By Christopher Whitehead
In this pioneering e-book, Christopher Whitehead offers an outline and critique of artwork interpretation practices in museums and galleries. overlaying the philosophy and sociology of artwork, traditions in paintings background and paintings reveal, the psychology of the cultured adventure and concepts approximately studying and communique, Whitehead advances significant theoretical frameworks for realizing interpretation from curators’ and viewers’ views. even if no longer a handbook, the e-book is deeply sensible. It provides commonly researched ecu and North American case stories related to interviews with pros engaged in major state-of-the-art interpretation initiatives. eventually, it units out the moral and political tasks of associations and pros engaged in artwork interpretation.
Exploring the theoretical and sensible dimensions of artwork interpretation in available language, this booklet covers:
- The development of paintings by means of museums and galleries, within the type of collections, screens, exhibition and discourse;
- The old and political dimensions of artwork interpretation;
- The functioning of narrative, different types and chronologies in artwork displays;
- Practices, discourses and difficulties surrounding the translation of old and modern art;
- Visitor stories and questions of authorship and accessibility;
- The position of exhibition texts, new interpretive applied sciences and stay interpretation in artwork museum and gallery contexts.
Thoroughly researched with instantly functional functions, Interpreting paintings in Museums and Galleries will tell the practices of paintings curators and people learning the subject.
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Sample text
This was a view worked out in narratives presented in and through the display spaces of the museum, for example in the exhibition of the same year, Fantastic Art, Dada, Surrealism; Barr noted that the museum was a ‘laboratory’ (Wolf 2006) – a recognition of the theorising potential of museum acts like collecting and display as a means to advance hypotheses about history. Displays at the museum emphasised the significance of the isolated aesthetic encounter between artwork and spectator, with close attention to the formal nature of display whose intellectual and philosophical foundations are not substantially different from those which we saw earlier in the display of Michelangelo’s ‘Rondanini’ Pietà in the Castello Sforzesco.
Such hierarchies were, I would argue, contingent on questions of economics and group and personal interests, and do not represent other purely ‘artistic’ real-world phenomena, if such things can be said to exist at all – indeed the process of evaluation and hierarchisation is inevitably social in its rationale, enactment and significance. Here, painting and sculpture jostled for position as being of highest value in terms of moral and artistic worth, while sub-genres within painting were situated hierarchically in relation to their perceived value, with history painting at the top and 30 The cultural cartography of the museum still life at the bottom (Carter and Geczy 2006: 86).
According to different parties’ political interests in making knowledge through embodied representations of the world. The issue of which (disciplinary) kind of museum collects or displays a given object and how it is positioned relative to other objects therein is constitutive of difference. With disciplinary positioning comes entry into an epistemological regime – a prescribed way of knowing which informs display practices and forms of consumption – which is in dynamic relations with the development of discourse about categories of culture like art.