Questo spazio è stato pensato per tutti i partecipanti al corso di Museografia e Allestimento, tenuto dal Professor Carlos Basualdo alla Facoltà di Design e Arti, presso lo IUAV di Venezia.
mercoledì 23 maggio 2007
Syllabus
Così magari di volta in volta si possono controllare i testi e averli sempre a portata di mano... Vi inserisco il syllabus nel primo commento, così non vi occupa troppo spazio nella schermata.
Introduction: Exhibition Practice and Art Historical Interpretation 1. Rosalind E. Krauss, The Optical Unconscious, The MIT Press, Cambridge 1994, pp. 243-329. 2. Victoria Newhouse, “Jackson Pollock: How installation can affect Modern Art”, in Art and The Power of Placement, The Monacelli Press, New York 2005, pp. 142-211. 3. T. J. Clark, “In Defense of Abstract Expressionism”, October , Vol. 69, Summer 1994, pp. 22-48, trad. it. in T.J. Clark, Addio a un’idea. Modernismo e arti visive, Einaudi, Torino 2005, pp. 349-375.
Chapter 1: Genealogy of the Museum 1. James J. Sheehan, “Eighteenth-century origins”, in Museums in the German Art World. From the End of Old Regime to the Rise of Modernity, Oxford University Press 2000. 2. Hans Belting, “The Farewell to Apollo”, in The Invisible Masterpiece, Reaktion Books, London 2001. 3. Seth Koven, “The Whitechapel Picture Exhibitions and the Politics of Seeing”, in Daniel J. Sherman and Irit Rogoff, ed. Museum Culture: Histories, Discourses, Spectacle, University of Minnesota Press, Minneapolis 1994. 4. Daniel J. Sherman, “Quatremère/Benjamin/Marx: Art Museums, Aura and Commodity Fetishism”, ibidem. 5. Carol Duncan, “Il museo d’arte ed i riti di cittadinanza”, in Cecilia Ribaldi (a cura di), Il nuovo museo: origini e percorsi. Volume 1, Il Saggiatore, Milano 2005.
Chapter 2: Geneaology of the Exhibition as an Institution 1. Tony Bennett, “The Exhibitionary Complex,” in Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ed., Thinking About Exhibitions, Routledge, New York 1996. 2. Francis Haskell, “Introduction,” in The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition, Yale University Press, London 2000. 3. Francis Haskell, mostre a Parigi e Monaco (atti del convegno) 4. Kenneth W. Luckhurst, “The First Public Exhibitions of Art,” in The Story of Exhibitions, The Studio Publications, London 1951. 5. Kenneth W. Luckhurst, “The Royal Academy Exhibitions”, ibidem.
Chapter 3: Exhibition Design and the Avant-Garde 1. Bruce Altshuler, “Displacement of the Avant-Garde: Exhibition of Degenerate Art, Munich, 1937; First Papers of Surrealism, New York, 1942; Art of this century, New York, 1942,” in The Avant-Garde in Exhibition: New Art in the 20th Century, Harry N. Abrams, Inc., New York 1994. 2. Joan Ockman, “The Road Not Taken: Alexander Dorner’s Way Beyond Art,” in R.E. Somol, ed. Autonomy and Ideology: Positioning an Avant-Garde in America, The Monacelli Press, New York, 1997. 3. Ines Katenhusen, “Alexandre Dorner (1893-1957): A German Art Historian in the United States”, a publication of the American Institute for Contemporary German Studies, The Johns Hopkins University, Baltimore 2002.
Chapter 4: The Avant-Garde and the First Museums of Modern Art 1. Mary Anne Staniszewski, “Creating Installations for Aesthetic Autonomy: Alfre Barr’s Exhibition Technique,” in The Power of Display: A History of Exhibition Installations at the Museum of Modern Art, The MIT Press, Cambridge, MA 1998. 2. Mary Anne Staniszewski, “Framing Installation Design: The International Avant-Gardes”, in The Power of Display: A History of Exhibition Installations at the Museum of Modern Art, The MIT Press, Cambridge, MA 1998. 3. Gail Stavitsky, “A. E. Gallatin’s Gallery and Museum of Living Art (1927-1943)”, American Art, Vol. 7, No. 2 (Spring 1993), pp- 46-63.
Chapter 5: The Venice Biennale and Documenta 1. Vittoria Martini, “A Brief History of I Giardini”, in Muntadas. On Translation: I Giardini, catalogue for the Spanish Pavilion, 51 Venice Biennale, Actar, Barcelona 2005, pp. 205- 233 2. Lawrence Alloway, The Venice Biennale 1895-1968: From Salon to Goldfish Bowl, New York Graphic Society, Greenwich 1968. 3. Walter Grasskamp, “ ‘Degenerate Art’ and Documenta 1: Modernism Ostracized and Disarmed,” in Daniel J. Sherman and Irit Rogoff ed. Museum Cultures: Histories, Discourses, Spectacles, University of Minnesota Press, 1994. 4. Walter Grasskamp, “For Example, Documenta, or, How is Art History Produced?,” included in Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ed., Thinking About Exhibitions, Routledge, London and New York, 1996.
Chapter 6: Exhibition Practice and Conceptual Art 1. Alison M. Green, “When Attitudes Become Form and the Contest over Conceptual Art’s History,” included in Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice, Cambridge 2. Kynaston L. McShine, ed., Information, The Museum of Modern Art, New York 1970. 3. Ken Allan, “Understanding Information,” included in Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice, Cambridge University Press, 2004.
Chapter 7: The Curator as Author 1. Edward Fry, "The Dilemmas of the Curator," included in Brian O'Doherty, ed., Museums in Crises, George Braziller, New York, 1972. 2. Lawrence Alloway, “The Great Curatorial Dim-out,” in Network: Art and the Complex Present, UMI Research press, Ann Arbor, MI. 3. Natalie Heinich and Michael Pollak, “From Museum Curator to Exhibition Auteur: Inventing a Singular Position,” in Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ed., Thinking About Exhibitions, Routledge, New York 1996.
Chapter 8: Exhibitions and the Late Capitalist Museum I 1. Georges Henri Rivière, “Problems of the Museum of Contemporary Art in the West,” Museum Vol. XXIV, Nº 1, Unesco, 1972. 2. Pierre Gaudibert, Pontus Hulten, Michael Kustow, Jean Leymarie, François Mathey, Georges Henri Rivière, Harald Szeemann, Eduard de Wilde, “Exchange of a Group of Experts,” Museum Vol. XXIV, Nº 1, Unesco, 1972. 3. Pierre Gaudibert, “Il museo d’arte moderna, animazione e contestazione”, in Cecilia Ribaldi (a cura di), Il nuovo museo: origini e percorsi. Volume 1, Il Saggiatore, Milano 2005. 4. Michael Kustow, “Profiles and Situations of Some Museums of Contemporary Art,” Museum Vol. XXIV, Nº 1, Unesco, 1972. 5. William Rubin, In Lawrence Alloway and John Coplans, “Talking with William Rubin: ‘The Museum Concept is Not Infinitely Expandable,” Artforum 13, Nº 2 (October 1974), p.52. 6. Duncan F. Cameron, “Il museo: tempio o forum”, in Cecilia Ribaldi ( a cura di), Il nuovo museo: origini e percorsi. Volume 1, Il Saggiatore, Milano 2005.
Chapter 9: Exhibitions and the Late Capitalist Museum II 1. Brian Holmes. “The Flexible Personality,” ,” in Hieroglyphs of the Future: Art and Politics in a Networked Era, Paris-Zagreb, 2003. 2. Rosalind Krauss, “The Cultural Logic of the Late Capitalist Museum,” October Nº 54, MIT Press, Cambridge MA, 1990. 3. Brian Holmes, “Reflecting Museums: Art in the Mirror of Political Economy,” in Hieroglyphs of the Future: Art and Politics in a Networked Era, Paris-Zagreb, 2003.
Additional Readings
Kenneth W. Luckhurst, Chapters 5, 6, 8, 9 and 16, in The Story of Exhibitions, The Studio Publications, London 1951.
Martha Ward, “What’s Important About the History of Modern Art Exhibitions?”, in Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ed., Thinking About Exhibitions, Routledge, New York 1996.
Cynthia Goodman, “The Art of Revolutionary Display Techniques,” in Lisa Phillips, ed. Frederick Kiesler, Whitney Museum of American Art, New York, 1989.
Alexander Dorner, The Way Beyond ‘Art’, New York University Press, New York, 1958.
Bruce Altshuler, “Dematerialization: The Voice of the Sixties,” in The Avant-Garde in Exhibition: New Art in the 20th Century, Harry N. Abrams, Inc., New York 1994.
Lawrence Alloway, “ ‘Reality’: Ideology at Documenta 5,” in Network: Art and the Complex Present, UMI Research press, Ann Arbor, MI
David Shapiro, “Mr. Processionary and the Conceptacle,” Arts Magazine, September 1970. Pierre Restany, “Le Stedelijk museum de Amsterdam: etablissement pilote, laboratoire N. 1 de la museographie dynamique”. Domus no. 454 (September 1967) p. 50-4.
Ad Petersen, “Dylaby, un labyrinthe dynamique au Stedelijk Museum, 1962,” Bern Klüsser and Katharina Hegewisch, ed., L’art de l’exposition: Une documentation sur trente expositions exemplaires du XXe Siécle, Editions du Regard, Paris 1998.
Ivan Karp, “Oggetti reali, esperienze simulate e differenze culturali. Paradossi e tensioni nella progettazione di mostre”, in Cecilia Ribaldi (a cura di), Il nuovo museo: origini e percorsi. Volume 1, Il Saggiatore, Milano 2005.
ciao a tutti, volevo chiederea qualcuno come anna f, se avete i capitoli tradotti del testo di Bruce Altshuler. se potete aiutarmi contattatemi alla email cloclo1981@gmail.com grazie
3 commenti:
Introduction: Exhibition Practice and Art Historical Interpretation
1. Rosalind E. Krauss, The Optical Unconscious, The MIT Press, Cambridge 1994, pp. 243-329.
2. Victoria Newhouse, “Jackson Pollock: How installation can affect Modern Art”, in Art and The Power of Placement, The Monacelli Press, New York 2005, pp. 142-211.
3. T. J. Clark, “In Defense of Abstract Expressionism”, October , Vol. 69, Summer 1994, pp. 22-48, trad. it. in T.J. Clark, Addio a un’idea. Modernismo e arti visive, Einaudi, Torino 2005, pp. 349-375.
Chapter 1: Genealogy of the Museum
1. James J. Sheehan, “Eighteenth-century origins”, in Museums in the German Art World. From the End of Old Regime to the Rise of Modernity, Oxford University Press 2000.
2. Hans Belting, “The Farewell to Apollo”, in The Invisible Masterpiece, Reaktion Books, London 2001.
3. Seth Koven, “The Whitechapel Picture Exhibitions and the Politics of Seeing”, in Daniel J. Sherman and Irit Rogoff, ed. Museum Culture: Histories, Discourses, Spectacle, University of Minnesota Press, Minneapolis 1994.
4. Daniel J. Sherman, “Quatremère/Benjamin/Marx: Art Museums, Aura and Commodity Fetishism”, ibidem.
5. Carol Duncan, “Il museo d’arte ed i riti di cittadinanza”, in Cecilia Ribaldi (a cura di), Il nuovo museo: origini e percorsi. Volume 1, Il Saggiatore, Milano 2005.
Chapter 2: Geneaology of the Exhibition as an Institution
1. Tony Bennett, “The Exhibitionary Complex,” in Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ed., Thinking About Exhibitions, Routledge, New York 1996.
2. Francis Haskell, “Introduction,” in The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition, Yale University Press, London 2000.
3. Francis Haskell, mostre a Parigi e Monaco (atti del convegno)
4. Kenneth W. Luckhurst, “The First Public Exhibitions of Art,” in The Story of Exhibitions, The Studio Publications, London 1951.
5. Kenneth W. Luckhurst, “The Royal Academy Exhibitions”, ibidem.
Chapter 3: Exhibition Design and the Avant-Garde
1. Bruce Altshuler, “Displacement of the Avant-Garde: Exhibition of Degenerate Art, Munich, 1937; First Papers of Surrealism, New York, 1942; Art of this century, New York, 1942,” in The Avant-Garde in Exhibition: New Art in the 20th Century, Harry N. Abrams, Inc., New York 1994.
2. Joan Ockman, “The Road Not Taken: Alexander Dorner’s Way Beyond Art,” in R.E. Somol, ed. Autonomy and Ideology: Positioning an Avant-Garde in America, The Monacelli Press, New York, 1997.
3. Ines Katenhusen, “Alexandre Dorner (1893-1957): A German Art Historian in the United States”, a publication of the American Institute for Contemporary German Studies, The Johns Hopkins University, Baltimore 2002.
Chapter 4: The Avant-Garde and the First Museums of Modern Art
1. Mary Anne Staniszewski, “Creating Installations for Aesthetic Autonomy: Alfre Barr’s Exhibition Technique,” in The Power of Display: A History of Exhibition Installations at the Museum of Modern Art, The MIT Press, Cambridge, MA 1998.
2. Mary Anne Staniszewski, “Framing Installation Design: The International Avant-Gardes”, in The Power of Display: A History of Exhibition Installations at the Museum of Modern Art, The MIT Press, Cambridge, MA 1998.
3. Gail Stavitsky, “A. E. Gallatin’s Gallery and Museum of Living Art (1927-1943)”, American Art, Vol. 7, No. 2 (Spring 1993), pp- 46-63.
Chapter 5: The Venice Biennale and Documenta
1. Vittoria Martini, “A Brief History of I Giardini”, in Muntadas. On Translation: I Giardini, catalogue for the Spanish Pavilion, 51 Venice Biennale, Actar, Barcelona 2005, pp. 205- 233
2. Lawrence Alloway, The Venice Biennale 1895-1968: From Salon to Goldfish Bowl, New York Graphic Society, Greenwich 1968.
3. Walter Grasskamp, “ ‘Degenerate Art’ and Documenta 1: Modernism Ostracized and Disarmed,” in Daniel J. Sherman and Irit Rogoff ed. Museum Cultures: Histories, Discourses, Spectacles, University of Minnesota Press, 1994.
4. Walter Grasskamp, “For Example, Documenta, or, How is Art History Produced?,” included in Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ed., Thinking About Exhibitions, Routledge, London and New York, 1996.
Chapter 6: Exhibition Practice and Conceptual Art
1. Alison M. Green, “When Attitudes Become Form and the Contest over Conceptual Art’s History,” included in Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice, Cambridge
2. Kynaston L. McShine, ed., Information, The Museum of Modern Art, New York 1970.
3. Ken Allan, “Understanding Information,” included in Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice, Cambridge University Press, 2004.
Chapter 7: The Curator as Author
1. Edward Fry, "The Dilemmas of the Curator," included in Brian O'Doherty, ed., Museums in Crises, George Braziller, New York, 1972.
2. Lawrence Alloway, “The Great Curatorial Dim-out,” in Network: Art and the Complex Present, UMI Research press, Ann Arbor, MI.
3. Natalie Heinich and Michael Pollak, “From Museum Curator to Exhibition Auteur: Inventing a Singular Position,” in Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ed., Thinking About Exhibitions, Routledge, New York 1996.
Chapter 8: Exhibitions and the Late Capitalist Museum I
1. Georges Henri Rivière, “Problems of the Museum of Contemporary Art in the West,” Museum Vol. XXIV, Nº 1, Unesco, 1972.
2. Pierre Gaudibert, Pontus Hulten, Michael Kustow, Jean Leymarie, François Mathey, Georges Henri Rivière, Harald Szeemann, Eduard de Wilde, “Exchange of a Group of Experts,” Museum Vol. XXIV, Nº 1, Unesco, 1972.
3. Pierre Gaudibert, “Il museo d’arte moderna, animazione e contestazione”, in Cecilia Ribaldi (a cura di), Il nuovo museo: origini e percorsi. Volume 1, Il Saggiatore, Milano 2005.
4. Michael Kustow, “Profiles and Situations of Some Museums of Contemporary Art,” Museum Vol. XXIV, Nº 1, Unesco, 1972.
5. William Rubin, In Lawrence Alloway and John Coplans, “Talking with William Rubin: ‘The Museum Concept is Not Infinitely Expandable,” Artforum 13, Nº 2 (October 1974), p.52.
6. Duncan F. Cameron, “Il museo: tempio o forum”, in Cecilia Ribaldi ( a cura di), Il nuovo museo: origini e percorsi. Volume 1, Il Saggiatore, Milano 2005.
Chapter 9: Exhibitions and the Late Capitalist Museum II
1. Brian Holmes. “The Flexible Personality,” ,” in Hieroglyphs of the Future: Art and Politics in a Networked Era, Paris-Zagreb, 2003.
2. Rosalind Krauss, “The Cultural Logic of the Late Capitalist Museum,” October Nº 54, MIT Press, Cambridge MA, 1990.
3. Brian Holmes, “Reflecting Museums: Art in the Mirror of Political Economy,” in Hieroglyphs of the Future: Art and Politics in a Networked Era, Paris-Zagreb, 2003.
Additional Readings
Kenneth W. Luckhurst, Chapters 5, 6, 8, 9 and 16, in The Story of Exhibitions, The Studio Publications, London 1951.
Martha Ward, “What’s Important About the History of Modern Art Exhibitions?”, in Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ed., Thinking About Exhibitions, Routledge, New York 1996.
Cynthia Goodman, “The Art of Revolutionary Display Techniques,” in Lisa Phillips, ed. Frederick Kiesler, Whitney Museum of American Art, New York, 1989.
Alexander Dorner, The Way Beyond ‘Art’, New York University Press, New York, 1958.
Bruce Altshuler, “Dematerialization: The Voice of the Sixties,” in The Avant-Garde in Exhibition: New Art in the 20th Century, Harry N. Abrams, Inc., New York 1994.
Lawrence Alloway, “ ‘Reality’: Ideology at Documenta 5,” in Network: Art and the Complex Present, UMI Research press, Ann Arbor, MI
David Shapiro, “Mr. Processionary and the Conceptacle,” Arts Magazine, September 1970.
Pierre Restany, “Le Stedelijk museum de Amsterdam: etablissement pilote, laboratoire N. 1 de la museographie dynamique”. Domus no. 454 (September 1967) p. 50-4.
Ad Petersen, “Dylaby, un labyrinthe dynamique au Stedelijk Museum, 1962,” Bern Klüsser and Katharina Hegewisch, ed., L’art de l’exposition: Une documentation sur trente expositions exemplaires du XXe Siécle, Editions du Regard, Paris 1998.
Ivan Karp, “Oggetti reali, esperienze simulate e differenze culturali. Paradossi e tensioni nella progettazione di mostre”, in Cecilia Ribaldi (a cura di), Il nuovo museo: origini e percorsi. Volume 1, Il Saggiatore, Milano 2005.
ciao a tutti...
di alcuni di questi testi (pochi)ho la traduzione in italiano...se vi serve fatemi sapere!
ciao,
anna
ciao a tutti, volevo chiederea qualcuno come anna f, se avete i capitoli tradotti del testo di Bruce Altshuler.
se potete aiutarmi contattatemi alla email cloclo1981@gmail.com
grazie
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