Log in

Relevant bibliographies by topics / Art, Asian Exhibitions History / Journal articles

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

To see the other types of publications on this topic, follow the link: Art, Asian Exhibitions History.

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Art, Asian Exhibitions History.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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?

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Way, Jennifer. "Narrative Failures." Anthropos 114, no. 2 (2019): 547–62. http://dx.doi.org/10.5771/0257-9774-2019-2-547.

Full text

Abstract:

This article considers what an unstudied collection of Vietnamese handicraft owned by the Smithsonian National Museum of Natural History reveals about its collecting culture and, conversely, what the collecting culture discloses about the collection. I show how the collecting culture’s activities intersected with American State Department efforts to bring postcolonial South Vietnam into the Free World during the Cold War. Attention to the Smithsonian National Collection of Fine Arts’ exhibition, “Art and Archaeology of Vietnam. Asian Crossroad of Cultures,” also reveals narratives of power and knowledge associated with the collecting culture. Ultimately, these failed the collection by leaving it disregarded.

APA, Harvard, Vancouver, ISO, and other styles

12

Lopez, Donald S. "“Lamaism” and the Disappearance of Tibet." Comparative Studies in Society and History 38, no. 1 (January 1996): 3–25. http://dx.doi.org/10.1017/s0010417500020107.

Full text

Abstract:

At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.

APA, Harvard, Vancouver, ISO, and other styles

13

May, Anthony, and XiaoLu Ma. "Hong Kong: Changing Geographies of a Media Capital." Media International Australia 124, no. 1 (August 2007): 156–65. http://dx.doi.org/10.1177/1329878x0712400115.

Full text

Abstract:

Thanks to its stunning entry into the ranks of world cinema in the 1970s, the history of the Hong Kong film industry up to 1997 is relatively well known. However, the coincidence of the Asian economic recession and the city's reintegration into the People's Republic of China (PRC) has worked to obscure recent developments. This article analyses contemporary Hong Kong cinema and its relations with the government of the mainland. We argue that the economic, cultural and geopolitical location of the city is contributing to developments that will allow the art cinema of the People's Republic of China to engage in international, Hollywood-dominated markets. Matters to do with production investment, censorship and film exhibition business are analysed in terms of the development of and revisions to the Closer Economic Partnership arrangement that now governs trade between the PRC and the Hong Kong Special Administrative Region (HKSAR).

APA, Harvard, Vancouver, ISO, and other styles

14

董維琇, 董維琇. "臺灣環境美學復興：社會參與式藝術實踐與地方藝術祭的啟示." 藝術評論 43, no. 43 (July 2022): 219–54. http://dx.doi.org/10.53106/101562402022070043006.

Full text

Abstract:

<p>自1990年代後期以來，臺灣當代藝術發展出社會參與式藝術實踐的趨勢，亦即走出美術館展覽的藩籬並企求與公眾面對面、與社群連結的藝術創作。此一歷程發展適逢後解嚴時代，在地文化認同與本土意識抬頭，反映在文化政策上的則是1990年代的社區總體營造運動乃至於近年來倡議的地方創生。此後，各地的藝術祭更是持續不斷地帶來參與者對地方人文與環境的新感受，發展出在獨特的臺灣文化脈絡與社會變遷的背景下所帶動的「環境美學」復興——對自然與人文環境的重新發現，以及對地方文化歷史脈絡的重思與再建構。對環境與地方的自然和人文關懷是目前亞洲地區正歷時與共的境況，本文以臺灣的社會參與式藝術和地方藝術祭為主要探討對象，自其所帶來的環境美學復興，延伸思考社會參與式藝術暨地方藝術祭的亞洲觀點所帶來的啟示，並以更全觀的視角來思辨藝術的社會實踐，啟發藝術工作者，面對此一全球共同的環境議題。</p> <p> </p><p>Since the late 1990s, Taiwanese contemporary art has developed a trend of socially-engaged art practice that goes beyond the usual framework of museum exhibition and with the aim of reaching public audiences. Moreover, such progress involves a degree of community engagement. The post-Martial law era saw the emergence of issues of local cultural identity and the rise of ideologies of the vernacular. Equally, socially-engaged art practice in Taiwan addressed throughout the 1990s issues of cultural policies for community reconstruction and ideas of “creative placemaking”. The result of such trend has also brought the prevalence of local art festivals. Such a socially art practice and local art festival has since developed into a genuine environmental aesthetics that has led to the rediscovery of human landscape, the natural environment, and to the reconstruction of local culture and history. This latter specificity, though, differs from its Western counterpart model of social art practice.This paper will explore the socially-engaged art and local art festival in Taiwan, their process of development, content and approach through surveys and fieldwork. Their relations to each other, differences, similarities, and sustainability will be also discussed in this research. However, the impacts that they triggered for the revival of environmental aesthetics, has significances to what are related to ecological and environmental issues in the whole world. Attending for local environment, people, history and culture is currently experienced in the Asia is also a common issue. This research takes socially-engaged art practice and local art festivals as a subject, as well as addressing their implications on revival of environmental aesthetics in Taiwan. Moreover, this research not only intends to expound socially-engaged art practice and local art festival from the local perspectives of Taiwan; it also seeks to enrich how we understand such practice in a broader Asian and even global contexts. </p> <p> </p>

APA, Harvard, Vancouver, ISO, and other styles

15

Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.

Full text

Abstract:

This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.

APA, Harvard, Vancouver, ISO, and other styles

16

Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach, and Olga Zulabueva. "Exhibitions." Museum Worlds 6, no. 1 (July 1, 2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

Full text

Abstract:

Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm

APA, Harvard, Vancouver, ISO, and other styles

17

Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

Full text

Abstract:

There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.

APA, Harvard, Vancouver, ISO, and other styles

18

Ash, C. "EXHIBITIONS: NATURAL HISTORY ART: Paper Museums." Science 320, no. 5880 (May 30, 2008): 1163. http://dx.doi.org/10.1126/science.1159434.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Speck, Catherine, and Lisa Slade. "Art History and Exhibitions: Same or Different?" Australian and New Zealand Journal of Art 14, no. 2 (July 3, 2014): 141–50. http://dx.doi.org/10.1080/14434318.2014.973635.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Boaden, Sue. "Art information networks in Asia and the Pacific." Art Libraries Journal 11, no. 4 (1986): 4–7. http://dx.doi.org/10.1017/s0307472200004855.

Full text

Abstract:

As former colonial links and reliance on a technologically-developed ‘West’ recede into the past, Asian and Pacific countries, including Australia, are becoming increasingly aware of one another as neighbours. Circulation of exhibitions, artists’ visits, cultural festivals, government and UNESCO activities, and art publishing, provide a network for sharing art and art information between countries in this region. Among art libraries, those in Australia and New Zealand participate in the network represented by ARLIS/ANZ; the IFLA Section of Art Libraries and its global role offers scope for further developments. An Asian/Pacific ‘ARLIS’ is proposed.

APA, Harvard, Vancouver, ISO, and other styles

21

Turner, Dianne. "Exhibitions of Children's Art: History, Ideology, and Economics." Marilyn Zurmuehlen Working Papers in Art Education 7, no. 1 (1988): 44–59. http://dx.doi.org/10.17077/2326-7070.1345.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Kitazawa, Noriaki, and 빛나 황. "Exhibitions and Books History of ‘Japanese Contemporary Art History’ Studies in Japan." Art History Forum 50 (June 30, 2020): 215–33. http://dx.doi.org/10.14380/ahf.2020.50.215.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Kitazawa, Noriaki. "Exhibitions and Books History of ‘Japanese Contemporary Art History’ Studies in Japan." Art History Forum 50 (June 30, 2020): 234–51. http://dx.doi.org/10.14380/ahf.2020.50.234.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Dulguerova, Elitza. "Thinking with Large-scale Exhibitions about Space, History, and Art." Critique d’art, no. 49 (November 21, 2017): 47–55. http://dx.doi.org/10.4000/critiquedart.27143.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Prince, Patric D. "A Brief History of SIGGRAPH Art Exhibitions: Brave New Worlds." Leonardo. Supplemental Issue 2 (1989): 3. http://dx.doi.org/10.2307/1557935.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Maxwell, Robyn J. "Asian art acquisitions." Asian Studies Association of Australia. Review 8, no. 3 (April 1985): 23–24. http://dx.doi.org/10.1080/03147538508712361.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Menzies, Jackie. "Asian art acquisitions." Asian Studies Association of Australia. Review 8, no. 3 (April 1985): 24. http://dx.doi.org/10.1080/03147538508712362.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Jack‐Hinton, Fiona. "Asian art acquisitions." Asian Studies Association of Australia. Review 8, no. 3 (April 1985): 25–26. http://dx.doi.org/10.1080/03147538508712363.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Liu, Cary Y. "Asian Art Collection: From Exotica to Art and History." Record of the Art Museum, Princeton University 55, no. 1/2 (1996): 125. http://dx.doi.org/10.2307/3774783.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Świtek, Gabriela. "The Borderlines of the Thaw: Graphic Art from the Federal Republic of Germany in Warsaw’s “Exhibition Factory” (1956–1957)." Biuletyn Historii Sztuki 82, no. 1 (May 6, 2020): 127–58. http://dx.doi.org/10.36744/bhs.638.

Full text

Abstract:

The aim of the essay is to delineate the political and artistic contexts of two exhibitions of graphic art from the Federal Republic of Germany held in the Central Bureau of Art Exhibitions, the main state art gallery in Warsaw (1956–1957). The historians consider the year 1956 – similarly to the years 1968 or 1989 – to be an important caesura in the political and social history on the global scale. In the history of modern art in Poland, the year 1956 is also perceived as a period crucial to changes in artistic life (Polish thaw). As the first show of West German artists in post-war Poland, the Exhibition of the Works of Graphic Artists from the Federal Republic of Germany opened in Warsaw on the same day when Nikita Khrushchev delivered his celebrated “Secret Speech” in Moscow (25 February 1956). The exhibition Poster Art in the Federal Republic of Germany was organized in 1957, after the events of the Polish October (1956). The idea to juxtapose art exhibitions with political events of their era follows contemporary reflections on the phenomenon of noncontemporaneity and on the heterogeneous nature of the visual time of art and exhibition histories.

APA, Harvard, Vancouver, ISO, and other styles

31

Carr, Kevin G. "East Asian Art History in the United States : Art History Beyond Nation." Dongak Art History 21 (June 30, 2017): 199–221. http://dx.doi.org/10.17300/dah.2017.21.9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Ainutdinov, A. S. "Sverdlovsk Artists at Post-War Art Exhibitions, 1946–1952." Art & Culture Studies, no. 1 (February 2022): 164–95. http://dx.doi.org/10.51678/2226-0072-2022-1-164-195.

Full text

Abstract:

The article is devoted to studying various aspects of the exhibition process in the post-war Sverdlovsk. For the first time in the Ural art history, the art exhibitions that were held after the Great Patriotic War and had works by Sverdlovsk visual artists on display, are named, described, systematized, and classified in one research. The new data sources used in the research uncover the reasons behind the low levels of participation of Sverdlovsk painters, sculptors, and graphic artists in the All-Soviet and national exhibitions in 1946–1952. When performing the research task, the author achieves the main goal: generating new knowledge about the history of Sverdlovsk visual arts of the post-war period and gaining additional factual information on the Soviet art history of the 1940–1950s through the analysis of various sources. Of significant interest to art studies is a wider perspective on the creative activity of Sverdlovsk painters, sculptors, graphic and other artists analyzed against the background of the general organizational objectives of the Sverdlovsk branch of the Artists’ Union of the USSR and the socio-cultural life of the period, which determined the nature of relations between the authorities and the intelligentsia, and artistic connections between different regions of the USSR.

APA, Harvard, Vancouver, ISO, and other styles

33

Zychowicz, Karolina. "The Exhibition-Organising Activity of the Committee for Cultural Cooperation with Foreign Countries (1950–1956) Based on the Example of Selected Exhibitions at the Zachęta Central Bureau of Art Exhibitions." Ikonotheka 26 (June 26, 2017): 63–94. http://dx.doi.org/10.5604/01.3001.0010.1673.

Full text

Abstract:

The documentation of the Committee for Cultural Cooperation with Foreign Countries, which was an offi cial agency active in the years 1950–1956, is currently deposited at the Central Archives of Modern Records in Warsaw and constitutes an invaluable source for any Polish scholar interested in the history of exhibitions. It contains large amounts of interesting data which make it possible to ascertain the character of Polish exhibitionorganising activity in the fi rst half of the 1950s. In the six years of its existence the Committee organised ca. one hundred exhibitions. The essay concerns exhibitions hosted in the main building of the Central Bureau of Art Exhibitions, i.e. the Zachęta. Foreign exhibitions prepared by the Committee were intended to justify the state’s cultural strategy based on promoting the aesthetics of Socialist Realism, which programmatically referred to 19th-century Realism and its historical traditions. Exhibitions of art produced in the countries of the Eastern bloc presented the local version of Social Realism plus 19th-century painting that could be described as “Critical Realism”. Bringing to Poland exhibitions of folk art from the “brotherly” countries of the Eastern bloc was an important element of the Committee’s policy, as in the years 1949–1956 attempts were made to use folk art in the process of remodelling the country in the Socialist spirit. The Committee for Cultural Cooperation with Foreign Countries was established in 1950 in order to centralise, expand and politicise artistic exchange. On the whole, however, the idea to centralise all of the cultural exchange with foreign countries turned out to be a utopia. In 1955, just as the so-called thaw was beginning, the Ministry of Culture and Art offered the proposal to decentralise the exchange and to dissolve the Committee.

APA, Harvard, Vancouver, ISO, and other styles

34

Wade, Sarah. "Ecological Exhibitions at the Musée Océanographique de Monaco." Journal of Curatorial Studies 9, no. 2 (October 1, 2020): 162–81. http://dx.doi.org/10.1386/jcs_00019_1.

Full text

Abstract:

In 2010, the Musée Océanographique de Monaco initiated a contemporary art programme to mark its centenary and reaffirm its commitment to its founding premise of displaying objects of both art and science. Ever since, the museum has regularly staged exhibitions promoting marine wildlife protection. I argue that as well as examining ecological concerns, these exhibitions have functioned in ecological ways, adopting curatorial approaches that traverse art and science to highlight interconnections between humans and ocean life. By revisiting historical modes of display, such as the Wunderkammer, and deploying anthropomorphism, the museum presents ecologies of display that aim to evoke solidarity with marine wildlife. Yet, ambiguity arises when considering these exhibitions in the context of this institution and its longer history, which I suggest requires an ongoing curatorial commitment to finding creative and thoughtful ways of responding to ecological issues in museums.

APA, Harvard, Vancouver, ISO, and other styles

35

Ponamarchuk, Ihor. "VLADISLAV GALIMSKIY IN THE CONTEXT OF KYIV ASSOCIATION OF ART EXHIBITIONS (1893–1900)." Scientific Journal of Polonia University 47, no. 4 (January 17, 2022): 58–67. http://dx.doi.org/10.23856/4708.

Full text

Abstract:

The article analyses the life and creative journey of the artist of Polish origin Vladyslav Galimskiy (1860 – 1940), who lived and worked in Kyiv. The main milestones of the artist’s life are elucidated. The author specifies his involvement in the exhibition life of Kyiv. Particular attention is paid to the story behind Kyiv Association of Art Exhibitions and the role played by V. Galimskiy and other local artists. The history of holding five exhibitions by Kyiv Association of Art Exhibitions is described in detail, and the reasons for the Association’s decline are examined. The creative journey of the artist after the Association’s shutdown is considered. The research covers Galimskiy’s participation in charitable activities through the prism of his engagement in the organization of “living paintings” (small amateur performances) in favor of a free hospital and fundraising for a new Roman Catholic Church in Kyiv. A very valuable appendix is attached to the article: it is a complete novel list based on the art catalogs comprising more than 70 paintings by Galymsky presented at Kyiv exhibitions in the 1890s.

APA, Harvard, Vancouver, ISO, and other styles

36

Lyon, Cherstin M. "Portals and Praxis in Japanese American Public History." Southern California Quarterly 98, no. 3 (2016): 259–74. http://dx.doi.org/10.1525/ucpsocal.2016.98.3.259.

Full text

Abstract:

The rise of Asian American History and Ethnic Studies courses, decentered whiteness in museum collections and exhibitions, and ethnic preservation activism all have the potential to inform and sensitize the general public in the same sense advocated by revolutionary thinker Paulo Freire. Ideally, they are all forms of problem-posing education that deeply engages and activates the public on behalf of social justice for the excluded or oppressed.

APA, Harvard, Vancouver, ISO, and other styles

37

Hawon Ku. "South Asian Art History Since the 1990s." Journal of South Asian Studies 15, no. 1 (June 2009): 239–59. http://dx.doi.org/10.21587/jsas.2009.15.1.011.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Clark, John. "Doing world art history with modern and contemporary Asian art." World Art 1, no. 1 (March 2011): 93–99. http://dx.doi.org/10.1080/21500894.2011.520914.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Pripon, Liviu Răzvan. "Natural Object or Element of an Artwork? Case Study: Artists, Artworks and Exhibitions in Cluj, Romania." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (November 20, 2020): 159–72. http://dx.doi.org/10.24193/subbphil.2020.spiss.12.

Full text

Abstract:

"Natural object or element of an artwork? Case Study: Artists, Artworks and Exhibitions in Cluj, Romania. In this article, we discuss the relationship between art and natural objects such as stuffed animals, skins, bones, dried plants or minerals and their aesthetical value from their position as artworks or elements of an artwork. In Cluj, between 2017 and 2019, artworks and exhibitions which integrate this type of practices and natural history materiality flourished. We aim to compose an inventory that could contribute to the archive of local art events, artworks, and artists in order to serve further analysis of local specificity, which could eventually find relevance in the theoretic approaches of art. In conclusion, we underline some of the theoretical approaches of the dynamics of natural object’s values and of the procedures established by organizations such as museums and galleries. Keywords: art galleries, art museums, natural history museums, natural object, BioArt"

APA, Harvard, Vancouver, ISO, and other styles

40

Edwards, Natalie. "Mobile objects in Sophie Calle’s Fantômes and Prenez soin de vous." French Cultural Studies 29, no. 1 (January 12, 2018): 70–78. http://dx.doi.org/10.1177/0957155817738678.

Full text

Abstract:

The mobility of people and objects is a central motif in the work of contemporary artist Sophie Calle. In this article, I compare two of Calle’s exhibitions that take a particularly unusual approach to mobility. In Fantômes and Prenez soin de vous, the objects are an email and works of art and their mobility arises from their displacement. In both exhibitions, Calle obliges the spectator to look at other people looking at the artefacts, which I refer to as the ‘double look’. In this article, I analyse how this technique serves to question the notion of a unitary, individual artist behind each work of art, how it questions the parameters of spectatorship, and how it challenges understandings of intimacy in contemporary culture.

APA, Harvard, Vancouver, ISO, and other styles

41

Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica." Ars Adriatica 8, no. 1 (December 28, 2018): 195–210. http://dx.doi.org/10.15291/ars.2762.

Full text

Abstract:

This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.

APA, Harvard, Vancouver, ISO, and other styles

42

Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (June 2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.

Full text

Abstract:

Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations

APA, Harvard, Vancouver, ISO, and other styles

43

Juříčková, Miluše. "Two Art Exhibitions as Dialogic Events in the History of Czech-Norwegian Cultural Relations." AUC PHILOLOGICA 2021, no. 1 (August 30, 2021): 121–27. http://dx.doi.org/10.14712/24646830.2021.16.

Full text

Abstract:

The article analyses two art exhibitions in the context of Czech-Norwegian relations, presenting both the Czechoslovak book exhibition in Oslo (1937) and the Norwegian painting and applied art exhibition in Prague (1938) as important parts in a bilateral cultural dialogue. The promising initial communication in form of a mutual information exchange was soon disrupted by the beginning of World War II and post-war politics.

APA, Harvard, Vancouver, ISO, and other styles

44

Papadaki, Elena. "Between the Art Canon and the Margins: Historicizing Technology-Reliant Art via Curatorial Practice." Arts 8, no. 3 (September 18, 2019): 121. http://dx.doi.org/10.3390/arts8030121.

Full text

Abstract:

This article explores curatorial practice that has technology-reliant works at its epicentre, arguing that for an efficient methodology to historicize the latter there needs to be a reconfiguration of the curatorial scope and a holistic approach to viewing and documenting exhibitions. Based on theoretical research and install decisions of recent years, the ways in which curatorial practice can be reconfigured within the art canon to inform art history, as well as to accommodate developments in exhibition practices are examined.

APA, Harvard, Vancouver, ISO, and other styles

45

Drosos, Nikolas. "Modernism and World Art, 1950–72." ARTMargins 8, no. 2 (June 2019): 55–76. http://dx.doi.org/10.1162/artm_a_00235.

Full text

Abstract:

Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.

APA, Harvard, Vancouver, ISO, and other styles

46

Antoinette, Michelle, and Nora A. Taylor. "Reworlding Art History: Encounters with Contemporary Southeast Asian Art after 1990." Journal of Social Issues in Southeast Asia 31, no. 2 (July 30, 2016): 630–32. http://dx.doi.org/10.1355/sj31-2j.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Veal, Clare. "Michelle Antoinette, Reworlding Art History: Contemporary Southeast Asian Art after 1990." Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, no. 2 (2017): 181–88. http://dx.doi.org/10.1353/sen.2017.0019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

McCarthy, Conal. "Editorial." Museum Worlds 7, no. 1 (July 1, 2019): vii—ix. http://dx.doi.org/10.3167/armw.2019.070101.

Full text

Abstract:

Museum Worlds: Advances in Research Volume 7 (2019) is an open issue, covering a rich variety of topics reflecting the range and diversity of today’s museums around the globe. This year’s volume has seven research articles, four of them dealing with very different but equally fascinating issues: contested African objects in UK museums, industrial heritage in Finland, manuscript collecting in Britain and North America, and Asian art exhibitions in New Zealand. But this issue also has a special section devoted to Barbara Kirshenblatt-Gimblett, which contains three articles and an interview.

APA, Harvard, Vancouver, ISO, and other styles

49

Bialokur, Nicolae Gothard. "Exposiciones de artes marciales asiáticas en el castillo suizo de Morges." Revista de Artes Marciales Asiáticas 3, no. 3 (July 19, 2012): 68. http://dx.doi.org/10.18002/rama.v3i3.378.

Full text

Abstract:

<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">This article reports on two unique cultural exhibitions (2005 and 2007) held in Morges, Switzerland. The main theme for these exhibitions was Asian martial arts with a focus on those from Japan, including presentations by notable masters in aikido, karate, judo, kyudo, iaido, kenjutsu, jodo, juttejutsu, kusarigamajutsu, naginatajutsu, tameshigiri, and kendo. On exhibit were artifacts from Morges Castle museum collections as well as numerous ancient objects borrowed specifically for these exhibitions from other Swiss museums and private collections. There was also a lecture on Japanese sword collecting and care, and presentations of Japanese dance, flower arranging (ikebana), the art of tea (châ no yu, châdo), paper folding (origami), traditional kimono dress, and detailed demonstrations on the manufacture of bladed weapons. Text and photography were arranged to record these events for this article, showing how excellent organization and cooperation can introduce high-quality martial traditions to the public.</span></span></span></p>

APA, Harvard, Vancouver, ISO, and other styles

50

Armenakyan, Hratch. "Post-Art Situation: Logical Syntax." ARTMargins 2, no. 1 (February 2013): 129–36. http://dx.doi.org/10.1162/artm_a_00037.

Full text

Abstract:

The two texts presented here were written by members of conceptual artists' group ACT operating in Armenia in 1994–1996. The group developed affirmative artistic actions and exhibitions to support the constitution of the new state based on the principles of liberal democracy and market capitalism. Its conceptual interventions and actions, both in conventional spaces of exhibition, but also on the street and in the already dysfunctional factories, were often formally minimal and austere, but almost always prescriptive in terms of offering a model of political and aesthetic participation.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!