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Journal articles on the topic 'Exhibitions. x'

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Published: 26 July 2024

Last updated: 28 July 2024

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1

Flores-Marcial, Xóchitl M. "Getting Community Engagement Right." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 98–108. http://dx.doi.org/10.1525/lavc.2021.3.1.98.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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2

Vargas-Santiago, Luis. "Emiliano." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 109–19. http://dx.doi.org/10.1525/lavc.2021.3.1.109.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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3

Ortiz-Torres, Rubén. "Mexicos and Americas." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 70–79. http://dx.doi.org/10.1525/lavc.2021.3.1.70.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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4

Bargellini, Clara. "Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 80–87. http://dx.doi.org/10.1525/lavc.2021.3.1.80.

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Abstract:

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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5

Richter, Kim N. "Golden Kingdoms at Getty." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 88–97. http://dx.doi.org/10.1525/lavc.2021.3.1.88.

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Abstract:

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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6

Josten, Jennifer. "Dialogues." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 60–69. http://dx.doi.org/10.1525/lavc.2021.3.1.60.

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Abstract:

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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7

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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8

Vaughan, R. S. "Technical exhibitions." Anaesthesia 43, no. 7 (July 1988): 600–601. http://dx.doi.org/10.1111/j.1365-2044.1988.tb06702.x.

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9

Richardson, Megan. "Patents and Exhibitions." Journal of World Intellectual Property 12, no. 5 (September 2009): 402–21. http://dx.doi.org/10.1111/j.1747-1796.2009.00359.x.

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10

Haldane, DUNCAN, LUCY Gent, NIGEL Llewellyn, and ANN Sumner. "REVIEWS OF EXHIBITIONS." Renaissance Studies 4, no. 1 (March 1990): 76–92. http://dx.doi.org/10.1111/j.1477-4658.1990.tb00206.x.

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11

Dieckvoss, Stephanie M., and John Childs. "Reviews of Exhibitions." Renaissance Studies 10, no. 4 (December 1996): 505–17. http://dx.doi.org/10.1111/j.1477-4658.1996.tb00369.x.

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12

Hankins, James. "REVIEWS OF EXHIBITIONS." Renaissance Studies 12, no. 2 (October 1, 2008): 277–83. http://dx.doi.org/10.1111/j.1477-4658.1998.tb00404.x.

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13

Brown, Beverly Louise. "REVIEWS OF EXHIBITIONS." Renaissance Studies 14, no. 2 (June 2000): 251–59. http://dx.doi.org/10.1111/j.1477-4658.2000.tb00336.x.

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14

Minchin, Prof E. A. "Exhibitions and Notices." Proceedings of the Zoological Society of London 84, no. 2 (August 21, 2009): 475–90. http://dx.doi.org/10.1111/j.1469-7998.1914.tb07051.x.

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15

WOODWARD, ARTHUR SMITH. "EXHIBITIONS AND NOTICES." Proceedings of the Zoological Society of London 95, no. 4 (August 21, 2009): 1581–85. http://dx.doi.org/10.1111/j.1469-7998.1925.tb07447.x.

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16

Flower, Major S. S. "Exhibitions and Notices." Proceedings of the Zoological Society of London 97, no. 4 (May 7, 2010): 1003–5. http://dx.doi.org/10.1111/j.1469-7998.1927.tb07442.x.

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17

MACBRIDE, E. W. "EXHIBITIONS AND NOTICES." Proceedings of the Zoological Society of London 99, no. 2 (May 7, 2010): 363–64. http://dx.doi.org/10.1111/j.1469-7998.1929.tb07747.x.

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18

Lebour, Marie V. "NOTES AND EXHIBITIONS." Proceedings of the Zoological Society of London 115, no. 1-2 (August 21, 2009): 279. http://dx.doi.org/10.1111/j.1096-3642.1945.tb00861.x.

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19

Thomson, Dr A. Landsborough. "NOTES AND EXHIBITIONS." Proceedings of the Zoological Society of London 116, no. 1 (August 21, 2009): 177. http://dx.doi.org/10.1111/j.1096-3642.1946.tb00114.x.

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20

Hinton, Mr Martin A. C. "NOTES AND EXHIBITIONS." Proceedings of the Zoological Society of London 116, no. 1 (August 21, 2009): 178–79. http://dx.doi.org/10.1111/j.1096-3642.1946.tb00115.x.

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21

Hinton, Martin A. C. "NOTES AND EXHIBITIONS." Proceedings of the Zoological Society of London 116, no. 2 (August 21, 2009): 367–70. http://dx.doi.org/10.1111/j.1096-3642.1946.tb00129.x.

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22

Woodward, A. Smith. "EXHIBITIONS AND NOTICES." Proceedings of the Zoological Society of London 83, no. 1 (August 21, 2009): 1–4. http://dx.doi.org/10.1111/j.1096-3642.1913.tb01979.x.

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23

Bradford, John Rose. "EXHIBITIONS AND NOTICES." Proceedings of the Zoological Society of London 83, no. 1 (August 21, 2009): 150–52. http://dx.doi.org/10.1111/j.1096-3642.1913.tb01991.x.

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24

Minchin, E. A. "EXHIBITIONS AND NOTICES." Proceedings of the Zoological Society of London 83, no. 4 (August 21, 2009): 1090–104. http://dx.doi.org/10.1111/j.1096-3642.1913.tb02006.x.

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25

"EXHIBITIONS." Journal for Eighteenth-Century Studies A13, no. 13 (October 1, 2008): 25. http://dx.doi.org/10.1111/j.1754-0208.1977.tb00481.x.

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26

"EXHIBITIONS." Journal for Eighteenth-Century Studies 1, no. 3 (October 1, 2008): 222. http://dx.doi.org/10.1111/j.1754-0208.1978.tb00368.x.

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27

"Meetings, exhibitions." LWT - Food Science and Technology 28, no. 1 (January 1995): 161. http://dx.doi.org/10.1016/s0023-6438(95)80031-x.

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28

"EXHIBITIONS: FORTHCOMING." Journal for Eighteenth-Century Studies A12, no. 12 (October 1, 2008): 44–45. http://dx.doi.org/10.1111/j.1754-0208.1977.tb00620.x.

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29

"National Exhibitions." Sculpture Review 48, no. 1 (March 1999): 36. http://dx.doi.org/10.1002/j.2632-3494.1999.tb00012.x.

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30

"Reviews of Exhibitions." Renaissance Studies 18, no. 3 (September 2004): 475–84. http://dx.doi.org/10.1111/j.0269-1213.2004.00072.x.

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31

"REVIEWS OF EXHIBITIONS." Renaissance Studies 18, no. 4 (December 2004): 609–15. http://dx.doi.org/10.1111/j.1477-4658.2004.00079.x.

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32

"REVIEWS OF EXHIBITIONS." Renaissance Studies 20, no. 1 (February 2006): 88–96. http://dx.doi.org/10.1111/j.1477-4658.2006.00136.x.

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33

"EXHIBITIONS AND CATALOGUES." Art Book 1, no. 5 (December 1994): 16–18. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00235.x.

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34

"EXHIBITIONS AND CATALOGUES." Art Book 2, no. 2 (June 1995): 15–16. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00257.x.

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35

"EXHIBITIONS AND CATALOGUES." Art Book 2, no. 3 (September 1995): 11–13. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00275.x.

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36

"EXHIBITIONS AND CATALOGUES." Art Book 2, no. 4 (December 1995): 11–12. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00293.x.

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37

"EXHIBITIONS AND CATALOGUES." Art Book 3, no. 1 (January 1996): 12–15. http://dx.doi.org/10.1111/j.1467-8357.1996.tb00313.x.

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38

"REVIEWS OF EXHIBITIONS." Renaissance Studies 1, no. 1 (March 1987): 173–87. http://dx.doi.org/10.1111/j.1477-4658.1987.tb00126.x.

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39

"REVIEWS OF EXHIBITIONS." Renaissance Studies 3, no. 1 (March 1989): 76–92. http://dx.doi.org/10.1111/j.1477-4658.1989.tb00171.x.

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40

"Reviews of Exhibitions." Renaissance Studies 4, no. 3 (September 1990): 343–58. http://dx.doi.org/10.1111/j.1477-4658.1990.tb00218.x.

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41

"Reviews of Exhibitions." Renaissance Studies 5, no. 3 (September 1991): 353–58. http://dx.doi.org/10.1111/j.1477-4658.1991.tb00247.x.

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42

"REVIEWS OF EXHIBITIONS." Renaissance Studies 8, no. 3 (September 1994): 331–37. http://dx.doi.org/10.1111/j.1477-4658.1994.tb00298.x.

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43

"REVIEWS OF EXHIBITIONS." Renaissance Studies 9, no. 3 (September 1995): 319–41. http://dx.doi.org/10.1111/j.1477-4658.1995.tb00317.x.

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44

"Reviews of Exhibitions." Renaissance Studies 10, no. 2 (June 1996): 301–12. http://dx.doi.org/10.1111/j.1477-4658.1996.tb00361.x.

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45

"REVIEWS OF EXHIBITIONS." Renaissance Studies 11, no. 2 (June 1997): 141–59. http://dx.doi.org/10.1111/j.1477-4658.1997.tb00017.x.

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46

"REVIEWS OF EXHIBITIONS." Renaissance Studies 11, no. 4 (December 1997): 434–65. http://dx.doi.org/10.1111/j.1477-4658.1997.tb00030.x.

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47

"Reviews of Exhibitions." Renaissance Studies 12, no. 4 (December 1998): 545–73. http://dx.doi.org/10.1111/j.1477-4658.1998.tb00059.x.

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48

"REVIEWS OF EXHIBITIONS." Renaissance Studies 13, no. 1 (March 1999): 73–87. http://dx.doi.org/10.1111/j.1477-4658.1999.tb00067.x.

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49

"REVIEWS OF EXHIBITIONS." Renaissance Studies 13, no. 2 (June 1999): 223–29. http://dx.doi.org/10.1111/j.1477-4658.1999.tb00074.x.

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50

"REVIEWS OF EXHIBITIONS." Renaissance Studies 13, no. 3 (September 1999): 343–48. http://dx.doi.org/10.1111/j.1477-4658.1999.tb00082.x.

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