Pamela Bianchi – författare

From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the exhibition space in the early modern period.

The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art.

The book will be of interest to scholars working in art history, museum studies, exhibition history, and architectural history.

From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the exhibition space in the early modern period.

The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art.

The book will be of interest to scholars working in art history, museum studies, exhibition history, and architectural history.

Museums and Entrepreneurship: The Effects of Capitalising on Culture in the 21st Century addresses the largely under-examined impact that different entrepreneurial endeavours have on museum practices today.

It identifies an entrepreneurial turn in today’s neoliberal context and critically evaluates how this turn redefines museums in organisational, conceptual and empirical terms. It assesses the challenges that different types of museums face, examining how they are conceptualised, managed and experienced in order to remain financially viable while also remaining relevant to the communities they should serve. It brings to the fore the dynamic relationships formed across corporate sponsors, private collectors, cultural administrators and local communities that shape today’s museum practices in a global context. Evidence-based in its approach and with case studies from Europe, the United States, South America and China, this volume engages with entrepreneurship across theory and practice and combines perspectives from museum studies, curating, exhibition design, business and management.

Shedding new light on discussions around cultural branding, sponsorship, the politics of display and experience economy, and highlighting the importance of resilience, decolonisation and social responsibility, Museums and Entrepreneurship is essential reading for students and researchers in museum and heritage studies, curatorial studies, arts and heritage management and business.

Museums and Entrepreneurship: The Effects of Capitalising on Culture in the 21st Century addresses the largely under-examined impact that different entrepreneurial endeavours have on museum practices today.

It identifies an entrepreneurial turn in today’s neoliberal context and critically evaluates how this turn redefines museums in organisational, conceptual and empirical terms. It assesses the challenges that different types of museums face, examining how they are conceptualised, managed and experienced in order to remain financially viable while also remaining relevant to the communities they should serve. It brings to the fore the dynamic relationships formed across corporate sponsors, private collectors, cultural administrators and local communities that shape today’s museum practices in a global context. Evidence-based in its approach and with case studies from Europe, the United States, South America and China, this volume engages with entrepreneurship across theory and practice and combines perspectives from museum studies, curating, exhibition design, business and management.

Shedding new light on discussions around cultural branding, sponsorship, the politics of display and experience economy, and highlighting the importance of resilience, decolonisation and social responsibility, Museums and Entrepreneurship is essential reading for students and researchers in museum and heritage studies, curatorial studies, arts and heritage management and business.

Before the first purpose-designed exhibition spaces and painting exhibitions emerged, showing art was mainly related to the habit of dressing up spaces for political commemorations, religious festivals, and marketing strategies. Palaces, cloisters, façades, squares, and shops became temporary and privileged venues for art display, where sociability was performed, and the idea of exhibition developed. What were those places and events? What aesthetic, cultural, social and political discourses intersected with the early idea of exhibition space? How did displaying art shape a new vocabulary within these events, and conversely, how have these occasions conditioned exhibiting practices? This book traces the origins of the exhibition space by studying its visual and written imagery in the early modern period. It reconsiders events and habits that contributed to shaping the imagery of the exhibition space, and to defining exhibition-making practices, exploring micro-histories and long-term changes.|Table of Contents,Acknowledgments, 1. INTRODUCTION, 1.1 Reasons for a Research, 1.2 Topics, Frames and Methodology, 2. Main Topics, 2.1 The Topoi of the Exhibition Space, 2.2 From the Act of Showing to the Idea of Exhibiting, 2.3 Depicting the Exhibitions, 2.4 Early Exhibition Design Precepts and Treatises, 3. (Domestic) Interiors, 3.1 Dressing Up Environments. From Representative Spaces to Exhibition Rooms, 3.2 Aesthetic Promenades in Italian Noble Palaces, 3.3 Dutch and Venetian Burghers'' Dwellings, 3.4 A Proper Place for Artefacts, 3.5 Setting-Up the Collections, 3.6 Directing the Viewers'' Gaze,*Spaces in Between,*Ubi Papa, Ibi Roma. Furniture and Display Apparatus, 4. (Public) Exteriors, 4.1 Gardens, Outer Loggias and Inner Galleries, 4.2 The City: a Stage to Display Ceremonies, 4.3 Religious Spaces for Early Exhibitions, 4.4 Transitional Space for Exhibition Fairs in Florence and Venice, 4.5 Other Venues of Exhibiting. Italian Botteghe and Northern Panden, 4.6 Alternative Exhibition Spaces: Eighteen-century Paris, 5. Conclusion, 5.1 The psychology of the display, Bibliography,List of Illustrations, Index.|1.The originality of the subject: No research until now has ever devoted a volume to the origins of the exhibition space in the early modern era. 2.Interdisciplinary approach: The study makes use of a wide range of contextual and theoretical resources and combines art history with the history of exhibitions, collections and architecture, placing the research in the social and cultural context of the time. Such an approach portrays a complex framework and demonstrates how the issue of the exhibition space is not simply attributable to a problem of contexts, but to a multiple and polyphonic research field which contributes to highlighting its scientific interest. 3.Contemporary methodology: While focusing on the early modern period, my research takes advantage of a contemporary methodology of analysis and a vocabulary that not only takes the book away from the typical volume of art history but sets the question within a current problem instead, such as that of the exhibiting, making places of art theoretical means for analysis and understanding of art history.

Before the first purpose-designed exhibition spaces and painting exhibitions emerged, showing art was mainly related to the habit of dressing up spaces for political commemorations, religious festivals, and marketing strategies. Palaces, cloisters, façades, squares, and shops became temporary and privileged venues for art display, where sociability was performed, and the idea of exhibition developed. What were those places and events? What aesthetic, cultural, social and political discourses intersected with the early idea of exhibition space? How did displaying art shape a new vocabulary within these events, and conversely, how have these occasions conditioned exhibiting practices? This book traces the origins of the exhibition space by studying its visual and written imagery in the early modern period. It reconsiders events and habits that contributed to shaping the imagery of the exhibition space, and to defining exhibition-making practices, exploring micro-histories and long-term changes.|Table of Contents,Acknowledgments, 1. INTRODUCTION, 1.1 Reasons for a Research, 1.2 Topics, Frames and Methodology, 2. Main Topics, 2.1 The Topoi of the Exhibition Space, 2.2 From the Act of Showing to the Idea of Exhibiting, 2.3 Depicting the Exhibitions, 2.4 Early Exhibition Design Precepts and Treatises, 3. (Domestic) Interiors, 3.1 Dressing Up Environments. From Representative Spaces to Exhibition Rooms, 3.2 Aesthetic Promenades in Italian Noble Palaces, 3.3 Dutch and Venetian Burghers'' Dwellings, 3.4 A Proper Place for Artefacts, 3.5 Setting-Up the Collections, 3.6 Directing the Viewers'' Gaze,*Spaces in Between,*Ubi Papa, Ibi Roma. Furniture and Display Apparatus, 4. (Public) Exteriors, 4.1 Gardens, Outer Loggias and Inner Galleries, 4.2 The City: a Stage to Display Ceremonies, 4.3 Religious Spaces for Early Exhibitions, 4.4 Transitional Space for Exhibition Fairs in Florence and Venice, 4.5 Other Venues of Exhibiting. Italian Botteghe and Northern Panden, 4.6 Alternative Exhibition Spaces: Eighteen-century Paris, 5. Conclusion, 5.1 The psychology of the display, Bibliography,List of Illustrations, Index.|1.The originality of the subject: No research until now has ever devoted a volume to the origins of the exhibition space in the early modern era. 2.Interdisciplinary approach: The study makes use of a wide range of contextual and theoretical resources and combines art history with the history of exhibitions, collections and architecture, placing the research in the social and cultural context of the time. Such an approach portrays a complex framework and demonstrates how the issue of the exhibition space is not simply attributable to a problem of contexts, but to a multiple and polyphonic research field which contributes to highlighting its scientific interest. 3.Contemporary methodology: While focusing on the early modern period, my research takes advantage of a contemporary methodology of analysis and a vocabulary that not only takes the book away from the typical volume of art history but sets the question within a current problem instead, such as that of the exhibiting, making places of art theoretical means for analysis and understanding of art history.