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Where and how an artwork is presented can enhance it or detract from it, or even alter its meaning. Depending on the display, painting and sculpture can denote a religious, political, decorative, or educational significance, as well as aesthetic and commercial value. Just how powerful the effect of placement can be is demonstrated in this book by in-depth case studies and comparisons of art installations around the world and from antiquity to the present, all richly illustrated. Not limited to museums, Newhouse branches out to explore noteworthy displays of art in commercial galleries and in private homes and gardens, as well as in a number of unusual venues. She concludes with some guidelines for display that apply as much to the hanging of a picture in a private interior as to the installation of a museum show.--From publisher description.
Museology --- Art --- museumkunde --- architectuur --- tentoonstellingen --- Kunsttheorie ; over de presentatie van kunst --- Museologie ; museumpresentatie --- Tentoonstellen ; inrichting ; technieken --- 7.01 --- 069.4 --- Kunst ; theorie, filosofie, esthetica --- Museologie ; werkwijzen mbt het opzetten van tentoonstellingen --- Aesthetics --- Museum techniques --- Site-specific art --- Site art --- Site-specific arts --- Arts, Modern --- Museums --- Art exhibition techniques --- Display techniques in art --- Exhibition techniques in art --- Exhibitions --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Criticism --- Literature --- Proportion --- Symmetry --- Exhibition techniques --- Technique --- Display techniques --- Psychology --- Applied museology --- Museography --- Museum practices --- Museum studies --- Aesthetics. --- Museum techniques. --- Site-specific art. --- Exhibition techniques. --- Radio broadcasting Aesthetics --- museumkunde. --- architectuur. --- tentoonstellingen.
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A critical history of site-specific art since the late 1960s.Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
Site-specific art. --- Art, Modern --- ARCHITECTURE/Architectural History/General --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Site art --- Site-specific arts --- Arts, Modern --- 7.01 --- 7.039 --- Kunst ; in en op openbare plaatsen --- Urban Art --- Environments ; installaties ; in de stad ; 20ste en 21ste eeuw --- Environmental art --- Community Art --- Public Art --- Kunst in de stad --- Omgevingskunst in de stad --- Beelden buiten --- kunst --- kunsttheorie --- site-specific art --- twintigste eeuw --- Ahearn John --- Dion mark --- Fraser Andrea --- Judd Donald --- Green Renée --- Lacy Suzanne --- Manglano-Ovalle Iñigo --- Serra Richard --- Ladermann Ukeles Mierle --- Wilson Fred --- kunst en openbare ruimte --- 7.038 --- Kunst ; theorie, filosofie, esthetica --- Kunstgeschiedenis ; 2000 - 2050 --- Art --- anno 1900-1999 --- Landart
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ruimtelijke kunst
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Stockholder, Jessica
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sculpting
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Sculpture
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installations [visual works]
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art [fine art]
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outdoor sculpture
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Art
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anno 1900-1999
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United States
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#BIBC:ruil
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Art --- Iconography --- art [fine art] --- landscapes [representations] --- Eliasson, Olafur --- anno 1900-1999 --- anno 2000-2099 --- Denmark --- Edited by Peter Weibel --- ruimtelijkheid --- 7.071 ELIASSON --- Art and science --- Site-specific installations (Art) --- Space and time --- architectuur --- Eliasson Olafur --- installaties --- kunst --- kunst en technologie --- kunst en wetenschap --- kunsttheorie --- openbare ruimte --- stedenbouw --- twintigste eeuw --- Space of more than three dimensions --- Space-time --- Space-time continuum --- Space-times --- Spacetime --- Time and space --- Fourth dimension --- Infinite --- Metaphysics --- Philosophy --- Space sciences --- Time --- Beginning --- Hyperspace --- Relativity (Physics) --- Installations (Art) --- Site-specific art --- Science and art --- Science --- Olafur Eliasson, --- Elíasson, Ólafur, --- Ólafur Elíasson --- Elíasson, Ólafur --- art [discipline]
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