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@PHDTHESIS{Legge:56521,
      author       = {Legge, Astrid},
      othercontributors = {Holländer, Hans},
      title        = {{M}useen der anderen '{A}rt', {K}ünstlermuseen als
                      {V}ersuche einer alternativen {M}useumspraxis},
      address      = {Aachen},
      publisher    = {Publikationsserver der RWTH Aachen University},
      reportid     = {RWTH-CONV-118617},
      pages        = {231 S.},
      year         = {2000},
      note         = {Prüfungsjahr: 2000. - Publikationsjahr: 2001; Aachen,
                      Techn. Hochsch., Diss., 2000},
      abstract     = {The aim of this dissertation was, to show possible
                      parallelisms regarding the content and the structure of
                      artists’ museums in the Seventies of the 20th century in
                      relation with the order concepts of the aristocratic "Kunst-
                      and Wunderkammern" in the 15th century. They aimed to be a
                      mirror of the manifold appearances and regularities of the
                      world, by combining naturalia, artificialia, scientifica and
                      curiosa. Therefore, the museum conceptions of Claes
                      Oldenburg and Daniel Spoerri have been analysed in detail.
                      The analysis demonstrated that both museum concepts show
                      important characteristics of the Renaissance’s "Kunst- and
                      Wunderkammern" with the intention, to show up modified ways
                      of thinking by means of a changed classification and
                      assignment of known objects which became "out of place" in
                      the museum area. In this way, they deconstructed
                      historically strengthened visual and ideological codes which
                      are, among other things, conveyed through institutions such
                      as museums and which therefore contribute to determine the
                      knowledge and the life experience of history and our
                      perception of it. Marcel Duchamp had a decisive part in this
                      process. His miniature "Boîte-en-Valise", which set new
                      standards in the evaluation and presentation of art,
                      curiously revived a classification structure which up to
                      that moment had been considered surpassed and unscientific;
                      the one of the "Kunst- and Wunderkammern". The method, to
                      play a "cartesian" game with objects found in the
                      surrounding world, always with the intention to show
                      different possible images of an anyway fragmentary world
                      view, continued in the collection efforts and artistic
                      manifestations until the Seventies of the 20th century. In
                      the course of a repeated museum criticism, this trend led to
                      new museum conceptions by artists.},
      cin          = {700000},
      ddc          = {700},
      cid          = {$I:(DE-82)700000_20140620$},
      typ          = {PUB:(DE-HGF)11},
      urn          = {urn:nbn:de:hbz:82-opus-1787},
      url          = {https://publications.rwth-aachen.de/record/56521},
}