Curious Lessons in the Museum

Rezensionen / Stimmen

'In this engaging and thought-provoking work, the author enlivens the recent history of pedagogically motivated artists' interventions and offers significant insights into the curious lessons they provide to museum and gallery learning departments.' Julie Sheldon, Liverpool John Moores University, UK

'With deft scholarly touch, Robins traces the pedagogic thread of artists' interventions woven throughout the history of museum collections both private and public, from the historical to the contemporary. In so doing, she reveals the subtle and witty complexity and broad educational agency of these interventions, making the book essential reading for museum scholars, students and professionals today.' Helen Charman, Design Museum London, UK

'In this historical overview of museum pedagogy, Claire Robins points out that many recent artistic interventions seek to tap the pre-Enlightenment wonder of the institution. She analyzes compelling instances from Andy Warhol to Fred Wilson and Jeremy Deller, as well as her own performance at the William Morris Gallery, England. She argues for artists' interventions as an increasingly more accurate term than the fashionable institutional critique, for the wide-ranging, ever growing roster of contemporary artist/ trickster legitimated transgressions embraced by museums to freshen their image. Highly recommended for all parties in this complex interplay.' Lewis Kachur, Kean University, USA and author of Displaying the Marvelous: Marcel Duchamp, Salvador Dali and Surrealist Exhibition Installations

'... the content is well-researched, insightful and page-turning, and this work has the potential to stimulate further research and constructive dialogue in the field. This publication is appropriate for students and professionals of museum studies, while at the same time art historians, and even artists, would find the content of this book equally fascinating.' Rosetta

'The strength of the book lies in the author's commitment to represent a wide and disparate set of voices, among them contemporary artists, social and museological theorists, and arts educators. This approach will no doubt provide new insights to any reader, as few authors have attempted to combine these competing concerns in existing scholarship.' Art Journal