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Books on the topic 'Art museum visitors – europe'

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Author: Grafiati
Published: 27 July 2024
Last updated: 29 July 2024

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1

Bourdieu, Pierre. The love of art: European art museums and their public. Cambridge, UK: Polity Press, 1991.

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2

Bourdieu, Pierre. The love of art: European art museums and their public. Cambridge: Polity, 1990.

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3

Bourdieu, Pierre. The love of art: European art museums and their public. Stanford, Calif: Stanford University Press, 1990.

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4

Schuster, J. Mark Davidson. The audience for American art museums. Washington: Seven Locks Press, 1991.

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5

Lehalle, Evelyne. Musées et visiteurs: Un Observatoire permanent des publics. [Paris]: Ministère nationale de l'education et de la culture, Direction des musées de France, Département des publics, de l'action éducative et de la diffusion culturelle, 1993.

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6

Tony, Bennett. Art galleries, who goes?: A study of visitors to three Australian art galleries, with international comparisons. Redfern, NSW: Australia Council, 1991.

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7

Warczok, Tomasz. Miłośnicy, znawcy, koneserzy czy przechodnie?: Recepcja sztuki współczesnej na przykładzie galerii Górnego Śląska. Bielsko-Biała: Galeria Bielska BWA, 2010.

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8

Duhaime, Carole P. La clientèle des musées d'art: Une revue de littérature. Montréal: École des hautes études commerciales, 1988.

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9

Duhaime, Carole P. La clientèle des musées d'art: Une revue de littérature. Montréal: Ecole des hautes études commerciales, 1988.

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10

Christiane, Heuwinkel, and Kunsthalle Bielefeld, eds. Veit Mette: Menschen im Museum. Bielefeld: Kerber, 2011.

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11

Hutchins, H. J. Anna at the art museum. Toronto: Annick Press, 2018.

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12

Ziese, Maren. Kuratoren und Besucher: Modelle kuratorischer Praxis in Kunstausstellungen. Bielefeld: Transcript, 2010.

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13

Weinrauch, Stefanie. Reanimation: Bringing art to new life outside the museum. [Graz]: Steirische Gesellschaft für Kulturpolitik, 2015.

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14

Cleveland Museum of Art. The visitor's voice: Visitor studies in the Renaissance-Baroque galleries of the Cleveland Museum of Art, 1990-1993. Edited by Mann C. Griffith. Cleveland, Ohio: Cleveland Museum of Art, 1993.

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15

Gausseron, Thierry. Aimer les musées: Une passion à partager. Paris: Éditions Du Mesnil, 2012.

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16

Mironer, Lucien. Cent musées à la rencontre du public. Cabestany: France édition, 2001.

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17

University of Leicester. Research Centre for Museums and Galleries. and Arts and Humanities Research Board., eds. Visitors' interpretive strategies at Nottingham Castle Museum and Art Gallery. Leicester: University of Leicester,Research Centre for Museums and Galleries, 2001.

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18

Bernhard, Bürgi, ed. Denkraum Museum: Über die Rezeption von Architektur und Kunst. Baden: L. Müller, 1992.

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19

Franco, Susanne, and Gabriella Giannachi. Moving Spaces Enacting Dance, Performance, and the Digital in the Museum. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-534-6.

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This collection of essays investigates some of the theories and concepts related to the burgeoning presence of dance and performance in the museum. This surge has led to significant revisions of the roles and functions that museums currently play in society. The authors provide key analyses on why and how museums are changing by looking into participatory practices and decolonisation processes, the shifting relationship with the visitor/spectator, the introduction of digital practices in collection making and museum curation, and the creation of increasingly complex documentation practices. The tasks designed by artists who are involved in the European project Dancing Museums. The Democracy of Beings (2018-21) respond to the essays by suggesting a series of body-mind practices that readers could perform between the various chapters to experience how theory may affect their bodies.
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20

1951-, Kräftner Johann, and Liechtenstein Museum (Vienna Austria), eds. Liechtenstein Museum: The princely collections. Munich: Prestel, 2004.

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21

Sánchez de Horcajo, J. J., ed. Sociología del arte: Los museos madrileños y su público. Madrid: Libertarias/Prodhufi, 1997.

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22

Resch, Christine. Die Widerständigkeit der Kunst: Entwurf einer Interaktionsästhetik. Münster: Westfälisches Dampfboot, 2003.

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23

Nuur, Navid. Bored at the museum ; Bored at the studio. Milano, Italy: Mousse Publishing, 2011.

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24

Museum, Victoria and Albert, ed. Death and art: Europe 1200-1530. London: V&A Pub., 2009.

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25

Marius, Babias, Rosenberg Angela, Saunders Matt 1975-, Welzer Harald, and Temporäre Kunsthalle Berlin, eds. Zeigen: Eine Audiotour durch Berlin von Karin Sander : Temporäre Kunsthalle Berlin. Köln: Verlag der Buchhandlung Walther König, 2010.

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26

Strassmann, Susanne. Art people or employees. Marseille: Al Dante, 2011.

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27

Simon, Jervis, and Victoria and Albert Museum, eds. Art & design in Europe and America, 1800-1900. New York: E.P. Dutton, 1987.

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28

Johnson-Simon, Deborah. Anaya visits the James E. Lewis Museum of Art at Morgan State University. Bloomington, IN: Author House, 2009.

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29

New York (City) Museum of Modern Art. Pop impressions: Europe/USA : prints and multiples from the Museum of Modern Art. New York: The Museum, 1999.

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30

Charles, Sterling, ed. The Robert Lehman collection.: France, Central Europe, the Netherlands, Spain, and Great Britain. New York: Metropolitan Museum of Art, 1998.

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31

Friess, Lynn Estes. Carl and the mysterious nibbler. Jackson, Wyo: Mariposa Ranch Press, 2011.

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32

Iftikhar, Dadi, Hassan Salah M, and Museum Boijmans Van Beuningen (Rotterdam, Netherlands), eds. Unpacking Europe: Towards a critical reading. Rotterdam: Museum Boijmans Van Beuningen, 2001.

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33

Fuhrmann, Anna-Lena. Making Europe visible: Re-interpretation of museum objects and topics : a manual. [Augsburg]: EMEE, EuroVision Museums Exhibiting Europe, 2016.

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34

McCormick, Heather Jane. Vasemania: Neoclassical form and ornament in Europe : selections from the Metropolitan Museum of Art. Edited by Ottomeyer Hans, Walker Stefanie, Metropolitan Museum of Art (New York, N.Y.), and Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture. New Haven, Conn: Yale University Press, 2004.

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35

Basel, Museum Jean Tinguely, ed. Museum Tinguely Basel: The collection. Basel, Switzerland: Museum Tinguely, 2012.

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36

Museum, Seattle Art, ed. Japan envisions the West: 16th-19th century Japanese art from Kobe City Museum. Seattle: Seattle Art Museum, 2007.

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37

Macdonald Collection (George R. Gardiner Museum of Ceramic Art). Dragons, tigers and bamboo: Japanese porcelain and its impact on Europe. Vancouver: Douglas & McIntyre, 2009.

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38

Galleria nazionale d'arte moderna (Italy), ed. Genius Loci: Nel teatro dell'arte. Roma: Contrasto, 2017.

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39

Blanchaert, Katrien. Art in Europe after '68: Ghent, 21st June-31st August 1980. Ghent: S.M.A.K., Stedelijk Museum voor Actuele Kunst, 2014.

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40

1935-, Aguirre Javier, ed. From the Europe of old: Javier Aguirre, Christian Boltanski, James Coleman ... Stedelijk Museum, Amsterdam, 17.10-6.12.1987. [Amsterdam]: The Museum, 1987.

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41

Bourdieu, Pierre. The Love of Art. Polity Press, 1997.

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42

Bourdieu, Pierre. El amor al arte. Prometeo, 2013.

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43

Spectator Is an Artist Too: How We Look at Art, How We Behave Around Art. Bis B.V., Uitgeverij (BIS Publishers), 2020.

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44

McDaniel, Justin Thomas. Buddhist Museums and Curio Cabinets. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824865986.003.0004.

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This chapter looks at the rise of Buddhist museums in contemporary Asia. Curators at private and sometimes explicitly sectarian Buddhist museums have attempted to appeal to a wider audience and have abandoned particular sect’s rituals, liturgies, symbols, and teachings to promote a new vision of Buddhism without borders. This opening up of their collections, as well as the active acquisition of new material, demonstrates a particular type of Buddhist ecumenism – an ecumenism without an agenda. The multiple affective encounters these museums allow create ecumenical environments allow visitors to leisurely experience Buddhist distraction What follows are stories of curators, architects, and monks who favor display over dogma, curiosity over conversion, spectacle over sermon, and leisure over allegiance. Specially, Shi Fa Zhao’s Temple of the Buddha’s Tooth in Singapore, The Ryukoku University (Jodo Shinshu) Museum in Kyoto, and others are compared to Buddhist galleries at museums in Europe and North America.
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45

Modern Europe (Metropolitan Museum of Art Series). Metropolitan Museum of Art, 1987.

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46

Rodney, Seph. Personalization of the Museum Visit: Art Museums, Discourse, and Visitors. Taylor & Francis Group, 2019.

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47

Absent Museum: Blueprint for a Museum of Contemporary Art for the Capital of Europe. Yale University Press, 2017.

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48

(Editor), Jean Clair, Musee Des Beaux-Arts De Montreal (Corporate Author), and Pierre Theberge (Editor), eds. Lost Paradise: Symbolist Europe (Montreal Museum of Fine Arts). Mcclelland & Stewart Ltd, 1995.

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49

Insights: Museums, visitors, attitudes, expectations : a focus group experiment. [Malibu, Calif.]: J. Paul Getty Trust, 1991.

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50

Kraftner, Johann. Liechtenstein Museum: The Princely Collection (Liechtenstein Museum Vienna). Prestel Publishing, 2004.

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