Download Cabinet of Curiosities - Mark Dion and the University as by Colleen J. Sheehy PDF

By Colleen J. Sheehy

The richly illustrated essays in cupboard of Curiosities documents the inventive procedures in the back of an install designed via modern artist Mark Dion on the Frederick R. Weisman paintings Museum on the college of Minnesota, a collaboration of museum employees, scholars, and assortment curators. Drawing from collage collections, Dion and the curators selected 700 items consultant of the state’s heritage, starting from a Bierstadt portray of Minnehaha Falls to Hubert Humphrey memorabilia, in addition to items that will have interested Renaissance viewers—such as mirrors and the world’s smallest plant—and prepared them into different types standard of Renaissance inquiry, similar to the Underworld, the ocean, Humankind, and the Library. jointly, the cupboards represented the college in miniature, simply as their Renaissance precursors had tried to symbolize microcosms of the area. cupboard of Curiosities bargains statement at the ways that gathering has undergirded the production of data inside of universities and in Western society. Colleen J. Sheehy is director of schooling on the Frederick R. Weisman paintings Museum and affiliate college in American reviews and artwork background on the collage of Minnesota. released in cooperation with the Frederick R. Weisman paintings Museum

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15 During the past forty years, installation has grown into a major artistic form, forged by artists from a variety of positions. In the early 1960s, the environments created by pop artists Allan Kaprow and George Segal or by the assemblage artist Edward Kienholz provided a strong impetus for large-scale environmental sculpture. They used found objects arrayed and transformed in evocative spaces, often alternative spaces to museums and galleries—storefronts, streets, and alleys. Viewers were invited in to experience the sensory, immersive environment, where, particularly with Kaprow and Segal, performances by the artists were staged, making the space theatrical as much as visual, material, and architectural.

A book about abolitionist Harriet Tubman introduced the idea of the Underground Railroad. The underworld also referenced the unsanctioned worlds of gay life and operated as a metaphor for hell in a photograph of a thirteenth-century Norwegian woodcut titled A Sodomite’s Descent into Hell, from the Tretter Collection in Gay, Lesbian, Bisexual, and Transgender Studies. In discussing our selection process, certain cabinet curators seized the opportunity to shape the cabinets to reflect their own critiques of power or of official historical narratives.

After passing through the entryway, a visitor would be on a semicircular platform two feet high, with a wooden railing, and about five feet on the other side of the railing were the nine cabinets, arranged in a semicircle, moving from left to right in terms of the genealogy of ideas the cabinets were meant to illustrate.

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