Claire Bishop Museums & Collections
In Claire Bishop Museums & Collections, she examines how the public and their cultural expectations have changed the role of the museum. The author argues that the institution has become more representative of public tastes, while at the same time becoming more accessible and affordable to the public. She argues that the shift away from elite culture to a more populist one is a sign of a rapidly changing museum sector. Although she is critical of recent cuts to public funding, she believes that the change in perception is a necessary one.
Exhibition Performance: Conservation, Materiality, Knowledge
The exhibition performance is an exploration of the apparatus of display. It challenges the relationship between collection and audience, as well as the infrastructure used to display it. The group of presenters combined curatorial and conservation knowledge to examine topics such as reinstallation, public-facing documentation, and oral histories. Despite its reductive nature, the exhibition performance reveals the inherent complexity of a collection and the role of its curators.
While the definition of conservation varies widely, it is often considered to be the transmission and support of a performance. Examples of performative artworks include Dance Constructions' living archive, as well as Malba's oral-historic archive. As such, Bishop argues that live art, especially performance art, requires live conservation. Therefore, museums should actively foster live, in-person experiences of performance art as a form of preservation.
As a cultural practitioner, I see the potential of performance-based exhibitions as a way to challenge the status quo in museums. I'm also intrigued by the idea of transforming collections into new mediums, and this book provides a compelling and accessible argument for such an undertaking. In addition, the exhibition performance is an exploration of how museums can make the most of the potential of their collections.
The use of vitality in the creation of contemporary art documentation is a way to revisit debates about the liveness of performance. This concept has roots in Spinoza, Bergson, and Deleuze, and is rooted in contemporary discourses on new materialism. It also acknowledges the importance of primary research in the creation of performance. There's no substitute for this kind of research in the creation of choreographic works.
The re-performance of conservation requires new reorganizational efforts. Performance requires new conceptions of conservation object, and requires different temporal and spatial coherence. It requires a broader discourse. This conversation should be open to all disciplines. This way, more people can engage with the exhibition performance. So, how can we make the most of this critical approach to art?
In her recent book, Curatorial Discourse: The Future of Collections and Museums, Bishop addresses contemporary challenges facing institutions today. She cites the experiences of the Reina Sofia, the van Abbemuseum and the MSUM as examples of successful discursive exhibition practices, which engage audiences in a shared, mutual sense of meaning. The last two museums, in particular, have been the target of local criticism and have faced even greater budget cuts than their eventual fate. The book highlights the challenges of operating museums and collections in an age of economic and political uncertainty, and demonstrates the need for a more expansive and inclusive curatorial practice.
In the 1990s, art critics were displaced by curators, and their work could make or break an artist's career. Increasingly, curatorial work revolves around ethical questions and aims to promote fair mediation. In the 1990s, the "post-political" trend emerged, subjecting art and politics to moral judgments and pushing back against elitist attitudes.
While the recent trend of privatization is challenging public and semi-public museums, this book also offers a valuable contribution to the ongoing debate on museums and their role as research institutions. Rather than arguing for a perfect paradigm for museums, Bishop focuses on museum-related practices that go against the mainstream, but still aim to be socially relevant. In this regard, the book is necessary, but there are some limitations.
The exhibition's title clarifies the intentions of its curators. For example, it implies that the museum intends to tell the story of its collection, rather than simply presenting the history of its collection. By doing this, the museum also seeks to break the boundaries of traditional historiocentric museums. Its curators seek to create a dialogue between academia and the museum world, and to break the historiocentric model.
A more complex model is needed for this kind of project. Instead of presenting collections in chronological order, the curators must consider the time-frame in which the collection was created. This can only be achieved through a collaborative approach. At the same time, curatorial discourse must take into account the experience of the participants. There are no "right answers" to the question of what constitutes a "true collection."
This exhibition reflects the changing aesthetics of the Met's modern art collection. It reveals the manic urgency of accumulation through its display, mixing small productions with iconic works in a deluge of art. The exhibition title communicates the aims of the curator and the exhibition and addresses the impact of speculation. It is a timely reminder to reconsider the Met's museum title. It also offers a unique insight into the history of modern art.
The book, Radical Museology, is written by Claire Bishop, an art historian and professor at the Graduate Center. Bishop's research on contemporary art has been influential. She has written two books, Artificial Hells and Radical Museology, and has been an active contributor to Artforum. Her essays have been translated into eighteen languages. Whether you're planning a Claire Bishop Museums & Collections exhibition or just a personal one, you won't want to miss it.
Throughout the book, Bishop singles out three museums that are facing serious challenges from public funding. All three have faced cuts in their funding, and the van Abbemuseum has had its share of criticism from local people. This is a problem shared by many agents in the critical art and theory scene. The primary problem is that many of them work in a closed world, avoiding dialogue with local communities, politics, or other segments of society.
For example, in one of the Reina Sofia's educational programs, the curators encourage visitors to participate in the curatorial process by inviting independent professionals, art historians, artists, and non-professionals to contribute to the process. Their discussions, which involved a diverse range of perspectives, helped identify the most important themes of the exhibition. Ultimately, the title of this exhibition should be compelling enough to attract visitors to the museum.
Impact of cuts in public support
In her book, Claire Bishop examines the effect of cuts to public support on three art museums. The van Abbemuseum, the Kunstmuseum of Rotterdam, and the Royal Museum of Fine Arts in Boston all suffered a decline in funding. The van Abbemuseum was especially hard-hit, receiving greater cuts than were eventually implemented. The museum's work has been undermined by global economic and political forces. Meanwhile, museums in the Balkans are closing due to a lack of public support.
The most significant challenge facing the museum sector is the role of the spectator. But some museums are also places of research, and Bishop highlights three as places where curatorial research takes place. Her approach to exhibitions is problematic. Museums are not simply places to view art - it's also important to engage in critical thinking. This book is a necessary contribution to ongoing discussions on the role of museums.
|1||Ancient Terracottas from South Italy and Sicily in the J. Paul Getty Museum||View|
|2||The Classic Western Collection||View|