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

Cambria Press
Publication Type:
2009, First
Issue Date:
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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.
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