Museum Skepticism: A History of the Display of Art in Public Galleries
In Museum Skepticism, art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion. Carrier contends that since the inception of the public art museum during the French Revolution, its development has...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2006]
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| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UBG01 UPA01 FCO01 Volltext |
| Zusammenfassung: | In Museum Skepticism, art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion. Carrier contends that since the inception of the public art museum during the French Revolution, its development has depended on growth: on the expansion of collections, particularly to include works representing non-European cultures, and on the proliferation of art museums around the globe. Arguing that this expansionist project has peaked, he asserts that art museums must now find new ways of making high art relevant to contemporary lives. Ideas and inspiration may be found, he suggests, in mass entertainment such as popular music and movies.Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrier's learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) |
| Beschreibung: | 1 online resource (328 pages) 22 illustrations |
| ISBN: | 9780822387572 |
| DOI: | 10.1515/9780822387572 |
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| 520 | |a In Museum Skepticism, art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion. Carrier contends that since the inception of the public art museum during the French Revolution, its development has depended on growth: on the expansion of collections, particularly to include works representing non-European cultures, and on the proliferation of art museums around the globe. Arguing that this expansionist project has peaked, he asserts that art museums must now find new ways of making high art relevant to contemporary lives. Ideas and inspiration may be found, he suggests, in mass entertainment such as popular music and movies.Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrier's learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way | ||
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Datensatz im Suchindex
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| author | Carrier, David |
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| dewey-full | 708.009 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 708 - Galleries, museums & private collections |
| dewey-raw | 708.009 |
| dewey-search | 708.009 |
| dewey-sort | 3708.009 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
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| doi_str_mv | 10.1515/9780822387572 |
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| spelling | Carrier, David Verfasser aut Museum Skepticism A History of the Display of Art in Public Galleries David Carrier Durham Duke University Press [2006] © 2006 1 online resource (328 pages) 22 illustrations txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) In Museum Skepticism, art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion. Carrier contends that since the inception of the public art museum during the French Revolution, its development has depended on growth: on the expansion of collections, particularly to include works representing non-European cultures, and on the proliferation of art museums around the globe. Arguing that this expansionist project has peaked, he asserts that art museums must now find new ways of making high art relevant to contemporary lives. Ideas and inspiration may be found, he suggests, in mass entertainment such as popular music and movies.Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrier's learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way In English ART / Collections, Catalogs, Exhibitions / General bisacsh Art museums Philosophy Art museums Social aspects Art Exhibition techniques https://doi.org/10.1515/9780822387572 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Carrier, David Museum Skepticism A History of the Display of Art in Public Galleries ART / Collections, Catalogs, Exhibitions / General bisacsh Art museums Philosophy Art museums Social aspects Art Exhibition techniques |
| title | Museum Skepticism A History of the Display of Art in Public Galleries |
| title_auth | Museum Skepticism A History of the Display of Art in Public Galleries |
| title_exact_search | Museum Skepticism A History of the Display of Art in Public Galleries |
| title_exact_search_txtP | Museum Skepticism A History of the Display of Art in Public Galleries |
| title_full | Museum Skepticism A History of the Display of Art in Public Galleries David Carrier |
| title_fullStr | Museum Skepticism A History of the Display of Art in Public Galleries David Carrier |
| title_full_unstemmed | Museum Skepticism A History of the Display of Art in Public Galleries David Carrier |
| title_short | Museum Skepticism |
| title_sort | museum skepticism a history of the display of art in public galleries |
| title_sub | A History of the Display of Art in Public Galleries |
| topic | ART / Collections, Catalogs, Exhibitions / General bisacsh Art museums Philosophy Art museums Social aspects Art Exhibition techniques |
| topic_facet | ART / Collections, Catalogs, Exhibitions / General Art museums Philosophy Art museums Social aspects Art Exhibition techniques |
| url | https://doi.org/10.1515/9780822387572 |
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