The problematic of video art in the museum, 1968-1990

Manasseh, C

The problematic of video art in the museum, 1968-1990

Manasseh, C

Permalink

Publisher:: Cambria Press
Publication Type:: Book
Citation:: 2009, First
Issue Date:: 2009-01

Closed Access

	Filename	Description	Size
	2010006014OKCh1-2.pdf		28.76 MB	Adobe PDF	View/Open
	2010006014OKCh3-end.pdf		8.99 MB	Adobe PDF	View/Open

Copyright Clearance Process

Recently Added
In Progress
Closed Access

This item is closed access and not available.

Full metadata record

Field	Value	Language
dc.contributor.author	Manasseh, C	en_US
dc.date.issued	2009-01	en_US
dc.identifier.citation	2009, First	en_US
dc.identifier.isbn	978-1-60497-650-2	en_US
dc.identifier.uri	http://hdl.handle.net/10453/14220
dc.description.abstract	In the book Dr. Manasseh discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of video art and contends that analogue video art would be instrumental in the evolution of the contemporary art museum. By addressing some of the problems that analogue video art presented to those museums under discussion, Dr. Manasseh penetratingly reveals how video art challenged institutional structures and had demanded more flexible viewing environments from those structures. Dr. Manassehâs book first defines the classical museum structure established by the Louvre Museum in Paris during the 19th century and then examines the transformation from this museum structure to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit analogue video art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. In the book MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to video art. The problematic of video art in the museum, 1968-1990 covers a range of issues. They include: video art: its origin, significance, significant movements, institutional challenges, and relationship to television; the establishment of the museum (its patronage, and curatorial strategy) "from the Louvre to MoMA; the relationship of MoMA to the Metropolitan Museum of Art; a comparative analysis of three museums in three countries on three continents; a close examination of video art exhibition; a closer look at three seminal video artists; and, finally, a critical overview of video art and its future exhibition.	en_US
dc.publisher	Cambria Press	en_US
dc.title	The problematic of video art in the museum, 1968-1990	en_US
dc.type	Book
utslib.location	Amherst, NY	en_US
utslib.for	1203 Design Practice and Management	en_US
utslib.citation.edition	First	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
utslib.copyright.status	closed_access
pubs.consider-herdc	false	en_US
pubs.edition	First	en_US
pubs.place-of-publication	Amherst, NY	en_US

Abstract:

In the book Dr. Manasseh discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of video art and contends that analogue video art would be instrumental in the evolution of the contemporary art museum. By addressing some of the problems that analogue video art presented to those museums under discussion, Dr. Manasseh penetratingly reveals how video art challenged institutional structures and had demanded more flexible viewing environments from those structures. Dr. Manassehâs book first defines the classical museum structure established by the Louvre Museum in Paris during the 19th century and then examines the transformation from this museum structure to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit analogue video art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. In the book MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to video art. The problematic of video art in the museum, 1968-1990 covers a range of issues. They include: video art: its origin, significance, significant movements, institutional challenges, and relationship to television; the establishment of the museum (its patronage, and curatorial strategy) "from the Louvre to MoMA; the relationship of MoMA to the Metropolitan Museum of Art; a comparative analysis of three museums in three countries on three continents; a close examination of video art exhibition; a closer look at three seminal video artists; and, finally, a critical overview of video art and its future exhibition.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/14220