A Gust of Photo-Philia
Photography in the Art Museum
Erschienen am 17. Dezember 2020
Buch
Softcover
332 Seiten
978-94-6270-242-4 (ISBN)
Beschreibung
The first transnational history of photography's accommodation in the art museum
Photography was long regarded as a "middle-brow" art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book-part institutional history, part account of shifting photographic theories and practices-Alexandra Moschovi tells the story of photography's accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography's status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Photography was long regarded as a "middle-brow" art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book-part institutional history, part account of shifting photographic theories and practices-Alexandra Moschovi tells the story of photography's accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography's status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Rezensionen / Stimmen
Mit Alexandra Moschovis 'A Gust of Photo-Philia' liegt nun zum ersten Mal eine breit ange-legte systematische Rekonstruktion dieser Ereignisse vor. Genau wie Grundberg konzentriert sich auch Moschovi auf das kuenstleri-sche Feld der Fotografie, im Unterschied zu ihm oeffnet sie den Radius ihres Interesses aber weit ueber Manhattan hinaus: In fuenf ausgedehnten Fallstudien, die je ein Kapitel des Buches ausmachen, zeichnet sie die Entwicklungen in fuenf international renommierten Ausstellungshaeusern nach: Neben dem MoMA und dem Guggen-heim Museum in New York sind dies das Victoria and Albert und die Tate in London sowie das Musee National d'Art Modern im Pariser Centre Pompidou.Steffen Siegel, Bd. 3 Nr. 4 (2022): 21: Inquiries into Art, History, and the Visual. Beitraege zur Kunstgeschichte und visuellen Kultur, https://doi.org/10.11588/xxi.2022.4.91686 This is an important and interesting book. [...] this book is a real contribution to exhibition histories and/or curatorial studies, with a particular focus on large national museums. [...] Moschovi's attention to the tensions between modes, and their non-resolution as photography is established in each museum, is what makes this book so fascinating.
Alison Green, Source, Issue 106, Autumn 2021
https://www.source.ie/archive/issue106/is106contents.php Dans tous les cas, cet ouvrage est dense, certes, mais il n'interessera pas que les amateurs de musees ou les specialistes des institutions. C'est d'abord une histoire de l'histoire de la photographie.
Stewen Corvez, Critique d'art [En ligne], 4 juni 2021, URL : http://journals.openedition.org/critiquedart/78003 The result of two decades of research into art institutions' engagement with photography in all its forms, this book is a detailed and archivally-engaged examination of photography's accommodation in the art museum.
Mary Pelletier, The Classic Platform, 26 May 2021 It retraces the history of how photography entered the art museum, a place where it initially did not have access to, and how this history has been a local as well as global phenomenon, as demonstrated by the five case studies that constitute the core of this book: MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou. Moschovi unpacks these histories in great detail and a sharp eye for context, but also with great writing pleasure and craft, which makes her study almost a page-turner. [...] Moschovi succeeds in writing a new form of art history, with museums and photography as key players, which strikes the right balance between internal (artistic, historical) and external (political, financial, social) perspectives and concerns. Two or more worlds, perhaps, but the author gives us the best of them by bringing them together in this innovative study.Jan Baetens, Leonardo
Reviews Archive, April 2021
Weitere Details
Reihe
Sprache
Englisch
Verlagsort
Leuven
Belgien
Zielgruppe
Für höhere Schule und Studium
US School Grade: College Graduate Student and over
Illustrationen
b&w images
Maße
Höhe: 230 mm
Breite: 170 mm
Dicke: 21 mm
Gewicht
1017 gr
ISBN-13
978-94-6270-242-4 (9789462702424)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Weitere Ausgaben
Andere Ausgaben
E-Book
12/2020
Leuven University Press
66,49 €
Als Download verfügbar
Person
Alexandra Moschovi is associate professor of photography and digital media in the Faculty of Arts and Creative Industries at the University of Sunderland.
Inhalt
Preface Acknowledgments
Introduction A Foot in the Museum's Door A Gust of Photo-Philia The Question of the Medium The Structure of the Book
1. Photography Itself What is "Camera Esthetics"? A "Universal" Language Photography Itself "More Than One Photography" New Stories of Modern Art Navigating an "Ocean of Images"
2. The Art(s) of Photography Art Education for "All Classes" A Collection for the Art of Photography Between Form and Function Toward the "Bigger Picture" Pluralism and Participation
3. Art as Photography, Photography as Art Art as Photography The Unique Original Copy Who's Afraid of Contemporary Art? A Photo-Philic Turn Embracing the Vernacular Photographies and Histories Engaging New Audiences
4. Postmedia Pictures A "Postmedia" Collection in the Making A Global Museum Hybrid Images Accommodating the "Polymorphous" Photographic A New Poetics of the Photographic Image
5. Between Images Photography and the French State A Postmodern Museum A Collection for the Nation Episode 1: Plasticity and Hybridity Episode 2: Passages Between Media Episode 3: What is (Museum) Photography After All?
Postscript Notes Bibliography
Introduction A Foot in the Museum's Door A Gust of Photo-Philia The Question of the Medium The Structure of the Book
1. Photography Itself What is "Camera Esthetics"? A "Universal" Language Photography Itself "More Than One Photography" New Stories of Modern Art Navigating an "Ocean of Images"
2. The Art(s) of Photography Art Education for "All Classes" A Collection for the Art of Photography Between Form and Function Toward the "Bigger Picture" Pluralism and Participation
3. Art as Photography, Photography as Art Art as Photography The Unique Original Copy Who's Afraid of Contemporary Art? A Photo-Philic Turn Embracing the Vernacular Photographies and Histories Engaging New Audiences
4. Postmedia Pictures A "Postmedia" Collection in the Making A Global Museum Hybrid Images Accommodating the "Polymorphous" Photographic A New Poetics of the Photographic Image
5. Between Images Photography and the French State A Postmodern Museum A Collection for the Nation Episode 1: Plasticity and Hybridity Episode 2: Passages Between Media Episode 3: What is (Museum) Photography After All?
Postscript Notes Bibliography