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The Personalization of the Museum Visit examines a fundamental shift in institutional behavior in museums located in the United States and the United Kingdom. Contending that art museums have moved toward a new paradigm of public engagement, it posits that modern museum visitors are treated as self-directed "clients", with the agency to make meaning for themselves. The book then considers how this change has come about, examining factors such as the onset of a new museology, an experience economy, and a marketing revolution. Drawing on extensive research undertaken at Britain’s Tate Modern, the book examines a range of issues, including visitor engagement, curatorial practice, and museum management. A visit experience that is customizable to the individual visitor, in which curators and marketers work together with visitor-clients to create an experience of personalized meaning, is, Rodney argues, rising in prevalence in the art museum field, but it is also being stymied by certain structural impediments. This book examines such obstacles, including institutional division of labor, long-standing conceptions, or misconceptions, of the museum’s mission, and the orientation of museums toward a certain conceptual model of their visitors. The Personalization of the Museum Visit is essential reading for scholars and students engaging with issues of visitor engagement, curatorial practice, and museum management. With a particular focus on the role of business interests and public policy, the book should also be of interest to those undertaking research in fields outside of museum and visitor studies.
The daring, mischievous micro-essays of award-winning French humorist Éric Chevillard, published in English for the first time Éric Chevillard is one of France's leading stylists and thinkers, an endlessly inventive observer of the everyday whose erudition and imagination honor the legacy of Swift and Voltaire--with some good-natured postmodern twists. This ensemble of comic miniatures compiles reflections on chairs, stairs, stones, goldfish, objects found, strangers observed, scenarios imagined, reasonable premises taken to absurd conclusions, and vice versa. The author erects a mental museum for his favorite artworks, only to find it swarming with tourists. He attends a harpsichord recital and lets his passions flare. He happens upon a piece of paper and imagines its sordid back story. He wonders if Hegel's cap, on display in Stuttgart, is really worth the trip. Throughout, Chevillard's powers of observation chime with his verbal acrobatics. His gaze--initially superficial, then deeply attentive, then practically sociopathic--manages time and again to defamiliarize the familiar with a coherent and charismatic charm. Daniel Levin Becker's translation deftly renders the marvels of the original, and a foreword by Daniel Medin offers rich contextual commentary, making a vital wing of French literature and humor newly accessible in English.
As a family wanders through an art museum, they see examples of various art styles from primitive through twentieth-century pop art.
Tells how to plan a museum visit, gives advice on appreciating paintings, sculptures, and museum buildings themselves, and discusses special shows, permanent collections, and different types of museums.
This very practical book guides museums on how to create the highest quality experience possible for their visitors. Creating an environment that supports visitor engagement with collections means examining every stage of the visit, from the initial impetus to go to a particular institution, to front-of-house management, interpretive approach and qualitative analysis afterwards. This holistic approach will be immensely helpful to museums in meeting the needs and expectations of visitors and building their audience. This book features: includes chapter introductions and discussion sections supporting case studies to show how ideas are put into practice a lavish selection of tables, figures and plates to support and illustrate the discussion boxes showing ideas, models and planning suggestions to guide development an up-to-date bibliography of landmark research. The Engaging Museum offers a set of principles that can be adapted to any museum in any location and will be a valuable resource for institutions of every shape and size, as well as a vital addition to the reading lists of museum studies students.
The history of art is inseparable from the history of color. And what a fascinating story they tell together: one that brims with an all-star cast of characters, eye-opening details, and unexpected detours through the annals of human civilization and scientific discovery. Enter critically acclaimed writer and popular journalist Victoria Finlay, who here takes readers across the globe and over the centuries on an unforgettable tour through the brilliant history of color in art. Written for newcomers to the subject and aspiring young artists alike, Finlay’s quest to uncover the origins and science of color will beguile readers of all ages with its warm and conversational style. Her rich narrative is illustrated in full color throughout with 166 major works of art—most from the collections of the J. Paul Getty Museum. Readers of this book will revel in a treasure trove of fun-filled facts and anecdotes. Were it not for Cleopatra, for instance, purple might not have become the royal color of the Western world. Without Napoleon, the black graphite pencil might never have found its way into the hands of Cézanne. Without mango-eating cows, the sunsets of Turner might have lost their shimmering glow. And were it not for the pigment cobalt blue, the halls of museums worldwide might still be filled with forged Vermeers. Red ocher, green earth, Indian yellow, lead white—no pigment from the artist’s broad and diverse palette escapes Finlay’s shrewd eye in this breathtaking exploration.
"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.
The original Getty Museum, housed in a replica of a Roman Villa on a site overlooking the Pacific Ocean, is one of Los Angeles's most treasured landmarks. Closed for almost ten years while renovations were made to the building and the site itself was transformed into a center for the study of antiquities and conservation, the Getty Villa is now set to open late in 2005. The Getty Villa is a lively history of the Getty Museum, its renowned antiquities collections, and its growth from a small museum in a ranch house in Malibu to its first home in a building designed to replicate what we know of the Villa dei Papiri, an ancient Roman villa partially uncovered in Herculaneum. Most engagingly, this book records the ten-year adventure in reconfiguring a beautiful, but topographically challenging, site into one that could continue to accommodate the splendid Museum building and also provide for an outdoor theater, laboratories for conservation work and research, offices for staff and visiting scholars, and an education program for adults and children. This is a story of architectural imagination, geographical challenges, and legal hurdles, all of which have resulted in a truly unique and beautiful site. The story is an enlightening and rewarding one for anyone interested in architecture and in the difficulties posed by building on a grand scale in the twenty-first century. Beautifully illustrated throughout, the book includes 250 reproductions of works of art, photographs of both the old and the new Getty Museum, site plans, and architectural elevations.
An expanded edition of one of the most original and provocative works of American history of the last decade, which documents the pioneering experiences and grit of American frontier women.
The subject of John Singer Sargent's most famous painting was twenty-three-year-old New Orleans Creole Virginie Gautreau, who moved to Paris and quickly became the "it girl" of her day. A relative unknown at the time, Sargent won the commission to paint her; the two must have recognized in each other a like-minded hunger for fame. Unveiled at the 1884 Paris Salon, Gautreau's portrait generated the attention she craved-but it led to infamy rather than stardom. Sargent had painted one strap of Gautreau's dress dangling from her shoulder, suggesting either the prelude to or the aftermath of sex. Her reputation irreparably damaged, Gautreau retired from public life, destroying all the mirrors in her home. Drawing on documents from private collections and other previously unexamined materials, and featuring a cast of characters including Oscar Wilde and Richard Wagner, Strapless is a tale of art and celebrity, obsession and betrayal.