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Art and museum studies
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"This book deserves a place on the museum–studies reading list and on the bookshelf of anyone seriously interested in the cultural place of museums today. Its lucid, observant essays take an informed look at a now ubiquitous institution, offering new points of view about the nature of the museum experience. Art and its Publics provides a welcome corrective to the presumption that art museums are monolithic institutions that narrowly control the perceptions and discussions of their visitors." Diana Strazdes, University of California, Davis
"Art and its Publics launches a much–needed exploration of art′s audiences beginning with McClellan′s ‘A Brief History of the Art Museum Public,’ an essay which is well worth the book′s price alone." Jeffrey Abt, Wayne State University
"A stimulating and provocative review of the range of diverse exhibition strategies used by art museum curators as they endeavor to engage multiple audiences in different aspects of art." Eilean Hooper–Greenhill, University of Leicester
Diana Strazdes, University of California, Davis
This book deserves a place on the museum-studies reading list and on the bookshelf of anyone seriously interested in the cultural place of museums today.
--This text refers to the
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Inside This Book
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First Sentence
Writing some two hundred and fifty years ago, at the dawn of the modern museum age, the painter Charles-Antoine Coypel objected to the use of the singular "public" to describe the crowds who flocked to the exhibitions of contemporary art in Paris held at the Louvre: In the Salon where the paintings are displayed, the public changes twenty times a day.... This place can offer twenty publics of different tone and character in the course of single day: a simple public at certain times, a prejudiced public, a flighty public, an envious public, a public slavish to fashion....A final accounting of these publics would lead to infinity. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Writing some two hundred and fifty years ago, at the dawn of the modern museum age, the painter Charles-Antoine Coypel objected to the use of the singular "public" to describe the crowds who flocked to the exhibitions of contemporary art in Paris held at the Louvre: In the Salon where the paintings are displayed, the public changes twenty times a day.... This place can offer twenty publics of different tone and character in the course of single day: a simple public at certain times, a prejudiced public, a flighty public, an envious public, a public slavish to fashion....A final accounting of these publics would lead to infinity. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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