Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
52 Cards in this Set
- Front
- Back
|
The Louvre
|
- Founded in 1793, opened by Louis XVI
- Was public and national unlike any other museum - began as a medieval castle, then royal palace, then a palace for the people during the revolution - housed a collection of work, opened to the public in 1793, provided access to the nations artistic heritage - symbol of democratic government and fostered a sense of national identity - now an important tourist attraction |
|
|
Curator
|
- a keeper or custodian of a museum or other collection
- plans and develops exhibits, buys pieces, applies for loans and grants, catalogues, deals with public and professional inquires, hiring/training, writing articles, researching permanent collection. |
|
|
Blockbuster
|
- a movie, book etc of great commercial success
- i.e. Treasures of Tutankhamen, installation at the MET with funerary mask - designed to recreate the discovery of the tomb COME BACK TO THIS IF NO MORE ON TUT |
|
|
Starchitect
|
a famous of high profile architect eg. Frank Gehry - Guggenhiem, Bilbao
|
|
|
South Kensington Museum
|
now called the "Victoria and Albert Museum", houses 4.6 million objects
|
|
|
Guerilla Girls
|
- anonymous group of feminist artists devoted to fighting sexism and racisms within the art world
- formed in New York in 1985 due to a MoMA exhibit - women took the names of famous historical female artists and wore gorilla masks to hide their identities - "reinventing the 'f' word: feminism" is their motto |
|
|
Cultural Diplomacy
|
a type of public diplomacy and soft power that includes the "exchange of ideas, information, art and other aspects of culture among nations of their peoples in order to foster mutual understanding."
|
|
|
Thomas Hoving
|
- Director of the MET led to museum relevance
- Exhibitions = harlem on my mind (politics and activism, reflection or social inequity) (1968) - Seen as 1st blockbuster = focus on publicity |
|
|
Commercialism
|
- Emphasis on the maximizing of profit
- (derogatory) practices and attitudes that are concerned with the making of profit at the expense of quality |
|
|
Deaccession
|
- officially remove (an item) from the listed holdings of a library, museum, or art gallery, typically in order to sell it to raise funds
|
|
|
Restitution
|
- a restitution, payment to the owner, compensation that had to have happened previously, rather than returning the object the owner gets money for it
- eg. after the napoleonic wars the Louvre had to return a lot of stolen art to the countries it was looted from |
|
|
Repatriation
|
- returning art of cultural objects to their place of origin
- by calling it the Elgin Marbles, then you are accepting that the sculptures are from Elgin - therefore its preferred to call them Parthenon Sculptures - notorious examples of the acquisition of art, not only is the legal claim important but the public opinion - eg. Shiva sculpture from Pathur, forged letter claiming ownership, sold to a Calgary man, eventually ended up going to India |
|
|
The Elgin Marbles
|
- aka the Parthenon Marbles
- a collection of classical Greek marble sculptures, inscriptions and architectural pieces that were originally part of the Parthenon and other buildings on the Acropolis - Thomas Bruce, 7th Earl of Elgin acquired them - from 1801 to 1812 removed half of the surviving sculptures and were transported by sea to Britain - British gov't bought them from Elgin in 1816 and were passed to the British Museum - After gaining its independence from the Ottoman Empire, Greece began major projects for the restoration of the country's monuments, and has expressed its disapproval of Elgin's actions to remove the Marbles from the Acropolis and the Parthenon, which is regarded as one of the world's greatest cultural monuments. Greece disputes the subsequent purchase of the Marbles by the British Government and urges the return of the marbles to Greece for their unification. The dispute is ongoing, with the international organizations, such as the United Nations, UNESCO, the Council of Europe, and the European Parliament, backing the Greek side on the dispute, and calling the United Kingdom to solve the matter. In 2014, UNESCO offered to mediate between Greece and the United Kingdom in resolving the dispute of the Elgin Marbles, although this was later turned down by the UK |
|
|
Provenance
|
- Provenance, is the history of ownership of a work of art or an object of cultural significance. It is used as a guide to authenticate and evaluate a work
- gaps in the provenance, it could be illegally obtained, it could fake/stolen - way curators check stolen objects, databases |
|
|
World Jewish Congress
|
- the World Jewish Congress is the international organization that represents Jewish communities and organizations in 100 countries around the world. It advocates on their behalf towards governments, parliaments, international organizations and other faiths. The WJC represents the plurality of the Jewish people, and is politically non-partisan
- the Talmudic phrase "Kol Yisreal Arevim Zeh beZeh" (all Jews are responsible for one another), encapsulates the raison d'être of the WJC. Since its foundation in 1936, in Geneva, Switzerland, the WJC has been at the forefront of fighting for the rights of Jews and Jewish communities around the world. |
|
|
Cultural Property
|
- the physical constituents of the cultural heritage of a group or society
|
|
|
UNESCO
|
- "United Nations Educational Scientific and Cultural Organization"
- Convention on the means of prohibiting and preventing the illicit import, export, and transfer of ownership of cultural property - Cultural property import and export act, enacted in 1970 |
|
|
NAGPRA
|
- 1990
- Native American Graves Protection Repatriation Act - Mostly covers human remains, objects of ritual/sacred value - Museums more likely to give back objects of secondary importance (esp. bones) |
|
|
Collector
|
- a person who collects things of a specific type, either professionally or as a hobby
- mostly wealthy people, royalty, religious |
|
|
Charles Saachi
|
- 2008: Duke of York building
- funded the exhibit that "may induce vomiting etc." - Art collector - Gallery opened 2008 in Duke of York HQ building - sold blue chip art in 89, then started focusing on young British artists - worked with Damien Hirst for over a decade - unusual as a collector - springboard for new artists - collects, displays, helps increase value, buys in bulk, creates a false market for work, helps them gain international reputation, risk: primary holder, can reduce the value - Sensation: Young British Artists from the Saatchi Collection - extensive media coverage, played certain role in royal academy, controversy, Saatchi provided funding, usually publicly funded, conflict of interest, money support is increasing value of the people that own it, owners are benefiting from its publicity - mayor of NY threatened to withdraw |
|
|
JEH MacDonald Sketches
|
- founding member of group of 7 = 7 very important to Canadian history
- oil sketches donated/sold to Vancouver art gallery - apparently newly dug up finds - suspicious circumstances - style? relationship to paintings etc. used to determine authenticity |
|
|
the Hip 100
|
- 1998 - Peter made list of all top 100 artists - suggests how whims of art market are personal (friends are given preferential treatment)- Competitive nature of art world - collapsed art market, Britain, 1990's - Global to local market in UK as people buy from new artists, hoping it will gain value
|
|
|
Naea Faa Ipoipo, Gauguin
|
- set record for price sold, 300mil
- painted in 1892 - celebrates period in his career (Tahiti) - Stylistically = bold, colour/flat plains; innovative - defining painting of primitism - eg. for art market |
|
|
Natural Anthropology Museum, Mexico
|
- modernist building
- honouring pre-colonial Mexico city (& indigenous peoples) - displayed chronologically = suggest narrative evolution - starts BCE; includes Aztec works |
|
|
Women's Artists Visibility Event (WAVE)
|
- group of artists in 80's; address lack of female rep.
- public protest outside MoMA survey exhibition (169 artists, 13 of which were women) - Guerilla girls formed 5% artists women, 85% males |
|
|
Two Innovations of Progressive Era?
|
- systemic rearrangement of collections for publics comfort and understanding
- development of museum based educational programs - Ex. Planning of Boston's museum of fine arts 1909; educational program planned by Gilman |
|
|
Glenbow Museum
|
- Calgary, BC
- Started with a private collection, focus on western Canadian/First nations art - Spirit Sings exhibition, object came from Europe, not FN (first nations) - Sponsored by shell, led to increased FN involvement in similar exhibitions - Glenbow now more focus on the public |
|
|
Altes Museum, Berlin, Karl Friedrich Schinule
c. 1830 |
- reconciliation of function and symbolism
- respect for art/importance of public institutions politically - "the museum must first delight, then instruct" p. 67 |
|
|
Etienne-Louis Boullee c. 1780's
|
- produced museum designs/"visionary schemes"; transcended practicality
- use of light, radical shifts in elevation, massive stairwells etc. to create a sublime aura - interested in immensity |
|
|
Guggenheim, Bilbao 1997
|
- focus maybe too much on the building rather than collections
- intended to 'rejuvenate the city' - criticized for 'disney-fication' of art - led to a return of the "white cube" aesthetic |
|
|
Guggenheim, NY 1959
|
- Wright wanted to create a modern museum that still reflected tradition
- set back from the st./separate from the surrounding buildings - wanted to build community, going to the museum was no longer solitary - diminished flexibility (compared to MoMa) - unity between beholder, painting, and architecture |
|
|
Pompidou centre, Paris, 1977
|
- intended to make Paris a cultural centre again
- new types of architecture reflects new art forms - invites participation for the people - rollercoaster-like outside |
|
|
Museum of Modern Art, NY, 1939
|
- avoids "architectural pretense" to hold focus on the collections
- modest exterior, attention shifted to interior - adjustable gallery floors (moveable walls, track lighting etc.) - has changed very little |
|
|
National Gallery of Art, Washington DC, 1941
|
- late 19th early 20th century - cities building classical art museums to declare civic pride
- built in nature to offer "respite" - linked to structures of power/national identity of the mall |
|
|
CHAPTER ONE QUESTIONS: What are the origins of the idea that art has the power to uplift viewers and improve and harmonize society?
|
- Early utopian texts, i.e. Andrae's Christianopolis.
- Opening of the Louvre was intended to join "all individuals useful to society as one" |
|
|
CHAPTER FOUR QUESTIONS: What are some important differences between museums in the age of Enlightenment and museums in the Victorian era?
|
VICTORIAN
- salons attracted "20 publics of different tone and character in the course of a simple day" - private entrepreneurs jumped on the idea of salons, they then became museums - blurred boundaries between high and low, jeopardized the integrity of the fine arts - when museums began to gain popularity, most museums like the ones in Paris in Kassel were open to all (although unclear on who actually came), - Berlin and London required applications in advance to attend - In Vienna it was clean shoes needed - International travellers were welcome everywhere ENLIGHTENMENT - "As the age of absolutism gave way to the age of enlightenment, patronage of museums and related institutions became the mark of enlightened rule and superseded ceremonial pomp and grandiose monuments as a form of princely patronage." - Louis XVI decided that rather than erect a monument of himself he should invest in the Louvre as his monument to posterity - Many fabulous collections moved, some from private collections, catalogues were created and accessed by educated readers, sense of nationalism, movement of the public art museum - "microcosm of modern social order" - everyone was admitted free, though there was nothing to help the uneducated understand, no texts or educational programs |
|
|
What was significant about museums during the Victorian era?
|
- salons attracted "20 publics of different tone and character in the course of a simple day"
- private entrepreneurs jumped on the idea of salons, they then became museums - blurred boundaries between high and low, jeopardized the integrity of the fine arts - when museums began to gain popularity, most museums like the ones in Paris in Kassel were open to all (although unclear on who actually came), - Berlin and London required applications in advance to attend - In Vienna it was clean shoes needed - International travellers were welcome everywhere |
|
|
What was significant about museums during the Enlightenment era?
|
- "As the age of absolutism gave way to the age of enlightenment, patronage of museums and related institutions became the mark of enlightened rule and superseded ceremonial pomp and grandiose monuments as a form of princely patronage."
- Louis XVI decided that rather than erect a monument of himself he should invest in the Louvre as his monument to posterity - Many fabulous collections moved, some from private collections, catalogues were created and accessed by educated readers, sense of nationalism, movement of the public art museum - "microcosm of modern social order" - everyone was admitted free, though there was nothing to help the uneducated understand, no texts or educational programs |
|
|
CHAPTER FOUR QUESTIONS: What are blockbusters? And what role have they played in museums since the 1970s?
|
- a blockbuster is a temporary exhibit at a gallery of work by a world renowned artist(s), or a collection of works by different famous artists all pertaining to a certain theme
- in the 1970s curators and gallery staff realized that these blockbuster exhibits increased earnings and visitors tenfold - in the 70's Boston's MFA saw a decline in visitors due to admission fees, as the show had previously been free - in an attempt to regain viewership, they staged blockbuster exhibits and saw a massive increase in patronage and profits |
|
|
CHAPTER FIVE QUESTIONS: How did department stores and museums intersect during the 1910s to the 1930s?
|
- when department stores began in the early 20th century, they borrowed many designs from art galleries and museums
- though store directors tried to argue that they were not like a museum, their mission and design closely resembled the former - the two borrowed strategies from each other, department stores adopting sleek architecture and avoiding visual distractions, and galleries adopting the "modern high-pressure advertising" model to attract visitors to spend money while browsing the gift shop - in this time period, the two spheres overlapped, store windows looked like picture frames, many famous artists "lent their talents to the enhancement of commercial spaces". - Dept. stores would sell contemporary art vs museums selling glasses and clubs for buyers and businessmen - "beauty in everyday environment" - the MET hosted annual exhibitions of contemporary craft, Dept. looked like museums and galleries by using modern materials such as steel, glass, and terracotta for their exteriors |
|
|
CHAPTER FIVE QUESTIONS: According to McClellan, when did the "blockbuster era" begin in earnest, and what did it entail?
|
- the "blockbuster era" began in the mid 60s and early 70s due to museums and galleries being in financial need
- the "first blockbuster" was actually a demonstration of cooperation between free world allies during the cold war. - the Louvre sent the Mona Lisa to the National Gallery of Washington, the event drew in 2mil - people were mixed gallery goers and tourists, underlined the magnetic power of the masterpiece |
|
|
CHAPTER FIVE QUESTIONS: McClellan gives a number of examples of museums that have adopted a business model for their operations. Do you think any of the museums he discusses go too far with the business model?
|
Benefits
- brings new buildings, shops and restaurants to the museum, rejuvenates cities and neighbourhoods, have attracted record numbers and new audiences while raising profile of institution, economic benefits, tax revenues, money Disadvantages - delicate works moved longed distances, damage increased, significant loan fees, pressure of organizing shows takes curators away from permanent collections |
|
|
CHAPTER FIVE QUESTIONS: How has corporate sponsorship affected museums?
|
- Macy's and MET collab- MoMA's exhibit "Organic Design in Home Furnishings" aimed to foster a collab with designers/merchants/manufacturers, Bloomindales sponsored prizes in return for selling the designs - singles nights, free visits, concerts, fundraising dinners - brighter public reputation, improved corporate image, better customer relations, improved morale of employees, and more qualified personnel - sponsors expect good publicity, fear that sponsors will interfere with institutions identity or morale of an exhibit - ex. MET worker worried to ask what had to be dropped from show because of financial limitations- real problem = inability to secure sponsorships- museums must 'come through' and hold exhibit that draws in public with favourites such as impressionism, old masters, or Egyptian treasures, they are unable to hold many if any controversial exhibits (ex. Basquiat at AGO & Saatchi's "may induce vomiting") - 15mil Armani fashion show at the Guggenheim in NY caused many to question if the gallery was simply a rentable space
|
|
|
CHAPTER SIX QUESTIONS: What were the main arguments for and against the repatriation of art from the Louvre at the end of the 18th century and into the early 19th century?
|
- works removed from context
- propaganda value of art; French nationalism - Repatriation fueled museum boom in early 18th century Europe - French believed they were creating a cultural centre to better view art, allies labelled appreciation - maintained by treaty, hard to return - collection all together for easy viewing |
|
|
CHAPTER SIX QUESTIONS: McClellan gives up an account of how the Elgin Marbles ended up in the British Museum. Why hasn't the British Museum returned the Marbles to Greece?
|
- Turks showed indifference to removal, no legal standing for a case against Elgin; exceeded permit but the rules permission
- Marbles not protected at Parthenon (air pollution) - Part of Europe's heritage - Part of museums history and their revenue and standing - would start other claims (i.e. Rosetta stone/Benin bronzes) |
|
|
Collecting - What is collected and what isn't collected determines how we understand history
|
- collectors: morgan, stein
- collection buildings - autograph ABP - museological conventions; museums convey their values through their use of organizing conventions - national gallery of art, washington - national gallery of canada - barnes foundation - display technique, the way objects are displayed shapes how viewers understand them - degenerate art |
|
|
How has corporate sponsorship affected museums?
|
- exhibition might not get sponsors- veto power of sponsors - public never challenged critically- draws in broad public- tensions between curators and directors - directors likely to be business people - corporate mandate
|
|
|
CHAPTER ONE QUESTIONS: In the early 20th century, how did wealthy collectors respond to the idea of art as an indulgent sign of excessive materialism?
|
- began to allow the public to view their collections either by making massive donations to public museums or by starting their own private museums believing their actions were charitable in that they allowed the public access to culture and a "respite for the soul"
|
|
|
CHAPTER ONE QUESTIONS: After World War I and into World War II, what was the dominant idea of the art museum?
|
to "cultivate the idealistic side of human nature" after the world witnessed the horrors of WWI and II, and to facilitate greater global understanding and cooperation
|
|
|
CHAPTER ONE QUESTIONS: McClellan explains that in the 1960s, there was a push for museums to become more socially relevant. What are some of the ways he says museum directors and artists have attempted to democratize art since the 60s?
|
- museum directors began to engage art with the issues of the time, including civil rights and feminism, developed a critical theory within the academic sphere
- points out how art is affected by our history and the "bourgeois assumptions about public access to high culture" which was destroyed by the idea that aesthetic taste and judgment were the product of class and education - art was created for and by privileged groups, an exhibition that worked to establish these ideas, which was met with backlash was the Harlem exhibition |
|
|
CHAPTER ONE QUESTIONS: According to the author, what is the most widely accepted view of museums today in the post 9/11 world?
|
- "the museums is about the world, i feel very, very strongly that the social purpose museums have is to breed greater familiarity with the rich diversity of the world's cultures."- questions whether this is possible but states that "museums need ideals"
|
|
|
the Spirit Sings controversy
|
- exhibit set up in 1988 in conjunction with the Calgary Winter Olympics
- sponsored by Shell, who FN peoples already had issues with as a result of unresolved land claims - Glenbow museum did not consult any FN people in creation of exhibit, therefore representing the culture using a colonial eye - turned the culture into a tourist attraction in order to garner money |
