|Keywords:||wunderkammer; museology; museography; Quiccheberg; exhibitions; Wonder; art museums|
|Full text PDF:||http://hdl.handle.net/1887/32910|
This thesis is the first critical look at the reemergence of Wonder in art museums as they create exhibitions based on the Wunderkammer and Cabinet of Curiosities. The thesis questions whether the early modern collection and its ideal form of Wonder are really compatible for audiences today. The first part examines the evolution of eaerly modern Wonder as it appears within ideal and actual Wunderkammern. The second part returns readers to the modern day in which art museums have frequently evoked the theme of the Wunderkammer without reflection. This part examines four case studies in order to understand modern day Wonder and the failures and successed had by varying museums, and in doing so, to prescribe a new model for the future.