By Claire Robins
Among contemporary modern artwork and museological guides, there were fairly few which direct recognition to the targeted contributions that 20th and twenty-first century artists have made to gallery and museum interpretation practices. There are fewer nonetheless that know the pedagogic capability of interventionist artistic endeavors in galleries and museums. This booklet fills that hole and demonstrates how artists were making curious yet, none-the-less, valuable contributions to museum schooling and curation for a while. Claire Robins investigates intensive the phenomenon of artists' interventions in museums and examines their pedagogic implications. She additionally brings to gentle and seeks to solve the various contradictions surrounding artists' interventions, the place at the one hand modern artists were accused of alienating audiences and, at the different, seem to have performed an important position in orchestrating confident advancements to the way in which that studying is outlined and configured in museums. She examines the disruptive and parodic innovations that artists have hired, and argues for that they are often understood as a part of a movement to re-establish the museum as a discursive discussion board. This worthy ebook can be crucial analyzing for college kids and students of museum stories, in addition to paintings and cultural reviews.
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Additional info for Curious Lessons in the Museum: The Pedagogic Potential of Artists’ Interventions
However, Foster can also be found using the term in the same year, in relation to the practices of Haacke, Buren, Asher, etc. (see Hal Foster, Recodings (Seattle, WA: Bay Press, 1985), 100). 7. Isabelle Graw, ‘Beyond Institutional Critique’, in John C. ), Institutional Critique and After (Zurich: JRP|Ringer, 2006), 137–51. 8. Lisa Graziose Corrin, Miwon Kwon and Norman Bryson, Mark Dion (London: Phaidon, 1997), 16. 9. Brian O’Doherty, Inside the White Cube: The Ideology of the Gallery Space, Expanded edition (Los Angeles, CA: University of California Press, 1999), 77.
Objects at the service of the nation state Echoing the ideas of the 3rd Earl of Shaftesbury (1671–1713), who advocated that the quality of art could be read as a reflection of the society that produced it – and that art should not be analysed as self-referential, Robert Richardson, in 1792, made a case for a new version of history. 38 These ideas are highly significant in the formation of knowledge that allowed objects to be put at the service of ideas. It is not hard, vis-à-vis colonisation and expansion of empire, to see the ideological uses to which such arguments shifting priorities for learning in the museum 31 could be deftly put.
Brian O’Doherty, Inside the White Cube: The Ideology of the Gallery Space, Expanded edition (Los Angeles, CA: University of California Press, 1999), 77. 10. Wilson’s (1993) exhibition, Mining the Museum took its title from the act of mining, as in archaeology – but also from the analogy of laying land mines – causing explosions. Claire Robins and Miranda Baxter, ‘Meaningful Encounters with Disrupted Narratives’, in Laura Hourston Hanks, Jonathan Hale and Suzanne MacLeod (eds), Museum Making: Narratives, Architectures, Exhibitions (Abingdon; New York: Routledge, 2012), 247–56.