By Paul Basu, Sharon Macdonald
Exhibition Experiments is a full of life assortment that considers experiments with museological shape that problem our knowing of - and adventure with - museums. Explores examples of museum experimentalism in mild of state of the art museum thought attracts on more than a few worldwide and topical examples, together with museum experimentation, exhibitionary varieties, the destiny of traditional notions of ‘object’ and ‘representation’, and the influence of those alterations Brings jointly a world team of paintings historians, anthropologists, and sociologists to question conventional disciplinary limitations Considers the influence of know-how at the museum spacetackles various examples of experimentalism from many alternative international locations, together with Australia, Austria, Germany, Israel, Luxembourg, Sweden, the united kingdom and the united states Examines the adjustments and not easy new probabilities dealing with museum stories
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Extra resources for Exhibition Experiments (New Interventions in Art History)
That is, rather than being a full-blown attempt at a participatory and affective experience, simple devices such as push-buttons stand in for a larger range of possibilities: for the potential of the media to be controlled by its users, for museums where visitors would organize their own displays, and for the affective possibilities of media (as images appear and disappear into darkness with the press of a button). The user-orientation of 1920s and 1930s avant-garde exhibition experiments depended on a notion of the ‘‘active’’ visitor which was tied to a socialist vision; it had a meaning which it has lost in our own time.
De Certeau, M. (1984 ). The Practice of Everyday Life. Trans. S. Rendall. Berkeley: California University Press. Dubin, S. C. (2006) In-civilities in civil(ized) places: ‘‘culture wars’’ in comparative perspective. In S. ), A Companion to Museum Studies. Oxford: Blackwell, pp. 477–93. Duncan, C. Wallach (2004 ) The museum of modern art as a late capitalist ritual: an iconographic analysis. In D. Preziosi and C. ), Grasping the World: The Idea of the Museum. Aldershot: Ashgate, pp. 483–500.
The T-type structures were cantilevered, so that visitors could adjust pictures to eye height, or reorganize them according to whim, changing their relationship to other exhibited elements. The L and T units were transportable and could be adapted to suit different exhibition spaces. Neurath’s exhibitions were also modular, the Isotype charts made up of identical figures pasted onto board, and the display system standardized: There were a number of thin walls of wood put together by a sort of hook.