Collection as Artistic Practice: The Geographies of Collection and Politics of Display in The Installations of Tomoko Takahashi and the Geographies and Politics of Display.
Walking up Exhibition Road, London, in March 2005, I trace the path of many of the millions of visitors to the Great Exhibition of 1851. I walk past the Victoria and Albert Museum, the Natural History Museum, the Science Museum, and, eventually, the Royal Geographical Society. Leaving the museum com...
| Publicado en: | Women's Studies Vol. 39; no. 6; pp. 647 - 673 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Sep2010
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=52444398&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 52444398 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00497878 WSS jtl: Women's Studies issn: 00497878 maglogo: Y pubinfo: dt: Sep2010 vid: 39 iid: 6 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 52444398 10.1080/00497878.2010.490722 ppf: 647 ppct: 26 formats: fmt: – @attributes: type: T – @attributes: type: P size: 745KB tig: atl: Collection as Artistic Practice: The Geographies of Collection and Politics of Display in The Installations of Tomoko Takahashi and the Geographies and Politics of Display. aug: au: HAWKINS, HARRIET affil: University of Exeter, Exeter su: Takahashi, Tomoko Women art collectors Found objects (Art) Collectors & collecting Serpentine Gallery Royal Geographical Society (Great Britain) United Kingdom sug: subj: United Kingdom Takahashi, Tomoko Women art collectors Found objects (Art) Collectors & collecting Serpentine Gallery Royal Geographical Society (Great Britain) ab: Walking up Exhibition Road, London, in March 2005, I trace the path of many of the millions of visitors to the Great Exhibition of 1851. I walk past the Victoria and Albert Museum, the Natural History Museum, the Science Museum, and, eventually, the Royal Geographical Society. Leaving the museum complexes of South Kensington behind me, I reach the corner of Kensington Gore and cross into Hyde Park. Making my way past the site of the Great Exhibition I walk towards the Serpentine Gallery. Once inside the gallery, I visit each of the four rooms of Tomoko Takahashi's installation in turn: Garden, Kitchen/HQ, Office and Reception (Figures 1,2, and 3 ). Architectural in scale, the artist's walk-in spaces have been constructed from a collection of over 7000 objects. Takahashi sourced many of these things from the museums and parks of the immediate area, others were sourced from skips, sheds, and second-hand shops across London. Entering these spaces, situated within this historically freighted exhibitionary terrain, I am suddenly very aware of myself being amidst objects. The books, cards, games, toys, and implements normally lived with, are collected here, laid out to view. I do not so much gaze on Takahashi's work as an empirical object as I actively experience the collection, moment by moment as a series of materialities and spaces. There is a density of objects and of experiences that eludes description. The state of mind it fosters is inconclusive, precise impressions slip away, and a sharper but somehow more effervescent consciousness emerges.1 pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Women's Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Women's Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2010 holdings: @attributes: islocal: N |
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