Relevant bibliographies by topics / Art, Asian Exhibitions History

Academic literature on the topic 'Art, Asian Exhibitions History'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Art, Asian Exhibitions History"

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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.

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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.
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Xiang, Yuning, and Bingzhe Xiang. "Chinese art in the Tang Dynasty and the forms of its presentation in museums of the People’s Republic of China at the beginning of the 21st century." Issues of Museology 12, no. 2 (2021): 257–67. http://dx.doi.org/10.21638/spbu27.2021.208.

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The topic of this study is a realistic due to the fact that in Chinese history, the Tang Dynasty (618–907) is considered as the peak of national strength. It is during this period that ancient China became the center of economic and cultural exchanges with a number of states in the medieval world. Thanks to stable social development and the steadily developing economy, Chinese art of this period flourished. To this day, it has a special meaning for both Chinese and Asian cultures. The article examines the presentational forms of the art of Tang Dynasty in historical and art museums of the People’s Republic of China at the beginning of the 21st century: an overview of the history of Tang Dynasty and its art is presented, the collections of museum objects — works of fine art of the Tang Dynasty in Chinese museums are considered, and specific forms of art presentation are analyzed, such as expositions, exhibitions, online exhibitions, educational programs and projects implemented in cooperation with the media. The research is based on original sources of museum origin (materials from museums’ official websites, interviews conducted with museum employees) and a body of regulatory and administrative documents covering museum policy developments in the People’s Republic of China.
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Teh, David. "Festivity and the contemporary: Worldly affinities in Southeast Asian art1." Art & the Public Sphere 8, no. 2 (December 1, 2019): 131–45. http://dx.doi.org/10.1386/aps_00012_7.

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What is the place of the festival in the global system of contemporary art, and in that system’s history? Can the large, recurring surveys that are its most prominent exhibitions today even be considered festivals? Such questions become more pressing as sites newly embraced by that system take their place on a global event calendar, and as the events increasingly resemble those held elsewhere or merge with the market in the form of art fairs. What becomes of community and locality, of spontaneity and participation, as that market ‐ and art history ‐ takes up the uncommodified fringes and untold stories of contemporary art’s ever widening geography? This article stems from my research for a recent volume entitled Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992‐98, concerning a series of artist-initiated festivals held in northern Thailand in the 1990s known as the Chiang Mai Social Installation. These gatherings, and others like them, suggest that while national representation was the usual ticket to participation on a global circuit, the agencies and currency of national representation were not essential determinants of contemporaneity; and that it was localism, rather than any internationalism, that underpinned the worldly affinities discovered amongst artists in Southeast Asia at that time. The sites of this becoming contemporary were festive, sites of celebration and expenditure rather than work and accumulation. What does this mean for contemporary art’s history and theory, and how might it change our understanding of the region’s art and its international currency today?
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Wee, C. J. W. L. ""We Asians"? Modernity, Visual Art Exhibitions, and East Asia." boundary 2 37, no. 1 (March 1, 2010): 91–126. http://dx.doi.org/10.1215/01903659-2009-038.

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Starodubtseva, Marina V. "Alexander Sedov: “We Tell People about Their Culture”." Oriental Courier, no. 3-4 (2021): 21. http://dx.doi.org/10.18254/s268684310017997-4.

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An interview with Alexander V. Sedov, the Director-General of The State Museum of Oriental Art devoted to the launch of the new master’s program of the Faculty of Oriental Studies of the State Academic University for the Humanities (GAUGN) and the Department of Oriental History of the Institute of Oriental Studies Russian Academy of Sciences “Socio-Cultural Development of East Asian Countries”, which is headed by Alexander Sedov as an academic curator (Dinara V. Dubrovskaya, the head of the Department of Oriental History of the Institute of Oriental Studies RAS, is the supervisor of the program). The interview focused on the attractiveness of the Eastern art and culture and their broadcasting to a wider audience through the exhibitions of the Oriental museum, reaching the level of discussion of the problems of preserving cultural heritage, questions of the feasibility and relevance of museumification of archaeological sites such as Palmyra in Syria, monuments in Oman and Yemen.
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Hongfeng, Tang. "Archive, Mediation, and Reflections on Colonization in Modern Asia." China and Asia 2, no. 1 (June 24, 2020): 97–133. http://dx.doi.org/10.1163/2589465x-00201004.

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This paper will use the artworks and exhibitions of Cai Yingqian, Chen Min, Timoteus Anggawan Kusno, and Chen Chieh-jen to discuss how contemporary art reflects on modern colonial history through mediations. By employing ready-made media materials handed down through history, archival art moves from medium to mediation, mediating between subjects, media materials, and artistic works, and at the same time highlights the materiality and mediality of media, forming a historical picture where media and the message, objects and narrations, images and the deceased together form a unified entity. While the narrative and memory of history rely on media, mediation can summon the memory of the past. Artists can activate images and turn them into an “afterlife” to open sealed historical spacetime, resurrecting the forgotten experience of modern colonial history in Asia, and finally inciting us to face the colonial structure, which is nowadays still at the core of Asian geopolitics. Ultimately, every kind of mediation reverts back to the media itself. The construction of the archive, the production of knowledge, and the opacity of media are revealed by the close connection between colonialism and mediation.
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Oh, Younjung. "Oriental Taste in Imperial Japan: The Exhibition and Sale of Asian Art and Artifacts by Japanese Department Stores from the 1920s through the Early 1940s." Journal of Asian Studies 78, no. 1 (February 2019): 45–74. http://dx.doi.org/10.1017/s0021911818002498.

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From the 1920s to the early 1940s, Japanese department stores provided Japanese urban middle-class households with art and artifacts from China, Korea, Taiwan, and Southeast Asia. The department stores not merely sold art and artifacts from Japan's Asian neighbors but also promoted the cultural confidence to appreciate and collect them. At the same time, aspiring middle-class customers satisfied their desire to emulate the historical elite's taste for Chinese and other Asian objects by shopping at the department stores. The aesthetic consumption of Asian art and artifacts formulated a privileged position for Japan in the imperial order and presented the new middle class with the cultural capital vital to the negotiation of its social status. This article examines the ways in which department stores marketed “tōyō shumi” (Oriental taste), which played a significant role in the formation of identity for both the imperial state and the new middle class in 1920s and 1930s Japan.
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Henning, Moritz, Sally Below, Christian Hiller, and Eduard Kögel. "Encounters with Southeast Asian Modernism." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 85–88. http://dx.doi.org/10.52200/63.a.sv57esux.

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Against the backdrop of the Bauhaus centenary in 2019, Encounters with Southeast Asian Modernism examined the history, significance, and future of postcolonial modernism in this region, with partners in four cities – Jakarta, Phnom Penh, Singapore, and Yangon. The project provided a historical perspective on the societal and political upheaval that accompanied the transition to independence after the colonial period in these countries. It also showcased current initiatives in the fields of art, architecture, and science that are committed to the preservation and use of Modernist buildings. In 2020, the project will continue with an exhibition and accompanying program in Berlin.
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Ngoei, Wen-Qing. "Exhibiting Transnationalism after Vietnam: The Alpha Gallery’s Vision of an Artistic Renaissance in Southeast Asia." Journal of American-East Asian Relations 29, no. 3 (September 20, 2022): 271–99. http://dx.doi.org/10.1163/18765610-29030004.

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Abstract This essay examines the Alpha Gallery, an independent artists’ cooperative that Malaysians and Singaporeans established, which staged art shows during the 1970s to spark an artistic renaissance in Southeast Asia. The cooperative’s transnational vision involved showcasing Balinese folk art as a primitive and, therefore, intrinsically Southeast Asian aesthetic, while asserting that it shared cultural connections with the Bengali Renaissance of the early 20th Century. Alpha’s leaders believed these actions might awaken indigenous artistic traditions across Southeast Asia. Their project underscores the lasting cultural impact of colonialism on Southeast Asia and the contested character of the region. Alpha’s condescending view of Balinese folk art echoed the paternalism of Euro-American colonial discourses about civilizing indigenous peoples that persisted because its key members received much of their education or training in Britain and the United States, a by-product of their countries’ pro-U.S. trajectory during the Vietnam War. Equally, Alpha’s transnationalism ran counter to Southeast Asian political elites’ fixation with pressing art toward nation-building. Indeed, the coalescing of nation-states does not define the region’s history during and after the Vietnam War. Rather, non-state actors like Alpha’s members, in imagining and pursuing their versions of Southeast Asia, contributed to the persistent contingency of the region.
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Scheffer, Krisztina, Enikő Szvák, and Hedvig Győry. "Korok és Kórok kiállítás 2019-2020." Kaleidoscope history 11, no. 22 (2021): 305–15. http://dx.doi.org/10.17107/kh.2021.22.305-315.

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The HNM Semmelweis Museum of Medical History's exhibition „Diseases for the Ages, What the Deceased Tell Us”, is displaying the anthropological collection of the Museum which never was presented earlier, and the mummy-research made in the framework of the Nephthys Project, with some additional material from the Hungarian Natural History Museum and the Hopp Ferenc Asian Art Museum. Visitors can learn about the appearance of known and little-known diseases visible on archaeological human remains and gain insight into the know-how and the results of the mummy research. The exhibition is accompanied by a museum educational program and a series of lectures.
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Dissertations / Theses on the topic "Art, Asian Exhibitions History"

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Ferrell, Susanna S. "Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.

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Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.

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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Borchardt-Hume, Achim. "The history of the Esposizione Quadriennale d'Arte Nazionale 1927-1943 : sixteen years of aesthetic pluralism under Facist patronage." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248636.

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Högström-Schnee, Linn. "Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547.

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The present study is, to my knowledge, the first investigating the newly renovated and rearranged permanent art and design exhibition at Nationalmuseum, Stockholm: The Timeline. The exhibition presents Western art from 1500 to 1914 and design and portraiture from 1500 until today in a chronological arrangement. In the first chapter of the analysis, the exhibition is compared to previous arrangements of the permanent art exhibition at Nationalmuseum, as well as to historical museological trends. In the second chapter, Carol Duncan’s perspective of the ritual structure is applied in order to explore how the specific design of the exhibition affects visitors and objects, and how mening and narrative is created. The study does not primarily focus on individual objects, but on the general design and structure of the exhibition space. The study concludes that historical references can be found in the current exhibition – mainly to a sensual, intimate, and aesthetic mode of display from the early twentieth century. Some principles which have been dominating in art museums since the mid-twentieth century are challenged, including the isolation of objects; use of vast, empty spaces; division between different object categories; and sparse, single-row hanging. The varied and dynamic hanging of the current exhibition, in contrast to a repetetive one, creates different patterns of movement and object-visitor interactions. Still, the ritual structure of the exhibition works to direct visitor attention and behaviour, conveying an art-historical narrative. Meanings concerning objects’ historical context are fascilitated through the interplay between visual arrangement and textual information.
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Baldridge, Seth Robert. "Gold powder and gunpowder| The appropriation of western firearms into Japan through high culture." Thesis, The University of Utah, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10006268.

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When an object is introduced to a new culture for the first time, how does it transition from the status of a foreign import to a fully integrated object of that culture? Does it ever truly reach this status, or are its foreign origins a part of its identity that are impossible to overlook? What role could the arts of that culture play in adapting a foreign object into part of the culture? I propose to address these questions in specific regard to early modern Japan (1550–1850) through a black lacquered ōtsuzumi drum decorated with a gold powder motif of intersecting arquebuses and powder horns. While it may seem unlikely that a single piece of lacquerware can comment on the larger issues of cultural accommodation and appropriation, careful analysis reveals the way in which adopted firearms, introduced by Portuguese sailors in 1543, shed light on this issue.

While the arquebus’s militaristic and economic influence on Japan has been firmly established, this thesis investigates how the Kobe Museum’s ōtsuzumi is a manifestation of the change that firearms underwent from European imports of pure military value to Japanese items of not just military, but also artistic worth. It resulted from an intermingling of Japanese-Portuguese trade, aesthetics of the noble military class, and cultural accommodation between Europeans and Japanese that complicates our understandings of influence and appropriation. To analyze this process of appropriation and accommodation, the first section begins with a historical overview of lacquer in Japan, focusing on the Momoyama period, and the introduction of firearms. The second section will go into the aesthetics of lacquerware, including the importance of narrative symbolism and use in the performing arts with a particular emphasis on the aural and visual aesthetics of the drum. Finally, I will discuss this drum in the global contexts of the early modern era, which takes into account the tension between the decline in popularity of firearms as well as the survival of the drum. Pieced together, these various aspects will help to construct a better understanding of this unique piece’s place in the Japanese Christian material culture of early modern Japan.

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Hartman, Laurel. "The shojo within the work of Aida Makoto| Japanese identity since the 1980s." Thesis, San Jose State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10169581.

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The work of Japanese contemporary artist Aida Makoto (1965-) has been shown internationally in major art institutions, yet there is little English-language art historical scholarship on him. While a contemporary of internationally-acclaimed Japanese artists Murakami Takashi and Nara Yoshitomo, Aida has neither gained their level of international recognition or respect. To date, Aida?s work has been consistently labeled as otaku or subcultural art, and this label fosters exotic and juvenile notions about the artist?s heavy engagement with Japanese animation, film and manga (Japanese comic book) culture. In addition to this critical devaluation, Aida?s explicit and deliberately shocking compositions seemingly serve to further disqualify him from scholarly consideration. This thesis will argue that Aida Makoto is instead a serious and socially responsible artist. Aida graduated with a Masters of Fine Arts from Tokyo University of Fine Arts and Music in 1991 and came of age as an artist in the late 1980s during the start of Japan?s economic recession. Since then Aida has tirelessly created artwork embodying an ever-changing contemporary Japanese identity. Much of his twenty-three-year oeuvre explores the culturally significant social sign of the shojo or pre-pubescent Japanese schoolgirl. This thesis will discuss these compositions as Aida?s deliberate and exacting social critiques of Japan?s first and second ?lost decades,? which began in 1991 and continue into the present.

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Takegami, Mano. "A Humanitarian Monster| Mizuki Shigeru and Manga as Cultural Redemption." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10829947.

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Shigeru Mizuki (1922-2015) is one of the most sophisticated and accomplished of modern manga artists. His work synthesizes ancient and modern Japanese visual artistic methods with contemporary tropes from Western graphic art to tell profound and complex stories that reflect major themes of war and the supernatural world. This thesis argues that Mizuki’s work should be reevaluated as a valuable contribution to modern art based on the following three qualities: technical mastery and innovation in visual art; socio-political and philosophical depth of content; and his impact on other contemporary Japanese artists. Such study is significant because of the popularity of manga and other graphic art in shaping both popular culture and the view of art adopted by younger generations. Thus, studying Mizuki has implications for our understanding of art and its intersection with popular culture, and raises questions regarding whether popular media like manga should be considered seriously by art historians.

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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.

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Chasse, Sarah Noble. ""A Certain Kinship": The First Exhibitions of American Folk Art, New York, 1924-1932." W&M ScholarWorks, 2012. https://scholarworks.wm.edu/etd/1539626675.

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Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.

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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.
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Books on the topic "Art, Asian Exhibitions History"

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Museum, Singapore Art. The collectors show: Weight of history. Singapore: Singapore Art Museum, 2013.

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Margo, Machida, Desai Vishakha N, Tchen John Kuo Wei, and Asia Society Galleries, eds. Asia/America: Identities in contemporary Asian American art. New York, N.Y: Asia Society Galleries, 1994.

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1956-, Poshyananda Apinan, and Asia Society Galleries, eds. Contemporary art in Asia: Traditions, tensions. New York: Asia Society Galleries, 1996.

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Masato, Nakano, and San Diego Museum of Art, eds. Dyeing elegance: Asian modernism and the art of Kuboku and Hisako Takaku. San Diego: San Diego Museum of Art, 2012.

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Belger, Krody Sumru, and Çakmut Feza, eds. Colors of the oasis: Central Asian ikats. Washington, D.C: Textile Museum, 2010.

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Asian Art Museum of San Francisco. Later Japanese lacquers: Asian Art Museum, July 18-November 15, 1987. [San Francisco: Asian Art Museum of San Francisco, 1987.

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E, Osborne Milton, and Powerhouse Museum, eds. Arts of Southeast Asia: From the Powerhouse Museum collection. Sydney: Powerhouse Pub., 2001.

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Dick, Richards. Persia and beyond: Islam and Asia. Adelaide: Art Gallery of South Australia, 1998.

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France), Musée Guimet (Paris. The path to enlightenment: Masterpieces of Buddhist sculpture from the National Museum of Asian Arts/Musée Guimet, Paris. Fort Worth: Kimbell Art Museum, 1996.

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Asian Art Museum--Chong-Moon Lee Center for Asian Art and Culture, Knight Michael 1953-, Chan Dany, and Berliner Nancy Zeng 1958-, eds. Shanghai =: [Shanghai] : art of the city. San Francisco: Asian Art Museum, Chong-Moon Lee Center for Asian Art and Culture, 2010.

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Book chapters on the topic "Art, Asian Exhibitions History"

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George, Jayashree. "History Matters." In Asian Art Therapists, 9–24. New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003109648-1.

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Bartosch, Christina, Nirmalie Mulloli, Daniel Burckhardt, Marei Döhring, Walid Ahmad, and Raphael Rosenberg. "The Database of Modern Exhibitions (DoME)." In The Routledge Companion to Digital Humanities and Art History, 423–34. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-36.

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Baldacci, Cristina. "Re-Presenting Art History." In Cultural Inquiry, 173–82. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_18.

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Can reenactment both as reactivation of images and restaging of exhibitions be considered an alternative way of tackling the critical task to re-present art history (i.e., to present it anew) in the here and now, over and over and over again? The gesture of restoring visibility to something no longer present, reactivating or reembodying it as an object/image in and for the present, is here proposed as a (political) act of restitution and historical recontextualization. Examining the boundaries between past and present, original and copy (as well as originality and copyright), repetition and variation, authenticity and auraticity, presence and absence, canon and appropriation, durée and transience, the paper focuses on remediation, reinterpretation, and reconstruction as creative gestures and cultural promises in contemporary art practice, curatorship, and museology.
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Wang, Aileen June. "Curating to Remember Injustice: Exhibitions on Toyo Miyatake and Roger Shimomura." In Socially Engaged Art History and Beyond, 215–23. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43609-4_16.

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von Falkenhausen, Lothar. "East Asian art history at UCLA." In Global and World Art in the Practice of the University Museum, 96–114. New York : Routledge, 2017. | Series: Routledge research in museum studies ; 13: Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-6.

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Braysmith, Hilary A. "Public Sculpture Exhibitions in Neighborhoods: Arts-Driven, Heritage-Based, Urban Revitalization, and Social Practice (Part 1)." In Socially Engaged Art History and Beyond, 143–58. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43609-4_11.

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Taylor, Nora A. "Whose Art are We Studying? Writing Vietnamese Art History from Colonialism to the Present." In Studies in Southeast Asian Art, edited by Nora A. Taylor, 143–57. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-010.

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Arata, Shimao. "Reconsidering the History of East Asian Painting." In East Asian Art History in a Transnational Context, 15–31. New York: Routledge, 2019. | Series: Routledge research in art history: Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-2.

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Yu-jen, Liu. "The Concept of Art in the Meishu Congshu." In East Asian Art History in a Transnational Context, 227–43. New York: Routledge, 2019. | Series: Routledge research in art history: Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-13.

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Tsiang, Katherine R. "Digital Imaging Projects for Asian Art and Visual Culture." In The Routledge Companion to Digital Humanities and Art History, 191–202. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-18.

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Conference papers on the topic "Art, Asian Exhibitions History"

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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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Montague, Eamonn Thomas, Donald Hosking Sherlock, and Erwin Santoso. "History Matching Considerations of an Analogue Reservoir Model (ARM)." In SPE Asia Pacific Oil & Gas Conference and Exhibition. Society of Petroleum Engineers, 2006. http://dx.doi.org/10.2118/101880-ms.

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Bhat, Raj Nath. "Language, Culture and History: Towards Building a Khmer Narrative." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-2.

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Genetic and geological studies reveal that following the melting of snows 22,000 years ago, the post Ice-age Sundaland peoples’ migrations as well as other peoples’ migrations spread the ancestors of the two distinct ethnic groups Austronesian and Austroasiatic to various East and South–East Asian countries. Some of the Austroasiatic groups must have migrated to Northeast India at a later date, and whose descendants are today’s Munda-speaking people of Northeast, East and Southcentral India. Language is the store-house of one’s ancestral knowledge, the community’s history, its skills, customs, rituals and rites, attire and cuisine, sports and games, pleasantries and sorrows, terrain and geography, climate and seasons, family and neighbourhoods, greetings and address-forms and so on. Language loss leads to loss of social identity and cultural knowledge, loss of ecological knowledge, and much more. Linguistic hegemony marginalizes and subdues the mother-tongues of the peripheral groups of a society, thereby the community’s narratives, histories, skills etc. are erased from their memories, and fabricated narratives are created to replace them. Each social-group has its own norms of extending respect to a hearer, and a stranger. Similarly there are social rules of expressing grief, condoling, consoling, mourning and so on. The emergence of nation-states after the 2nd World War has made it imperative for every social group to build an authentic, indigenous narrative with intellectual rigour to sustain itself politically and ideologically and progress forward peacefully. The present essay will attempt to introduce variants of linguistic-anthropology practiced in the West, and their genesis and importance for the Asian speech communities. An attempt shall be made to outline a Khymer narrative with inputs from Khymer History, Art and Architecture, Agriculture and Language, for the scholars to take into account, for putting Cambodia on the path to peace, progress and development.
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Varenov, Andrey V. "Life and Works of Gai Shanlin (1935–2020) — a Prominent Chinese Rock Art Researcher." In Current Issues in the Study of History, Foreign Relations and Culture of Asian Countries. Novosibirsk State University, 2021. http://dx.doi.org/10.25205/978-5-4437-1268-0-84-89.

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Gross, Herve, Mehrdad Honarkhah, and Yuguang Chen. "Offshore Gas Condensate Field History-Match and Predictions: Ensuring Probabilistic Forecasts Are Built With Diversity in Mind." In SPE Asia Pacific Oil and Gas Conference and Exhibition. Society of Petroleum Engineers, 2011. http://dx.doi.org/10.2118/147848-ms.

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Conti, Alessandro, Grazia Tucci, Valentina Bonora, and Lidia Fiorini. "HOW WERE THE TAPESTRIES IN THE SALA DI SATURNO OF PITTI PALACE ARRANGED? GEOMATICS AND VIRTUAL REALITY FOR ART CURATORS." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12175.

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Three-dimensional acquisition techniques, reality-based modelling and virtual reality are tools used in Digital Humanities prevalently for displaying the results of a study, but they can also suggest new methods of investigation to humanities scholars. In a case study regarding art history, these techniques made it possible to recreate the layout of the Sala di Saturno in Pitti Palace (Florence) in the 17th century, based on information obtained from archive documents on the tapestries designed for that hall and a 3D model expressly elaborated with geomatic techniques. The results were summarised in a video showed in 2019 during the exhibition on tapestries dedicated to Cosimo I de' Medici. A tool was also developed to assist exhibition and museum curators in their work. Through virtual reality, they can design temporary exhibitions or modify the display of the works of art in a museum in a realistic way, using visually and metrically accurate models of the pieces and exhibition rooms.
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Noviyanto, Ecko, Deded Abdul Rohman, Theoza Nopranda, Rudini Simanjorang, Kosdar Gideon Haro, M. Isa Priyo Utomo, Arif Bagus Prasetyo, and Andi Pratama. "Probabilistic Dynamic Modelling and Prediction Workflows: Application to Multi-Layered Waterflood Reservoir with 90 Years Production History and 293 Wells." In SPE/IATMI Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205774-ms.

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Abstract This paper presents a probabilistic modeling and prediction workflow to capture the range of uncertainties and its application in a field with many wells and long history. A static model consisting of 19 layers and 293 wells was imported as the base model. Several reservoir properties such as relative permeability, PVT, aquifer, and initial condition were analyzed to obtain the range of uncertainties. The probabilistic history matching was done using Assisted History Matching (AHM) tools and divided into experimental design and optimization. The inputted parameters and their range sensitive to objective functions, e.g., oil rate/total difference, could be determined using a Pareto chart based on Pearson Correlation during experimental design. The optimization phase carried over the most sensitive parameters and utilized Particle Swarm Optimization (PSO) algorithm to iterate the process and find the equiprobable models with minimum objective functions. After filtering a set of models created by AHM tools by the total oil production, field/well oil objective functions, the last three years' performance, and clustering using the k-means algorithm, there are 11 models left. These models were then analyzed to understand the absolute risk and parameter uncertainties, e.g., mobile oil or sweep efficiency. Three models representing P10, P50, and P90 were picked and used as the base models for developing waterflood scenario designs. Several scenarios were done, such as base case, perfect pattern case, and existing well case. The oil incremental is in the range of 1.60 – 2.01 MMSTB for the Base Case, 7.57 – 9.14 MMSTB for the Perfect Pattern Case, and 6.01 – 7.75 MMSTB for the Existing Well Case. This paper introduces the application of the probabilistic method for history matching and prediction. This method can engage the uncertainty of the dynamic model on the forecasted production profiles. In the end, this information could improve the quality of management decision-making in field development planning.
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Zhang, Lina, Heng Zhang, Jintong Hu, Songjie Zhang, Wenling Yang, Changlu Yang, Xueliang Yu, Yuhong Hao, and Bin Wang. "Successful Application of Fishable and Sectional ESS Completion Technology for Sand Control _ A Case History in SHAD Field." In IADC/SPE Asia Pacific Drilling Technology Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/209868-ms.

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Abstract SHAD oilfield, located in one of the fields with the highest onshore production in the Middle East; more than 70% of its production wells are flowing wells, with an average single well production capacity of more than 3000 bbl/d. Its main oil production formation is loose sandstone reservoir. The completion style of its production wells are generally completed casing perforation, and sand production is obvious after a period of exploitation. In the process of production, sand cleaning and sand discharging are often needed in the perforated section of oil well; however, after 3-5 years of production, serious sand burial still forces developers to give up the original production formation. In addition to the problem of sand production, there are many complex layers, some of them are oil-water layer, and the increase of water in the liquid production gradually affects the well flowing. Fishable and sectional expandable sand screen (ESS) completion technology is developed to deal with sand production and the increase of water production. The upper of the original production formation of the old wells is as the new production formation. The new formation is divided into several sections due to different physical properties. Perforation is carried out at the same time for all sections. After this, each the ESS completion string is run into each section. The top sealing hanger and the bottom packer will seal each ends of the annular between ESS and perforating casing, thus to form independent production section. In later process of production, plugging tools is run for sections if needed, so as to realize selective open/ close of different sections. Special fishing tools are developed, combined with the mechanical plastic characteristics of ESS, which can realize the fishing of the completion string. This solves the problem of fishing long string, and provides good conditions for subsequent operations. The research results show that two good results are obtained. One is that arranging several sections of ESS completion strings in the old well bore gives full play to the characteristics of ESS with strong flow capacity, good sand control effect, and is suitable for sand control in high-yield wells. The other is that selective open/close is realized for different sections which meets the sand control and production needs of in SHAD oilfield. The research results have applied to 9 wells in SHAD oilfield, and the success rate is 100%. Among them, one single well is divided into three sections, and the production is stable, the sand production is near to 0, and the sand control effect is significant. The successful application of this technology fills up the gap of multi-stage ESS completion in the Middle East.
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Santhirasekaran, Lingies, Derric Ong, Farren Kaylyn Foo, and Bonavian Hasiholan. "Is Artificial Intelligent the Future for AHM? Decision Making Between an Automated Optimisation of ANN Proxy Versus Full Numerical Simulation Optimisation Technique." In SPE/IATMI Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205808-ms.

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Abstract Over the past decades, Assisted History Matching has been the new norm for history matching that leverages the rapid advancement in digital computational performance. Continuous advancements such as parallel computing and GPU accelerates numerical simulation which overcomes the cumbersome experience of working with large fine-scaled model that mainly concerns the simulation time and intervention of engineers. As more interest emerges around artificial intelligence in the optimisation process, this paper explores the Artificial Intelligence algorithm to optimize two proxy modelling techniques: Quadratic Polynomial and Artificial Neural Network proxy model. These techniques are compared with stochastic optimisation method known as Differential Evolution algorithm on their efficiency of optimizing the objective functions, time taken, and knowledge investment needed by engineer, given today's hardware technology. This paper starts off by using Latin hypercube experimental design to generate first ensemble of simulation cases to generate proxy models to match the historical cumulative oil and water production by well level. The quality of both proxy modelling techniques is evaluated using R2 coefficient and proxy plot. Proxy models are then further validated by creating real simulation models from variants generated via Monte Carlo Analysis. The history matching quality and practicality were compared between the AI algorithm that runs optimizer on top of existing proxy models, and Differential Evolution algorithm in optimizing the regional porosity and permeability multipliers. The ANN proxy model prevailed over quadratic proxies to mimic the numerical reservoir model output with high degree of accuracy. The black-box nature of the ANN proxies limits the interpretability of predicted model when compared quadratic proxies where the formula for the proxy model can be obtained. Quadratic approximations are more flexible, simplistic in nature, and requires less computational cost to be constructed. Despite that, its prediction quality maybe subjected to the degree of non-linearity in the simulation model. The use of AI algorithm vastly reduces the number of full reservoir simulation required to achieve the minimum objective function at a shorter timeframe, which is proved to be the strength of such method. However, AI optimisation is highly susceptible to be trapped in local minimum. This paper proved the superiority of Differential Evolution algorithm over AI, that it may avoid being trapped in local minimum to achieve high degree of prediction accuracy for the history matching given the larger number of iterations required. This paper provides a preliminary understanding of optimisation workflow and how to go about each optimisation strategies: quadratic polynomial proxy, ANN proxy, stochastic optimisation, artificial intelligence techniques, and a novel approach of converting proxy predicted variants into real simulation cases to evaluate proxy quality. Hence establishes engineers’ expectation by appraising the pros and cons of each optimisation strategies.
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Simha, Srungeer, Manu Ujjwal, and Gaurav Modi. "Practical Considerations when Using Capacitance Resistance Modelling CRM for Waterflood Optimization." In SPE/IATMI Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205650-ms.

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Abstract Capacitance resistance modeling (CRM) is a data-driven analytical technique for waterflood optimization developed in the early 2000s. The popular implementation uses only production/injection data as input and makes simplifying assumptions of pressure maintenance and injection being the primary driver of production. While these assumptions make CRM a quick plug & play type of technique that can easily be replicated between assets they also lead to major pitfalls, as these assumptions are often invalid. This study explores these pitfalls and discusses workarounds and mitigations to improve the reliability of CRM. CRM was used as a waterflood optimization technique for 3 onshore oil fields, each having 100s of active wells, multiple stacked reservoirs, and over 15 years of pattern waterflood development. The CRM algorithm was implemented in Python and consists of 4 modules: 1) Connectivity solver module – where connectivity between injectors and producers is quantified using a 2 year history match period, 2) Fractional Flow solver module – where oil rates are established as a function of injection rates, 3) Verification module – which is a blind test to assess history match quality, 4) Waterflood optimizer module – which redistributes water between injectors, subject to facility constraints and estimates potential oil gain. Additionally, CRM results were interpreted and validated using an integrated visualization dashboard. The two main issues encountered while using CRM in this study are 1) poor history match (HM) and 2) very high run time in the order of tens of hours due to the large number of wells. Poor HM was attributed to significant noise in the production data, aquifer support contributing to production, well interventions such as water shut-offs, re-perforation, etc. contributing to oil production. These issues were mitigated, and HM was improved using data cleaning techniques such as smoothening, outlier removal, and the usage of pseudo aquifer injectors for material balance. However, these techniques are not foolproof due to the nature of CRM which relies only on trends between producers and injectors for waterflood optimization. Runtime however was reduced to a couple of hours by breaking up the reservoir into sectors and using parallelization.
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