J. Pedro Lorente – författare

Reflections on Critical Museology: Inside and Outside Museums offers a reflective and reflexive re-assessment of museum studies and the first wide-ranging account of critical museology. Drawing on an extensive range of examples from museums and across the museological literature, which are purposefully representative of very different cultural backgrounds, the book issues a plea for critical thinking in and about museums. The various institutions covered and the plural analytical standpoints offer a broad interdisciplinary approach by intermingling art history, anthropology, sociocultural theories and heritage studies. The result is not claimed as a universal or all-encompassing account but a subjective review produced by J. Pedro Lorente, an art critic and historian who has been writing extensively about ‘critical museology’ in different languages for many years. Lorente offers a fascinating synopsis of his ideas in this extremely valuable short book, looking inside and outside museums, combining practice and theory, whilst also relating both to the work of museum professionals and to a range of publications by academics, including those from other research fields.Reflections on Critical Museology: Inside and Outside Museums will be essential reading for university students and academics working in museum studies and cognate disciplines, such as art history, anthropology and cultural studies.

Reflections on Critical Museology: Inside and Outside Museums offers a reflective and reflexive re-assessment of museum studies and the first wide-ranging account of critical museology. Drawing on an extensive range of examples from museums and across the museological literature, which are purposefully representative of very different cultural backgrounds, the book issues a plea for critical thinking in and about museums. The various institutions covered and the plural analytical standpoints offer a broad interdisciplinary approach by intermingling art history, anthropology, sociocultural theories and heritage studies. The result is not claimed as a universal or all-encompassing account but a subjective review produced by J. Pedro Lorente, an art critic and historian who has been writing extensively about ‘critical museology’ in different languages for many years. Lorente offers a fascinating synopsis of his ideas in this extremely valuable short book, looking inside and outside museums, combining practice and theory, whilst also relating both to the work of museum professionals and to a range of publications by academics, including those from other research fields.Reflections on Critical Museology: Inside and Outside Museums will be essential reading for university students and academics working in museum studies and cognate disciplines, such as art history, anthropology and cultural studies.

First published in 1998, this volume explores the expanding wave of a new kind of museums of contemporary art in the nineteenth and early twentieth centuries. Lorente examines their ‘coming of age’ and the weight of their museological legacy, arguing that the establishment of great national museums of art at London and Paris radiated out, carrying their influence with it. This book emerged as part of a series on towns and cities and has a focus on London and Paris as centres of artistic innovation.

First published in 1998, this volume explores the expanding wave of a new kind of museums of contemporary art in the nineteenth and early twentieth centuries. Lorente examines their ‘coming of age’ and the weight of their museological legacy, arguing that the establishment of great national museums of art at London and Paris radiated out, carrying their influence with it. This book emerged as part of a series on towns and cities and has a focus on London and Paris as centres of artistic innovation.

Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musée des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new universal role model that found emulators or 'contramodels' in the rest of the Western world during the twentieth century. An epilogue, reviews recent museum developments in the last decades. Through its adoption of a long-term, worldwide perspective, the book not only provides a narrative of the development of museums of contemporary art, but also sets this into its international perspective. By assessing the extent to which the great museum-capitals - Paris, London and New York in particular - created their own models of museum provision, as well as acknowledging the influence of such models elsewhere, the book uncovers fascinating perspectives on the practice of museum provision, and reveals how present cultural planning initiatives have often been shaped by historical uses.