Sculpture and the Museum

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Antoinette Le Normand-Romain
art institution studies
Birmingham Art Gallery
Braccio Nuovo
Category=AB
Category=AFK
Christopher R. Marshall
collection management
Copley Square
curatorial practice
Della Robbia
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exhibition design theory
Flaxman's Work
Frank Duveneck
Italian Renaissance Sculpture
Johannes Myssok
Khadija Carroll La
Marianne Kinkel
Marietta Cambareri
MOMA Exhibition
Musei Vaticani
museum display strategies
neo-classical to contemporary art
Pauline Ann Hoath
Plaster Cast Collection
Renaissance Sculpture
Rodin's Oeuvre
Rodin's Work
Round Room
Sarah Stanners
sculpture acquisition and display analysis
Sculpture Galleries
Seattle Art Museum
Shaw Collection
Sir John Soane Museum
Site Specific Sculpture
Stockholm Town Hall
Suzanne Macleod
Tate Modern's Turbine Hall
Thayer Tolles
Thorvaldsen Museum
Turbine Hall
work
Wouter Davidts
Zebra Mussels

Product details

  • ISBN 9781138268371
  • Weight: 530g
  • Dimensions: 156 x 234mm
  • Publication Date: 17 Nov 2016
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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Sculpture and the Museum is the first in-depth examination of the varying roles and meanings assigned to sculpture in museums and galleries during the modern period, from neo-classical to contemporary art practice. It considers a rich array of curatorial strategies and settings in order to examine the many reasons why sculpture has enjoyed a position of such considerable importance - and complexity - within the institutional framework of the museum and how changes to the museum have altered, in turn, the ways that we perceive the sculpture within it. In particular, the contributors consider the complex issue of how best to display sculpture across different periods and according to varying curatorial philosophies. Sculptors discussed include Canova, Rodin, Henry Moore, Flaxman and contemporary artists such as Rebecca Horn, Rachel Whiteread, Mark Dion and Olafur Eliasson, with a variety of museums in America, Canada and Europe presented as case studies. Underlying all of these discussions is a concern to chart the critical importance of the acquisition, placement and display of sculpture in museums and to explore the importance of sculptures as a forum for the expression of programmatic statements of power, prestige and the museum's own sense of itself in relation to its audiences and its broader institutional aspirations.

Christopher R. Marshall, Senior Lecturer in Art History and Museum Studies, University of Melbourne, Australia