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Journal articles on the topic 'Artist museums'
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Morelli, Didier. "Stanley Février: Performing the Invisible." Canadian Theatre Review 190 (April 1, 2022): 69–72. http://dx.doi.org/10.3138/ctr.190.016.
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This article examines how the Québécois artist Stanley Février approached the absence of BIPOC artists exhibited and collected at the Montreal Museum of Contemporary Art (MAC) with three performative projects that successfully forced the institution to revisit its collecting and exhibiting practices. In An Invisible Minority (2018), the artist infiltrated the MAC as a security guard after assessing that this was the only culturally diverse body of employees in the museum. Février then showed an installation at ARTEXTE composed of statistics, comparative charts, and other quantitative data points that highlighted the lack of representation in Montreal galleries and museums. It’s Happening Now (2019) was a guerrilla action organized with other collaborators where performers clad in black skinsuits dragged fifty years of annual reports by the MAC tied to their ankles before shredding them in the museum’s main lobby. In conjunction with these project, MAC-I was created as an alternate, unsanctioned portal to the MAC official website to promote the practices of non-white Québécois and Canadian artists. While Février’s figurative sculptural work has garnered attention, with recent acquisitions by the Montreal Museum of Fine Arts and the Musée national des beaux-arts du Québec, his more immaterial, institutionally critical, performative works remain undervalued and framed as ‘activism’ rather than their own aesthetic events.
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Nash, Susan Smith. "Effective Learning Strategies in the Homes of Famous Artists and Writers Converted to Museums." Frontiers in Education Technology 2, no. 1 (January 7, 2019): 1. http://dx.doi.org/10.22158/fet.v2n1p1.
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<p class="Normal1"><em>Homes of writers and artists that have been converted into museums are powerful frameworks for a wide range of both individual and group learning experiences. The museums have a unique ability to engage the learners on a deeper level by piquing their curiosity, and also by encouraging participative creative activities. The foundation is that of experiential learning, with an emphasis on authentic and content-based learning. Each visit to an artist’s home museum is a springboard for more universal learning experiences, particularly if the learner follows up and builds on memories of the visit, or to the museum’s website. Meta-cognitive development of analytical skills and creative techniques can enrich the learner, particularly when accompanied by both individual and collaborative online activities. Each artist or writer’s home provides a unique experience, which provides an opportunity for the museum’s educational and creative staff to be very creative. </em><em>The homes in this article include those of Pablo Neruda, Alexander Pushkin, Ilya Repin, Carson McCullers, Isak Dinesen, and Juan José Arreola.</em><em></em></p>
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Moser, Joann. "Museums and the Living Artist." Curator: The Museum Journal 37, no. 3 (September 1994): 161–71. http://dx.doi.org/10.1111/j.2151-6952.1994.tb01706.x.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Gayed, Andrew. "Cross-Cultural Museum Bias: Undoing Legacies of Whiteness in Art Histories." Asian Diasporic Visual Cultures and the Americas 7, no. 1-2 (December 7, 2022): 77–101. http://dx.doi.org/10.1163/23523085-07010006.
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Abstract When museums are used as sites of knowledge production and research, what are their responsibilities for anti-racist public education? Examining the racial logics that govern, organize, and fund museums, this essay focuses on institutional bias within knowledge production and argues that locating racial logics within museums can be an act of radical pedagogy. Museums are being challenged to become sites of social change, making it vital to study their power structures and the ways in which they organize and study other cultures, illuminating imperial and colonial biases existing at their foundations. The Canadian Museum of Civilization’s exhibition The Lands within Me: Expressions by Canadian Artists of Arab Origin, is a relevant case study as it opened within weeks of September 11, 2001. The moral panic surrounding the show provides a powerful glimpse of the ways in which certain narratives are excluded from Canadian national projects and how these racial projects exist within museums. Works by Camille Zakharia, an artist included in the exhibition, will be analyzed and the fragmented forms of his photo collages will be used as an organizing metaphor to discuss Canadian multiculturalism, racialization, and citizenship.
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Fairchild, Charles. "LET US NOW PRAISE FAMOUS GUITARS: PERSONA AND THE MATERIAL DISPLAYS OF POPULAR MUSIC MUSEUMS." Persona Studies 5, no. 1 (July 11, 2019): 61–74. http://dx.doi.org/10.21153/psj2019vol5no1art841.
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The study of popular music museums has expanded greatly in the past decade or so. The numerous studies produced so far have largely focused on issues to do with tourism, heritage, and curatorship. Most analysis has attempted to gauge the effectiveness and degree of success of the various methods of constructing and displaying collections of sounds, objects, and ideas. One area that can be of interest in moving beyond these analyses of museum practice is to examine how larger ideologies of artistry and artists that pervade the celebrity personas so assiduously built around famous musicians are an important foundation for these museums’ displays. There are two reasons for the value of this approach. First, it should be clear that most exhibits in popular music museums are built to enhance, not contest already-existing images, historical narratives, and genre-defining attributes that surround well-known musicians. Therefore, it is not possible to understand these institutions without some sense of how they work with musician personas that necessarily precede any presentation in museum exhibitions. Second, we can see this dynamic in extraordinarily concise forms when we examine some of the ‘famous objects’ these museums display. We can often see an entire complex of received ideas about an artist encapsulated in just a few well-known objects they once possessed. From this I will suggest that the personas of famous musicians that appear in most popular music museums do so through varied amalgams of symbolic and material forms meant to stabilise or enhance already-existing ideas about canonically-validated ‘great’ artists.
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Hamer, Naomi. "The hybrid exhibits of the story museum: The child as creative artist and the limits to hands-on participation." Museum and Society 17, no. 3 (November 29, 2019): 390–403. http://dx.doi.org/10.29311/mas.v17i3.3256.
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Since the Brooklyn Children’s Museum opened in 1899, the concept of the children’s museum has evolved internationally as a non-profit public institution focused on informal family-centred education and interactive play environments (Acosta 2000; Allen 2004). The majority of these museums highlight science education; however, over the past decade, a new specialized institution has emerged in the form of the children’s story museum that concentrates on children’s literature, storytelling, and picture book illustration. These story museums feature childhood artifacts through the curatorial and display conventions of museums and art galleries, in combination with the active play environments and learning stations of science-oriented children’s museums. These exhibits also reflect the changing place of the museum as an institution in the age of the “participatory museum”: a movement away from collections towards interactive curatorial practices across physical and digital archives (Simon 2010; Janes 2011). Framed by cross-disciplinary theoretical and methodological approaches from critical children’s museology, picture book theory, and children’s culture studies, this analysis draws upon selected examples (2014-2018) of curatorial practices, exhibits, and the spatial/ architectural design from Seven Stories: National Centre for Children’s Books (Newcastle, UK), the Hans Christian Andersen Haus/Tinderbox (Odense, Denmark), and The Eric Carle Museum of Picture Book Art (Amherst, MA, USA). These institutions provide distinctive venues to examine the tensions between discourses of museums as institutions that house collections of material artifacts including children’s literature texts, discourses of the creative child and ‘hands-on’ engagement (Ogata 2013); and discourses of critical engagement and participatory museums. While these exhibits affirm idealized representations of childhood to some extent, participatory engagements across old and new media within these spaces have significant potential for critical and subversive dialogue with ideological constructions and representations of gender, race, socio-economic class, mobility and nationalism rooted in the children’s literature texts.
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Hansen, Yvonne Brenden, Dag Hensten, Gro Benedikte Pedersen, and Magnus Bognerud. "Norwegian Artist Names Authority List of Artists in Norwegian Art Collections." Heritage 2, no. 1 (February 1, 2019): 490–506. http://dx.doi.org/10.3390/heritage2010033.
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How can one best transform a paper-based publication into a living online resource? This is the theme of a project at The National Museum of Art, Architecture and Design in Norway, supported by the Arts Council Norway. The National Museum aims to create, publish and maintain an authority list of Norwegian artists, architects, designers and craftsmen. The objective is to ease the digitisation process for other museums, scholars and the public in general and contribute to better data quality in Norwegian online collections. The list will in part be based on the Norsk Kunstnerleksikon (Encyclopaedia of Norwegian Artists in English), published in 1982–1986 and subsequently digitised in 2013. With the help of other public collections in Norway, the purpose is to make the new resource as complete as possible and available in both human- and machine-readable formats. Although the original paper publication contains biographical texts as well as lists of exhibitions, education, travels, publications and more, the data in the new authority list will be constrained to a set of core biographical data. It will however carry references to online biographical resources such as Norsk Kunstnerleksikon (NKL), Wikidata, Union List of Artist Names (ULAN) and Virtual International Authority File (VIAF). This article discusses the process of defining the scope of and setting constraints for the list, how to enrich and reconcile existing data, as well as strategies to ensure that other institutions contribute both as content publishers and end users. It will also shed light on issues concerning keeping such a resource updated and maintained.
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Gogol, Manfred. "MUSEUMS AS A NETWORK REPOSITORY OF LATE-LIFE CREATIVITY." Innovation in Aging 3, Supplement_1 (November 2019): S362. http://dx.doi.org/10.1093/geroni/igz038.1320.
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Abstract Through collaboration and exchange for exhibitions, art museums represent an under-explored network for displaying late-life creativity and the longevity dividend. Drawing on the collection from many galleries brought together for the Letzte Bilder (Last Pictures) exhibition by the Schirm Gallery Frankfurt, this talk will illustrate the possibility of creating educational programs, Late Life Creativity trails both virtual through podcasts and structural, as well as specific exhibitions of late-life creativity as a catalyst for reimagining and reframing ageing. Further approaches are the focus on the life course of works of artist like Cy Twombly at the Museum Brandhorst Munich or Pablo Picasso at the Museum Barberini Potsdam, as well as studying aging in artists self-portraits. The interaction of creativity with age, diseases, and functional decline in the museum context can promote the changing of role models and our understanding of productivity and creativity by ourselves as well as in the society.
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Fouché, Florian, and Marianne Mesnil. "The Antidote Museum in practice: an artist and an ethnologist's iew on the Romanian Peasant Museum." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 94–117. http://dx.doi.org/10.57225/martor.2018.23.06.
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During an interview from Autumn 2017, in Bucharest, Marianne Mesnil (ethnologist) and Florian Fouché (artist) talk about their experience at the Romanian Peasant Museum in Bucharest. They are discussing about the museum display experienced by Irina Nicolau (1946-2002) and Horia Bernea (1938-2000): the exhibition hall “The Plague”, the curtains from “Village School”, the manifest “The Antidote Museum”, or the concepts of “father-museums” and “mother-museums”, the exhibition hall “Time”. Starting with their reflections on the Peasant Museum, the discussion turns to the exhibition that Florian Fouché had about the museum, entitled “The Antidote Museum” (Centre d’art Passerelle, Brest,2014), but also to the exhibitions that Irina Nicolau had set up in France, Un village dans une malle (Paris, 1991), and another one in Belgium, Roumanie en miroir, mémoires de tiroir (Treignes, 1997). The article is accompanied by photos taken by Florian Fouché of his exhibition.
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Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery." Art Libraries Journal 20, no. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.
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Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SANG) Library collection are made accessible in the widest possible sense and that museum library information programmes should be directed externally, as well as internally to the museum staff.
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Machado, Tiago. "A ARTE A PARTIR DO SEU LUGAR: O TRABALHO IN SITU DE DANIEL BUREN E OS ESPA�OS EXPOSITIVOS NOS NOS 19701 / Art from its place: Daniel Buren?s in situ work and exhibition spaces in the 1970?s." arte e ensaios 27, no. 42 (January 3, 2022): 188–209. http://dx.doi.org/10.37235/ae.n42.15.
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Pela an�lise de algumas instala��es realizadas pelo artista franc�s Daniel Buren (1938)�durante a d�cada de 1970, procura-se evidenciar a import�ncia dos locais especializados de exposi��o da arte para a constru��o do sentido da hist�ria da arte contempor�nea. Apesquisa ora apresentada se organiza em torno dos escritos de Daniel Buren e na documenta��o fotogr�fica produzida na ocasi�o de cada uma das interven��es analisadas, centrando-se em tr�s pontos principais: na an�lise da situa��o dos museus de arte europeus que ent�o se abriam para a arte contempor�nea; na atua��o comercial e pr�tica das galerias de vanguarda nos Estados-Unidos e, finalmente, no papel exercido no campo art�stico pelos ?novos museus? que, ao final da d�cada de 1970, se consolidam como espa�os importantes para a anima��o da vida cultural no hemisf�rio Norte.Palavras-chave:Trabalho in situ. Museu. Galeria. Novos museus. D�cada de 1970.�AbstractThrough the analysis of some installations carried out by the French artist Daniel Buren (1938) during the 1970s, we seek to highlight the importance of specialized art exhibition sites for the construction of the meaning of the history of contemporary art. The� research presented here is organized around the writings of Daniel Buren and the photographic documentation produced during each of the analyzed interventions, focusing on three main points: the analysis of the situation of European art museums that were then opening up to the contemporary art; in the commercial and practical performance of avant-garde galleries in the United States and, finally, in the role played in the artistic field by the ?new museums? which, at the end of the 1970s, were consolidated as important spaces for the animation of cultural life in the North hemisphere.Keywords:Work in situ. Museum. Gallery. New museums. 1970s.
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Burganova, Maria, and Vasili Tsereteli. "INTERVIEW WITH THE EXECUTIVE DIRECTOR OF THE MOSCOW MUSEUM OF MODERN ART, VICE PRESIDENT OF THE RUSSIAN ACADEMY OF ARTS, VASILY TSERETELI." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (September 10, 2020): 10–20. http://dx.doi.org/10.36340/2071-6818-2020-16-3-10-20.
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The journal traditionally opens with an academic interview.In this issue, we present Vasily Tsereteli - Executive Director of the Moscow Museum of Modern Art, a Commissioner of the Ministry of Culture of the Russian Federation at International Exhibitions in Venice, Vice President of the Russian Academy of Arts, member of the Presidium of International Council of Museums, artist, photographer, who kindly agreed to answer questions from Maria Burganova, the Editor in chief of The Burganov House. The Space of Culture journal. Spring and summer of 2020 were not easy all over the world due to the COVID-19 pandemic, which has affected the cultural space, the museum community, and artists. In these challenging conditions, the Moscow Museum of Modern Art has managed to find new forms of interaction between art and the viewer
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Rectanus, Mark W. "Community-Based Museum Ecologies: Public Doors and Windows and Les Nouveaux Commanditaires (‘The New Patrons’)." Museum and Society 17, no. 2 (July 17, 2019): 141–56. http://dx.doi.org/10.29311/mas.v17i2.2751.
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A growing number of artist-led initiatives and para-institutional organizations are creating community-based projects that signal the emergence of alternative museum ecologies. This article will examine two initiatives, Public Doors and Windows (PDW) and Les Nouveaux Commanditaires (NC) (‘The New Patrons’) that reflect a diverse range of practices that contribute to, or create, museum ecologies outside the physical and conceptual spaces of museums. These museum ecologies also contribute to discourses on the participatory museum and intersect with experiments in community engagement and social practice. Although they may have distinct conceptual points of departure, the diverse institutional platforms and initiatives of PDW and NC demonstrate the ways in which emerging museum ecologies are challenging museums to rethink their relations to communities.
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Christiansen, Mia Tine Bowden. "Når kunstgenstanden ikke længere er en genstand. Om performancekunstens udfordring for museumspraksis." Periskop – Forum for kunsthistorisk debat, no. 19 (May 30, 2018): 64–81. http://dx.doi.org/10.7146/periskop.v0i19.114005.
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The article “When the art object is no longer an object – on performance art’s challenge to museum practice” investigates the challenges that museums in the 21st Century face when exhibiting and collecting performance art. As an ephemeral and time-based art form, performance art works against the classic museum traditions of registration and handling because it seldomly fits into the object-based categories. Performance art thus creates an opportunity to rethink the structures and categories of art in the museum institution. Based on a case study of the reperformance of the Serbian artist Marina Abramović (b. 1946), and the German artist Ulay’s (Frank Uwe Laysiepen, b. 1943) iconic work, Imponderabilia (1977), the article looks closer at some of the challenges of having performance as a live element in the exhibition. The point of departure is the retrospective exhibition, Marina Abramović – The Cleaner, at Louisiana Museum of Modern Art in Humlebæk, Denmark (2017). Although not part of the museum collection, the works by Abramović enable a discussion of some of the challenges with collecting and handling a live work of art. Abramović has played an important role in the institutionalizing of performance art, and she still busts the framework of museums when she forces institutions to adapt to her art works. Performance art proves to still not fit into the museum – at least not in the traditional categories or terms – but maybe that is about to change, as museums seem keen to adapt their curatorial and collecting practices to the performance works.
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Mikule, Stanislav. "Galerijní výstavy a vlastivědná muzea." Muzeum Muzejní a vlastivedná práce 58, no. 1 (2021): 38–43. http://dx.doi.org/10.37520/mmvp.2020.005.
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The paper is based on the author‘s practice in the Regional Museum in Žďár nad Sázavou. In many cities, museums and galleries are located side by side, and museums also hold gallery exhibitions. Museums of local history have considerable potential to supplement such an exhibition with the help of other museum collection objects of a non-artistic nature, such as the document of time of life and work of a given artist or related to the theme of the presented work. This makes the exhibition attractive to a wider range of visitors. The author describes art exhibitions in which collection items from various areas of human activity, realized in the Žďár Regional Museum, were connected and presents them as inspiration or a topic to reflect on colleagues from the field who do not yet use the potential of their collection items in a similar spirit.
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Molldrem Harkulich, Christiana. "Gregg Deal's White Indian (2016): The Decolonial Possibilities of Museum Performance." Contemporaneity: Historical Presence in Visual Culture 7 (October 30, 2018): 45–52. http://dx.doi.org/10.5195/contemp.2018.239.
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Gregg Deal (Pyramid Lake Paiute) is a performance and visual artist whose work deals explicitly in decolonizing the contemporary experience of Indigenous peoples. An analysis of his performance ofWhite Indian in 2016 at the Denver Art Museum opens up the possibilities of performance as a method for museums to decolonize their spaces and curation.
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Labi, Kanni. "Muuseumikogudes ja suulises ajaloos säilib ajalik looming / Transient treasures are kept in museums and memories." Studia Vernacula 13 (November 18, 2021): 198–209. http://dx.doi.org/10.12697/sv.2021.13.198-209.
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Vanda Juhansoo. Artist or Eccentric Woman?Estonian Museum of Applied Art and Design18.01.–01.03.2020, Tartu City Museum 19.06.–26.09.2021.Exhibition curated by: Andreas Kalkun (Estonian Literary Museum)and Rebeka Põldsam, graphic design: Stuudio Stuudio.
Vanda Juhansoo (1889–1966) was by education a porcelain painter and furniture designer; she was, however, known as a textile and craft artist, traveller, polyglot, notable art teacher, interior decorator, advocate of women’s craft, soroptimist and gardener. Sometimes she was also known as the ‘Witch of Valgemetsa’. She graduated from the Central School of Applied Arts Ateneum in Finland, which makes her one of the first Estonian women artists with a higher education at the beginning of the 20th century.
Even though Vanda Juhansoo specialised in ceramics and furniture design, as a student she received the most recognition (as well as travel grants) for her embroidery. From then on, Vanda spent her next thirty summers travelling in Europe. Between 1912 and 1945, she exhibited her ceramics, embroidered doilies and curtains in various places, including the first ever Estonian women artists’ show in 1939. Vanda Juhansoo worked with the Kodukäsitöö limited company, that had been established in 1927 with the aim of reducing unemployment among women. Alongside craft and women’s magazines, the Kodukäsitöö was the most significant promoter of women’s craft in Estonia, regularly organising exhibition-sales and taking Estonian craft to international shows. Unfortunately, most of Vanda Juhansoo’s oeuvre was so ephemeral that there is very little trace of it now. The Karilatsi Open Air Museum near Vanda’s home in Valgemetsa and the collection of the Estonian National Museum hold items given to the museum by Vanda’s cousin’s family, which Vanda herself most likely wore – these are made to fit her petite size and there are photos of Vanda wearing these garments. Her signature style used floral motifs embroidered onto the thin textiles she wove herself. Like a painter, she spent hours embroidering, casting ethnographic patterns aside when creating her original designs. Even though the Estonian National Museum has exhibited Vanda Juhansoo’s embroidered cardigans as examples of Estonian folk art, these are, in fact, clearly original artistic designs.
After World War II, Vanda stopped exhibiting and publishing her patterns in craft magazines. Instead, she committed herself to teaching drawing and supervised a number of children’s art classes in Tartu that produced many wellknown artists. The memory of Vanda has largely been kept alive by her students, who remember her as a particularly bright and optimistic person. In addition to her embroidery, Vanda’s original style remained visible as she expressed it in her memorable multicoloured hair nets and abundant jewellery, as well as in the striking Valgemetsa summer house and garden.
The curators tried to trace back and recreate some of the wonderful world that Vanda created all around herself with her designs, handicraft, paintings, photos and memories from museums, archives, and from people who knew her. Looking at the life, work and legacy of Vanda Juhansoo, the exhibition asked: What were the choices for women artists in Estonia at the beginning of the 20th century? Why are Vanda’s works found mainly in the collections of ethnographic memory institutions rather than in art museums? Why did Vanda become the so-called ‘Witch of Valgemetsa’ and not a recognised applied artist?
In the present review, the reception of the exhibition is summarised and juxtaposed with the few studies on Vanda Juhansoo’s textile work from the perspective of craft studies and the history of applied art.
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Labi, Kanni. "Muuseumikogudes ja suulises ajaloos säilib ajalik looming / Transient treasures are kept in museums and memories." Studia Vernacula 13 (November 18, 2021): 198–209. http://dx.doi.org/10.12697/sv.2021.13.198-209.
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Vanda Juhansoo. Artist or Eccentric Woman?Estonian Museum of Applied Art and Design18.01.–01.03.2020, Tartu City Museum 19.06.–26.09.2021.Exhibition curated by: Andreas Kalkun (Estonian Literary Museum)and Rebeka Põldsam, graphic design: Stuudio Stuudio.
Vanda Juhansoo (1889–1966) was by education a porcelain painter and furniture designer; she was, however, known as a textile and craft artist, traveller, polyglot, notable art teacher, interior decorator, advocate of women’s craft, soroptimist and gardener. Sometimes she was also known as the ‘Witch of Valgemetsa’. She graduated from the Central School of Applied Arts Ateneum in Finland, which makes her one of the first Estonian women artists with a higher education at the beginning of the 20th century.
Even though Vanda Juhansoo specialised in ceramics and furniture design, as a student she received the most recognition (as well as travel grants) for her embroidery. From then on, Vanda spent her next thirty summers travelling in Europe. Between 1912 and 1945, she exhibited her ceramics, embroidered doilies and curtains in various places, including the first ever Estonian women artists’ show in 1939. Vanda Juhansoo worked with the Kodukäsitöö limited company, that had been established in 1927 with the aim of reducing unemployment among women. Alongside craft and women’s magazines, the Kodukäsitöö was the most significant promoter of women’s craft in Estonia, regularly organising exhibition-sales and taking Estonian craft to international shows. Unfortunately, most of Vanda Juhansoo’s oeuvre was so ephemeral that there is very little trace of it now. The Karilatsi Open Air Museum near Vanda’s home in Valgemetsa and the collection of the Estonian National Museum hold items given to the museum by Vanda’s cousin’s family, which Vanda herself most likely wore – these are made to fit her petite size and there are photos of Vanda wearing these garments. Her signature style used floral motifs embroidered onto the thin textiles she wove herself. Like a painter, she spent hours embroidering, casting ethnographic patterns aside when creating her original designs. Even though the Estonian National Museum has exhibited Vanda Juhansoo’s embroidered cardigans as examples of Estonian folk art, these are, in fact, clearly original artistic designs.
After World War II, Vanda stopped exhibiting and publishing her patterns in craft magazines. Instead, she committed herself to teaching drawing and supervised a number of children’s art classes in Tartu that produced many wellknown artists. The memory of Vanda has largely been kept alive by her students, who remember her as a particularly bright and optimistic person. In addition to her embroidery, Vanda’s original style remained visible as she expressed it in her memorable multicoloured hair nets and abundant jewellery, as well as in the striking Valgemetsa summer house and garden.
The curators tried to trace back and recreate some of the wonderful world that Vanda created all around herself with her designs, handicraft, paintings, photos and memories from museums, archives, and from people who knew her. Looking at the life, work and legacy of Vanda Juhansoo, the exhibition asked: What were the choices for women artists in Estonia at the beginning of the 20th century? Why are Vanda’s works found mainly in the collections of ethnographic memory institutions rather than in art museums? Why did Vanda become the so-called ‘Witch of Valgemetsa’ and not a recognised applied artist?
In the present review, the reception of the exhibition is summarised and juxtaposed with the few studies on Vanda Juhansoo’s textile work from the perspective of craft studies and the history of applied art.
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van Loenen, Clare. "The many lives of the messy museum: Site, memory and voice." Art & the Public Sphere 9, no. 1-2 (December 1, 2020): 195–209. http://dx.doi.org/10.1386/aps_00041_1.
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A number of North American artist project spaces established in 2003 activated alternatives to display and programming practices found in mainstream museums, giving voice to artists who did not fit existing durational, disciplinary and authorial parameters. One such site was Elsewhere in Greensboro, North Carolina, an artist residency and living museum set within a 1930s Depression-era thrift store. Here, an archival approach emerged from the mess of thrift store Americana that considered what an artist project space could be if nothing was sold, altered beyond repair or thrown away. Central to the artist organizing practices that emerged on-site are archival principles that enable empathetic connections to form in relation to object meanings, lost subjectivities and neighbourhood relationships. Elsewhere, as a site, offered a means for hidden voices to be heard and alternative archiving practices to be tested as a form of community memory, with their museological presentation indebted to the implications of mess and its endless reordering. This article builds on the idea of empathy as a capacity to be engendered in museum audiences by seeing it also as a structuring principle to invoke organizational difference at every turn. Such structural empathy became tellingly significant in 2020 as racial justice protests and the COVID-19 pandemic underscored the inequities of American life. For Elsewhere, the principles of practice that enabled them to become a platform for imagining and securing hyper-local change are bound to successive reformulations of both the site since 2003 and the resulting archive.
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
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Khakim, Moch Nurfahrul Lukmanul. "Museum Musik Indonesia sebagai Wisata Edukasi di Kota Malang." Jurnal Pendidikan Sejarah 8, no. 1 (September 26, 2019): 67–78. http://dx.doi.org/10.21009/jps.081.06.
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Malang as a city with many tourist destinations, has advantages in every field of tourism. Of the many tourist destinations, research on museums is very rare, even though museums can be interesting educational facilities for students or the general public. One of the museums in Malang City is the Indonesian Music Museum, this museum is relatively new so it is interesting to study. This museum has 26000 music collections. The details, as many as 16,718 are cassettes; 3,118 compact discs (CDs); 3,108 printed materials such as posters, books and leaflets; 2,985 LPs; 108 musical instruments (guitars, drums, etc.); 55 artist clothes; and 13 audio equipment. The Indonesian Music Museum can be used as an educational tour for the people of Malang to get to know the history of music in Indonesia. In addition, the potential to become one of the leading tours in Malang City is very open as long as it is done with active and attractive promotions.
Malang sebagai salah satu kota dengan destinasi wisata yang cukup banyak, mempunyai keunggulan dalam setiap bidang wisata. Dari sekian banyak destinasi wisata tersebut, penelitian tentang museum sangat jarang, padahal museum bisa menjadi sarana edukasi yang menarik untuk para pelajar ataupun masyarakat umum. Salah satu museum yang ada di Kota Malang adalah Museum Musik Indonesia, museum ini tergolong baru sehingga menarik untuk diteliti. Museum ini memiliki 26000 koleksi musik. Rinciannya, sebanyak 16.718 adalah kaset; 3.118 buah compact disc (CD); 3.108 barang cetakan seperti poster, buku, dan leaflet; 2.985 piringan hitam; 108 instrumen musik (gitar, drum, dan lain-lain); 55 baju artis; dan 13 peralatan audio. Museum Musik Indonesia dapat dijadikan sebagai wisata edukasi bagi masyarakat Malang untuk mengenal sejarah musik di Indonesia. Selain itu potensi untuk menjadi salah satu wisata unggulan di Kota Malang sangat terbuka luas asalkan dilakukan dengan promosi yang giat dan menarik.
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Britto, Rosangela Marques de, Marisa De Oliveira Mokarzel, and Werne Souza Oliveira. "Mirante e Desapego: Obra em Deslocamento, Diferentes Lugares e um só Museu." Arteriais - Revista do Programa de Pós-Gradução em Artes 6, no. 10 (May 27, 2021): 141. http://dx.doi.org/10.18542/arteriais.v6i10.10582.
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ResumoOs inúmeros deslocamentos de uma obra do artista paraense Armando Queiroz, localizada no Jardim de Esculturas do MUFPA e seu posterior desaparecimento do ângulo de visão, nos instigou a refletir acerca dos processos de salvaguarda e comunicação museológica de uma obra de arte conceitual e seus modos de aparição e desaparição em um museu universitário voltado às artes visuais. Tecemos algumas reflexões acerca da dificuldade de realização de pesquisas e da documentação museológica de duas obras de arte conceitual do artista, intituladas de Mirante (escultura em madeira/módulos de 2006) e Desapego (performance para vídeo de 2010). O contato com uma obra conceitual específica, salvaguardada em um museu universitário como MUFPA, estabelece vínculo com a definição de museu e suas funções que decorrem de sua ação que inclui: preservação, pesquisa, comunicação, educação, exposição, mediação, gestão, arquitetura. Articular e refletir sobre o processo pelo qual passaram essas duas obras de Armando Queiroz contribui para o estudo desse fenômeno em pleno desenvolvimento no mundo dos museus, como o conhecemos com seu papel de salvaguardar memórias.AbstractThe numerous offsets from a work by artist paraense Armando Queiroz, in the sculpture garden MUFPA and subsequent disappearance of your viewing angle, we instigated the safeguard procedures reflect and museological communication of a work of conceptual art and its modes of appearance and disappearance in a University Museum back to Visual Arts. The research methodology approached the field of contemporary art (art history and art criticism) to the field of museology and heritage, with regard to the process of Museum documentation. The resources used were semi-structured interviews with the artist and curator, questionnaires with the public. At the end we weave some thoughts about the difficulty of conducting research and museological documentation of two works of conceptual art of the artist, titled of Lookout (wood carving/2006 modules) and Detachment (performance for video of 2010). Contact with a specific conceptual work, safeguarded in a University Museum as MUFPA establishes link with the definition of Museum and its functions arising from your action that includes: preservation, research, communication, education, exhibition, mediation, management, architecture. Articulate and reflect on the process by which work Gazebo/Detachment of Armando Queiroz contributes to the study of this phenomenon in full development in the world of museums, as we know with your role to safeguard memories.
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Saisto, Anni, and T.E.H.D.A.S. "D-ark—a Shared Digital Performance Art Archive with a Modular Metadata Schema." Heritage 2, no. 1 (March 21, 2019): 976–87. http://dx.doi.org/10.3390/heritage2010064.
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Digital objects and documentation of intangible cultural heritage pose new challenges for most museums, which have a long history in preserving tangible objects. Art museums, however, have been working with digital objects for some decades, as they have been collecting media art. Yet, performance art as an ephemeral art form has been a challenge for art museums’ collection work. This article presents a method for archiving digital and audiovisual performance documentation. D-ark (digital performance art archive) is based on a joint effort by the artist community T.E.H.D.A.S., which has created the archive, and Pori Art Museum, which is committed to preserving the archive for the future. The aim is to produce sufficient standardized metadata to support this objective. This article addresses the problems of documenting an ephemeral art form and copyright issues pertaining to both the artist and the videographer. The concept of D-ark includes a modular metadata schema that makes a distinction between descriptive, administrative, and technical metadata. The model is designed to be flexible—new modules of objects or technical metadata can be added in the future, if necessary. D-ark metadata schema deploys the FRBRoo, Premis, VideoMD, and AudioMD standards. Administrative and technical metadata modules abide by Finnish digital preservation specifications.
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Hernández Belver, Manuel, and Clara Hernández. "From Velázquez to Picasso: Proposal of Artistic Mediation Activities for People with Dementia." Barcelona Investigación Arte Creación 7, no. 1 (February 6, 2019): 10. http://dx.doi.org/10.17583/brac.2019.3820.
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This paper describes the design of a program of activities of arts education for people with dementia based on visits to the Prado Museum and the Reina Sofia National Art Center Museum (Spanish anagram, MNCARS) of Madrid, and carried out by a team of researchers and artist-teachers. The program, called “Tenemos cita con el arte” (We have a date with art), in addition to the visits, included workshops of artistic activities. The basic aspects taken into account by the team of artist-teachers for the design of the itineraries in the two above-mentioned museums and the design of the artistic activities are specified. The museum itineraries, which included works of Velázquez and Goya (Prado Museum), and of Dalí, Juan Gris, Miró, Lipchitz, and Picasso (MNCARS) are described, as well as the artistic activities carried out by the participants, based on these itineraries. The considerations set out in this work can be extended to other are centers, so that they can be used as contexts for the promotion of the well-being and social inclusion of people with dementia by artist-teachers working in multidisciplinary teams.
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Wolbring, Gregor, and Fatima Jamal Al-Deen. "Social Role Narrative of Disabled Artists and Both Their Work in General and in Relation to Science and Technology." Societies 11, no. 3 (August 19, 2021): 102. http://dx.doi.org/10.3390/soc11030102.
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Artists and the arts have many different roles in society. Artists also have various roles in relation to science and technology, ranging from being users of science and technology products to being educators for science and technologies, such as in museums. Artists are also involved in science and technology governance and ethics discussions. Disabled people are also artists and produce art, and disabled people in general and disabled artists are impacted by science and technology advancements. As such, disabled artists should also engage with science and technology, as well as contribute and influence science and technology governance, ethics discussions, and science and technology education with their work. We performed a scoping study of academic literature using the 70 databases of EBSCO-HOST and the database SCOPUS (includes Medline) to investigate the social role narrative of disabled artists and both their work in general and in relation to science and technology. Our findings suggest that disabled artists are mostly engaged in the context of becoming and being a disabled artist. Beyond the work itself, the identity issue of ‘being disabled’ was a focus of the coverage of being a disabled artist. The literature covered did not provide in-depth engagement with the social role of disabled artists, their work, and the barriers encountered, and best practices needed to fulfil the social roles found in the literature for non-disabled artists and the arts. Finally, the literature covered contained little content on the relationship of disabled artists and advancements of science and technology, such as in their role of using advancements of science and technologies for making art. No content at all was found that would link disabled artists and their work to the science and technology governance and ethics discussions, and no content linking disabled artists to being educators on science and technology issues, for example, in museums was found.
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Dupree, Catherine. "Sonja Alhääuser's Sweet Installations." Gastronomica 3, no. 1 (2003): 10–13. http://dx.doi.org/10.1525/gfc.2003.3.1.10.
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Don't we visit museums to look at art, not 'heaven forbid' to smell it, salivate at it, and eat it? Don't we arrange our sculptures on pedestals, and contemplate aesthetic at arm's length? German artist Sonja Alhuser thumbs her nose at such convention. She makes sculptures from sweets, and gleefully invites us to devour them. Soon, chocolate crumbs litter the gallery floor and her sculptures are reduced to rubble. There's an alluring naughtiness to this endorsed destruction-by-consumption of art in such an elegant setting. But as we nibble, aren't we contradicting the museum's mission to preserve and honor art? Haven't we dismantled the museum-goer's role as observer? Alhuser's gradually disappearing sculptures prompt us to question traditional beliefs and expectations about art's immortality and its function in museums. By instructing us to eat (and alter) her work, Alhuser relinquishes aesthetic control, and denies the dictum that great art is perfect as is. Instead, she lures us with chocolate's evocative and nostalgic aromas, and asks us to participate in her work and its destruction. We are no longer mere observers, but have been invited inside.
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Post, Colin. "The Art of Digital Curation." Archivaria, no. 92 (January 6, 2022): 6–47. http://dx.doi.org/10.7202/1084738ar.
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Artists have long engaged with digital and networked technologies in critical and creative ways to explore both new art forms and novel ways of disseminating artworks. Net-based artworks are often created with the intent to circulate outside traditional institutional spaces, and many are shared via artist-run platforms that involve curatorial practices distinct from those of museums or commercial galleries. This article focuses on a particular artist-run platform called Paper-Thin, characterizing the activities involved in managing the platform as digital curation in a polysemous sense – as both the curation of digital artworks and the stewardship of digital information in a complex technological ecosystem. While scholars and cultural heritage professionals have developed innovative preservation strategies for digital and new media artworks housed in institutional collections, the ongoing care of artworks shared through networked alternative spaces is largely carried out co-operatively by the artists and curators of these platforms. Drawing on Howard Becker’s sociological theory of art worlds as networks of co-operative actors, this article describes the patterns of co-operative work involved in creating, exhibiting, and then caring for Net-based art. The article outlines the importance, for cultural heritage professionals, of understanding the digital-curation practices of artists, as these artist-run networked platforms demonstrate emergent approaches to the stewardship of digital culture that move beyond a custodial paradigm.
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Ayad, Lara. "Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art." ARTMargins 11, no. 3 (October 1, 2022): 24–68. http://dx.doi.org/10.1162/artm_a_00324.
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Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.
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Holland, Ashley. "At the Center of the Controversy: Confronting Ethnic Fraud in the Arts." American Indian Culture and Research Journal 43, no. 4 (October 1, 2019): 13–24. http://dx.doi.org/10.17953/aicrj.43.4.holland.
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The large-scale retrospective exhibition Jimmie Durham: At the Center of the World (re)introduced self-identified “Cherokee” artist Jimmie Durham to a mainstream audience. Despite efforts in the 1990s to unmask the impostor, who has no known or recognized tribal affiliation, once again Durham was occupying space as a Native artist in the art world. This article addresses larger issues that face the field of Native art and Native representation in museums as a whole, offering personal reflections and a brief review of the exhibition as well as a biographical overview of the artist.
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GROSS, Eduard Claudiu. "The Artists in the Branded World. A Theoretical Approach to Artist Personal Branding." Journal of Media Research 15, no. 2 (43) (July 25, 2022): 56–68. http://dx.doi.org/10.24193/jmr.43.4.
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This paper presents the need for artists to develop the ability to promote their work through marketing and communication theories. Currently, marketing is not an essential component for art faculties and artists in general. Through Personal Branding, emerging artists would have the chance to grow and build their audience and reputation without depending on curators, art critics, and museums. This paper emerges in a difficult context for the arts sector following an unprecedented health crisis that has deeply affected the labor market. In addition to summarizing the current literature, this study will present three different frameworks to support the artists in building a personal brand. This study aims to be a starting point for future empirical work on the artist in the world of branding. This theoretical approach aims to present the literature in the field of communication, highlight the differences between artists and content creators, as well as look at how the world of art functions, to find common ground for a better application of marketing theory from an artist's perspective.
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Nash, Stephen E., and Frances Alley Kruger. "Silent Legacy: The Story of Vasily Konovalenko's Gem-Carving Sculptures." Collections: A Journal for Museum and Archives Professionals 13, no. 1 (March 2017): 7–32. http://dx.doi.org/10.1177/155019061701300102.
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During a career that spanned four decades, Russian artist Vasily Konovalenko (1929–1989) produced more than 70 sculptures carved from gems, minerals, and other raw materials. As unorthodox, compelling, and masterful as Konovalenko's sculptures are, they had been poorly published and poorly known. They are on permanent display at only two museums in the world: the small and obscure State Gems Museum (Samotsvety) in Moscow, Russia, and the Denver Museum of Nature & Science (DMNS), a major natural history museum in Colorado, the United States. This article examines Konovalenko's life and work, as well as the unusual circumstances that led to the two exhibitions, their role in Konovalenko's relative obscurity, and a recent resurgence of interest.
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Tsiara, Syrago. "Contemporary Greek Art in Times of Crisis: Cuts and Changes." Journal of Visual Culture 14, no. 2 (August 2015): 176–81. http://dx.doi.org/10.1177/1470412915595587.
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This essay addresses the issue of cuts in the cultural sector in Greece during the last five years and its consequences on the sustainability of artistic production, institutional survival and emerging forms of collaboration, self-management and art in public space. It describes new practices and strategies of cultural institutions and the relationship between the private and public spheres. Long-term artistic projects, such as the Athens and Thessaloniki Biennale, public museums like the State Museum of Contemporary Art, private organizations and artist initiatives are discussed in the context of crisis.
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Fiebig, Gerald, Uta Piereth, and Sebastian Karnatz. "The Cadolzburg Experience: On the Use of Sound in a Historical Museum." Leonardo Music Journal 27 (December 2017): 67–70. http://dx.doi.org/10.1162/lmj_a_01021.
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The museum at Cadolzburg Castle in Germany, opened in 2017, uses a sound installation to present aspects of the building’s history that could not be materially reconstructed. In this article, the curators and the sound artist explain how the installation alternates between sound effects and musical signifiers to engage visitors with their environment and to spark reflection on the problems of “authenticity” in museums. While the musical thread offers quotes from musical styles representing the castle’s history, the sound thread gradually deconstructs a “castle soundscape” inspired by film soundtracks.
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Pérez, Lidia Martínez. "On the Art World, Museum ‘Prisons’ and Artistic Freedom." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 26–30. http://dx.doi.org/10.5617/jea.4898.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay investigates the structure of the art world, as well as the role of museums, likening them to prisons of taste, thus pointing to structural limitations imposed upon the artist, while also showing, using the case of the Viennese photographer Sabine Hauswirth, that even within such system, artistic freedom, or at least its semblance, are possible.
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Mithlo, Nancy Marie. "The Artist Knows Best: The De-Professionalism of a Profession." American Indian Culture and Research Journal 43, no. 4 (October 1, 2019): 65–76. http://dx.doi.org/10.17953/aicrj.43.4.mithlo.
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The traveling art exhibit Jimmie Durham: At the Center of the World (2017–2018) demonstrated three powerful art world tendencies: the use of fraud as an artistic register, the assertion of the artist as authority, and the decontextualization of the arts as an object-centered analysis. These three approaches are congruent with capitalism and the private market, while simultaneously negating Indigenous values of community-based knowledges that operate largely outside the commercial sphere. An analysis of these competing art world values reveals the complicity of public museums with private gain and not education, their stated mission. Ethnic fraud demonstrates how art institutions and their staff employ “selective worth” as a means to cloak the arbitrary exertion of power and simultaneous rejection of Indigenous studies as academic discipline built on the value of tribal sovereignty. Serving as a backdrop for these conversations are a discussion of the history of Native approaches to museology from the early tribal museum era forward and an examination of current “reformist” and “radical” approaches to theorizing Native arts.
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Aslan qızı Məmmədova, Ləman. "Portrait treasury of great Azerbaijan female artists." SCIENTIFIC WORK 78, no. 5 (May 17, 2022): 31–37. http://dx.doi.org/10.36719/2663-4619/78/31-37.
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Məqalədə Maral Rəhmanzadə, Vəcihə Səmədova, Elmira Şahtaxstinskaya kimi görkəmli Azərbaycan rəssamlarının bəzi əsərləri təhlil edilmişdir. Maral Rəhmanzadənin, mahir fırça ustasının portret əsərləri incəsənətimizin tarixinə boyakarlığın qiymətli nümunələri kimi daxil olmuşdur. Böyük rəssamın portret janrında yüksək sənətkarlıq nümunəsi sayılan əsərləri son dərəcə özünəməxsusluğu ilə səciyyələnir. Maral Rəhmanzadənin yaradıcılığında başlıca xüsusiyyətlərdən biri Azərbaycan qadınına xas gözəlliyin, zərifliyin, məğrurluğun və zəngin mənəvi aləmin parlaq vəhdətidir. Azərbaycanın görkəmli rəssamı Vəcihə Səmədovanın tablolarında isə biz maraqlı rəng çalarları, milli kolorit, kompozisiyanın dinamikliyini və böyük ustalıq görürük. Görkəmli rəssamın belə xüsusiyyətləri ilə seçilən tabloları dünya muzeylərində layiqli yer tutur. Elmira Şaxtaxtinskaya isə daha çox plakat və dəzgah rəsmlərinin müəllifi kimi şöhrət tapmışdır. Rəssamın Azərbaycanın elm, ədəbiyyat və incəsənət xadimlərinin portretlər qalereyası yüksək sənətkarlığı ilə fərqlənir: Üzeyir Hacıbəyovun portreti, Hüseyn Cavidin portreti, Qara Qarayevin portreti, Əcəmi Naxçıvaninin portreti, Sultan Məhəmmədin portreti, Məhəmməd Füzulinin portreti, Məhsəti Gəncəvinin portreti və b. Açar sözlər: qadın rəssam, portret, XX əsr təsviri sənəti, rəssam, rəngkarlıq, bədii obraz, rəsm qalereyası Leman Aslan Mamedova Portrait treasury of great Azerbaijan female artists Abstract The article analyzes some of the works of such outstanding Azerbaijan artists as Maral Rahmanzade, Vajiha Samadova, Elmira Shahtakhstinskaya. The portraits of the great master of the brush Maral Rahmanzade entered the history of our art as valuable examples of painting. The works of the great artis, considered an example of high skill in the genre of portraiture, are distinguished by high originality. One of the main features of Maral Rahmanzade’s creativity is a bright unity of beauty, fragility, pride and rich spiritual world of Azerbaijan women. In the paintings of the outstanding Azerbaijan artist Vajiha Samadova, we see interesting shades of colour, national color, dynamism of composition and great skill. The painting s of the famous artist, characterized by such features, a worthy place in museums around the world. Elmira Shahtakhstinskaya is best known as the author of posters and picturesque paintings. Elmira Shahtakhstinskaya has created a portrait gallery of Azerbaijan culture and science figures, which is distinguished by high skill of execution: portrait of Uzeyir Hajibeyov, portrait of Huseyn Javid, portrait of Gara Garayev, portrait of Ajami Nakhchivani, portrait of Sultan Muhammad, portrait of Muhammad Fizuli, portrait of Mehseti Ganjavi, etc. Key words: artist, portrait, 20th century fine art, artist, painting, artistic image, art gallery
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Huzhalouski, Alexander A. "Museums of the Soviet Belarus during the Khrushchev’s ‘Thaw’ (1953–1968)." Issues of Museology 12, no. 1 (2021): 35–47. http://dx.doi.org/10.21638/spbu27.2021.104.
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The historical perspective allows us to take a fresh look at a complex and contradictory period in the development of museum affairs in the USSR, which entered into historiography under the name of Khrushchev’s ‘thaw’. Using archival sources that are part of the Ministry of Culture of the Byelorussian SSR record, published statistical data, as well as periodicals, the article attempts to show the growth of the museum network in the BSSR and trace the process of its profile differentiation and museum branch development during this period. Using the specified source base, an analysis of state policy and public initiatives in the field of museum work was carried out. The public discussion of the early 1960s on the role of an artist in the process of museum display design is considered. While listing and analysing museum innovations during the ‘thaw’, the author pays special attention to the legalization of the activities of Belarusian private collectors. The emergence of museum architecture as a material embodiment of socio-cultural ideas about the museum is considered separately. The transformation of Belarusian museums into a subject of international relations in 1953–1968 is presented as an important new trend in their development. Appreciating the positive changes in the life of museums during the ‘thaw’ period, the author points out that it was in those years that the subordination of all activities of Belarusian museums to the tasks of glorifying Soviet society at the expense of other historical periods was finally established at the normative level. All areas of museum activities were filled with ideological content, which reflected the general cultural policy, invariably pursued by the party leadership. The article significantly expands the museological interpretation of the ‘thaw’ era and its role in the expansion, democratization, and professionalization of museum activities.
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Samchuk, Taras. "Kyiv period of Illia Shulga’s life and work (1928-1938)." Text and Image: Essential Problems in Art History, no. 1 (2022): 144–51. http://dx.doi.org/10.17721/2519-4801.2022.1.11.
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Research work devoted to the details of the Kyiv period of life and work of Ukrainian painter Illia Shulga. This period covers the years 1928-1938, at this time there were rapid changes in the artistic life of Ukraine, which affected the fate of the artist. For most of his life the painter lived and worked at a distance from active artistic life, only in the late 1920s he manage to move to Kyiv. Despite the noticeable influence of avant-garde in artistic life, Illia Shulga consistently followed a realistic approach to art, it was the influence of his education, obtained at the St. Petersburg Academy of Arts. He successfully worked in various genres (portrait, landscape, genre paintings). During his lifetime, the artist has created about 1,000 works (the Kyiv period accounts for about 170 works), but most of them have not survived to our time. Most of Shulga's works disappeared during World War II. Today, a little more than 20 of his works are preserved in the museums of Ukraine from the huge creative heritage of the artist. The article introduces a number of documents that shed light on the details of the artist's biography. In particular, the criminal case of Illia Shulga, which recorded a number of details of the last period of the artist's life. The documents of the case shed light on the details of the arrest, the course of the investigation, and the reasons for sentencing the painter. The publication also analyzed the most complete currently known list of Shulga’s works, which includes 564 items. This list was compiled in 1941 by the artist's wife, and later this list and a number of other documents related to the life and work of the artist were deposited in the Archive-Museum D. Antonovych of the Ukrainian Free Academy of Sciences in the United States. The appendices contain a list of the artist's works that are currently stored in museums in Ukraine and a link to the list of the artist's works.
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Vaganova, Inna. "Special features of building special libraries’ information resources." Scientific and Technical Libraries, no. 12 (December 1, 2017): 73–80. http://dx.doi.org/10.33186/1027-3689-2017-12-73-80.
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Main trends in developing special libraries’ information resources are characterized, in particular, those of art and museum libraries, libraries of higher art schools. The projects for generating information resources undertaked by these libraries are discussed. User inquiries are analyzed; stages of information services development are compared. Modern online-services: “Ask-a-bibliographer”, e-mail inquiries, Internet-based services, subject databases are illustrated by the examples of the databases: M. Fokin Archive, Sketch collection, The Artist, Russian Drama, Modern Dramatic Art , etc. The author concludes on the demand for building integrated digital resource of the libraries, museums, and art schools.
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Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.
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Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand? Design/methodology/approach – Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions. Findings – The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity. Practical implications – These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective. Social implications – Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature. Originality/value – The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.
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Hylton, Richard. "Eugene Palmer and Barbara Walker." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 100–113. http://dx.doi.org/10.1215/10757163-7916904.
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In Britain, black artists are arguably receiving the most sustained level of attention in a generation, from several historical exhibitions and international conferences to academic-based research initiatives and acquisitions by prestigious national museums. While offering artists a certain level of exposure, such initiatives have tended to privilege institutional agendas rather than the very artistic practices they purport to endorse. The paucity of genuine exhibition opportunities and significant publishing are factors that continue to bedevil a wider selection of black British artists. This article focuses on two specific exhibitions and artists: Eugene Palmer’s Didn’t It Rain (2018) and Barbara Walker’s Sub Urban: New Drawings (2015), both organized at the University for the Creative Arts, Farnham, UK. The author stresses the contrasting relationship to photography that each artist pursued in the making of their respective bodies of work and argues for a more engaged assessment of practice. The works of these artists deserve to be recognized for their fascinating and singular contributions to contemporary art practices.
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Mardika, I. Made. "PERAN MUSEUM ARMA DAN MUSEUM BURUNG BALI DALAM PEMBERDAYAAN BUDAYA DAN MASYARAKAT LOKAL." KULTURISTIK: Jurnal Bahasa dan Budaya 2, no. 1 (January 12, 2018): 79. http://dx.doi.org/10.22225/kulturistik.2.1.678.
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[Title: The Roles of Museum Arma and Museum Burung Bali in Empowering the Culture and Local Society] This article aims to identify roles of Museum Arma and Museum Burung Bali in empowering the culture and local society and to interpret its meaning. The research model is qualitative research. The data collection were done by observation technique, deep interview and documentation, and the data analysis were done inductively. The result shows two ways in empowering the culture and local society. Museum Arma empowers them by museum integrated management model and living museum. Museum Burung Bali empowers them by employing local artist to make collection, souvenirs and traditional Balinese dance performances. The process can be interpreted as local cultural response towards global culture, the deconstructive strategy towards inversion from outside to inside, and the capitalization towards local culture. The conclusion is both museums have roles in empowering the culture and local society towards certain strategies reflexing the meaning of cultural response, local culture improvement, and cultural capitalization.
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Sharma, Alisha, and Arjun Kumar Singh. "The Expansion of New Media Art in Indian Visual Art Practices: An Analysis." ECS Transactions 107, no. 1 (April 24, 2022): 10529–41. http://dx.doi.org/10.1149/10701.10529ecst.
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Artistic creativity thrives in line with cultural contours and individual artist intent. The Digital age is a postmodern reality. The postmodern era is either on the verge of its conclusion or it has almost concluded. Galleries and museums are far from exempt from the effects of these technological transformations. By the mid’90s a number of young artists had begun to make installations and site-specific art objects even as others continued to work in the conventional mediums of painting, sculpture, and print-making. Notion of pluralism and multiculturalism infect the artists of the 90’s, as there is a confident borrowing from all cultures and frequent crossovers. Artists like Ranbir Kaleka, Shilpa Gupta, Sheba Chhachhi, Thukral and Tagra, Jitish Kallat and many more are blurring the gap between the art and cutting edge technology with their inter/multidisciplinary approaches in their art practices.
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Kristinsdóttir, AlmaDís. "Biophilia and Sustainable Museum Education Practices." Museum and Society 16, no. 3 (November 21, 2018): 398–413. http://dx.doi.org/10.29311/mas.v16i3.2797.
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Museums offer significant learning experiences that contribute to sustainable societies and lifelong learning. However, museum education has historically been a field in flux, and a constant revitalization is needed. This paper examines Biophilia, created by artist and musician Björk, as a case-study to illustrate the potential of its pedagogical approach to affect sustainable museum learning practices. Biophilia inspires children to learn about sound, science, and nature through technology; it is an app-album that manifested itself in a museum context both as a concert venue and a multi-disciplinary experimental educational platform – ideal for museum learning. While the project was formally implemented in Iceland through high levels of inter-institutional collaboration, its theoretical relationship to museum education and critical pedagogy of place was overlooked. Using the Biophilia’s analogy of an ‘infectious virus’ and a futurist’s framework of creativity and play, I ask: what can the field of museum education learn from Biophilia?
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Pushenkova, Sofiya A., and Olga N. Khakimulina. "A modest artist’s place in history: The legacy of Mikhail Gurevich in the Smolensk gallery." Issues of Museology 11, no. 2 (2020): 239–47. http://dx.doi.org/10.21638/11701/spbu27.2020.208.
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The article is a study conducted in the framework of the scientific interests of the author: the study of the history and theory of the Russian avant-garde in the Smolensk region. The purpose of this study is to draw attention to the problem of the low level of knowledge of the avant-garde heritage in the Smolensk region through the analysis of current events in the museum and exhibition environment. The article discusses the exhibition “MG /Humble Artist/”, held in the Art Gallery of Smolensk in February-March 2020. M. G. are the initials of the artist Mikhail Gurevich who was born in Smolensk. Gurevich was a student of the famous David Shterenberg, one of his best graduates and a representative of the creative galaxy of artists — graduates of the Higher Art and Technical Institute. In addition to the analysis of the features of Gurevich’s work, the role of the artist’s work in the cultural process of the USSR in the 1930s is evaluated. The author also provides clarifications concerning the artist’s biography. The heritage of the Russian avant-garde is an important component of the cultural heritage of Russia and has great potential in the tourism sector. The work of the avant-garde era in the regions is often not given due attention, but fortunately, this trend has changed in the last few years. Research of this type will make it possible in the future to expand the knowledge base on the history of Russian art, as well as expand the scope of scientific research in museums by creating new exhibits. Therefore, support for research on the work of regional artists of the avant-garde era, and coverage of events and activities that are the results of these studies, is very important.
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Winearls, Joan. "Allan Brooks, Naturalist and Artist (1869-1946)." Scientia Canadensis 31, no. 1-2 (January 23, 2009): 131–54. http://dx.doi.org/10.7202/019758ar.
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Abstract British by birth Allan Cyril Brooks (1869-1946) emigrated to Canada in the 1880s, and became one of the most important North American bird illustrators during the first half of the twentieth century. Brooks was one of the leading ornithologists and wildlife collectors of the time; he corresponded extensively with other ornithologists and supplied specimens to many major North American museums. From the 1890s on he hoped to support himself by painting birds and mammals, but this was not possible in Canada at that time and he was forced to turn to American sources for illustration commissions. His work can be compared with that of his contemporary, the leading American bird painter Louis Agassiz Fuertes (1874–1927), and there are striking similarities and differences in their careers. This paper discusses the work of a talented, self-taught wildlife artist working in a North American milieu, his difficulties and successes in a newly developing field, and his quest for Canadian recognition.
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Romanova, E. O. "Коллекция вечных ценностей: Дом-музей З.К. Церетели в Переделкине." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 176–85. http://dx.doi.org/10.46748/arteuras.2020.04.015.
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The article is focused on Zurab Tsereteli’s House-Museum in Peredelkino near Moscow. Serving as a continuation of the museums previously founded by the artist in Georgia and Russia, the collection of the House-Museum presents to the fullest possible extent a multifaceted specter of creative search in the artist’s experimental space. At the same time, the main feature of the museum is that it represents wholly the realization of Tsereteli’s live program aimed at transfiguration of a man by the means of art. Статья посвящена Дому-музею Зураба Церетели в подмосковном поселке Переделкино. Выступая продолжением музеев, созданных художником ранее в Грузии и России, коллекция Дома-музея наиболее полно представляет многогранный спектр творческих поисков автора в экспериментальном пространстве. Однако главным в этом музее является то, что он представляет собой во всей полноте реализацию жизненной программы З.К. Церетели, цель которой — преображение человека и мира средствами искусства.
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Mao, Qiao. "University Art Museum Connecting Communities to Create Aesthetic Life through Public Art Program: In the Name of the Trees." International Journal of Social Sciences and Artistic Innovations 2, no. 3 (September 30, 2022): 33–42. http://dx.doi.org/10.35745/ijssai2022v02.03.0005.
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Starting from the theoretical viewpoints of relational aesthetics, the relationship was explored between a university art museum and communities in the Public Art Program—in the Name of the Trees offered by the National Taiwan Normal University (NTNU). Observational and interview methods were used to obtain research materials and explore how university art museums interact with communities through public art exhibitions and strengthen the relatively weak relationships with the community to co-create an aesthetic life. It is also observed how community residents can change their opinions about the university art museum by participating in the public art program. The results show that the university art museum effectively establishes interaction with the community residents through public art programs such as "collection-sharing", "teacher-student co-creation", "artist stationing" and "education promotion activities" and plays an active role in promoting interpersonal communication, sustaining the natural environment development and improving community public space.
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Комарова, М. Ю. "Transformations of the artistic method of the Tagil graphic artist N.V. Grachikov: late 1980s – 2010s." Iskusstvo Evrazii [The Art of Eurasia], no. 3(26) (September 30, 2022): 142–57. http://dx.doi.org/10.46748/arteuras.2022.03.012.
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Статья посвящена творчеству нижнетагильского художника-графика Николая Владимировича Грачикова. С середины 1990-х годов он занял важное место в культурном пространстве Уральского региона, достойно представляя свое искусство на значимых выставках общероссийского и международного уровня. В 1991 году художник был принят в члены Союза художников России. Его работы включены в собрания крупных региональных музеев Калининграда, Санкт-Петербурга, Екатеринбурга, Ирбита, Новосибирска. В Нижнетагильском музее изобразительных искусств на сегодняшний день сложилась моноколлекция из 23 работ художника. В публикации сделан акцент на изучении творческого метода Николая Грачикова. Рассмотрены основные работы художника разных лет, описание и анализ которых позволили выстроить общую линию развития и формирования авторской манеры. Важные стороны творческой биографии Николая Грачикова, такие как преподавательская, выставочная и собирательская деятельность, намеренно не освещены в данной публикации, так как заслуживают отдельного, более пристального внимания. Автор статьи использовал в тексте высказывания художника, полученные в ходе интервью с ним в 2007 году, когда впервые обратился к изучению творчества этого графика. The article is devoted to the work of Nizhny Tagil graphic artist Nikolai Vladimirovich Grachikov. Since the mid-1990s, he has occupied an important place in the cultural space of the Ural region, adequately presenting his art at significant exhibition projects of the all-Russian and international level. In 1991, the artist was accepted as a member of the Union of Artists of Russia. His works are included in the collections of major regional museums in Kaliningrad, St. Petersburg, Ekaterinburg, Irbit, Novosibirsk. To date, the Nizhny Tagil Museum of Fine Arts has a collection of 23 works by the artist. The publication focuses on the study of the creative method of Nikolai Grachikov, manifested in his works. The main works of the artist of different years are considered, the description and analysis of which allowed to build a common line of development and formation of the author's manner. Important aspects of Nikolai Grachikov's creative biography, such as teaching, exhibition and collecting activities, are intentionally not covered in this publication, as they deserve separate, closer attention. The author of the article used in the text the artist's statements obtained during an interview with him in 2007, when he first turned to the study of his work.