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Offers a comprehensive survey of European painting from the 13th to the end of the 18th century.
In no other place have changing ideologies and urban designs inscribed themselves on the city structure in such a way as in Berlin. This rich collection representing the most diverse urban areas and architectural styles will enable the reader to make a journey through history, from medieval Alt-Berlin to the present day. Five walks lead to the prominent architectural highlights of the city. The insertion of excursive notes provides a basis for analysis and offer critical commentaries.
This lavish publication presents the Neues Museum, badly damaged during the Second World War and recently restored and reopened, in all its glory. Numerous full-page photographs magnificently showcase both the museum's architecture and its collection One of the great museums of the 19th century, the Neues Museum in Berlin, built between 1843 to 1855 to a design by Friedrich August Stuler, was celebrated both for its important collections and its innovative integration of exhibition concept and magnificent interior designs. Badly damaged during the Second World War, the building has been sympathetically restored by the British architect David Chipperfield and his team, whose work skilfully combines a rigorous respect for the original architecture on the one hand, with a commitment to modern design and contemporary exhibition needs on the other. This lavish publication presents the reopened Neues Museum in all its glory. Numerous full-page photographs magnificently showcase both the museum's architecture and its collection. The famous Mythological Room, Roman Room and the Room of the Niobids, as well as the extensive wall paintings of Wilhelm von Kaulbach and the historic floors, are described in detailed individual chapters. Other chapters re-examine the museum's eventful history and detail the extensive programme of restoration. Historical and current illustrations and floorplans complete this comprehensive and beautifully illustrated work on one of the finest museums in the world.
This Handbook provides a transnational reference point for critical engagements with the legacies of, and futures for, global archaeological collections. It challenges the common misconception that museum archaeology is simply a set of procedures for managing and exhibiting assemblages. Instead, this volume advances museum archaeology as an area of reflexive research and practice addressing the critical issues of what gets prioritized by and researched in museums, by whom, how, and why. Through twenty-eight chapters, authors problematize and suggest new ways of thinking about historic, contemporary, and future relationships between archaeological fieldwork and museums, as well as the array of institutional and cultural paradigms through which archaeological enquiries are mediated. Case studies embrace not just archaeological finds, but also archival field notes, photographic media, archaeological samples, and replicas. Throughout, museum activities are put into dialogue with other aspects of archaeological practice, with the aim of situating museum work within a more holistic archaeology that does not privilege excavation or field survey above other aspects of disciplinary engagement. These concerns will be grounded in the realities of museums internationally, including Latin America, Africa, Asia, Oceania, North America, and Europe. In so doing, the common heritage sector refrain 'best practice' is not assumed to solely emanate from developed countries or European philosophies, but instead is considered as emerging from and accommodated within local concerns and diverse museum cultures.
This volume presents seventeen essays critically reflecting on the collaborative work of the contemporary ethnographic museum with diverse communities. It invites the reader to think about the roles and values of museums internationally, particularly the wide range of creative approaches that can progress dialogue and intercultural understanding in an age of migration that is marked by division and distrust. Against a troubling global background of prejudice and misunderstanding, where elections are increasingly returning right-wing governments, this timely book considers the power of an inclusive and transformative museum space, specifically the movements from static sites where knowledge is transmitted to passive audiences towards potential contact zones where diverse community voices and visibilities are raised and new knowledge(s) actively constructed.
Histories of Exhibition Design in the Museum: Makers, Process, and Practice offers a new model for understanding exhibition design in museums as a human and material process. It presents diverse case studies from around the world, from the nineteenth century to the recent past. It moves beyond the power of the finished exhibition over both objects and visitors to highlight historic exhibition making as an ongoing task of adaptation, experimentation, and interaction that involves intellectual, creative, and technical choices. Attentive to hierarchies of ethnicity, race, class, gender, sexuality, and ableism that have informed exhibition design and its histories, the volume highlights the labour involved in making museum exhibitions. It presents design as filled with personal and professional demands on the body, senses, and emotions. Contributions from historians, anthropologists, and exhibition makers focus on histories of identity, collaboration, and hierarchy ‘behind the scenes’ of the museum. They argue for an emphasis on the everyday objects of museum design and the importance of a diverse range of actors within and beyond the museum, from carpenters and label writers to volunteers and local communities. Histories of Exhibition Design in the Museum offers scholars, students, and professionals working across the museum and design sectors insight into how past methods still influence museums today. Through a postcolonial and decolonial lens, it reveals the lineage of current processes and supports a more informed contemporary practice.
This book offers a wide ranging collection of work by Picasso; including paintings, drawings and sculptures, all produced in high quality, large-format illustrations.
Museum Object Lessons for the Digital Age explores the nature of digital objects in museums, asking us to question our assumptions about the material, social and political foundations of digital practices. Through four wide-ranging chapters, each focused on a single object – a box, pen, effigy and cloak – this short, accessible book explores the legacies of earlier museum practices of collection, older forms of media (from dioramas to photography), and theories of how knowledge is produced in museums on a wide range of digital projects. Swooping from Ethnographic to Decorative Arts Collections, from the Google Art Project to bespoke digital experiments, Haidy Geismar explores the object lessons contained in digital form and asks what they can tell us about both the past and the future. Drawing on the author’s extensive experience working with collections across the world, Geismar argues for an understanding of digital media as material, rather than immaterial, and advocates for a more nuanced, ethnographic and historicised view of museum digitisation projects than those usually adopted in the celebratory accounts of new media in museums. By locating the digital as part of a longer history of material engagements, transformations and processes of translation, this book broadens our understanding of the reality effects that digital technologies create, and of how digital media can be mobilised in different parts of the world to very different effects.
Why do some governments and societies attach great significance to a particular anniversary year whereas others seem less inclined to do so? What motivates the orchestration of elaborate commemorative activities in some countries? What are they supposed to accomplish, for both domestic and international audience? In what ways do commemorations in Asia Pacific fit into the global memory culture of war commemoration? In what ways are these commemorations intertwined with current international politics? This book presents the first large-scale analysis of how countries in the Asia Pacific and beyond commemorated the seventieth anniversaries of the end of World War II. Consisting of in-depth case studies of China, Taiwan, Korea, Japan, Singapore, the Philippines, United States, Russia, and Germany, this unique collective effort demonstrates how memories of the past as reflected in public commemorations and contemporary politics—both internal and international—profoundly affect each other.
This book explores―at the macro, meso and micro levels and in terms of qualitative as well as quantitative studies―the current and future role of museums for art and society. Given the dynamic developments in art and society, museums need to change in order to remain (and in some ways, regain) relevance. This relevance is in the sense of a power to influence. Additionally museums have challenges that arise in the production of art through the use of permanent and rapidly changing technologies. This book examines how museums deal with the increasing importance of performance art and social interactive art, artistic disciplines which refuse to use classical or digital artistic media in their artistic processes. The book also observes how museums are adapting in the digital age. It addresses such questions as, “How to keep museums in contact with recipients of art in a world in which the patterns of communication and perception have changed dramatically,” and also “Can the art museum, as a real place, be a counterpart in a virtualized and digitalized society or will museums need to virtualize and even globalize themselves virtually?” Chapters also cover topics such as the merits of digital technologies in museums and how visitors perceive these changes and innovations. When you go back to the etymological origin, the Mouseion of Alexandria, it was a place where – supported by the knowledge stored there – art and science were developed: a place of interdisciplinary research and networking, as you would call it today. The word from the Ancient Hellenic language for museum (ΜΟΥΣΕΙΟΝ) means the “house of the muses”: where the arts and sciences find their berth and cradle. With the “Wunderkammer,” the museum was re-invented as a place for amazing for purpose of representation of dynastic power, followed by the establishment of museums as a demonstration of bourgeois self-consciousness. In the twentieth century, the ideal of the museum as an institution for education received a strong boost, before the museum as a tourism infrastructure became more and more the institutional, economic and political role-model. This book is interested in discovering what is next for museums and how these developments will affect art and society. Each of the chapters are written by academics in the field, but also by curators and directors of major museums and art institutions.