Reconstructing Exhibitions in Art Institutions  book cover
1st Edition

Reconstructing Exhibitions in Art Institutions



  • Available for pre-order on June 9, 2023. Item will ship after June 30, 2023
ISBN 9780367234218
June 30, 2023 Forthcoming by Routledge
264 Pages 46 B/W Illustrations

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Book Description

Reconstructing Exhibitions in Art Institutions spans exhibition histories as anti-apartheid activism within South African community arts; collectivities and trade unions in Argentina; Civil Rights movements and Black communities in Baltimore; institutional self-critique within the neoliberal museum; reframing feminisms in USA; revisiting Cold War Modernisms in Eastern Europe among other themes.

An interdisciplinary project with a global reach, this edited volume considers the theme of exhibitions as political resistance as well as cultural critique from global perspectives including South Africa, Latin America, Eastern Europe, USA, and West Europe. The book includes contributions by ten authors from the fields of art history, social sciences, anthropology, museum studies, provenance research, curating and exhibition histories. The edited volume finally examines exhibition reconstructions both as a symptom of advanced capitalism, geopolitical dynamics, and social uprisings, and as a critique of imperial and capitalist violence. Art historical areas covered in the book include conceptualism, minimalism, modern painting, global modernisms, archives, and community arts.

This volume will be of interest to a wide range of audiences including art historians, curators, gallery studies and museum professionals, but also scholars and students from the fields of anthropology, ethnography, sociology, and history. It would also appeal to a general public with an interest in modern and contemporary art exhibitions.

Table of Contents

Introduction: Reconstructing Exhibitions: Global Perspectives on Art Institutions, Communities and Activism

Natasha Adamou

 

Part 1. Institutions

  1. When Competition Becomes Form: Exhibition Reconstructions and the Limits of Institutional Self-Critique
  2. David Hodge

  3. Other Primary Structures and the Theatricality of Re-Staging Exhibitions
  4. Kathryn M. Floyd

     

    Part 2. Communities

  5. The "Remembering Exhibitions" of South African Community Arts: Re-appraising the Art of Resistance (Re-opening the archives of anti-apartheid art)
  6. Ksenia Robbe

  7. The Reflexive Riff: Revisiting Contemporary Negro Art at the Baltimore Museum of Art
  8. Morgan Dowty, Gamynne Guillotte, and Jennifer P. Kingsley

  9. The Making of Tucumán Arde (1968), 1997-2012
  10. Isobel Whitelegg

     

    Part 3. Restaging Modernisms

  11. 15 Polish Painters (MoMA, 1961) Fifty-Five Years Later
  12. Magdalena Moskalewicz

  13. Provenance Research: A New Perspective on Exhibitions from the Past
  14. Lucy Wasensteiner

  15. Copy as Container, Original as Content: "The Making of Modern Art" at the Van Abbemuseum
  16. Milena Tomic

     

    Part 4. Counter-narratives

  17. Reading Between the Lines: Locating the politics of Lucy Lippard’s Six Years
  18. Beth Anne Lauritis

  19. Reconstructing Exhibitions in "Times of Interregnum"

           Natasha Adamou

 

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Editor(s)

Biography

Dr Natasha Adamou is Senior Lecturer in Art History at the BA Culture, Criticism and Curation, Central Saint Martins, University of The Arts London. Previously she was Research Fellow in Sculpture at the Henry Moore Foundation - British School at Rome (2015–2016), and Early Career Research Fellow in Critical and Historical Studies at Kingston School of Art (2016–2018). Natasha specialises in modern and contemporary art, including exhibition histories, with an emphasis on histories of decolonisation and immigration. Her research focuses on neo-conceptual art and the lives of diasporas in Britain, especially with regards to conceptions of race, diversity, ecology, and health.

Dr Michaela Giebelhausen is an independent scholar and Associate Lecturer at the Courtauld Institute of Art since 2020. Between 2014-2020, Michaela was Course Leader at the BA Culture Criticism & Curation, Central Saint Martins, University of The Arts London, and Senior Lecturer in Art History at the School of Philosophy and Art History, University of Essex, until 2014.