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Connects the rising popularity of private museums with evolving models of collecting and philanthropy, and new inter-relationships between private and public space. It examines how contemporary collectors construct museums to frame themselves as cultural arbiters of global distinction.
Connects the rising popularity of private museums with evolving models of collecting and philanthropy, and new inter-relationships between private and public space. It examines how contemporary collectors construct museums to frame themselves as cultural arbiters of global distinction.
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Georgina S. Walker is an Honorary Fellow at the University of Melbourne, Australia. She teaches in Art History, Curatorial and Museum Studies and her research interests include the recent and fast-growing number of private, state and international museums that have emerged in China and the Gulf Region.
Inhaltsangabe
Introduction: An introduction to the private collector's museum Part I: Overview 1 Setting the foundation: Self-glorification is a small price to pay for philanthropy 2 Private collecting: collecting in the twentieth and twenty-first centuries Part II: The private collector's museum 3 Where house and art museum converge 4 Subverting the notion of the house museum 5 The emergence of the stand-alone museum: Museum Folkwang, Hagen (1902- 1921) and Essen, Germany (1922) Part III: The (re)emergence of the single patron collection museum 6 The German model of the private-public art museum 7 The private-public collection museum: Museum Brandhorst, Munich (2009) and Museum Frieder Burda, Baden-Baden (2004) Germany 8 In defiance of the monumental museum: Menil Collection, Houston, USA (1987) 9 The new museum and its creator's grand plan: The Broad, Los Angeles, USA (2015) Conclusions: Evolving philanthropic conventions
Introduction: An introduction to the private collector's museum Part I: Overview 1 Setting the foundation: Self-glorification is a small price to pay for philanthropy 2 Private collecting: collecting in the twentieth and twenty-first centuries Part II: The private collector's museum 3 Where house and art museum converge 4 Subverting the notion of the house museum 5 The emergence of the stand-alone museum: Museum Folkwang, Hagen (1902- 1921) and Essen, Germany (1922) Part III: The (re)emergence of the single patron collection museum 6 The German model of the private-public art museum 7 The private-public collection museum: Museum Brandhorst, Munich (2009) and Museum Frieder Burda, Baden-Baden (2004) Germany 8 In defiance of the monumental museum: Menil Collection, Houston, USA (1987) 9 The new museum and its creator's grand plan: The Broad, Los Angeles, USA (2015) Conclusions: Evolving philanthropic conventions
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