Museums of Contemporary Art: Notion and Development [Pehme köide]

  • Formaat: Paperback / softback, 330 pages, kõrgus x laius: 234x156 mm, kaal: 612 g
  • Ilmumisaeg: 19-Dec-2018
  • Kirjastus: Routledge
  • ISBN-10: 1138350338
  • ISBN-13: 9781138350335
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  • Formaat: Paperback / softback, 330 pages, kõrgus x laius: 234x156 mm, kaal: 612 g
  • Ilmumisaeg: 19-Dec-2018
  • Kirjastus: Routledge
  • ISBN-10: 1138350338
  • ISBN-13: 9781138350335
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 Musee 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.
Acknowledgements vii
List of Illustrations
ix
List of Boxes
xi
Introduction 1(16)
Part I The Parisian Musee du Luxembourg as a Paradigm in the Nineteenth Century
1 The Origin of the Musee des Artistes Vivants in Paris
17(22)
The emergence of Paris as the museum capital of reference in the late eighteenth and early nineteenth century
17(10)
The new Musee des Artistes Vivants, an instrument of the monarchy
27(12)
2 The First Emulators and Alternatives to the Luxembourg
39(26)
The shock wave of the Musee des Artistes Vivants in other capitals
39(11)
Reconsideration of the Musee de passage in the mid-nineteenth century
50(6)
Another innovative model born in London and emulated in the United Kingdom
56(9)
3 Unresolved Dilemmas in the Last Third of the Nineteenth Century
65(30)
Museums of national and/or contemporary art? The difficulty in setting a speciality and maintaining it
65(17)
The image of modernity as an issue for discussion regarding architecture, art and politics
82(13)
4 Utopian Ideas and Experiments at the Turn of the Nineteenth Century
95(32)
Very singular museums, founded by rich and idealist philanthropists
95(10)
Times of change in European museum policy regarding modern art
105(22)
Part II The role of the MoMA of New York as the International Model of the Twentieth Century
5 Foundations and Context of the MoMA's Creation
127(36)
Decline of the European experience
127(14)
The establishment of New York as the museum capital of modernity: The foundation of the MoMA and similar institutions
141(22)
6 MoMA's Transition to Adulthood Amidst War and Confrontations
163(36)
`How Modern is the Museum of Modern Art?'
163(14)
Expansion in times of war, with multiple departments and new staff
177(7)
Agreements and conflicts with other museums, which definitively forged MoMA's personality (and that of the others)
184(15)
7 MoMA as an International Role Model During the Cold War: Triumph and Opposition
199(32)
The international role of MoMA in the promotion of Abstract Expressionism
199(10)
The apogee of the 1960s: International emulation of the American model
209(14)
Anti-museum and anti-system revolts: challenging the MoMA
223(8)
8 The Pompidou Centre: A Counter-Model Which Ends Up Imitating MoMA
231(28)
The Re-birth of Paris as a modern and international capital for the arts
231(12)
Beaubourg from the inside, or the persistence of the American model
243(16)
9 Topographic Review of the New Museums of Contemporary Art at the Turn of the Millennium
259(34)
Architectural/urban customs of postmodernity and their legacy in Europe
259(17)
Museums of contemporary art in leisure and business centres: Recent trends in America and on the other side of the Pacific
276(17)
Epilogue 293(2)
References 295(18)
Index 313
J. Pedro Lorente, Universidad de Zaragoza, Spain