Esse trabalho examina as formas que a arquitetura dos museus adquiriu a partir dos anos 1970, no contexto das mutações ocorridas na ordem cultural e econômica mundial. Iniciamos pela análise do Centro George Pompidou, em Paris (1977), dos arquitetos Renzo Piano e Richard Rogers, considerado o marco inaugural da dita cultura dos museus. Passamos, posteriormente, ao exame do Guggenheim Bilbao (1997), de Frank Gehry, tomando-o como sintoma da arquitetura icônica e midiática. Em seguida, mostramos que em razão do desaquecimento da economia real, resultante das sucessivas crises financeiras internacionais, houve uma reorientação da arquitetura dos museus, para formas menos espetaculares; como evidenciam a ampliação do Museu do Prado (2007), em Madri, de Rafael Moneo, e, o novo Louvre, em Lens (2012), na França, de Kazuyo Sejima e Ryue Nishizawa (SANAA). Essa nova tendência mundial, expressa no abandono da arquitetura icônica, caracteriza-se por formas mais parcimoniosas. Constatamos, ao final, a retração desta cultura dos museus, indiciada tanto na ênfase em edifícios mais austeros, quanto no protagonismo assumido pela cidade, nos últimos anos, em detrimento da forma arquitetônica. / This paper examines the shapes architecture acquired since 1970´s, in the context of changes that have occurred in the cultural and economic world order. We begin by analyzing the Georges Pompidou Centre in Paris (1977), by the architects Renzo Piano and Richard Rogers which is considered the inaugural landmark of the culture of museums. Then, we examine the Guggenheim Bilbao (1997), by Frank Gehry, taking it as a symptom of iconic architecture and media. Next, we show that due to the slowdown of the real economy, resulting from successive international financial crises, there was a reorientation of the architecture of museums to less spectacular shapes, as evidenced by the expansion of the Prado Museum (2007), in Madrid, Rafael Moneo, and the new Louvre in Lens (2012), in France, Kazuyo Sejima and Ryue of Nishizawa (SANAA). Such new global trend, expressed in the abandonment of iconic architecture, is characterized by more parsimonious shapes. We found, at the end, the retraction of this culture of museums, both indicted as in emphasis in more austere buildings, as in the role assumed by the city in recent years, at the expense of architectural form.

This thesis explores the rich and provocative fields of interaction between Australian artists and museums from 1975 to 2002. Artists have investigated and engaged with museums of art, social history and natural science during this period. Despite the museum being a major source of exploration for artists, the subject has rarely been examined in the literature. This thesis redresses this gap. It identifies and examines four prevailing approaches of Australian contemporary art to museums in this period: oppositional critique, figurative representation, intervention and collaboration. / The study asserts that a general progression from oppositional critique in the seventies through to collaboration in the late nineties can be charted. It explores the work of three artists who have epitomised these approaches to the museum. Peter Cripps developed an oppositional critique of the museum and was intimately involved with the art museum politics in Melbourne during the mid-seventies. Fiona Hall figuratively represented the museum. Her approach documented and catalogued museum tropes of a bygone era. Narelle Jubelin’s work intervened with Australian museums. Her work has curatorial capacities and has had real effect within Australian museums. These differing artistic approaches to the museum have the effect of contesting history and expanding narrative within museums. / Curators collaborated with artists and used artistic methods to create exhibits in Australian museums during the 1990s. Artistic approaches are a major methodology of museums seeking to contest traditional modes of history and expand narrative in their exhibits. Contemporary art has played a vital, curatorial, role in the Hyde Park Barracks, Museum of Sydney, Melbourne Museum and Ian Potter Centre: NGV Australia, amongst other museums. While in earlier years artists were well known for their resistive approach to the art museum, this thesis shows that artists have increasingly participated in new forms of representation within art, social history, and natural history museums. I argue that the role of contemporary art within “new” museums is emblematic of new approaches to history, space, narrative and design within the museum. (For complete abstract open document)

This thesis explores the rich and provocative fields of interaction between Australian artists and museums from 1975 to 2002. Artists have investigated and engaged with museums of art, social history and natural science during this period. Despite the museum being a major source of exploration for artists, the subject has rarely been examined in the literature. This thesis redresses this gap. It identifies and examines four prevailing approaches of Australian contemporary art to museums in this period: oppositional critique, figurative representation, intervention and collaboration. / The study asserts that a general progression from oppositional critique in the seventies through to collaboration in the late nineties can be charted. It explores the work of three artists who have epitomised these approaches to the museum. Peter Cripps developed an oppositional critique of the museum and was intimately involved with the art museum politics in Melbourne during the mid-seventies. Fiona Hall figuratively represented the museum. Her approach documented and catalogued museum tropes of a bygone era. Narelle Jubelin’s work intervened with Australian museums. Her work has curatorial capacities and has had real effect within Australian museums. These differing artistic approaches to the museum have the effect of contesting history and expanding narrative within museums. / Curators collaborated with artists and used artistic methods to create exhibits in Australian museums during the 1990s. Artistic approaches are a major methodology of museums seeking to contest traditional modes of history and expand narrative in their exhibits. Contemporary art has played a vital, curatorial, role in the Hyde Park Barracks, Museum of Sydney, Melbourne Museum and Ian Potter Centre: NGV Australia, amongst other museums. While in earlier years artists were well known for their resistive approach to the art museum, this thesis shows that artists have increasingly participated in new forms of representation within art, social history, and natural history museums. I argue that the role of contemporary art within “new” museums is emblematic of new approaches to history, space, narrative and design within the museum. (For complete abstract open document)

Esse trabalho examina as formas que a arquitetura dos museus adquiriu a partir dos anos 1970, no contexto das mutações ocorridas na ordem cultural e econômica mundial. Iniciamos pela análise do Centro George Pompidou, em Paris (1977), dos arquitetos Renzo Piano e Richard Rogers, considerado o marco inaugural da dita cultura dos museus. Passamos, posteriormente, ao exame do Guggenheim Bilbao (1997), de Frank Gehry, tomando-o como sintoma da arquitetura icônica e midiática. Em seguida, mostramos que em razão do desaquecimento da economia real, resultante das sucessivas crises financeiras internacionais, houve uma reorientação da arquitetura dos museus, para formas menos espetaculares; como evidenciam a ampliação do Museu do Prado (2007), em Madri, de Rafael Moneo, e, o novo Louvre, em Lens (2012), na França, de Kazuyo Sejima e Ryue Nishizawa (SANAA). Essa nova tendência mundial, expressa no abandono da arquitetura icônica, caracteriza-se por formas mais parcimoniosas. Constatamos, ao final, a retração desta cultura dos museus, indiciada tanto na ênfase em edifícios mais austeros, quanto no protagonismo assumido pela cidade, nos últimos anos, em detrimento da forma arquitetônica. / This paper examines the shapes architecture acquired since 1970´s, in the context of changes that have occurred in the cultural and economic world order. We begin by analyzing the Georges Pompidou Centre in Paris (1977), by the architects Renzo Piano and Richard Rogers which is considered the inaugural landmark of the culture of museums. Then, we examine the Guggenheim Bilbao (1997), by Frank Gehry, taking it as a symptom of iconic architecture and media. Next, we show that due to the slowdown of the real economy, resulting from successive international financial crises, there was a reorientation of the architecture of museums to less spectacular shapes, as evidenced by the expansion of the Prado Museum (2007), in Madrid, Rafael Moneo, and the new Louvre in Lens (2012), in France, Kazuyo Sejima and Ryue of Nishizawa (SANAA). Such new global trend, expressed in the abandonment of iconic architecture, is characterized by more parsimonious shapes. We found, at the end, the retraction of this culture of museums, both indicted as in emphasis in more austere buildings, as in the role assumed by the city in recent years, at the expense of architectural form.