‘Independent of time and place’: on the rise and decline of a modernist ideal

Time and Place: The Geohistory of Art

Volumn , Issue , 2017, Pages 173-201

  Gamboni, Dario ^a  

^a UNIVERSITY OF GENEVA   (Switzerland)

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Indexed keywords

EID: 70449738977     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (15)

1. Quatremère de Quincy, Considérations morales sur la destination des ouvrages de l’art, suivi de Lettres sur l’enlèvement des ouvrages de l’art antique à Athènes et à Rome, Paris: Fayard, 1989, p. 206.
2. Quatremère de Quincy, ‘Lettres sur l’enlèvement des ouvrages de l’art antique à Athènes et à Rome’ (1836), reprinted in Considérations morales, 1989, pp. 102, 104.
3. Giancarlo Cunial, La Gipsoteca Canoviana, Fondazione Canova, Asolo: Acelum, 1992, pp. 11–15, 72–73, 134.
4. Oskar Bätschmann, Ausstellungskünstler. Kult und Karriere im modernen Kunstsystem, Cologne: DuMont, 1997 (transl., The artist in the modern world: the conflict between market and self-expression, New Haven and London: Yale University Press, 1997), pp. 82–88.
5. Giles Waterfield, ‘Dulwich Picture Gallery: an artist’s shrine?,’ in G. Waterfield, ed., Soane and death, London: Dulwich Gallery, 1996, pp. 53–69, esp. p. 54.
6. Walter Grasskamp, in ‘Die Reise der Bilder: Zur Infrastruktur der Moderne,’ in Die unbewältigte Moderne. Kunst und Offentlichkeit, Munich: Beck, 1989, pp. 27–44.
7. E. Verhaeren (unsigned), ‘Les marbres du Parthénon’, in L’Art moderne, December 14, 1890, pp. 393–94, reprinted in Verhaeren, 1997, pp. 361–63.
8. Walter Grasskamp, ‘Invasion aus dem Atelier. Kunst als Störfall,’ in W. Grasskamp, ed., Unerwünschte Monumente. Moderne Kunst im Stadtraum, Munich: Schreiber, 1989, pp. 141–69.
9. D. Gamboni, The destruction of art: iconoclasm and vandalism since the French Revolution, New Haven and London: Reaktion Books/Yale University Press, 1997, pp. 170–89.
10. Caroline A. Jones, Machine in the studio: constructing the postwar American artist, Chicago and London: University of Chicago Press, 1996, pp. 268–343.
11. Richard Serra to David Thalacker, January 1, 1985, reproduced in Clara Weyergraf- Serra and Martha Buskirk, eds, The destruction of Tilted arc: documents, Cambridge, Mass., and London: mit Press, 1991, p. 38.
12. F. Haskell, ‘Les Musées et leurs ennemis,’ in Actes de la recherche en sciences sociales, 49, September 1983, pp. 103–106.
13. R. Serra, introduction, in Weyergraf-Serra and Buskirk, 1991, p. 13; Douglas Crimp, ‘Serra’s public sculpture: redefining site specificity,’ in Rosalind E. Krauss, ed., Richard Serra/Sculpture, New York: Museum of Modern Art, 1986, pp. 41–57 esp. p. 53.
14. Gamboni, 1997, pp. 155–64; Harriet F. Senie, The ‘Tilted arc’ controversy: dangerous precedent?, Minneapolis and London: University of Minnesota Press, 2002.
15. Thierry de Duve, ‘Ex situ,’ in Cahiers du Musée national d’art moderne, 27, Spring 1989, pp. 39–55 esp. p. 39.