Sculpture and the Museum is the first in-depth examination of the varying roles and meanings assigned to sculpture in museums and galleries during the modern period, from neo-classical to contemporary art practice. It considers a rich array of curatorial strategies and settings in order to examine the many reasons why sculpture has enjoyed a position of such considerable importance - and complexity - within the institutional framework of the museum and how changes to the museum have altered, in turn, the ways that we perceive the sculpture within it. In particular, the contributors consider the complex issue of how best to display sculpture across different periods and according to varying curatorial philosophies. Sculptors discussed include Canova, Rodin, Henry Moore, Flaxman and contemporary artists such as Rebecca Horn, Rachel Whiteread, Mark Dion and Olafur Eliasson, with a variety of museums in America, Canada and Europe presented as case studies. Underlying all of these discussions is a concern to chart the critical importance of the acquisition, placement and display of sculpture in museums and to explore the importance of sculptures as a forum for the expression of programmatic statements of power, prestige and the museum's own sense of itself in relation to its audiences and its broader institutional aspirations.
'… notes and references for each essay are supplemented by the select bibliography and thorough index, which offer valuable information for researchers. Extremely useful for those with sculpture and curatorial foci, this volume is an exciting addition for fine art and museum libraries… Recommended.' Choice
'The lively discussions in Sculpture and the Museum make it clear that sculpture should never be just 'something that you back into while trying to get a better view of a painting'.' Cassone
'This volume will become a standard reference work on the topic, and joins the increasingly large literature on the subject of display.' Journal of Art Historiography
'… a compendium of fascinating information about sculpture.' Burlington Magazine 'Sculpture and the Museum is a very welcome addition to the field of sculpture studies…' Museum and Society
'The essays, written by art historians and museum professionals at various stages of their careers, as well as Christopher Marshall’s introductory text present a timely and rather expansive view of the complex issues engendered by the physical placement of sculpture within the space of the museum.' The Sculpture Journal
Contents: Subject/Object: new studies in sculpture, Lisa Le Feuvre; Sculpture and the museum, from starry skies to tropical haze, Christopher R. Marshall; Part I Museums and the Sculptor's Legacy: The Gipsoteca of Possagno: from artist's studio to museum, Johannes Myssok; The pantheon, the university and the artist's bequest: the Flaxman Gallery at University College London, Pauline Ann Hoath; Rodin: the construction of an image, Antoinette Le Normand-Romain; Adopting Moore and modernity in Toronto: controversy, reputation and intervention on display, Sarah Stanners. Part II Museum Display and Changing Attitudes to the Critical Status of Sculpture in Museums: Italian Renaissance sculpture at the Museum of Fine Arts, Boston: the early years, Marietta Cambareri; The elephant in the room: George Grey Barnard's Struggle of the Two Natures of Man at the Metropolitan Museum of Art, New York, Thayer Tolles; Sculptures as museum models: Malvina Hoffman's Races of Mankind display at the Field Museum, Chicago, Marianne Kinkel; Out of time and place: the recent history and curious double life of the Sultanganj Buddha, Suzanne MacLeod. Part III Designing Display Settings and the Challenge of New Sculpture: 'The finest sculpture gallery in the world!': the rise and fall - and rise again - of the Duveen Sculpture Galleries at Tate Britain, Christopher R. Marshall; A grey universe: Tate Modern's Turbine Hall and the Unilever series, Wouter Davidts; Object to project: artists' interventions in museum collections, Khadija Carroll La; Select bibliography; Index.
We have become familiar with the notion that sculpture has moved into the 'expanded field', but this field has remained remarkably faithful to defining sculpture on its own terms. Sculpture can be distinct, but it is rarely autonomous. For too long studied apart, within a monographic or survey format, sculpture demands to be reintegrated with the other histories of which it is a part. In the interests of representing recent moves in this direction, this series provides a forum for the publication and stimulation of new research examining sculpture's relationship with the world around it, with other disciplines and with other material contexts.
The Henry Moore Institute, a centre for the study of sculpture, has developed this series. A part of the Henry Moore Foundation, the Institute is an international research hub located in the vibrant city of Leeds where Henry Moore began his training as a sculptor.