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The First Modern Museums Of Art

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The First Modern Museums of Art

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The First Modern Museums of Art by Carole Paul Book Summary:

In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public. The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, former director of the British Museum in London; Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University; Thomas Gaehtgens, director of the Getty Research Institute; and Andrew McClellan, dean of academic affairs and professor of art history at Tufts University. Show more Show less

The Museums of Contemporary Art

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The Museums of Contemporary Art by J. Pedro Lorente Book Summary:

Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musée des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new universal role model that found emulators or 'contramodels' in the rest of the Western world during the twentieth century. An epilogue, reviews recent museum developments in the last decades. Through its adoption of a long-term, worldwide perspective, the book not only provides a narrative of the development of museums of contemporary art, but also sets this into its international perspective. By assessing the extent to which the great museum-capitals - Paris, London and New York in particular - created their own models of museum provision, as well as acknowledging the influence of such models elsewhere, the book uncovers fascinating perspectives on the practice of museum provision, and reveals how present cultural planning initiatives have often been shaped by historical uses.

Inventing the Louvre

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Inventing the Louvre by Andrew McClellan Book Summary:

A narrative history of the founding of the Louvre that also explores the ideological underpinnings, pedagogical aims, and aesthetic criteria of this, the first great national art museum.

Modern Art Museum of Fort Worth 110

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Modern Art Museum of Fort Worth 110 by Modern Art Museum of Fort Worth,Michael Auping Book Summary:

This book accompanies and celebrates the inaugural exhibition at the new Modern Art Museum of Fort Worth, designed by the Japanese architect Tadao Ando. The central subject of and impetus for this building from the beginning has been art, with particular emphasis on the display of the permanent collection. Of the 153,000 square feet of space to support space that emphasizes art like few museums in the world. That the first exhibition in these pristine galleries is devoted to the collection is a testament of pride and priority. Works by approximately 150 artists, covering a wide range of movements, especially postwar Abstract Expressionism, Pop art, and Minimalism, are currently displayed over the Museum's three two-story gallery pavilions. Together they present a broad range of styles and media, from oil, acrylic, and mixed-media paintings and drawings to photography, sculpture, installation art, and video and digital imagery. In honor of the Museum's 110th anniversary, 110 of these artists have been chosen for inclusion in this publication. Each artist's work is presented in the form of a large color plate and a detailed text entry, together with footnotes and key artist information. A selection of the artists - notably Philip Guston, Anselm Kiefer, Gerhard Richter, and Robert Motherwell - are presented in the form of extended monographic essays, accompanied by up to eight works, as a reflection of their importance in the Museum's permanent collection and their wider importance in the development of postwar art.

Museum movies

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Museum movies by Haidee Wasson Book Summary:

How movies came to be considered art works worthy of preservation, told through the history of the film archive at the New York MoMA.

Art and Its Publics

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Art and Its Publics by Andrew McClellan Book Summary:

Bringing together essays by museum professionals and academics from both sides of the Atlantic, Art and its Publics tackles current issues confronting the museum community and seeks to further the debate between theory and practice around the most pressing of contemporary concerns. Brings together essays that focus on the interface between the art object, its site of display, and the viewing public. Tackles issues confronting the museum community and seeks to further the debate between theory and practice. Presents a cross-section of contemporary concerns with contributions from museum professionals as well as academics. Part of the New Interventions in Art History series, published in conjunction with the Association of Art Historians.

The Museum of Modern Art, Gunma

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The Museum of Modern Art, Gunma by Philip Drew,Arata Isozaki Book Summary:

Arata Iozaki is one of the most prolific and creative personalities inontemporary architecture. The Museum of Modern Art, Gunma, arguably therchitect's masterwork, was the first in a line of commissions for modern andontemporary art museums on a worldwide scale. Completed in 1974 it wasefurbished and extended by Isozaki in 1994. The museum is located in theural surroundings of the Gunma-no-Mori park, and is the most completeealization by Isozaki of conceptual architectural approach - a pristine,ssential structure composed of an arrangement of cubes taking the form of aarge rectangular block with projecting wings. The 1994 addition consists of cube added to the main entrance facade housing the new Highvision Theatre,nd a restaurant which occupies part of the area beneath one of the wings.

Shaky Ground

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Shaky Ground by Elizabeth Marlowe Book Summary:

The recent crisis in the world of antiquities collecting has prompted scholars and the general public to pay more attention than ever before to the archaeological findspots and collecting histories of ancient artworks. This new scrutiny is applied to works currently on the market as well as to those acquired since (and despite) the 1970 UNESCO Convention, which aimed to prevent the trafficking in cultural property. When it comes to famous works that have been in major museums for many generations, however, the matter of their origins is rarely considered. Canonical pieces like the Barberini Togatus or the Fonseca bust of a Flavian lady appear in many scholarly studies and virtually every textbook on Roman art. But we have no more certainty about these works' archaeological contexts than we do about those that surface on the market today. This book argues that the current legal and ethical debates over looting, ownership and cultural property have distracted us from the epistemological problems inherent in all (ostensibly) ancient artworks lacking a known findspot, problems that should be of great concern to those who seek to understand the past through its material remains.

Objects of Design from The Museum of Modern Art

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Objects of Design from The Museum of Modern Art by Paola Antonelli Book Summary:

"The book's 341 color plates, arranged in nine thematic sections, reveal the huge variety of aesthetic and conceptual viewpoints in design since the late nineteenth century and together trace the historical development of modern design as well as that of the Museum's celebrated design collection. The volume's authoritative texts include a preface by Terence Riley, The Philip Johnson Chief Curator of Architecture and Design at the Museum, and an introductory essay by Curator Paola Antonelli. The lavish plate section is enriched by numerous brief texts by these and other curators in the Architecture and Design department, which illuminate the entire course of modern design, its major styles, and its individual masterpieces. Objects of Design is the second in a series of three volumes on the holdings of the department, the first of which, Envisioning Architecture, surveys the Museum's extraordinary architecture drawings."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Structures and Subjectivities

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Structures and Subjectivities by Adele F. Seeff,Joan Hartman Book Summary:

Structures and Subjectivities refers to what we can and probably cannot know about women in the early modern period. Scholars study the societal structures their disciplines call attention to; they are left to infer the subjectivities, the lived experience, of women whose lives they attempt to reconstruct. The authors of the essays in the volume, the fifth to emerge from conferences held by the University of Maryland's Center for Renaissance & Baroque Studies, place the largest possible meanings on structures. They consider geographical boundaries and political and ecclesiastical institutions, the gendering of hierarchies and the power of place, the spaces that women constructed, inhabited, traveled in and worked in and, by extension, the literary and artistic conventions that both enabled and constrained their artistic production. They also consider, in several essays on pedagogy, the structures in which they and their students pursue the study of early modern women: institutions, departments, and classrooms. Joan E. Hartman is Professor of English emerita at the College of Staten Island, The City University of New York. at the University of Maryland.

The Problematic of Video Art in the Museum, 1968-1990

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The Problematic of Video Art in the Museum, 1968-1990 by Cyrus Manasseh Book Summary:

Cyrus Manasseh is an academic, writer, and editor. He holds a PhD from the University of Western Australia in art history and philosophy and a BA (Hons.) from the University of Reading, England, in film and drama and art history. Dr. Manasseh is an associate editor for Design Principles and Practices: An International Journal and The International Journal of the Arts in Society. He has also published articles in The International Journal of the Arts in Society, The Melbourne Art Journal, and other academic journals and conference proceedings in the field of visual arts.

The Architecture of Art Museums

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The Architecture of Art Museums by Ronnie Self Book Summary:

As a building type, art museums are unparalleled for the opportunities they provide for architectural investigation and experimentation. They are frequently key components of urban revitalization and often push the limits of building technology. Art museums are places of pleasure, education and contemplation. They are remarkable by their prominence and sheer quantity, and their lessons are useful for all architects and for all building types. This book provides explicit and comprehensive coverage of the most important museums built in the first ten years of the 21st Century in the United States and Europe. By dissecting and analyzing each case, Ronnie Self allows the reader to get under the skin of each design and fully understand the process behind these remarkable buildings. Richly designed with full technical illustrations and sections the book includes the work of Tadao Ando, Zaha Hadid, Peter Cook & Colin Fournier, Renzo Piano, Yoshi Taniguchi, Herzog & de Meuron, Jean Nouvel, SANAA, Daniel Libeskind, Diller Scofidio & Renfro, Steven Holl, Coop Himmelb(l)au, Bernard Tschumi, Sauerbruch Hutton, and Shigeru Ban & Jean de Gastines. Together these diverse projects provide a catalogue of design solutions for the contemporary museum and a snapshot of current architectural thought and culture. One of few books on this subject written by an architect, Self’s analysis thoroughly and critically appraises each project from multiple aspects and crucially takes the reader from concept to building. This is an essential book for any professional engaged in designing a museum.

The New Museum of Modern Art

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The New Museum of Modern Art by Glenn D. Lowry,Terence Riley Book Summary:

For the past few years, The Museum of Modern Art has been in the midst of the largest building project in its history. Designed by Yoshio Taniguchi, the new museum will open in midtown Manhattan in November 2004 - 2005 to coincide with MoMA's 75th anniversary. The 630,000-square-foot complex is nearly twice the size of the former facility, with dramatically expanded and redesigned spaces for exhibitions, public programming, educational outreach, and scholarly research. In his initial proposal, Taniguchi explained that his goal was "to create an ideal environment for art and people through the imaginative and disciplined use of light, materials, and space." His stated vision of "a museum that preserves and reinforces MoMA's unique character as the repository of an incomparable collection of modern and contemporary art, as a pioneer of museums of modern art with a unique historical inheritance, and as an urban institution in a midtown Manhattan location" has been resoundingly implemented.

Experience Or Interpretation

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Experience Or Interpretation by Nicholas Serota Book Summary:

Art galleries 100 years ago were structured to impose the curator's view onto the public. Today, these institutions welcome differences. In the first coherent account of the changing attitudes about the way art is presented, Nicholas Serota examines the relationship between the artist, the public, and the curator. With authority and insight, he provides an expert view of the ways we may expect to see art displayed in the 21st century. Illus.

Designing the New Museum of Modern Art

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Designing the New Museum of Modern Art by Glenn D. Lowry Book Summary:

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