國立虎尾科技大學 |

The Radical Potential of the Wunderkammer in Contemporary Museum and Exhibition Practice.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The Radical Potential of the Wunderkammer in Contemporary Museum and Exhibition Practice./
Author:	Ennis, Ciara.
Description:	1 online resource (230 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 80-01(E), Section: A.
Contained By:	Dissertation Abstracts International80-01A(E).
Subject:	Museum studies. -
Online resource:	click for full text (PQDT)
ISBN:	9780438331020

The Radical Potential of the Wunderkammer in Contemporary Museum and Exhibition Practice.
Ennis, Ciara.

The Radical Potential of the Wunderkammer in Contemporary Museum and Exhibition Practice. - 1 online resource (230 pages)

Source: Dissertation Abstracts International, Volume: 80-01(E), Section: A.

Thesis (Ph.D.)--The Claremont Graduate University, 2018.

Includes bibliographical references

This study questions whether the appropriation of the sixteenth- and seventeenth-century model of the wunderkammer can function as a radical curatorial tool for experimentation and recovery at a time when progressive museum and exhibition practice has been thoroughly institutionalized. Privileging ambiguity over didacticism, the loose interpretative structure of the wunderkammer is explored as an alternative to the disciplinary culture of the Universal Survey museum and White Cube formats. While the wunderkammer has been deployed in museums and biennials over the past thirty years, there are vast differences as to how it has been used and to what critical effect. The efficacy of this curatorial tactic is evaluated in relation to one contemporary museum and two large-scale exhibitions connected with high-profile recurrent exhibition models. In doing so, this study questions why the wunderkammer has emerged as an alternative exhibitionary framework at this historical moment and asks how it can contribute to a more politicized cultural practice within the museum.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780438331020Subjects--Topical Terms:

1179596
Museum studies.
Index Terms--Genre/Form:

554714
Electronic books.

The Radical Potential of the Wunderkammer in Contemporary Museum and Exhibition Practice.
LDR:04305ntm a2200361Ki 4500 001 920882
005 20181203094403.5
006 m o u
007 cr mn||||a|a||
008 190606s2018 xx obm 000 0 eng d
020 $a 9780438331020
035 $a (MiAaPQ)AAI10844242
035 $a (MiAaPQ)cgu:11266
035 $a AAI10844242
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Ennis, Ciara. $3 1195804
245 1 4 $a The Radical Potential of the Wunderkammer in Contemporary Museum and Exhibition Practice.
264 0 $c 2018
300 $a 1 online resource (230 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertation Abstracts International, Volume: 80-01(E), Section: A.
500 $a Adviser: Joshua Goode.
502 $a Thesis (Ph.D.)--The Claremont Graduate University, 2018.
504 $a Includes bibliographical references
520 $a This study questions whether the appropriation of the sixteenth- and seventeenth-century model of the wunderkammer can function as a radical curatorial tool for experimentation and recovery at a time when progressive museum and exhibition practice has been thoroughly institutionalized. Privileging ambiguity over didacticism, the loose interpretative structure of the wunderkammer is explored as an alternative to the disciplinary culture of the Universal Survey museum and White Cube formats. While the wunderkammer has been deployed in museums and biennials over the past thirty years, there are vast differences as to how it has been used and to what critical effect. The efficacy of this curatorial tactic is evaluated in relation to one contemporary museum and two large-scale exhibitions connected with high-profile recurrent exhibition models. In doing so, this study questions why the wunderkammer has emerged as an alternative exhibitionary framework at this historical moment and asks how it can contribute to a more politicized cultural practice within the museum.
520 $a The degree to which the adaptation of wunderkammer mechanisms can affect change within current museum and exhibition practice is examined in relation to David Wilson's Museum of Jurassic Technology (MJT), Los Angeles; Carolyn Christov-Bakargiev's the Brain (2012) component of dOCUMENTA (13); and Massimiliano Gioni's Encyclopedic Palace , the 2013 iteration of the Venice Biennale. While the MJT focuses on the role of museal procedures---institutional narratives, display technologies, and didactics---in the production of meaning, the Brain and the Encyclopedic Palace critique the formal art world's carefully controlled system of inclusions and exclusions exemplified by the current biennial model that dictates who, what, and how artists and objects should be presented. In all three cases, Wilson, Christov-Bakargiev, and Gioni deploy wunderkammer tactics to expand the political potential of exhibitions, by re-imagining their formats and increasing viewer engagement.
520 $a As this dissertation argues, in contrast to more didactic curatorial approaches, the use of wunderkammer aesthetics and tactics can enact a different form of politics by presenting alternative approaches to form and content. The wunderkammer's dense form and generative mode of display---abrupt juxtapositions and heterogeneous constellations---can increase the range of ideas explored in an exhibition by provoking unanticipated connections and associations. Similarly, the wunderkammer's singular approach to content---inclusion of objects representing different disciplines, fields of study, practices, and time periods made by art and non-art professionals---can greatly expand the configurations of knowledge within the contemporary art museum. As evidenced by this study, this flexible structure has the potential to liberate exhibitions from their conventional formats and viewers from their conditioned responses so that new approaches to politics can be forged.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Museum studies. $3 1179596
650 4 $a Art criticism. $3 576960
655 7 $a Electronic books. $2 local $3 554714
690 $a 0730
690 $a 0365
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a The Claremont Graduate University. $b Arts and Humanities. $3 1183716
773 0 $t Dissertation Abstracts International $g 80-01A(E).
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10844242 $z click for full text (PQDT)