Monographic Exhibitions And The History Of Art

This edited collection traces the impact of monographic exhibitions on the discipline of art history from the first examples in the late eighteenth century through the present. Roughly falling into three genres (retrospectives of living artists, retrospectives of recently deceased artists, and monographic exhibitions of Old Masters), specialists examine examples of each genre within their social, cultural, political, and economic contexts. Exhbitions covered include Nathaniel Hone’s 1775 exhibition, the Holbein Exhibition of 1871, the Courbet retrospective of 1882, Titian's exhibition in Venice, Poussin's Louvre retrospective of 1960, and El Greco's anniversaty exhibitions of 2014.

This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.

An anthology of writings on exhibition practice from artists, critics, curators and art historians which address the contradictions posed by museum and gallery staged exhibitions, and the challenge of staging art presentations and displays.

Museums of Language and the Display of Intangible Cultural Heritage presents essays by practitioners based in language museums around the world. Describing their history, mission, and modes of display, contributors demonstrate the important role intangible heritage can and should play in the museum. Arguing that languages are among our most precious forms of cultural heritage, the book also demonstrates that they are at risk of neglect, and of endangerment from globalisation and linguistic imperialism. Including case studies from across Europe, North America, Africa, and Asia, this book documents the vital work being done by museums to help preserve languages and make them objects of broad public interest. Divided into three sections, contributions to the book focus on one of three types of museums: museums of individual languages, museums of language groups – both geographic and structural – and museums of writing. The volume presents practical information alongside theoretical discussions and state-of-the-art commentaries concerning the representation of languages and their cultural nature. Museums of Language and the Display of Intangible Cultural Heritage is the first volume to address the subject of language museums and, as such, should be of interest to academics, researchers, and postgraduate students in the fields of museum and cultural heritage studies, applied linguistics, anthropology, tourism, and public education.

Spaces of Connoisseurship explores the ‘who’, ‘where’ and ‘how’ of judging Old Master paintings in the nineteenth-century British art trade, via a comparison of family art dealers Thomas Agnew & Sons (“Agnew’s) and London’s National Gallery.

In 17th and 18th century Europe, folding fans were important, socially-coded fashion accessories. In the course of the 18th century, painted and printed fan leaves displayed an increasing variety of visual motifs and artistic subject matter, while many of them also addressed contemporary political and social topics. This book studies the visual and material diversity of fans from an interdisciplinary perspective. The individual essays analyze fans in the context of the fine and applied arts, discussing the role of fans in cultures of communication and examining them as souvenir objects and vehicles for political and social messages.

Biopics on artists influence the popular perception of artists' lives and work. Projected Art History highlights the narrative structure and images created in the film genre of biopics, in which an artist's life is being dramatized and embodied by an actor. Concentrating on the two case studies, Basquiat (1996) and Pollock (2000), the book also discusses larger issues at play, such as how postwar American art history is being mediated for mass consumption. This book bridges a gap between art history, film studies and popular culture by investigating how the film genre of biopics adapts written biographies. It identifies the functionality of the biopic genre and explores its implication for a popular art history that is projected on the big screen for a mass audience.

This book is available as open access through the Knowledge Unlatched programme and is available on www.bloomsburycollections.com. "A remarkable resource for the field of fashion studies suitable for both newcomers ... {and] seasoned practitioners." - Fashion Historia "A precious source in the study of the subject ... inspiring." - The Journal of Dress History The last decade has seen the growing popularity and visibility of fashion as a cultural product, including its growing presence in museum exhibitions. This book explores the history of fashion displays, highlighting the continuity of past and present curatorial practices. Comparing and contrasting exhibitions from different museums and decades-from the Paris Exposition Universelle of 1900 to the Alexander McQueen Savage Beauty show at the Metropolitan Museum of Art in 2011, and beyond-it makes connections between museum fashion and the wider fashion industry. By critically analyzing trends in fashion exhibition practice over the 20th and early 21st centuries, Julia Petrov defines and describes the varied representations of historical fashion within British and North American museum exhibitions. Rooted in extensive archival research on exhibitions by global leaders in the field-from the Victoria and Albert and the Bath Fashion Museum to the Brooklyn and the Royal Ontario Museums-the work reveals how fashion exhibitions have been shaped by the values and anxieties associated with fashion more generally. Supplemented by parallel critical approaches, including museological theory, historiography, body theory, material culture, and visual studies, Fashion, History, Museums demonstrates that in an increasingly corporate and mass-mediated world, fashion exhibitions must be analysed in a comparative and global context. Richly illustrated with 70 images, this book is essential reading for students and scholars of fashion history and museology, as well as curators, conservators, and exhibition designers.