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This edited collection traces the impact of monographic exhibitions on the discipline of art history from the first examples in the late eighteenth century through the present. Roughly falling into three genres (retrospectives of living artists, retrospectives of recently deceased artists, and monographic exhibitions of Old Masters), specialists examine examples of each genre within their social, cultural, political, and economic contexts. Exhbitions covered include Nathaniel Hone’s 1775 exhibition, the Holbein Exhibition of 1871, the Courbet retrospective of 1882, Titian's exhibition in Venice, Poussin's Louvre retrospective of 1960, and El Greco's anniversaty exhibitions of 2014.
Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.
An anthology of writings on exhibition practice from artists, critics, curators and art historians plus artist-curators. It addresses the contradictions posed by museum and gallery sited exhibitions, as well as investigating the challenge of staging art presentations, displays or performances, in settings outside of traditional museum or gallery locales.
"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.
Visitor-Centered Exhibitions and Edu-Curation in Art Museums promotes balanced practices that are visitor-centered while honoring the integrity and powerful storytelling of art objects. Book examples present best practices that move beyond the turning point, where curation and education are engaged in full and equal collaboration. With a mix of theory and models for practice, the book: • provides a rationale for visitor-centered exhibitions; • addresses important related issues, such as collaboration and evaluation; and, • presents success stories written by educators, curators, and professors from the United States and Europe. • introduces the edu-curator, a new vision for leadership in museums with visitor-centered exhibition practices. The book is intended for art museum practitioners, including educators, curators, and exhibitions designers, as well as higher education faculty and students in art/museum education, art history, and museum studies.
Carle is one of the most beloved illustrators of children's books. This retrospective is more than just an appreciation of his art, however. The book also contains an insightful autobiography illustrated with personal photographs, an anecdotal essay by his longtime editor, a photographic essay on how Carle creates his collages, and writings by Carle and his colleagues. Still, it is the artwork in the oversize volume that seizes the imagination. More than 60 of his full-color collage pictures are handsomely reproduced and serve as a statement of Carle's impressive talent. - Booklist
An all-new collection of paintings and sculpture by art legend Robert Williams. First exhibited at the Los Angeles Municipal Art Gallery in early 2015, the work in this oversized, hardcover exhibition catalog is accompanied by insightful essays by the artist. --- "The current international capitol of artistic sophistication is New York City. Ever since the end of the Second World War, every small city in the United States that has an art community has looked to New York for cultural parenting. However, an interesting anomaly has developed over the years. "Sophistication," like any other folkway, travels slowly with misinterpretations happening along the way. By the time high culture reached the West Coast it had traded its Brooks Brothers suit for cut-offs, a Hawaiian shirt, and flip-flops. Art on the West Coast, as much as it tries to maintain blue blood affectations shows mutations. It just doesn't have the aloof adroit coldness the Eastern Seaboard art society seems to portray." - Robert Williams, from his introduction to Slang Aesthetics
"A powerful document of the inner lives and creative visions of men and women rendered invisible by America’s prison system. More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America’s prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them. Based on interviews with currently and formerly incarcerated artists, prison visits, and the author’s own family experiences with the penal system, Marking Time shows how the imprisoned turn ordinary objects into elaborate works of art. Working with meager supplies and in the harshest conditions—including solitary confinement—these artists find ways to resist the brutality and depravity that prisons engender. The impact of their art, Fleetwood observes, can be felt far beyond prison walls. Their bold works, many of which are being published for the first time in this volume, have opened new possibilities in American art. As the movement to transform the country’s criminal justice system grows, art provides the imprisoned with a political voice. Their works testify to the economic and racial injustices that underpin American punishment and offer a new vision of freedom for the twenty-first century."
After World War II, museum and gallery exhibitions, industrial and trade fairs, biennials, triennials, festivals and world's fairs increasingly came to be used as locations for the exercise of "soft power," for displays of cultural diplomacy between nations and as spaces for addressing areas of social and political contestation. Exhibitions Beyond Boundaries opens with a substantial introduction to the key debates, followed by case studies that advance the field of exhibition histories both geographically and methodologically, focusing on postwar transnational exchange and the wider networks engendered through exhibitions. Chapters trace relations across Africa, Asia, Europe, the Middle East, the Pacific, and the United States of America, drawing on a range of approaches and perspectives, principally from art and design history but also from social, economic and political history, and museum studies. Featured case studies include the presentation of African-American Art at FESMAN '66 and FESTAC '77, the US's 1961 Small Industries Exhibition in Colombo, Israel's early appearances at the Venice Biennale, the Vatican Pavilion at the 1964-1965 New York World's Fair, and Hong Kong's Pavilion at Expo 70 in Tokyo.
Museums, International Exhibitions and China’s Cultural Diplomacy examines the role museums and, more specifically, international exhibitions, have played in shaping China’s international image to date. Drawing on theories and methods from museum studies and international relations, the book evaluates the contribution international exhibitions make to China’s cultural diplomacy strategy. Considering their impact on the country’s international image, Kong also probes the mechanisms and processes involved, examining in detail the policy of, and international activities promoted by, the Chinese government. The book also analyses the motives of the Chinese and overseas museums that host these exhibitions. Taking some major exhibitions that were on show in the UK during the 21st century as a representative case study, the book reveals the mechanisms by which these exhibitions were developed and shared overseas. Questioning who really shapes the image of China, Kong challenges Western assumptions and looks ahead to consider whether, moving forward, the Chinese government and museums could work together in a mutually beneficial way. Museums, International Exhibitions and China’s Cultural Diplomacy contributes to the growing literature on museums and diplomacy. As such, it will be of interest to academics and students engaged in the study of museums and heritage, international relations, culture, politics, China and wider Asia.