Thematische Bibliographien / Landscapes in art – exhibitions

Auswahl der wissenschaftlichen Literatur zum Thema „Landscapes in art – exhibitions“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Landscapes in art – exhibitions"

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AMATO, LORENZO. „Landscapes of Identity: Nature, Art, and Modern Nations in Three Recent Exhibitions“. Journal of Asian Humanities at Kyushu University 8 (April 2023): 45–52. http://dx.doi.org/10.5109/6788688.

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Michałowski, Andrzej. „KRAJOBRAZ KULTUROWY NA LIŚCIE ŚWIATOWEGO DZIEDZICTWA – POLSKIE DOŚWIADCZENIA“. Protection of Cultural Heritage, Nr. 4 (29.11.2017): 21–30. http://dx.doi.org/10.24358/odk_2017_04_03.

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The central organisation around which Polish cooperation with UNESCO on implementing the World Heritage Convention has been concentrated from the beginning is the Polish National Committee ICOMOS.The cooperation has been organised by institutions and people connected in some way with the Committee. Specialised institutions were gradually joining the cooperation. One example of such measures was the appointment of the Board of Historical Gardens and Palaces Conservation, transformed subsequently into the Centre for the Protection of Historic Landscape in Warsaw. A „garden” conservation society has gathered around this institution, composed of art historians, landscape architects, architects and gardeners. They have been carrying out interdisciplinary works concerning historic gardens and cultural landscapes in Poland. Their cooperation with the Polish National Committee ICOMOS andthe International Committee of Historic Gardens and Sites ICOMOS – IFLA was connected with the activities of UNESCO. Major activities of the Centre include: valuation and assessment of cultural landscapes for the World Heritage List; drawing up, in collaboration with the Fürst-Pückler-Park Bad Muskau Foundation, an application for the inscription of Park Muskau in the UNESCO World Heritage List; organisation of international conference: „The Regional Expert Meeting on Cultural Landscapes in Eastern Europe” in Białystok in 1999 at the request of WHC UNESCO; organisation of international conference „Cemetery Art” in 1993 at the request of WHC UNESCO, along with accompanying exhibitions concerning specific issues, organised by the Board of Historical Gardens and Palaces Conservation in Warsaw.
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Gerasimova, Natalia V. „Exhibitions of Art Works from Private Collections of Kazan in the Second Half of 19th — Beginning of 20th Century“. Observatory of Culture 21, Nr. 2 (19.04.2024): 214–23. http://dx.doi.org/10.25281/2072-3156-2024-21-2-214-223.

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The article uses the example of Kazan to reveal the process of organizing and holding exhibitions of artworks from private collections in the Russian pre-revolutionary province. Addressing this topic, which has not been sufficiently studied in the history of Russian art, is relevant because it expands the understanding of the phenomenon of exhibition activity, which is one of the most important aspects of artistic life in Russia. The source base of the present study is the catalogues of four exhibitions of paintings from private collections held from 1873 to 1916, as well as publications in the Kazan press of this period. The peculiarities of the organizational process, selection and exposition of works, and the owners of the works are revealed. It is established that the exhibitions were of charitable nature: their proceeds were directed either in favour of the starving or poor, or in favour of Russian soldiers. The main collectors of art works in Kazan in the second half of the 19th century were predominantly landed gentry and university professors (who came from the families of personal nobles and officials). By the early 20th century, representatives of individual merchant families also had significant art collections. The exhibited works represented the whole variety of genres, but they were dominated by landscapes and portraits, primarily family portraits, suitable for decorating mansions. Catalogues allow us to conclude that local collectors of the second half of the 19th century were primarily interested in foreign art (masters of the Italian, Flemish, Dutch, Belgian, German and French schools, mainly of the 17—18 centuries), as well as (to a lesser extent) Russian academic painting (from V.L. Borovikovsky and D.G. Levitsky to D. Zakharov) and itinerant painters (I.I. Shishkin, N.A. Yaroshenko). By the end of the 19th century, the vector of collectors’ preferences shifted towards contemporary Russian art (works by Makovskys, I.E. Repin, etc. were collected), and collecting works by local artists (K.V. Bardou, L.D. Kryukov, R.A. Stupin, N.I. Zeblov, etc.) began to develop as a special direction.
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Bashiron Mendolicchio, Herman. „Wounded landscapes, tense equilibriums, and broken connections:“. Coolabah, Nr. 35 (19.03.2024): 4–12. http://dx.doi.org/10.1344/co2023354-12.

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This text delves into the complex interplay between humans and the natural environment, exploring its philosophical, historical, and ecological dimensions. From ancient contemplations on living in harmony with nature to the present-day ecological crisis, the narrative examines the impact of human activity on the Earth's ecosystems, emphasizing issues such as deforestation, pollution, and mining. The author highlights the growing awareness of this ecological crisis and its reflection in contemporary art. Various artistic projects and exhibitions are discussed as powerful means to address environmental challenges and provoke critical reflection. The text concludes by emphasizing the urgent need for a paradigm shift in humanity's relationship with nature, urging a collective effort towards coexistence and sustainable practices to heal the wounded landscapes and repair the damaged balance between human activities and the Earth's ecosystems.
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Robertson, Carmen. „THE ETHICAL CHALLENGES OF RECOVERING HISTORICAL MEMORY SEEING LAND: RESITUATING LANDSCAPES THROUGH CONTEMPORARY INDIGENOUS ART EXHIBITIONS“. Les ateliers de l'éthique 14, Nr. 2 (2019): 108. http://dx.doi.org/10.7202/1071134ar.

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Pethő, Ágnes. „Tacita Dean’s Affective Intermediality: Precarious Visions in-between the Visual Arts, Cinema, and the Gallery Film“. Arts 12, Nr. 4 (31.07.2023): 168. http://dx.doi.org/10.3390/arts12040168.

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Tacita Dean’s art relies on the perception of liminalities, of moving in-between, of one medium unfolding into another through dispersed, “molecular” sensations, either subverting or augmenting impressions of art forms perceived on the level of larger, structural wholes. Arguing against the wide-angle perspective employed by media studies approaches and for a close-up analysis of an “affective intermediality” in Tacita Dean’s art, the author looks at the landmark exhibitions at the National Gallery, the National Portrait Gallery, and the Royal Academy in London organised in 2018. The article singles out some of the individual works in the context of the exhibition as a work of art, and focuses on questions like the cross-media phenomenon of the “cinematic”, the affective performativity of the various dispositifs employed in her installations of celluloid films, the affordances of Dean’s signature aperture-gate masking technique, as well as the relation between narrative cinema experienced in a theatrical space and film as the medium of a visual artist. The essay concludes with a brief analysis of her gallery film, Antigone (2018), unravelling an allegorical journey through cosmic time and atmospheric landscapes, viewed as an ode to the “blind vision” of photochemical film and as a synthesis of key features of her intermediality conceived as a strategy for the re-sensitization of mediums by approaching one art from the point of view of another.
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Echesony, Gibson. „Perception of Gender Roles in Modern Art Exhibitions in Nigeria“. American Journal of Arts, Social and Humanity Studies 4, Nr. 1 (30.05.2024): 33–42. http://dx.doi.org/10.47672/ajashs.2066.

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Purpose: The aim of the study was to assess the perception of gender roles in modern art exhibitions in Nigeria. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study indicated that modern art exhibitions have increasingly become a platform for challenging and redefining traditional gender roles. Contemporary artists frequently address themes of gender identity and societal expectations, pushing boundaries and provoking thought. This shift reflects broader cultural movements toward gender equality and fluidity. Exhibitions now often feature works that explore the complexities of gender through various mediums, including painting, sculpture, and digital art. Curators are more consciously inclusive, aiming to represent diverse voices and perspectives. This evolving landscape not only highlights gender disparities but also celebrates non-binary and transgender experiences, fostering a more inclusive and reflective art world. These exhibitions serve as a critical dialogue on the evolving perceptions of gender roles, encouraging audiences to question and rethink preconceived notions about gender in contemporary society. Implications to Theory, Practice and Policy: Feminist theory, social constructionism and postmodernism may be used to anchor future studies on assessing the perception of gender roles in modern art exhibitions in Nigeria. Encourage art institutions to adopt diverse curatorial practices that prioritize equitable representation of artists across genders and identities. Develop and implement institutional policies that prioritize gender diversity, equity, and inclusivity in art exhibitions.
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Syska, Rafał. „Comics in museums. Paradoxes of the presence and absence of comics in museum exhibition practices“. Kultura Popularna 60, Nr. 2 (31.01.2020): 148–61. http://dx.doi.org/10.5604/01.3001.0013.7341.

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The article analyzes the phenomenon of exhibitions dedicated to comic books, which are displayed in museum and gallery spaces. It presents the theory of contemporary narrative exhibitions. Using some tools of the latest research on the art of exhibition, the author analyzes the status of a comic book in a museum landscape. He reflects on the diversity of the comic book’s presence in everyday practices, the other nature of comic's experience by a visitor, and a link between comic books and other media, especially film. He describes the role of the viewer, who becomes the object in relations with a comic book transformed into a subject as a museum artifact.
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Ferguson, Nicholas. „Migrating Landscapes“. Transfers 12, Nr. 2 (01.06.2022): 8–23. http://dx.doi.org/10.3167/trans.2022.120203.

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Abstract This article, one element in a multifaceted art research project, explores the agency of the aircraft landing gear compartment (wheel bay) in global transfer. It takes as its beginning histories of human and other-than-human actors falling from aircraft wheel bays as aircraft descend into London Heathrow and asks what art research can bring to the problem of their political and ethical framing. Its theoretical touchstones include John Ruskin on dust and the object-oriented philosophies of new materialism. These are brought into conversation with an account of the process of modeling and exhibiting a wheel bay, as well as extracts from a microstratigraphic survey conducted on the original. The article ultimately contends that the wheel bay gives shape to otherwise intangible aeromobilities, knowledge of which is integral to a nuanced understanding of the political geography of airspace at London Heathrow.
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Tibbe, Lieske. „Aardappeleters“. De Moderne Tijd 5, Nr. 3/4 (01.12.2021): 328–52. http://dx.doi.org/10.5117/dmt2021.3/4.006.tibb.

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Abstract Potato eaters. A mundane theme in painting, 1885-1905 In late nineteenth-century Dutch art criticism, the topic of ‘poor people eating potatoes’ seems to have been a kind of litmus test for modern, Realist art. It was a sign of the dissolution of the hierachy of the genres, the decline of idealist painting with its elevated, literary themes, and it marked the emerging popularity of commonplace subjects without specific moral meaning attached to them. Likewise, painting of romantic, picturesque landscapes gave way to the more prosaic theme of hard work in the field. Poor farm workers at their shabby meal of potatoes, the fruits of their labour, were part of this subject matter. ‘Modern’ critics welcomed the shift in topics, ‘conservative’ ones fulminated against what they saw as a sign of decay. Catalogues of Exhibitions of Living Artists (Tentoonstellingen van Levende Meesters) and other expositions have been searched for paintings showing potato eaters, or related images like potato peeling, planting, digging, or potato still lifes. Quantitatively, these exhibitions did not justify the art critics’ rhetoric. Qualitatively, the critics’ aversion to the ‘potato eating’ theme was possibly related to its association with poverty and the imminent physical and moral decay of the lower class of the population. In modern realistic literature potato consumption also stood for degeneration. Partly outside the official art circuity, artists like Mauve, Witsen, Toorop, and especially Van Gogh showed potato production and consumption as ‘The Heroism of Daily Life’.
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Dissertationen zum Thema "Landscapes in art – exhibitions"

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Stretch, Eleanor Eunice, und mikewood@deakin edu au. „Using site as the medium of image-making at Tower Hill“. Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.144857.

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Briggs, Susan H. „Landscape as metaphor: artist as metaphier“. Thesis, Curtin University, 2002. http://hdl.handle.net/20.500.11937/1470.

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This research records a three year journey of exploration through the visual arts, specifically painting and drawing in relation to the landscape. The written work presented here provides a support document to my final exhibition of paintings that were exhibited in the John Curtin Gallery at Curtin University of Technology from November 24th - December 15th 2002.The writing of this exegesis is in itself a creative piece, but it is not the same as the visual research that culminates in the paintings. I am convinced that to talk about creating art actually leads one away from being in the experiencing of that art, hence this writing discusses the processes involved and not the finished work. My primary objective within this exegesis is to present a discussion centred around some of the philosophical issues that became visible whilst carrying out my practical work. This discussion is also about process itself in art making practices and research, hence this exegesis is intended to run as a parallel to the visual body of work as presented in the final exhibition of works held in the John Curtin Gallery.I have intentionally used my own practice as a device to question the choices and outcomes of art making generally in an effort to add a little colour to the larger discourse of creative practices. Some of the writing may seem personal (apart from the journal notes) and again, this is an intentional device in order to bring about a sense of embodiment within the writing itself and a way of mirroring the processes within the paintings.
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Briggs, Susan H. „Landscape as metaphor : artist as metaphier /“. Curtin University of Technology, School of Art, 2002. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=14292.

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This research records a three year journey of exploration through the visual arts, specifically painting and drawing in relation to the landscape. The written work presented here provides a support document to my final exhibition of paintings that were exhibited in the John Curtin Gallery at Curtin University of Technology from November 24th - December 15th 2002.The writing of this exegesis is in itself a creative piece, but it is not the same as the visual research that culminates in the paintings. I am convinced that to talk about creating art actually leads one away from being in the experiencing of that art, hence this writing discusses the processes involved and not the finished work. My primary objective within this exegesis is to present a discussion centred around some of the philosophical issues that became visible whilst carrying out my practical work. This discussion is also about process itself in art making practices and research, hence this exegesis is intended to run as a parallel to the visual body of work as presented in the final exhibition of works held in the John Curtin Gallery.I have intentionally used my own practice as a device to question the choices and outcomes of art making generally in an effort to add a little colour to the larger discourse of creative practices. Some of the writing may seem personal (apart from the journal notes) and again, this is an intentional device in order to bring about a sense of embodiment within the writing itself and a way of mirroring the processes within the paintings.
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Li, Vivian Yan. „Art negotiations : Chinese international art exhibitions in the 1930s“. Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.

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Forstrom, Melissa. „Interpretation and visitors in two Islamic art exhibitions“. Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.

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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideologies like Orientalism and Islamophobia. Contemporaneously, there has been a steadily growing body of research on interpretative theory in new museology. However, no significant attempt has been made to amalgamate and apply the recent academic research in interpretative theory, including design interpretation, museum graphics and written interpretation to the analysis of Islamic art exhibitions. This thesis examines the interpretation, the process(es) of interpretation production and visitors responses in two Islamic art exhibitions in the United States: the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia and Later South Asia (New Galleries) at the Metropolitan Museum of Art in New York City and Pearls on a String: Artists, Poets, and Patrons at the Great Islamic Courts (Pearls) at the Walters Art Museum in Baltimore, Maryland. This thesis utilizes a triangulated methodological approach where the theoretical research in interpretative theory is applied to a case study of New Galleries interpretation. A critical reflection method is adopted to examine the author’s professional involvement in the Pearls exhibition. Summative visitor evaluations of both exhibitions were undertaken in order to better understand the meanings visitors’ make. Ultimately this thesis argues that a unified, process-based approach (Whitehead,2012) to interpretation with both design and written interpretation is important because of the association or slippage between Islamic art exhibitions and the broader social and political contexts.
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McGirr, Diana Rosemary. „Legitimate landscapes: repositioning regional art production“. Thesis, Curtin University, 2016. http://hdl.handle.net/20.500.11937/48488.

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This thesis employs art history and critical ethnography to examine contemporary art production in the South West of Western Australia. Responding to a paucity of publications and critique, and a claim the art scene is ‘folksy’ and ‘not up-to speed’ with metropolitan art scenes, I argue that ‘being regional’ is a legitimate position on its own terms and as part of a growing global tendency to recognises the validity of regional contexts and perspectives.
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Hatcher, Lynn A. „Exhibition in the curriculum preparing students to complete the artistic cycle /“. Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).
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Fuller, Michele. „Reviewing medium: paint as flesh“. Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.

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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
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Jordan, Benjamin Thomas. „Synthetic Landscapes“. VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4303.

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My work explores the complex social geography of modern society and the intricate relationship between mankind and the environment. Through this work I explore the past and present lineage of manifest destiny, from its beginnings in Europe to western expansion in America, to forms it has takes in contemporary America. These ceramic forms serve as the conceptual grounds to explore the romanticizing of the western landscape especially from an individual and group perspective. I simultaneously celebrate the history of the pastoral life while questioning the authenticity, and motivations of that lifestyle, and use this platform as a jumping off point to ask questions about humanities complicated relationship with nature. Through hand-labor, contemplative making, and a reverence for tradition, I explore both interrelated and divergent human perceptions using clay as my primary medium.
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Asquith, Wendy. „Haiti and art : curating the nation for international exhibitions“. Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.

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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
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Bücher zum Thema "Landscapes in art – exhibitions"

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Craig-Martin, Michael. Landscapes. Dublin: Douglas Hyde Gallery, 2001.

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Matsenko, Natalia, Iben From und Faye Dowling. Unfolding landscapes: Landscape and poetics in contemporary Ukrainian art. Herausgegeben von Kunstcentret Silkeborg Bad. Silkeborg: Kunstcentret Silkeborg Bad, 2022.

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Hodler, Ferdinand. Ferdinand Hodler, landscapes. Zürich: Scalo, 2004.

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Vann, Philip. Joash Woodrow: Landscapes. [Leeds]: Leeds Metropolitan University with assistance from 108 Fine Art and the Joash Woodrow Family, 2007.

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Parekh, Manu. Benares landscapes. New Delhi: Vadehra Art Gallery, 2004.

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Bunker, George. George Bunker landscapes, 1949-1989. [Houston?]: Printed by Wetmore & Co., 1993.

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Chelsea Art Museum (New York, N. Y.), Hrsg. Oh Chi Gyun: Defining landscapes. Manchester, Vt: In association with Hudson Hills Press, 2008.

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1946-, Teyssot Georges, Palazzo dell'arte (Milan Italy) und Triennale di Milano (17th : 1986), Hrsg. Paesaggio d'interni =: Interior landscapes. Milano: Electa, 1987.

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Hill, Derek. Derek Hill: Portraits and landscapes. King's Lynn: Fermoy Centre Foundation, 1986.

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Gallery, Pucker, Hrsg. Landscapes of Israel: Sacred presence. Boston: Pucker Gallery, 2007.

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Buchteile zum Thema "Landscapes in art – exhibitions"

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Codell, Julie F. „International Exhibitions“. In A Companion to British Art, 220–40. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch10.

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Tanga, Martina. „Extramural Exhibitions“. In Arte Ambientale, Urban Space, and Participatory Art, 24–62. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9781351187954-2.

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Zabunyan, Elvan. „Decolonizing contemporary art exhibitions“. In Decolonizing Colonial Heritage, 152–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100102-11.

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Mader, Rachel. „Art for Society, Whitechapel Art Gallery, London, 1978“. In "When exhibitions become politics", 95–110. Köln: Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412504632-005.

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Brannigan, Erin. „Exhibitions and Exclusions“. In Choreography, Visual Art and Experimental Composition 1950s–1970s, 220–25. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-8.

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Frey, Bruno S. „Superstar Museums and Special Exhibitions“. In Economics of Art and Culture, 89–95. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_11.

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Lee, Lorinne. „Sculptured Landscapes“. In Authentic Secondary Art Assessment, 209–13. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003397946-43.

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Grabar, Oleg. „On Catalogs, Exhibitions and Complete Works*“. In Islamic Art and Beyond, 311–20. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003554424-24.

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Wynne-Jones, Victoria. „Introduction: Exhibitions and the Choreographic Turn“. In Choreographing Intersubjectivity in Performance Art, 1–42. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-40585-4_1.

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Moscoso, Philip G., und Alejandro Lago. „The ‘la Caixa’ Foundation: Art exhibitions“. In When Business Meets Culture, 182–90. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230295117_13.

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Konferenzberichte zum Thema "Landscapes in art – exhibitions"

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Greub, Charlott. „On Planting and Deconstruction: The Architecture Exhibition as Radical Medium“. In 2021 ACSA Teachers Conference. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.teach.2021.37.

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This presentation reviews Rotor’s strategic use of the exhibition medium in the light of radical practices in architecture and design since the 1960’s. To interrogate these radical manifestations two architecture exhibitions will be examined as case studies. The first exhibition was curated by Emilio Ambasz and titled, “Italy: The New Domestic Landscape” in 1972 at the Museum of Modern Art in New York and the second one was staged at the Venice Biennale in Italy in 2010 by Rotor titled “Usus/Usures”. The selected exhibitions will be reviewed to explore the current and past debate of radical practices when associated with ecology, sustainability, and environmental protection and the potential discourse that aims to inspire a radical redesign of the discipline.
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Aydoğan, Derya. „Art Exhibitions During the Pandemic“. In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.

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Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual reality exhibitions became a notable alternative to online exhibitions in a lot of respects such as allowing typical curatorial arrangements as well as adding digital methods, and making the audience feel like they are actually visiting an exhibition. However, it obviously causes overcrowding and loss of aura as a result of a phenomenon based on excessive display in structures open to the participation of everyone. In order to preserve the aura of art and exhibition and to maintain its compatibility with new technologies, it’s necessary to introduce new curatorial understandings, new aesthetic perceptions, and new quality elements. In this study, the existence of art exhibitions in online environments, especially during the pandemic, will be evaluated within the context of qualitative descriptive analysis.
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Pittarello, Fabio. „Designing AR enhanced art exhibitions“. In the 13th Biannual Conference of the Italian SIGCHI Chapter. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3351995.3352052.

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Prince, P. „A brief history of SIGGRAPH art exhibitions“. In SIGGRAPH 89 Art show catalog - Computer art in context. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/73877.73878.

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Coulton, Paul, Emma Murphy, Klen Čopič Pucihar, Richard Smith und Mark Lochrie. „User curated augmented reality art exhibitions“. In NordiCHI '14: The 8th Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2639189.2670190.

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Wee, C. J. „Coordinating Contemporary Asia in Art Exhibitions“. In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338678.

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Lonsing, Werner. „Virtual Spaces in Urban Landscapes: Locative Exhibitions on Mobile Devices“. In eCAADe 2011 : Respecting Fragile Places. eCAADe, 2011. http://dx.doi.org/10.52842/conf.ecaade.2011.615.

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Song, Suwan. „Discussions about Web Celebrities Frequenting Art Exhibitions“. In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.006.

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Morozova, Anna. „SPANISH ART EXHIBITIONS IN RUSSIA: THE SOCIOCULTURAL CONTEXT“. In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s14.030.

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Hayashi, Masaki, Steven Bachelder und Masayuki Nakajima. „Automatic Generation of Art Exhibitions from the Internet Resources“. In 2020 IEEE 9th Global Conference on Consumer Electronics (GCCE). IEEE, 2020. http://dx.doi.org/10.1109/gcce50665.2020.9291722.

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Berichte der Organisationen zum Thema "Landscapes in art – exhibitions"

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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, März 2013. http://dx.doi.org/10.18235/0006015.

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The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage
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Butyrina, Maria, und Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, Februar 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Moreno Mejía, Luis Alberto, und Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, Februar 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Sequeira, Dora María, Ileana Alvarado V. und Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Dolatowski, Emily, Burton Suedel, Jon Calabria, Matthew Bilskie, James Byers, Kelsey Broich, S. McKay, Amanda Tritinger und C. Woodson. Embracing biodiversity on engineered coastal infrastructure through structured decision-making and Engineering With Nature®. Engineer Research and Development Center (U.S.), April 2024. http://dx.doi.org/10.21079/11681/48395.

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Extreme weather variation, natural disasters, and anthropogenic actions negatively impact coastal communities through flooding and erosion. To safeguard coastal settlements, shorelines are frequently reinforced with seawalls and bulkheads. Hardened shorelines, however, result in biodiversity loss and environmental deterioration. The creation of sustainable solutions that engineer with nature is required to lessen natural and anthropogenic pressures. Nature-based solutions (NbS) are a means to enhance biodiversity and improve the environment while meeting engineering goals. To address this urgent need, the US Army Corps of Engineers (USACE) Engineering With Nature® (EWN) program balances economic, environmental, and social benefits through collaboration. This report presents how design and engineering practice can be enhanced through organized decision-making and landscape architectural renderings that integrate engineering, science, and NbS to increase biodiversity in coastal marine habitats. When developing new infrastructure or updating or repairing existing infrastructure, such integration can be greatly beneficial. Further, drawings and renderings exhibiting EWN concepts can assist in decision-making by aiding in the communication of NbS designs. Our practical experiences with the application of EWN have shown that involving landscape architects can play a critical role in effective collaboration and result in solutions that safeguard coastal communities while maintaining or enhancing biodiversity.
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Strasser, Fiona-Elaine. Recommendations on engaging with the next generation of stakeholders. EuroSea, 2023. http://dx.doi.org/10.3289/eurosea_d8.11.

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This report provides an overview of EuroSea's initiatives focused on engaging the next generation of ocean observing and forecasting stakeholders. Many activities took place, including delivering workshops, presenting the EuroSea itinerant exhibition, collaborating with the WASCAL Floating University and the SEA-EU inter-university initiative, supporting the international Ocean Observers Initiative, and much more. Engaging the next generation of stakeholders in meaningful discussions and innovative projects is essential to ensure future-oriented intergenerational collaboration. Yet, this is often an overlooked aspect of public engagement within the Horizon 2020 landscape as it requires engagement techniques specifically tailored to reach the young generation. Within the framework of Horizon 2020, the European Union's research and innovation funding program, public engagement traditionally targets a diverse range of stakeholders, including researchers, policymakers, industry representatives, civil society organizations, NGOs, and citizens. While these efforts are crucial for fostering inclusive and transparent dialogue, targeted initiatives directed towards the younger generation and early-career ocean professionals need to be expanded. It is important to recognize the concerns, unique perspectives, and aspirations of young individuals who will inherit the outcomes of today's research and innovation. Dedicating resources to engage with the next generation is vital to ensure their active involvement in shaping their future and addressing global challenges such as the sustainability of ocean observing, monitoring, and forecasting. EuroSea has recognized the importance of fostering a deeper understanding of ocean observing and forecasting among the younger generation. This deliverable and the many activities feeding into it are a testament to EuroSea's commitment to this cause. This report focuses on the lessons learnt from a diverse array of activities engaging the next generation of ocean observing and forecasting stakeholders, demonstrating the extensive range of possibilities for involving the younger generation. It underscores the importance of tailoring approaches to different age groups, from school children to university graduates and adapting engagement strategies to their varying interests and life stages. Every experience—even the ones that did not turn out as expected—has shown to be beneficial, and it is important to share lessons learnt and identify best practices while expanding these kinds of initiatives. EuroSea's dedication to engaging the next generation of stakeholders is a significant step in fostering inter-generational dialogue and promoting blue skills and knowledge sharing. Valuable lessons have been learnt from the EuroSea engagement activities and provide guidance for future initiatives aimed at fostering a deeper understanding of our ocean among the younger generation and engaging them in conversations that impact their future on this planet. (EuroSea Deliverable, D8.11)
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Hunter, Fraser, und Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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The IDB Art Collection in Miami. Inter-American Development Bank, März 2008. http://dx.doi.org/10.18235/0008063.

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Presenta two exhibitions featuring selections from the Art Collection of the Inter-American Development Bank was open in Miami at the end of March in anticipation of the IDB Annual Meeting of Governors. IDB owns nearly 1,700 works of art representing all 47 member countries of the Bank, and this collection adorns the public areas and executive offices at the Bank¿s headquarters in Washington, DC.
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3rd Inter-American Biennial of Video Art. Inter-American Development Bank, Dezember 2006. http://dx.doi.org/10.18235/0006410.

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The call for the Third Biennial included larger cash awards, an electronic registration system in four languages and, for the first time, the inclusion of Puerto Rico as a good will gesture to the United States, and artists from the Commonwealth who are indeed members of the Latin American and Caribbean family. Artist nationals from 20 countries, including Puerto Rico, submitted a total of 211 videos. The international jury with Irma Arestizábal, Cultural Secretary of the Istituto Italo-Latinoamericano in Rome and Curator of the Latin American Pavilion for the Venice Biennial, and José Roca, Chief of Temporary Exhibitions at the Museum of Colombia¿s Central Bank, Luis Angel Arango Library, selected 19 videos from 9 countries for the 2006-07 edition of the Biennial.
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Contemporary Jamaican Artists: A Jamaican Presence in the ABOUT CHANGE Exhibition. Inter-American Development Bank, Mai 2011. http://dx.doi.org/10.18235/0005963.

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Contemporary Jamaican Artists is part of ABOUT CHANGE, a project implemented by the World Bank Art Program in cooperation with the Inter-American Development Bank Cultural Center, and the Art Museum of the Americas of the Organization of American States (OAS). This initiative comprises a series of exhibitions representing Latin America and the Caribbean that are being held in various venues in Washington during 2011.
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