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Books on the topic 'Art exhibition audiences'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Bovio, Gloria. Lo stato dell'arte del pubblico. Mimesis, 2020.

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2

Strukelj, Vanja. Dal progetto al consumo: Le arti in mostra nell'Italia dell'Ottocento. MUP, Monte Università Parma, 2011.

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3

Maaretta, Jaukkuri, and Nykytaiteen museo (Helsinki Finland), eds. Dialogeja: 28.9.-27.10.1996, Nykytaiteen museo = Dialoger : 28.9.-27.10.1996, Museet för nutidskonst = Dialogues : 28.9.-27.10.1996, the Museum of Contemporary Art, Helsinki. Nykytaiteen museo, 1997.

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4

Evelyn, Beer, Leeuw Riet de, and Netherlands Rijksdienst Beeldende Kunst, eds. L' Exposition imaginaire: The art of exhibiting in the eighties = de kunst van het tentoonstellen in de jaren tachtig. SDU, 1989.

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5

Huber, Hans Dieter. Bild Beobachter Milieu: Entwurf einer allgemeinen Bildwissenschaft. Hatje Cantz, 2004.

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6

Lundström, Inga. Kunskap som kraft: [handlingsprogram för hur museerna med sitt arbete kan motverka främlingsfientlighet och rasism]. Kulturdepartementet, 1996.

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7

1942-, Muntadas, Rofes Octavi, and Witte de With, centrum voor hedendaagse kunst., eds. Muntadas: On translation--the audience. Witte de With, Center for Contemporary Art, 1999.

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8

1961-, Cruz Amada, Nickas Robert, Museum of Contemporary Art (Chicago, Ill.), and Museum of Contemporary Art, San Diego., eds. Performance anxiety: Angela Bulloch, Cai Guo Qiang, Willie Cole, Renee Green, Charles Long, Paul McCarthy, Julia Scher, Jim Shaw, RirkritTiravanija. Museum of Contemporary Art, 1997.

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9

Susanna, Pettersson, and Nykytaiteen museo (Helsinki Finland), eds. Lemminkäinen -näyttely: 19.10.-19.11.1995. Valtion taidemuseo, Museopedagoginen yksikkö, 1995.

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10

Gilmore, Holt Elizabeth Basye, ed. The Expanding world of art, 1874-1902. Yale University Press, 1988.

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11

Loer, Thomas. Halbbildung und Autonomie: Über Struktureigenschaften der Rezeption bildender Kunst. Westdeutscher Verlag, 1996.

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12

Museu d'Art Contemporani (Barcelona, Spain), ed. Mirades sobre el Museu: 28 de juny - 24 de setembre 1996, Museu d'Art Contemporani, Barcelona. Museu d'Art Contemporani de Barcelona, 1996.

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13

Colloque, "Évaluation sociologique et analyse institutionnelle des manifestations artistiques" (1989 Bruxelles Belgique). La mise en scène de l'art contemporain: Actes du colloque "Évaluation sociologique et analyse institutionnelle des manifestations artistiques". Les Éperonniers, 1990.

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14

Art for the nation: Exhibitions and the London public, 1747-2001. Rutgers University Press, 1999.

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15

Sjölander-Hovorka, Angela. Schnittstelle Vernissage: Die Besucher als Wegbereiter und Multiplikatoren zeitgenössicher Kunst. Universität Linköping, 1991.

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16

Reesa, Greenberg, Ferguson Bruce W, and Nairne Sandy, eds. Thinking about exhibitions. Routledge, 1996.

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17

1961-, Cruz Amada, Nickas Robert, Museum of Contemporary Art (Chicago, Ill.), and Museum of Contemporary Art (San Diego, Calif.), eds. Performance anxiety: Angela Bulloch, Cai Guo Qiang, Willie Cole, Renee Green, Charles Long, Paul McCarthy, Julia Scher, Jim Shaw, Rirkrit Tiravanija. Museum of Contemporary Art, 1997.

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18

Dalman, Lena. Kommunallagen, sekretesslagen och de kommunala företagen. Svenska kommunförbundet, 1995.

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19

contributor, Weiner Andrew Stefan, Giannachi Gabriella contributor, Kaye Nick contributor, Wood Catherine 1973 contributor, and Center for the Arts at Yerba Buena Gardens, eds. Audience as subject. Yerba Buena Center for the Arts, 2012.

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20

Helena, Kontova, and Trevi Flash Art Museum of Contemporary Art (Trevi, Italy), eds. Audience 0.01: International video. Giancarlo Politi, 1994.

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21

1928-, White Robin, and Independent Curators Incorporated, eds. Good stories, well told: Video art for young audiences. Independent Curators Incorporated, 1992.

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22

Alsaden, Amin. Rashid Johnson: Anxious audience. Edited by Johnson Rashid 1977- and Power Plant (Art gallery). The Power Plant Contemporary Art Gallery, 2020.

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23

Secession, Wiener, and Centre d'art contemporain de Brétigny, eds. Ver sacrum: The death of the audience. Secession, 2011.

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24

Eleey, Peter. Trisha Brown: So that the audience does not know whether I have stopped dancing. Walker Art Center, 2008.

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25

Eleey, Peter. Trisha Brown: So that the audience does not know whether I have stopped dancing. Walker Art Center, 2008.

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26

Varchetta, Giuseppe. Le tracce dello sguardo. L. Sossella, 2001.

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27

N.Y.) New Museum Triennial (2015 New York. Surround audience: New Museum Triennial : 2015. Skira Rizzoli, 2015.

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28

(Rome, Italy) Palazzo Barberini. L'ora dello spettatore: Come le immagini ci usano. Campisano editore, 2020.

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29

1976-, Biswal Rajashree, Art & Deal, Bakul Foundation (Bhubaneswar India), and Art Konsult, eds. Towards a new viewership/audience: From Aug.13-Sept. 13, 2009, venue, Art Konsult, New Delhi. Art & Deal, 2009.

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30

Borofsky, Jonathan. Jonathan Borofsky: Dem Publikum gewidmet = dedicated to the audience. Edition Cantz, 1993.

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31

E, Sint Nicolaas, Renda Günsel, Bull Duncan, Rijksmuseum (Netherlands), and Topkapı Sarayı Müzesi, eds. The ambassador, the sultan, and the artist: An audience in Istanbul. Rijksmuseum, 2003.

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32

Grundmann, Roy, Peter Schwartz, and Gregory Williams, eds. Labour in a Single Shot. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722421.

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Abstract:

This collection of essays offers a critical assessment of Labour in a Single Shot, a groundbreaking documentary video workshop. From 2011 to 2014, curator Antje Ehmann and film- and videomaker Harun Farocki produced an art project of truly global proportions. They travelled to fifteen cities around the world to conduct workshops inspired by cinema history’s first film, Workers Leaving the Lumière Factory, shot in 1895 by the Lumière brothers in France. While the workshop videos are in colour and the camera was not required to remain static, Ehmann and Farocki’s students were tasked with honour

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33

Nairne, Sandy, Reesa Greenberg, and Bruce W. Ferguson. Thinking about Exhibitions. Taylor & Francis Group, 2005.

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34

Nairne, Sandy, Reesa Greenberg, and Bruce W. Ferguson. Thinking about Exhibitions. Taylor & Francis Group, 2005.

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35

Die Kunst des Ausstellens. Beiträge, Statements, Diskussionen. Hatje, Kunst- u. Architektur-Verlag(Hatje/Cantz Verlagsge5Gerd Gerd, 2002.

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36

Imagining the audience: Viewing positions in curatorial and artistic practice. Swedish Exhibition Agency, 2012.

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37

Dialogeja: 28.9.-27.10.1996, Nykytaiteen museo = Dialoger : 28.9.-27.10.1996, Museet for nutidskonst = Dialogues : 28.9.-27.10.1996, the Museum of Contemporary ... (Museum of Contemporary Art publications). Nykytaiteen museo, 1996.

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38

Lieux d'Exposition et Leurs Publics Ausstellungsorte und Ihr Publikum. Lang AG International Academic Publishers, Peter, 2013.

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39

L'Exposition imaginaire: The art of exhibiting in the eighties = de kunst van het tentoonstellen in de jaren tachtig. Rijksdienst Beeldende Kunst, 1989.

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40

Kanshū no seiritsu: Bijutsuten, bijutsu zasshi, bijutsushi. Tōkyō Daigaku Shuppankai, 2008.

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41

Pontzen, Rutger. Nice!: New Commitment in the Visual Arts. NAi Publishers, 2001.

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42

Beyond Objecthood: The Exhibition as a Critical Form since 1968. The MIT Press, 2017.

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43

Mondloch, Kate. Screens: Viewing Media Installation Art. University of Minnesota Press, 2010.

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44

Yun, Pom-mo. Misulgwan kwa taetongnyong. Yegyong, 1993.

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45

Brown, Elizabeth A. Wow: The Work of the Work. Henry Art Gallery, 2005.

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46

Nice!: Towards a new form of commitment in contemporary art. NAi Publishers, 2000.

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47

Nazi Exhibition Design and Modernism. University of Minnesota Press, 2018.

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48

Tymkiw, Michael. Nazi Exhibition Design and Modernism. University of Minnesota Press, 2018.

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49

Nazi Exhibition Design and Modernism. University of Minnesota Press, 2018.

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50

Nazi Exhibition Design and Modernism. University of Minnesota Press, 2018.

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