Curating "The World Between Empires: Art and Identity in the Ancient Middle East"
The World between Empires was an international loan exhibition held at The Metropolitan Museum of Art from March 18 through June 23, 2019 that featured nearly 190 works of art from twenty museums in the Middle East, Europe, and the U.S. as well as from the Met’s collection. The exhibition covered th...
| VerfasserInnen: | ; |
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| Medienart: | Elektronisch Aufsatz |
| Sprache: | Englisch |
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Veröffentlicht: |
University of Chicago Press
[2020]
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| In: |
Near Eastern archaeology
Jahr: 2020, Band: 83, Heft: 4, Seiten: 256-263 |
| normierte Schlagwort(-folgen): | B
Ausstellung
/ Metropolitan Museum of Art
/ Reich
/ Römer
/ Parther
/ Kunst
/ Palmyra
/ Dura-Europos
/ Hatra
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| RelBib Classification: | BC Altorientalische Religionen |
| Online Zugang: |
Volltext (lizenzpflichtig) |
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| 520 | |a The World between Empires was an international loan exhibition held at The Metropolitan Museum of Art from March 18 through June 23, 2019 that featured nearly 190 works of art from twenty museums in the Middle East, Europe, and the U.S. as well as from the Met’s collection. The exhibition covered the period when the Roman and Parthian Empires competed for control of the Middle East and its trade routes (ca. 100 B.C.-A.D. 250), and was focused on how the cultural, religious, and personal identities of people and communities in the region that formed the imperial border were expressed through art. The two curators discuss the curatorial process and why The World between Empires represented an exceptional opportunity both to disseminate recent scholarship and to contribute to research on the art, history, religions, and culture of the Middle East during the Roman and Parthian period. Several of the iconic archaeological sites included in the exhibition, including Palmyra and Dura-Europos in Syria and Hatra in Iraq, have suffered extensive damage in recent years, and the curators offer their thoughts on their efforts to include a nuanced discussion of the destruction of cultural heritage in conjunction with ongoing humanitarian crises, and of current and future responses. | ||
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