Journal articles on the topic 'Fantasy in art – Exhibitions'
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Otto, Kristin. "Shapes of the Ancestors: Bodies, Animals, Art, and Ghanaian Fantasy Coffins." Museum Anthropology Review 13, no. 1 (March 29, 2019): 47–58. http://dx.doi.org/10.14434/mar.v13i1.26580.
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This project report describes the research and presentation of Shapes of the Ancestors: Bodies, Animals, Art and Ghanain Fantasy Coffins, an exhibition focusing on the workshop of Ghanain fantasy coffin maker Paa Joe. The exhibition was on display at the Mathers Museum of World Cultures in Bloomington, Indiana from August 14 through December 16, 2018.
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Chan, JJ, and Mathew Gillings. "Constructions and representations of Chinese identity through England’s curatorial imagination: A corpus-assisted analysis." Research in Corpus Linguistics 12, no. 1 (2024): 114–39. http://dx.doi.org/10.32714/ricl.12.01.05.
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This article explores the linguistic representation of Chinese identity in art exhibitions across England in the period immediately following the Umbrella Revolution. It focuses on publicly funded institutions through an analysis of press releases from Art Council England’s National Portfolio Organisations (NPOs) between 2014 and 2020. By employing corpus-assisted methods of analysis (Baker et al. 2008; Partington et al. 2013; Gillings et al. 2023) and drawing on Karen Barad’s (2007) notion of ‘diffraction’ to read through linguistic and artistic practices, we identify five key areas of interest that run throughout the press releases: namely, colonial history, the foregrounding of ethnicity, the media, fantasy, and green issues. This analysis allows us to speculate on how the creative actions of these publicly funded institutions might have contributed to the socio-political Zeitgeist surrounding a racialised population in England, raising important questions for NPOs and other institutions on the role of the curatorial in the forming of social realities, and the extent of their practice in discourse on decolonisation, language, race, and politics. On a theoretical and methodological level, it also allows us to explore potential synergies between corpus-assisted discourse analysis and the arts.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”." Observatory of Culture 18, no. 2 (May 31, 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.
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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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Wilmink, Melanie. "Surface and light." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 169–78. http://dx.doi.org/10.33178/alpha.17.11.
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Utilising case studies from my curatorial practice, this paper discusses the balance between research and creation, and elaborates on exhibition projects that centre the spectator within an embodied experience of the moving image. While some of my curatorial practice includes installation art that literalises the space of the image, including Urbanity on Film (2009), and The Situated Cinema Project; in camera (2015), other programs have achieved this same effect within a single-channel screening format, including Radiant Bodies (2015) and Dirt City Rock Fantasy: The Short Films of Trevor Anderson (2016). By treating the moving image as an experience that incorporates the space and time of the viewer’s body, these curatorial projects explore the idea of artwork as a phenomenological tool, creating exciting environments while simultaneously advancing knowledge through the process of being with the artwork.
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Luibyva, Mariia-Milana. "AD GLORIAM DEI: PATTERNS OF PAIN, SUFFERING AND PLEASURE IN MEDIEVAL CULTURE." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 55–58. http://dx.doi.org/10.17721/ucs.2023.1(12).12.
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The article provides a cultural analysis of the triad of pain, punishment and pleasure as a significant component of medieval religious practices and their representations. The artistic and visual sphere of medieval culture is characterized by the hegemony of images of violence. Accordingly, the study attempts to identify the potential of portraying violence to generate and legitimize various forms of pleasure. Violence in the religious discourse of the Middle Ages and its representations operates on several different levels: the pleasure associated with identifying with the victim, the pleasure of projecting cruelty on the tormentors, the pleasure of fantasizing about ritual violence against the sacred victim. Comparing the mechanisms of pain gratification in religious practices and masochism sheds light on the symbolic load and functions of pain in Medieval Culture. Medieval images of pain as a tool of punishment did not just reflect cruel realities: and images were common because they were motivated and created by certain types of pleasure. Artistic images of pain and suffering do not just depict broken bodies and psyche, they also create opportunities for constructing the "I", institutions and ideas in the interests of a whole range of different programs and ideological positions. The hegemony of violence in the visual art of the era has the potential to create a space for the cultivation of broader, subversive possibilities: compassion and opposition to the pain of martyrs, fantasies of resistance, emancipation, the formation of alternative forms of eroticism, getting voyeuristic pleasure from hurting others. The paper attempts a transcultural comparison of the practices of getting pleasure from causing pain on the example of religious practices (self-harm) and masochism: they are based on dramatic expectation, postponement, delay in final satisfaction, investment in fantasy, attraction to exhibitionism. Using masochism as an interpretive category, one can see the structures of fantasy, tension, and view that formed the basis of certain genres of medieval representation. Through fantasy, obscurity, and exhibitionism, masochism transcodes the body in pain to the scene of erotic liberation. With the help of a similar trio of techniques, martyrdom forms the sublime body of a saint.
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Guk, Alexey A. "Cultural and Aesthetic Dynamics of Photography as a Form of Contemporary Art." Observatory of Culture 21, no. 2 (April 19, 2024): 149–57. http://dx.doi.org/10.25281/2072-3156-2024-21-2-149-157.
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Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary artists of the conceptual possibilities of photography. It was mainly the photographic documentation of process-action forms of contemporary art. The same period saw the birth and formation of the main artistic strategies and creative methodologies of art-photography: adherence to documentaries, the use of staging (directing), the introduction of seriality (typology), the combination of word and image. The second stage (1980s — 1990s) of art-photography functioning is characterized by further development and enrichment of established artistic tendencies and the emergence of new practices in which photographic material expands its subject matter and claims the role of a text that problematizes (thematizes) the represented reality. The development of art-photography at the third stage (2000s to the present) is determined by two main factors: the processes of digitalization and oscillation of contemporary culture and art, which leads to the transformation of the “mode of truth” of the photographic image and the strengthening of the importance of the aesthetics of the individual photographic frame. At the level of practice, this is expressed in the creation of photographic pictures where reality and fantasy images merge into a single whole and become indistinguishable. This effect was reinforced by printing photographs of enormous size and exhibiting them in museum spaces and galleries. Nowadays, art-photography, while remaining a form of contemporary art, seeks to go beyond it and acquire signs of aesthetic self-sufficiency.
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Littrup, Signe Lykke, and Poul Grinder-Hansen. "Fakta og fantasi, historiebrug og museernes troværdighed." Nordisk Museologi 35, no. 1-2 (January 2, 2024): 20–36. http://dx.doi.org/10.5617/nm.10817.
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This article discusses a somewhat controversial exhibition at the UNESCO World Heritage Site Kronborg Castle in Elsinore, The Royal Series at Kronborg Castle – Facts and Imagination with Jim Lyngvild and Poul Grinder- Hansen, which opened at Kronborg Castle in April 2021. The authors contributed to the exhibition’s content and form, Signe Lykke Littrup as curator and project manager, senior researcher Poul Grinder-Hansen as historical co-creator of the exhibition’s content in text, speech, and film. The article is built around experiences from the exhibition, methodological and theoretical considerations about its communication skills and quotes from interviews with guests who visited the exhibition in the summer and autumn of 2021. The article concludes that a cultural-historical exhibition can, through the conscious use of both contemporary and ancient works of art in a dialogue-based form, involve guests and create considerations about the conditions for the uses of the past in storytelling.
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Classen, Albrecht. "Sherry C. M. Lindquist and Asa Simon Mittman. With a Preface by China Miéville, Medieval Monsters: Terrors, Aliens, Wonders. New York: The Morgan Library & Museum, 2018, 175 pp., more than 90 colored ill." Mediaevistik 31, no. 1 (January 1, 2018): 284. http://dx.doi.org/10.3726/med012018_284.
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This wonderfully illustrated book accompanied an exhibition that took place at the Morgan Library & Museum, New York, from June 8 to September 23, 2018, authored by two well established and respected art historian*s, who provide us with a sweeping view of the world of monsters and many other related creatures in medieval fantasy. While previous research mostly focused on monsters in the narrow sense of the word, i.e., grotesque and oversized human-like creatures normally threatening ordinary people in their existence, Lindquist and Mittman pursue a much broader perspective and incorporate also many other features in human imagination, including wonders, aliens, Jews, Muslims, strangers in general, the femme fatale, sirens, undines, mermaids (but there is no reference to the Melusine figure, though she would fit much better into the general framework), devils, and evil spirits. However, I do not understand why ‘gargoyles’ have been left out here. This vast approach allows them also to address the beasts from the Physiologus tradition, then natural wonders, giants, and then, quite surprisingly, religious scenes in psalters (148), depictions of nobles playing chess (150; where are the wild men alleged surrounding the players?), the whore of Babylon (153), figures from the Apocalypse, and anything else that smacks of wonder.
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Simmel, Georg. "On Art Exhibitions." Theory, Culture & Society 32, no. 1 (May 23, 2014): 87–92. http://dx.doi.org/10.1177/0263276414531052.
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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach, and Olga Zulabueva. "Exhibitions." Museum Worlds 6, no. 1 (July 1, 2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.
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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm
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Zhang, Juntong. "Research on Factors Influencing Online Art Exhibitions and the Role that Social Media Can Play during Online Exhibitions." Communications in Humanities Research 3, no. 1 (May 17, 2023): 38–45. http://dx.doi.org/10.54254/2753-7064/3/20220131.
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During the epidemic, many art exhibitions and museums started online exhibitions actively or passively. How to make online art exhibitions accepted by more people and how to promote online art exhibitions more smoothly have become the main problems facing the society. This paper aims to explore the factors that affect people to watch online art exhibitions, and how to make the promotion of online art exhibitions successful.
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Maliuk, Yevhen. "Book remediation in audiovisual arts through the lens of video games." Вісник Книжкової палати, no. 12 (December 28, 2023): 11–16. http://dx.doi.org/10.36273/2076-9555.2023.12(329).11-16.
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The article undertakes a comprehensive examination of the phenomenon of book remediation through the lens of the theoretical framework presented by American researchers J. Bolter and D. Grusin. Drawing on statistical data illustrating the role of books in the lives of Ukrainians, the author validates the assertion that books no longer occupy a central position in the leisure pursuits of contemporary individuals. However, it is intriguing to note that the majority of today's popular media actively engage in the process of remodeling books. Defined inherently as multimedia, contemporary audiovisual art is characterized by remediation, with video games chosen as the most technologically advanced exemplar within this genre. Notably, the analysis reveals a significant gap in previous research, specifically, the lack of attention to the nuanced connection between the characteristics of remediating books in the context of video games. A key revelation is that the frequency of remediating books through video games is contingent on the genre, with games prioritizing gameplay mechanics over plot exhibiting a lower propensity for book remediation. The form of remediation in such video games is conditional, primarily associated with the intricacies of the game interface. Conversely, in narrative-centric video games, remediation tends to involve a more direct interaction with the book. Expanding beyond the initial scope of inquiry, the study identifies and scrutinizes additional factors influencing remediation. The setting of the game and the player's perspective emerge as crucial variables, with book remediation more prevalent in video games set in fantasy archaic or modern environments compared to those set in fantastical realms. An equally significant factor, rivaling genre influence, is the player's perspective, notably observed in first-person games which exhibit a propensity to eschew hypermedia in their interaction with the game world — a tendency most pronounced in video games leveraging virtual reality technology.
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Jasny, B. "EXHIBITIONS: ART: Global Perspectives." Science 322, no. 5905 (November 21, 2008): 1191a. http://dx.doi.org/10.1126/science.1167366.
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Tsang, Winnie. "Creating National Narrative: The Red Guard Art Exhibitions and the National Exhibitions in the Chinese Cultural Revolution 1966 - 1976." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 117–32. http://dx.doi.org/10.5195/contemp.2014.58.
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The artistic development in China experienced drastic changes during the Cultural Revolution from 1966 to 1976. Traditional Chinese art was denounced, whereas propaganda art became predominant in shaping the public’s loyalty towards the Communist Party and the country. Two major groups of art exhibitions emerged during the Revolution—the unofficial Red Guard art exhibitions organized by student activists in collaboration with local communes and art schools between 1966 and 1968, and the state-run national exhibitions from 1972 to 1975. These exhibitions were significant to this period because they were held frequently in the capital city Beijing and occasionally elsewhere, and through art they presented unique revolutionary beliefs to the Chinese people in a public setting. While the Red Guard art exhibitions and the national exhibitions certainly created different national narratives, I argue that the national exhibitions were in fact an attempt to revise the national narrative created by the Red Guard art exhibitions in order to re-establish a more utopian, consistent, and official national narrative. This paper unravels the intricate relationship between the two groups of exhibitions by comparing their exhibition venues, ideological focuses, work selection and quality editing.
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Andreeva, E. Yu. "Soviet Art at Art Exhibitions and Expositions of Russian Museums and Galleries in the 1990s-2020s." Art & Culture Studies, no. 4 (December 2023): 390–421. http://dx.doi.org/10.51678/2226-0072-2023-4-390-421.
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The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginalized layers of artistic culture into scientific circulation and the public sphere. In relation to this work, these are research exhibitions of the Russian-Soviet avant-garde and artistic movements of the 1920s-1930s and non-conformism of the 1940s-1980s. The goals of attraction exhibitions (the proposed term is based on S. Eisenstein’s well-known method of “the montage of attractions”) are associated with the creation of an entertaining visual environment that affects the viewer, offering them ways of understanding the Soviet past ideologized in the Soviet style. The purpose of the article is also to show how the cultural policy of temporary exhibitions affects the re-expositions of the State Russian Museum and the State Tretyakov Gallery, that is, the formation of certain patterns or scenarios for the presentation of the art of the Soviet past.
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Lin, Jiajing. "Analysis of the Development and Direction of Contemporary Exhibitions." Communications in Humanities Research 9, no. 1 (October 31, 2023): 238–45. http://dx.doi.org/10.54254/2753-7064/9/20231191.
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With the advancement of civilization and the passage of time, art has steadily merged into everyday life. The quantity and variety of art exhibitions held have significantly expanded, becoming a daily activity for the majority of the public as the social process and the pace of peoples lives continue to quicken. The public is given a strong sense of connection to the art institution and the exhibition space as a result of the modern exhibitions progressive evolution and subsequent innovation and improvement. This paper looks at the potential and direction of contemporary art exhibitions, analyzes the shortcomings of contemporary art exhibitions, and looks at the current situation and development prospects of contemporary art exhibitions as well as the background of academic research at home and abroad. It examines and provides examples from four perspectives, including participatory exhibition, interactive art, and high technology, Nicholas Berriods relational aesthetic theory, and online exhibition. It also examines and thinks from the perspective of traditional Chinese context theory, reflecting various methods of presenting contemporary exhibitions and new ideas in the hopes of assisting artists and curators.
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Bier, Carol. "Bridges 2017 mathematical art exhibitions." Journal of Mathematics and the Arts 12, no. 1 (January 2, 2018): 44–50. http://dx.doi.org/10.1080/17513472.2017.1422357.
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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (June 20, 2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.
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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.
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Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (October 31, 2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.
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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.
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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.
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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
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Gao, Yijia. "Technical Analysis and Development Advantages of Online Virtual Exhibition from the Digital Technology Perspective." Communications in Humanities Research 9, no. 1 (October 31, 2023): 134–39. http://dx.doi.org/10.54254/2753-7064/9/20231158.
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Institutions and peoples lives have been impacted by public health initiatives to contain the COVID-19 virus. The outbreak may qualify as a mega event due to its potential for global impact and transformation. The contemporary art world has especially felt the impact of the epidemic, as the entire cultural activity has been suspended due to the outbreak, including exhibitions and museums of various themes. During this period, art institutions and collectives around the world have responded by providing alternative materials for artistic works through various technological technologies and online. Emerging, high-tech methods such as multimedia art are applied to display design to help the art world continue to develop during the pandemic. This article aims to reflect on the challenges and opportunities of online virtual exhibitions of contemporary art. From the case analysis of 3 online exhibitions (2 museums, 1 art biennale), analyze the development advantages of online virtual exhibitions. Most online virtual exhibitions can use virtual reality (VR), augmented reality (AR), Fabric VR projects, including: 3D Fabric VR, 360-degree Fabric VR, a network-based digital collection system, and other technologies to enhance the exhibition experience. And create related websites or apps to allow visitors to visit online exhibitions. These studies will contribute to a broad understanding of existing online virtual exhibitions, including the technologies used and future application development.
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Huang, Nanyan. "Immersive Exhibition: Its Theoretical Development, Its Audiences and the Re-discovery of Modern Art Exhibition." Communications in Humanities Research 3, no. 1 (May 17, 2023): 318–24. http://dx.doi.org/10.54254/2753-7064/3/20220317.
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As an innovative form of art exhibition, immersive exhibitions have gained popularity all over the world in recent years. Such exhibitions are not only a departure from traditional gallery displays but also lead to different modalities of visiting cultural sites. One distinguishable tendency, one that could be detected in the curatorial strategies of most contemporary exhibitions, is the increasing emphasis put on the aesthetic effect that exhibitions could offer. Correspondingly, the relationship between the visitors and the artworks is changed through the ways visitors situate and perform their bodies within such exhibitions. Unlike traditional exhibitions, immersive exhibitions allow visitors to wander more freely and interact with the settings more engagingly. This essay analyses 1) the common features of immersive exhibitions and the more general theories behind the curatorial principles; 2) the visitor's motivation for visiting, their behaviors during visiting, and how they build their self-image on social media with the aid of immersive exhibitions; 3) the effect and significance of immersive exhibitions in democratizing art and reconsidering the boundary of art. Drawing from the above-mentioned points, some intriguing questions that concern broader aspects within the discipline are also noteworthy.
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Kumar, Alok, and Minakshi Hooda. "WOMEN FIGURES IN FANTASY ART." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (March 16, 2022): 100–107. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.72.
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People say that “Never judge a book by its cover,” but the cover of the book invites us towards it. I remember, during my college years, of going to a bookstore, named” IDEA” in New Delhi, and buying an expensive book named “ENCHANTMENT” stories by Doris Vallejo, Illustrated by Boris Vallejo. The thing, that attracted me, was cover of the book. At that point of time, I was not prepared for reading stories, but I bought this book because of its illustrations, which enchanted me.In Fantasy Art, we see a visual world and feel a World of Imagination which is a representation of reality. In Fantasy art, we can time travel and become anything of our choosing. This is not the world, we know and live in, but a world of our conceived and perceived imagination.In this imaginative world, female figures, plays a key role in provoking our feelings, invite us, for a heroic journey to explore an unknown world.Through this article, I would like to invite you to join me, on a fantastic journey of this female representation in Visual World and become part of this Fantasy Artwork.To build the idea of FANTASY ART from a linguistic understanding following writings lead us on, the Meriam webster dictionary define art as “The conscious use of skill and creative imagination, especially in the production aesthetic objects; also; works to produce”.In Shabdkosh Hindi Dictionary, “The creation of beautiful or significant things”. “The product of human creativity; works of art collectively”.The definition, I listen in my college is “Art Is Representation of Reality”.Regardless of definition, we all know about what art is and what it is not.Dictionary meaning of word fantasy is “Imagination unrestricted by reality” and fantasy art meaning is, an imaginative world, that could be, may it be, would have been, or could never be. In this imaginative art style, the artwork which can be thought provoking, whimsical, challenging, disturbing, unreal, and challenging of notions of rationality.
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Lewis, Peter. "Collingwood on Art and Fantasy." Philosophy 64, no. 250 (October 1989): 547–56. http://dx.doi.org/10.1017/s0031819100044302.
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Kropyvko, I. "Fantasy in Ukraine: an in-action cultural tradition." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 16, no. 28 (2023): 127–39. http://dx.doi.org/10.34079/2226-3055-2023-16-28-127-139.
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Fantasy as a metagenre exists in many (art and non-art) forms, due to which scholars refer to it as a symbol of broad modern cultural development (O. Manakhov). Fantasy enhances the magicization of the real world and creates the secondary, non-existing one; it pushes numerous amateurs toward artistic self-implementation, unites the experts in various fields in their shared attempt to explore and create fantasy worlds, to arrange their life space. Fantasy as an in-action cultural tradition has not yet been interpretated as separate research; however, certain issues are regularly raised. Modern culture of fantasy penetrates literature, films, movie series, comic strips, manga, videogames in a way that makes fantasy one of the most important artistic styles of today, and is embodied in three dimensions – cultural, economic, and transmedia (K. Maj). The scholars refer to comicons, videogames, artificial intelligence that will create animated 3D maps of fantasy locations (O. Manakhov) as well as to various types of fan-art (Ye. Kanchura, Ya. Yukhymuk), fanzines activity (S. Legeza), K. Kaczor). All these works have one common trait: each of them emphasizes the aspect connected with the main aim of the research and places a smaller focus on the fact that this is an in-action process – not only intertextual but also multiple media, often extraart, as it covers different areas of the life of a modern individual who wishes to take an active part in this process rather than to be a mere consumer of the cultural product. The research seeks to prove that modern fantasy, particularly in Ukraine, is an in-action literary and, in a broader sense, cultural tradition, a multidirectional process affected by all the components of fantasy and making it impossible to clearly distinguish their positions; all taken together, they build the magic fantasy world, which combines an artistic illusion with the present. Fantasy in Ukraine is indeed an in-action cultural tradition, which is actively spreading beyond literature and targets both writers, and artists involved in numerous types of art (comics, live action etc.), as well as critics and fan community. Moreover, fantasy is a part of applied arts, street art and leisure activities (videogames, board games, festivals). The development of any fantasy-related activities testifies to the transgressive crossing of any borders – between experts and amateurs (fantasy created and explored by fans, fan-art, field-specific journals and fanzines, competitions and workshops run by editorial houses and fanzines, special projects and amateur online platforms, festivals and comicons), between art and routine life (wall art, paintings, fantasy décor), between high and pop culture (from art-house, indie-projects to merch). This trend is intrinsic not only to Ukrainian fantasy. Ukrainian culture is actively entering the global cultural process. The future focus of the research will be placed on Ukrainian fantasy, which is actively growing and becoming a part of the global literary and non-literary practice namely as an in-action cultural tradition, which is built under the influence of the fan community and embodied in various media and cultural forms thus testifying to the development of fantasy discourse of modern society. Key words: fantasy, tradition, cultural product, fan-art, globalization.
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Jaquet, Daniel. "The art of fighting under glass." Acta Periodica Duellatorum 6, no. 1 (July 25, 2018): 47–62. http://dx.doi.org/10.36950/apd-2018-002.
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A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were displayed from the perspective of the curators, based on a review of the exhibition catalogues.
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Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (July 1, 2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.
Full textAbstract:
Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.
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Widjono, Rani Aryani, and Shania Geraldine. "Modifikasi Interaksi Fisik dalam Pameran Virtual." Idealogy Journal 7, no. 2 (September 1, 2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.
Full textAbstract:
The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in creating emotional connections with the various parties involved. Based on this, this study will discuss the efforts to implement gamification design that replicates the physical interactions that commonly occur in an exhibition. The purpose of implementing gamification design is to maximize user experience (UX) when visiting exhibitions virtually so that the experience value of virtual exhibitons can increase. The output of this research is the concept of gamification in a virtual exhibition.
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Yu, Shiyang. "The Research on the Characteristics and Forms of Immersive Experience in Art Exhibitions—Take “Van Gogh—the Immersive Experience” as an Example." Journal of Education, Humanities and Social Sciences 6 (December 31, 2022): 154–59. http://dx.doi.org/10.54097/ehss.v6i.4417.
Full textAbstract:
Immersive experience is a new type of interaction that integrates culture and technology, and it shows great promise for application by combining with multi-panel content. With the continuous development of virtual technology, immersive experience is also applied to art exhibitions and obtains surprising effects. People are not satisfied with the original way of art appreciation, and the increase of aesthetic demand also requires more diversified ways of exhibition, which has led to the prevalence of immersive exhibitions. In recent years, there have been few attempts at immersive art exhibitions, and the organizers have succeeded in creating very creative presentations. This paper takes “Van Gogh’s Secret World” as an objective, and the result shows the features of the immersive experience, include the concept and history of immersive experiences, and the expressions and characteristics of immersive experience in art exhibitions, hope can help people look into the future of the interactive art.
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Jakubowska, Agata. "Meetings: Exhibitions of Women’s Art Curated by Izabella Gustowska." Ikonotheka 26 (June 26, 2017): 291–311. http://dx.doi.org/10.5604/01.3001.0010.1743.
Full textAbstract:
In February of 1978 the exhibition Trzy kobiety. Ania Bednarczuk, Iza Gustowska, Krynia Piotrowska opened at the Bureau of Art Exhibitions in Poznań. It became a starting point for two cycles of exhibitions that have been organised practically until today: Odbicia (Gustowska’s and Piotrowska’s joint exhibitions) and Spotkania. The essay focuses on Spotkania, i.e. exhibitions at which Gustowska (initially with Piotrowska) presented the works of invited women artists. These exhibitions were Trzy kobiety (1978, Poznań), Sztuka kobiet (1980, Poznań), Spotkania – Obecność I (1987, Poznań), Spotkania – Obecność III (1992, Poznań), Presence IV – 6 Women (1994, Galeria La Coupole, Rennes) and Osiem dni tygodnia (2011, Szczecin). To consider them a cycle and to analyse them under the joint title of Spotkania is the author’s own interpretative approach based on the observation that, in their case, Izabella Gustowska’s actions comprise a consistent project based mainly on the recurrent gesture of creating an opportunity for women artists to meet – hence the word meetings – and to engage in a dialogue. Spotkania is the longest-lasting and most consistently carried out project enabling women artists to meet but, paradoxically, not intended to consolidate them. All of the exhibitions emphasised Gustowska’s certainty of essential closeness between women. This closeness was always characterised, very generally and indistinctly, as a kinship that becomes evident only when sought. An analysis of the exhibitions leads one to the conclusion that the combination of the conviction that women share essential similarities with an emphasis on their individuality and on the separateness of their artistic proposals, coupled with Gustowska’s distancing herself from feminism, are the reasons why Spotkania did not result in the emergence of any kind of community or in the undertaking of collective actions. The exhibitions remained as incidental meetings and their infl uence on the oeuvres of the women artists who participated in them is yet to be analysed.
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DEPREZ, ELEEN M. "Installation Art and Exhibitions: Sharing Ground." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 345–50. http://dx.doi.org/10.1111/jaac.12739.
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Dunham, Douglas. "The Bridges 2018 mathematical art exhibitions." Journal of Mathematics and the Arts 14, no. 3 (December 9, 2019): 268–82. http://dx.doi.org/10.1080/17513472.2019.1654330.
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Hassan, Ihab. "Art / Spirit: Pictures At Two Exhibitions." Religion and the Arts 1, no. 3 (1996): 96–110. http://dx.doi.org/10.1163/156852996x00685.
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Serjeant, Denis. "Conservation problems in international art exhibitions." International Journal of Museum Management and Curatorship 4, no. 1 (March 1985): 77–78. http://dx.doi.org/10.1080/09647778509514954.
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Danilowitz, Brenda. "Exhibitions of Contemporary South African Art." African Arts 24, no. 3 (July 1991): 12. http://dx.doi.org/10.2307/3336919.
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Morin, France, Apinan Poshyananda, Mari Carmen Ramirez, Caroline Turner, Igor Zabel, and Valerie Cassel. "Beyond Boundaries: Rethinking Contemporary Art Exhibitions." Art Journal 59, no. 1 (2000): 4. http://dx.doi.org/10.2307/778078.
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Rey, Una. "Australian Art Exhibitions: Opening Our Eyes." Australian and New Zealand Journal of Art 19, no. 2 (July 3, 2019): 260–62. http://dx.doi.org/10.1080/14434318.2019.1675572.
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Axelsen, Megan, and Charles Arcodia. "Conceptualising Art Exhibitions as Special Events." Journal of Convention & Event Tourism 6, no. 3 (February 2004): 63–80. http://dx.doi.org/10.1300/j452v06n03_05.
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Ash, C. "EXHIBITIONS: NATURAL HISTORY ART: Paper Museums." Science 320, no. 5880 (May 30, 2008): 1163. http://dx.doi.org/10.1126/science.1159434.
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Erić, Zoran. "Glocalisation, Art Exhibitions and the Balkans." Third Text 21, no. 2 (March 2007): 207–10. http://dx.doi.org/10.1080/09528820701273547.
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Cassel, Valerie. "Beyond Boundaries: Rethinking Contemporary Art Exhibitions." Art Journal 59, no. 1 (March 2000): 4–7. http://dx.doi.org/10.1080/00043249.2000.10791973.
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Serjeant, D. "Conservation problems in international art exhibitions." Museum Management and Curatorship 4, no. 1 (March 1985): 77–78. http://dx.doi.org/10.1016/0260-4779(85)90057-3.
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Härmä, Vuokko. "Experiencing Pervasive Computer Mediated Art Exhibitions." Suomen Antropologi: Journal of the Finnish Anthropological Society 35, no. 3 (September 1, 2010): 90–93. http://dx.doi.org/10.30676/jfas.127502.
Full textAbstract:
Cultural institutions such as museums and galleries are going through a transformation driven by an increasingly competitive funding environment and a sense that they need to reconnect with their contemporary visitors. Audience-led design has been seen as one of the main ways to attract visitors to museums for some time (McLean 1993). Active participation during visits to cultural institutions has been reported to generate positive feedback from visitors (Bagnall 2007), and so contemporary museums and galleries have become increasingly concerned with promoting public engagement through offering interactive installations (Hein 2000). Museum staff, exhibition designers and curators are under pressure to create attractive exhibitions that encourage participation and evoke emotional and behavioral responses. Thus the manufacturing of experiences has become a key issue in the design process, with digital technologies playing an increasing role in rendering artworks accessible. Drawing on research carried out in the UK, this paper considers the relationship between technologically mediated artworks and social interaction in museums and galleries, and suggests some further questions about possible cross-cultural variation in this relationship, specifically with respect to Finnish conventions of social interaction.
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Sun, Dan, and Xiaoyan Wang. "From the Inside to the Outside:Study on Exhibition Design and Communication of University Art Museum." Learning & Education 10, no. 5 (March 13, 2022): 91. http://dx.doi.org/10.18282/l-e.v10i5.2683.
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With the continuous improvement of living standards,peoples aesthetic awareness and aesthetic level of continuous
improvement,a large part of art education in the way of exhibition to us. However, China's art industry is not fully mature, and art
exhibitions mainly focus on art education, lacking a strong sense of substitution,so the design requirements for exhibitions have
become higher.
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Nae, Cristian. "Constellational Modernisms: “Socialist Humanism” and “Contextual Art” in Ion Bitzan and Wanda Mihuleac's Graphic Art of the 1970s." ARTMargins 13, no. 2 (June 1, 2024): 45–64. http://dx.doi.org/10.1162/artm_a_00383.
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Abstract Art exhibitions acted as facilitators of transnational encounters among artists during the Cold War. This article analyzes the emergence and local circulation of two art critical concepts which described adaptations of art practices and techniques associated with Pop art and conceptual art in Romanian graphic arts of the 1970s as an expanded artistic medium. Focusing on the way Romanian artists Ion Bitzan and Wanda Mihuleac adjusted their experimental art practices to suit different audiences in state-supported exhibitions such as the Romanian Pavilions in Venice or the Ljubljana Graphic Arts Biennale, as well as in other large-scale exhibitions organized in Romania and abroad, the text helps undermine the distinction between official and unofficial art in art under socialism. It argues for the continuities between artistic experimentation in the two spheres of artistic activity and proposes a constellational reading of their graphic art practices as examples of modernisms in translation.
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Jørgensen, Anna Vestergaard. "Kunstkritik og institutionskritik i x-rummet." Periskop – Forum for kunsthistorisk debat, no. 21 (May 22, 2019): 70–87. http://dx.doi.org/10.7146/periskop.v2019i21.121797.
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In 2013, the SMK – National Gallery of Denmark initiated a series of exhibitions that was
supposed to deal with the role of the museum in the 21st century. This article focuses on
the two first exhibitions in this series: Haim Steinbach’s The Window and Henrik Olesen’s
Abandon the Parents. The article claims that these exhibitions can be seen as working
within the tradition of institutional critique, but also after it; through curating some of
the museum’s own works and mimicking, respectively, the modernist “white cube” aesthetics
and the Wunderkammer aesthetics. As such, the exhibitions do not only present
a critique but can also be seen as pragmatic suggestions for how to curate, how to think
the collections and exhibitions. In the article, the institutional critique of Olesen’s and
Steinbach’s exhibitions will be read through another critical position: the Danish art criticism.
In other words, this article does not only focus on how the institutional critique was
visualized and performed in the exhibitions, but how this critique was discussed and read
in written art criticism. This is not to say that art criticism and institutional critique can
be wholly separated, but to see how these two forms of critique can say something about
museums today. And more specifically, what affects can be read out of the art criticism,
when the exhibitions they criticize are so clearly contextualized (by the museum) as institutional
critique?
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Wasilewska, Diana. "INTERNATIONAL CRITICAL RECEPTION OF PROPAGANDIST EXHIBITIONS OF POLISH ART IN THE 1920S AND 1930S." Studia Humanistyczne AGH 18, no. 3 (2019): 45–53. http://dx.doi.org/10.7494/human.2019.18.3.45.
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The goal of this article is first of all to describe the reception of exhibitions of Polish interwar art in the foreign press. I pay closer attention to those of exhibitions that were most prestigious and acclaimed, such as the Venice Biennale, where representatives of Polish art were juxtaposed with other countries’ pavilions and judged in comparison to them. It was the time of the battle against the radical avant-garde, accused of bringing art to a state of impasse, stagnation, or even slow agony. Most exhibitions of Polish art abroad were organized by Mieczysław Treter (1883–1943) a philosopher and art historian, but also an exhibition curator and director of TOSSPO (the Association for the Promotion of Polish Art Abroad), who faced a very difficult task trying to fulfil his mission to promote Polish art through exhibitions. He had to take into account this artistic climate and the dynamically changing situation on the art market, and respond to the expectations of foreign critics, who would examine the art of particular nations with the focus on manifestations of national style. On the other hand, he had to consider the opinions of the Polish artists and critics as well as pressures from the ministry and Polish diplomats
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Echesony, Gibson. "Perception of Gender Roles in Modern Art Exhibitions in Nigeria." American Journal of Arts, Social and Humanity Studies 4, no. 1 (May 30, 2024): 33–42. http://dx.doi.org/10.47672/ajashs.2066.
Full textAbstract:
Purpose: The aim of the study was to assess the perception of gender roles in modern art exhibitions in Nigeria. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study indicated that modern art exhibitions have increasingly become a platform for challenging and redefining traditional gender roles. Contemporary artists frequently address themes of gender identity and societal expectations, pushing boundaries and provoking thought. This shift reflects broader cultural movements toward gender equality and fluidity. Exhibitions now often feature works that explore the complexities of gender through various mediums, including painting, sculpture, and digital art. Curators are more consciously inclusive, aiming to represent diverse voices and perspectives. This evolving landscape not only highlights gender disparities but also celebrates non-binary and transgender experiences, fostering a more inclusive and reflective art world. These exhibitions serve as a critical dialogue on the evolving perceptions of gender roles, encouraging audiences to question and rethink preconceived notions about gender in contemporary society. Implications to Theory, Practice and Policy: Feminist theory, social constructionism and postmodernism may be used to anchor future studies on assessing the perception of gender roles in modern art exhibitions in Nigeria. Encourage art institutions to adopt diverse curatorial practices that prioritize equitable representation of artists across genders and identities. Develop and implement institutional policies that prioritize gender diversity, equity, and inclusivity in art exhibitions.
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Crenshaw. "The Dynamic Display of Art Holography." Arts 8, no. 3 (September 19, 2019): 122. http://dx.doi.org/10.3390/arts8030122.
Full textAbstract:
Holograms have been displayed in single-artist and group exhibitions, since the late 1960’s. The content within a holographic image can be greatly compromised if the hologram is not displayed correctly. Holography exhibitions can either enhance or diminish the impact of the images depending on how the exhibit layout and lighting are designed. This paper looks at art holography from the exhibition installation perspective and offers methods for assuring dynamic displays.
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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.
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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.