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An exploration of the visual culture of “race” through the work of five contemporary artists who came to prominence during the 1990s. Over the past two decades, artists James Luna, Fred Wilson, Amalia Mesa-Bains, Pepón Osorio, and Renée Green have had a profound impact on the meaning and practice of installation art in the United States. In Subject to Display, Jennifer González offers the first sustained analysis of their contribution, linking the history and legacy of race discourse to innovations in contemporary art. Race, writes González, is a social discourse that has a visual history. The collection and display of bodies, images, and artifacts in museums and elsewhere is a primary means by which a nation tells the story of its past and locates the cultures of its citizens in the present. All five of the American installation artists González considers have explored the practice of putting human subjects and their cultures on display by staging elaborate dioramas or site-specific interventions in galleries and museums; in doing so, they have created powerful social commentary of the politics of space and the power of display in settings that mimic the very spaces they critique. These artists' installations have not only contributed to the transformation of contemporary art and museum culture, but also linked Latino, African American, and Native American subjects to the broader spectrum of historical colonialism, race dominance, and visual culture. From Luna's museum installation of his own body and belongings as “artifacts” and Wilson's provocative juxtapositions of museum objects to Mesa-Bains's allegorical home altars, Osorio's condensed spaces (bedrooms, living rooms; barbershops, prison cells) and Green's genealogies of cultural contact, the theoretical and critical endeavors of these artists demonstrate how race discourse is grounded in a visual technology of display.
In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials – often things left on the side of the road, according to the logic and progress of the capitalist machine – and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken’s "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer’s midcareer survey (Musée d’art contemporain, Montréal, 2008), Rachel Harrison’s "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor’s "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).
Debating the practices of museums, galleries, and festivals, Exhibiting Cultures probes the often politically charged relationships among aesthetics, contexts, and implicit assumptions that govern how art and artifacts are displayed and understood. The contributors—museum directors, curators, and scholars in art history, folklore, history, and anthropology—represent a variety of stances on the role of museums and their function as intermediaries between the makers of art or artifacts and the eventual viewers.
Hoofdstukken over kunstenaars en kunstuitingen vormen het uitgangspunt van deze Studie over de relatie tussen avant-garde kunst en de massacultuur
The assumption that museum exhibitions, particularly those concerned with science and technology, are somehow neutral and impartial is today being challenged both in the public arena and in the academy. The Politics of Display brings together studies of contemporary and historical exhibitions and contends that exhibitions are never, and never have been, above politics. Rather, technologies of display and ideas about 'science' and 'objectivity' are mobilized to tell stories of progress, citizenship, racial and national difference. The display of the Enola Gay, the aircraft which dropped the atomic bomb on Hiroshima is a well-known case in point. The Politics of Display charts the changing relationship between displays and their audience and analyzes the consequent shift in styles of representation towards interactive, multimedia and reflexive modes of display. The Politics of Display brings together an array of international scholars in the disciplines of sociology, anthropology and history. Examples are taken from exhibitions of science, technology and industry, anthropology, geology, natural history and medicine, and locations include the United States of America, Australia, the United Kingdom, France, the Netherlands and Spain. This book is an excellent contribution to debates about the politics of public culture. It will be of interest to students of sociology, anthropology, cultural studies, museum studies and science studies.
Published with six accompanying books in the series 'Art and its Histories'.
“a welcome addition to a growing body of scholarly writing… a comprehensive critical survey of the literature on cultural heritage and tourism and associated issues in the fields of cultural and media studies over the previous decade. These concepts and issues are clearly presented and exemplified in the case studies of numerous sites of cultural display…” Southern Review Why is culture so widely on display? What are the major characteristics of contemporary cultural display? What is the relationship between cultural display and key features of contemporary society: the rise of consumerism; tourism; ‘identity-speak’; globalization? What can cultural display tell us about current relations of self and other, here and there, now and then? Culture on Display invites the reader to visit culture. Reflecting on the contemporary proliferation of sites displaying culture in visitable form, it offers fresh ways of thinking about tourism, leisure and heritage. Bella Dicks locates diverse exhibitionary locations within wider social, economic and cultural transformations, including contemporary practices of tourism and travel, strategies of economic development, the staging of identities, globalization, interactivity and relations of consumerism. In particular, she critically examines how culture becomes transformed when it is put on display within these contexts. In each chapter, key theoretical issues of debate, such as authenticity, commodification and representation, are discussed in a lively and accessible manner. This is an important book for undergraduate and postgraduate students of cultural policy, cultural and media studies and sociology, as well as academic researchers in this field. It will also be of considerable value to students of sociology of culture, cultural politics, arts administration and cultural management.
In this groundbreaking examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York.