From the 19th
century cabinet of curiosities, to the vastness of space.
The Philosophy Chamber An 18th -
century cabinet of curiosities at Harvard University is re-created in an exhibition that looks at the history of collecting.
Not exact matches
The Artist's Museum locates these diverse works within a cultural moment and artistic impulse bookended by the historical
cabinet of curiosities and 20th
century image libraries, and our current era
of the hyperlink and circulation
of digital images.
Fensterstock transforms the Atrium Gallery into a
cabinet of curiosity that expands her interest in natural history and personal collections, principally Holophusicon, an eighteenth -
century natural history and ethnographical museum in London, and American artist Robert Smithson's Mirror with Crushed Shells, created during an exploration on the beaches
of Sanibel, Florida.
The exhibition extends the tradition
of the wunderkammern,
cabinets of curiosities which arose in sixteenth -
century Europe as repositories for wondrous and exotic objects drawn from natural, manmade, and artificial worlds.
These will include the Visconti Maquettothèque [model set designs collection]
of the Monte - Carlo Opera, the Bosio brothers» sculptures and etchings, Eugène Frey's fabulous luminous decors, the Marquis du Périer de Mouriez's strange collection
of transparent paintings, plus the religious boxes from the de Galéa Collection and many other artificialia that evoke the
cabinets of curiosities of the 17th and 18th
centuries, the ancestors
of European museums.
In the built - in
cabinet in Glyndor Gallery, Abbassy's presentation is «like a 19th -
century anthropologist's collection, or
cabinet of curiosities.»
We will encounter the Visconti «maquétothèque»
of the Monte - Carlo Opera, Eugène Frey's fabulous luminous decors, the Marquis du Périer de Mouriez's strange collection
of transparent paintings, plus the religious boxes from the Galéa Collection made by the Provencal Carmelites and a thousand other from the reserve collection that evoke the
cabinets of curiosities of the 17th and 18th
centuries, the ancestors
of European museums.
Filling one entire gallery, an immersive
Cabinet of Art and
Curiosity features more than 200 remarkable 17th
century objects, many assembled by the great collector J. Pierpont Morgan, combined with natural history specimens and other rarities.
This section also features an an octagonal 18th -
century - style
cabinet of curiosities accommodating a bizarre collection
of «nature's wonders».
The artist's spectacular and often fantastical
curiosity cabinets, modeled on Wunderkabinetts
of the sixteenth
century, exalt atypical orderings
of objects and specimens.
A riveting artist whose dual investigations
of ecological issues and archival resources have yielded everything from large - scale installations — entire overgrown felled trees, greenhouses, etc. — to 19th -
century - style
cabinets of curiosity containing a richly macabre array
of dead animals that operate as invocations
of both death and practical knowledge.
The Surrealists, in their turn, were fans
of the Wunderkammer, or
cabinet of curiosities, those rooms
of oddities beloved
of 17th -
century scholars and kings.
Both shows make allusion to the voguish notion
of the
cabinet of curiosities or Wunderkammer, but each offers a different take on this 17th -
century craze.
The artist's spectacular and often fantastical
curiosity cabinets, modeled on Wunderkammen
of the 16th and 17th
Century, exalt atypical orderings
of objects and specimens.