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An anthology of writings on exhibition practice from artists, critics, curators and art historians plus artist-curators. It addresses the contradictions posed by museum and gallery sited exhibitions, as well as investigating the challenge of staging art presentations, displays or performances, in settings outside of traditional museum or gallery locales.
An anthology of writings on exhibition practice from artists, critics, curators and art historians plus artist-curators. It addresses the contradictions posed by museum and gallery sited exhibitions, as well as investigating the challenge of staging art presentations, displays or performances, in settings outside of traditional museum or gallery locales.
"Presents a multidisciplinary anthology of writings on current exhibition practice by curators, critics, artists, sociologists and historians form North America, Europe and Australia. It marks out the emergence of new discourses surrounding the exhibition and illustrates the urgency of the debates centred in and fostered by exhibitions today. Texts have been grouped ... in sections which focus on the history of the exhibition, forms of staging and spectacle, and questions of curatorship, spectatorship and narrative. These writings ... investigate exhibitions in settings outside of the traditional gallery as well as innovative work in extending cultural debates within the museum ... fully ilustrated with over ninety black-and-white photographs and includes a bibliography on the subject of art exhibitions"--Page i.
Design Objects and the Museum brings together leading design historians, curators, educators and archivists to consider the place of contemporary design objects within museums. Contributors draw on a wide range of 20th century and contemporary examples from international museums to consider how design objects have been curated and displayed within and beyond the museum. The book continues contemporary global debates on the ways in which museums of design engage and educate their public. Chapters are grouped into three thematic sections addressing The Canon and Design in the Museum; Positioning Design within and Beyond the Museum; and Interpretation and the Challenge of Design, with chapters exploring museological practice and issues, the roles people play in creating meaning, and the challenges contemporary design presents to interpretation and learning within the museum.
Rising attendance at museums, along with increased press coverage in the age of the international biennial and the ‘blockbuster’ exhibition, has translated into a growing interest in how exhibitions are made. The new curatorial studies programmes springing up across Europe and North America often deal with theoretical issues, yet one of the central questions of curating frequently remains unframed: What makes an exhibition great? In this book, fourteen essays by active curators and historians address the issue head-on. Focusing on the curation of contemporary art in North America and Europe, What Makes a Great Exhibition?includes essays by the prolific curator Robert Storr on the meaning of ‘exhibition’ and ‘exhibition-maker’; Studio Museum in Harlem director Thelma Golden writes on ethnically specific exhibitions; Dia Foundation curator Lynne Cooke shows how to firmly ground rarified aims; Iwona Blazwick details a century of trailblazing at London’s Whitechapel Art Gallery, where she is director; and curator Carlos Basualdo reflects on the need to establish a meaningful critical context for international biennials. Other writers address such issues as the labelling of exhibits, group exhibitions, exhibiting design, video and craft, as well as the way a venue’s architecture can influence the exhibitions it houses. What Makes a Great Exhibition?contains carefully considered answers to numerous questions of practice even as it raises more questions about exhibition-making today. Stimulating thought about how curatorial objectives mesh with on-the-ground practicalities, this book is vital reading for arts professionals, students of art and curatorial studies, art historians, practising artists and anyone curious about exhibition-making today.
“This is a must-read for the nervous novice as well as the world-weary veteran. The book guides you through every aspect of exhibit making, from concept to completion. The say the devil is in the details, but so is the divine. This carefully crafted tome helps you to avoid the pitfalls in the process, so you can have fun creating something inspirational. It perfectly supports the dictum—if you don’t have fun making an exhibit, the visitor won’t have fun using it.” —Jeff Hoke, Senior Exhibit Designer at Monterey Bay Aquarium and Author of The Museum of Lost Wonder Structured around the key phases of the exhibition design process, this guide offers complete coverage of the tools and processes required to develop successful exhibitions. Intended to appeal to the broad range of stakeholders in any exhibition design process, the book offers this critical information in the context of a collaborative process intended to drive innovation for exhibition design. It is indispensable reading for students and professionals in exhibit design, graphic design, environmental design, industrial design, interior design, and architecture.
You have the camera, you have the skills, and you have the pictures. Now what? Author Shirley Read expertly leads you through the world of exhibiting your photography one minute detail at a time. From finding a space and designing the exhibition to actually constructing a show and publicizing yourself, every aspect of exhibiting your photography is touched upon and clarified with ample detail, anecdotes, and real life case studies. In this new and expanded second edition, Shirley Read further illuminates the world of social networking, exhibiting, and selling photography online so your work is always shown in the best light. Packed with photos of internationally successful exhibitions, check lists, and invaluable advice, this essential reference guide will help amateur and professional photographers alike successfully showcase their bodies of work with confidence and finesse.

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