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Review
Duncan balances her reading of the museum as economically motivated and culturally specific sign with a theoretically promising investigation of ritual and liminality in the gallery context.
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Illustrated with over fifty photos, Civilizing Rituals merges contemporary debates with lively discussion and explores central issues involved in the making and displaying of art as industry and how it is presented to the community.
Carol Duncan looks at how nations, institutions and private individuals present art , and how art museums are shaped by cultural, social and political determinants.
Civilizing Rituals is ideal reading for students of art history and museum studies, and professionals in the field will also find much of interest here.
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First Sentence
This chapter sets forth the basic organizing idea of this study, namely, the idea of the art museum as a ritual site. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
This chapter sets forth the basic organizing idea of this study, namely, the idea of the art museum as a ritual site. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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2 of 2 people found the following review helpful
Format:Paperback
As a theorist of art and Art myself, I am struck by how very few books offer insight into the problem of Modern Art, the public promotion, civic installation and academic endorsement of a mostly bogus offering of artistic marvel, 1917 to present. This book, together with Carol Duncan's other book 'The Aesthetics of Power', is among that very few.
Her chief contribution is to explain what kind of social and political context (revolutionary politics), in Europe, led to the birth of the modern public Art museum in the early 19th century. The model she offers is the palace and its treasure nationalized and opened to public perambulation. For me, her essays brought an added perspective that allowed everything else I was thinking about for years to fall into place. Alas, she has not applied this perspective and her cool intelligence to 20th century developments in Art - the flip from an art of illusion to an illusion of Art. But then, nor has anyone else, yet.
Her chief contribution is to explain what kind of social and political context (revolutionary politics), in Europe, led to the birth of the modern public Art museum in the early 19th century. The model she offers is the palace and its treasure nationalized and opened to public perambulation. For me, her essays brought an added perspective that allowed everything else I was thinking about for years to fall into place. Alas, she has not applied this perspective and her cool intelligence to 20th century developments in Art - the flip from an art of illusion to an illusion of Art. But then, nor has anyone else, yet.
Format:Paperback
First published in 1995, this book has become along the years a standard of art history and museum studies disciplinary discourses. With its interest in art galleries's space, activities and objectives, this book develop ideas on a central issue, that is the political implications of the museum/gallery.
It is valuable for giving a broad view on the creation of world-famous art institutions like the Louvre, the National Gallery, London and Washington, DC, or the Getty Museum.
Introduction, 1
1. The Art museum as ritual, 7
focuses on defining the idea of ritual and how it applies to the concept of museum
2. From the princely gallery to the public art museum: the Louvre Museum and the National Gallery, London, 21
analyses in turn the formative stages of the creation of the Louvre and the National Gallery in London, how they were fuelled by different political circumstances, and how this difference in their inception is perceptible in their built environment
3. Public Spaces, private interests: municipal art museums in New York and Chicago, 48
focuses mostly on the Art Institute of Chicago, and the Metropolitan Museum of Art in New York to emphasize the contradictions between liberal aspirations and aristocratic-style practices of their founders and trustees
4. Something eternal: the donor memorial, 72
enquires about the various roles and objectives of the Wallace, the Stewart Gardner, the Frick, the Huntington, and the Mellon in the creation of various collections and the way they negotiated the memorialization of their person via the creation of these collections made public after their death
5. The modern art museum: it's a man's world, 102
makes a point about the representation of the female identity in the modern art museum in general, and how the contemporary museum has seen a displacement towards an increased commodification of the rituals it welcomes within its walls
Conclusion, 133
Notes, 135
Bibliography, 162
Index, 174
It is valuable for giving a broad view on the creation of world-famous art institutions like the Louvre, the National Gallery, London and Washington, DC, or the Getty Museum.
Introduction, 1
1. The Art museum as ritual, 7
focuses on defining the idea of ritual and how it applies to the concept of museum
2. From the princely gallery to the public art museum: the Louvre Museum and the National Gallery, London, 21
analyses in turn the formative stages of the creation of the Louvre and the National Gallery in London, how they were fuelled by different political circumstances, and how this difference in their inception is perceptible in their built environment
3. Public Spaces, private interests: municipal art museums in New York and Chicago, 48
focuses mostly on the Art Institute of Chicago, and the Metropolitan Museum of Art in New York to emphasize the contradictions between liberal aspirations and aristocratic-style practices of their founders and trustees
4. Something eternal: the donor memorial, 72
enquires about the various roles and objectives of the Wallace, the Stewart Gardner, the Frick, the Huntington, and the Mellon in the creation of various collections and the way they negotiated the memorialization of their person via the creation of these collections made public after their death
5. The modern art museum: it's a man's world, 102
makes a point about the representation of the female identity in the modern art museum in general, and how the contemporary museum has seen a displacement towards an increased commodification of the rituals it welcomes within its walls
Conclusion, 133
Notes, 135
Bibliography, 162
Index, 174
Format:Paperback|Amazon Verified Purchase
The picture quality is a bit off, but i guess that is the publishers fault and not the sellers! Very good condition, and is being much used!
Thankyou very much
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