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001			194383
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008			230127t20182004nju fo d z eng d
020			_a9780691188683 _qPDF
024	7		_a10.1515/9780691188683 _2doi
035			_a(DE-B1597)9780691188683
035			_a(DE-B1597)501938
035			_a(OCoLC)1076452927
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aN430 _b.W48 2006eb
072		7	_aART023000 _2bisacsh
082	0	4	_a708 _222
084			_aonline - DeGruyter
245	0	0	_aWhose Muse? : _bArt Museums and the Public Trust / _ced. by James Cuno.
264		1	_aPrinceton, NJ : _bPrinceton University Press, _c[2018]
264		4	_c©2004
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tPreface and Acknowledgments -- _tIntroduction -- _tA Pentecost in Trafalgar Square -- _tThe Object of Art Museums -- _tPictures, Tears, Lights, and Seats -- _tThe Authorities of the American Art Museum -- _tA Deontological Approach to Art Museums and the Public Trust -- _tArt Museums, Inspiring Public Trust -- _tRound Table Discussion -- _tIndex -- _tPhotography Credits
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aDuring the economic boom of the 1990s, art museums expanded dramatically in size, scope, and ambition. They came to be seen as new civic centers: on the one hand as places of entertainment, leisure, and commerce, on the other as socially therapeutic institutions. But museums were also criticized for everything from elitism to looting or illegally exporting works from other countries, to exhibiting works offensive to the public taste. Whose Muse? brings together five directors of leading American and British art museums who together offer a forward-looking alternative to such prevailing views. While their approaches differ, certain themes recur: As museums have become increasingly complex and costly to manage, and as government support has waned, the temptation is great to follow policies driven not by a mission but by the market. However, the directors concur that public trust can be upheld only if museums continue to see their core mission as building collections that reflect a nation's artistic legacy and providing informed and unfettered access to them. The book, based on a lecture series of the same title held in 2000-2001 by the Harvard Program for Art Museum Directors, also includes an introduction by Cuno and a fascinating--and surprisingly frank--roundtable discussion among the participating directors. A rare collection of sustained reflections by prominent museum directors on the current state of affairs in their profession, this book is without equal. It will be read widely not only by museum professionals, trustees, critics, and scholars, but also by the art-loving public itself.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 27. Jan 2023)
650		0	_aArt museums _xPublic opinion.
650		0	_aArt museums _xPublic relations.
650		7	_aART / Popular Culture. _2bisacsh
653			_aADAPT.
653			_aAdage.
653			_aAgnes Gund.
653			_aAndres Serrano.
653			_aAnne d'Harnoncourt.
653			_aAnthony van Dyck.
653			_aAntiquities trade.
653			_aAphorism.
653			_aArt criticism.
653			_aArt exhibition.
653			_aArt history.
653			_aArt in America.
653			_aArt museum.
653			_aArt.
653			_aAuction.
653			_aBernard Berenson.
653			_aBoredom.
653			_aBritish Institution.
653			_aBritish Library.
653			_aBusiness ethics.
653			_aCalculation.
653			_aCaspar David Friedrich.
653			_aCensure.
653			_aCharles Saatchi.
653			_aChris Ofili.
653			_aCubism.
653			_aCulture war.
653			_aCurator.
653			_aDamien Hirst.
653			_aDistrust.
653			_aElliot Eisner.
653			_aEmerging technologies.
653			_aEnron.
653			_aEqual opportunity.
653			_aFacsimile.
653			_aFraud.
653			_aGeorge Soros.
653			_aGerhard Richter.
653			_aGerman art.
653			_aGlenn D. Lowry.
653			_aHannah Arendt.
653			_aHeadline.
653			_aHigh Renaissance.
653			_aIconoclasm.
653			_aImpressionism.
653			_aIn the Car.
653			_aInstitution.
653			_aIris Murdoch.
653			_aIslamic art.
653			_aJ. Paul Getty Museum.
653			_aJames Abbott McNeill Whistler.
653			_aJames Cuno.
653			_aJames Elkins (art historian).
653			_aKirk Varnedoe.
653			_aLayoff.
653			_aLeonardo da Vinci.
653			_aLife insurance.
653			_aLooting.
653			_aMasaccio.
653			_aMeyer Schapiro.
653			_aMichael Baxandall.
653			_aMichael Kimmelman.
653			_aModern art.
653			_aMuseum.
653			_aNational Gallery of Art.
653			_aNeil MacGregor.
653			_aNew Museum.
653			_aObscenity.
653			_aPainting (Blue Star).
653			_aPaul Gauguin.
653			_aPessimism.
653			_aPornography.
653			_aPrivate collection.
653			_aPublic sphere.
653			_aPutto.
653			_aR. G. Collingwood.
653			_aRainer Maria Rilke.
653			_aRenaissance art.
653			_aRichard Benefield.
653			_aRichard Meier.
653			_aRoberta Smith.
653			_aScenic design.
653			_aSense of Place.
653			_aSex scandal.
653			_aSmithsonian Institution.
653			_aStephen Greenblatt.
653			_aStill life.
653			_aTax.
653			_aThe Great Exhibition.
653			_aThe New York Review of Books.
653			_aThe New York Times.
653			_aThomas Bernhard.
653			_aThomas Krens.
653			_aTintoretto.
653			_aTitian.
653			_aTrade fair.
653			_aVatican Museums.
653			_aWalter Benjamin.
653			_aWestern painting.
653			_aWork of art.
700	1		_aCuno, James _eautore _ecuratore
700	1		_aLowry, Glenn D _eautore
700	1		_aLowry, Glenn D. _eautore
700	1		_aMacGregor, Neil _eautore
700	1		_aMontebello, Philippe de _eautore
700	1		_aWalsh, John _eautore
700	1		_aWood, James N. _eautore
700	1		_ade Montebello, Philippe _eautore
700	1		_ad’Harnoncourt, Anne _eautore
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9780691188683?locatt=mode:legacy
856	4	0	_uhttps://www.degruyter.com/isbn/9780691188683
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780691188683/original
942			_cEB
999			_c194383 _d194383