expectations, challenges
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$70.50
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What is the role of the museum in society today? In this time of fundamental economic and social change, should museums be safe civic spaces or open a floor for challenge and change? Can museums contribute to the economic development of communities? If so, how best to guard against the effects of gentrification so that they do not further limit opportunity for low-income residents? How should museums respond to concerns about environmental sustainability? These are just a few of the questions museum professionals, planners, and architects must carefully consider when developing plans and choosing a location for a new museum. "New museums" explores these questions by talking to the people behind twenty different museums on six continents, both realized projects and speculative design proposals. Among the museums discussed in the book are the Smithsonian Institute’s National Museum of African American History and Culture in Washington, DC, by Adjaye Associates; the Guggenheim Helsinki by Moreau Kusunoki Architectes; the Comic and Animation Museum in Hangzhou by MVRDV; the Munch Museum in Oslo by Estudio Herreros, the Zeitz Museum of Contemporary Art Africa in Cape Town by Heatherwick Studio; the Long Museum West Bund in Shanghai by Atelier Deshaus; and the recent extension of the Art Gallery of New South Wales in Sydney by SANAA. With more than 250 color illustrations and contributions by leading museum and architecture experts, the book sheds light on current trends and the state-of-the-art technological advances in architecture, while also providing insight into the careful thought and decision processes that go into the development of new museums.
New museums: intentions, expectations, challenges
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Price:
$70.50
(available to order)
Summary:
What is the role of the museum in society today? In this time of fundamental economic and social change, should museums be safe civic spaces or open a floor for challenge and change? Can museums contribute to the economic development of communities? If so, how best to guard against the effects of gentrification so that they do not further limit opportunity for low-income residents? How should museums respond to concerns about environmental sustainability? These are just a few of the questions museum professionals, planners, and architects must carefully consider when developing plans and choosing a location for a new museum. "New museums" explores these questions by talking to the people behind twenty different museums on six continents, both realized projects and speculative design proposals. Among the museums discussed in the book are the Smithsonian Institute’s National Museum of African American History and Culture in Washington, DC, by Adjaye Associates; the Guggenheim Helsinki by Moreau Kusunoki Architectes; the Comic and Animation Museum in Hangzhou by MVRDV; the Munch Museum in Oslo by Estudio Herreros, the Zeitz Museum of Contemporary Art Africa in Cape Town by Heatherwick Studio; the Long Museum West Bund in Shanghai by Atelier Deshaus; and the recent extension of the Art Gallery of New South Wales in Sydney by SANAA. With more than 250 color illustrations and contributions by leading museum and architecture experts, the book sheds light on current trends and the state-of-the-art technological advances in architecture, while also providing insight into the careful thought and decision processes that go into the development of new museums.
Form:
books
books
Publication:
August 2017
August 2017
Subject:
Museology
Museology
Form:
books
books
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$19.95
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Summary:
London's Design Museum is entering an exciting period in its life as it prepares to move to the former Commonwealth Institute in Kensington. The Story of the Design Museum charts the story of the museum's life from its inception as the Boilerhouse Project to twenty-five years of groundbreaking exhibitions at Shad Thames. The book begins with a foreword by the founder of(...)
$19.95
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Summary:
London's Design Museum is entering an exciting period in its life as it prepares to move to the former Commonwealth Institute in Kensington. The Story of the Design Museum charts the story of the museum's life from its inception as the Boilerhouse Project to twenty-five years of groundbreaking exhibitions at Shad Thames. The book begins with a foreword by the founder of(...)
Title:
The story of the Design Museum
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$19.95
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London's Design Museum is entering an exciting period in its life as it prepares to move to the former Commonwealth Institute in Kensington. The Story of the Design Museum charts the story of the museum's life from its inception as the Boilerhouse Project to twenty-five years of groundbreaking exhibitions at Shad Thames. The book begins with a foreword by the founder of the Design Museum Sir Terence Conran, and concludes with an essay from the museum's architect, John Pawson, accompanied by stunning images of the iconic and newly renovated Commonwealth Institute Building, the museum's new home.
The story of the Design Museum
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$19.95
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Summary:
London's Design Museum is entering an exciting period in its life as it prepares to move to the former Commonwealth Institute in Kensington. The Story of the Design Museum charts the story of the museum's life from its inception as the Boilerhouse Project to twenty-five years of groundbreaking exhibitions at Shad Thames. The book begins with a foreword by the founder of the Design Museum Sir Terence Conran, and concludes with an essay from the museum's architect, John Pawson, accompanied by stunning images of the iconic and newly renovated Commonwealth Institute Building, the museum's new home.
Form:
books
books
Publication:
March 2017
March 2017
Subject:
Museology
Museology
