scholarly journals A museologia pós-crítica segundo os Tate Encounters

Mouseion ◽  
2019 ◽  
pp. 93
Author(s):  
Cayo Honorato
Keyword(s):  
Visual Culture ◽  
Museum Studies ◽  
Art Museum ◽  
Theory And Practice ◽  
Critical Museology

Neste artigo, discutimos o conceito e o posicionamento da museologia pós-crítica, tal como elaborados pelo projeto de pesquisa e programa público Tate Encounters: Britishness and Visual Culture (2007-2010), em relação à museologia crítica. Para tanto, analisamos os argumentos registrados na principal publicação resultante do projeto, intitulada Post-critical Museology: Theory and Practice in the Art Museum (2013), assim como alguns títulos dos museum studies, assinados por Tony Bennett (1995), Carol Duncan (1995) e Eilean Hooper-Greenhill (1992). O resultado é um quadro comparativo mais nuançado, a partir do qual se pode notar remissões e intersecções, mais do que rupturas definitivas entre essas diferentes perspectivas. Por certo, adotamos essa estratégia na expectativa de melhor registrarmos a especificidade do pós-crítico. Nossa compreensão de que o pós-crítico propõe uma reformulação da crítica, mais do que seu abandono ou superação, levou-nos a destacá-lo como um empreendimento metodológico. Todavia, trata-se de um método que não pode se autoproclamar como tal.

scholarly journals The State of Play: An Exploration of Games and Their Value in  museum Exhibitions

2021 ◽  
Author(s):  
◽  
Anton Berndt
Keyword(s):  
Research Question ◽  
Museum Studies ◽  
Theory And Practice ◽  
Successful Implementation ◽  
Central Research ◽  
Contemporary Culture ◽  
Museum Exhibitions ◽  
Research Findings ◽  
Museum Practice ◽  
New Museology

<p>In the field of museum studies there has been very little consideration of games and their application to exhibiting practice. This represents a significant gap in the theory on current museum practice given the frequency of games in exhibitions and the scale of the commercial games industry in contemporary culture. This study begins to redress this issue by exploring how a significant and influential museum operating within the paradigm of the new museology views the role of games in its exhibitions. The thesis considers the central research question: what do practitioners currently think about games in museum exhibitions and how could museum games be improved. Following an interpretivist methodology the study seeks to answer this question through a case study of the Museum of New Zealand Te Papa Tongarewa. Seven practitioners affiliated with this museum were interviewed about their understanding of games and their application in a museum context. The research findings illuminate the current understanding of games held by these practitioners and factors that inhibit the successful implementation of games at Te Papa. It was found that the practitioners’ opinions had not been influenced by the available theoretical literature on games. It was also found that practitioners thought games in exhibitions at the museum have not been particularly successful in achieving either the goals of exhibitions or the potential that games offer. It is concluded that the introduction of theories on play and on games into museum theory and practice has potential for significant advances in this area of exhibition development. In contemporary museums there is a shift away from presenting absolute, positivist understandings of knowledge toward the subjective, construction of meaning. Museums are also increasingly required to maintain economic efficacy while offering a valuable service to the populace. This thesis responds to this situation by proposing that a greater knowledge and utilisation of games in exhibitions offers a valuable approach in negotiating these two trends. By presenting an understanding of games, their potential value for museums and perspectives on what currently inhibits their successful application this research offers the field of museum studies a basis from which to develop knowledge of this under-theorised aspect of museum practice.</p>

Visual seduction: Eroticism in surrealistic art photography and postmodern fashion photography

2020 ◽  
Author(s):  
Iva Jestratijevic
Keyword(s):  
Visual Culture ◽  
Sigmund Freud ◽  
Human Sexuality ◽  
Theory And Practice ◽  
Jean Baudrillard ◽  
The Public ◽  
Discursive Analysis ◽  
Fashion Photography ◽  
Stuart Hall ◽  
Art Photography

Surrealistic art photography reveals eroticism and nudity as something that both fascinates and agitates, compelling the audience to pay attention, willingly or reluctantly. Undoubtedly, for surrealistic artists the sphere of fantasy and sexual sensation emerge as a source of pleasure and aesthetic sensation. Surrealistic fantasies, dreams and human sexuality have merged with elements of art and porn culture to create hybrid visual forms and postmodern fashion photography is certainly among them. Unlike surrealistic art photography that serves as an emancipatory tactic or as a transgressive act of provoking the public, postmodern fashion photography utilizes eroticism as an expression or vestige of perverse enjoyment. Perversion in the eroticized postmodern context holds somewhat particular meaning. Desire is operationalized without restrictions, appears everywhere while losing its imaginary. Hence, visual seduction is a never-ending game between seducers and the seduced. In light of a growing interest in understanding photography, and visual culture, this article examines how eroticism is constructed through surrealistic photographed content, and it explores the implication of this for further study of postmodern fashion photography. Conceptually, and methodologically, this article draws on semiotics (Roland Barthes), and discursive analysis, including psychoanalytic (Sigmund Freud), and representational theory and practice (Laura Mulvey, Stuart Hall and Jean Baudrillard).

scholarly journals The Experiential Museum – Avant-Garde Spatial Experiments and the Reorganization of the Human Sensorium

2021 ◽  
Vol 55 (1-2) ◽  
Author(s):  
Meri Batakoja ◽  
Karin Šerman
Keyword(s):  
New Media ◽  
Museum Studies ◽  
Art Museum ◽  
Avant Garde ◽  
New Concepts ◽  
Per Se

Avant-garde artistic experiments are unquestionably recognized as relevant to the museum field in the context of art and museum studies. This paper aims to reconfirm their relevance in the architectural context as well, selecting crucial cases and protagonists whose final products were not artworks or exhibitions per se, but new (concepts of) space. These new concepts of space were all treated as democratic and participatory new media capable of training and modernizing the whole of our human sensorium. In this way, a curious partnership is discovered between this “experiential” art museum and the discourse on architectural modernity. Imaginary space, expressionist space, correlational space, multimedia space and situationist space – these are the principal categories that this paper recognizes as five distinct productive devices for modernist perceptual reorganization.

Visual Cultures

2017 ◽  
Author(s):  
Ira Dworkin
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Visual Culture ◽  
Significant Influence ◽  
Art Museum ◽  
Cultural Practice ◽  
Visual Artists ◽  
Color Palette ◽  
Visual Cultures

This chapter considers the significant influence of William Sheppard on U.S. visual culture. In 1890, soon after he arrived in the Congo, he expresses his intent to collect Congolese artifacts, mostly Bakuba, for Hampton’s “Curiosity Room,” which was the basis for its renowned art museum. In the early 1940s after Viktor Lowenfeld established the Hampton art department, John Biggers, Samella Lewis, Elizabeth Catlett, Charles White, and other artists, who were students or teachers there, studied Sheppard’s textile collection. In particular, the color palette and geometry found in Biggers’s work recall both African American quilts and Bakuba textiles, indicating that, beyond political topics, Sheppard’s influence includes a wide aesthetic vocabulary. Twentieth-century African American visual artists developed an innovative cultural practice based on their immersion in a collection whose provenance links it to the movement for reform in the Congo.

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