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The Architecture of Exhibitions embarks on a comprehensive exploration of creativity and design innovation within exhibition spaces. It describes the fundamental principles of exhibition design, tracing the origins of creativity and considering its evolutionary significance.The book challenges conventional boundaries imposed by rigid classifications, drawing on heuristic studies in biology and the transformative concept of exaptation. It questions the traditional separations between art, science and technology, which often hinder innovation. By advocating for an interdisciplinary approach, it reimagines creativity that transcends conventional limits. Through practice-based research, multidisciplinary case studies and technological innovations, with a focus on generative AI, the book illustrates how modern exhibition spaces actively engage with their audiences, highlighting their profound impact beyond academic discourse.This book is designed for curators, designers and scholars who are passionate about the future of exhibition spaces. It offers a comprehensive understanding through its four-part structure, making it an essential read for anyone interested in the dynamic interplay between art, technology and society. The book is also designed as an instrument for the education of architecture, design and art students.

This is the first edited collection to critically address in its entirety questions related to the displaying of Chinese contemporary art. It includes chapters by scholars and cultural workers from diverse backgrounds involved in the interpretation of artistic as well as curatorial discourses and practices. Each of those chapters gives a detailed account of a particular, socio-culturally informed, approach to the making and showing of Chinese art - including in relation to queer identities, transculturality, the use of social media, artivism, social engagement, institutional critique, and neo-Confucian aesthetics. Together they present a vital intervention with established curatorship amidst the intensely interconnected and increasingly multi-polar cultural conditionalities of early 21st-century contemporaneity.

Was zeichnet eine (Kunst-)Ausstellung aus? Und was kann es heißen, wenn wir diese nicht nur als eine ›institutionelle Ansammlung von Dingen‹ begreifen, sondern die Ausstellung ›ökologisch‹ verstehen - d.h. ihre ganz spezifischen Milieus, Praktiken und situativen Konfigurationen in den Fokus rücken? Svetlana Chernyshova nimmt eine ontologische Verschiebung vor, indem sie die Ausstellung als eine Existenzweise - [EXP]osition - herausstellt und diese als ein Resultat von vielfältigen ›Metastabilisierungen‹ begreift. Auf der Grundlage von acht Parametern entsteht so ein Modell, welches das komplex-synthetische Phänomen Ausstellung systematisch in seinen Ebenen verhandelbar macht. Dabei rücken neben deren ästhetischen und epistemologischen Bedingungen auch die politischen Implikationen ins Blickfeld und zeigen: Ausstellungen lassen sich diffraktiv denken.

Nach ihrer Geschichte der Szenografie (erschienen 2021) nimmt sich die Autorin nun der Werkstoffe an, aus denen man für die Materialisierung von Ausstellungen wählen kann. In der systematischen Zusammenstellung werden gebräuchliche Materialien vorgestellt und unter den Gesichtspunkten der chemischen, physikalischen, elektrischen, thermischen, mechanischen und akustischen Eigenschaften untersucht. Auch Fragen der historischen Gebräuchlichkeit sowie der Haltbarkeit, des Gewichts, des Preises und zu ökologischen Aspekten werden beantwortet. Somit bietet das Buch eine wertvolle Hilfe zur Planbarkeit und Abschätzung, etwa in Bezug auf das Wechselspiel mit den ausgestellten Objekten sowie die Themen Brandschutz, Haltbarkeit, Transportfähigkeit, Wetterbeständigkeit, Kostenabschätzung und ökologischer Fußabdruck.

From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the exhibition space in the early modern period. The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art. The book will be of interest to scholars working in art history, museum studies, exhibition history, and architectural history.

A curadoria de exposições de arte também pode ser uma forma de arte? Esta é a questão principal deste livro, analisada através de argumentos teóricos, históricos, bem como de exemplos práticos, com ricas referências visuais de obras e montagens de exposições contemporâneas nacionais e estrangeiras. Em 2a. edição, revista e atualizada, este livro de Sonia Salcedo é um raro estudo do gênero em língua portuguesa e abre uma nova discussão sobre o lugar da curadoria nas práticas artísticas contemporâneas. Este é um ensaio teórico-reflexivo, repleto de imagens, que nos convida a pensar a prática curatorial e a rever conceitos envolvidos no trabalho de organização de exposições de arte.

This book walks us through the process of how artworks eventually get their meaning, showing us how curated exhibitions invite audience members to weave an exhibition's narrative threads, which gives artworks their contents and discursive sense. Arguing that exhibitions avail artworks as candidates for reception, whose meaning, value, and relevance reflect audience responses, it challenges the existing view that exhibitions present “already-validated” candidates for appreciation. Instead, this book stresses the collaborative nature of curatorial practices, debunking the twin myths of autonomous artists and sovereign artistic directors and treating presentation and reception as separate processes. Employing set theory to distinguish curated exhibitions from uncurated exhibitions, installation art and collections, it demonstrates how exhibitions grant spectators access to concepts that aid their capacity to grasp artifacts as artworks. To inform and illuminate current debates in curatorial practice, Spaid draws on a range of case studies from Impressionism, Dada and Surrealism to more contemporary exhibitions such as Maurizio Cattelan “All” (2011) and “Damien Hirst” (2012). In articulating the process that cycles through exploration, interpretation, presentation and reception, curating bears resemblance to artistic direction more generally.

Contemporary Art in Heritage Spaces considers the challenges that accompany an assessment of the role of contemporary art in heritage contexts, whilst also examining ways to measure and articulate the impact and value of these intersections in the future.Presenting a variety of perspectives from a broad range of creative and cultural industries, this book examines case studies from the past decade where contemporary art has been sited within heritage spaces. Exploring the impact of these instances of intersection, and the thinking behind such moments of confluence, it provides an insight into a breadth of experiences – from curator, producer, and practitioner to visitor – of exhibitions where this juncture between contemporary art and heritage plays a crucial and critical role. Themes covered in the book include interpretation, soliciting and measuring audience responses, tourism and the visitor economy, regeneration agendas, heritage research, marginalised histories, and the legacy of exhibitions.Contemporary Art in Heritage Spaceswill be essential reading for academics and students engaged in the study of museum and heritage studies and contemporary art around the globe. Museum practitioners and artists should also find much to interest them within the pages of this volume.Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book addresses the politics of borders in the era of global art by exploring the identification of Chinese artists by location and exhibition. Focusing on performative, body-oriented video works by the post-1989 generation, it tests the premise of genealogical inscription and the ways in which cultural objects are attributed to the artist's residency, homeland or citizenship rather than cultural tradition, style or practice. Acknowledging historical definitions of Chineseness, including the orientalist assumptions of the past and the cultural-mixing of the present, the book's case studies address the paradoxes and contradictions of representation. An analysis of the historical matrix of global expositions reveals the structural connections among art, culture, capital and nation.

From Darkness to Light explores from a variety of angles the subject of museum lighting in exhibition spaces in America, Japan, and Western Europe throughout the nineteenth and twentieth centuries. Written by an array of international experts, these collected essays gather perspectives from a diverse range of cultural sensibilities. From sensitive discussions of Tintoretto's unique approach to the play of light and darkness as exhibited in the Scuola Grande di San Rocco in Venice, to the development of museum lighting as part of Japanese artistic self-fashioning, via the story of an epic American painting on tour, museum illumination in the work of Henry James, and lighting alterations at Chatsworth (to name only a few topics) this book is a treasure trove of illuminating contributions. The collection is at once a refreshing insight for the enthusiastic museum-goer, who is brought to an awareness of the exhibit in its immediate environment, and a wide-ranging scholarly compendium for the professional who seeks to proceed in their academic or curatorial work with a more enlightened sense of the lighted space.

From the fluttering fabric of a tent, to the blurred motion of the potter's wheel, to the rhythm of a horse puppet's wooden hooves—these scenes make up a set of mid-1980s art exhibitions as part of the U.S. Festival of India. The festival was conceived at a meeting between Indira Gandhi and Ronald Reagan to strengthen relations between the two countries at a time of late Cold War tensions and global economic change, when America's image of India was as a place of desperate poverty and spectacular fantasy. Displaying Time unpacks the intimate, small-scale durations of time at work in the gallery from the transformation of clay into ceramic to the one-on-one, personal encounters between museum visitors and artists.Using extensive archival research and interviews with artists, curators, diplomats, and visitors, Rebecca Brown analyzes a selection of museum shows that were part of the Festival of India to unfurl new exhibitionary modes: the time of transformation, of interruption, of potential and the future, as well as the contemporary and the now.

Visitor-Centered Exhibitions and Edu-Curation in Art Museums promotes balanced practices that are visitor-centered while honoring the integrity and powerful storytelling of art objects. Book examples present best practices that move beyond the turning point, where curation and education are engaged in full and equal collaboration. With a mix of theory and models for practice, the book:• provides a rationale for visitor-centered exhibitions; • addresses important related issues, such as collaboration and evaluation; and, • presents success stories written by educators, curators, and professors from the United States and Europe. • introduces the edu-curator, a new vision for leadership in museums with visitor-centeredexhibition practices.The book is intended for art museum practitioners, including educators, curators, and exhibitions designers, as well as higher education faculty and students in art/museum education, art history, and museum studies.

Insbesondere seit Aufkommen der digitalen Fotografie scheint die Menge der Bilder auch im künstlerischen Bereich stetig anzuwachsen. Bettina Dunkers Buch bietet einen ersten systematischen Überblick über den Bilder-Plural als Bildform. Der Bilder-Plural basiert auf den Sinnzusammenhängen, die durch die Beziehungen mehrerer Bilder zueinander entstehen. Dabei verschiebt sich der Schwerpunkt von der Produktion auf den Umgang mit Bildern: Auswahl, Kombination und Anordnung werden zur eigentlichen, kreativen Tätigkeit. Die zentrale Frage des Buchs ist die nach dem Potenzial des Bilder-Plurals. Dazu werden zwei Herangehensweisen verknüpft. Zum einen wird eine Pluraltypologie entworfen und Charakteristika des Bilder-Plurals herausgearbeitet. Zum anderen wird die gegenwärtige Konjunktur multipler Bildformen mit Blick auf das zeitgenössische Kunstsystem und das Medium der Fotografie analysiert.

Sculpture and the Museum is the first in-depth examination of the varying roles and meanings assigned to sculpture in museums and galleries during the modern period, from neo-classical to contemporary art practice. It considers a rich array of curatorial strategies and settings in order to examine the many reasons why sculpture has enjoyed a position of such considerable importance - and complexity - within the institutional framework of the museum and how changes to the museum have altered, in turn, the ways that we perceive the sculpture within it. In particular, the contributors consider the complex issue of how best to display sculpture across different periods and according to varying curatorial philosophies. Sculptors discussed include Canova, Rodin, Henry Moore, Flaxman and contemporary artists such as Rebecca Horn, Rachel Whiteread, Mark Dion and Olafur Eliasson, with a variety of museums in America, Canada and Europe presented as case studies. Underlying all of these discussions is a concern to chart the critical importance of the acquisition, placement and display of sculpture in museums and to explore the importance of sculptures as a forum for the expression of programmatic statements of power, prestige and the museum's own sense of itself in relation to its audiences and its broader institutional aspirations.

Global and World Art in the Practice of the University Museum provides new thinking on exhibitions of global art and world art in relation to university museums.Taking The Fowler Museum at UCLA, USA, as its central subject, this edited collection traces how university museum practices have expanded the understanding of the ‘art object'in recent years. It is argued that the meaning of cultural objects infused with the heritage and identity of ‘global culture'has been developed substantially through the innovative approaches of university scholars, museum curators, and administrators since the latter part of the twentieth century. Through exploring the ways in which universities and their museums have overseen changes in the global context for art, this edited collection initiates a larger dialogue and inquiry into the value and contribution of the empirical model.The volume includes a full-colour photo essay by Marla C. Berns on the Fowler Museum's ‘Fowler at Fifty'project, as well as contributions from Donald Preziosi, Catherine M. Cole, Lothar von Falkenhausen, Claire Farago, Selma Holo, and Gemma Rodrigues. It is important reading for professionals, scholars and advanced students alike.

Exhibitionary spaces and curatorial strategies ideologically frame the encounter between art and its publics. For more than forty years, feminist art curating, as a practice of art interpretation and a politics of display, has intersected with the diverse area of feminist art historical research and feminist artistic practices. It is only recently, however, that a theorization of feminist art curating and feminist exhibition histories as a specific field of knowledge has emerged.Curating Differently is a collection of essays that offers critical perspectives on, and analyses of, the intersections of feminisms, art exhibitions, and curatorial spaces from the 1970s onward. It brings together case studies from Australia, Israel, Europe, and North America that critically account for diverse strategies and interventions in curatorial space. The essays contribute with historical perspectives on feminist exhibition practices and curatorial models and first-hand accounts of feminist interventions within the art museum, as well as timely analyses of current intersections of feminisms within curating in the contemporary global art world.As a major contribution to the ongoing scholarly debate on the institutionalization of feminisms in art and its relative success, or failure, Curating Differently will provide new insights and provoke further discussion on the history and theory of feminist art exhibitions and curatorial spaces.

In recent years, the museum and gallery have increasingly become self-reflexive spaces, in which the relationship between art, its display, its creators and its audience is subverted and democratised. One effect of this has been a growing place for artists as curators, and in The Artist as Curator Celina Jeffery brings together a group of scholars and artists to explore the many ways that artists have introduced new curatorial ways of thinking and talking about artistic culture. Taking a deliberately multidisciplinary and cross-cultural focus, The Artist as Curator will fill a gap in museum and curatorial studies, offering a thorough and diverse treatment of various approaches to the historical and changing role of the artist as curator that should appeal to scholars, curators and artists alike.

In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so - for example J.L. David?s exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874 - despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.

Ausstellungen kultur- und naturwissenschaftlicher Thematik gehören heute zu den wichtigsten Äußerungen kulturellen Lebens. Aber was geschieht eigentlich, wenn man ausstellt? Wie »wirklich« ist das Ausgestellte? Das Buch fasst Ausstellungen als »Wirklichkeitsspiele« auf, in denen die Bedeutung der Dinge nicht nur vermittelt, sondern auch neu ausgehandelt werden kann. Der von Alexander Klein gewählte Zugang legt die historischen Wurzeln des Ausstellens frei und untersucht sein spannungsreiches Verhältnis zum Sammeln. Dabei erweist sich, dass das Medium »wissenschaftliche Ausstellung« die Grenzen des konventionellen Museums sprengt. Ein bebilderter Teil mit einer kommentierten Auswahl von Exponaten rundet die Publikation ab.

For better or worse, museums are changing from forbidding bastions of rare art into audience-friendly institutions that often specialize in “blockbuster” exhibitions designed to draw crowds. But in the midst of this sea change, one largely unanswered question stands out: “What makes a great exhibition?” Some of the world's leading curators and art historians try to answer this question here, as they examine the elements of a museum exhibition from every angle. What Makes a Great Exhibition? investigates the challenges facing American and European contemporary art in particular, exploring such issues as group exhibitions, video and craft, and the ways that architecture influences the nature of the exhibitions under its roof. The distinguished contributors address diverse topics, including Studio Museum in Harlem director Thelma Golden's examination of ethnically-focused exhibitions; and Robert Storr, director of the 2007 Venice Biennale and formerly of the Museum of Modern Art, on the meaning of “exhibition and “exhibitionmaker.” A thought-provoking volume on the practice of curatorial work and the mission of modern museums, What Makes A Great Exhibition? will be indispensable reading for all art professionals and scholars working today.

Displaying the Ideals of Antiquity investigates the study and display of ancient sculpture from archaeological, art historical, and museum studies perspectives. Ancient sculptures not only give us knowledge about ancient Greek and Roman pasts, but they also mediate ideals that inform modern perceptions of antiquity. This book analyzes how an art historical tradition establishes and preserves an idealized view of antiquity in classical archaeology and in museum exhibitions. The authors investigate how these ideals are kept alive today—an approach that often is neglected in studies on ancient reception.This book offers an international scope and illustrates how academic conceptual foundations influence museum exhibitions.This timely volume discusses contemporary museum exhibitions of ancient sculpture and clarifies how old discourses continue to affect museum exhibitions and conceptualizations of ancient sculptures. The authors analyze close to 100 museums around the world, and demonstrate the ways in which ancient sculptures are mediated across Europe and the West.

Kuratoren sind in den letzten Jahren neben Museumspädagogen und Gestaltern verstärkt ins Blickfeld der museologischen Forschung gerückt. In einer aktuellen Studie zur Besucherorientierung stellt Maren Ziese zeitgenössische kuratorische Praktiken in Kunstausstellungen vor. In Rückbindung an die Relationale Ästhetik fragt sie, ob Kunst-Kuratoren ein soziales Umfeld in Ausstellungen kreieren und wie Partizipations- und Kommunikationsmöglichkeiten für das Publikum eröffnet werden. Der Band bietet einen Kriterienkatalog partizipatorischer Praktiken und arbeitet Handlungsmöglichkeiten für Ausstellungsmacher heraus.

This important and first-of-its-kind collection addresses the emerging challenges in the field of media art preservation and exhibition, providing an outline for the training of professionals in this field. Since the emergence of time-based media such as film, video and digital technology, artists have used them to experiment with their potential. The resulting artworks, with their basis in rapidly developing technologies that cross over into other domains such as broadcasting and social media, have challenged the traditional infrastructures for the collection, preservation and exhibition of art. Addressing these challenges, the authors provide a historical and theoretical survey of the field, and introduce students to the challenges and difficulties of preserving and exhibiting media art through a series of first-hand case studies. Situated at the threshold between archival practices and film and media theory, it also makes a strong contribution to the growing literature on archive theory and archival practices.

A successful exhibition is a well-balanced mix of communication, knowledge transfer, interaction, adventure, and contemplation. This widely popular handbook, which has already gone through multiple printings, offers a concise presentation of the principal phases of an exhibition's genesis with striking examples from the design practice of the authors. Topics covered are conception and design, presentation and staging, representation and education, text and graphics, typography and layout, as well as light and lighting. The central design steps are illustrated with sketches, diagrams, plans, elevations, simulations, technical drawings, working models, and photographs. Bertron Schwarz Frey (Berlin and Ulm) is one of Germany's leading exhibition design firms.

Sie werden als Publikumsmagneten bewundert, als vermeintliche Marketingevents verachtet – die aufsehenerregenden Großausstellungen der Kunst. Als »Blockbuster« verwandeln diese Präsentationen das Kunsterlebnis in ein Kulturspektakel, die Museen in Eventzonen. Die Publikation wirft erstmals einen genauen Blick auf den Blockbuster als Phänomen der Kunstwelt und stellt Fragen wie: Was macht diese Giganten des Ausstellungsgeschehens so erfolgreich, was geschieht mit den Museen und wie verändern sie unsere Wahrnehmung von Kunst? Der Band stellt Blockbuster vor, die in den letzten Jahren für Furore sorgten, und lässt die Personen hinter den Mega-Events zu Wort kommen. Vor allem werden die Elemente analysiert, die diese Ausstellungen überhaupt erst zu Erfolgsformaten machen – von Starkünstlern und ihren Werken bis hin zu Sponsoren und raffiniert gestalteten Marketingkampagnen. Sprache: Deutsch

Kunst im öffentlichen Raum – das kann weit mehr sein als die Aufwertung von Straßen und Plätzen durch Plastiken und Skulpturen. ARTocracy stellt eine autonome Welt der Kunst vor, die – zielgerichtet im Dialog mit den Künstlern – ebenso die Geschichte wie die gegenwärtige Gesellschaft und den Alltag der Menschen einbezieht. Dieses Handbuch gewährt dabei Einblicke in die komplexe Organisation von Gemeinschaftsprojekten und zeigt, wie öffentliche Kunstprojekte im Dialog erfolgreich in die Tat umgesetzt werden können: und zwar von der Idee über die Beauftragung eines Künstlers, von der Finanzierung und dem Marketing bis hin zur Rezeption.

Throughout the mid-1970s until the early 1990s, video art as vehicles for social, cultural, and political analysis were prominent within global museum based contemporary art exhibitions. For many, video art during this period stood for contemporary art. Yet from the outset, video art's incorporation into art museums has brought about specific problems in relation to its acquisition and exhibition. This book analyses, discusses, and evaluates the problematic nature and form of video art within four major contemporary art museums––the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London, and the Art Gallery of New South Wales (AGNSW) in Sydney. In this book, the author 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, this study penetratingly reveals how video art challenged institutional structures and had demanded more flexible viewing environments from those structures. It 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 was 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 this 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. Extremely well researched and well written, this book covers an exhaustive, substantive, and relevant range of issues. These issues 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. This unique book also covers an important period in the genesis of video art and its presentation within significant national and global cultural institutions. Those cultural institutions not only influence a meaningful part of the cultural life of four unique countries but also represent the cultural forces emerging in capital cities on three continents. By itself, this sort of geographic and institutional breadth challenges any previous study on the subject. This book successfully provides a historical explanation for the museum/gallery's relationship to video art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the book contains a theoretical discussion of the problems related to video art imagery with the period of High Modernism; it examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct major contemporary art institutions. The Problematic of Video Art in the Museum, 1968–1990 is an important book for all art histor

To stay relevant, art curators must keep up with the rapid pace of technological innovation as well as the aesthetic tastes of fickle critics and an ever-expanding circle of cultural arbiters. Issues in Curating Contemporary Art and Performance argues that, despite these daily pressures, good curating work also requires more theoretical attention. In four thematic sections, a distinguished group of contributors consider curation in light of interdisciplinary and emerging practices, examine conceptions of curation as intervention and contestation, and explore curation's potential to act as a reconsideration of conventional museum spaces. Against the backdrop of cutting-edge developments in electronic art, art/science collaboration, nongallery spaces, and virtual fields, contributors propose new approaches to curating and new ways of fostering critical inquiry. Now in paperback, this volume is an essential read for scholars, curators, and art enthusiasts alike.

Prominent art historian looks at the birth of the art museum and contemplates its future as a public institution.

First published 1994 by the University of Minnesota Press.

Ausstellungen als eigenständige Kunstwerke sind das zentrale Thema dieser Arbeit. Mit dem Beginn des 20. Jahrhunderts entdeckten zahlreiche Künstler die Ausstellung als Medium, das den Werken durch Abfolge, Zuordnung, Konfrontation und Raumsituation eine über ihre singuläre Gestalt hinausreichende Bedeutung beimaß. Nach knapper Einführung in die Geschichte der Kunstausstellung werden Grundlagen der Ästhetik als philosophischer Disziplin kurz erläutert, da diese gemeinsam mit völlig veränderten Produktionsbedingungen seit dem Ende des 19. Jahrhunderts zu einem neuen Werkbegriff in der Moderne führten. Im Anschluß werden exemplarische Künstlerausstellungen vorgestellt, die in ihrer historischen Abfolge die Entwicklung der Ausstellung aus ihrer einst dienenden Funktion zum eigenen Kunstwerk belegen. Den Auftakt bildet die Beethovenausstellung der Wiener Sezession im Jahr 1902, wo sich erstmalig eine Ausstellung in Inhalt und Gestaltung bedingte. Weitere herausragende Stationen der modernen Kunstausstellung werden auf ihre Inszenierung und Intention hin untersucht: Nach den Beispielen der inzwischen schon wieder historischen Avantgarde geht es weniger aggressiv über die ersten Environments und Installationen schließlich bis zum Aufkommen von Aktionskunst und Happenings. Das Happening als Form der Ausstellung zeigt deutlich die Emanzipation des Schauzusammenhanges zum autonomen Werk, es zeigt jedoch zugleich seine Grenzen auf und bewirkt einen Umbruch in der Kunst(ausstellung). Diss. Darmstadt 1999.