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Drawing on an extensive range of examples from museums and across
the museological literature, which are purposefully representative
of very different cultural backgrounds, the book issues a plea for
critical thinking in and about museums. The various institutions
covered and the plural analytical standpoints offer a broad
interdisciplinary approach by intermingling art history,
anthropology, sociocultural theories, and heritage studies. The
result is not claimed as a universal or all-encompassing account,
but a subjective review produced by J. Pedro Lorente, an art critic
and historian who has been writing extensively about ‘critical
museology’ in different languages for many years. Lorente offers
a fascinating synopsis of his ideas in this extremely valuable
short book, looking inside and outside museums, combining practice
and theory, whilst also relating both to the work of museum
professionals and to a range of publications by academics,
including those from other research fields. Reflections on Critical
Museology: Inside and Outside Museums will be essential reading for
university students and academics working in museum studies and
cognate disciplines, such as art history, anthropology and cultural
studies.
Drawing on an extensive range of examples from museums and across
the museological literature, which are purposefully representative
of very different cultural backgrounds, the book issues a plea for
critical thinking in and about museums. The various institutions
covered and the plural analytical standpoints offer a broad
interdisciplinary approach by intermingling art history,
anthropology, sociocultural theories, and heritage studies. The
result is not claimed as a universal or all-encompassing account,
but a subjective review produced by J. Pedro Lorente, an art critic
and historian who has been writing extensively about 'critical
museology' in different languages for many years. Lorente offers a
fascinating synopsis of his ideas in this extremely valuable short
book, looking inside and outside museums, combining practice and
theory, whilst also relating both to the work of museum
professionals and to a range of publications by academics,
including those from other research fields. Reflections on Critical
Museology: Inside and Outside Museums will be essential reading for
university students and academics working in museum studies and
cognate disciplines, such as art history, anthropology and cultural
studies.
Where, how, by whom and for what were the first museums of
contemporary art created? These are the key questions addressed by
J. Pedro Lorente in this new book. In it he explores the concept
and history of museums of contemporary art, and the shifting ways
in which they have been imagined and presented. Following an
introduction that sets out the historiography and considering
questions of terminology, the first part of the book then examines
the paradigm of the Musee des Artistes Vivants in Paris and its
equivalents in the rest of Europe during the nineteenth century.
The second part takes the story forward from 1930 to the present,
presenting New York's Museum of Modern Art as a new universal role
model that found emulators or 'contramodels' in the rest of the
Western world during the twentieth century. An epilogue, reviews
recent museum developments in the last decades. Through its
adoption of a long-term, worldwide perspective, the book not only
provides a narrative of the development of museums of contemporary
art, but also sets this into its international perspective. By
assessing the extent to which the great museum-capitals - Paris,
London and New York in particular - created their own models of
museum provision, as well as acknowledging the influence of such
models elsewhere, the book uncovers fascinating perspectives on the
practice of museum provision, and reveals how present cultural
planning initiatives have often been shaped by historical uses.
First published in 1998, this volume explores the expanding wave of
a new kind of museums of contemporary art in the nineteenth and
early twentieth centuries. Lorente examines their 'coming of age'
and the weight of their museological legacy, arguing that the
establishment of great national museums of art at London and Paris
radiated out, carrying their influence with it. This book emerged
as part of a series on towns and cities and has a focus on London
and Paris as centres of artistic innovation.
Where, how, by whom and for what were the first museums of
contemporary art created? These are the key questions addressed by
J. Pedro Lorente in this new book. In it he explores the concept
and history of museums of contemporary art, and the shifting ways
in which they have been imagined and presented. Following an
introduction that sets out the historiography and considering
questions of terminology, the first part of the book then examines
the paradigm of the Musee des Artistes Vivants in Paris and its
equivalents in the rest of Europe during the nineteenth century.
The second part takes the story forward from 1930 to the present,
presenting New York's Museum of Modern Art as a new universal role
model that found emulators or 'contramodels' in the rest of the
Western world during the twentieth century. An epilogue, reviews
recent museum developments in the last decades. Through its
adoption of a long-term, worldwide perspective, the book not only
provides a narrative of the development of museums of contemporary
art, but also sets this into its international perspective. By
assessing the extent to which the great museum-capitals - Paris,
London and New York in particular - created their own models of
museum provision, as well as acknowledging the influence of such
models elsewhere, the book uncovers fascinating perspectives on the
practice of museum provision, and reveals how present cultural
planning initiatives have often been shaped by historical uses.
First published in 1998, this volume explores the expanding wave of
a new kind of museums of contemporary art in the nineteenth and
early twentieth centuries. Lorente examines their 'coming of age'
and the weight of their museological legacy, arguing that the
establishment of great national museums of art at London and Paris
radiated out, carrying their influence with it. This book emerged
as part of a series on towns and cities and has a focus on London
and Paris as centres of artistic innovation.
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