Museum History Journal最新文献_第2页

Rising from the ashes of the film museum: the role of individual habitus and political-economic structures in the shaping of the British Film Institute’s curatorial strategies and the establishment of the BFI Gallery 从电影博物馆的灰烬中崛起:个人习惯和政治经济结构在英国电影学院策展策略的形成和BFI画廊的建立中的作用

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Museum History Journal Pub Date : 2023-01-02 DOI: 10.1080/19369816.2023.2197345

E. Fabrizi

{"title":"Rising from the ashes of the film museum: the role of individual habitus and political-economic structures in the shaping of the British Film Institute’s curatorial strategies and the establishment of the BFI Gallery","authors":"E. Fabrizi","doi":"10.1080/19369816.2023.2197345","DOIUrl":"https://doi.org/10.1080/19369816.2023.2197345","url":null,"abstract":"ABSTRACT This article concentrates on the establishment and curation of the BFI Gallery at BFI Southbank (2007–2011), where the core, audience-facing cultural offer was extended to include contemporary artists' moving image installations. It considers the conditions that led the British Film Institute to favour commissioning over displaying, and the curatorial model of the temporary gallery commission over that of the collection-based film museum that had previously characterised the institution. The article discusses the critical and practical issues that affect the conceptualisation of the the BFI Gallery, such as the economic and political decisions of the day and the habitus of institutional management. To analyse the underlying mechanisms that triggered the changes of curatorial policies observed, consideration is given to the role of individual curators with a visual art background, who, from the early 2000s, reached the senior and executive levels of the BFI, an organisation previously led by cinema experts. The analysis uses the author's empirical experience as BFI curator to provide insight into the hidden cultural dynamics that generate the meaning of the work of art, with specific attention to curatorial moving image practices.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"16 1","pages":"81 - 98"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43517560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Curatorial practices and ‘intrinsically English’ art: The British pavilion at the Venice Biennale 策展实践与“本质上的英国”艺术：威尼斯双年展英国馆

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Museum History Journal Pub Date : 2023-01-02 DOI: 10.1080/19369816.2023.2196650

Stefania Portinari

{"title":"Curatorial practices and ‘intrinsically English’ art: The British pavilion at the Venice Biennale","authors":"Stefania Portinari","doi":"10.1080/19369816.2023.2196650","DOIUrl":"https://doi.org/10.1080/19369816.2023.2196650","url":null,"abstract":"ABSTRACT British artists have been a constant presence at the Venice Biennale from the very beginning in 1895, installed in the only existing pavilion alongside others international artists. In 1909, a dedicated British Pavilion was built in the Saint Elena Gardens. This paper charts the development of the British curatorial choices that have taken place at the Biennale since its outset. Rather than being a chronological history, it deals with aspects of power concerning the relationship between the authority of the British Pavilion's curatorial practices and those of the Biennale's curators and institution. The text highlights the peculiar political and managerial situation of the Venice Biennale, one that creates three levels of power confrontations. The first is between the structures of the Italian institution and those of the British Pavilion; the second is between the British government and the curators of its pavilion; and the third is between the curatorial choices taking place as part of the British Pavilion and those of other pavilions. This case study, which makes use of unpublished documents, highlights the singularities and commonalities of British curatorial practices at the Venice Biennale and offers the opportunity to reveal dialogues and tensions.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"16 1","pages":"99 - 117"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41945283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Great Wave reaches Newcastle: The 1913 Japanese Art Exhibition at the Laing Art gallery 一股巨浪到达纽卡斯尔:1913年在莱恩美术馆举行的日本艺术展

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Museum History Journal Pub Date : 2023-01-02 DOI: 10.1080/19369816.2023.2196654

Massimiliano Papini, Laia Anguix-Vilches

{"title":"A Great Wave reaches Newcastle: The 1913 Japanese Art Exhibition at the Laing Art gallery","authors":"Massimiliano Papini, Laia Anguix-Vilches","doi":"10.1080/19369816.2023.2196654","DOIUrl":"https://doi.org/10.1080/19369816.2023.2196654","url":null,"abstract":"ABSTRACT In 1913, Charles Bernard Stevenson (1874 -1957), the first curator of the Laing Art Gallery in Newcastle, curated an exhibition of Japanese art, focusing on ukiyo-e prints, swords and hand guards, paintings, and ceramics. Making use of his networking skills, Stevenson obtained loans from local and national private collectors, as well as from institutions such as the Victoria and Albert Museum. His curation took advantage of the great wave of interest in all things Japanese, which led to an idealised and commodified representation of Japanese culture in late Victorian and Edwardian Britain. Stevenson also raised awareness of Japanese artistic traditions in Britain, exhibiting some of the tools that Japanese artists had employed in the production of such objects. This article examines how a provincial British curator was able to address the popularity of the idealised image of Japan, whilst defusing the mystery and exoticism associated with such a ‘romantic' vision. He was able to deconstruct part of the de-historicised idea of Japanese culture although the view of Japan as exotic ‘Other' remained. This article explores Stevenson's role in spreading a more contextualised representation of Japanese art in the Northeast of England, questioning the ‘peripheral’ connotation of British museums outside London.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"16 1","pages":"46 - 62"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48386212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

‘The Hatton gallery will be the scene of an experiment’: The impact of the relationship between a university institution, its art gallery and its fine art professor “哈顿画廊将成为一个实验的场景”:一个大学机构、它的艺术画廊和它的美术教授之间关系的影响

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Museum History Journal Pub Date : 2023-01-02 DOI: 10.1080/19369816.2023.2196651

Melanie Gail Stephenson

{"title":"‘The Hatton gallery will be the scene of an experiment’: The impact of the relationship between a university institution, its art gallery and its fine art professor","authors":"Melanie Gail Stephenson","doi":"10.1080/19369816.2023.2196651","DOIUrl":"https://doi.org/10.1080/19369816.2023.2196651","url":null,"abstract":"ABSTRACT In the early 1950s, Lawrence Gowing, as Professor of Fine Art, King’s College, Durham (now Newcastle University) curated significant exhibitions for the College’s Hatton Gallery. During 1951 and 1952 these included Pictures from Collections in Northumberland, and two exhibitions concerned with the display of Poussin’s series of paintings The Seven Sacraments, loaned from the National Gallery of Scotland. Pictures from Collections in Northumberland engaged Gowing with country house collections, art scholars and connoisseurs, and resulted in the reattribution and global relocations of artworks. The Poussin project similarly drew on academic expertise and involved the Hatton Gallery in what Gowing described as ‘the scene of an experiment’. Concurrently, Gowing was also formulating the idea of creating an art collection for the Hatton Gallery. In this article, these projects are described, and examined for their contribution to the art market, art scholarship, art education, and the formation of a university art collection within the structure of a higher education institution. Consideration is also given to how Gowing’s use of the Hatton Gallery may have set the scene for its use, later in the decade, for the experimental and acknowledged ground-breaking exhibition-making of Richard Hamilton and Victor Pasmore.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"16 1","pages":"28 - 45"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45283445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Te Papa to Berlin. The Making of Two Museums 特帕帕去柏林。两座博物馆的建造

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Museum History Journal Pub Date : 2022-07-03 DOI: 10.1080/19369816.2022.2120294

Lily Withycombe

引用次数: 0

The Museum: A Short History of Crisis and Resilience 《博物馆:危机与韧性简史

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Museum History Journal Pub Date : 2022-07-03 DOI: 10.1080/19369816.2022.2118408

Philip W. Deans

引用次数: 1

Men-only clubs and museums: associational culture and the gendering of Herne Bay’s museum between the wars 男性专用俱乐部和博物馆：战争之间的联想文化和埃尔恩湾博物馆的性别化

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Museum History Journal Pub Date : 2022-07-03 DOI: 10.1080/19369816.2022.2143097

H. Wickstead, P. Knowles

引用次数: 0

The conservation-restoration history of museum collections in Turkey 土耳其博物馆藏品的保护修复历史

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Museum History Journal Pub Date : 2022-07-03 DOI: 10.1080/19369816.2022.2079810

Nevra Erturk

{"title":"The conservation-restoration history of museum collections in Turkey","authors":"Nevra Erturk","doi":"10.1080/19369816.2022.2079810","DOIUrl":"https://doi.org/10.1080/19369816.2022.2079810","url":null,"abstract":"ABSTRACT The first practices in the conservation-restoration of museum collections in Turkey began in the nineteenth century with the opening of the Imperial Museum during the Ottoman Empire. Conservation-restoration work on movable cultural property gained momentum at the beginning of the Republican period from 1923 in terms of legal regulations and organisations. The number of museums increased, workshops and laboratories were established, and formal and non-formal training programmes were launched in subsequent years. In this context, our research questions are: What were the improvements in conservation-restoration work on museum collections in the Republican period? Were the scope and quality of conservation-restoration practices in state museums and private museums different from each other in the Republican period? A literature review and personal communication are used as research methods. The article gives information on the history of conservation-restoration work on museum collections; discusses the legal regulations, organisations, experts, workshops, and laboratories; and the procurement of materials and equipment. It concludes with a general evaluation of the nature and extent of conservation-restoration practices of collections in Turkish museums.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":"15 1","pages":"176 - 192"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48413731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The forgotten museum of Hong Kong: a place of unfulfilled ambitions (1869–1933) 被遗忘的香港博物馆:一个未实现抱负的地方(1869-1933)

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Museum History Journal Pub Date : 2022-07-03 DOI: 10.1080/19369816.2022.2142411

Daphné Sterk

引用次数: 0

Filling the bottomless pit: Financing the construction of the Royal Museums of Art and History in interwar Belgium (1919–39) 填补无底洞：资助两次世界大战期间比利时皇家艺术和历史博物馆的建设（1919–39）

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Museum History Journal Pub Date : 2022-07-03 DOI: 10.1080/19369816.2022.2157160

G. Verhoeven

引用次数: 0