The museums of contemporary art : notion and development
著者
書誌事項
The museums of contemporary art : notion and development
Ashgate, c2011
- : hbk
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [295]-311) and index
内容説明・目次
内容説明
Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musee des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new universal role model that found emulators or 'contramodels' in the rest of the Western world during the twentieth century. An epilogue, reviews recent museum developments in the last decades. Through its adoption of a long-term, worldwide perspective, the book not only provides a narrative of the development of museums of contemporary art, but also sets this into its international perspective. By assessing the extent to which the great museum-capitals - Paris, London and New York in particular - created their own models of museum provision, as well as acknowledging the influence of such models elsewhere, the book uncovers fascinating perspectives on the practice of museum provision, and reveals how present cultural planning initiatives have often been shaped by historical uses.
目次
- Contents: Introduction
- Part I The Parisian Musee du Luxembourg as a Paradigm in the 19th Century: The origin of the Musee des Artistes Vivants in Paris
- The first emulators and alternatives to the Luxembourg
- Unresolved dilemmas in the last third of the 19th century
- Utopian ideas and experiments at the turn of the 19th century. Part II The Role of the MoMA of New York as the International Model of the 20th Century: Foundations and context of the MoMA's creation
- MoMA's transition to adulthood amidst war and confrontations
- MoMA as an international role model during the Cold War: triumph and opposition
- The Pompidou Centre, a counter-model which ends up imitating MoMA
- Topographic review of the new museums of contemporary art at the turn of the millennium
- Epilogue
- References
- Index.
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