Relevant bibliographies by topics / Exhibition theory and practice

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Exhibition theory and practice'

Author: Grafiati
Published: 25 January 2025

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Journal articles on the topic "Exhibition theory and practice"

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Rabineau, Phyllis. "David Dean. Museum Exhibition: Theory and Practice.:Museum Exhibition: Theory and Practice." Museum Anthropology 19, no. 1 (March 1995): 88–89. http://dx.doi.org/10.1525/mua.1995.19.1.88.

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Waller, Laurie. "Curating actor-network theory: testing object-oriented sociology in the Science Museum." Museum and Society 14, no. 1 (June 9, 2017): 193–206. http://dx.doi.org/10.29311/mas.v14i1.634.

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Across different traditions of social research, the study of science exhibitions has often taken the form of an ‘object-oriented’ inquiry. In this tradition, actor-network theory (ANT) has focused on how the processes of exhibiting objects mediate relations between science and society. Although ANT has not developed as a theory of curating, it nonetheless contributes to revaluing the work performed by curators in relation to the practice of science. This article describes an ethnographic engagement with a curatorial experiment in a science museum which staged a ‘multi-viewpoint’ exhibition of an object. A display of an object ‘in process’, I take the opportunity of this curatorial experiment to explore analogies drawn in ANT studies between museums and laboratories in attending to the ways that curatorial practices mediate science. I ask whether, and to what extent, ANT can account for curating as a material practice that not only participates in domesticating objects for science but also in problematizing, multiplying and redistributing relations between objects and the social.Key words: actor-network theory, sociology, science studies, curating, objects.
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NicGhabhann, Niamh. "Curatorial Practice and Public History: Reflections on the ‘World Within Walls’ Exhibition." Irish University Review 52, no. 1 (May 2022): 77–90. http://dx.doi.org/10.3366/iur.2022.0543.

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This essay explores the potential for curatorial practice in a public history context to be engaged as a research practice. It focuses on the development of an exhibition on the history of St Davnet’s Hospital in Monaghan, which first opened as the Monaghan District Lunatic Asylum in 1869. The essay traces the development of this exhibition, and the significance of its location in a local authority museum context. Positioning the exhibition in the context of similar or related public history projects on the subject of psychiatric history, the essay reflects on the processes and practice of curating as a way of generating new insights. In particular, it considers practices of engagement and shared authority that are at the heart of public history practice, as well as contemplating the significance of working with material objects and their associated narratives. This examination of the ‘World Within Walls’ case study identifies curating as a significant research practice that generates new knowledge, rather than as a means of demonstrating or showcasing the results of prior work, particularly in the public history context.
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Antonova, Lidia. "On the question of the imperial rivalry (based on materials of British exhibitions at the last third of the XIX – early XX centuries)." Metamorphoses of history, no. 30 (2023): 0. http://dx.doi.org/10.37490/s241436770029061-7.

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In the practice of British imperial propaganda, international and colonial exhibitions occupied a prominent place, which made it possible to demonstrate the prosperity and unity of the vast possessions of the metropolis. The 1886 Exhibition was the first event of its kind and left behind a huge amount of sources which made it possible not only to present exhibition sites, but to draw conclusions about the theory and practice of British imperial building. The last third of the 19th century is characterized by the intensification of colonial rivalry between the great powers, which was expressed not only in trade, economic and military, but also in ideological confrontation. In this regard, it is interesting to analyze what assessment was given in the context of the exhibitions to «other colonialists» and by what parameters British imperial practices were compared with the policies of the competing powers. The article concludes that colonial exhibitions were indeed based on opposition, but it was not an opposition between Britain and other modern empires, but an opposition between the past and present of the British possessions themselves. In the past there was savagery and barbarism by the «uncivilized» natives or oppression by «bad» colonizers such as the French and Dutch. In the present, everything testified to progress, prosperity and peace within the British family.International exhibitions have always been an effective way to establish cooperation and have not been a method of demonstrating conflicts. The experience of the 1908 exhibition clearly demonstrated the peaceful potential of such projects.
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Crowe, Katherine, Robert Gilmor, and Rebecca Macey. "Writing, archives and exhibits: Piloting partnerships between special collections and writing classes." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (April 2019): 145–73. http://dx.doi.org/10.1177/0955749019877084.

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The University of Denver (DU) Libraries has been producing exhibitions for close to a decade and has recently increased its efforts to partner with classes, campus units and community organizations to integrate exhibit practices and resources into curricular and co-curricular opportunities. Student- and class-curated exhibitions feature prominently in the DU Libraries’ strategic plan, and the long-term partnerships between the Libraries and the DU Writing Program are central to the library’s agenda. Through an interdisciplinary lens of critical information literacy, archival theory, museology and Writing Studies, this article explores the 5-year collaboration and exhibition project between DU Special Collections and Archives and a faculty member of the DU Writing Program. The authors cover the background of the partnership, the evolution of the instructive and creative elements of the course, with a particular focus on the integration of archival research and exhibition practice, and examples of various iterations of the student-curated exhibits produced as part of the coursework. The article concludes with a discussion of the cross-disciplinary outcomes and challenges of initiating and managing a collaborative university writing and research course incorporating archives and exhibition in an academic library in the United States.
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Wessman, Anna, Xenia Zeiler, Suzie Thomas, and Pilvi Vainonen. "The Durga Puja pop-up exhibition at the National Museum of Finland. Designing and hosting an exhibition as university educationmuseum collaboration." Nordisk Museologi 29, no. 2 (December 21, 2020): 96. http://dx.doi.org/10.5617/nm.8445.

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In autumn 2018, eight Museum Studies students from the University of Helsinki had the opportunity to put theory into practice and to gain hands-on experience making a real exhibition. The ‘Museum Content Planning’ course was a collaborative project between the National Museum of Finland and the university in which the students, together with the museum staff, built a pop-up exhibition about the Indian festival Durga Puja in only five weeks. The exhibition showed in the National Museum for two weeks, and the students were involved in most stages of the exhibition’s development. They also blogged about their learning experience. In this case study, we present our reflections on both the benefits and challenges of collaboratively creating an exhibition, which is simultaneously an accredited learning experience for university students.
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Arnfred, Anne Julie. "The researching art exhibition. Curatorial approaches and methods in an interdisciplinary field." Nordisk Museologi 26, no. 2 (December 6, 2019): 5–23. http://dx.doi.org/10.5617/nm.7493.

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Building upon art theorist Simon Sheikh’s notion of two different translations of the word ‘research’ as on one hand the French recherché and on the other hand the German Forschung, the article explores the possibilities for combining art and research. Extending Sheikh’s idea of the art exhibition as Forschung, the article suggests a notion of the researching exhibition, exploring the possibilities of the art exhibition as an active contributor to, and generator of knowledge through a practice to theory approach in a (non-art) academic research project. The article contributes to reflection regarding which approaches and methods can be used in the collaborative practice-theory research process during work with the researching exhibition. It does so by examining what constitutes this type of exhibition, as well as the processes it produces and by which it is produced. The important thing is that the exhibition does not end up as a mere illustration of already conducted research, but rather as an active contributor to and facilitator of research.
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Goldman, Jane. "Virginia Woolf and Post-Impressionism: French Art, English Theory and Feminist Practice." Miscelánea: A Journal of English and American Studies 20 (December 31, 1999): 173–91. https://doi.org/10.26754/ojs_misc/mj.199911244.

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Roger Fry's historic exhibition of 1910, "Manet and the Post-Impressionists", was a defining moment in avant-garde aesthetics, marking European modernism's revolutionary impact on the practices of British artists. But it also marked the start of British formalist theorists' influence on the critical apparatus for modernism. It is often cited to explain Virginia Woolf's enigmatic statement, in "Mr. Bennett and Mrs. Brown" (1924): "on or about December 1910 human character changed". The formalist aesthetics of Roger Fry and Clive Bell with which this date has become linked are also invoked in readings of To the Lighthouse (1927) to explain the painting practice of Lily Briscoe and the modernist aesthetics of Woolf herself. But 1910 saw other events surrounding the exhibition that we might acknowledge as relevant: in particular, the suffragette activism occurring at the time of the exhibition, culminating in the notorious demonstration on "Black Friday". Woolf's manifesto on 1910 seems to resonate both with the formulations by Fry and Bell on European art and with the formulations and practices of British suffragist artists. The stained-glass artist and organiser of suffragist colours, Mary Lowndes, published a number of essays in 1910 and 1911 which are of particular interest. The combined influences of French art, English formalist theory, and suffragist aesthetics may be at work in Woolf's Künstlerroman of 1927.
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Knutz, Eva, and Kathrina Dankl. "Urban experiments exhibited: Exploring practice-based design research and agency in urban space." Artifact 9, no. 1 (December 1, 2022): 26.1–26.26. http://dx.doi.org/10.1386/art_00026_1.

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This article explores the methodological considerations regarding the organization of a site-specific exhibition in urban space and the design research experiments that may be part of such an exhibition. The aim is to encourage design research as ‘exhibition’ and to propose a format that allows theory to enter the exhibition programme for the purpose of aligning exhibition contributions with theoretical contributions. Through the proposed analytical approach, we offer a method and a model to analyse interventions in public space in relation to agency and the participatory agenda for humans and non-humans. The main contribution is an exploration of the specificalities of curating an exhibition in urban space as a distinct practice-based design research project, where programme, research questions and experiments create knowledge on scaling agency in regard to temporality, citizenship and the value of urban space.
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Bal, Mieke. "Guest Column: Exhibition Practices." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 9–23. http://dx.doi.org/10.1632/pmla.2010.125.1.9.

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What the public gets to see of museums is in the exhibitions in which their holdings are presented; beyond the archival functions of conservation, categorization, and restoration, this presentation is at the heart of museums as cultural institutions. Until a few decades ago, exhibitions were predictable in format and structure. Visitors attended monographic and period exhibitions to be instructed and to enjoy themselves according to the old adage of utile dulci. Every exhibition was an episode in a traditional conception of the management of art's relation to the public. Curators were also conservators; they studied, preserved, and categorized art objects and presented a selection of these according to the knowledge acquired. The space in which the objects were presented was kept as neutral as possible, so as not to disturb the viewer.
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Dissertations / Theses on the topic "Exhibition theory and practice"

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Welbourne, J. "Design theory and exhibition practice in Britain, 1924-1938 : The articulation and representation of modernist design theory between the Empire Exhibitions." Thesis, University of Essex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375731.

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Horsley, Jeffrey. "Embedding the personal : the construction of a 'fashion autobiography' as a museum exhibition, informed by innovative practice at ModeMuseum, Antwerp." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5688/.

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My intention is to contribute to the field of exhibition-making a repertoire of presentation modes, previously not analysed or documented, that can be applied to the display of fashion in the museum and which will extend those techniques currently available to the exhibition-maker to create meaningful and stimulating exhibition environments. Part 1 contextualises my investigation, through discussion of the exhibition as source material, the methods employed to execute the research and analysis of relevant literature. Part 1 concludes with an introduction to ModeMuseum, Antwerp, which is the primary location for my research. Part 2 details the identification, description and definition of a repertoire of presentation modes, classified and distinguished as innovative through comparative analysis of over 100 exhibitions visited for this research, alongside investigation of the exhibition formats and structures that support deployment of the modes. Part 3 relates the application of the presentation modes to the construction of a 'fashion autobiography‘ in the form of a proposal for a hypothetical exhibition, through examination of the processes utilised to develop the exhibition narrative and detailed account of the proposal in its final realisation. In conclusion, I will critically reflect on the research executed, underlining the interrelationship of the theoretical and practice-based activities. Finally, I will detail opportunities taken to disseminate this research, and indicate possible directions for continued investigation.
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Gillespie, Jethro D. "The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2848.

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In an attempt to help a class of high school AP Studio Art students find a more authentic sense of autonomy and ownership with their own art projects, the author has constructed a portable art gallery space designated for the exhibition of student artwork. Through a theoretical framework of post-structuralism, as well as a hybrid methodological approach, including tenets of both action research and grounded theory, he was able to explore how de-centralizing traditional, pedagogical notions of power in the classroom and utilizing contemporary art education practices affected AP Studio Art students' experience in the art classroom. By placing an emphasis on student exhibitions, the author was able to foster an environment of greater student autonomy and meaningful art making in the classroom.
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Gradusova, Daria. "Immersive exhibitions in the beginning of the 21st century: understanding theory and practice." Thesis, IMT Alti Studi Lucca, 2020. http://e-theses.imtlucca.it/306/2/Gradusova_phdthesis.pdf.

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This research investigates the popularity of immersive exhibition environments in the exhibitions of the 21st century. Behind the popularity of immersive exhibitions there are contradictions between theoretical frameworks applicable to immersion and exhibition design practice which were not investigated before but promise to shed light on to the foundations of designing immersive exhibitions. Laying on the intersection of exhibition design, scenography, environmental psychology, this research analyses what means immersion in exhibition design. The aims of this research project were to 1). understand what theories can be applied to enhance immersion through exhibition design, 2). examine how theories can be integrated into design practice, 3). identify what exhibition designers consider immersive exhibition environments in order to document opinions of those who lead the field. The findings indicated that applicable to immersion theories are not consciously applied in practice by exhibition designers, however, the effects which designers aim for in their final designers in some ways reflect the concept of liminality.
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Thorne, Jessica Louise. "The choreography of display : experiential exhibitions in the context of museum practice and theory." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/22063.

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Bibliography: pages 118-123.
In this project I examine curatorial processes and the experience of constructing and viewing museum exhibitions. Specifically I have been interested in the way in which certain exhibits facilitate powerful emotional responses from their viewers. I suggest that the curators of these kinds of exhibitions employ strategies which not only choreograph the displays but the viewers' bodies themselves as they move through them. As a case study of an experiential exhibition I focus on the District Six Museum where I have been part of its curatorial team since 1999. The work of curatorship that I have done at the Museum during the period of my registration for this degree constitutes part of this submission.
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Dalal-Clayton, Anjalie. "Coming into view : black British artists and exhibition cultures 1976-2010." Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4356/.

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This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of non-art-historical conceptual and alternative curatorial models: Afro Modern (Tate Liverpool), Action (The Bluecoat), and a retrospective of works by Chris Ofili (Tate Britain). Comparative exhibitions of the past were typically premised on concepts of difference that ultimately resulted in the notional separation of black artists from mainstream discourses on contemporary art and histories of British art. Through a close and critical textual analysis of these three recent exhibitions, which is informed by J.L. Austin’s theory of speech acts (1955), the study considers whether, and to what extent the delimiting curatorial practices of the past have been successfully abandoned by public art museums and galleries, and furthermore, whether it has been possible for British art institutions to reject the entrenched, exclusive conceptions of British culture that negated black contributions to the canon and narratives of British art in the first place. The exhibition case studies are complemented and contextualised by an in-depth history of the Bluecoat’s engagement with black creativity between 1976 and 2012, which provides a particular insight into the ways that debates about representation, difference and separatism have impacted the policies and practices of one culturally significant art gallery that is frequently overlooked in histories of black British art. With reference to the notion of legitimate coercion as defined by Zygmunt Bauman (2000), the study determines that long-standing hegemonic structures continue to inform the modes through which public art museums and galleries in Britain curate and control black creativity.
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Juste, Carlijn. "Digital Materials in Physical Spaces : Strategies for Exhibiting Digital and Beyond-Digital Installations in Contemporary Art Institutions." Electronic Thesis or Diss., Université de Lille (2022-....), 2025. http://www.theses.fr/2025ULILH001.

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Cette recherche interroge les nouvelles stratégies curatoriales relatives aux expositions d'œuvres d'art numérique dans des espaces physiques d'exposition. Par art numérique, j'entende les projets artistiques qui font usage de manière créative et critique de technologies telles que la programmation algorithmique, la réalité virtuelle ou augmentée, la robotique, l'utilisation des datas et les nouvelles formes d'apparition de l'image. Dans un monde où les outils numériques sont une condition structurante de la vie en société et de toute production culturelle (Stalder 2016), l'art numérique est un moyen puissant pour comprendre notre temps présent et notre avenir (Ertan 2016). Il peut offrir des approches et des récits alternatifs aux utilisations dominantes de la technologie, hautement influencées par le capitalisme mondialisé. L'institution artistique peut être un lieu unique permettant de réfléchir à l'influence prédominante des dispositifs technologiques sur nos vies et nos processus de pensée. Malgré le fait que ces œuvres numériques occupent maintenant une place importante dans le monde de l'art contemporain et peuvent se prévaloir d'une certaine historicité (Paul 2016), rares sont les travaux de recherche portant sur des nouvelles modalités de mise en exposition expérimentées pour ces œuvres et la façon dont l'art numérique nous incite à re-penser l'exposition (Dekker 2021). Les bouleversements opérés par le numérique transforment les modalités de production et d'exposition des œuvres. Des nouvelles stratégies curatoriales ont été expérimentées, et des modalités existantes on été adapté. En montrant ces ruptures et continuations avec une théorie et pratique de l'exposition existante ce de travail de thèse entend examiner finement comment les œuvres d'art utilisant les technologies numériques ont transformé notre façon de penser et de réaliser des expositions. Quelles sont les nouvelles stratégies curatoriales qui ont émergé s'appuyant sur l'interactivité, la variabilité, la matérialité technique des œuvres ? Comment s'articulent précisément les liens entre artiste, espace d'exposition, œuvre et spectateur dans ce nouveaux paradigme de l'exposition ? Comment évoluent des œuvres d'art dans le temps et comment est-ce qu'ils s'adaptent à des espaces d'expositions différents ? Annet Dekker, Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-curation, Amsterdam, Valiz, 2021.Ekmel Ertan, « Introduction to Histories of the Post-DigitalHistories of the Post Digital », Histories of the Post-DigitalHistories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016, p. 4-5.Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Felix Stalder, The Digital Condition, Cambridge, Polity Press, 2016, trad. par Valentine A. Pakis, Die Kultur der Digitalität, berlin, Surkamp Verlag, 2016
This research investigates new curatorial strategies for exhibiting digital artworks in physical exhibition spaces, with the term “digital art” referring to artistic projects that make creative and critical use of technologies such as algorithmic programming, virtual or augmented reality, robotics, the use of data, and new forms of image creation and distribution. In a world where digital tools are a structuring condition of life in society and of all cultural production (Stalder 2016), digital art represents a powerful means of understanding our present time and our future (Ertan 2016). It can offer alternative approaches and narratives to the dominant uses of technology, highly influenced by globalized capitalism. The art institution can also be a unique place to reflect on the predominant influence of technological devices on our lives and thought processes. Despite the fact that these digital works now occupy an important place in the contemporary art world and can claim a certain historicity (Paul 2016), there is little research into the new exhibition modalities experimented with these works and the way in which digital art prompts us to rethink the exhibitions (Dekker 2021). The upheavals wrought by digital technology are transforming the way works are produced and exhibited. New curatorial strategies have been experimented with, and existing modalities adapted to these different forms of artistic practice. By illustrating how these exhibitions both diverge from and simultaneously build upon existing exhibition theory and practice, this thesis aims to intricately examine how artworks utilizing digital technologies are transforming the ways in which we think about and build exhibitions. What new curatorial strategies have emerged based on the interactivity, variability, and technical materiality of the works? How are the links between artist, exhibition space, work, and viewer articulated in these new exhibition paradigms? How do artworks evolve over time, and how do they adapt to different exhibition spaces?Annet Dekker, Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-curation, Amsterdam, Valiz, 2021. Ekmel Ertan, « Introduction to Histories of the Post-DigitalHistories of the Post Digital », Histories of the Post-DigitalHistories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016, p. 4-5. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Felix Stalder, The Digital Condition, Cambridge, Polity Press, 2016, trad. par Valentine A. Pakis, Die Kultur der Digitalität, berlin, Surkamp Verlag, 2016
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Chan, King Lun Kisslan. "IGolf : contemporary sculptures exhibition 2009 /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.

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Burns, Ian. "Art Viewing and New Technology: Manufacturing the Screen Image." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/365383.

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This exegesis outlines the procedures, processes and methodology used in developing a significant body of studio work that investigates the dominance of the screen-image in contemporary art and culture. Following the established modes of practice-based research, the outcomes can be seen in two phases: the work developed and exhibited during the candidature, and the culminating submission exhibition. All the outputs resulted from intensive studio practice, although without using the studio as a hermetic environment, but rather as the base for practice attuned to the feedback loop of constant interaction and review of the most recent developments in exhibition practice and technique. All of the works discussed in the exegesis and developed towards the final submission demonstrate the progressive interrogation of the production of a screen-image from primitive forms such as the camera obscure through to the high-definition digital television image. A clear evolution is evident in the forms and strategies for dealing with the relationship between the screen and the machinations and industry that is behind bringing the image to fruition. The final submission exhibition brings these processes to a point of conclusion, if not resolution, where the material production experience and knowledge of the limits of the technology combine to demonstrate a new understanding of the impact of digitally generated screen-images and the role of the image in the age of new technology...
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Queensland College of Art
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Meynell, Katharine. "Time-based art in Britain since 1980 : an account of an interdisciplinary practice." Thesis, Royal College of Art, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323001.

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Books on the topic "Exhibition theory and practice"

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Chelsea College of Art and Design., ed. Practice and theory of visual art: BA honours graduate exhibition December 1996. London: Chelsea College of Art and Design, 1996.

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Conference, Visitor Studies. Visitor studies: Theory, research and practice : proceedings of the ... Visitor Studies Conference. Jacksonville, Ala: Center for Social Design, 1988.

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David, Dibosa, and Walsh Victoria, eds. Post critical museology: Theory and practice in the art museum. New York: Routledge, 2012.

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Fisher, Douglas, Anita Woolfolk Hoy, Peter V. Paul, and Sandra A. Stroot. Theory into Practice. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780203764121.

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Nath, Suman, and Debraj Bhattacharya. Theory, Policy, Practice. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003159940.

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Bueger, Christian, and Frank Gadinger. International Practice Theory. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73350-0.

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Newton, K. M., ed. Theory into Practice. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22244-5.

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Bueger, Christian, and Frank Gadinger. International Practice Theory. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137395535.

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Gorlewski, Julie A., David A. Gorlewski, and Thomas M. Ramming. Theory into Practice. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6209-049-1.

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Smid, Harm Jan. Theory and Practice. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-21873-6.

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Book chapters on the topic "Exhibition theory and practice"

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Spangler-Bickell, Caitlin. "Integrating Front-of-House with Behind-the-Scenes Practice in Contemporary Art Conservation." In Conservation of Contemporary Art, 341–63. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42357-4_17.

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AbstractThe “biographical approach to contemporary art conservation” has highlighted the efforts required by professionals to maintain the identity of complex artworks, given the changes that occur when they move between biographical stages such as creation, acquisition, installation and storage. Although this model indicates that every life phase should be a locus of professional attention, conservation practice is concentrated more on the transitional phases before and after exhibitions than on the exhibition period itself. Because conservators must turn their skills and energy to preparations for the next exhibition soon after an installation is complete, the exhibition period is an underrepresented biographical phase in conservation—an especially urgent deficiency for works that are only fully “activated” when on display. To remedy that, this chapter argues for expanding the collections care remit to integrate the “front-of-house” with behind-the-scenes conservation practice by making use of “ethnography for conservation” during the exhibition life phase. A participant observation study in the gallery space of the interactive exhibition Take Me (I’m Yours) at Pirelli HangarBicocca illustrates how this methodology, as well as an amplified role for invigilators, can help understand and assess risks, generate mitigation tactics and improve collections care.
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Reef-Stout, Britanny E., and Katalin Medvedev. "Multimedia Exhibition Teaches Undergraduate Students About Sustainable Fashion." In Handbook of Theory and Practice of Sustainable Development in Higher Education, 83–101. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47868-5_6.

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Owen, Alice, Siti Maimunah, Dian Ekowati, Rebecca Elmhirst, and Elona M. Hoover. "Extracting Us: Co-curating Creative Responses to Extractivism Through a Feminist Political Ecology Praxis." In Contours of Feminist Political Ecology, 51–73. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20928-4_3.

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AbstractIn this chapter, members of the Extracting Us Curatorial Collective reflect on the process, experiences and learnings of co-curating a series of exhibitions and events. We identify ourselves as situated researchers, activists and creatives. Engaging with feminist political ecology as both theory and practice, we revisit how we cultivated care, foregrounding community and weaving connections between extractive contexts. Our collective inquiry, made possible through paying attention to how the emotional and the embodied brings the everyday into scholar-activist exhibition spaces, has allowed us to present and explore different perspectives to the multitude of critical registers through which extractivism, resistance and solidarity are understood.
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Rossetto, Piera. "The AesthEt(h)ics of the Fragment." In Public History - Angewandte Geschichte, 55–72. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839464151-004.

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In this chapter, Piera Rossetto discusses the use of the fragment as ethical and aesthetic practice in working with difficult memories. The idea of an "AesthEt(h)ics of the fragment" is elaborated, drawing inspiration from two artistic practices: an exhibition dedicated to the 1938 census of the Jews in Milan, Italy, and a short documentary film of objects that survived their owners who drowned in the Mediterranean. Framed by Rothberg's conceptualization of memory as "multidirectional" and in recent shifts in map studies, the chapter illustrates some examples of creative maps produced in the context of research-creation practices. These creative maps chart the stories of the interviewees' as well as the position of the researcher in relation to them. The chapter is complemented by two visual essays that allow the reader to experience an "immersive form of knowing" and to grasp both the magnitude of the (tragic) events and the unique fragments that constitute them.
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Rohtmaa-Jackson, Mark. "Curatorial Practice." In Contemporary Exhibition-Making and Management, 122–29. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003197959-19.

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Witcomb, Andrea. "Towards a Cosmopolitical Exhibition Practice." In Edition Museum, 187–212. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839455142-010.

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McPherson, Tara. "Theory/Practice." In The Routledge Companion to Media Studies and Digital Humanities, 9–17. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315730479-2.

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Wilson, H. T. "Practice/theory." In Tradition and Innovation, 72–106. London: Routledge, 2023. http://dx.doi.org/10.4324/9781032636535-3.

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Ohm, Tillmann. "Algorithmic Exhibition-Making." In Edition Museum, 209–16. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-019.

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This paper characterizes the potential of networks and embeddings for curatorial selection processes using the case of our algorithmically curated exhibition at HALLE 14-Center for Contemporary Art Leipzig. The curatorial process involved the construction of an undirected bipartite network of artworks and associated keywords, further enriched with keyword embeddings based on the ConceptNet Numberbatch dataset. The algorithmic selection of artworks was initially topic-guided and based on keyword associations. Three distinct communities within the network were then used to divide the exhibition into subtopics. Visualizing these communities created a coherent, conceptually focussed display serving both curators and visitors, demonstrating as such the capacity of network-based analysis in curatorial practice.
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Jack, Tullia. "An intra-active exhibition on feminist theory." In Teaching and Learning Sustainable Consumption, 340–43. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003018537-59.

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Conference papers on the topic "Exhibition theory and practice"

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Fisher, W. G., and G. R. Hunt. "Warship EMP Hardening the Theory, The Practice, The Result." In 9th International Zurich Symposium and Technical Exhibition on Electromagnetic Compatibility, 377–82. IEEE, 1991. https://doi.org/10.23919/emc.1991.10781078.

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Karlsson, T. "On Grounding - Practical Procedures Based on Electromagnetic Theory." In 7th International Zurich Symposium and Technical Exhibition on Electromagnetic Compatibility, 565–66. IEEE, 1987. https://doi.org/10.23919/emc.1987.10778938.

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Margrave, G. F., P. C. Gibson, J. P. Grossman, D. C. Henley, and M. P. Lamoureux. "Gabor Deconvolution – Theory and Practice." In 66th EAGE Conference & Exhibition. European Association of Geoscientists & Engineers, 2004. http://dx.doi.org/10.3997/2214-4609-pdb.3.p005.

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Wang, Xifang, and Ruijuan Dai. "Green Exhibition Practice Approach Based on Circular Economy Theory." In Proceedings of The First International Symposium on Management and Social Sciences (ISMSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ismss-19.2019.33.

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Høier, Lars, and Curtis H. Whitson. "Compositional Grading - Theory and Practice." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 2000. http://dx.doi.org/10.2118/63085-ms.

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S. Biryulina, Marina, and Gennady A. Ryzhikov. "Intrabed multiple removal: theory and practice." In 6th SAGA Biennial Conference and Exhibition. European Association of Geoscientists & Engineers, 1999. http://dx.doi.org/10.3997/2214-4609-pdb.221.019.

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Williams, J. "Fair Market Value: Theory vs. Practice." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 1991. http://dx.doi.org/10.2118/22620-ms.

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Betancourt, S., K. Dahlberg, Ø. Hovde, and Y. Jalali. "Natural Gas-Lift: Theory and Practice." In SPE International Petroleum Conference and Exhibition in Mexico. Society of Petroleum Engineers, 2002. http://dx.doi.org/10.2118/74391-ms.

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Wilkinson, Peter. "Can HRO Theory and Practices be Applied in Practice? A Case Study." In SPE Asia Pacific Oil & Gas Conference and Exhibition. Society of Petroleum Engineers, 2016. http://dx.doi.org/10.2118/182470-ms.

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Trigubovich, G., M. Persova, and Y. Soloveichik. "3D Inductive Electrical Survey. Theory and Practice." In GeoSiberia 2007 - International Exhibition and Scientific Congress. European Association of Geoscientists & Engineers, 2007. http://dx.doi.org/10.3997/2214-4609.201403694.

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Reports on the topic "Exhibition theory and practice"

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Bagwell, Kyle, and Robert Staiger. The WTO: Theory and Practice. Cambridge, MA: National Bureau of Economic Research, October 2009. http://dx.doi.org/10.3386/w15445.

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Boudourides, Moses. Hypernetworks in Theory and Practice. Instats Inc., 2024. https://doi.org/10.61700/vzbd2b7zs75jn1879.

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This four-day seminar on hypernetworks provides a comprehensive exploration of both fundamental and advanced concepts, emphasizing their application in analyzing complex systems across various domains. Led by professor Moses Boudourides, participants will gain hands-on experience with Python tools to effectively model and interpret multi-dimensional interactions, enhancing their research capabilities and analytical skills.
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Card, David, David Lee, Zhuan Pei, and Andrea Weber. Regression Kink Design: Theory and Practice. Cambridge, MA: National Bureau of Economic Research, October 2016. http://dx.doi.org/10.3386/w22781.

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Thompson, Ian J. Theory and Practice of Nuclear Evaluations. Office of Scientific and Technical Information (OSTI), December 2016. http://dx.doi.org/10.2172/1335783.

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Lafferty, Brad D., Richard Huhn, Ghoneim M. Al-Shaibani, Todd E. Behne, and Margaret M. Curran. Gulf War Logistics: Theory Into Practice. Fort Belvoir, VA: Defense Technical Information Center, April 1995. http://dx.doi.org/10.21236/ada328305.

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Ball, Laurence, and N. Gregory Mankiw. The NAIRU in Theory and Practice. Cambridge, MA: National Bureau of Economic Research, May 2002. http://dx.doi.org/10.3386/w8940.

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Mankiw, N. Gregory, Matthew Weinzierl, and Danny Yagan. Optimal Taxation in Theory and Practice. Cambridge, MA: National Bureau of Economic Research, June 2009. http://dx.doi.org/10.3386/w15071.

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Wolfers, Justin, and Eric Zitzewitz. Prediction Markets in Theory and Practice. Cambridge, MA: National Bureau of Economic Research, March 2006. http://dx.doi.org/10.3386/w12083.

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Eto, J., S. Stoft, and T. Belden. The theory and practice of decoupling. Office of Scientific and Technical Information (OSTI), January 1994. http://dx.doi.org/10.2172/10129186.

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Nardon, Luciara. Qualitative Interviews: From Theory to Practice. Instats Inc., 2024. http://dx.doi.org/10.61700/gh11drxh3ouyw1420.

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This seminar provides essential training in qualitative interviews for PhD students, professors, and researchers, focusing on preparing effective questions, reflective interviewing, and analyzing qualitative data. Participants will gain skills in working with symbols, metaphors, and visual data, ensuring their research is rigorous and impactful. An official Instats certificate of completion is provided at the conclusion of the seminar. For European PhD students, the seminar offers ECTS Equivalent points.
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