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Bock, John ; Brouwn, Stanley ; Colson, Vaast ; Dans, Michael ; Denicolai, Simona ; Dietvorst, Els ; Fink, Christoph ; François, Michel ; Geers, Kendell ; Geyskens, Vincent ; Gonzalez-Foerster, Dominique ; Van Imschoot, Jan ; Kemps, Niek ; Körmeling, John ; Kusolwong Surasi ; Marisaldi, Eva ; Mik, Aernout ; Van Obberghen, Vanessa ; Opie, Julian ; Pacquée, Ria ; Paparella, Juan ; Provoost, Ivo ; Sierra, Santiago ; Van Snick, Philippe ; Stolle, Bart ; Swennen, Walter ; Theys, Koen ; Tordoir, Narcisse ; Torfs, Ana ; Tuymans, Luc ; Venlet, Richard ; Verhoeven, Gert ; Wéry, Marthe

Art, Modern --- Art galleries, Commercial --- Artists and museums --- Art --- Galeries d'art --- Artistes et musées --- Directories --- Réperoires --- Répertoires --- België --- Artistes et musées --- Réperoires --- Répertoires --- 21e siècle --- Peinture --- Sculpture --- Installation-art --- Belgique

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Amongst recent contemporary art and museological publications, there have been relatively few which direct attention to the distinct contributions that twentieth and twenty-first century artists have made to gallery and museum interpretation practices. There are fewer still that recognise the pedagogic potential of interventionist artworks in galleries and museums. This book fills that gap and demonstrates how artists have been making curious but, none-the-less, useful contributions to museum education and curation for some time. Claire Robins investigates in depth the phenomenon of artists' interventions in museums and examines their pedagogic implications. She also brings to light and seeks to resolve many of the contradictions surrounding artists' interventions, where on the one hand contemporary artists have been accused of alienating audiences and, on the other, appear to have played a significant role in orchestrating positive developments to the way that learning is defined and configured in museums. She examines the disruptive and parodic strategies that artists have employed, and argues for that they can be understood as part of a move to re-establish the museum as a discursive forum. This valuable book will be essential reading for students and scholars of museum studies, as well as art and cultural studies.

Educational sciences --- educating --- Didactics of the arts --- museology --- Museology --- anno 1900-1999 --- anno 2000-2099 --- Artists and museums. --- Artists and museums --- Art in education. --- Museums --- History. --- Educational aspects. --- Art museums --- Museum techniques. --- Education --- Museums and artists --- Exhibitions. --- Technique --- Applied museology --- Museography --- Museum practices --- Museum studies --- art appreciation --- art interventions --- Art museums. --- Artistes et musées. --- Musées d'art --- Muséologie. --- museology. --- Aspect éducatif.

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En 1970, dans les réserves du Musée d’art de la Rhode Island School of Design à Providence, Andy Warhol prépare avec ses collaborateurs le troisième volet de l’exposition Raid the Icebox. Loin de son personnage de dandy aux cheveux platinés et au visage fardé, le pape du Pop art est montré dans un rôle que l’on connaît peu de lui et que pourtant bien des artistes après lui assumeront : celui de commissaire d’exposition.Aujourd’hui, nous sommes habitués à ce que des plasticiens, des écrivains, des cinéastes, des stylistes, et même des joueurs de football, soient invités à mettre en scène des œuvres conservées dans un musée. Nous ne sommes pas davantage surpris de voir des artistes exposer leurs pairs, diriger des manifestations artistiques internationales, s’associer à des curateurs de profession ou, à l’inverse, être les commissaires de leurs propres expositions. L’artiste serait-il devenu un nouveau professionnel de l’art ou, comme l’aurait dit Marcel Broodthaers, un "administrateur culturel" ? À vrai dire, les choses sont plus complexes car cette figure de l’artiste commissaire, désormais si influente, reste profondément ancrée dans un système de valeurs et d’exigences qui, depuis la fin du XIXe siècle, oscille entre le compromis et la transgression, entre le souci d’être à la fois dans l’institution et hors d’elle.La visée du présent ouvrage est précisément de montrer comment la figure de l’artiste commissaire s’est imposée au gré d’une histoire longue et complexe qui tient tant aux diverses stratégies déployées par les créateurs qu’aux transformations progressives du paysage institutionnel de l’art. Cette histoire était d’autant plus importante à écrire qu’elle ne révèle pas seulement une évolution du statut de l’artiste et du métier de commissaire, mais un phénomène plus large qui pose la question de l’exposition comme méta-œuvre et, plus encore, comme lieu et instrument de pouvoir.

Museology --- Philosophy and psychology of culture --- Art, Modern --- Art --- Exhibitions --- History --- Exhibition techniques --- Expositions --- Histoire --- Techniques d'exposition --- Commissaires d'exposition --- Expositions artistiques --- Artistes et musées --- Commissaires d'exposition. --- Expositions artistiques. --- Artistes et musées. --- Art museum curators. --- Conservateurs de musée d'art. --- Artists and museums. --- Art. --- Artists and museums --- Museums and artists --- Art museums --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art curators --- Curators, Art museum --- Museum curators --- Exhibitions. --- Expositions. --- Exhibition catalogs. --- Employees --- Artistes et musées --- Artistes et musées. --- History. --- Art museum curators --- Conservateurs de musée d'art --- Exhibition catalogs --- Art, Primitive

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L'œuvre peint d’Emile Bernard est encore aujourd’hui largement méconnu. Cet esprit curieux et profondément religieux s’impose pourtant comme un des théoriciens du cloisonnisme et du synthétisme, à l’origine du symbolisme pictural. À travers cette première monographie, le néerlandais Fred Leeman retrace son parcours complexe et analyse ses œuvres les plus significatives, comme Madeleine au Bois d’Amour ou la Vision d’Égypte. Des lettres et textes inédits d’Emile Bernard ainsi que des documents provenant des archives familiales viennent étayer cette étude.

Painters --- Peintres --- Biography --- Biographies --- Bernard, Emile, --- Criticism and interpretation. --- Bernard, Emile --- Peintres français --- Vie artistique --- Bernard, Émile --- Peintres français. --- Vie artistique. --- Bernard, Émile, --- Art --- Vie culturelle --- Artistes --- Arts --- Mécénat --- Politique culturelle --- Relations artistes-collectivité --- Sociologie de l'art --- Vie de bohème --- Artistes et mécènes --- Artistes et modèles --- Artistes et musées --- Capitales littéraires et artistiques --- Cénacles romantiques --- Colonies d'artistes --- Critique d'art --- Expositions artistiques --- Galeries d'art --- Mouvements artistiques --- Scandales artistiques --- Sexisme dans le milieu artistique --- Culture --- Moeurs et coutumes --- Peinture française --- Artistes français --- Vie et milieux artistiques --- Aspect social --- Appréciation --- Censure --- Collectionneurs et collections --- Commande --- Commerce --- Concours --- Prix et récompenses --- Dorsal, Jean --- Art et société --- Commande d'oeuvres d'art

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This is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators. Taking that ontologically ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. This anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations.

It includes an introduction and the twenty essays that first appeared in Mousse, a newly commissioned afterword by Hans Ulrich Obrist, and two additional essays that appear here for the first time, discussing twenty-two exhibitions by the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broodthaers; Hank Bull, Shen Fan, Zhou Tiehai, Shi Yong, and Ding Yi; John Cage; Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Alice Creischer, Andreas Siekmann, and Max Jorge Hinderer; Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Goshka Macuga; Lucy McKenzie and Paulina Ołowska; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; Avdey Ter-Oganyan; Philippe Thomas; and Andy Warhol.

artists [visual artists] --- exhibitions [events] --- museology --- curating --- Museology --- Art --- Artists as art museum curators --- Artists and museums --- Curatorship --- History. --- Exhibition techniques. --- Techniques d'exposition --- kunst --- Avant-Garde Argentinian Visual Artists Group --- 7.038/039 --- Warhol Andy --- Thomas Philippe --- Ter-Oganyan Avdev --- Rosler Martha --- Zaatari Akram --- Raad Walid --- Oiticica Hélio --- Olowska Paulina --- McKenzie Lucy --- Macuga Goshka --- Leckey Mark --- Kippenberger Martin --- Hammons David --- Pasmore Victor --- Hamilton Richard --- Group Material --- Parreno Philippe --- Gillick Liam --- Hinderer Max Jorge --- Siekmann Andreas --- Creischer Alice --- Colab --- Collaborative Projects Inc. --- CalArts Feminist Art Program --- Schapiro Miriam --- Chicago Judy --- Cage John --- Ding Yi --- Shi Yong --- Zhou Tiehai --- Bull Hank --- Broodthaers Marcel --- Bochner Mel --- 069 --- museologie --- tentoonstellingen --- Art exhibition techniques --- Display techniques in art --- Exhibition techniques in art --- Curating --- Curatorial practice --- Museums and artists --- Display techniques --- Artists and museums. --- Artists as art museum curators. --- Curatorship. --- Kunstausstellung. --- Kunstmuseum. --- Kurator --- Künstler. --- Geschichte 1957-2015. --- Collaborative Projects Inc --- History --- Exhibition techniques --- Artistes conservateurs de musée d'art --- Artistes et musées --- Conservation --- Histoire --- Exhibitions --- Art museums --- Art museum curators --- exhibition curators --- Exposition --- Musée --- Sociologie de la culture --- MAD-faculty 17 --- musea --- hedendaagse kunstenaars --- kunsttentoonstellingen