Journal articles: 'Biology in art – Exhibitions'

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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.

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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.

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Spivey, Nigel. "Art and Archaeology." Greece and Rome 65, no. 2 (September 17, 2018): 266–69. http://dx.doi.org/10.1017/s0017383518000219.

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Passion. Nowadays everything must be done with passion. No ‘personal statement’ for university admission is complete without some sentiment of passionate motivation; you purchase a sandwich and learn that it has been ‘made lovingly’. So is there anything wrong with studying classical archaeology passionately – with the engagement of emotions, or ‘intensity of feeling’ (OED)? The question arises from the very title of a festal volume devoted to a (some would say, the) historical pioneer of the discipline, J. J. Winckelmann: Die Kunst der Griechen mit der Seele suchend. Since it is conventional to translate die Seele as ‘the soul’, immediately we encounter the problem of mind–body dualism, and the question of where passions are to be located in human biology. But let us accept the sense of the phrase as it is being used here. It is, as Goethe recognized in Winckelmann's work, and celebrated accordingly, an ‘awareness’ (Gewahrwerden) of Greek art that was at once intuitive and reasoned; spontaneous, yet developed by patient study (conducted with ‘true German seriousness’ – so deutsch Ernst). Pious remembrance of Winckelmann has been maintained in his homeland virtually ever since his premature death (a ‘thunderbolt’ of awful news, as Goethe described it) in 1768. This year is the 250th since that loss, and will be widely marked. Meanwhile the recent anniversary of Winckelmann's birth – 1717, as a cobbler's son, in Brandenburg – occasions fresh hagiography, and attendant exhibitions, perhaps most notably a show at the Capitoline Museums, documenting an important part of Winckelmann's intense and eventually glorious activity in Rome.

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Allmon, Warren D., Robert M. Ross, Richard A. Kissel, and David C. Kendrick. "Using Museums to Teach Undergraduate Paleontology and Evolution." Paleontological Society Special Publications 12 (2012): 231–46. http://dx.doi.org/10.1017/s2475262200009345.

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Museum exhibitions possess a long history of serving as useful tools for teaching both paleontology and evolutionary biology to college undergraduates. Yet, they are frequently under-appreciated and underutilized. However, they remain potentially outstanding resources because they can be used to meet a spectrum of learning objectives related to nature of science, real-world relevance, and student interest. Specifically, even small museum displays can provide: 1) authentic specimens, which often are more diverse, of higher quality, and historically more significant than those in teaching collections; 2) specimens in context, with other specimens and/or geological or biological background available; 3) examples of how fossils connect to virtually all of Earth and life sciences (explaining why they have so frequently been at the center of traditional “natural history”); 4) cross-disciplinary experiences, connecting science, art, technology, and history within a social context; and 5) opportunities for students to learn about teaching. A survey of instructor-developed activities performed within a host of natural history museums—with particular attention devoted to the Museum of the Earth, an affiliate of Cornell University—suggests that natural history exhibitions, regardless of size and scope, can complement and strengthen formal education in an undergraduate setting.

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Mathiasson, Sven. "Museums of natural history—do we need their collections in the time of molecular biology?" European Review 1, no. 4 (October 1993): 319–28. http://dx.doi.org/10.1017/s1062798700000727.

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All over the world natural history museums act as storehouses. Billions of creatures are preserved. Most museum visitors never see these collections; they only meet the limited specimens presented in public exhibitions. Most people seem to know little about the value of these collections and how they are used. This article presents some aspects of natural history collections and their value in scientific and other contexts.

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Welch, Lonnie, Bruno Gaeta, Diane E. Kovats, and Milana Frenkel Morgenstern. "Art in Science Competition invites artworks to the annual exhibition on ISMB 2018 in Chicago." F1000Research 7 (March 19, 2018): 337. http://dx.doi.org/10.12688/f1000research.14242.1.

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The International Society of Computational Biology and Bioinformatics (ISCB) brings together scientists from a wide range of disciplines, including biology, medicine, computer science, mathematics and statistics. Practitioners in these fields are constantly dealing with information in visual form: from microscope images and photographs of gels to scatter plots, network graphs and phylogenetic trees, structural formulae and protein models to flow diagrams, visual aids for problem-solving are omnipresent. The ISCB Art in Science Competition 2017 at the ISCB/ECCB 2017 conference in Prague offered a way to show the beauty of science in art form. Past artworks in this annual exhibition at ISMB combined outstanding beauty and aesthetics with deep insight that perfectly validated the exhibit’s approach or went beyond the problem's solution. Others were surprising and inspiring through the transition from science to art, opening eyes and minds to reflect on the work being undertaken.

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Milkova, Liliana, Colette Crossman, Stephanie Wiles, and Taylor Allen. "Engagement and Skill Development in Biology Students through Analysis of Art." CBE—Life Sciences Education 12, no. 4 (December 2013): 687–700. http://dx.doi.org/10.1187/cbe.12-08-0114.

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An activity involving analysis of art in biology courses was designed with the goals of piquing undergraduates’ curiosity, broadening the ways in which college students meaningfully engage with course content and concepts, and developing aspects of students’ higher-level thinking skills, such as analysis, synthesis, and evaluation. To meet these learning outcomes, the activity had three key components: preparatory readings, firsthand visual analysis of art during a visit to an art museum, and communication of the analysis. Following a presentation on the methodology of visual analysis, students worked in small groups to examine through the disciplinary lens of biology a selection of approximately 12 original artworks related in some manner to love. The groups then developed and presented for class members a mini-exhibition of several pieces addressing one of two questions: 1) whether portrayals of love in art align with the growing understanding of the biology of love or 2) whether the bodily experience of love is universal or, alternatively, is culturally influenced, as is the experience of depression. Evaluation of quantitative and qualitative assessment data revealed that the assignment engaged students, supported development of higher-level thinking skills, and prompted meaningful engagement with course material.

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Kikut, Patrick. "University of Wyoming Outdoor Studio Art Class." UW National Parks Service Research Station Annual Reports 35 (January 1, 2012): 172–73. http://dx.doi.org/10.13001/uwnpsrc.2012.3961.

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Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to the Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Art students also appreciate the interaction with students from different disciplines in the sciences and often those conversations have direct impact on the creative work studentâs produce during their stay. The AMK staff and in particular Professor Hank Harlow have offered us incredible hospitality and generosity. Professor Harlowâs knowledge of the geology, biology, and history of Teton National Park is invaluable to this course. Also, his enthusiasm for art and scientific research is infectious. Our stay at the AMK always culminates in an exhibition of student and faculty creative work, hosted by Hank Harlow, UW NPS Research Station Director.

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Kikut, Patrick. "University of Wyoming Outdoor Studio Art Class." UW National Parks Service Research Station Annual Reports 36 (January 1, 2013): 185–86. http://dx.doi.org/10.13001/uwnpsrc.2013.4023.

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Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive course. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to Grand Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Last year we scheduled a docent tour of the Wildlife museum and attended an informative lecture on Native Art in the National Parks at the Coulter Bay Visitors Center. Art students appreciate the interaction with student researchers from different science disciplines. Often those conversations have direct impact on the creative work students produce during their stay. The AMK staff and, in particular, Professor Hank Harlow have offered us incredible hospitality and generosity. Professor Harlowâs knowledge of the geology, biology, and history of Grand Teton National Park is invaluable to this course. Also, his enthusiasm for art and scientific research is infectious. Our stay at the AMK always culminates in an exhibition of student and faculty creative work, hosted by Hank Harlow, UW NPS Research Station Director.

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Zelli, Veronica, Chiara Compagnoni, Roberta Capelli, Alessandra Corrente, Jessica Cornice, Davide Vecchiotti, Monica Di Padova, Francesca Zazzeroni, Edoardo Alesse, and Alessandra Tessitore. "Emerging Role of isomiRs in Cancer: State of the Art and Recent Advances." Genes 12, no. 9 (September 20, 2021): 1447. http://dx.doi.org/10.3390/genes12091447.

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The advent of Next Generation Sequencing technologies brought with it the discovery of several microRNA (miRNA) variants of heterogeneous lengths and/or sequences. Initially ascribed to sequencing errors/artifacts, these isoforms, named isomiRs, are now considered non-canonical variants that originate from physiological processes affecting the canonical miRNA biogenesis. To date, accurate IsomiRs abundance, biological activity, and functions are not completely understood; however, the study of isomiR biology is an area of great interest due to their high frequency in the human miRNome, their putative functions in cooperating with the canonical miRNAs, and potential for exhibiting novel functional roles. The discovery of isomiRs highlighted the complexity of the small RNA transcriptional landscape in several diseases, including cancer. In this field, the study of isomiRs could provide further insights into the miRNA biology and its implication in oncogenesis, possibly providing putative new cancer diagnostic, prognostic, and predictive biomarkers as well. In this review, a comprehensive overview of the state of research on isomiRs in different cancer types, including the most common tumors such as breast cancer, colorectal cancer, melanoma, and prostate cancer, as well as in the less frequent tumors, as for example brain tumors and hematological malignancies, will be summarized and discussed.

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Catravas, P., K. Bubriski, M. D. Frey, M. E. Hagerman, B. Cohen, J. J. McGee, and S. S. Bowser. "NanoGrande: Electron Microscopy Education and Outreach Through a Collaboration of Scientists and Artists." Microscopy Today 21, no. 2 (March 2013): 42–46. http://dx.doi.org/10.1017/s1551929513000023.

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NanoGrande is the culmination of an art-science effort that brought undergraduate students and faculty from science, engineering, and the visual arts together with professional microscopists of the Capital District Microscopy and Microanalysis Society for electron microscopy education and outreach. Students from two independent undergraduate courses, an advanced photography course and a microscopy laboratory course, collaborated on the project. The participants represented a wide range of majors, including chemistry, biology, electrical engineering, computer engineering, mechanical engineering, bioengineering, psychology, neuroscience, sociology/social sciences, history, and the visual arts. Emphasis was placed on both the scientific and the artistic aspects of the imaging process. The creation of electron microscopy images that were at the same time scientifically meaningful and visually compelling depended critically on communication of insights and ideas between paired students. The collaboration generated an art-science exhibition, NanoGrande, that has been presented to over four-thousand K through 12 students.

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Ingram, D. S. "Towards an informed public." Proceedings of the Royal Society of Edinburgh. Section B. Biological Sciences 99, no. 3-4 (1992): 121–34. http://dx.doi.org/10.1017/s0269727000005546.

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SynopsisThe successful utilisation of recent advances in plant biotechnology for the benefit of mankind, with the avoidance of fundamental mistakes that could lead to environmental disaster, requires wise and balanced legislation. In addition, the conservation of the habitats and germplasm so essential to plant breeding requires carefully planned management of resources. These, however, depend upon an informed public with a sensitivity to, and knowledge and understanding of, the issues at stake. It is the people, after all, who influence decision making by governments, through the ballot box or through the pressure of public opinion. Botanic Gardens have a vital role to play in public education, and have the capacity to become the shop windows for the whole of plant science.Four examples of public education in plant biology being developed at the Royal Botanic Garden Edinburgh are considered, as follows:(i) Public information, as exemplified by the provision of information about plants, lectures about plants and the development of ecological plantings and displays relating to agriculture, plant breeding and conservation.(ii) Contact through art, as exemplified by the Andy Goldsworthy retrospective exhibition of 1990 and the 1991 exhibitions of the work of Redouté and Margaret Stones, in which the media of sculpture and painting inspired by the natural world have been used to build bridges between plant science and the wider public.(iii) Education in primary schools, as exemplified by the ‘Living in a Rainforest’ project, in which young people and their teachers spend periods of time in a replica of a Bornean longhouse and through this experience develop an understanding of the importance of the balance between people and the complex ecosystem of the rainforest.(iv) Education in secondary schools, as exemplified by the Science and Plants for Schools project in which rapid cycling Brassica rapa and other materials are used in the development of new and exciting approaches to the teaching of experimental plant science, genetics and breeding.The ways in which projects such as these can be designed to convey important messages concerning plant breeding, genetic engineering, germplasm and habitat conservation and the role of plants in the world economy are discussed, and ideas for other approaches to public education in the Royal Botanic Garden Edinburgh are outlined.

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Idibeke Amos John, Sunday Etim Ekwere, and Edem Etim Peters. "Influence of traditional art exhibition of Nwommo on Ibibio society: A case study of exhibition of the rejected." GSC Advanced Engineering and Technology 4, no. 1 (August 30, 2022): 032–38. http://dx.doi.org/10.30574/gscaet.2022.4.1.0048.

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Nwommo served as the traditional museum and documentation of traditional paraphernalia of Ibibio society. Presently, Nwommo is regarded as being fetish. In addition, contemporary society seem to see Nwommo as having no relevance to the culture and history of the Ibibio society thus resulting in its rejection. The aim of this paper is to highlight the influence of traditional art exhibition as seen in Nwommo on Ibibio society. This study brings to limelight the cultural relevance of Nwommo as a platform for exhibiting the rich culture of Ibibio society, thereby serving as a reservoir of knowledge to the people. The findings of this study revealed that Nwommo influences most actions and decisions traditionally in Ibibio society as well as being a reservoir of Ibibio traditions which answer the deepest questions of identity of Ibibio society. Though the research is not concerned with the content of fetish and worship of inclinations to Nwommo, but rather considers the art, the aesthetic, craft, culture and economic implications of the practice which seem outdated due to the advent of Christianity. The study therefore recommended that cultural, aesthetic, economic and educational relevance should be placed on Nwomo to prevent its extinction.

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Burd, Gary. "Plastic fantastic!: Body Worlds." Biochemist 24, no. 3 (June 1, 2002): 18–19. http://dx.doi.org/10.1042/bio02403018.

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Love him or loathe him, Professor Günther von Hagens has set the scientific and art worlds alight with his controversial exhibition of plastinated humans stripped of their skins. The exhibition has made it to the unglamourous Old Truman Brewery in London's East End, and was sending shockwaves through the media, and even Parliament, before it even opened. Set in thought-provoking positions, are the pieces there for education or are they an abomination?

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Simmel, Georg. "On Art Exhibitions." Theory, Culture & Society 32, no. 1 (May 23, 2014): 87–92. http://dx.doi.org/10.1177/0263276414531052.

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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.

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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

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Zhang, Juntong. "Research on Factors Influencing Online Art Exhibitions and the Role that Social Media Can Play during Online Exhibitions." Communications in Humanities Research 3, no. 1 (May 17, 2023): 38–45. http://dx.doi.org/10.54254/2753-7064/3/20220131.

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During the epidemic, many art exhibitions and museums started online exhibitions actively or passively. How to make online art exhibitions accepted by more people and how to promote online art exhibitions more smoothly have become the main problems facing the society. This paper aims to explore the factors that affect people to watch online art exhibitions, and how to make the promotion of online art exhibitions successful.

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Jasny, B. "EXHIBITIONS: ART: Global Perspectives." Science 322, no. 5905 (November 21, 2008): 1191a. http://dx.doi.org/10.1126/science.1167366.

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Tsang, Winnie. "Creating National Narrative: The Red Guard Art Exhibitions and the National Exhibitions in the Chinese Cultural Revolution 1966 - 1976." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 117–32. http://dx.doi.org/10.5195/contemp.2014.58.

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The artistic development in China experienced drastic changes during the Cultural Revolution from 1966 to 1976. Traditional Chinese art was denounced, whereas propaganda art became predominant in shaping the public’s loyalty towards the Communist Party and the country. Two major groups of art exhibitions emerged during the Revolution—the unofficial Red Guard art exhibitions organized by student activists in collaboration with local communes and art schools between 1966 and 1968, and the state-run national exhibitions from 1972 to 1975. These exhibitions were significant to this period because they were held frequently in the capital city Beijing and occasionally elsewhere, and through art they presented unique revolutionary beliefs to the Chinese people in a public setting. While the Red Guard art exhibitions and the national exhibitions certainly created different national narratives, I argue that the national exhibitions were in fact an attempt to revise the national narrative created by the Red Guard art exhibitions in order to re-establish a more utopian, consistent, and official national narrative. This paper unravels the intricate relationship between the two groups of exhibitions by comparing their exhibition venues, ideological focuses, work selection and quality editing.

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Kang, Taehwan, and Jeongyoon Kang. "A Study on Heterotopia and Private Space in Contemporary Art." Korean Society of Culture and Convergence 45, no. 1 (January 31, 2023): 523–34. http://dx.doi.org/10.33645/cnc.2023.01.45.01.523.

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The purpose of this study is to discuss the important spatiality in contemporary art. Contemporary spaces show a variety of shapes and scopes, from independent private spaces to wide open public spaces. This aspect of space also appears in the art exhibition hall. Therefore, the purpose of this thesis is to examine the form of space and the viewer's visual perception in installation art among contemporary art fields. Chapter 2 examines the spatiality of installation art and discusses the visual and perceptual experiences felt in space. Chapter 3 examines private space and private space, which are the minimum units of spatial classification. Through the installation work presented in this thesis, it is possible to confirm the space that the viewer remembers and the new spatial perception that occurs in the process of experiencing the work. The last chapter discusses the new space created by the artist and the audience, the space of heterotopia that is both private and public. In this way, it is thought that it can be applied to various fields by confirming the scalability and scalability of thinking about space that contemporary art pursues.

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Andreeva, E. Yu. "Soviet Art at Art Exhibitions and Expositions of Russian Museums and Galleries in the 1990s-2020s." Art & Culture Studies, no. 4 (December 2023): 390–421. http://dx.doi.org/10.51678/2226-0072-2023-4-390-421.

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The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginalized layers of artistic culture into scientific circulation and the public sphere. In relation to this work, these are research exhibitions of the Russian-Soviet avant-garde and artistic movements of the 1920s-1930s and non-conformism of the 1940s-1980s. The goals of attraction exhibitions (the proposed term is based on S. Eisenstein’s well-known method of “the montage of attractions”) are associated with the creation of an entertaining visual environment that affects the viewer, offering them ways of understanding the Soviet past ideologized in the Soviet style. The purpose of the article is also to show how the cultural policy of temporary exhibitions affects the re-expositions of the State Russian Museum and the State Tretyakov Gallery, that is, the formation of certain patterns or scenarios for the presentation of the art of the Soviet past.

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Lin, Jiajing. "Analysis of the Development and Direction of Contemporary Exhibitions." Communications in Humanities Research 9, no. 1 (October 31, 2023): 238–45. http://dx.doi.org/10.54254/2753-7064/9/20231191.

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With the advancement of civilization and the passage of time, art has steadily merged into everyday life. The quantity and variety of art exhibitions held have significantly expanded, becoming a daily activity for the majority of the public as the social process and the pace of peoples lives continue to quicken. The public is given a strong sense of connection to the art institution and the exhibition space as a result of the modern exhibitions progressive evolution and subsequent innovation and improvement. This paper looks at the potential and direction of contemporary art exhibitions, analyzes the shortcomings of contemporary art exhibitions, and looks at the current situation and development prospects of contemporary art exhibitions as well as the background of academic research at home and abroad. It examines and provides examples from four perspectives, including participatory exhibition, interactive art, and high technology, Nicholas Berriods relational aesthetic theory, and online exhibition. It also examines and thinks from the perspective of traditional Chinese context theory, reflecting various methods of presenting contemporary exhibitions and new ideas in the hopes of assisting artists and curators.

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Bier, Carol. "Bridges 2017 mathematical art exhibitions." Journal of Mathematics and the Arts 12, no. 1 (January 2, 2018): 44–50. http://dx.doi.org/10.1080/17513472.2017.1422357.

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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (June 20, 2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.

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Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (October 31, 2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.

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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.

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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.

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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

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Gao, Yijia. "Technical Analysis and Development Advantages of Online Virtual Exhibition from the Digital Technology Perspective." Communications in Humanities Research 9, no. 1 (October 31, 2023): 134–39. http://dx.doi.org/10.54254/2753-7064/9/20231158.

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Institutions and peoples lives have been impacted by public health initiatives to contain the COVID-19 virus. The outbreak may qualify as a mega event due to its potential for global impact and transformation. The contemporary art world has especially felt the impact of the epidemic, as the entire cultural activity has been suspended due to the outbreak, including exhibitions and museums of various themes. During this period, art institutions and collectives around the world have responded by providing alternative materials for artistic works through various technological technologies and online. Emerging, high-tech methods such as multimedia art are applied to display design to help the art world continue to develop during the pandemic. This article aims to reflect on the challenges and opportunities of online virtual exhibitions of contemporary art. From the case analysis of 3 online exhibitions (2 museums, 1 art biennale), analyze the development advantages of online virtual exhibitions. Most online virtual exhibitions can use virtual reality (VR), augmented reality (AR), Fabric VR projects, including: 3D Fabric VR, 360-degree Fabric VR, a network-based digital collection system, and other technologies to enhance the exhibition experience. And create related websites or apps to allow visitors to visit online exhibitions. These studies will contribute to a broad understanding of existing online virtual exhibitions, including the technologies used and future application development.

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Huang, Nanyan. "Immersive Exhibition: Its Theoretical Development, Its Audiences and the Re-discovery of Modern Art Exhibition." Communications in Humanities Research 3, no. 1 (May 17, 2023): 318–24. http://dx.doi.org/10.54254/2753-7064/3/20220317.

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As an innovative form of art exhibition, immersive exhibitions have gained popularity all over the world in recent years. Such exhibitions are not only a departure from traditional gallery displays but also lead to different modalities of visiting cultural sites. One distinguishable tendency, one that could be detected in the curatorial strategies of most contemporary exhibitions, is the increasing emphasis put on the aesthetic effect that exhibitions could offer. Correspondingly, the relationship between the visitors and the artworks is changed through the ways visitors situate and perform their bodies within such exhibitions. Unlike traditional exhibitions, immersive exhibitions allow visitors to wander more freely and interact with the settings more engagingly. This essay analyses 1) the common features of immersive exhibitions and the more general theories behind the curatorial principles; 2) the visitor's motivation for visiting, their behaviors during visiting, and how they build their self-image on social media with the aid of immersive exhibitions; 3) the effect and significance of immersive exhibitions in democratizing art and reconsidering the boundary of art. Drawing from the above-mentioned points, some intriguing questions that concern broader aspects within the discipline are also noteworthy.

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Datfar, Toofan, Michael Doulberis, Apostolis Papaefthymiou, Ian N. Hines, and Giulia Manzini. "Viral Hepatitis and Hepatocellular Carcinoma: State of the Art." Pathogens 10, no. 11 (October 22, 2021): 1366. http://dx.doi.org/10.3390/pathogens10111366.

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Viral hepatitis is one of the main causes leading to hepatocellular carcinoma (HCC). The continued rise in incidence of HCC suggests additional factors following infection may be involved. This review examines recent studies investigating the molecular mechanisms of chronic hepatitis and its association with hepatocarcinogenesis. Hepatitis B virus patients with genotype C display an aggressive disease course leading to HCC more than other genotypes. Furthermore, hepatitis B excretory antigen (HBeAg) seems to be a more sensitive predictive tumor marker exhibiting a six-fold higher relative risk in patients with positive HBsAg and HBeAg than those with HBsAg only. Single or combined mutations of viral genome can predict HCC development in up to 80% of patients. Several mutations in HBx-gene are related with higher HCC incidence. Overexpression of the core protein in HCV leads to hepatocellular lipid accumulation associated with oncogenesis. Reduced number and decreased functionality of natural killer cells in chronic HCV individuals dysregulate their surveillance function in tumor and viral cells resulting in HCC. Furthermore, high T-cell immunoglobulin and mucin 3 levels supress CD8+ T-cells, which lead to immunological dysregulation. Hepatitis D promotes HCC development indirectly via modifications to innate immunity, epigenetic alterations and production of reactive oxygen species with the LHDAg being the most highly associated with HCC development. Summarizing the results, HBV and HCV infection represent the most associated forms of viral hepatitis causing HCC. Further studies are warranted to further improve the prediction of high-risk patients and development of targeted therapeutics preventing the transition from hepatic inflammation–fibrosis to cancer.

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Jaquet, Daniel. "The art of fighting under glass." Acta Periodica Duellatorum 6, no. 1 (July 25, 2018): 47–62. http://dx.doi.org/10.36950/apd-2018-002.

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A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were displayed from the perspective of the curators, based on a review of the exhibition catalogues.

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Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (July 1, 2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.

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Widjono, Rani Aryani, and Shania Geraldine. "Modifikasi Interaksi Fisik dalam Pameran Virtual." Idealogy Journal 7, no. 2 (September 1, 2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.

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The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in creating emotional connections with the various parties involved. Based on this, this study will discuss the efforts to implement gamification design that replicates the physical interactions that commonly occur in an exhibition. The purpose of implementing gamification design is to maximize user experience (UX) when visiting exhibitions virtually so that the experience value of virtual exhibitons can increase. The output of this research is the concept of gamification in a virtual exhibition.

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Barba, Marta, Claudia Cicione, Camilla Bernardini, Fabrizio Michetti, and Wanda Lattanzi. "Adipose-Derived Mesenchymal Cells for Bone Regereneration: State of the Art." BioMed Research International 2013 (2013): 1–11. http://dx.doi.org/10.1155/2013/416391.

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Adipose tissue represents a hot topic in regenerative medicine because of the tissue source abundance, the relatively easy retrieval, and the inherent biological properties of mesenchymal stem cells residing in its stroma. Adipose-derived mesenchymal stem cells (ASCs) are indeed multipotent somatic stem cells exhibiting growth kinetics and plasticity, proved to induce efficient tissue regeneration in several biomedical applications. A defined consensus for their isolation, classification, and characterization has been very recently achieved. In particular, bone tissue reconstruction and regeneration based on ASCs has emerged as a promising approach to restore structure and function of bone compromised by injury or disease. ASCs have been used in combination with osteoinductive biomaterial and/or osteogenic molecules, in either static or dynamic culture systems, to improve bone regeneration in several animal models. To date, few clinical trials on ASC-based bone reconstruction have been concluded and proved effective. The aim of this review is to dissect the state of the art on ASC use in bone regenerative applications in the attempt to provide a comprehensive coverage of the topics, from the basic laboratory to recent clinical applications.

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Yu, Shiyang. "The Research on the Characteristics and Forms of Immersive Experience in Art Exhibitions—Take “Van Gogh—the Immersive Experience” as an Example." Journal of Education, Humanities and Social Sciences 6 (December 31, 2022): 154–59. http://dx.doi.org/10.54097/ehss.v6i.4417.

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Immersive experience is a new type of interaction that integrates culture and technology, and it shows great promise for application by combining with multi-panel content. With the continuous development of virtual technology, immersive experience is also applied to art exhibitions and obtains surprising effects. People are not satisfied with the original way of art appreciation, and the increase of aesthetic demand also requires more diversified ways of exhibition, which has led to the prevalence of immersive exhibitions. In recent years, there have been few attempts at immersive art exhibitions, and the organizers have succeeded in creating very creative presentations. This paper takes “Van Gogh’s Secret World” as an objective, and the result shows the features of the immersive experience, include the concept and history of immersive experiences, and the expressions and characteristics of immersive experience in art exhibitions, hope can help people look into the future of the interactive art.

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Jakubowska, Agata. "Meetings: Exhibitions of Women’s Art Curated by Izabella Gustowska." Ikonotheka 26 (June 26, 2017): 291–311. http://dx.doi.org/10.5604/01.3001.0010.1743.

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In February of 1978 the exhibition Trzy kobiety. Ania Bednarczuk, Iza Gustowska, Krynia Piotrowska opened at the Bureau of Art Exhibitions in Poznań. It became a starting point for two cycles of exhibitions that have been organised practically until today: Odbicia (Gustowska’s and Piotrowska’s joint exhibitions) and Spotkania. The essay focuses on Spotkania, i.e. exhibitions at which Gustowska (initially with Piotrowska) presented the works of invited women artists. These exhibitions were Trzy kobiety (1978, Poznań), Sztuka kobiet (1980, Poznań), Spotkania – Obecność I (1987, Poznań), Spotkania – Obecność III (1992, Poznań), Presence IV – 6 Women (1994, Galeria La Coupole, Rennes) and Osiem dni tygodnia (2011, Szczecin). To consider them a cycle and to analyse them under the joint title of Spotkania is the author’s own interpretative approach based on the observation that, in their case, Izabella Gustowska’s actions comprise a consistent project based mainly on the recurrent gesture of creating an opportunity for women artists to meet – hence the word meetings – and to engage in a dialogue. Spotkania is the longest-lasting and most consistently carried out project enabling women artists to meet but, paradoxically, not intended to consolidate them. All of the exhibitions emphasised Gustowska’s certainty of essential closeness between women. This closeness was always characterised, very generally and indistinctly, as a kinship that becomes evident only when sought. An analysis of the exhibitions leads one to the conclusion that the combination of the conviction that women share essential similarities with an emphasis on their individuality and on the separateness of their artistic proposals, coupled with Gustowska’s distancing herself from feminism, are the reasons why Spotkania did not result in the emergence of any kind of community or in the undertaking of collective actions. The exhibitions remained as incidental meetings and their infl uence on the oeuvres of the women artists who participated in them is yet to be analysed.

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DEPREZ, ELEEN M. "Installation Art and Exhibitions: Sharing Ground." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 345–50. http://dx.doi.org/10.1111/jaac.12739.

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Dunham, Douglas. "The Bridges 2018 mathematical art exhibitions." Journal of Mathematics and the Arts 14, no. 3 (December 9, 2019): 268–82. http://dx.doi.org/10.1080/17513472.2019.1654330.

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Hassan, Ihab. "Art / Spirit: Pictures At Two Exhibitions." Religion and the Arts 1, no. 3 (1996): 96–110. http://dx.doi.org/10.1163/156852996x00685.

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Serjeant, Denis. "Conservation problems in international art exhibitions." International Journal of Museum Management and Curatorship 4, no. 1 (March 1985): 77–78. http://dx.doi.org/10.1080/09647778509514954.

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Danilowitz, Brenda. "Exhibitions of Contemporary South African Art." African Arts 24, no. 3 (July 1991): 12. http://dx.doi.org/10.2307/3336919.

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Morin, France, Apinan Poshyananda, Mari Carmen Ramirez, Caroline Turner, Igor Zabel, and Valerie Cassel. "Beyond Boundaries: Rethinking Contemporary Art Exhibitions." Art Journal 59, no. 1 (2000): 4. http://dx.doi.org/10.2307/778078.

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Rey, Una. "Australian Art Exhibitions: Opening Our Eyes." Australian and New Zealand Journal of Art 19, no. 2 (July 3, 2019): 260–62. http://dx.doi.org/10.1080/14434318.2019.1675572.

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Axelsen, Megan, and Charles Arcodia. "Conceptualising Art Exhibitions as Special Events." Journal of Convention & Event Tourism 6, no. 3 (February 2004): 63–80. http://dx.doi.org/10.1300/j452v06n03_05.

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

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Erić, Zoran. "Glocalisation, Art Exhibitions and the Balkans." Third Text 21, no. 2 (March 2007): 207–10. http://dx.doi.org/10.1080/09528820701273547.

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Cassel, Valerie. "Beyond Boundaries: Rethinking Contemporary Art Exhibitions." Art Journal 59, no. 1 (March 2000): 4–7. http://dx.doi.org/10.1080/00043249.2000.10791973.

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Serjeant, D. "Conservation problems in international art exhibitions." Museum Management and Curatorship 4, no. 1 (March 1985): 77–78. http://dx.doi.org/10.1016/0260-4779(85)90057-3.

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Härmä, Vuokko. "Experiencing Pervasive Computer Mediated Art Exhibitions." Suomen Antropologi: Journal of the Finnish Anthropological Society 35, no. 3 (September 1, 2010): 90–93. http://dx.doi.org/10.30676/jfas.127502.

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Cultural institutions such as museums and galleries are going through a transformation driven by an increasingly competitive funding environment and a sense that they need to reconnect with their contemporary visitors. Audience-led design has been seen as one of the main ways to attract visitors to museums for some time (McLean 1993). Active participation during visits to cultural institutions has been reported to generate positive feedback from visitors (Bagnall 2007), and so contemporary museums and galleries have become increasingly concerned with promoting public engagement through offering interactive installations (Hein 2000). Museum staff, exhibition designers and curators are under pressure to create attractive exhibitions that encourage participation and evoke emotional and behavioral responses. Thus the manufacturing of experiences has become a key issue in the design process, with digital technologies playing an increasing role in rendering artworks accessible. Drawing on research carried out in the UK, this paper considers the relationship between technologically mediated artworks and social interaction in museums and galleries, and suggests some further questions about possible cross-cultural variation in this relationship, specifically with respect to Finnish conventions of social interaction.

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Sun, Dan, and Xiaoyan Wang. "From the Inside to the Outside:Study on Exhibition Design and Communication of University Art Museum." Learning & Education 10, no. 5 (March 13, 2022): 91. http://dx.doi.org/10.18282/l-e.v10i5.2683.

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With the continuous improvement of living standards,peoples aesthetic awareness and aesthetic level of continuous improvement,a large part of art education in the way of exhibition to us. However, China's art industry is not fully mature, and art exhibitions mainly focus on art education, lacking a strong sense of substitution,so the design requirements for exhibitions have become higher.

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Nae, Cristian. "Constellational Modernisms: “Socialist Humanism” and “Contextual Art” in Ion Bitzan and Wanda Mihuleac's Graphic Art of the 1970s." ARTMargins 13, no. 2 (June 1, 2024): 45–64. http://dx.doi.org/10.1162/artm_a_00383.

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Abstract Art exhibitions acted as facilitators of transnational encounters among artists during the Cold War. This article analyzes the emergence and local circulation of two art critical concepts which described adaptations of art practices and techniques associated with Pop art and conceptual art in Romanian graphic arts of the 1970s as an expanded artistic medium. Focusing on the way Romanian artists Ion Bitzan and Wanda Mihuleac adjusted their experimental art practices to suit different audiences in state-supported exhibitions such as the Romanian Pavilions in Venice or the Ljubljana Graphic Arts Biennale, as well as in other large-scale exhibitions organized in Romania and abroad, the text helps undermine the distinction between official and unofficial art in art under socialism. It argues for the continuities between artistic experimentation in the two spheres of artistic activity and proposes a constellational reading of their graphic art practices as examples of modernisms in translation.

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Jørgensen, Anna Vestergaard. "Kunstkritik og institutionskritik i x-rummet." Periskop – Forum for kunsthistorisk debat, no. 21 (May 22, 2019): 70–87. http://dx.doi.org/10.7146/periskop.v2019i21.121797.

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In 2013, the SMK – National Gallery of Denmark initiated a series of exhibitions that was supposed to deal with the role of the museum in the 21st century. This article focuses on the two first exhibitions in this series: Haim Steinbach’s The Window and Henrik Olesen’s Abandon the Parents. The article claims that these exhibitions can be seen as working within the tradition of institutional critique, but also after it; through curating some of the museum’s own works and mimicking, respectively, the modernist “white cube” aesthetics and the Wunderkammer aesthetics. As such, the exhibitions do not only present a critique but can also be seen as pragmatic suggestions for how to curate, how to think the collections and exhibitions. In the article, the institutional critique of Olesen’s and Steinbach’s exhibitions will be read through another critical position: the Danish art criticism. In other words, this article does not only focus on how the institutional critique was visualized and performed in the exhibitions, but how this critique was discussed and read in written art criticism. This is not to say that art criticism and institutional critique can be wholly separated, but to see how these two forms of critique can say something about museums today. And more specifically, what affects can be read out of the art criticism, when the exhibitions they criticize are so clearly contextualized (by the museum) as institutional critique?

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Journal articles on the topic 'Biology in art – Exhibitions'

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