By Claire Robins
Among fresh modern paintings and museological guides, there were particularly few which direct recognition to the unique contributions that 20th and twenty-first century artists have made to gallery and museum interpretation practices. There are fewer nonetheless that recognize the pedagogic capability of interventionist artistic endeavors in galleries and museums. This booklet fills that hole and demonstrates how artists were making curious yet, none-the-less, priceless contributions to museum schooling and curation for your time. Claire Robins investigates intensive the phenomenon of artists' interventions in museums and examines their pedagogic implications. She additionally brings to gentle and seeks to unravel some of the contradictions surrounding artists' interventions, the place at the one hand modern artists were accused of alienating audiences and, at the different, seem to have performed an important function in orchestrating optimistic advancements to the way in which that studying is outlined and configured in museums. She examines the disruptive and parodic concepts that artists have hired, and argues for that they are often understood as a part of a circulation to re-establish the museum as a discursive discussion board. This priceless ebook could be crucial interpreting for college students and students of museum reviews, in addition to paintings and cultural stories.
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Additional info for Curious Lessons in the Museum: The Pedagogic Potential of Artists’ Interventions
40 Making museums useful: the social and economic routes The Enlightenment brought a new rationality to bear on the function and potential of museums as useful components of civilised society and by the nineteenth century museums were duly graced with the task of social reform. 1 Andrea Fraser, Little Frank and His Carp (2004), video still. 41 In Discipline and Punish (1975) Foucault devotes an entire chapter to the production of such ‘Docile bodies’ in the eighteenth century. Tony Bennett, who writes from a distinctly Foucauldian perspective, reveals how, in the nineteenth century, museums became instructional spaces for regulating and normalising certain codes of behaviour.
But there was a notable overarching desire to establish continuity between art and nature. These categories of artificialia (art and artefacts) and naturalia (specimens) were exhibited cheek by jowl in many early collections such as the cabinet of Francesco Calozari (1622). Here, prize possessions were displayed on a kind of altar. The collection was not without hierarchy or order, but this was a much more personal matter. Rarity was often the a priori justification for an object’s presence and placement within a display hierarchy.
Chapters 2 and 3 examine the ways in which artists, in the early and mid-twentieth century, have intervened in these dominant discourses. The chapters also identify a substantive lineage of critical, disruptive, visual, immersive and parodic methods employed in interventionist artworks within a continuum of avant-garde practice. It should be emphasised that this book does not attempt a comprehensive survey, either of artists’ interventions or of learning in museums. Rather, it focuses on general tendencies and individuals who have most influenced how learning in museums is experienced.