Academic literature on the topic 'Curatorial artworks and related studies'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Curatorial artworks and related studies.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Curatorial artworks and related studies"
1
Szubielska, Magdalena, and Kamil Imbir. "The aesthetic experience of critical art: The effects of the context of an art gallery and the way of providing curatorial information." PLOS ONE 16, no. 5 (May 28, 2021): e0250924. http://dx.doi.org/10.1371/journal.pone.0250924.
Full textAbstract:
The aim of our research was to investigate the influence of the situational context of presenting contemporary critical artworks (in an art gallery vs in a laboratory setting) and the way in which one is acquainted with contextual information, i.e. a curatorial description (reading it on one’s own vs listening to it vs a lack of curatorial information), on the reception of critical art. All experimental stimuli were exemplars of contemporary art which raise current controversial social and political issues. Non-experts in the field of art were asked to rate their emotional reactions on non-verbal scales and estimate their liking and understanding of the artworks. As predicted, the art gallery context increased both the experience of aesthetic emotions–in terms of valence, arousal, subjective significance, and dominance and aesthetic judgements–in terms of liking. Thus, for critical art (i.e. current artworks which critically address serious, up-to-date issues) the situational context of the gallery increased the aesthetic experience–which is in line with previous studies on the gallery (or museum) effect. Curatorial information increased understanding, so non-experts seem to need interpretative guidance in the reception of critical art. Subjective significance was higher in the reading of curatorial information condition than the listening to curatorial information condition or the control condition (a lack of curatorial information). It seems, therefore, that art non-experts have a better understanding of critical art after being exposed to the curatorial description, but this does not result in an increase in liking and aesthetic emotions. Probably this is because the curatorial description allows one to grasp the difficult, often unpleasant issue addressed by critical art.
2
Bereta, Andrej, and Srđan Tunić. "Academic course: About and around curating: The technology of an exhibition process: The realization of project "Real World"." SAJ - Serbian Architectural Journal 5, no. 3 (2013): 330–43. http://dx.doi.org/10.5937/saj1303330b.
Full textAbstract:
As an extended part of independent curatorial project About and Around Curating/Kustosiranje, art historians and freelance curators Bereta and Tunić developed a special academic course for the University of Belgrade, Faculties of Architecture and Fine Arts during the autumn semester 2012/13. Rooted in experience based methodology and inspired by contemporary curatorial studies in Europe, the official course curriculum gathered undergraduate students of Architecture, Fine Arts (Department of Sculpture) and Art Historians. The aim of the course was to encourage team working of students of different backgrounds in order to create newly produced artworks, as part of a group exhibition. The course itself was intended to be a reaction and constructive critique towards the lack of cooperation between art faculties, low rate of practical activities during studies and seeing curatorial studies solely as a world of ideas.
3
Lai, Mankit. "Curating pandemic contingencies: Remote collaboration and display reconfiguration in practice." Journal of Contemporary Chinese Art 8, no. 2 (November 1, 2021): 313–37. http://dx.doi.org/10.1386/jcca_00049_1.
Full textAbstract:
Amid the restrictions on travelling and gathering imposed during the COVID-19 pandemic, exhibitions with international collaborations in Hong Kong experimented with curating across borders and time. This article examines recent curatorial practices in Hong Kong’s art institutions, particularly relating to site-specific installations and performances that had to cope with the artist’s physical absence and institutional restrictions. Two site-specific art commissions ‐ Shirley Tse’s Negotiated Differences (2020), installed at the M+ Pavilion, and Eisa Jocson’s Zoo (2020), performed at Tai Kwun Contemporary ‐ serve as cases in point illustrating how curatorial practices enabled remote collaboration and display reconfiguration to address authorial absence and institutional interventions during the installation and exhibition phases due to the pandemic. The former case study decentralized the authorial control of artistic criticality from the artist to a collective curation and installation process, while the latter evolved in accordance with protean institutional and social contexts by actively changing the display during the exhibition. Despite the pandemic-imposed separation and restrictions, these two case studies shed light on how curators collaborated with artists and participants across distance and time, actively and flexibly forging responsive and relevant connections between site-specific artworks and the immediate present. Their curatorial practices ‐ as artistic mediation ‐ complicated the conceptual framework of artworks and exhibitions through co-curation and co-production with artists, thus lending a collaborative dimension to the model of exhibition-making and the role of the curator as the ‘curator-as-artist’.
4
Xu, Yueqing. "Research on the Artistic Construction of Luxury Brands from the Perspective of Brand Culture Communication." Highlights in Business, Economics and Management 2 (November 6, 2022): 387–94. http://dx.doi.org/10.54097/hbem.v2i.2392.
Full textAbstract:
With the rejuvenation and diversification of the luxury market, luxury brands face the challenge of maintaining economic growth while considering the challenges of brand image building and customer loyalty. There is growing evidence that the younger generation of customers will gradually become the protagonists of the luxury market. One of the customer journeys they care most about is matching personal and brand values and the consumption experience. From this perspective, this article uses case studies, comparative studies, and literature research, taking Cartier Beyond Boundaries - Cartier Palace Museum Crafts and Restoration Special Exhibition as the main case. By comparing with other luxury brands’ art exhibitions in Asia, Analyze and study why contemporary luxury brands have increased their artistic construction and the relationship between luxury brand curatorial activities in the Asian market. By implementing the recommendations in this paper, Cartier can create a digital environment within the experience of its artistic curatorial events, facilitating interaction with their products, stories, and artworks.
5
Ammagui, Nada. "Artistic Taste-Making at the Sharjah Biennial." Review of Middle East Studies 54, no. 1 (June 2020): 125–26. http://dx.doi.org/10.1017/rms.2020.8.
Full textAbstract:
This poster investigates the role that the Sharjah Biennial (SB), an international art showcase in the United Arab Emirates, plays in the development of a local artistic and cultural taste. It argues that the SB contributes to the molding of local aesthetic values through its selection of curatorial themes, artists, artworks, and, especially, venues. Using field visits, interviews, and archival research informed by sociological and anthropological theories on aesthetics, the author shows that organizers of public art exhibitions and programs are in a key position to shape the art to which people are exposed and how this, in turn, creates a public valuation of aesthetics. This project fills a gap in contemporary biennial literature by shedding light on the pivotal roles of art events in shaping societal aesthetic values.
6
Wardany, Octalyna Puspa. "Research In Creating Artworks – Comparison 3 Case Studies of Fine Art Creative Process." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 31. http://dx.doi.org/10.24821/ijcas.v3i1.1871.
Full textAbstract:
In fine arts, creating artworks need doing research. The research has many types. Mostly, it is not the scientific research type. But, nowadays, scientific research is commonly implementing in creating artworks too. It is important to know the various researchs in creating artworks, so it could be able to understand how research has the significant role in creating artworks. This study examines the research in creating artworks through comparation of 3 case studies of fine art exhibitions; (1) the creative process of water color painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (2008-2012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for 13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014 which the process held for 4 years (2011-2014). Each of those 3 creative process has different type of research, methods, and period, artworks as the output, experience of the artist whom get involved, and certain location in Indonesia. These 3 case studies describe that the research in creating artworks can be scientific with fully consideration, or semiscientific in consideration, or unscientific between consideration and uncosideration. And, the certain research implemented in creating artworks is related to the artist (individual and cultural), purpose of the artworks and exhibition, and content of the artworks which appointed.
7
Moore, Alexandra, and Rachel Nelson. "Barring Freedom: Art, Abolition and the Museum in Pandemic Times." Journal of Curatorial Studies 11, no. 1 (April 1, 2022): 52–71. http://dx.doi.org/10.1386/jcs_00055_1.
Full textAbstract:
Barring Freedom, a travelling exhibition featuring artworks engaging the histories and current conditions of prisons and policing in the United States, was to open in April 2020. While COVID-19 disrupted that plan, the realities of inequity in the United States placed into stark relief by the pandemic and the uprisings of summer 2020 brought urgency to rethinking the curatorial vision of the exhibition to reach audiences beyond the gallery walls. Buoyed by the idea that, in the words of Angela Davis, art can ‘propel people towards social emancipation’, the exhibition and related programming was reconceived as an ongoing, interdisciplinary, public scholarship initiative reaching across the borders normally perceived between museums, prisons and universities. Opportunities arose for expanded forms of community building and participation that welcomed different forms of knowledge, furthering the political and aesthetic aims of the project to shift the social attachment to prisons.
8
Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit." IMAGES 13, no. 1 (December 2, 2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.
Full textAbstract:
Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.
9
Jagiello, Jolanta. "The professional doctorate by Public Works." Higher Education, Skills and Work-based Learning 4, no. 2 (May 13, 2014): 196–206. http://dx.doi.org/10.1108/heswbl-10-2013-0018.
Full textAbstract:
Purpose – The purpose of this paper is to provide an overview of the Professional Doctorate by Public Works (DProf by Public Works) one of the newer Doctorates by Professional Studies from the Institute of Work Based Learning in Middlesex University. Design/methodology/approach – The DProf by Public Works is based on 75 per cent practice that has already taken place, and the 25 per cent Contextual Statement is a reflection on this practice encapsulated in no more than six Public Works, which places the researcher at the centre of the enquiry. Findings – This paper focuses on a particular DProf by Public Works entitled “An entrepreneurial curatorial strategy for public spaces” and outlines how it was achieved by detailing the inter-professional and trans-disciplinary approach taken. The process undertaken to produce a self-reflexive and self-positioning statement reflecting on over ten years of independent curatorial practice of public art exhibitions is examined. Originality/value – The Public Works and its supporting Contextual Statement make up the DProf by Public Works. These can be published works in the traditional sense or other embodied expressions of knowledge and practice such as collections of artifacts, videos, photographic records, musical scores, artworks, and exhibitions. This paper explores how individual critiquing at the highest level of enquiry in the Contextual Statement can transform research into future real-world strategic directions that influence thinking, action, and practice in the public domain.
10
Simon, Roger I. "Idolatry and the Civil Covenant of Photography: On the Practice of Exhibiting Images of Suffering, Degradation, and Death." IMAGES 4, no. 1 (2010): 46–56. http://dx.doi.org/10.1163/187180010x547639.
Full textAbstract:
AbstractExhibiting perpetrator photographs of suffering and death presents a series of curatorial problems for museums and galleries. Unlike photojournalist images taken to inform a social conscience, the initial creation and circulation of such photographs have historically been implicated in the violence they depict. Beyond skepticism as to photography’s capacity to arouse a moral impulse, exhibitions of perpetrator photographs have been criticized for promoting voyeurism and extending suffering through the reiteration of images of human degradation. I consider how a problem central to Jewish theology might speak to such curatorial concerns, specifically the question of what constitutes the practice of idolatry. In this context I explore issues related to the ethics of visuality, developing the implications of Leora Batnitzky’s reading of Franz Rosenzweig’s cultural writings for my own concerns regarding the museological practice of public history.
Dissertations / Theses on the topic "Curatorial artworks and related studies"
1
Burston, Mary Ann. "Looking for home in all the wrong places: nineteenth-century Australian-Irish women writers and the problem of home-making." Thesis, 2009. https://vuir.vu.edu.au/30089/.
Full textAbstract:
This thesis examines the writing of Irish identity in Australia to explore how nineteenth-century
Australian-born women writers negotiated their Irish emigrant heritage. A gap in knowledge
about Irish women's emigrant experiences and those of their descendants provides an opportunity
to investigate the translation of the Irish emigrant experience from the perspectives of first-born
Australian daughters. A critical analysis of the writing histories of Mary Eliza Fullerton, Mary
Grant Bruce and Marie Pitt (McKeown) will demonstrate the fragility of national identity in terms
of the cultural and symbolic language used to define Irish emigrant and Australian settler culture
identity between the late nineteenth-to-mid-twentieth centuries. The thesis provides an alternative
reading of national cultures and histories to show how each writer used images of Irish national
culture to clarify and elaborate notions of home in their Australian writing.
2
Walker, Andrew Gordon. "Pursuing the radical objective : discourse, ideology and the text : a study of the archive of the Australian Waterside Workers' Federation." Thesis, 2002. https://vuir.vu.edu.au/33021/.
Full textAbstract:
The texts of the Waterside Workers' Federation offer a valuable insight into
the beliefs and activities of one of Australia's more powerful and militant unions. This
investigation focuses on the period following the end of the 1930s and the years of
World War 2 when the WWF was going through a rebuilding phase under a strong
Communist leadership. Seen as an essential tool for the organizational rebuilding of a
battered and fragmented Federation, the leaders of the union saw the establishment of
a journal as a priority. The product of this vision was the widely distributed, monthly
Maritime Worker. This newspaper became the masthead of a politically re-awakening
union and through it historians have been able to access the ideological directions the
WWF took to achieve its industrial and political objectives.
This investigation places the texts of the Waterside Workers' Federation under
the scrutiny of a post-structuralist analysis that has the work of Michel Foucault as one
of its principal features. The object of this project is to develop a critique of the
organising processes that inform historical knowledge. These processes are recognised
as the constraints that discourse functions place on all meaning and understanding.
By focussing on the texts of the Waterside Workers' Federation and interrogating the
interpretative features that support the notions of text, ideology and discourse, this
investigation introduces the need for a re-examination of the constitutive and
organisational features that have constrained and limited historical knowledge in the
modem period.
Books on the topic "Curatorial artworks and related studies"
1
Gatzia, Dimitria Electra, and Berit Brogaard, eds. The Epistemology of Non-Visual Perception. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190648916.001.0001.
Full textAbstract:
Most of the research on the epistemology of perception has focused on visual perception. This is hardly surprising given that most of our knowledge about the world is attributable to our visual experiences. This edited volume is the first to instead focus on the epistemology of non-visual perception—hearing, touch, taste, and cross-sensory experiences. Drawing on recent empirical studies of emotion, perception, and decision-making, it breaks new ground on discussions of whether perceptual experience can yield justified beliefs and how to characterize those beliefs. The Epistemology of Non-Visual Perception explores questions not only related to traditional sensory perception, but also to proprioceptive, interoceptive, multisensory, and event perception, expanding traditional notions of the influence that conscious non-visual experience has on human behavior and rationality. Contributors investigate the role that emotions play in decision-making and agential perception and what this means for justifications of belief and knowledge. They analyze the notion that some sensory experiences, such as touch, have epistemic privilege over others, as well as perception’s relationship to introspection, and the relationship between action, perception, and belief. They engage with topics in aesthetics and the philosophy of art, exploring the role that artworks can play in providing us with perceptional knowledge of emotions. The essays collected here, written by top researchers in their respective fields, offer perspectives from a wide range of philosophical disciplines and will appeal to scholars interested in philosophy of mind, epistemology, and philosophical psychology, among other topics.
Book chapters on the topic "Curatorial artworks and related studies"
1
Long, Declan. "That which was: histories, documents, archives." In Ghost-Haunted Land. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784991449.003.0005.
Full textAbstract:
Chapter four begins by further discussing the haunted spaces of Doherty’s practice as the starting point for a reflection on artists’ approaches to time and history. This part of the book highlights artists who have adapted conventional forms of documenting and archiving in order to speculate on alternative temporalities and histories of Troubles and post-Troubles life. In addition to analyses of artworks by artists such as Duncan Campbell (winner of the 2014 Turner Prize) and Miriam de Búrca, who both adapt documentary processes in an art context, attention is paid to art that studies the history of Belfast through psychogeographic urban wandering and to some curatorial attempts to historicise Northern Ireland’s art.
2
Jules-Rosette, Bennetta, and J. R. Osborn. "The Theory and Method of Unmixing." In African Art Reframed, 237–65. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0007.
Full textAbstract:
This chapter describes the theory and method of unmixing. Unmixing entails the location and separation of semiotic elements that compose an artwork to enable curatorial contextualization, artistic interpretation, and audience perception. These elements may then be activated in digital workstations. By interacting with the stations, audiences learn about the composition and internal structure of artworks. The chapter examines precursors to unmixing, differentiates the method from practices of remix, and presents case studies of unmixed paintings and exhibitions. Unmixing workstations, and digital models more broadly, provide an opportunity to bring artifacts into the realm of experiential learning. Digital copies can be combined and recombined while preserving the authenticity of the original. The unmixing platform provides a valuable interactive learning tool for museumgoers of all ages.
3
Temple, Kathryn D. "Introduction." In Loving Justice, 1–26. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479895274.003.0001.
Full textAbstract:
This chapter establishes Blackstone's prominence, discusses his influence on Enlightenment thought about law and justice, and reveals his investment in legal emotions as related to harmonic justice. In a reading of his early poem “The Lawyer's Farewel,” it introduces Blackstone's poetics and illustrates methods of both close and surface reading common to literary analysis. The chapter argues that although Blackstone has been the subject of historical study, both Law and Humanities and history of emotions approaches can further illuminate Blackstone's method and impact. The chapter argues for a curatorial approach to Blackstone's work that takes into account his exercise of affective aesthetics and its impact on the history of emotions in law. It closes with a summary of the chapters to come and an argument in favor of foregrounding aesthetics and emotion in legal studies.
4
Osborne, James F. "On the Edge of Empire." In The Syro-Anatolian City-States, 126–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199315833.003.0004.
Full textAbstract:
This chapter borrows from middle-ground studies and related hybridity theory to argue that the Syro-Anatolian Culture Complex (SACC) was on an equal cultural footing with its much more politically powerful neighbor, the Neo-Assyrian Empire. Although Assyria would come to conquer most of SACC by about 700 BCE, for several centuries the two entities influenced one another culturally, an influence that is visible in their cultural products like wall reliefs and monumental statuary. In several cases, these reliefs and statues deliberately fused elements from both places to produce newly significant products, often in ways that emphasized Syro-Anatolian cultural priority even in the face of political domination. Beyond the fusion of iconographic tropes in isolated artworks, this chapter surveys the archaeological record of Syro-Anatolian cities that continued in use past the Assyrian conquest, demonstrating that in nearly all cases these cities’ architectural traditions were unmolested even while new Assyrian buildings were constructed, such that these cities themselves became hybrid entities of Assyrian and Syro-Anatolian cultural production.
5
Haselberger, Martina. "The Bigger Picture of Recovery: Conservation Challenges related to Living Heritage and Value and Belief Systems in the Preservation and Reconstruction of Cultural Heritage at Patan Durbar Square." In Heritage Reconstruction and People: Integrated Recovery After Trauma, 275–92. Arab Regional Centre for World Heritage, 2022. http://dx.doi.org/10.56500/c-r2035.
Full textAbstract:
"The monuments at Patan Durbar Square in Nepal have been conserved, recovered, and reconstructed with enormous effort, following the damage and devastation caused by a series of earthquakes in 2015. Collaborative work by the Kathmandu Valley Preservation Trust, the Nepalese Department of Archaeology, the Institute of Conservation at the University of Applied Arts in Vienna, and local craftsmen, working with the local community, has made a significant contribution in this respect. Several factors are decisive for the recovery of cultural heritage after a natural disaster: the availability of craftsmen familiar with traditional construction techniques and of heritage preservation professionals, comprehensive surveys and assessments, building materials, pre-disaster documentation, and the long-term commitment of financial support. How have these factors influenced efforts and progress in the case of Patan Durbar Square? What were the challenges and how were they solved? In Patan, tangible and intangible cultural heritage are closely linked and related to each other. The living culture is an essential characteristic of Patan and of Nepal more generally and so also a major criterion in the site’s inscription on the UNESCO World Heritage list. Safeguarding intangible cultural heritage is just as important as the preservation of tangible artworks and sites. This article examines to what degree craftsmanship, religious practices, and festivities and traditions (cyclical renewal) have represented an advantage or an obstacle for conservation and reconstruction efforts in Patan. The analysis is illustrated with selected case studies, while field-tested solutions for reconciling the preservation of both tangible and intangible heritage are pointed out."
Conference papers on the topic "Curatorial artworks and related studies"
1
Meng, Pu, Yueqi Liu, Liqun Zhang, and Xiaodong Li. "Computational Aesthetics of Visual Artworks: Review and Outlook." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001833.
Full textAbstract:
Beauty has always been the goal of human activity. The meaning of beauty is defined during its creation. The discussion of beauty by mathematicians has created the computational aesthetics. This paper reviews the related works in computational aesthetics of visual arts and summarizes the features used in aesthetic measurement. The features extracted from the visual artworks are divided into five types including visual, compositional, statistical, perceptual and artistic features. Based on those features, the visual images are quantified and analyzed on their aesthetic and artistic properties. The previous studies are mostly focused on the aesthetics of art production, the continuous process for artistic creation cannot be represented. Moreover, new forms of visual arts such as generative art emerged, which provide new opportunities and challenges to the field of computational aesthetics. A prospective on the algorithms for the evaluation of this new forms of visual arts will be given.