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The problematic of video art in the museum, 1968-1990 [electronic resource] / Cyrus Manasseh.

By: Manasseh, Cyrus.
Material type: TextTextPublisher: Amherst, N.Y. : Cambria Press, c2009Description: 1 online resource (x, 264 p.).ISBN: 9781624992230 (electronic bk.); 1624992234 (electronic bk.); 9781613366394; 1613366396.Subject(s): Video art -- Exhibitions | Art -- Exhibition techniques | Art museums -- Exhibitions | Art museums -- Social aspects | Videokunst | Kunstmuseum | Ausstellungstechnik | ART / Film & Video | PHOTOGRAPHY / Techniques / Cinematography & VideographyGenre/Form: Electronic books.Additional physical formats: Print version:: Problematic of video art in the museum, 1968-1990.DDC classification: 778.59074 Online resources: EBSCOhost
Contents:
Defining the Classical Structure of the Art Museum: From the Louvre to MoMA -- The Problematics of Display -- The Problematic of Video Art -- Institutional Frameworks -- The Critical Discourse of Video Art.
Summary: "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."--pub. desc.
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Includes bibliographical references and index.

Defining the Classical Structure of the Art Museum: From the Louvre to MoMA -- The Problematics of Display -- The Problematic of Video Art -- Institutional Frameworks -- The Critical Discourse of Video Art.

"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."--pub. desc.

Description based on print version record.

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