Writing about displays of sculpture: historiography and some current questions

Writing about displays of sculpture: historiography and some current questions

The current interest in how museums display sculpture forms part of a wider set of questions about how sculpture has been displayed and viewed historically. This paper surveys developments over the past thirty years or so and outlines some questions about the display and viewing of sculpture that we...

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Julkaisussa:URI:https://journals.openedition.org/cel,
Päätekijä: Baker, Malcolm
Aineistotyyppi: Article ou chapitre numérique
Kieli:Anglais
Julkaistu: Les Cahiers de l'École du Louvre 2016
Linkit:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
id openedition-oai:revues.org:cel_332
record_format openedition
spelling openedition-oai:revues.org:cel_332 https://doi.org/10.4000/cel.332 urn:doi:10.4000/cel.332 en https://journals.openedition.org/cel/332 2016-08-24T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/dpqk https://creativecommons.org/licenses/by-nc-nd/4.0/ Writing about displays of sculpture: historiography and some current questions Les Cahiers de l'École du Louvre École du Louvre info:eu-repo/semantics/reference/issn/2262-208X URI:https://journals.openedition.org/cel Baker, Malcolm The current interest in how museums display sculpture forms part of a wider set of questions about how sculpture has been displayed and viewed historically. This paper surveys developments over the past thirty years or so and outlines some questions about the display and viewing of sculpture that we are addressing now. One central issue for any curator of sculpture is this: how should works of sculpture which were created for specific settings – often public settings – be shown meaningfully in gallery displays which impose their own new viewing conditions and lock these sculptures into a new set of narratives? How do both curators and spectators engage with sculptures which were once site-specific but which are now decontextualized or rather re-contextualised as gallery sculptures? These questions are examined here in terms of changing approaches within the discipline of art history as well as the options open to the curator. L’intérêt actuel pour l’exposition de la sculpture dans les musées ne constitue qu’une partie d’un ensemble d’interrogations sur la manière dont la sculpture a été exposée et envisagée d’un point de vue historique. Cette conférence se penche sur les évolutions des trente dernières années et met en lumière un certain nombre de questions autour de la mise en scène et de la contemplation des œuvres sculptées, ce dont nous traitons à présent. Une préoccupation centrale pour tout conservateur de sculptures est la suivante : comment des sculptures crées pour un lieu spécifique – souvent public – peuvent-elles être justement représentées dans un contexte muséal qui impose ses propres conditions en termes de visibilité et enferme ces sculptures dans un propos nouveau ? Comment les conservateurs et les visiteurs de musées peuvent-ils entrer en relation avec des sculptures autrefois spécifiques à un lieu, et aujourd’hui décontextualisés, ou plutôt re-contextualisés en tant que sculptures de musée. Ces questions seront amenées ici du point de vue du changement de l’approche de la discipline que constitue l’histoire de l’art, mais aussi selon les possibilités qui s’offrent au conservateur.
collection OpenEdition Journal
language Anglais
format Article ou chapitre numérique
building 0/Bibliothèque numérique/
1/Bibliothèque numérique/OpenEdition Journals/
description The current interest in how museums display sculpture forms part of a wider set of questions about how sculpture has been displayed and viewed historically. This paper surveys developments over the past thirty years or so and outlines some questions about the display and viewing of sculpture that we are addressing now. One central issue for any curator of sculpture is this: how should works of sculpture which were created for specific settings – often public settings – be shown meaningfully in gallery displays which impose their own new viewing conditions and lock these sculptures into a new set of narratives? How do both curators and spectators engage with sculptures which were once site-specific but which are now decontextualized or rather re-contextualised as gallery sculptures? These questions are examined here in terms of changing approaches within the discipline of art history as well as the options open to the curator.
author Baker, Malcolm
spellingShingle Baker, Malcolm
Writing about displays of sculpture: historiography and some current questions
author_facet Baker, Malcolm
author_sort Baker, Malcolm
title Writing about displays of sculpture: historiography and some current questions
title_short Writing about displays of sculpture: historiography and some current questions
title_full Writing about displays of sculpture: historiography and some current questions
title_fullStr Writing about displays of sculpture: historiography and some current questions
title_full_unstemmed Writing about displays of sculpture: historiography and some current questions
title_sort writing about displays of sculpture: historiography and some current questions
publisher Les Cahiers de l'École du Louvre
publishDate 2016
container_title URI:https://journals.openedition.org/cel
url https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/cel.332
https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/cel/332
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