This volume argues that a small, loosely connected group of men constituted an informal museum movement in America from about 1740 to 1870. As they formed their pioneer museums, these men were guided not so much by European examples, but rather by the imperatives of the American democratic culture, including the Enlightenment, the simultaneous decline of the respectability and rise of the middle classes, the Age of Egalitarianism, and the advent of professionalism in the sciences. Thus the pre-1870 American museum was neither the frivolous sideshow some critics have imagined, nor the enclave for elitists that others have charged. Instead, the proprietors displayed serious motives and egalitarian aspirations. The conflicting demands for popular education on the one hand and professionalism on the other were a continuing source of tension in American museums after about 1835, but by 1870 the two claims had synthesized into a rough parity. This synthesis, the "American Compromise," has remained the basic model of museums in America down to the present. Thus, by 1870, the form of the modern American museum as an institution which simultaneously provides popular education and promotes scholarly research was completely developed.
O'Neill describes how, by the 1980s, curated group exhibitions—large-scale, temporary projects with artworks cast as illustrative fragments—came to be understood as the creative work of curator-auteurs.
49 In April 2013, Maria Miller, then the UK Culture Secretary, spoke about fighting culture's corner in an age of austerity. Her speech emphasised the role that culture had to play in the UK's nascent economic recovery, ...
Bath – City of Bath Council and Committee Minutes, 1939–1945. Bath Record Office CP31. Bath Corporate Property Committee – War-Time Storage Files. Bath Library & Art Gallery: Directors' Reports 1938–1966. Bath Record Office 16/3/8.
Creamier: Contemporary Art in Culture, is the 5th addition to Phaidon?s world renowned Cream series.
In Culture as Weapon, acclaimed curator and critic Nato Thompson reveals how institutions use art and culture to ensure profits and constrain dissent--and shows us that there are alternatives.
Dialogue with Simon Njami, Independent Curator Simon Njami is an independent curator, art critic, journalist, biographer, and awardwinning novelist. He is a founding editor of the art journal Revue Noire, established in 1989 as one of ...
A selection of 100 of the most significant emerging artists today.
Returning to the Schutz discussions , artist and writer Malik Gaines spoke potently to the subject of the suggested destruction of artwork . Following the demands that Schutz's painting be destroyed , many commentators relayed fears of ...
... Lipman soon became the Council's enfant terrible and chief ideologue , intimidating more moderate Council members and persistently advancing cultural policies advocated by the New Criterion and the Heritage Foundation .
Illustrated with contemporary case studies, Curating Design provides a history of and introduction to design curatorial practice both within and outside the museum.