LEADER 04131cam 2200541 i 4500001 on1140371616 003 OCoLC 005 20220726155402.0 008 200121t20202020ilua b 001 0 eng 010 2020001533 020 9780226713922 |qhardcover 020 022671392X |qhardcover 020 9780226714080 |qpaperback 020 022671408X |qpaperback 020 |z9780226714110 |qelectronic book 035 (Sirsi) 99990686353 035 99990686353 035 (OCoLC)1140371616 040 ICU/DLC |beng |erda |cDLC |dOCLCF |dOCLCO |dERASA |dYDX |dUtOrBLW 042 pcc 043 n-us-ny 050 00 N620.M9 |bD66 2020 082 00 708.147/1 |223 100 1 Domínguez Rubio, Fernando, |eauthor. |=^A1081756 245 10 Still life : |becologies of the modern imagination at the art museum / |cFernando Domínguez Rubio. 264 1 Chicago : |bThe University of Chicago Press, |c2020. 264 4 |c©2020 300 417 pages : |billustrations ; |c24 cm 336 text |btxt |2rdacontent 337 unmediated |bn |2rdamedia 338 volume |bnc |2rdacarrier 504 Includes bibliographical references and index. 505 0 Introduction : toward an ecology of modern categories -- Ecologies of care. Introduction : caring for the same ; The modern object of care ; The elusive object of contemporary art ; The modern subject of care -- Ecologies of containment. Introduction : the aesthetics of containment ; Containing eternity ; Eternity on the move -- Ecologies of imagination. Introduction : Into the white ; The interior space of art ; Exhibitions as material acts of imagination -- Ecologies of the digital. The work of art in the age of digital fragility -- Conclusion : the cracks of the modern imagination. 520 "Iconic works of art such as Jackson Pollock's One and Vincent van Gogh's Starry Night draw around 3 million viewers to New York's Museum of Modern Art annually. However, between the museum's permanent collection and its temporary exhibits on display, only just a fraction of MoMA's vast collection and the infrastructures that support it are visible to the public. In Still Life, Fernando Domínguez Rubio dives deep into the institutions, technologies, and histories that have made MoMA a cultural powerhouse. Domínguez Rubio seeks to uncover the considerable forces that support and sustain this growth. He shows us the veritable army of conservators, art movers, and curators who try to fend off the slow and inevitable deterioration of the works in MoMA's prestigious collection, as well as the enormous and idiosyncratic technologies they rely on, ranging from air conditioning units to specially designed storage containers. And indeed, the vast majority of MoMA's immense collection is in storage. Of the museum's 1,221 works by Picasso, only 24 are regularly on display. These works are thus not only subject to the elements, but to trends in the art world. The prestige of a museum, then, is ultimately as fragile as the works it contains: not only do works of art decay over time, their perceived importance is constantly in flux"-- |cProvided by publisher. 610 20 Museum of Modern Art (New York, N.Y.) |=^A21007 650 0 Art museums |xCollection management |zNew York (State) |zNew York. |=^A868617 650 0 Art museums |zNew York (State) |zNew York |xEmployees. |=^A144959 650 0 Art museums |xExhibitions |zNew York (State) |zNew York. |=^A1234137 610 27 Museum of Modern Art (New York, N.Y.) |2fast |0(OCoLC)fst00530348 |?UNAUTHORIZED 650 7 Art museums |xCollection management. |2fast |0(OCoLC)fst00815634 650 7 Art museums |xEmployees. |2fast |0(OCoLC)fst00815641 650 7 Art museums |xExhibitions. |2fast |0(OCoLC)fst00815643 651 7 New York (State) |zNew York. |2fast |0(OCoLC)fst01204333 |?UNAUTHORIZED 949 |i30372017348647 |ojjlm 960 |o1 |s35.00 |tJoyner48 |uJSOC |zUSD 596 1 998 5814599