233 Résultats
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Continuing her feminist reconceptualisation of the ways we can experience and study the visual arts, world-renowned art historian and cultural analyst Griselda Pollock proposes a series of new encounters throught virtuel exhibitions with art made by women over the twentieth century. Challenging the dominant museum models of art and history that have been so exclusive of(...)
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Continuing her feminist reconceptualisation of the ways we can experience and study the visual arts, world-renowned art historian and cultural analyst Griselda Pollock proposes a series of new encounters throught virtuel exhibitions with art made by women over the twentieth century. Challenging the dominant museum models of art and history that have been so exclusive of(...)
Titre:
Encounters in the Virtual Feminist Museum : time, space and the archive
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Continuing her feminist reconceptualisation of the ways we can experience and study the visual arts, world-renowned art historian and cultural analyst Griselda Pollock proposes a series of new encounters throught virtuel exhibitions with art made by women over the twentieth century. Challenging the dominant museum models of art and history that have been so exclusive of women's artistic contributions to the twentieth century, the virtual feminist museum stages some of the complex relations between femininity, modernity and representation.
Encounters in the Virtual Feminist Museum : time, space and the archive
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Continuing her feminist reconceptualisation of the ways we can experience and study the visual arts, world-renowned art historian and cultural analyst Griselda Pollock proposes a series of new encounters throught virtuel exhibitions with art made by women over the twentieth century. Challenging the dominant museum models of art and history that have been so exclusive of women's artistic contributions to the twentieth century, the virtual feminist museum stages some of the complex relations between femininity, modernity and representation.
Classification:
livres
livres
Publication:
janvier 2008, London, New York
janvier 2008, London, New York
Sujet:
Muséologie
Muséologie
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livres
livres
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$34.95
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics'(...)
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics'(...)
Publication:
octobre 2007, Syracuse
octobre 2007, Syracuse
Titre:
The end of innocence : The 1964-1965 New York world's fair
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics' assessment of the Fair as the "ugly duckling" of global expositions. Although much attention has been paid to the controversial role of Fair president Robert Moses, who tried to use the event to ensure his personal legacy, the Fair itself was for the great majority of visitors an overwhelmingly positive, often inspirational, and sometimes transcendent experience that truly delivered on its theme of "peace through understanding." Much of the Fair's popularity, Samuel suggests, stemmed from its looking backward as much as forward, offering visitors sanctuary from the cultural storm that was rapidly approaching in the mid-1960s. Opening just five months after President Kennedy's assassination, the Fair allowed millions to celebrate international brotherhood while the conflict in Vietnam came to a boil. The Fair glorified the postwar American dream of limitless optimism just as a counterculture of sex, drugs, and rock 'n' roll was coming into being. It was, in short, the last gasp of the American Dream: The End of the Innocence.
The end of innocence : The 1964-1965 New York world's fair
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics' assessment of the Fair as the "ugly duckling" of global expositions. Although much attention has been paid to the controversial role of Fair president Robert Moses, who tried to use the event to ensure his personal legacy, the Fair itself was for the great majority of visitors an overwhelmingly positive, often inspirational, and sometimes transcendent experience that truly delivered on its theme of "peace through understanding." Much of the Fair's popularity, Samuel suggests, stemmed from its looking backward as much as forward, offering visitors sanctuary from the cultural storm that was rapidly approaching in the mid-1960s. Opening just five months after President Kennedy's assassination, the Fair allowed millions to celebrate international brotherhood while the conflict in Vietnam came to a boil. The Fair glorified the postwar American dream of limitless optimism just as a counterculture of sex, drugs, and rock 'n' roll was coming into being. It was, in short, the last gasp of the American Dream: The End of the Innocence.
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livres
livres
Publication:
octobre 2007, Syracuse
octobre 2007, Syracuse
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livres
livres
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We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann's groundbreaking 1969 exhibition When Attitudes Become Form, also(...)
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We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann's groundbreaking 1969 exhibition When Attitudes Become Form, also(...)
Sujet:
Muséologie
Muséologie
Publication:
mars 2008, Berlin, Dijon, New York, Manchester
mars 2008, Berlin, Dijon, New York, Manchester
Titre:
Harald Szeemann Individual Methodology
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We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann's groundbreaking 1969 exhibition When Attitudes Become Form, also at the Kunsthalle, introduced European audiences to artists like Joseph Beuys, Eva Hesse, Richard Serra and Lawrence Weiner. It also introduced the now-commonplace practice of curating an exhibition around a theme. Since Szeemann's death in 2005, there has been research underway at his archive in Tessin, Switzerland. An invaluable resource, this volume provides access to previously unpublished plans, documents and photographs from the archive, along with important essays by Hal Foster and Jean-Marc Poinsot. There is also an informative interview with Tobia Bezzola--curator at the Kunsthauz Zurich and Szeemann's collaborator for many years. Two of Szeemann's most ambitious exhibitions are presented as case studies: Documenta V (1972) and L'Autre, the 4th Lyon Biennial (1997). A biography, an illustrated chronology of Szeemann's exhibitions and a selection of his writings complete this exhaustive survey.
Harald Szeemann Individual Methodology
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We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann's groundbreaking 1969 exhibition When Attitudes Become Form, also at the Kunsthalle, introduced European audiences to artists like Joseph Beuys, Eva Hesse, Richard Serra and Lawrence Weiner. It also introduced the now-commonplace practice of curating an exhibition around a theme. Since Szeemann's death in 2005, there has been research underway at his archive in Tessin, Switzerland. An invaluable resource, this volume provides access to previously unpublished plans, documents and photographs from the archive, along with important essays by Hal Foster and Jean-Marc Poinsot. There is also an informative interview with Tobia Bezzola--curator at the Kunsthauz Zurich and Szeemann's collaborator for many years. Two of Szeemann's most ambitious exhibitions are presented as case studies: Documenta V (1972) and L'Autre, the 4th Lyon Biennial (1997). A biography, an illustrated chronology of Szeemann's exhibitions and a selection of his writings complete this exhaustive survey.
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livres
livres
Publication:
mars 2008, Berlin, Dijon, New York, Manchester
mars 2008, Berlin, Dijon, New York, Manchester
Sujet:
Muséologie
Muséologie
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livres
livres
Titre:
Curating Subjects
Curating Subjects
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This book is a welcome addition to he growing literature about exhibition making. Moving away from autobiographical, first person narratives, Curating Subjects instead invites its broad range of contributors to comment upon the curatorial endeavours of others. Conflating and colliding the past and the present with possible futures this book unfolds as an idiosyncratic(...)
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This book is a welcome addition to he growing literature about exhibition making. Moving away from autobiographical, first person narratives, Curating Subjects instead invites its broad range of contributors to comment upon the curatorial endeavours of others. Conflating and colliding the past and the present with possible futures this book unfolds as an idiosyncratic(...)
Titre:
Curating Subjects
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This book is a welcome addition to he growing literature about exhibition making. Moving away from autobiographical, first person narratives, Curating Subjects instead invites its broad range of contributors to comment upon the curatorial endeavours of others. Conflating and colliding the past and the present with possible futures this book unfolds as an idiosyncratic conversation that is at once informative, entertaining, and often revealing.
Curating Subjects
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This book is a welcome addition to he growing literature about exhibition making. Moving away from autobiographical, first person narratives, Curating Subjects instead invites its broad range of contributors to comment upon the curatorial endeavours of others. Conflating and colliding the past and the present with possible futures this book unfolds as an idiosyncratic conversation that is at once informative, entertaining, and often revealing.
Classification:
livres
livres
Publication:
octobre 2011, London
octobre 2011, London
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
Titre:
A brief history of curating
A brief history of curating
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This publication is dedicated to pioneering curators and presents a unique collection of interviews by Hans Ulrich Obrist: Anne d'Harnoncourt, Werner Hofman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hultén, and Harald Szeemann are gathered together in this volume. The contributions map the(...)
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This publication is dedicated to pioneering curators and presents a unique collection of interviews by Hans Ulrich Obrist: Anne d'Harnoncourt, Werner Hofman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hultén, and Harald Szeemann are gathered together in this volume. The contributions map the(...)
Titre:
A brief history of curating
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This publication is dedicated to pioneering curators and presents a unique collection of interviews by Hans Ulrich Obrist: Anne d'Harnoncourt, Werner Hofman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hultén, and Harald Szeemann are gathered together in this volume. The contributions map the development of the curatorial field, from early independent curating in the 1960s and 1970s and the experimental institutional programs developed in Europe and in the USA at this time, through Documenta and the development of biennales.
A brief history of curating
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This publication is dedicated to pioneering curators and presents a unique collection of interviews by Hans Ulrich Obrist: Anne d'Harnoncourt, Werner Hofman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hultén, and Harald Szeemann are gathered together in this volume. The contributions map the development of the curatorial field, from early independent curating in the 1960s and 1970s and the experimental institutional programs developed in Europe and in the USA at this time, through Documenta and the development of biennales.
Classification:
livres
livres
Publication:
septembre 2008, Zürich
septembre 2008, Zürich
Sujet:
Muséologie
Muséologie
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livres
livres
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il(...)
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il(...)
Titre:
White cube, l'espace de la galerie et son idéologie
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il développe également une véritable dramaturgie de la perception, où l'espace d'exposition est le laboratoire d'un art qui ne se conçoit plus sans sa relation au spectateur.
White cube, l'espace de la galerie et son idéologie
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Première traduction française d'un ouvrage incontournable de la théorie de l'art. Ici est rassemblé les quatre essais initialement publiés entre 1976 et 1981, une postface véhémente publiée en 1986 et un cinquième essai qui en constitue la conclusion. L'auteur identifie dans ces essais le cube blanc de la galerie comme pôle complémentaire du tableau moderniste, il développe également une véritable dramaturgie de la perception, où l'espace d'exposition est le laboratoire d'un art qui ne se conçoit plus sans sa relation au spectateur.
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livres
livres
Publication:
décembre 2008, Zürich
décembre 2008, Zürich
Sujet:
Muséologie
Muséologie
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livres
livres
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$56.00
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Résumé:
At no other point in their modern history have museums undergone such radical reshaping as in recent years. Challenges to create inclusive and accessible spaces open to appropriation and responsive to contemporary agendas have resulted in new architectural forms for museums, inside and out. "Reshaping museum space" pulls together the views of an international group of(...)
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At no other point in their modern history have museums undergone such radical reshaping as in recent years. Challenges to create inclusive and accessible spaces open to appropriation and responsive to contemporary agendas have resulted in new architectural forms for museums, inside and out. "Reshaping museum space" pulls together the views of an international group of(...)
Titre:
Reshaping museum space : architecture, design, exhibitions.
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At no other point in their modern history have museums undergone such radical reshaping as in recent years. Challenges to create inclusive and accessible spaces open to appropriation and responsive to contemporary agendas have resulted in new architectural forms for museums, inside and out. "Reshaping museum space" pulls together the views of an international group of museum professionals, architects, designers and academics highlighting the complexity, significance and malleability of museum space and provides reflections upon recent developments in museum architecture and exhibition design. The problems of navigating the often contradictory agendas and aspirations of the broad range of professionals and stakeholders involved in any new project are discussed in various chapters that concentrate on the process of architectural and spatial reshaping. Contributors review recent new build, expansion and exhibition projects questioning the types of museum space required at the beginning of the 21st century and highlighting a range of possibilities for creative museum design.
Reshaping museum space : architecture, design, exhibitions.
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At no other point in their modern history have museums undergone such radical reshaping as in recent years. Challenges to create inclusive and accessible spaces open to appropriation and responsive to contemporary agendas have resulted in new architectural forms for museums, inside and out. "Reshaping museum space" pulls together the views of an international group of museum professionals, architects, designers and academics highlighting the complexity, significance and malleability of museum space and provides reflections upon recent developments in museum architecture and exhibition design. The problems of navigating the often contradictory agendas and aspirations of the broad range of professionals and stakeholders involved in any new project are discussed in various chapters that concentrate on the process of architectural and spatial reshaping. Contributors review recent new build, expansion and exhibition projects questioning the types of museum space required at the beginning of the 21st century and highlighting a range of possibilities for creative museum design.
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livres
livres
Publication:
juin 2005, New York
juin 2005, New York
Sujet:
Muséologie
Muséologie
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livres
livres
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$20.00
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Edité par l'Institut du patrimoine, UQAM. Incluant des contributions de John Impert (Restitution of Art amd Antiquities: What are the implications of Holocaust restitution for museums that collect antiquities?), Marie-Hélène Foisy (Quelle place pour les publications d'exposition dans les musées?), Laurie Guillemette (L'écrit dans l'exposition; Analyses et études de cas),(...)
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Edité par l'Institut du patrimoine, UQAM. Incluant des contributions de John Impert (Restitution of Art amd Antiquities: What are the implications of Holocaust restitution for museums that collect antiquities?), Marie-Hélène Foisy (Quelle place pour les publications d'exposition dans les musées?), Laurie Guillemette (L'écrit dans l'exposition; Analyses et études de cas),(...)
Titre:
Muséologies: les cahiers d'études supérieures, volume 2, avril 2008
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Edité par l'Institut du patrimoine, UQAM. Incluant des contributions de John Impert (Restitution of Art amd Antiquities: What are the implications of Holocaust restitution for museums that collect antiquities?), Marie-Hélène Foisy (Quelle place pour les publications d'exposition dans les musées?), Laurie Guillemette (L'écrit dans l'exposition; Analyses et études de cas), Geneviève Provencher-St-Cyr (L'action coopérative. Une proposition d'ancrage des musées dans la vie régionale), John Porter - directuer du Musée national des beaux-arts du Québec (Entrevue un), Marc Mayer - directeur du Musée d'art contemporain de Montréal (Entrevue deux), Virginie Soulier , Ève-Lyne Cayouette-Ashby, Émilie Allain, Nellie Demers(Colloque étudiant en muséologie de l'UQAM et de l'UDEM: Le rôle social du musée), Mathieu Dormaels (Rôle social des musées: une autre 'nouvelle' muséologie)
Muséologies: les cahiers d'études supérieures, volume 2, avril 2008
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Edité par l'Institut du patrimoine, UQAM. Incluant des contributions de John Impert (Restitution of Art amd Antiquities: What are the implications of Holocaust restitution for museums that collect antiquities?), Marie-Hélène Foisy (Quelle place pour les publications d'exposition dans les musées?), Laurie Guillemette (L'écrit dans l'exposition; Analyses et études de cas), Geneviève Provencher-St-Cyr (L'action coopérative. Une proposition d'ancrage des musées dans la vie régionale), John Porter - directuer du Musée national des beaux-arts du Québec (Entrevue un), Marc Mayer - directeur du Musée d'art contemporain de Montréal (Entrevue deux), Virginie Soulier , Ève-Lyne Cayouette-Ashby, Émilie Allain, Nellie Demers(Colloque étudiant en muséologie de l'UQAM et de l'UDEM: Le rôle social du musée), Mathieu Dormaels (Rôle social des musées: une autre 'nouvelle' muséologie)
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livres
livres
Publication:
avril 2008, Montréal
avril 2008, Montréal
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livres
livres
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$32.95
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On his quest for the "Delirious museum", Storrie takes a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas. He encounters on his way the museum architecture of John Soane, Carlo Scarpa and Daniel Libeskind, the exhibitions of El Lissitsky and of Frederick Kiessler, and the work of artists as varied as Marcel Duchamps, Andy(...)
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On his quest for the "Delirious museum", Storrie takes a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas. He encounters on his way the museum architecture of John Soane, Carlo Scarpa and Daniel Libeskind, the exhibitions of El Lissitsky and of Frederick Kiessler, and the work of artists as varied as Marcel Duchamps, Andy(...)
Titre:
The delirious museum: a journey from the Louvre to Las Vegas
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On his quest for the "Delirious museum", Storrie takes a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas. He encounters on his way the museum architecture of John Soane, Carlo Scarpa and Daniel Libeskind, the exhibitions of El Lissitsky and of Frederick Kiessler, and the work of artists as varied as Marcel Duchamps, Andy Warhol, Marcel Broodthaers, Sophie Calle and Mark Dion. Calum Storrie is an architect, curator and exhibition designer, who has written extensively on museums.
The delirious museum: a journey from the Louvre to Las Vegas
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On his quest for the "Delirious museum", Storrie takes a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas. He encounters on his way the museum architecture of John Soane, Carlo Scarpa and Daniel Libeskind, the exhibitions of El Lissitsky and of Frederick Kiessler, and the work of artists as varied as Marcel Duchamps, Andy Warhol, Marcel Broodthaers, Sophie Calle and Mark Dion. Calum Storrie is an architect, curator and exhibition designer, who has written extensively on museums.
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livres
livres
Publication:
février 2008, London, New York
février 2008, London, New York
Sujet:
Muséologie
Muséologie
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livres
livres
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$84.95
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des(...)
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des(...)
Titre:
Le musée des monuments francais
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des Monuments français dont l'ambition, héritée de la Révolution française, est de proposer une anthologie de l'art national. En 2007, la dernière métamorphose du musée des Monuments français le place au cœur du dispositif de la Cité de l'architecture et du patrimoine, pour en faire l'instrument d'une politique culturelle novatrice, associant mémoire et projet.
Le musée des monuments francais
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A Paris, au lendemain de l'exposition universelle de 1878, un musée de Sculpture comparée - le plus grand du monde - investit le palais du Trocadéro. Ce musée, dont Viollet-le-Duc rêvait depuis 1848, ne cessera d'accroître ses collections pendant un demi-siècle. En 1937, dans l'aile Paris du palais Chaillot construit sur le même emplacement, il cède la place au musée des Monuments français dont l'ambition, héritée de la Révolution française, est de proposer une anthologie de l'art national. En 2007, la dernière métamorphose du musée des Monuments français le place au cœur du dispositif de la Cité de l'architecture et du patrimoine, pour en faire l'instrument d'une politique culturelle novatrice, associant mémoire et projet.
Classification:
livres
livres
Publication:
novembre 2007, Paris
novembre 2007, Paris
Sujet:
Muséologie
Muséologie
