Libros de Museología y museos, página 13 de 64

The most wonderful and clear art guide to explore and learn all the basics about the great works, artists, schools of art and styles of the Musée d'Orsay. Learn about the extraordinary collection of the Musee d'Orsay, housed in a former railway station in Paris. Essential works from academicist, romantic, naturalist and realist painting by artists such as Corot and Courbet, to the great impressionist masters: Monet, Manet, Renoir, Pisarro, Sisley and Berthe Morisot. Post-Impressionist painters (Van Gogh, Cezanne, Gauguin) and Symbolists (Maurice Denis, Odilon Redon). The sculpture collection with Carpeaux and the great Rodin, the decorative arts and other sections of the museum. An essential work to be learn about such transcendental creations in the history of art

Los museos se encuentran en un momento decisivo de su historia. Para garantizar su supervivencia en el próximo siglo, los museos y las galerías de arte han de demostrar que tienen un valor social, es decir, han de mejorar su funcion de servicio publico con un mayor conocimiento de las necesidades de sus visitantes y una mayor voluntad de ofrecer experiencias gratificantes y utiles. Los museos y sus visitantes quiere ayudar a los museos y a las galerias en esta tarea crucial, examinando los modelos que han de seguir para potenciar sus funciones comunicativas y, con ejemplos practicos, las mejores vias para lograrlo. Esta obra destaca la importancia de conocer las necesidades especificas de una serie de publicos objetivo colegios, familias, personas con discapacidades y propone distintas politicas de exposicion, educacion y marketing orientadas a estas necesidades. Reflexiona, asimismo, sobre el poder de los objetos para inspirar y estimular, y analiza el uso del lenguaje en museos y galerias.

Con el acuerdo suscrito entre las Administraciones vascas y la Fundación Guggenheim para abrir una nueva sede del Museo Guggenheim en Bilbao, los museos, en general, entran de lleno en la era de la globalizacion y la internacionalizacion de la economia. Ademas, todo el proceso negociador, que culmina con la firma del acuerdo por parte del Gobierno vasco, la Diputacion Foral de Bizkaia y la fundacion neoyorquina el 13 de diciembre de 1991, suscita el debate en los medios culturales y politicos del Pais Vasco. Lo cuantioso de la inversion realizada por las instituciones publicas, los desequilibrios que podrian afectar a otros proyectos y sectores de la actividad cultural, los fondos que albergara el museo bilbaino y la representacion en ellos de los artistas vascos: todo ello ha sido objeto de polemica y ha dado lugar incluso a acusaciones de colonialismo cultural. Desde una perspectiva critica, la cronica de Joseba Zulaika se ocupa de todos estos aspectos aunque no se limita a ellos. El relato se organiza a partir de una larga entrevista con Thomas Krens, el polemico director del museo neoyorquino y pieza clave por parte americana en todo el proceso, y se completa con otras entrevistas a los principales personajes implicados en el proyecto. Zulaika reconstruye minuciosamente todos los detalles de una negociacion en su mayor parte secreta o reservada y la describe como una estrategia de seduccion desatada por Krens en cuyas redes caen los politicos vascos. Los problemas financieros del Guggenheim de Nueva York en los ultimos años, su estrategia de expansion internacional como huida hacia delante, la discutida politica de adquisiciones de Krens, la desproporcion de un acuerdo en el que todo el peso de la inversion recae del lado vasco a cambio de contrapartidas poco definidas, los intentos de conseguir el prestamo del Guernica de Picasso para la inauguracion del museo bilbaino... A partir de todo ello, el autor aborda una reflexion mas general sobre el papel que desempeñan los museos y el arte contempor&

Museums everywhere have the potential to serve as agents of changebringing people together, contributing to local communities, and changing peoples lives. So how can we, as individuals, radically expand the work of museums to live up to this potential? How can we more fiercely recognize the meaningful work that museums are doing to enact change around the relevant issues in our communities? How can we work together to build a stronger culture of equity and care within museums? Questions like these are increasingly vital for all museum professionals to consider, no matter what your role is within your institution. They are also important questions for all of us to be thinking about more deeply as citizens and community members. This book is about the work we need to do to become changemakers and demand that that our museums take action toward positive social change and bring people together into a more just, equitable, compassionate, and connected society. It is a journey toward tapping the energies within all of us to make change happen and proactively shape a new future.

Triumphs and challenges in contemporary museology Held on the occasion of Louvre Abu Dhabi s first anniversary the symposium Worlds in a Museum addressed the topic of museums in the era of globalisation exploring contemporary museology and the preservation and presentation of culture within the context of changing societies Departing from the historical museum structure inherited from the Enlightenment leading experts from art cultural and academic institutions explore present day achievements and challenges in the study display and interpretation of art history and artefacts How are global and local objects and narratives balanced particularly in consideration of diverse audiences How do we foster perspective and multiculturalism while addressing politicised notions of centre and periphery As they abandon classical canons and categories how are museums and cultural entities redefining themselves beyond predefined concepts of geography and history This collection of essays arises from the symposium Worlds in a Museum organised by Louvre Abu Dhabi and Ecole du Louvre Contributors H E Shaikha Mai bint Mohammed Al Khalifa Bahrain Authority for Culture and Antiquities Mohamed Khalifa Al Mubarak Department of Culture and Tourism Abu Dhabi Guil

The last two decades have seen concerns for equality, diversity, social justice and human rights move from the margins of museum thinking and practice, to the core. The arguments both moral and pragmatic for engaging diverse audiences, creating the conditions for more equitable access to museum resources, and opening up opportunities for participation, now enjoy considerable consensus in many parts of the world. A growing number of institutions are concerned to construct new narratives that represent a plurality of lived experiences, histories and identities which aim to nurture support for more progressive, ethically-informed ways of seeing and to actively inform contemporary public debates on often contested rights-related issues. At the same time it would be misleading to suggest an even and uncontested transition from the museum as an organisation that has been widely understood to marginalise, exclude and oppress to one which is wholly inclusive. Moreover, there are signs that momentum towards making museums more inclusive and equitable is slowing down or, in some contexts, reversing.

Since the turn of the 21st century, there has been a significant expansion in the field of transhistorical exhibition practicethat is, exhibitions in which objects from various art-historical periods and cultural contexts are put on display together. These juxtapositions are made in an effort to question traditional museological notions like chronology, context and category in the space of the museum itself.Drawing on the expertise of a wide range of international museum professionals, The Transhistorical Museum: Mapping the Field considers a range of such transhistorical curatorial efforts, exploring the rationale behind these projects, the particular challenges they present and the particular rewards they can offer. This volume surveys the history and future potential of the phenomenon of the transhistorical museum.

Only a decade ago the notion that museums galleries and heritage organisations might engage in activist practice with explicit intent to act upon inequalities injustices and environmental crises was met with scepticism and often derision Seeking to purposefully bring about social change was viewed by many within and beyond the museum community as inappropriately political and antithetical to fundamental professional values Today although the idea remains controversial the way we think about the roles and responsibilities of museums as knowledge based social institutions is changing Museum Activism examines the increasing significance of this activist trend in thinking and practice At this crucial time in the evolution of museum thinking and practice this ground breaking volume brings together more than fifty contributors working across six continents to explore analyse and critically reflect upon the museum s relationship to activism Including contributions from practitioners artists activists and researchers this wide ranging examination of new and divergent expressions of the inherent power of museums as forces for good and as activists in civil society aims to encourage further experimentation and enrich the debate in this nascent and uncertain f

A reprint of the original 1985 edition with updated photographsThirty- three essays from scholarly contributors on the evolution of collecting, and how this lead to the formation of the modern museumOne of the first books to explore how collectors live with their objects, a subject which has become increasingly studied and popularThe Ashmolean Museum is proud to make this important volume containing the fascinating story of the modern museum's beginnings available again. This ground-breaking book traces the story of collecting, which is the story of curiosity about objects and the world, by focusing on the nobility and specialists who laid the important groundwork for the current concept of museums. The first edition in 1985 sold out within a few months, the second a year or two later, and the third in 1989. There has been no reprint of the original edition since then. The topics covered by these essays are wide-ranging, and the scholarship is impeccable, enlightening, and full of unknown facts. It represents a broad-sweep of history that will captivate and surprise the expert and the interested reader alike.

Recent decades have seen migration history and issues increasingly featured in museums. Museums and Migration explores the ways in which museum spaces - local, regional, national - have engaged with the history of migration, including internal migration, emigration and immigration. It presents the latest innovative research from academics and museum practitioners and offers a comparative perspective on a global scale bringing to light geo- and socio-political specificities. It includes an extensive range of international contributions from Europe, Asia, South America as well as settler societies such as Canada and Australia.Museums and Migration charts and enlarges the developing body of research which concentrates on the analysis of the representation of migration in relation to the changing character of museums within society, examining their civic role and their function as key public arenas within civil society. It also aims to inform debates focusing on the way museums interact with processes of political and societal changes, and examining their agency and relationship to identity construction, community involvement, policy positions and discourses, but also ethics and moralities.

El infante don Luis de Borbón Farnesio, hijo varón menor de Felipe V e Isabel de Farnesio, que con catorce años ya ostentaba los cargos de arzobispo de Toledo y Sevilla y cardenal, es una de las figuras mas interesantes de la familia real durante el siglo XVIII. De su madre heredo el afan coleccionista y el amor por las artes. Abandonada la carrera eclesiastica y convertido en conde de Chinchon, en sus palacios de Boadilla del Monte y Arenas de San Pedro cultivo sus aficiones y fue un gran mecenas de musicos como Boccherini y de pintores como Paret y Goya. Su vida personal no fue afortunada, buena parte de ella transcurrio en la corte, a la sombra de su madre y de su hermano Fernando VI. Tras años de escandalosa solteria, al fin contrajo un matrimonio, que por imposicion de su hermano el monarca Carlos III, tuvo que ser desigual, lo que le apartaba de la sucesion al trono y condenaba a su familia al ostracismo. Sus ultimos años estuvieron marcados por la soledad y el destierro de la corte y sitios reales. En la obra se traza una sintesis de su trayectoria biografica y se hace un estudio exhaustivo de su fabulosa biblioteca de mas de cinco mil volumenes. La libreria del infante don Luis, una de las bibliotecas privadas mas importantes de su epoca, aunaba en su seno lo mas destacado de la literatura, historia y pensamiento de la cultura clasica grecolatina, humanista y de los siglos XVI y XVII de España y Europa, al tiempo que estaba abierta a las corrientes mas innovadoras del movimiento ilustrado y del pensamiento cientifico de su epoca, con numerosas obras en distintos idiomas y editadas en el extranjero y un selecto conjunto de libros prohibidos por la Inquisicion. Una biblioteca que era un elemento de ocio, pero tambien un exponente de prestigio social para su dueño que, no solo era un gran coleccionista de obras de arte y tenia un valioso monetario, sino que albergo en sus palacios uno de los primeros gabinetes de historia natural del pais e incluso un pequeño zoologico. No cabe duda de que esta biblioteca constituye uno de sus logros mas brillantes.

This book explores the histories and functions of museums while also looking at the current standing of museums and their ongoing efforts toward relevance, resiliency, and future-proofing. Section I examines the beginnings of museums with chapters dedicated to art and design museums; natural history and anthropological museums; science museums; museums focused history and the past; and gardens, zoos, and childrens museums. Emphasis is on museums in the United States, with some historical framing beyond the U.S. Section II explores the primary functions of museums, including conservation, exhibition, interpretation, engagement, and service. Section III examines museums from within by exploring critical issues and contemporary movements facing museums and our society: transparency and openness, labor and equity, belonging and coalition-building, risk-taking and risk aversion, and sustainability and empathy. Advocating for change rather than death to museums, Museums in Motion demonstrates the very premise that museums have been in motion all along, as they have shifted from their rather simple form of a treasury, storehouse, and tomb to something much more complex by deeply considering where museums have come from, where they are today, and where they are going.

The museum has become a vital strategic space for negotiating ownership of and access to knowledges produced in local settings. Museum as Process presents community-engaged "culture work" of a group of scholars whose collaborative projects consider the social spaces between the museum and community and offer new ways of addressing the challenges of bridging the local and the global.Museum as Process explores a variety of strategies for engaging source communities in the process of translation and the collaborative mediation of cultural knowledges. Scholars from around the world reflect upon their work with specific communities in different parts of the world Australia, Canada, Ghana, Great Britain, New Zealand, Papua New Guinea, Philippines, South Africa, Taiwan and the United States. Each global case study provides significant insights into what happens to knowledge as it moves back and forth between source communities and global sites, especially the museum. Museum as Process is an important contribution to understanding the relationships between museums and source communities and the flow of cultural knowledge.

«Notable es la pretensión que anima la obra de ser un análisis general del régimen jurídico de los museos. En el que faltan muy pocas cosas que no están y podrían estar, y que fusiona ese conocimient

La guía general es un testimonio de la imagen que el Museo ofrece de sí mismo, de lo que quiere ser y de cómo desea ser visto. Presenta una mirada de conjunto de su exposición permanente, formada por las obras de referencia de sus fondos artisticos. Tras las sucesivas versiones que el Museo ha venido editando casi desde sus inicios, esta publicacion responde a una nueva etapa, en la que destacan dos grandes cambios que han renovado el Museo: Por una parte, desde 2009, la rehabilitacion arquitectonica del Colegio de San Gregorio y la nueva presentacion en esta sede principal de su coleccion de referencia. Por otra parte, el ingreso de una nueva coleccion, la del extinguido Museo Nacional de Reproducciones Artisticas, para la que se ha habilitado un nuevo edificio, la iglesia de la Casa del Sol, abierta al publico en 2012.