Sentences with phrase «imaginary museum»

A reflection on the impulse to save both the most precious and the apparently valueless, it will bring together a variety of imaginary museums, personal collections, and unusual assemblages, revealing the devotion with which artists, collectors, scholars, and hoarders have created sanctuaries for endangered images and artifacts.

They exploit a promise that has extended in time from Walter Benjamin's «arcades project» in the 1930s, an encyclopedia of nineteenth - century Paris, or André Malraux's Imaginary Museum through virtual reality today.

Compared to the focused polemics of Institutional Critique artists Hans Haacke, Andrea Fraser, or Fred Wilson, the spirit of Broodthaers» imaginary museum seems far more magical, its critique more elusive.

The question has haunted Bloom since her first imaginary museum, The Reign of Narcissism in 1989.

Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have created sanctuaries for endangered images and artifacts.

Barbara Bloom puts real and imaginary museums through their paces.

When he presented 2,000 slides from what he called his «imaginary museum» in 1958 at New York's Artist's Club as the World in Color Slides, a «Non-Happening,» the audience (including the artist's friends, students, and colleagues) found it boring, and many quickly left.

In Was die Bilder erzählen, the German essayist Dieter Wellershoff presents a tour through an imaginary museum.

With Skin Fruit, the New Museum launches The Imaginary Museum, a new exhibition series that will periodically showcase leading private collections of contemporary art from around the world.

Its introductory wall text cites André Malraux's «imaginary museum.»

The book art of one and the poetry of the other belong in anyone's imaginary museum.

But then, it's true, soon my interest turned into this idea of basically putting together an imaginary museum where those postcards of paintings would be connected to one another.

Massimiliano Gioni introduced the choice of theme evoking the Italo - American self - taught artist Marino Auriti who «on November 16, 1955 filed a design with the US Patent office depicting his Palazzo Enciclopedico (The Encyclopedic Palace), an imaginary museum that was meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite.

The Guggenheim invites the Pompidou Center to New York, to create an «imaginary museum» of Modernism.

He describes Reinhardt's admiration for what André Malraux called the imaginary museum, a kind of precursor to today's virtual museum.

They rebel against the institutional pressures, acknowledged by Emily Fisher Landau and Philippe de Montebello, and return after all to André Malraux's modernist dream of «an imaginary museum.»

It had seen the «triumph» of American painting and the change from the «imaginary museum» of André Malraux in France, a source for John Berger or Rosalind E. Krauss, to the very real museum since Thomas Hoving, including hype, crowds, growth, and blockbusters.

In Malraux's imaginary museum, the collection is unlimited and each new addition (the artwork or art object observed and retained in the viewer's memory bank) enables a subjective modification.

At some point, though, does the device become a stale lecture on the originality of the avant - garde or the imaginary museum?

The wonderful photograph of Malraux surveying the image proofs for his book — lined up and reproduced in uniform scale — is like a map of his imaginary museum, materialized on the floor of what I imagine was his study in Paris.

Arlene Shechet presents «Some Truths» at Almine Rech Gallery, this is her first solo exhibition in Paris, previously the artist has participated in the group exhibitions: «CERAMIX» and «The Imaginary Museum».

He was friends with Joseph Beuys, and his imaginary museum looks ahead to the critical stance of a museum for Barbara Bloom and Postmodernism's «Pictures generation.»

Either this imaginary museum welcomes copyists, or Owens has enlarged her studio.

The title The Encyclopedic Palace (Il Palazzo Enciclopedico) refers to a project by Italo - American self - taught artist Marino Auriti who in 1955 filed a design with the US Patent office depicting his Palazzo Enciclopedico (The Encyclopedic Palace), an imaginary museum that was meant to house all worldly knowledge.

The title was chosen by curator Massimiliano Gioni, who presented this year's theme by evoking the Italo - American self - taught artist Marino Auriti who «on November 16, 1955 filed a design with the US Patent office depicting his Palazzo Enciclopedico (The Encyclopedic Palace), an imaginary museum that was meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite.

A reflection on the impulse to save both the most precious and the apparently valueless, the exhibition brings together a variety of imaginary museums, personal collections, and unusual assemblages, revealing the devotion with which artists, collectors, scholars, and hoarders have created sanctuaries for endangered images and artifacts.

A reflection on the impulse to save both the most precious and the apparently valueless, it brings together a variety of imaginary museums, personal collections, and unusual assemblages, revealing the devotion with which artists, collectors, scholars, and hoarders have created sanctuaries for endangered images and artifacts.

A reflection on the impulse to save both the most precious and the apparently valueless, this presentation brings together a variety of imaginary museums, personal collections, and unusual assemblages, revealing the devotion with which artists, collectors, scholars, and hoarders have created sanctuaries for endangered images and artifacts.

Doris Lasch and Astrid Seme, installation view, The imaginary museum, 2017, Exposed Exhibitons — Fotoarchiv der Kunsthalle Basel, Kunsthalle Basel, 2017.

The Imaginary Museum, 2017, 128 pages, edition of 350, published by Mark Pezinger Verlag.

Doris Lasch shares insights on her most recent artist's book, The Imaginary Museum, developed together with Astrid Seme for the exhibition Exposed Exhibitions: Fotoarchiv der Kunsthalle Basel.

It seems as if Dakis Joannou was merely subletting three floors and the lobby of the building, under the title «The Imaginary Museum,» as the institution has announced a series of shows devoted to private collections.

It presents an «imaginary museum» containing works from three of the most prestigious European collections by international figures including Marcel Duchamp (1887 - 1968), On Kawara (1933 — 2014), Claes Oldenburg (b. 1929), Sigmar Polke (1941 - 2010), Bridget Riley (b. 1931), Dorothea Tanning (1910 — 2012), Andy Warhol (1928 - 1987) and Rachel Whiteread (b. 1963).

In September, the New Museum announced a series of exhibition entitled «The Imaginary Museum,» the first of which will be curated by Jeff Koons from the collection of Dakis Joannou, who in addition to heavy collecting the work of Koons, is a trustee of the museum.

Ackerman hangs that portrait off - center, like the remnant of an imaginary museum, amid a tracery of black - and - white.

What is clear is that, in forgoing an incremental career summation in favor of a network of dialogues among the artist and a panoply of interlocutors, the exhibition not only proffered an alternative to the stock model of a retrospective but also recast the prototype of an imaginary museum.

According to the OED, the term plagiarism was first applied to music in the Monthly Magazine of 1797, when a composition was described as «the most flagrant plagiarism from Handel» (The Imaginary Museum of Musical Works by Lydia Goehr, OUP).