Founded by Bill Gardner, president of Gardner Design, the LogoLounge website is the most comprehensive and searchable logo database available today. Through their submissions, members gain the added benefit of consideration for inclusion in the LogoLounge book series.
LogoLounge 10 presents the 2,500 best logo designs as judged by a select group of identity designers and branding experts. Logos are organized into 20 visual categories for easy reference. Peek behind the curtain to witness logo genius throughout the book, with article on design firms such as Alex Rinker, Odney, Steely Works, Simon Frouws Design, Gardner Design and more. LogoLounge 10 is the definitive logo resource for designers, brand managers, and start-ups looking for consummate inspiration.
The Fuehrer had begun cataloguing the art he planned to collect as well as the art he would destroy: "degenerate" works he despised.
In a race against time, behind enemy lines, often unarmed, a special force of American and British museum directors, curators, art historians, and others, called the Momuments Men, risked their lives scouring Europe to prevent the destruction of thousands of years of culture.
Focusing on the eleven-month period between D-Day and V-E Day, this fascinating account follows six Monuments Men and their impossible mission to save the world's great art from the Nazis.
Cartouches in the style of Louis XIII; stone balustrades; arabesques; roof cornices; Renaissance-era drawing-room cabinets; Elizabethan chimney pieces; plus friezes for textiles and wallpaper, decorative scutcheons, mirror frames, and much more. These versatile royalty-free illustrations are equally suitable for immediate use, adaptation, and inspiration.
-is a ground-breaking manifesto that calls for the establishment of a more inclusive, visitor-centered paradigm based on the shared experience of human habitation;
-draws inspiration from film, theater, public art, and urban design to transform historic house museums;
-provides a how-to guide for making historic house museums sustainable, through five primary themes: communicating with the surrounding community, engaging the community, re-imagining the visitor experience, celebrating the detritus of human habitation, and acknowledging the illusion of the shelter’s authenticity;
-offers a wry, but informed, rule-breaking perspective from authors with years of experience;
-gives numerous vivid examples of both good and not-so-good practices from house museums in the U.S.
Ways of Curating is a compendium of the insights Obrist has gained from his years of extraordinary work in the art world. It skips between centuries and continents, flitting from meetings with the artists who have inspired him (including Gerhard Richter, Louise Bourgeois, and Gilbert and George) to biographies of influential figures such as Diaghilev and Walter Hopps. It describes some of the greatest exhibitions in history, as well as some of the greatest exhibitions never realized. It traces the evolution of the collections from Athanasius Kircher's 17th-century Wunderkammer to modern museums, and points the way for projects yet to come. Hans Ulrich Obrist has rescued the word "curate" from wine stores and playlists to remind us of the power inherent in looking at art—and at the world—in a new way.
Ranging in tone from questing to contentious, the pieces encompass a broad spectrum of forceful artistic opinion and theory — from Albert Gleizes and Jean Metzinger's 1912 presentation of Cubist theory to Henry Moore's three brief essays, three decades later, on sculpture and primitive art. Among other contributions are the reminiscences of Kandinsky; Le Corbusier and Ozenfant on Purism; Klee on modern art; Mondrian on plastic art; and Beckmann describing his painting. Essays by Kurt Schwitters, Max Ernst, El Lissitzky, and Fernand Léger, added to this second edition, have expanded the anthology considerably and extended its range to include Dada, Surrealism, and the "machine esthetic."
Described by the Canadian Forum as "an excellent collection of carefully selected essays by some of the most significant spokesmen among Modern artists," these challenging essays not only will provide much food for thought for art historians and theorists but also will be a smorgasbord of continuing inspiration for all artists and art students — whether or not they are devotees of "modern" art.
‘Curate’ is now a buzzword applied to everything from music festivals to artisanal cheese. Inside the art world, the curator reigns supreme, acting as the face of high-profile group shows and biennials in a way that can eclipse and assimilate the contributions of individual artists. At the same time, curatorial studies programs continue to grow in popularity, and businesses are increasingly adopting curation as a means of adding value to content and courting demographics. Everyone, it seems, is a now a curator. But what is a curator, exactly? And what does the explosive popularity of curating say about our culture’s relationship with taste, labour and the avant-garde?
In this incisive and original study, critic David Balzer travels through art history and around the globe to explore the cult of curation – where it began, how it came to dominate museums and galleries, and how it was co-opted at the turn of the millennium as the dominant mode of organizing and giving value to content. At the centre of the book is a paradox: curation is institutionalized and expertise-driven like never before, yet the first independent curators were not formally trained, and any act of choosing has become ‘curating.’ Is the professional curator an oxymoron? Has curation reached a sort of endgame, where its widespread fetishization has led to its own demise?
David Balzer has contributed to publications including the Believer, Modern Painters, Artforum.com, and The Globe and Mail, and is the author of Contrivances, a short-fiction collection. He is currently Associate Editor at Canadian Art magazine. Balzer was born in Winnipeg and currently resides in Toronto, where he makes a living as a critic, editor and teacher.
Never before has a book about the Smithsonian detailed the recent and dramatic shift from collection-driven shows, with artifacts meant to speak for themselves, to concept-driven exhibitions, in which objects aim to tell a story, displayed like illustrations in a book. Even more recently, the trend is to show artifacts along with props, sound effects, and interactive elements in order to create an immersive environment. Rather than looking at history, visitors are invited to experience it.
Who Owns America’s Past? examines the different ways that the Smithsonian’s exhibitions have been conceived and designed—whether to educate visitors, celebrate an important historical moment, or satisfy donor demands or partisan agendas. Post gives the reader a behind-the-scenes view of internal tempests as they brewed and how different personalities and experts passionately argued about the best way to present the story of America.-- Michael Kammen, Cornell University, and Past President, Organization of American Historians
The papers present diverse new research and practice in the field, and open up debate about the role, design and process of exhibition interpretation in museums, art galleries and historic sites. The authors represent both academics and practitioners, and are affiliated with high quality institutions of broad geographical scope. The result is a strong, consistent representation of current thinking across the theory, methodology and practice of interpretation design for learning in museums.
A range of artefacts, including a 16th-century Peruvian crown and a 19th-century Alaskan Sea Lion overcoat, are considered, illustrating the myriad ways in which objects and history relate to one another. Bringing together scholars working in a variety of disciplines, this book provides a critical introduction for students interested in material culture, history and historical methodologies.
- The Times
The Royal Collection is the last great collection formed by the European monarchies to have survived into the twenty-first century. Containing over a million artworks and objects, it covers all aspects of the fine and decorative arts, from paintings by Rembrandt and Michelangelo to grand sculpture, Fabergé eggs and some of the most exquisite furniture ever made. The Royal Collection also offers a revealing insight into the history of the British monarchy from William the Conqueror to Queen Elizabeth II, recording the tastes and obsessions of kings and queens over the past 500 years.
With unprecedented access to the royal residences of St James' Palace, Windsor Castle and Buckingham Palace, Art, Passion & Power traces the history of this national institution from the Middle Ages to the present day, exploring how royalty used the arts to strengthen their position as rulers by divine right and celebrating treasures from the Crown Jewels to the "Abraham" tapestries in Hampton Court Palace. Author Michael Hall examines the monarchy's response to changing attitudes to the arts and sciences during the Enlightenment and celebrates the British monarchy's role in the democratisation of art in the modern world. Packed with glimpses of rarely seen artworks, Art, Passion & Power is a visual treat for all art enthusiasts.
Accompanying the BBC television series and a major exhibition at the Royal Academy, Art, Passion & Power is the definitive statement on the British monarchy's treasures of the art world.
SCIENCE AND CONSERVATION
FOR MUSEUM COLLECTIONS
1 – PREVENTIVE CONSERVATION
1.2 International standards and guidelines
1.3 Environment-material interaction
1.4 Microclimate and monitoring
1.5 Handling works of art
1.6 Exhibition criteria
1.7 MUSA project: intermuseum network for conservation of artistic heritage
2 – STONE ARTEFACTS
2.1 What conservation means
2.2 Natural Stones
2.3 Artificial stones
2.4 Deterioration of the stone
2.5 Cleaning of stone artefacts
2.6 Consolidation and Protection
2.7 Case studies
3 – MOSAICS
3.1 Manufacturing techniques
3.2 History of the mosaic
3.3 Degradation of mosaic
3.4 Restoration of mosaics
3.5 Case study
4 – CERAMICS
4.1 Ceramic technology
4.2 Technological classification of ceramics
4.3 Alteration and degradation processes
4.4 Ceramic conservation and restoration
4.5 Case studies
4.6 Examples of restoration
5 – CLAY TABLETS
5.3 Conservative intervention
5.4 Case study: Syrian tablets
6 – GLASS
6.1 General information
6.2 Processing techniques
6.3 Glass deterioration
6.4 Glass conservation and restoration
6.5 Case studies
7 – METALS
7.1 Origin of metals
7.2 Manufacturing techniques
7.3 Conservation state of metals
7.4 Conservative intervention for metals
7.5 Case studies: Recovery of metallic artefacts from terracotta containers
8 – GOLDSMITH ARTEFACTS
8.1 Goldsmith’s metals
8.3 Precious stones
8.4 Alteration and degradation
8.5 Conservative intervention
8.6 Case studies
9 – WOOD ARTEFACTS
9.1 Characteristics of the wood
9.2 Working techniques
9.3 Degradation of wood
9.4 How to start restoring
9.5 Restoration of a small inlaid table
9.6 Restoration of a commemorating wooden tablet
9.7 The restoration of a seventeenth-century wooden crucifix
10 – ICONS
10.1 The construction of icons
10.2 Degradation and damages of icons
10.3 Methods of conservation and restoration of icons
10.4 Examples of conservative interventions
11 – TEXTILE FINDS
11.1 Morphology, characteristics and properties of textiles
11.2 Decay of textile fibres
11.3 Conservation treatments of archaeological textiles
11.4 Conservation practice: two case histories
12 – LEATHER AND ANIMAL SKIN OBJECTS
12.3 The tanning process
12.5 Leather degradation
12.6 Conservative intervention
12.7 Examples of conservative interventions
13 – INORGANIC MATERIALS OF ORGANIC ORIGIN
13.1 The materials
13.2 The restoration operations
13.3 Cases of study
14 – ANALYTICAL TECHNIQUES
14.1 General information
14.2 Optical microscopy
14.3 Spectroscopic techniques
14.4 Radiochemical techniques
14.6 Electron microscopy
14.7 Thermal analyses
14.8 Open porosity measurements
14.9 Analysis of microbial colonization
With Museums Matter, James Cuno, president and director of the Art Institute of Chicago, replies with a resounding “No!” He takes us on a brief tour of the modern museum, from the creation of the British Museum—the archetypal encyclopedic collection—to the present, when major museums host millions of visitors annually and play a major role in the cultural lives of their cities. Along the way, Cuno acknowledges the legitimate questions about the role of museums in nation-building and imperialism, but he argues strenuously that even a truly national museum like the Louvre can’t help but open visitors’ eyes and minds to the wide diversity of world cultures and the stunning art that is our common heritage. Engaging with thinkers such as Edward Said and Martha Nussbaum, and drawing on examples from the politics of India to the destruction of the Bramiyan Buddhas to the history of trade and travel, Cuno makes a case for the encyclopedic museum as a truly cosmopolitan institution, promoting tolerance, understanding, and a shared sense of history—values that are essential in our ever more globalized age.
Powerful, passionate, and to the point, Museums Matter is the product of a lifetime of working in and thinking about museums; no museumgoer should miss it.
By closely observing the cultural, intellectual, and political roles that museums play in contemporary society, while also delving deeply into their institutional histories, historian Steven Conn demonstrates that museums are no longer seen simply as houses for collections of objects. Conn ranges across a wide variety of museum types—from art and anthropology to science and commercial museums—asking questions about the relationship between museums and knowledge, about the connection between culture and politics, about the role of museums in representing non-Western societies, and about public institutions and the changing nature of their constituencies. Elegantly written and deeply researched, Do Museums Still Need Objects? is essential reading for historians, museum professionals, and those who love to visit museums.
Attractive patterns range from decorations for churches, drawing rooms, nurseries, and everything in between, including halls, galleries, and corners. The elaborate borders, friezes, and festoons include exquisite images of children, animals, birds, rosettes, and heraldic designs. These finely detailed, royalty-free patterns are an invaluable resource, perfect for adding a distinctive note to fabrics, stained glass, wallpaper, and a host of other art and craft projects. Browsers and devotees of the Art Nouveau style will also appreciate this treasury of striking stencil designs.
For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories. Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida—and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist.
In 1923 I began to write my memoirs. They began like this: “I come from two of the best Jewish families. One of my grandfathers was born in a stable like Jesus Christ or, rather, over a stable in Bavaria, and my other grandfather was a peddler.” I don’t seem to have gotten very far with this book. Maybe I had nothing to say, or possibly I was too young for the task which I had set myself. Now I feel I am ripe for it. By waiting too long I may forget everything I have somehow managed to remember.
If my grandfathers started life modestly they ended it sumptuously. My stable-born grandfather, Mr. Seligman, came to America in steerage, with forty dollars in his pocket and contracted smallpox on board ship. He began his fortune by being a roof shingler and later by making uniforms for the Union Army in the Civil War. Later he became a renowned banker and president of Temple Emanu-el. Socially he got way beyond my other grandfather, Mr. Guggenheim the peddler, who was born in St. Gallen in German Switzerland. Mr. Guggenheim far surpassed Mr. Seligman in amassing an enormous fortune and buying up most of the copper mines of the world, but he never succeeded in attaining Mr. Seligman’s social distinction. In fact, when my mother married Benjamin Guggenheim the Seligmans considered it a mésalliance. To explain that she was marrying into the well known smelting family, they sent a cable to their kin in Europe saying, “Florette engaged Guggenheim smelter.” This became a great family joke, as the cable misread “Guggenheim smelt her.”
By the time I was born the Seligmans and the Guggenheims were extremely rich. At least the Guggenheims were and the Seligmans hadn’t done so badly. My grandfather, James Seligman, was a very modest man who refused to spend money on himself and underfed his trained nurse. He lived sparsely and gave everything to his children and grandchildren. He remembered all our birthdays and, although he did not die until ninety-three, he never failed to make out a check on these occasions. The checks were innumerable, as he had eleven children and fifteen grandchildren.
Most of his children were peculiar, if not mad. That was because of the bad inheritance they received from my grandmother. My grandfather finally had to leave her. She must have been objectionable. My mother told me that she could never invite young men to her home without a scene from her mother. My grandmother went around to shopkeepers and, as she leaned over the counter, asked them confidentially, “When do you think my husband last slept with me?”
My mother’s brothers and sisters were very eccentric. One of my favorite aunts was an incurable soprano. If you happened to meet her on the corner of Fifth Avenue while waiting for a bus, she would open her mouth wide and sing scales trying to make you do as much. She wore her hat hanging off the back of her head or tilted over one ear. A rose was always stuck in her hair. Long hatpins emerged dangerously, not from her hat, but from her hair. Her trailing dresses swept up the dust of the streets. She invariably wore a feather boa. She was an excellent cook and made beautiful tomato jelly. Whenever she wasn’t at the piano, she could be found in the kitchen or reading the ticker-tape. She was an inveterate gambler. She had a strange complex about germs and was forever wiping her furniture with lysol. But she had such extraordinary charm that I really loved her. I cannot say her husband felt as much. After he had fought with her for over thirty years, he tried to kill her and one of her sons by hitting them with a golf club. Not succeeding, he rushed to the reservoir where he drowned himself with heavy weights tied to his feet.
The Rubin’s location in the Chihuahuan desert on the U.S./Mexican border is meaningful and intriguing to many artists, and, consequently, Curating at the Edge describes the multiple artistic perspectives conveyed in the place-based exhibitions Bonansinga oversaw. Exciting mid-career artists featured in this collection of case studies include Margarita Cabrera, Liz Cohen, Marcos Ramírez ERRE, and many others. Recalling her experiences in vivid, first-person scenes, Bonansinga reveals the processes a contemporary art curator undertakes and the challenges she faces by describing a few of the more than sixty exhibitions that she organized during her tenure at the Rubin. She also explores the artists’ working methods and the relationship between their work and their personal and professional histories (some are Mexican citizens, some are U.S. citizens of Mexican descent, and some have ancestral ties to Europe). Timely and illuminating, Curating at the Edge sheds light on the work of the interlocutors who connect artists and their audiences.
Here, museum expert Susana Smith Bautista brings more than twenty years of experience in cultural institutes in Los Angeles, New York, and Greece to propose a social understanding of why museums should be adopting technology, and how it should be adapted based on their particular missions, communities, and places. This book is timely because we are in the midst of the digital age, which is rapidly changing due to rapidly changing developments in technology and society as well, with social adaptations of technology. Theory is always racing to catch up with practice in the digital age, but theory remains a critical - and often neglected - component to accompany the practical application of technology in museums.
In order to illustrate these points, the book presents five case studies of the most technologically advanced art museums in the United States today:
The Indianapolis Museum of ArtThe Walker Art CenterThe San Francisco Museum of Modern ArtThe Museum of Modern ArtThe Brooklyn Museum
Each case study ends with a Lessons Learned section to bring these points home.
While the case studies focus on museums in the United States, and also on art museums, this book is relevant to all types of museums and to museums all over the world, as they equally face the challenge of incorporating technology into their institutions. Although these case studies are all well-established and well-endowed museums, Bautista reveals valuable insight into the difficulties they face and the questions they are asking which are relevant to even the smallest museum or community cultural center.
Conservation Treatment Methodology is illustrated with numerous examples that emphasize the equal importance of the physical and cultural aspects of objects for decision-making. The book also explains how the history of an object and the meaning that it holds for its owner or custodian contribute to determining its treatment.
Conservation Treatment Methodology is an essential text for conservators, historic preservation specialists, and restorers, as well as students. Since it is not a technical manual about how to carry out treatments, the book will also be of value to art historians and museum personnel who work with conservators.
"This book is unique in its overarching, multidisciplinary approach. The writing is not only clear, but entertaining and engaging."
Dan Kushel, Distinguished Teaching Professor, Art Conservation Department, Buffalo New York) State College
Barbara Appelbaum is one of the premier objects conservators in the United States and the author of Guide to Environmental Protection of Collections. Practicing in New York, Appelbaum was trained at New York University and began her career at The Brooklyn Museum. The author treats a wide range of object types. Projects of note have included George Washington’s leather portfolio, a Marcel Duchamp urinal, and a Marilyn Monroe dress.
The graffiti scene in China is small and the best work is confined to semi-sanctioned areas, often set in rusting industrial areas. For the small size of the scene, a huge amount of incredible art packs these tiny plots of land.
The photos in this book were taken between Spring of 2013 and Spring of 2014.
All of the photos in Beijing were taken in and around 798 Art Zone in the Chaoyang District of the city. This spot of refurbished military factories has been transformed into an arts district that contains many art galleries, studios, shops and schools.
The photos in the Shanghai set were taken in the 50 Moganshan Lu area near Suzhou Creek. This area used to be home to many factories and warehouses that have since been converted to art galleries, studios and cafes. The graffiti wall pictured has since been demolished to make way for a business district.
An insider’s view of the rarefied world of the museum that provides a refreshing and unique account of the reality of the workings of museum lifeThe material has been successfully tested in a course that the author has taught for 14 yearsMiller has extensive experience at all levels of museum work, from painting walls for exhibitions to museum directorshipClearly and engagingly written, the book covers all the component parts and various disciplines of museum operations, and opinions and perspectives are drawn from a deep knowledge of the fieldIncludes useful pedagogical material, including questions, discussion topics, and a range of anecdotes
The book unpacks taken-for-granted notions such as scholarship, community, participation and collaboration, which can gloss over the complexity of identities and lead to tokenistic claims of inclusion by museums. Over sixteen chapters, well-respected authors from the US, Australia and Europe offer a timely critique to address what happens when museums put community-minded principles into practice, challenging readers to move beyond shallow notions of political correctness that ignore vital difference in this contested field.
Contributors address a wide range of key issues, asking pertinent questions such as how museums negotiate the complexities of integrating collaboration when the target community is a living, fluid, changeable mass of people with their own agendas and agency. When is engagement real as opposed to symbolic, who benefits from and who drives initiatives? What particular challenges and benefits do artist collaborations bring? Recognising the multiple perspectives of community participants is one thing, but how can museums incorporate this successfully into exhibition practice?
Students of museum and cultural studies, practitioners and everyone who cares about museums around the world will find this volume essential reading.
In this rich and fascinating book, James Hamilton investigates the vibrant exchange between culture and business in nineteenth-century Britain, which became a center for world commerce following the industrial revolution. He explores how art was made and paid for, the turns of fashion, and the new demands of a growing middle-class, prominent among whom were the artists themselves.
While leading figures such as Turner, Constable, Landseer, Coleridge, Wordsworth, and Dickens are players here, so too are the patrons, financiers, collectors and industrialists; publishers, entrepreneurs, and journalists; artists' suppliers, engravers, dealers and curators; hostesses, shopkeepers and brothel keepers; quacks, charlatans, and auctioneers.
Hamilton brings them all vividly to life in this kaleidoscopic portrait of the business of culture in nineteenth-century Britain, and provides thrilling and original insights into the working lives of some of the era's most celebrated artists.
In Holocaust Memory Reframed, Jennifer Hansen-Glucklich examines representations in three museums: Israel’s Yad Vashem in Jerusalem, Germany’s Jewish Museum in Berlin, and the United States Holocaust Memorial Museum in Washington, D.C. She describes a variety of visually striking media, including architecture, photography exhibits, artifact displays, and video installations in order to explain the aesthetic techniques that the museums employ. As she interprets the exhibits, Hansen-Glucklich clarifies how museums communicate Holocaust narratives within the historical and cultural contexts specific to Germany, Israel, and the United States. In Yad Vashem, architect Moshe Safdie developed a narrative suited for Israel, rooted in a redemptive, Zionist story of homecoming to a place of mythic geography and renewal, in contrast to death and suffering in exile. In the Jewish Museum in Berlin, Daniel Libeskind’s architecture, broken lines, and voids emphasize absence. Here exhibits communicate a conflicted ideology, torn between the loss of a Jewish past and the country’s current multicultural ethos. The United States Holocaust Memorial Museum presents yet another lens, conveying through its exhibits a sense of sacrifice that is part of the civil values of American democracy, and trying to overcome geographic and temporal distance. One well-know example, the pile of thousands of shoes plundered from concentration camp victims encourages the visitor to bridge the gap between viewer and victim.
Hansen-Glucklich explores how each museum’s concept of the sacred shapes the design and choreography of visitors’ experiences within museum spaces. These spaces are sites of pilgrimage that can in turn lead to rites of passage.
Cross-disciplinary in scope, Museums uses ideas and approaches both from within and outside of anthropology to further students' knowledge of and interest in museums. Including selected, globally based case studies to highlight and exemplify important issues, the book also contains suggested Further Reading for each chapter, for students to expand their learning independently.
Exploring fundamental methods and approaches to engage this constantly evolving time machine, Museums will be essential reading for students of anthropology and museum studies.
In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.
In celebration of the two hundredth anniversary of the publication of Frankenstein, the Lilly Library at Indiana University presents Frankenstein 200: The Birth, Life, and Resurrection of Mary Shelley’s Monster. This beautifully illustrated catalog looks closely at Mary Shelley’s life and influences, examines the hundreds of reincarnations her book and its characters have enjoyed, and highlights the vast, deep, and eclectic collections of the Lilly Library. This exhibition catalog is a celebration of books, of the monstrousness that exists within us all, and of the genius of Mary Shelley.
This edited volume examines the recent transnational emergence of the public memory of slavery, shedding light on the work of memory produced by groups of individuals who are descendants of slaves. The chapters in this book explore how the memory of the enslaved and slavers is shaped and displayed in the public space not only in the former slave societies but also in the regions that provided captives to the former American colonies and European metropoles. Through the analysis of exhibitions, museums, monuments, accounts, and public performances, the volume makes sense of the political stakes involved in the phenomenon of memorialization of slavery and the slave trade in the public sphere.
Things American: Art Museums and Civic Culture in the Progressive Era tells the story of the civic reformers and arts professionals who brought museums from the realm of exclusivity into the progressive fold of libraries, schools, and settlement houses. Jeffrey Trask's history focuses on New York's Metropolitan Museum of Art, which stood at the center of this movement to preserve artifacts from the American past for social change and Americanization. Metropolitan trustee Robert de Forest and pioneering museum professional Henry Watson Kent influenced a wide network of fellow reformers and cultural institutions. Drawing on the teachings of John Dewey and close study of museum developments in Germany and Great Britain, they expanded audiences, changed access policies, and broadened the scope of what museums collect and display. They believed that tasteful urban and domestic environments contributed to good citizenship and recognized the economic advantages of improving American industrial production through design education. Trask follows the influence of these people and ideas through the 1920s and 1930s as the Met opened its innovative American Wing while simultaneously promoting modern industrial art.
Things American is not only the first critical history of the Metropolitan Museum. The book also places museums in the context of the cultural politics of the progressive movement—illustrating the limits of progressive ideas of democratic reform as well as the boldness of vision about cultural capital promoted by museums and other cultural institutions.
Focusing on the experiences of museum professionals and Blackfoot Elders who have worked with a number of museums and heritage sites, Indigenous Voices in Cultural Institutions unpicks the power and politics of engagement on a micro level and how it can be applied more broadly, by exposing the limits and challenges of cross-cultural engagement and community self-representation. The result is a volume that provides readers with an in-depth understanding of the nuances of self-representation and decolonization.
Drawing on Flemish-language sources other scholars have been unable to access, Van Beurden illuminates the politics of museum collections, showing how the IMNZ became a showpiece in Mobutu’s effort to revive “authentic” African culture. She reconstructs debates between Belgian and Congolese museum professionals, revealing how the dynamics of decolonization played out in the fields of the museum and international heritage conservation. Finally, she casts light on the art market, showing how the traveling displays put on by the IMNZ helped intensify collectors’ interest and generate an international market for Congolese art.
The book contributes to the fields of history, art history, museum studies, and anthropology and challenges existing narratives of Congo’s decolonization. It tells a new history of decolonization as a struggle over cultural categories, the possession of cultural heritage, and the right to define and represent cultural identities.
The term ‘Baba’ is used to refer to the Straits-born Chinese or Peranakans. The Babas boast a unique culture and way of life that is an amalgamation of Chinese and Malay customs and etiquette. Their culture is perhaps best captured in the beautiful clothing, stunning jewellery, pretty porcelain and other artefacts used in daily living. Girls were taught, from a young age, how to cook a variety of elaborate meals as well as crafts such as beading and embroidery. The result is a rich legacy of splendid kebayas (embroidered blouses), beadwork and various other items.
Through lavish, full-colour photographs of Peranakan artefacts and clothing, this book explains the origins of the various customs and traditions. While some customs are still practiced today, other more complicated ones have disappeared as modern babas adapted to contemporary lifestyles which are deemed more convenient and practical.
This catalog is the third in a triology of publications and exhibitions produced at the Samuel Dorsky Museum of Art celebrating the Hudson River School of painting. The exhibition and catalog are part of Art and The River, a series of exhibitions, publications and events that celebrate the Hudson-Fulton-Champlain Quadricentennial, which commemorates the 400th anniversary of Henry Hudson’s voyage of discovery of the Hudson River.
After emigrating to New York in 1941, Castelli would not open a gallery for sixteen years, when he had reached the age of fifty. But as the first to exhibit the then-unknown Jasper Johns, Castelli emerged as a tastemaker overnight and fast came to champion a virtual Who’s Who of twentieth-century masters: Rauschenberg, Lichtenstein, Warhol, and Twombly, to name a few. The secret of Leo’s success? Personal devotion to the artists, his “heroes”: by putting young talents on stipend and seeking placement in the ideal collection rather than with the top bidder, he transformed the way business was done, multiplying the capital, both cultural and financial, of those he represented. His enterprise, which by 1980 had expanded to an impressive network of satellite galleries in Europe and three locations in New York, thus became the unrivaled commercial institution in American art, producing a generation of acolytes, among them Mary Boone, Jeffrey Deitch, Larry Gagosian, and Tony Shafrazi.
Leo and His Circle brilliantly narrates the course of one man’s power and influence. But Castelli had another secret, too: his life as an Italian Jew. Annie Cohen-Solal traces a family whose fortunes rose and fell for centuries before the Castellis fled European fascism. Never hidden but also never discussed, this experience would form the core of a guarded but magnetic character possessed of unfailing old-world charm and a refusal to look backward—traits that ensured Castelli’s visionary precedence in every major new movement from Pop to Conceptual and by which he fostered the worldwide enthusiasm for American contemporary art that is his greatest legacy.
Drawing on her friendship with the subject, as well as an uncanny knack for archival excavation, Annie Cohen-Solal gives us in full the elegant, shrewd, irresistible, and enigmatic figure at the very center of postwar American art, bringing an utterly new understanding of its evolution.
From the Hardcover edition.
Cultural Heritage Ethics provides cutting-edge arguments built on case studies of cultural heritage and its management in a range of geographical and cultural contexts. Moreover, the volume feels the pulse of the debate on heritage ethics by discussing timely issues such as access, acquisition, archaeological practice, curatorship, education, ethnology, historiography, integrity, legislation, memory, museum management, ownership, preservation, protection, public trust, restitution, human rights, stewardship, and tourism.
This volume is neither a textbook nor a manifesto for any particular approach to heritage ethics, but a snapshot of different positions and approaches that will inspire both thought and action. Cultural Heritage Ethics provides invaluable reading for students and teachers of philosophy of archaeology, history and moral philosophy – and for anyone interested in the theory and practice of cultural preservation.
From a young age, Gary Cieradkowski had a passion for baseball’s unheralded heroes. Inspired by his father and their shared love of the sport, Cieradkowski began creating “outsider” baseball cards, as a way to tell the little-known stories of baseball’s many unsung heroes—alongside some of baseball’s greatest players before they were famous. The League of Outsider Baseball is a tribute to all of those who’ve played the game, known and unknown.
Shining a light into the dark corners of baseball history—from Mickey Mantle’s minor league days to Negro League greats like Josh Gibson and Leon Day; to people that most never knew played the game, such as Frank Sinatra, who had his own ball club in 1940s Hollywood; bank robber John Dillinger, who was a promising shortstop and took time out between robberies to attend Cubs games; and even a few US presidents—this book is a rich, visual tribute to America’s pastime.
Meticulously researched, beautifully illustrated using a unique, vintage baseball-card-style, and filled with a colorful and rich cast of characters, this book is a prized collector’s item and will be cherished by fans of all ages.
The artists whose work is represented include world-famous greats of the Italian Renaissance, Flemish masters, members of the Dutch and French schools, and British artists. In addition to the expected, well-known drawings by Rembrandt, Michelangelo, Leonardo da Vinci, Brueghel, Rubens, Fragonard, Dürer, Raphael, and others of their standing, there are scores of brilliant efforts by lesser known geniuses: Francesco Francia, Mabuse, Huber, Breu, Urs Graf, van Goyen, Wouwerman, Antoine Pesne, Natoire, Basaiti, and many others. And instead of only pen or pencil drawings, the collection includes a wide variety of techniques: chalk, bistre, sepia, watercolor, crayon, charcoal, silverpoint, and pastel.
But regardless of the medium used, each of the drawings is superbly reproduced. Lines are clear and sharp and shaded areas are rich in contrasts. As often as possible, the drawings are presented in full size, so that they are as close to the originals as they can be. Arranged chronologically by artist, the 150 plates are all described, the artist noted and his dates given and the technique used in each case stated in a detailed list of the plates.
Viewed through a microscope, some gemstones and crystal specimens
reveal amazing photogenic inclusions and surface features that could
well be mistaken for abstract art.
With the use of various
lighting techniques and careful composition, gemmologist and
photographer Anthony de Goutière has photomicrographed many of these
unusual and artistic scenes. The author hopes to inspire other
gemmologists to search for and photograph the elusive beauty of gemstone
In The Intrepid Art Collector, Lisa Hunter shows you how to start a fine art collection without spending a fortune. This accessible, jargon-free resource contains up-to-date information on the most popular original art—everything from photography and posters to African art and animation—including where to find it and how to buy it at a fair price. Easy-to-use checklists help you evaluate original art and steer clear of clever fakes. In addition, Hunter has interviewed top dealers, curators, arts lawyers, and appraisers to bring you the best advice on:
• Advantages to buying real art instead of reproductions
• Determining if a piece of art is fairly priced
• Predicting if an artist’s work will go up in value
• Techniques for negotiating a price with a dealer
• Developing your artistic taste, so you’ll know if you’ll still love your purchase ten years down the road
• How to preserve art in your home
• Resources, websites, and magazines that will help you learn more about the market and where to find different types of art
From the Trade Paperback edition.
This book explores this Mexican tradition — the artists, their works, the social and political background, and the relationship of the modern painters to European and Mexican historical tradition. Helm, an important collector who knew most of the artists, writes informally yet with deep understanding about the major figures — Orozco, Rivera, and Siqueiros — as well as over 40 others little known outside their native Mexico.
He ably ties together such diverse influences as the Revolution and the regime of Obregón, the Siqueiros Syndicate and its power in getting artists to pool resources and works for a powerful national style, Rivera's strong political beliefs and their effect on his work, Orozco's deep empathy, the development of the young artists, the effects of low wages and bohemian existence on artistic production, links to Indian art, the rediscovery of fresco technique, important patrons, the religious and anti-religious forces in the early works, and much more. In addition, 95 works by 37 artists are reproduced, showing the range and best works of modern Mexican painting.
MacKinley Helm was in a uniquely favorable position to write about these artists, and his book is now considered the best introduction to the art and artists of Mexico during the great artistic movements of the '20s and '30s. Collectors, artists, and others who have felt the lack of solid information about this important Western tradition will find this book gives clear insight into the conflicts, personalities, and important works that have developed into modern Mexican art.
An introduction by architectural critic Lewis Mumford is followed by commentaries by such notables as Frank Lloyd Wright on design principles; theatrical and industrial designer Norman Bel Geddes on outfitting business interiors; and Edward Steichen on commercial photography.
A fascinating glimpse of an exciting and innovative period in the history of American design, this book will appeal to a wide audience ― from interior decorators and graphic artists to students of art and lovers of the Art Deco style.