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Sculpture --- Painting --- art schools [institutions] --- anno 1700-1799 --- Marseilles
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New Institutionalism, a mode of curating that originated in Europe in the 1990s, evolved from the legacy of international curator Harald Szeemann, the relational art advanced by French critic and theorist Nicolas Bourriaud, and other influential factors of the time. New Institutionalism's dispersed and varied approaches to curating sought to reconfigure the art institution from within, reshaping it into an active, democratic, open, and egalitarian public sphere. These approaches posed other possibilities and futures for institutions and exhibitions, challenging the consensual conception, production, and distribution of art. Practitioners engaged the art institution with renewed confidence by imbuing it with the potential for new aesthetic experiences and different relationships among artists, institutions, and spectators beyond engrained modernist ideologies. Working in these new modes, the art institution could become a site of fluidity, unpredictability, and risk. What Ever Happened to New Institutionalism? reflects upon the aspirations of these curatorial strategies and assesses their critical efficacy today within the landscape of contemporary art and globalized culture. The first in a series of readers examining changing characteristics of art institutions, this publication thinks through New Institutionalism by bringing together facsimiles of seminal texts, new critical essays, a history of trends and practices, and commissioned artist projects and contributions. These are complemented by documentation from the inaugural year of programming at the Carpenter Center for the Visual Arts at Harvard University focused on reimagining CCVA as a twenty-first-century institution.
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Sculpture --- sculpture [visual works] --- art schools [institutions] --- anno 1700-1799 --- anno 1800-1899 --- Europe
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Rembrandt --- Aesthetics of art --- Painting --- art history --- easel paintings [paintings by form] --- art schools [institutions] --- canons [standards] --- anno 1600-1699
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Painting --- easel paintings [paintings by form] --- art schools [institutions] --- Grobe, German --- Stiftung Museum Kunstpalast [Düsseldorf] --- Dusseldorf --- Katwijk
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Painting --- brotherhoods [associations] --- drawings [visual works] --- etchings [prints] --- art history --- watercolors [paintings] --- Romantic [modern European styles] --- frescoes [paintings] --- easel paintings [paintings by form] --- art schools [institutions] --- philosophy of art --- Schinkel, Karl Friedrich --- Cornelius, von, Peter --- Runge, Philipp Otto --- Passavant, Johann David --- Germany --- France --- Italy
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Suivre l'histoire de l'institution de la résidence pour artistes aujourd'hui établie à la Villa Médicis donne lieu à une réflexion sur l'évolution de la création artistique dans ce contexte : de l'impact du lieu choisi à l'influence politique en passant par les enjeux de l'identité des artistes dans le contexte de migration et de mondialisation. ©Electre 2017
Artistes français --- Vie artistique --- Catalogues d'exposition --- Histoire --- Académie de France à Rome --- Art, French --- Painting --- Art français --- Peinture --- History --- Exhibitions. --- Expositions --- Accademia di Francia (Rome, Italy) --- Villa Medici --- Académie de France (Rome) --- kunsteducatie --- geschiedenis --- Errard, Charles --- 17de eeuw --- 18de eeuw --- 19de eeuw --- 20ste eeuw --- 21ste eeuw --- Art français --- Art, French. --- Villa Medici. --- Art --- art [fine art] --- art history --- art schools [institutions] --- Errard, Charles [le jeune] --- Académie de France [Rome] --- France --- Art, French - Exhibitions. --- Académie de France (Rome). --- kunsteducatie. --- geschiedenis. --- Errard, Charles. --- 17de eeuw. --- 18de eeuw. --- 19de eeuw. --- 20ste eeuw. --- 21ste eeuw. --- art [discipline] --- Musée des Beaux-Arts de Reims. --- moeder en kind(eren), vrouw met kind(eren) (familiegroep). --- MacMonnies, Mary.
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