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Collecting the New : Museums and Contemporary Art 🔍
Altshuler, Bruce (editor) Princeton University Press, Course Book, 2013 dec 31
英语 [en] · PDF · 2.3MB · 2013 · 📘 非小说类图书 · 🚀/lgli/lgrs/nexusstc/upload/zlib · Save
描述
he collecting and preserving of objects has traditionally been marked as a-if not the-central function of the museum, but discussion of museums and contemporary art has focused almost entirely on issues of display and exhibition. 1 This is not surprising, as exhibitions are the public face of the museum, being the primary attraction for visitors and the central object of attention in the press and in the academy. But the collecting of contemporary art by museums raises a wide range of issues, from challenges to the traditional conception of the art museum to practical questions relating to the changing character of contemporary art itself. The purpose of this volume is to investigate these concerns, and to do so from the standpoint of those who deal with them in the course of active museum work. To set the stage, it will be useful to look at some of the critical moments in the history of, and conceptual tensions occasioned by, museum collecting of contemporary art.
Gertrude Stein reportedly observed that something could either be modern or it could be a museum, but it could not be both. 2 Stein's remark points to a dilemma central to the museum's engagement with contemporary art: since the eighteenth century the traditional view of the art museum has been that it is an institution intended to preserve and display works that have withstood the test of time. Given the fallibility of aesthetic judgment, this has seemed the most reliable way to identify artistic quality. 3 Thus the validation that artists and contemporary collectors seek from the display of their works in museums is based on the association of the museum with the time-tested masterpiece, a normative connection grounded in a convergence of historical opinion that seems to rule out the new. 4
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nexusstc/Collecting the New: Museums and Contemporary Art/779fbf979d85eff9d001398f9e3bdacd.pdf
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lgli/10.1515_9781400849352.pdf
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lgrsnf/10.1515_9781400849352.pdf
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zlib/no-category/Bruce Altshuler (editor)/Collecting the New: Museums and Contemporary Art_25975441.pdf
备选作者
Bruce Altshuler (editor)
备选作者
Deborah J. Schildkraut
备用出版商
Princeton Electronic
备用版本
Princeton University Press, Princeton, New Jersey, 2005
备用版本
Course Book, Princeton, New Jersey, 2005
备用版本
United States, United States of America
备用版本
Princeton, N.J. ; Oxford, 2007
备用版本
Student, 2013
备用版本
2, 20131024
元数据中的注释
degruyter.com
元数据中的注释
producers:
iTextSharp 5.0.6 (c) 1T3XT BVBA
元数据中的注释
{"edition":"course book","isbns":["1400849357","9781400849352"],"last_page":208,"publisher":"Princeton University Press"}
备用描述
Collecting the New is the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future. In addition, new technologies and alternative conceptions of the artwork have created special problems of conservation, while social, political, and aesthetic changes have generated new categories of works to be collected.
Following Bruce Altshuler's introduction on the European and American history of museum collecting of art by living artists, the book comprises newly commissioned essays by twelve distinguished curators representing a wide range of museums. First considered are general issues including the acquisition process, and collecting by universal survey museums and museums that focus on modern and contemporary art. Following are groups of essays that address collecting in particular media, including prints and drawings, new (digital) media, and film and video; and national- and ethnic-specific collecting (contemporary art from Asia, Africa, and Latin America, and African-American art). The closing essay examines the conservation problems created by contemporary works--for example, what is to be done when deterioration is the artist's intent?
The contributors are Christophe Cherix, Vishakha N. Desai, Steve Dietz, Howard N. Fox, Chrissie Iles and Henriette Huldisch, Pamela McClusky, Gabriel Pérez-Barreiro, Lowery Stokes Sims, Robert Storr, Jeffrey Weiss, and Glenn Wharton.
备用描述
Contents
Collecting the New: A Historical Introduction
The Right to Be Wrong
To Have and to Hold
9 Minutes 45 Seconds
Breaking Down Categories: Print Rooms, Drawing Departments, and the Museum
Keeping Time: On Collecting Film and Video Art in the Museum
Collecting New-Media Art: Just Like Anything Else, Only Different
Beyond the “Authentic-Exotic”: Collecting Contemporary Asian Art in the Twenty-first Century
The Unconscious Museum: Collecting Contemporary African Art without Knowing It
The Accidental Tourist: American Collections of Latin American Art
Collecting the Art of African-Americans at the Studio Museum in Harlem: Positioning the “New” from the Perspective of the Past
The Challenges of Conserving Contemporary Art
Acknowledgments
Index
Photography Credits
开源日期
2023-08-24
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