Check out our Spring 2019 catalog, featuring more than 500 new books on art & culture. We welcome new publishers Arquine, Atelier Éditions, August Editions, The Design Museum, London, Eakins Press, Editions Patrick Frey, Fulgur Press, Kasmin, Lisson Gallery, Marciano Art Foundation, Marsilio Editori, Onomatopee and Ridinghouse to our list in 2019!
Conceptual Art in a Curatorial Perspective focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are frequently not object-based creates challenges when exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies of conceptualist group shows, and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, as well as the influence of curators in their canonization. The aim of the book is not to offer clear-cut practical solutions but to raise awareness within the traditional curatorial field. It is relevant for students of art and culture (particularly museum and curatorial studies), art and museum professionals, and anyone interested in the art of the 1960s and 1970s.
in stock $30.00
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FORMAT: Pbk, 6.25 x 8.25 in. / 272 pgs / 50 b&w. LIST PRICE: U.S. $30.00 LIST PRICE: CANADA $45 ISBN: 9789078088769 PUBLISHER: Valiz/vis-à-vis AVAILABLE: 4/23/2019 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ME
Conceptual Art in a Curatorial Perspective Between Dematerialization and Documentation
Published by Valiz/vis-à-vis. By Nathalie Zonnenberg.
Conceptual Art in a Curatorial Perspective focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are frequently not object-based creates challenges when exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies of conceptualist group shows, and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, as well as the influence of curators in their canonization.
The aim of the book is not to offer clear-cut practical solutions but to raise awareness within the traditional curatorial field. It is relevant for students of art and culture (particularly museum and curatorial studies), art and museum professionals, and anyone interested in the art of the 1960s and 1970s.
