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Book
228 pages : illustrations ; 21 cm
  • Les perspectives -- L'expérientiel -- L'interprétation -- L'engagement -- La participation -- Les conditions nécessaires -- Dépasser l'impératif du patrimoine -- Redécouvrir la notion d'action culturelle -- Réinventer l'institution et ses professions -- Conclusion -- Postface. Une altermuséologie plurielle et participative / Raymond Montpetit.
"L'exposition est multiple et protéiforme, omniprésente et multidisciplinaire. Pratique culturelle des plus communes, elle connaît un succès indéniable auprès des publics et évolue en fonction des transformations et mutations des sociétés contemporaines. En quoi l'exposition prend-elle son autonomie tant vis-à-vis du secteur du patrimoine que de ses missions originelles d'éducation ? Pourquoi le concept de médiation culturelle doit-il être clarifié ? Forgeant son discours sur ces questions centrales, Serge Chaumier découvre de nouveaux territoires d'exploration et de développement pour l'avenir. En favorisant l'expérientiel, l'interprétation, l'engagement et la participation, l'exposition accompagne et illustre les formes nouvelles de l'action culturelle.
SAL3 (off-campus storage)
Book
221 pages : illustrations ; 32 cm
Art & Architecture Library (Bowes)
Book
132 pages : illustrations ; 21 cm.
  • Réplique d'artiste, péché d'artiste? / Gino Severini par lui-même -- Le chef-d'oeuvre auquel il est impossible de renoncer / Willem Sandberg et Piet Mondrian -- Genius loci - Esprit de l'oeuvre, oeuvre de l'esprit / Harald Seiler (sur les traces d'Alexander Dorner) et El Lissitzky -- "Mettre le regard sous le contrôle du toucher" / Pontus Hultén et Vladimir Tatline -- La mariée et ses prétendants / Ulf Linde, Richard Hamilton et Marcel Duchamp.
"Parmi les chefs-d'oeuvre des grands musées d'art moderne figurent des répliques, des copies ou des reconstitutions, toutes dérivées d'une oeuvre originale qui, dans la plupart des cas, a été altérée, perdue ou détruite. Résurrections historiques, fictions institutionnalisées : les objets ambigus cités par l'auteure sont tous au service d'un désir de connaissance profonde, sans cesse reprise, sans cesse complétée, grâce à un musée devenu producteur au même titre que conservateur. Cinq oeuvres de Gino Severini, Piet Mondrian, El Lissitzky, Vladimir Tatline et Marcel Duchamp, rendent diversement compte de ce destin."--Page 4 of cover.
SAL3 (off-campus storage)
Book
208 pages : illustrations (chiefly color) ; 21 cm.
A concise history of one of the world's greatest and most comprehensive museum collections, from its founding in 1753. A product and symbol of the 18th-century Enlightenment, the British Museum is as iconic an expression of that cultural tendency as Johnson's Dictionary, the French Encyclopedie and Linnaean plant classification. Its collections embody the raw material of empiricism - the bringing together of things to enable the widest intellectual experiment to take place. James Hamilton explores the establishment of the Museum in the 1750s (from the bequest to the nation of the collections of Sir Hans Sloane); the chosen site of its location; the cultural context in which it came into being; the subsequent development, expansion and diversification of the Museum, both as a collection and as a building, from the early 19th to the 21st century; the controversy occasioned by some of its acquisitions; and the legacy and influence of the Museum nationally and globally.
(source: Nielsen Book Data)9781786691835 20180611
Art & Architecture Library (Bowes)
Book
298 pages : illustrations ; 24 cm
  • Einleitung
  • Anfänge
  • Die Kunst des Wunderns
  • Die Teilung der Sammlungen
  • Die Erfindung des Schaudepots
  • Depotausstellungen : Vier Portraits
  • Gottfried Sempers Ideales Museum
  • Das k.k. Österreichische Museum für Kunst und Industrie
  • Eine Vorbildersammlung, die zum Museum wird
  • Studiensammlung und Design-Labor
  • Fazit : das Ende der Studiensammlungen
  • Carl von Linnes Ordnung der Dinge und der "Ursprung der Kultur"
  • Das Bremer Ubersee-Museum
  • Stammbäume und Kulturkreise
  • Das Schaumagazin
  • Fazit : das Museum als Forschungsort
  • Alfred Döblins Berlin Alexanderplatz
  • Das Deutsche Literaturarchiv Marbach
  • Depot-Ordnungen und Werkcharakter
  • Literarische Archivalien im Literaturmuseum der Moderne
  • Die Literaturausstellung als Erkenntnis- und Distinktionsmittel
  • Epilog : Abschied vom "Schatzhaus der Kennerschaft"?
  • Der Deutsche Werkbund und die Alltäglichkeit der Dinge
  • Der Deutsche Werkbund und die Versöhnung der Kulturen
  • Vom Museum der Alltagskultur zum Museum der Dinge
  • Die Sammlung des Flaneurs
  • Offenes Depot
  • Fazit : Alltagskultur und die Logik der Kunst
  • Die Macht Der Ideen : Episteme der Depotausstellungen
  • Linkes Denken und Neue Kulturpolitik
  • Die Krise der (Re-)Präsentation
  • Materielle Kultur und die Sinnlichkeit der Dinge
  • Neuer Archiv-und Wissensdiskurs
  • Fazit : Machtkritik, Erkenntnistheorie und Krisensymptome
  • Die Transformation der Dinge : Werk, Exemplar, Zeuge
  • Werk
  • Exemplar
  • Zeuge
  • Werk, Exemplar und Zeuge : Produkte kuratorischer Praxis
  • Die Logik der Räume : Ausstellung und Depot
  • Depot-und Ausstellungsraum
  • Archivalie und Exponat
  • Das Depot Als Versprechen
  • Das Depot als politische Utopie
  • Das Depot als epistemische Methode
  • Das Depot als geheimnisvoller Ort
  • Die Aura des Depots : Experiment, Freiheit und Kreativität
  • Die Zukunft des Depots
  • Dank
  • Quellen
  • Literatur
  • Abbildungsnachweise.
SAL3 (off-campus storage)
Book
115 pages : illustrations ; 22 cm.
  • Introduction: `This is not a protest. This is a process' 1. Political Protest 2. Disciplinary Crisis 3. Writing Resistance Conclusion: `Movements are born in the moments when abstract principles become concrete concerns'.
  • (source: Nielsen Book Data)9781315294117 20180219
The Disobedient Museum: Writing at the Edge aims to motivate disciplinary thinking to reimagine writing about museums as an activity where resistant forms of thinking, seeing, feeling, and acting can be produced, and to theorize this process as a form of protest against disciplinary stagnation.Drawing on a range of cultural, theoretical, and political approaches, Kylie Message examines potential links between methods of critique today and moments of historical and disciplinary crisis, and asks what contribution museums might make to these, either as direct actors or through activities that sit more comfortably within their institutional remit. Identifying the process of writing about museums as a form of activism, that brings together and elaborates on cultural and political agendas for change, the book explores how a process of engaged critique might benefit museum studies, what this critique might look like, and how museum studies might make a contribution to discourses of social and political change.The Disobedient Museum is the first volume in Routledge's innovative `Museums in Focus' series and will be of great interest to scholars and students in the fields of Museum, Heritage, Public History, and Cultural Studies. It should also be essential reading for museum practitioners, particularly those engaged with questions about the role of museums in regard to social activism and contentious contemporary challenges.
(source: Nielsen Book Data)9781315294117 20180219
Art & Architecture Library (Bowes)
Book
ix, 207 pages : illustrations ; 24 cm
  • List of figures Acknowledgements Introduction: Practical Histories: How We Do Things with Performance by Jonah Westerman Chapter 1. Stuart Comer, Chief Curator in the Department of Media and Performance Art-- Michelle Elligott, Chief of Archives, MoMA-- Ana Janevski, Associate Curator-- in conversation with Jonah Westerman, New York, April 2015. Chapter 2. Jay Sanders, Engell Speyer Family Curator and Curator of Performance, Whitney Museum of American Art, in conversation with Jonah Westerman, New York, April 2015. Chapter 3. Catherine Wood, Senior Curator International Art (Performance), and Pip Laurenson, Head of Collection Care Research, in conversation with Jonah Westerman, London, June, 2016. Chapter 4. Jill Sterrett, Director of Collections and Conservation, Rudolf Frieling, Curator for Media Arts, and Frank Smigiel, Associate Curator for Performance and Film, in conversation with Gabriella Giannachi, San Francisco Museum of Modern Art, San Francisco, August, 2015. Chapter 5. Christiane Berndes, Curator and Head of Collection, and Annie Fletcher, Chief Curator, Van Abbemuseum, in conversation with Jonah Westerman, Amsterdam February 2015. Chapter 6. Tim Griffin, Executive Director and Chief Curator, The Kitchen, in conversation with Jonah Westerman, New York, April 2015. Chapter 7. Philip Bither, William and Nadine McGuire Director and Senior Curator, Performing Arts-- Eric Crosby, Associate Curator, Visual Arts-- Robin Dowden, Director, New Media Initiatives-- Fionn Meade, Artistic Director-- Walker Art Center, in conversation with Jonah Westerman, Minneapolis, April 2015. Chapter 8. RoseLee Goldberg, Founding Director and Curator, Performa, in conversation with Jonah Westerman, New York, May 2015. Chapter 9. Gaby Wijers, Director, LIMA, in conversation with Jonah Westerman, Amsterdam, February, 2015. Chapter 10. Pics or It Didn't Happen: Amalia Ulman Interviewed by Catherine Wood. Chapter 11. Performing the Archive and Exhibiting the Ephemeral by Barbara Clausen. Chapter 12. At the edge of the `living present': re-enactments and re-interpretations as strategies for the preservation of performance and new media art by Gabriella Giannachi. Chapter 13. Documenting Interaction by Katja Kwastek. Chapter 14. Screen Capture and Replay: Documenting Gameplay as Performance by Henry Lowood, Eric Kaltman and Joseph C. Osborn. Chapter 15. Mixed Reality Performance through Ethnography by Peter Tolmie and Steve Benford. Afterword: The intention of the artist and the point of view of the audience, performance documentation revisited, by Gabriella Giannachi. Index.
  • (source: Nielsen Book Data)9781138184138 20171023
How might we document, curate, collect, and exhibit performance? Histories of Performance Documentation traces the many ways in which museums have approached performance works from the 1960s onwards. Considering the unique challenges of documenting live events including hybrid and interactive arts, games, virtual and mixed reality performance, this collection investigates the burgeoning role of the performative in museum displays, and examines a number of interdisciplinary documentation practices which have influenced the field of performance documentation. Gabriella Giannachi and Jonah Westerman bring together interviews and essays by leading curators, conservators, artists and scholars from institutions including MoMA, Tate, SFMOMA and the Whitney. Developing from recent approaches which argue that discussions of performance should not focus purely on the live event, and that documentation should not be read solely as a process of retrospection, these chapters build a radical new framework for thinking about the relationship between performance and its documentation - and how documentation might shape ideas of what constitutes performance in the first place.
(source: Nielsen Book Data)9781138184138 20171023
Art & Architecture Library (Bowes)

8. Museums and racism [2018]

Book
136 pages : illustrations ; 23 cm.
  • Introduction: `It's a summer of sequels. The culture wars are back. So is the civil rights movement' 1. Museums 2. Multiculturalism 3. Racism Conclusion: `I feel like I belong when I am made to feel welcome'.
  • (source: Nielsen Book Data)9781138240179 20180709
Racism is a hot topic in museums today, as well as an urgent social issue. Focused on the broad field of multicultural policy, Museums and Racism examines how the Immigration Museum in Melbourne, Australia, has responded to political culture and public debate around racism. Analysis focuses on the conceptualization of the Immigration Museum in the mid-1990s, and on the most recent permanent exhibition to be opened there, in 2011, which coincided with the publication of a new multicultural policy for Australia. The opening of the National Museum of Australia in Canberra in the intervening period is also examined in some detail, as a comparative case study to provide a sense of the broader national social and political context. Message argues that each of the three episodes demonstrates the close relationship between museum and exhibition development on the one hand, and policy, politics, and public opinion on the other hand. Including a discussion of examples from the United States and other relevant contexts, Museums and Racism is key reading for students and scholars of museum studies and cultural studies around the world. The book should also be of great interest to museum practitioners and policymakers in the area of multiculturalism.
(source: Nielsen Book Data)9781138240179 20180709
Art & Architecture Library (Bowes)
Book
122 pages : illustrations (chiefly color), maps (some color) ; 24 cm.
  • "Les collections puniques du musée de Kerkouane et leur vocation méditerranéenne" / Mounir Fantar -- "De Simitthus en Afrique proconsulaire à Chimtou en Tunisie : chronique d'un site" / Moheddine Chaoualt -- "Le musée national du Bardo : "éternel lieu de culture et de rencontres"" / Fatma Naït Yghil -- Allocution d'accueil / Michel Zink -- "De la pierre au plâtre : quelques expériences de copies de mosaïque" / Henri Lavagne -- "Muséographie et histoire : le musée national du Bardo (Tunisie)" / Adellatif Mrabet -- "Sculpture romaine et patrimoine de l'Afrique antique" / François Baratte.
"L'actualité récente a mis sur le devant de la scène la question de la préservation du patrimoine et du rôle des musées aussi bien sur le plan culturel et scientifique que sur celui de l'économie. Quelques exemples représentatifs permettent de faire le point sur les situations et les politiques actuelles des pays d'Afrique du Nord en ce domaine."--Page 4 of cover.
SAL1&2 (on-campus shelving)
Book
203 pages : illustrations ; 21 cm.
Art & Architecture Library (Bowes)
Book
xi, 401 pages : illustrations ; 22 cm.
  • 1: Introduction: Staging public representations in the Cite Nationale de l'Histoire de l'Immigration, the Deutsches Historisches Museum, and the Friedrichshain-Kreuzberg Museum.2: Museums, the public, and immigration.3: Microsociological Contextualisation Analysis.4: Epistemic production behind the museum scenes in France and Germany.5: Public interactions on the museum stages.6: Conclusion: Exhibiting immigrants-exposing the public.
  • (source: Nielsen Book Data)9783319663562 20180508
This book offers an interactionist perspective on theories of public representation, knowledge and immigration in museum institutions. Examining how a Franco-German museum exhibition represents immigrants and exposes public stereotypes, the analysis follows the process of the production and reception of the exhibition as it travelled from Paris to Berlin. The author proposes a microsociological contextualisation analysis integrating discourse analysis and ethnography to compare formats of museum work, social interaction in the exhibition and mass media debates. Visitor reception of the different exhibition versions reveals the symbolic nature of interactions in museums, for example concerning conflicting political voices and accusations of censorship. Depending on the institutional context, interactions in the museums are geared towards securing immigrants a place in national collective memory, towards carrying out debate on integration, or providing opportunities for personal encounters and reflection beyond national categorisation. This book will appeal to students and researchers interested in work on the intersection of sociology, cultural studies, and discursive psychology, in methods of discourse analysis and ethnography; and to practitioners working in museums.
(source: Nielsen Book Data)9783319663562 20180508
Art & Architecture Library (Bowes)
Book
xi, 199 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm.
  • Contents Acknowledgements Introduction: Art, Science, Curiosity and Commerce Chapter One: Forming the Museum: Context and Chronology Chapter Two: The Great Windmill Street Anatomy School and Museum Chapter Three: Patronage and Patriots: Hunter and a National School of Artists Chapter Four: Collecting Ambitions (1770-1783) The Grand Tour Paintings Chapter Five: Pursuing the Imitation of Nature in and beyond the Royal Academy of Arts Bibliography Index.
  • (source: Nielsen Book Data)9781472424426 20171211
The eminent physician and anatomist Dr William Hunter (1718-1783) made an important and significant contribution to the history of collecting and the promotion of the fine arts in Britain in the eighteenth century. Born at the family home in East Calderwood, he matriculated at the University of Glasgow in 1731 and was greatly influenced by some of the most important philosophers of the Scottish Enlightenment, including Francis Hutcheson (1694-1746). He quickly abandoned his studies in theology for Medicine and, in 1740, left Scotland for London where he steadily acquired a reputation as an energetic and astute practitioner; he combined his working life as an anatomist successfully with a wide range of interests in natural history, including mineralogy, conchology, botany and ornithology; and in antiquities, books, medals and artefacts; in the fine arts, he worked with artists and dealers and came to own a number of beautiful oil paintings and volumes of extremely fine prints. He built an impressive school of anatomy and a museum which housed these substantial and important collections. William Hunter's life and work is the subject of this book, a cultural-anthropological account of his influence and legacy as an anatomist, physician, collector, teacher and demonstrator. Combining Hunter's lectures to students of anatomy with his teaching at the St Martin's Lane Academy, his patronage of artists, such as Robert Edge Pine, George Stubbs and Johan Zoffany, and his associations with artists at the Royal Academy of Arts, the book positions Hunter at the very centre of artistic, scientific and cultural life in London during the period, presenting a sustained and critical account of the relationship between anatomy and artists over the course of the long eighteenth century.
(source: Nielsen Book Data)9781472424426 20171211
SAL1&2 (on-campus shelving)
Book
136 pages : color illustrations ; 27 cm
Art & Architecture Library (Bowes)
Book
1 volume (unpaged) : color illustrations ; 30 cm
SAL1&2 (on-campus shelving)
Book
ix, 195 pages : illustrations (chiefly color) ; 28 cm
SAL3 (off-campus storage)
Book
xiv, 276 pages : illustrations ; 24 cm
  • Preface xiii 1 Paintings 1 1.1 Cleaning 1 1.2 Varnishes 41 1.3 Methods and Materials for Conservation 47 1.4 Analysis and Analytical Methods 70 1.5 Forgeries 81 2 Textiles 95 2.1 Textile Colors 95 2.2 Textiles from Various Locations 101 2.3 Processing Methods 108 3 Archaeological Wood 113 3.1 Analysis Methods 113 3.2 Materials for Conservation 122 3.3 Degradation 131 3.4 Special Properties 137 4 Fossils 149 4.1 Monograph 149 4.2 Paleontological Skill and the Role of the Fossil Preparator 149 4.3 Analysis Methods 150 4.4 Conservation Methods 163 5 Stones 177 5.1 Deterioration Processes 178 5.2 Analytical Methods 187 5.3 Conservation Methods 193 6 Glass 213 6.1 Analytical Methods 213 6.2 Cleaning Methods 217 6.3 Production Practices 229 6.4 Special Uses of Glass Materials 231 7 Archaeological Metals 237 7.1 Cleaning Methods 247 7.2 Special References 262 Index 267 Acronyms 267 Chemicals 269 General Index 273.
  • (source: Nielsen Book Data)9781119418917 20180306
Before the 1970s, most information concerning the conservation and restoration of paintings, wood, and archaeological artefacts were focused on the history of the artefacts, previous attempts of conservation, and the future use of these artefacts. The technical methods of how the restoration and conservation were made were dealt with only very briefly. Today, sophisticated methods of scientific analysis such as DNA are common place, and this encourages conservators and scientists to work together to work out the development of new methods for analysis and conservation of artefacts. This book focuses on the chemicals used for conservation and restoration of various artefacts in artwork and archaeology, as well as special applications of these materials. Also the methods used, both methods for cleaning, conservation and restoration, as well as methods for the analysis of the state of the respective artefacts. Topics include oil paintings, paper conservation, textiles and dyes for them, archaeological wood, fossils, stones, metals and metallic coins, and glasses, including church windows.
(source: Nielsen Book Data)9781119418917 20180306
SAL3 (off-campus storage)
Book
322 pages : illustrations ; 22 cm
East Asia Library
Book
324 pages : illustrations (some color) ; 23 cm.
SAL1&2 (on-campus shelving)
Book
xxxi, 503 pages, 24 unnumbered pages of plates : illustrations (some oclor) maps ; 24 cm
'Nothing so fully displays the grandeur of his mind as his immense and rare collections ... perhaps the fullest and most curious in the world', National Gazette, 1753 Hans Sloane (1660-1753) was the greatest collector of his time, and one of the greatest of all time. His name is familiar today through the London streets and squares named after him on land he once owned (Sloane Square, Hans Place), but the man himself, and his achievements, are almost forgotten. Born in the north of Ireland, Sloane made his fortune as a physician to London's wealthiest residents and through investment in land and slavery. He became one of the eighteenth century's preeminent natural historians, ultimately succeeding his rival Isaac Newton as President of the Royal Society, and assembled an astonishing collection of specimens, artefacts and oddities - the most famous curiosity cabinet of the age. Sloane's dream of universal knowledge, of a gathering together of every kind of thing in the world, was enabled by Britain's rise to global ascendancy. In 1687 he travelled to Jamaica, then at the heart of Britain's commercial empire, to survey its natural history, and later organised a network of correspondents who sent him curiosities from across the world. Shortly after his death, Sloane's vast collection was then acquired - as he had hoped - by the nation. It became the nucleus of the world's first national public museum, the British Museum, which opened in 1759.This is the first biography of Sloane in over sixty years and the first based on his surviving collections. Early modern science and collecting are shown to be global endeavours intertwined with imperial enterprise and slavery but which nonetheless gave rise to one of the great public institutions of the Enlightenment, as the cabinet of curiosities gave way to the encyclopaedic museum. Collecting the World describes this pivotal moment in the emergence of modern knowledge, and brings this totemic figure back to life.
(source: Nielsen Book Data)9781846146572 20171002
SAL1&2 (on-campus shelving)
Book
2, 415 pages, 1 unnumbered leaf of plates : illustrations (some color), portraits, facsimiles ; 24 cm
East Asia Library