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Few institutions are warier of copies than museums. Few fields of
knowledge are more prone to denounce copies as fake than the
heritage field. Few discourses are as concerned with authenticity,
aura, originals and provenance as those concerning exhibiting and
collecting. So why is it that these are institutions, fields and
discourses where copies proliferate and copying techniques have
thrived for hundreds of years? Museums as Cultures of Copies aims
to make the copying practices of museums visible and to discuss,
from a range of interrelated perspectives, precisely what function
copies fulfil in the heritage field and in museums today. With
contributions from Europe and Canada, the book interrogates the
meaning of copies and presents copying as a fully integrated part
of museum work. Including chapters on ethnographic mannequins,
digitalized photos, death masks, museum documentation and
mechanical models, contributors consider how copying as a cultural
form changes according to time and place and how new forms of
copying and copy technologies challenge and expand museum work
today. Arguing that copying is at the basis of museum practice and
that new technologies and practices have been taken up and
developed in museums since their inception, the book presents both
heritage work and copies in a new light. Museums as Cultures of
Copies should be of great interest to academics, scholars and
postgraduate students working in the fields of museum and heritage
studies, as well as visual studies, cultural history and
archaeology. It should also be essential reading for museum
practitioners.
Few institutions are warier of copies than museums. Few fields of
knowledge are more prone to denounce copies as fake than the
heritage field. Few discourses are as concerned with authenticity,
aura, originals and provenance as those concerning exhibiting and
collecting. So why is it that these are institutions, fields and
discourses where copies proliferate and copying techniques have
thrived for hundreds of years? Museums as Cultures of Copies aims
to make the copying practices of museums visible and to discuss,
from a range of interrelated perspectives, precisely what function
copies fulfil in the heritage field and in museums today. With
contributions from Europe and Canada, the book interrogates the
meaning of copies and presents copying as a fully integrated part
of museum work. Including chapters on ethnographic mannequins,
digitalized photos, death masks, museum documentation and
mechanical models, contributors consider how copying as a cultural
form changes according to time and place and how new forms of
copying and copy technologies challenge and expand museum work
today. Arguing that copying is at the basis of museum practice and
that new technologies and practices have been taken up and
developed in museums since their inception, the book presents both
heritage work and copies in a new light. Museums as Cultures of
Copies should be of great interest to academics, scholars and
postgraduate students working in the fields of museum and heritage
studies, as well as visual studies, cultural history and
archaeology. It should also be essential reading for museum
practitioners.
These essays examine the transformation and expansion of the field
of painting over the last decades in relation to the more general
lines of development in contemporary culture and visuality. They
pose questions like: How do paintings present themselves to us
today; how are they 'framed' experientially, institutionally and
culturally? In which way can paintings of today be said to reflect
and reflect on the historical transformations of culture, visuality
and image production and consumption? Is it possible to explain
some of the changes and extensions of the field of painting by
placing it in the wider context of cultural history or visual
culture studies? The book is divided into five parts, with each of
them pursuing a distinct line of inquiry: 1. How to situate
painting in a wider cultural context; 2. How to rethink the
question of the ontology of painting; 3. How to define 'painting'
today by taking into consideration that the discipline has
assimilated a wealth of new means of expression and materials; 4.
How to address the role of gender in painting; 5. How to address
the complex relationship between painting, art institutions and the
art market.
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