![]() This intrusion-by a group of amateur curators, with neither formal training nor professional experience in museums or galleries-ultimately altered the way in which surrealists made, displayed, and promoted their own art. From their introduction in Paris in 1925, surrealist exhibitions dissolved the conventional boundaries between visual media, language, and the space of public display. In The Curatorial Avant-Garde, by contrast, Adam Jolles demonstrates the surrealists' radical transformation of the ways in which spectators encountered works of art between the wars. ![]() All too often, the historical avant-garde is taken to be incommensurate with and antithetical to the world inhabited by the museum. Read Online and Download Curatorial Avant-Garde: Surrealism and Exhibition Practice in France, 1925-1941. Curatorial Avant-Garde: Surrealism and Exhibition Practice in France, 1925-1941 BY Adam Jolles
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