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Notes
1. Richard Brilliant, cited in Charles Haxthausen, ‘Introduction’, in The Two Art Histories: The Museum and the University, ed. Charles Haxthausen (Williamstown, MA: Sterling and Francine Clark Institute, 2002), ix–xxv.
2. Charlotte Klonk, Spaces of Experience: Art Gallery Interiors from 1800 to 2000 (New Haven and London: Yale University Press, 2009); Brian Altshuler, Salon to Biennial: Exhibitions that Made Art History 1, 1863–1959 (London: Phaidon, 2008), 11.
3. Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ‘Introduction’, Thinking About Exhibitions, eds. Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne (London: Routledge, 1996), 2.
4. Marcia Pointon, History of Art: A Students’ Handbook, 4th edition, (New York: Routledge, 2004), 21, 1.
5. Donald Preziosi, ed., The Art of Art History: A Critical Anthology (Oxford: Oxford University Press, 1998), 10, 13.
6. Arthur C. Danto, ‘Bourdieu on Art: Field and Individual’, Bourdieu: A Critical Reader, ed. Richard Shusterman (Oxford: Blackwell, 1999), 216.
7. Brian Altshuler, Salon to Biennial, 11–19.
8. Martha Ward, ‘What's Important about the History of Modern Art Exhibitions’, Thinking About Exhibitions, ed. Reesa Greenberg, Bruce Ferguson and Sandy Nairne (London: Routledge, 1996), 454.
9. Tony Bennett, ‘Pedagogic Objects, Clean Eyes, and Popular Instruction: On Sensory Regimes and Museum Didactics’, Configurations 6, no. 3 (1998): 347; Barbara Stafford, Artful Science: Enlightenment Entertainment and the Eclipse of Visual Education (Cambridge, MA: MIT Press, 1994), 238. Bennett notes that Frederick McCoy, the first Director of the National Museum of Victoria, observed that museums afforded eye knowledge to a class of persons who had neither time nor opportunity for lengthened study of books (374).
10. Martha Ward, ‘What's Important’, 458.
11. Martha Ward, ‘What's Important’, 456–62.
12. Preziosi, The Art of Art History, 112.
13. Langton Douglas, A History of Siena (London: John Murray, 1902), ‘Preface’, viii.
14. T.J. Clark, ‘The Conditions of Artistic Creation’, The Times Literary Supplement, 24 May 1974, 561–62.
15. Fred Orton and Griselda Pollock, Avant-gardes and Partisans Reviewed (Manchester: Manchester University Press, 1996), v–vi, vii.
16. The ramifications of this exhibition were a continuing subject of academic debate: Cesare Poppi, ‘From the Suburbs of the Global Village: Afterthoughts on Magiciens de la Terre’, Third Text 5, no. 14 (1991): 85–96.
17. Alan Wallach, Exhibiting Contradictions: Essays on the Art Museum in the United States (Amherst: University of Massachusetts Press, 1998), 121.
18. The exhibition was held at the National Gallery in London, then at the Art Institute in Chicago in 1996. Richard Kendall, ‘Eloquent Walls and Argumentative Spaces’, The Two Art Histories, 72.
19. Richard Kendall, ‘Eloquent Walls’, 64.
20. Richard Kendall, ‘Eloquent Walls’, 65.
21. Richard Kendall, ‘Eloquent Walls’, 66.
22. Richard Kendall, ‘Eloquent Walls’, 69, 70.
23. McCubbin: Last Impressions 1907–17, National Gallery of Australia, 14 August–1 November 2009; Anne Gray, e-mail message to the author, 21 August 2104. Earlier exhibitions and publications tended to focus on McCubbin's narrative work of the Heidelberg era, such as Australian Impressionism, National Gallery of Victoria, 2007.
24. Frederick McCubbin to Annie McCubbin, mid September 1907, cited in Anne Gray, McCubbin: Last Impressions 1907–17 (Canberra: National Gallery of Australia, 2009), 58.
25. Anne Gray, e-mail message to the author, 21 August 2104.
26. Judith Barry, ‘Dissenting spaces’, in Thinking About Exhibitions, 311.
27. Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, ‘Introduction’ in Thinking About Exhibitions, 2.
28. Bruce Ferguson, ‘Exhibition Rhetorics: Material Speech and Utter Sense’, in Thinking About Exhibitions, 175–79.
29. The Museum of Old and New Art in Hobart, Tasmania, borrows from this form.
30. Barbara Stafford, Artful Science: Enlightenment Entertainment and the Eclipse of Visual Education, cited in Tony Bennett, ‘Pedagogic Objects’, 349.
31. Gary Tinterow, ‘The Blockbuster, Art History, and the Public: The case of Origins of Impressionism’ in The Two Art Histories, 143.
32. Janet Wolff, ‘After Cultural Theory: The Power of Images, the Lure of Immediacy’, Journal of Visual Culture 11, no. 3 (2012), 7–8. James Elkins, among others, is a key proponent of this approach in which a painting of enticing fruit, for example, could say, ‘eat me’. James Elkins, The Object Stares Back: On the Nature of Seeing (New York: Simon and Schuster, 1996), 72.
33. This installation methodology sharply contrasts with Folland's earlier use of such found glassware in Floe, 2009, presented in the white-cube, decidedly modernist atmosphere of the Samstag Museum of Art for the 2009 exhibition Colliding Worlds.
34. Lisa Slade, ‘Wunderkammering Down Under’, Art Monthly Australia 253, (2012): 10–13.
35. Thierry Dufrêne, ‘Junking the Chronological Corset: Towards a Broader Art History that Splices Periods and Works’, in Theatre of the World, ed. Jean-Hubert Martin (Hobart: Museum of Old and New Art, 2012), 28–35.
36. Richard Kendall, ‘Eloquent Walls’, 64.