Art and Cultural Production in the Gulf Cooperation Council by Suzi Mirgani

Author:Suzi Mirgani [Mirgani, Suzi]
Language: eng
Format: epub
ISBN: 9780815350798
Google: 45uiswEACAAJ
Goodreads: 39218582
Publisher: Routledge, Taylor & Francis Group
Published: 2018-01-15T06:28:11+00:00

1.Duncan, Civilizing Rituals: Inside Public Art Museums (1995), p. 133.

2.Throughout, “West” and “Western” refer to Europe and the US.

3.See, for example, Alexandre Kazerouni's thesis on the creation of the new global museums such as the Museum of Islamic Art in Doha as a response to the invasion of Iraq by Kuwait in 1990–91, and the intervention of the US. Thereafter, according to Kazerouni, it was necessary, for defense reasons, to maintain good relationships with the US and other Western powers. Kazerouni interprets the new museums as a tool in the constructing of the Western-friendly image [Kazerouni, “Mirrors of the New Order: Museums in the Arab Principalities of the Persian Gulf Between 1991–2011”, presented at the 19th Dar al-Athar al-Islamiyyah Cultural Season, Al Maidan Cultural Centre, Kuwait City, 14 Jan. 2014].

4.For example, Jean Paul-Engelen, former head of public art at Qatar Museums, quoted in Batty, “The Rise of the Gulf Art Scene”, The Guardian, 16 Apr. 2012.

5.des Cars, “The Louvre Abu Dhabi, a Universal and Singular Museum”, Louvre Abu Dhabi: Birth of a Museum, ed. des Cars (2013), pp. 30–1.

6.For an extended discussion of these concerns, see: Exell, Modernity and the Museum in the Arabian Peninsula (2016).

7.Duncan, Civilizing Rituals: Inside Public Art Museums (1995), p. 17.

8.———, “Choreography With Alien Technology”, The Happy Hypocrite 8: Fresh Hell, ed. al-Maria (2015), p. 39.

9.Al-Nakib, The Hidden Light of Objects (2014), p. 50.

10.Limbert, In the Time of Oil: Piety, Memory, and Social Life in an Omani Town (2010), pp. 10–11.

11.Ibid., p. 273.

12.Ibid., p. 10.

13.Bennett, The Birth of the Museum: History, Theory, Politics (1995).

14.The New Museology emerged in the 1960s, driven by proponents who argued for the possibility of a significant social role of museums. The approach was captured in Vergo (ed.), The New Museology (1989).

15.McClellan, The Art Museum: From Boullée to Bilbao (2008), pp. 17–50.

16.Ibid., p. 51.

17.For example, Qatar Museums organized the following exhibitions: Louise Bourgeois, Conscious and Unconscious (20 Jan.–1 June 2012); Takashi Murakami, Ego (9 Feb.–24 June 2012); Damien Hirst, Relics (10 Oct. 2013 – 22 Jan. 2013); and Richard Serra, Richard Serra multi-venue retrospective (9 Apr.–6 July 2014), and a desert installation of his commissioned work, East-West/West-East (2012–14).

18.Quoted in McClellan, The Art Museum: From Boullée to Bilbao (2008), p. 52.

19.Quoted in Hamdan, “After a Sputtering Start, the Louvre Abu Dhabi Project Gathers Pace”, The New York Times, 26 Sept. 2012.

20.Aoun-Abdo, “Belonging to a Moment, Belonging to a Place”, Louvre Abu Dhabi: Birth of a Museum, ed. des Cars (2013), p. 21.

21.Al Muhairi, “A Bridge to the World”, Louvre Abu Dhabi: Birth of a Museum, ed. des Cars (2013), p. 15.

22.Saadiyat Cultural District website (2015).

23.Anon., “Louvre Abu Dhabi”, Saadiyat Cultural District website (2015).

24.Quoted in Ouroussoff, “Building Museums and a Fresh Arab Identity”, New York Times, 26 Nov. 2010.

25.United Nations Educational, Scientific and Cultural Organization, “Introducing UNESCO”, website (2017); Singh, United Nations Educational, Scientific and Cultural Organisation (UNESCO): Creating Norms for a Complex World (2011).

26.McClellan, The Art Museum: From Boullée to Bilbao (2008), p. 46.

27.Latour, “Whose Cosmos, Which Cosmopolitics? Comments on the Peace Terms of Ulrich Beck”, Common Knowledge 10.

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