A. Cassandra Albinson - Academia.edu (original) (raw)
Uploads
Papers by A. Cassandra Albinson
Edwardian Opulence: British Art at the Dawn of the Twentieth Century, 2013
Thomas Lawrence: Regency Power and Brilliance, 2011
Cantor Art Center Journal, Mar 2013
The Ruin and the Sketch in the Eighteenth Century, 2008
Published by the Henry Moore Institute to accompany the exhibition Dalou in England: Portraits of Womanhood (1871-1879), 2008
Caa.reviews, 2007
Wall texts and labels in museum exhibitions, often written in bland and impersonal prose, tend to... more Wall texts and labels in museum exhibitions, often written in bland and impersonal prose, tend to obscure the voice of the curator. The exhibition Géricault: La Folie d'un Monde provides a glorious exception to the rule. Bruno Chenique, an independent scholar and author of numerous publications about Théodore Géricault, develops his thesis not only in the exhibition's catalogue (which is often the venue reserved for more theoretical art history in the present museum climate) but also, refreshingly, in the thought-provoking, witty, and at times caustic wall texts, brochure, and audio guide commentary. As with any great curatorial eye, Chenique makes many of his most salient points through the selection and juxtaposition of works of art, ensuring that Géricault: La Folie d'un Monde is one of the most exhilarating exhibitions of nineteenth-century art in recent memory.
Edwardian Opulence: British Art at the Dawn of the Twentieth Century, 2013
Thomas Lawrence: Regency Power and Brilliance, 2011
Cantor Art Center Journal, Mar 2013
The Ruin and the Sketch in the Eighteenth Century, 2008
Published by the Henry Moore Institute to accompany the exhibition Dalou in England: Portraits of Womanhood (1871-1879), 2008
Caa.reviews, 2007
Wall texts and labels in museum exhibitions, often written in bland and impersonal prose, tend to... more Wall texts and labels in museum exhibitions, often written in bland and impersonal prose, tend to obscure the voice of the curator. The exhibition Géricault: La Folie d'un Monde provides a glorious exception to the rule. Bruno Chenique, an independent scholar and author of numerous publications about Théodore Géricault, develops his thesis not only in the exhibition's catalogue (which is often the venue reserved for more theoretical art history in the present museum climate) but also, refreshingly, in the thought-provoking, witty, and at times caustic wall texts, brochure, and audio guide commentary. As with any great curatorial eye, Chenique makes many of his most salient points through the selection and juxtaposition of works of art, ensuring that Géricault: La Folie d'un Monde is one of the most exhilarating exhibitions of nineteenth-century art in recent memory.