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
  • Pehme köide
  • Hind: 37,42 EUR*
  • * hind on lõplik, st. muud allahindlused enam ei rakendu
  • soodushind kehtib ainult laos olevatele toodetele
  • Tavahind: 49,89 EUR
  • Säästad 25%
  • Lisa soovinimekirja
  • Laos olemas 1 eks Tule tutvuma - Raekoja plats 11, Tartu, E-R 10-18
  • Lisa ostukorvi
  • Kogus:
  • Tasuta tarne
  • Saadame välja 1 tööpäeva jooksul
  • 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
List of Boxes
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
The emergence of Paris as the museum capital of reference in the late eighteenth and early nineteenth century
The new Musee des Artistes Vivants, an instrument of the monarchy
2 The First Emulators and Alternatives to the Luxembourg
The shock wave of the Musee des Artistes Vivants in other capitals
Reconsideration of the Musee de passage in the mid-nineteenth century
Another innovative model born in London and emulated in the United Kingdom
3 Unresolved Dilemmas in the Last Third of the Nineteenth Century
Museums of national and/or contemporary art? The difficulty in setting a speciality and maintaining it
The image of modernity as an issue for discussion regarding architecture, art and politics
4 Utopian Ideas and Experiments at the Turn of the Nineteenth Century
Very singular museums, founded by rich and idealist philanthropists
Times of change in European museum policy regarding modern art
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
Decline of the European experience
The establishment of New York as the museum capital of modernity: The foundation of the MoMA and similar institutions
6 MoMA's Transition to Adulthood Amidst War and Confrontations
`How Modern is the Museum of Modern Art?'
Expansion in times of war, with multiple departments and new staff
Agreements and conflicts with other museums, which definitively forged MoMA's personality (and that of the others)
7 MoMA as an International Role Model During the Cold War: Triumph and Opposition
The international role of MoMA in the promotion of Abstract Expressionism
The apogee of the 1960s: International emulation of the American model
Anti-museum and anti-system revolts: challenging the MoMA
8 The Pompidou Centre: A Counter-Model Which Ends Up Imitating MoMA
The Re-birth of Paris as a modern and international capital for the arts
Beaubourg from the inside, or the persistence of the American model
9 Topographic Review of the New Museums of Contemporary Art at the Turn of the Millennium
Architectural/urban customs of postmodernity and their legacy in Europe
Museums of contemporary art in leisure and business centres: Recent trends in America and on the other side of the Pacific
Epilogue 293(2)
References 295(18)
Index 313
J. Pedro Lorente, Universidad de Zaragoza, Spain