Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

A multivocal critique that emphasizes the crucial role of artists in questioning and shaping the phenomenon of the exhibition. This anthology provides a multivocal critique of the exhibition of contemporary art, bringing together the writings of artists, curators, and theorists. Collectively these diverse perspectives are united by the notion that although the focus for modernist discussion was individual works of art, it is the exhibition that is the prime cultural carrier of contemporaneity. The texts encompass exhibition design and form; exhibitions that are object-based, live, or discursive; projects that no longer rely on a physical space to be visited in person; artists' responses to being curated and their reflections on the potential of acting curatorially. Set against the rise of the curator as an influential force in the contemporary art world, this volume underlines the crucial role of artists in questioning and shaping the phenomenon of the exhibition.

7.01 --- Kunsttheorie over kunsttentoonstellingen curatoren --- Kunsttentoonstellingen organisatie vormgeving --- Beeldende kunst 20ste en 21ste eeuw --- Kunst theorie, filosofie, esthetica --- exhibiting --- Curatorship --- Kunsttheorie ; over kunsttentoonstellingen ; curatoren --- Kunsttentoonstellingen ; organisatie ; vormgeving --- Beeldende kunst ; 20ste en 21ste eeuw --- Kunst ; theorie, filosofie, esthetica --- exhibition curators --- philosophy of art --- hedendaagse kunst --- exhibitions [events] --- museology --- Contemporary [style of art] --- tentoonstellingen --- Art --- Art, Modern --- Iconographie --- Art contemporain --- Processus de création --- Création artistique --- Exposition --- Galerie d'art --- Muséographie --- Art conceptuel --- Exhibitions --- Exhibition techniques --- Curatorship. --- Exhibition techniques. --- Kunst --- museologie --- tentoonstellen --- kunstfilosofie --- curators [tentoonstellingsmakers] --- kunst --- 130.2 --- 7.039 --- 069 --- 7.038/039 --- 7.038 --- cultuurfilosofie --- kunsttheorie --- twintigste eeuw --- eenentwintigste eeuw --- Muséologie --- Art, Modern - 20th century - Exhibitions --- Art, Modern - 21st century - Exhibitions --- Art - Exhibition techniques --- Scénographie

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

7.038 --- Beeldende kunst ; 20ste eeuw --- Curatoren --- Tentoonstellingsmakers ; 20ste eeuw ; Jean-Hubert Martin --- Tentoonstellingen ; organisators ; "Magiciens de la Terre 1989" --- Martin, Jean-Hubert --- Exhibition Histories --- Globale kunst --- Diversiteit --- Globalisering --- Jaar, Alfredo ; interview met --- Kruger, Barbara --- kunst --- twintigste eeuw --- globalisering --- kunst en politiek --- Bruly Bouabré Frédéric --- Jaar Alfredo --- Kruger Barbara --- tentoonstellingen --- Magiciens de la terre --- Kunstgeschiedenis ; 1950 - 2000 --- Martin, Jean-Hubert, --- MAD-faculty 14 --- hedendaagse kunstenaars

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Contemporary art and curatorial work, and the institutions that house them, have often been centers of power, hierarchy, control, value, and discipline. Even the most progressive among them face the dilemma of existing as institutionalized anti-institutions. This anthology - taking its title from Mary Douglas's 1986 book, How Institutions Think - reconsiders the practices, habits, models, and rhetoric of the institution and the anti-institution in contemporary art and curating. Contributors reflect upon how institutions inform art, curatorial, educational, and research practices as much as they shape the world around us. They consider the institution as an object ofienquiry across many disciplines, including political theory, organizational science, and sociology.Bringing together an international and multidisciplinary group of writers, How Institutions Think addresses such questions as whether institution building is still possible, feasible, or desirable; if there are emergent institutional models for progressive art and curatorial research practices; and how we can establish ethical principles and build our institutions accordingly. The first part, "Thinking via Institution," moves from the particular to the general; the second part, "Thinking about Institution," considers broader questions about the nature of institutional frameworks. Contributors include : Nataša Petrešin Bachelez, Dave Beech, Mélanie Bouteloup, Nikita Yingqian Cai, Binna Choi and Annette Kraus, Pip Day, Clémentine Deliss, Keller Easterling and Andrea Phillips, Bassam El Baroni, Charles Esche, Patricia Falguières, Patrick D. Flores, Marina Gržinić, Stefano Harney and Fred Moten, Alhena Katsof, Emily Pethick, Sarah Pierce, Moses Serubiri, Simon Sheikh, Mick Wilson

Art museums --- Organizational behavior --- Art, Modern --- Art and society --- Curatorship --- Musée --- Mécénat --- Muséologie --- Collection --- Contemporary art --- Modernism (Art) --- Art --- Art and sociology --- Society and art --- Sociology and art --- Behavior in organizations --- Management --- Organization --- Psychology, Industrial --- Social psychology --- Art curating --- Art curatorial practice --- Art curatorship --- Social aspects --- Art museums - Curatorship --- Art, Modern - 21st century --- Art and Design. --- Art and society. --- Art, Modern. --- Organizational behavior. --- Curatorship. --- 2000-2099.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Drawing --- drawing [image-making] --- exhibiting --- hedendaagse kunst --- tekenkunst --- tentoonstellingen

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The 268-page publication expands the field of exhibition histories through a selection of pioneering exhibitions that have shaped Black art today. Emphasizing how Black artists have organized, networked and created space for their work, it is the first publication to focus exclusively on African diasporic art in the US and UK through the histories of Black art exhibitions. Through a range of contributions by artists, art historians, curators and theorists, this publication reflects on the sociopolitical circumstances that were essential to the emergence of a field of study and mode of exhibition that is constantly reshaping itself and challenging normative orders. Edited and introduced by Nana Adusei-Poku, with contributions by Mora J. Beauchamp-Byrd, Bridget R. Cooks, Abby R. Eron, Amber Esseiva, Cheryl Finley, Languid Hands (Imani Mason Jordan and Rabz Lansiquot), Julie L. McGee, Derek Conrad Murray, Serubiri Moses, Senam Okudzeto, Richard J. Powell, Jamaal B. Sheats, Howard Singerman, Marlene Smith with Claudette Johnson, Lucy Steeds and Brittany Webb.

Arts, Black --- African diaspora in art --- Artists, Black --- Black people --- Exhibitions --- History --- Race identity