Essay from the year 2013 in the subject Art - Installation /
Action/Performance Art / Modern Art, grade: Distinction, Kingston
University London (Kingston University London, in Partnership with
the Design Museum, London, U.K.), course: MA Curating Contemporary
Design, language: English, comment: " T]his is a well research and
well structured essay that demonstrates a sound knowledge of some
of the key critical debates in both museum studies and cultural
studies." Maria Costantino, abstract: Between high and low culture,
there was once a deep and wide gulf. The clear division was never a
natural phenomenon, but rather a result of a cultural act.
Throughout the history, the conflict in-between had taken a long
way to resolve and the whole subject matter had caused marathon
debates among modern cultural critics. Museums, as institutions
once with absolute powers in its operation, had been forced to face
a worldwide revolution. There were much more mixed emotions towards
mass culture - questioning, inquiries, struggles, seduction and
temptation at the same time - which constituted a push-and-pull
situation. What were museums for? Was it a time for museums to
reconsider their role and democratize themselves? What kind of
resistance and temptation had museums encountered? To what extent
would curators act as pioneers to eliminate the gap in-between
taste diversity in art and design? These questions are worthwhile
to take a look into. This essay aims to unveil the ways curators
liberated themselves from a singular-voiced museum practice, which
resulted in revolutions of curatorial models that incorporated
multiple voices. Cases include: High and Low: Modern Art and
Popular Culture (1990-91, MOMA), The People's Show (1990, Walsall
Museum and Art Gallery) and Postmodernism: Style and Subversion
1970-1990 (2011, V&A).
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