Anti-museum
Anti-Museum by Adrian Franklin, published by Routledge, Taylor & Francis Group in 2021, explores the concept of the anti-museum and its practical applications. This 152-page book delves into various case studies, including notable institutions like the New Museum and PS1 in New York, Mona in Australia, and Art42 in Paris. It examines how these venues engage museum audiences in innovative ways, emphasizing the relational and theatrical aspects of the objects they display.
Readers will find a detailed analysis of how anti-museums aim to connect exhibits to their broader social contexts and the lives of visitors, fostering dialogue and transformation rather than mere instruction. The book documents the collaborative efforts of artists, collectors, and curators in creating these spaces and questions the ongoing relevance of anti-museums in light of four decades of ‘new museology.’ Anti-Museum is particularly relevant for scholars and students in museum studies, cultural economy, and contemporary art, as well as museum professionals seeking to understand the evolving landscape of cultural institutions.
Official synopsis Publisher
Anti-Museum charts the development of the anti-museum as a concept and as it has been realised in practice. Drawing on a range of case studies, including the New Museum and PS1 in New York, Mona in Australia, Art42 in Paris and Donald Judd’s Marfa, the book assesses their potential to engage museum publics in new ways.
Anti-museums seek to breathe relational and theatricalised vitality into the objects they exhibit, by connecting them to the contexts of their making, to their social life outside the museum, to visitors’ lives via their transformative capacities for change, and by being a place of dialogue, exchange and transformation, rather than instruction. Documenting the ways in which they have been created by artists, collectors, and curators, the book also examines the extent to which anti-museums connect with other museums through the exchange of values and resources. Critically, it asks whether, after some 40 years of ‘new museology’, such institutions are still able to offer something fresh and valuable.
Anti-Museum provides a sharp and incisive account of the anti-museum as it has been imagined, realised and experienced, and as it has relevance for understanding and working in the contemporary museum world. As such, the book will be of great interest to scholars and students engaged in the study of museums, cultural economy, inclusive urban regeneration, the democratisation of art and contemporary art. It should also appeal to museum professionals around the world.
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