Contemporary Art in Heritage Spaces

Description

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 Spaces will 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 available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license   Cover Half Title Title Page Copyright Page Table of contents Figures Contributors Acknowledgements Chapter 1 Introduction Aims and rationale A complex relationship Scope and approach Part I: Reimagining heritage Part II: Alternative histories Part III: Disciplinary dialogues Part IV: Liminal spaces Notes Part I Reimagining heritage Chapter 2 Mapping contemporary art in the heritage experience Introduction Museological origins for contemporary art in heritage practice A new ‘commissioning’ industry? Reimagining audiences through contemporary art in heritage Conclusion Notes Chapter 3 Making cities: Place, production, and (im)material heritage Emily Hesse Neil Brownsword Conclusion Notes Chapter 4 Gestured by Brass Art: Gestures, ambiguity, and material transformation at Chetham’s Library Introduction An embodied approach to the archive Molten and interior geologies | the erupting body Absent women return Spectral whispers Re-presenting the space A fantasy hovers Notes Part II Alternative histories Chapter 5 Making the invisible visible in Capability Brown’s lost landscapes Introduction Developing the project Pinatopia and Mount Folly Harewood House Gustav Metzger The garden and/as artwork Giles Bailey: Out of a Morass Ruth Lyons: Pilot Light Amelia Crouch: Nor Stamp Hard on the Ground, Neither Lead, Threads, and Petals Conclusion Notes Chapter 6 A room of one’s own: Strategies of feminist arts interventions Introduction Context: the National Trust and the Challenging Histories programme Why feminism and heritage A framework of feminist strategies Feminist artist interventions Complaint, risk, and loss Conclusion Notes Chapter 7 Contemporary interventions and conflict: The possibilities of ‘critical historical consciousness’ as a mode ... Heritage and critical historical consciousness ‘Conflict and Compassion’: Asia Triennial Manchester 14 Art as interpretation Authorised transgressions Artist as Other Art and heritage: intersecting dialogues Notes Chapter 8 Mapping contemporary art in the heritage experience: Mary Eleanor Bowes and The Orangery Urns Mapping Contemporary Art in the Heritage Experience Gibside The Orangery Urns Vessels in a landscape Ravens, robins, and parakeets Working with volunteers and an endnote Postscript: the National Trust evaluation Notes Part III Disciplinary dialogues Chapter 9 Expanded Interiors: Bringing contemporary site-specific fine-art practice to Roman houses at Herculaneum and ... Introduction What inspired Expanded Interiors? A performance: dialogue with a woman Roman wall painter from antiquity Expanded Interiors: framework and some key information Artists and archaeologists Expanded Interiors at the House of the Beautiful Courtyard in Herculaneum, and the House of the Cryptoporticus in Pompeii Conclusion Notes Chapter 10 Practising history: Art, archives, and footnotes Collaborative practice: being a historian Drawing on the past: exploring history through art practice Artist in residence: the case study Some tentative conclusions Notes Chapter 11 Understanding the audience experience of contemporary visual arts at Geevor Mine World Heritage Site: ... Introduction The museum, the artist, and the exhibition The artist The exhibition The collaboration and conversation: intersecting practice and methodologies Impact of art and intersection with heritage Audience experience Conclusion Notes Part IV Liminal spaces Chapter 12 Numinous experiences in the home of the Brontës Methodology The Brontë Parsonage Numen Contemporary art in the Parsonage Remnants Conclusion Notes Chapter 13 Transactions of an artist’s placement: Planning Berwick-upon-Tweed with Sander Van Raemdonck The context is half the work Artist in residence Walking Spittal Point Guide the Guide Placement Walkshop Under the skin Transactional end note Notes Chapter 14 Bruce Nauman at York St Mary’s: A hermeneutic enquiry into ‘the intersection’ Introduction Part 1: interpreting Nauman’s works within a specific heritage context Part 2 – interrogating ‘the intersection’ Conclusion Notes Index