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Boros Collection, Bunker Berlin
In June 2008, Christian Boros opened his collection of contemporary art to the public in a bunker built in 1942 in the center of Berlin, which he renovated into a spectacular museum with 80 rooms. The first permanent exhibition, which this book records, features work by lesser-known talents alongside famous figures such as Olafur Eliasson, Elmgreen & Dragset, Sarah Lucas, Tobias Rehberger, Anselm Reyle and Santiago Sierra.
The First Modern Museums of Art
In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the muse...
The Belvedere: 300 Years a Venue for Art
Anniversary publication of the Belvedere The Belvedere in Vienna epitomizes the changes that have taken place over the course of three centuries in the concept of what constitutes a museum. Originally built by Prince Eugene of Savoy to enhance his prestige as a prince, under Maria Theresa, the Upper Belvedere became one of the world’s first public museums. The idea of presenting Austrian art in an international context, which in 1903 motivated the establishment of the Modern Gallery in the Lower Belvedere, remains the key objective of this world-famous cultural institution. In this critical homage, renowned authors explore enduring questions that transcend the different epochs, such as : W...
The Art Public
A brief intellectual history of the idea of the art public. The Art Public explores the history of efforts to imagine a collective, general audience for art in the world. Oskar Bätschmann explores both written and pictorial evidence of the development of the “art public” as an idea and disentangles connections between art production, audiences, and actual reception. Two aspects shape the narrative: the transformation of the audience from passive recipient to active agent as well as satirical jabs at audiences by the likes of Cruikshank, Rowlandson, and Daumier. This sweeping account connects the ancient Greeks with Renaissance painters, modern writers, and contemporary movie stars in a deft survey of the ways we imagine art’s immediate impact on audiences and its afterlives in museums, galleries, and the world.
William Hunter's World
Despite William Hunter's stature as one of the most important collectors and men of science of the eighteenth century, and the fact that his collection is the foundation of Scotland's oldest public museum, The Hunterian, until now there has been no comprehensive examination in a single volume of all his collections in their diversity. This volume restores Hunter to a rightful position of prominence among the medical men whose research and amassing of specimens transformed our understanding of the natural world and man's position within it. This volume comprises essays by international specialists and are as diverse as Hunter's collections themselves, dealing as they do with material that ran...
Jahrbuch des Kunsthistorischen Museums Wien. Band 15/16
Der Doppelband des 1881 gegründeten Periodikums ist zur Gänze der Edition größtenteils unveröffentlichten Quellenmaterials zur Geschichte der kunst- und naturhistorischen Sammlungen des Kaiserhauses unter Maria Theresia und ihrem Sohn Josef II. gewidmet. Die für den Zeitraum 1777 bis 1787 erfassten Archivalien veranschaulichen den zukunftsweisenden Wandel, der sich im Zeichen der Aufklärung vollzog. Aufschlussreiche Details beleuchten den Anteil beider Monarchen an diesem Prozess, der zur Entstehung des »modernen« Museums führen sollte. Dokumentiert werden u.a. Maßnahmen zu einer räumlichen Vereinigung der Bestände, ihre Widmung dem öffentlichen Interesse, die Gewährung kostenlosen Zugangs, Ansätze zu einer wissenschaftlichen Erfassung der Objekte sowie Fragen der Organisation, der Finanzierung und des Personals.
Documenta 12
Catalogus met meer dan honderd hedendaagse kunstenaars die deelnamen aan de twaalfde Documenta in Kassel, een vijfjaarlijkse tentoonstelling gewijd aan moderne kunst.
Tempel der Kunst
Wie entstanden Museen in Deutschland? In einer aktualisierten Neuausgabe legt Bénédicte Savoy eine umfassende Geschichte der frühen »Tempel der Kunst« im deutschen Sprachraum vor. Der reich bebilderte Band stellt die Fakten, Debatten und Innovationen in der Museumslandschaft des 18. Jahrhunderts dar und bettet sie in ihre Kontexte ein. Die Beiträge folgen alle einer einheitlichen Gliederung und berücksichtigen erstmals auch die öffentlichkeitsrelevanten Fakten wie Eintrittspreise, Besucherbücher, Besucherordnungen und Öffnungszeiten. Eine CD mit Auszügen aus Reisebeschreibungen des 18. Jahrhunderts sowie weiteren Abbildungen – darunter Grundrisse, Hängepläne, Innenansichten der Galerien und Titelseiten der Ausstellungskataloge – bietet als Anhang zum Band eine unersetzliche Materialsammlung für die Museumsforschung.
A German Dream
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