Relevant bibliographies by topics / Modern 20th century Exhibitions

Academic literature on the topic 'Modern 20th century Exhibitions'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Modern 20th century Exhibitions"

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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.

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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
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Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.

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Raumkunst by Teodor Axentowicz Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
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Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications." Journal of Visual Culture 17, no. 1 (April 2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.

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The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment have changed over time. In particular, the article examines the different meanings and practices inferred by the concepts of the exhibition and the experiment in the first decades of the 20th century and in the present. It outlines how correspondences between cultural and scientific paradigms can be deployed to tease unacknowledged synergies between two modes of knowledge production (i.e. the art exhibition and the experiment) and address questions of presentness, authority and legitimacy that they imply.
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Benetti, Alessandro. "GAIA CARAMELINO; STÉPHANIE DADOUR (a cura di): THE HOUSING PROJECT: DISCOURSES, IDEALS, MODELS, AND POLITICS IN 20TH-CENTURY EXHIBITIONS." Proyecto, Progreso, Arquitectura, no. 27 (2022): 206–7. http://dx.doi.org/10.12795/ppa.2022.i27.12.

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La casa e la mostra d’architettura sono i due oggetti di ricerca che s’incrociano in The Housing Project. Discourses Ideals, Models and Politics in 20th century exhibitions, co-curato da Gaia Caramellino e Stephanie Dadour nel 2020 per i tipi di Leuven Press. Il volume s’ispira alle discussioni del convegno On the Role of 20th Century Exhibitions in Shaping Housing Discourses (2016, ENSA Paris Malaquais e Politecnico di Milano). I dieci saggi di altrettanti autori europei e americani esplorano il ruolo delle mostre come medium in una fase cruciale di elaborazione e circolazione internazionale delle tante declinazioni della casa moderna, tra gli anni 1920 e 1970. Sono organizzati in due parti, che approfondiscono rispettivamente il ruolo delle mostre come spazi di traduzione e di mediazione. Caramellino e Dadour prendono le distanze da un approccio monografico e collocano le tante e diverse esperienze espositive in una cornice più ampia, sul piano disciplinare e geografico.
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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.

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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
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Ştefănescu, Mircea. "The Beginnings of The Modern Art." Review of Artistic Education 18, no. 1 (March 1, 2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.

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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.
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Akhtamzyan, Nurlan Ildarovich, and Viktoria Viktorovna Chernenko. "Modern Technology Based Methodologies for Visitor Studies at the Museum Exposition." Общество: философия, история, культура, no. 10 (October 2020): 82–86. http://dx.doi.org/10.24158/fik.2020.10.15.

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In the second half of the 20th century, important changes took place in the relationship between the museum world and society, which led to appearance of new approaches in museum theory and practice. First of all, they affected the principles of interaction between museums and their audience. The evolve-ment of communication approach to museology, where a visitor is considered the main figure in mu-seum activity, dates back to this time. The peculiari-ties of museum audience behaviour were studied from the beginning of the 20th century. The exposi-tion is the main channel of communication between a museum and its visitors, therefore, the use of modern technical means that allow an objective as-sessment of the quality of such communication is a priority when studying the museum audience. Due to the development of technical progress by the beginning of the 21st century there is a possibility of using technological methods of qualitative and quantitative recording and analytics of main indica-tors of interrelation between museums and their target audience. The present research considers new technical means of studying specific features inher-ent to visitors behaviour at exhibitions (tracking, eye tracking, video analytics). Such studies have been carried out in some of Russian museums in recent years.
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Dmitry, Soloviev. "Inkwell and Dates: Labor in Exhibitions “Objects of Pride and Shame” and “Gastev. How to Work”." TECHNOLOGOS, no. 3 (2022): 7–16. http://dx.doi.org/10.15593/perm.kipf/2022.3.01.

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This article investigates labor through the interpretation of modern artistic practices. Two exhibitions have been chosen as examples. The first one is the exhibition of Vladimir Arkhipov's collection of folk things; the second one is “Gastev. How to Work'' dedicated to Alexey Gastev. The exhibitions were held at the PERMM Museum of Contemporary Art in 2021. The author conducts a comparative cross-temporal study of the results of labor and the labor process focusing on the phenomenon of a folk thing investigated by artist Vladimir Arkhipov for more than two decades and idealistic reference ideas of scientifically regulated labor norms and standards developed by Alexei Gastev and the Central Institute of Labor in the 1920s. The comparative study will rely on the paradigms of re-thinking the labor in the mid-20th and early 21st centuries by scientists such as A. Honneth, Z. Bauman, M. Heidegger, G. Standing, and H. Arendt and the contemporary philosophical research on the issue of ontologies, namely the flat ones, undertaken by B. Latour and T. Morton. The methods designed during the evolution of the theoretical representation and understanding of labor in the second half of the 19th century and at the end of the 20th century allow for tracing and exploring the path from the forced labor to the free one focusing on artistic practices. This comparison will refer to the analysis of labor as a process. Contemporary approaches in the field of ontology, namely the flat ontology, have been used as a methodology for analyzing the transformation of perceiving the labor outcomes. Both the labor process and its results have been analyzed along the trajectory of the subject-object relations. The paper proposes a definition of the perception and product of labor under the modern socio-economic and sociopolitical conditions through the prism of artistic ideas.
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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
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Dissertations / Theses on the topic "Modern 20th century Exhibitions"

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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
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Utz, Laura Lee. "Museum Educator as Advocate for the Visitor: Organizing the Texas Fashion Collection's 25th Anniversary Exhibition Suiting the Modern Woman." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277589/.

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Suiting the Modern Woman documented the evolution of women's power dressing in the 20th century by featuring four major components: thirteen period suit silhouettes, the power suits of twenty-eight influential and successful high profile Texas women, a look at the career and creations of Dallas designer, Richard Brooks, who created the professional wardrobe for former Texas Governor Ann Richards, and a media room which showcased images of working women in television and movie clips, advertisements, cartoons, and fashion guidebooks. The exhibition served as an application for contemporary museum education theory. Acting as both the exhibition coordinator and educator provided an opportunity to develop interpretative strategies and create a meaningful visitor experience.
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.

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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Parsons, Thad. "Science collection, exhibition, and display in public museums in Britain from World War Two through the 1960s." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:16cadaac-fb44-4edf-9063-d6ee6a9ffd09.

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Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.
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Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.

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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.
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Master of Philosophy
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Costello, Paul. "The goals of the world historians : paradigms in world history in twentieth century." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74629.

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Following Nietzsche, Oswald Spengler posed the central problems of the cyclical history of civilization in the twentieth century. Subsequent world historical theorists have attempted to answer Spengler's nihilistic perspective on the destined rise and fall of all cultures by rescuing a progressive movement which transcended the downfall of civilizations. World history since Spengler has been written in pursuit of an answer to the crises of modernism: to the 'Death of God,' the problem of progress, the emergent technological order with its bureaucratic management of society, and the need sensed by the metahistorians for a new 'mythical' grounding to avert the fall of the West. The "Crisis of the West" dominates the perspectives of the world historians. Their goals for the solution of 'modernism,' through the religious transformation of society or political and cultural world unity, are central to their motivation as writers and to the formulation of their paradigms.
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Berns, Torben. "The paradox of a modern (Japanese) architecture /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38463.

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This thesis analyzes the problems and contradictions inherent in modernity's levelling of the fabricative and political realms. Seeking a broader perspective on the origins of aesthetic culture and aestheticized politics, it examines the relation of architecture to technology, culture, and politics. The thesis examines the consequences of the Enlightenment and "Radical Enlightenment" (understanding the rise of the modern nation-state as a direct consequence of the 18th century's yoking of history and nature) from the perspective of Japan and its encounter with modernity. Japan as a modern nation-state, neither part of the European Enlightenment nor colonized by its instruments, was able to initiate a unique discourse around the question of history and the concomitant issues of identity and nihilism.
The thesis tracks the discourse through architecture as the terms shift and become more and more indistinguishable from the Western manifestations from which the Japanese architects wished to claim distinction.
The discussion on difference and possibility---cultural identity and the creative project---as fundamental questions for a contemporary practice of architecture is undertaken through an analysis of the polar positions of Tange Kenzo and Shirai Sei'ichi.
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陳桂月 and Kwee-nyet Chin. "The mythical world of modern Chinese writers (1919-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31234744.

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Sage, Elizabeth M. "The image and the body in modern fiction's representations of terrorism : embodying the brutality of spectacle." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/44737/.

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My research arises from a critique of the tendency within terrorism debates to equate the terrorist act with the production of spectacular images. Chapter 1 uses the work of Luce Irigaray to critique this trend in terrorism discourses, arguing that such a characterisation relies on a repression of the very materiality that terrorist action exploits. Moreover, placing the concept of terror in an Irigarayan framework reveals that the concept of terrorism is bound up with concepts of masculinity. In developing this critical approach, I build on the thinking of both Irigaray and Gayatri Spivak in turning to literary representations of terrorism to find a means of articulating a new understanding of the concept of terrorism and its place within our culture. Chapter 2 brings together the figure of the woman terrorist in terrorism studies, Nadine Gordimer's Burger's Daughter(1979), and Doris Lessing's The Good Terrorist (1985) in order to critique the portrayal of the feminine in terrorism discourses. Chapter 3 then moves on to ask how the global reach of terrorism discourses after September 11th, 2001, has impacted on our understanding of masculinity and femininity, looking at the relationship between the body and subjectivity in Ian McEwan's Saturday (2006). Finally, Chapter 4 examines how Don DeLillo's Falling Man (2007) figures the body as a site of resistance to such global narratives of terror, as he explores the possibility of an embodied ethics opening up a suspension of photographic and filmic modes of perception. By setting up a dialogue between terrorism studies and literary fiction, I reintroduce the body to our conceptualisation of terrorism. In doing so, I show how literature can open up new ethical horizons in an otherwise closed rhetoric.
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Books on the topic "Modern 20th century Exhibitions"

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Vogel, Susan. Africa explores: 20th century African art. New York: Center for African Art, 1991.

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1951-, Craven David, Lozano Luis-Martín, and Museum of Fine Arts (Museum of New Mexico), eds. Mexican modern: Masters of the 20th century. Santa Fe: Museum of New Mexico Press, 2006.

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Perrell, Franklin Hill, and Constance Schwartz. 20th century sculpture: March 28, 1999-May 31, 1999. Roslyn Harbor, N.Y: Nassau County Museum of Art, 1999.

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British figurative painting of the 20th century. Israel: Isreal Museum, 1992.

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Till, Barry. Tradition and innovation in 20th century Chinese painting. Victoria, B.C: Art Gallery of Greater Victoria, 1998.

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P, Compton Susan, Ades Dawn, and Royal Academy of Arts (Great Britain), eds. British art in the 20th century: The modern movement. Munich: Prestel-Verlag, 1986.

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M, Jacobus John, and Wheeler Daniel, eds. Modern art. 3rd ed. Upper Saddle River, NJ: Prentice Hall, 2005.

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Michel, Aliaga, and Gosudarstvennye muzei Moskovskogo Kremli︠a︡, eds. Cartier: Innovation through the 20th century. Paris: Flammarion, 2007.

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Center for African Art (New York, N.Y.), ed. Africa explores: 20th century African art. New York: Center for African Art, 1991.

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Kashey, Elisabeth. European paintings, drawings and sculpture: 19th and early 20th century. New York: Shepherd Gallery, 1992.

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Book chapters on the topic "Modern 20th century Exhibitions"

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Dachs, Joshua. "Prevailing Themes in 20th-Century Theatre Architecture." In Modern Theatres 1950–2020, 27–34. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-6.

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Birbragher-Rozencwaig, Francine. "Modern Latin American Art." In Essays on 20th Century Latin American Art, 1–34. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-1.

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Nicola, PierCarlo. "From Classical to Modern Analysis." In Mainstream Mathematical Economics in the 20th Century, 117–32. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/978-3-662-04238-0_12.

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Lopez, Gary C. "A History of 20th-Century Safety Metrics." In Safety Metrics for the Modern Safety Professional, 9–16. First edition. | Boca Raton, FL : CRC Press, 2021.: CRC Press, 2020. http://dx.doi.org/10.1201/9781003088332-2.

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Quan, Guan. "Industry in the second decade of the 20th century." In Industrial Development in Modern China, 1–30. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: China perspectives: Routledge, 2020. http://dx.doi.org/10.4324/9781003119432-1.

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Clack, Bev. "Women and the philosophy of religion in the 20th century." In Women in Christianity in the Modern Age, 159–71. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429324772-6.

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Jin, Fu, and Zhang Qiang. "Modern drama and “feudalism, capitalism and revisionism”." In A History of Chinese Theatre in the 20th Century IV, 3–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-2.

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Ellis, Harold, and Sala Abdalla. "The birth of modern surgery – from Lister to the 20th century." In A History of Surgery, 93–122. Third edition. | Boca Raton, Florida: CRC Press, [2019] |: CRC Press, 2018. http://dx.doi.org/10.1201/9780429461743-8.

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Salis Gomes, Carolina, Cátia Ferreira, Brenda Rossenaar, Ineke Joosten, Inez van der Werf, Leslie Carlyle, and Klaas Jan van den Berg. "Pigment Surface Treatments: 20th and 21st Century Industrial Techniques and Strategies for their Detection." In Conservation of Modern Oil Paintings, 39–60. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_3.

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Chakrabarty, Darshana. "Deconstructing Femininity and Progression of Women in 20th-Century Bollywood Films." In Cinematic Representations of Women in Modern Celebrity Culture, 1900–1950, 120–41. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003174134-9.

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Conference papers on the topic "Modern 20th century Exhibitions"

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Lisovetc, Irina. "The Modern Multi-Functional Cultural Center (Yeltsin Center) as a Platform for Dialogue Both Public & Private." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-11.

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The article covers the modern multi-functional cultural centre as an institution of Russian culture of the 21st Century in the terms of the interaction of publicity and privacy. On the basis of the institutional approach in cultural theory and the philosophical and aesthetic analysis of the space of the cultural centre, the most important role of this institution in individual and personal assimilation of sociocultural values is substantiated. The objectives (programme) of such an institution, its chronotope and functionality are directed at the involvement of contemporaries into various forms and levels of the culture of the past, and its emotional-sensual assimilation via media-communication technologies. The ‘Yeltsin-Center’ in the city of Yekaterinburg was taken as the example not only for being orientated on the familiarisation of its visitors with the history of the Russian state and its culture of the late 20th century and the early 21st century, but also for the subjective experience of turning points of those times and the city where the personality and activities of the first Russian president were shaped and began. The calibre of the President’s personality, in this case, is diversely represented within the space of the Centre, and becomes crucial for understanding what was going on at that time. The ‘Yeltsin-Center’ is a principally new cultural complex, each component of which, and above all its central part - the Museum of the First President - is structured to show the turning point in Russian history as the President’s life journey and to encourage citizens to understand the past and present. The use of modern information technologies in this cultural complex, and primarily in its museum exhibition having been arranged as an artistic artefact, becomes crucial to the dialogue of publicity and privacy.
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Marx, George. "Interfacing the 20th to 21st century-teaching modern physics." In AIP Conference Proceedings Volume 173. AIP, 1988. http://dx.doi.org/10.1063/1.37536.

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Koroglu, Lenura Ablyamitovna. "Researchers Of The Crimean Tatar Language In The 19th –20th Century." In The International Conference «Social and Cultural Transformations in the Context of Modern Globalism». European Publisher, 2022. http://dx.doi.org/10.15405/epsbs.2022.11.53.

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Elbuzdukaeva, Tamara Umarovna, Zara Alaudinovna Gelaeva, and Sotsita Abuevna Gaitamirova. "Sociocultural Development Of Grozny In The Late 19Th - Early 20Th Century." In International Conference on Social and Cultural Transformations in the Context of Modern Globalism. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.11.258.

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Dorodonova, Natalia V. "Catholic Church Participation In European Social Policy In The 20Th Century." In International Scientific and Practical Conference «State and Law in the Context of Modern Challenges. European Publisher, 2022. http://dx.doi.org/10.15405/epsbs.2022.01.28.

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Ulyaevna, Omakaeva Ellara. "Change Of Graphics In Kalmyks And Russian Language In The 20th Century." In The International Conference «Social and Cultural Transformations in the Context of Modern Globalism». European Publisher, 2022. http://dx.doi.org/10.15405/epsbs.2022.11.65.

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Chotchaev, Dakhir Dzhansokhovich, and Suleyman Akhyatyevich Beguev. "Religious Educational Institutions Of The Karachay People In The 19Th-20Th Century." In International Conference on Social and Cultural Transformations in the Context of Modern Globalism. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.11.250.

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Bian, Jiasheng, and Qiao Jiang. "The Development Course and Reflection of Japanese Direct Teaching Method From Late 19th Century to Mid 20th Century." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.274.

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Terziev, Venelin, and Silva Vasileva. "LITERATURE AS HISTORY AND EDUCATION IN THE MODERN BULGARIAN SOCIETY OF THE 20TH CENTURY." In ADVED 2022- 8th International Conference on Advances in Education. International Organization Center of Academic Research, 2022. http://dx.doi.org/10.47696/adved.202209.

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Zaks, Lev. "Culture of the Second Half of the 20th Century through the Early 21st Century in Action: Creation of Contemporary Publicity." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-public/private-2020-01.

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The article offers a culturological vision of publicity, and partly correlative privacy as universal aspects of the joint existence of people. The analysis methodology is based on the perception of culture as a universal specific way of existence of people and society; the perception of society as a sociocultural system; the perception of the evolution of society and all areas of its existence as a result of their holistic sociocultural determination. Publicity is considered in terms of its characterisation as a sociocultural phenomenon (space-time, socioanthropological, functional, communicative, discursive), and then the evolution of publicity as a function and the product of the cultural system is outlined. The main (and diverse) sociocultural influential factors having determined substantial changes in features of publicity (and its relationship with privacy) as from the second half of the 20th century to the present day are analysed: left-wing influence and democratisation of societies after World War Two; rising prosperity of citizens; origination of consumer society; release of public psychology from some conventional cultural taboos including as a result of secularisation and the sexual revolution; widespread and influential mass-media; informational revolution (information society). Critical effects of these factors in respect of publicity and its evolution have been shown. The information revolution of the second half of the 20th century to the early 21st Century is considered as the crucial factor of the radical qualitive transformation of social life, processes of its institutionalisation and with it, public and private spheres. Peculiarities of contemporary online publicness and its relationship with online privacy are addressed. Axiological problems of online publicness are highlighted.
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Reports on the topic "Modern 20th century Exhibitions"

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Jayachandran, Seema, Adriana Lleras-Muney, and Kimberly Smith. Modern Medicine and the 20th Century Decline in Mortality: Evidence on the Impact of Sulfa Drugs. Cambridge, MA: National Bureau of Economic Research, June 2009. http://dx.doi.org/10.3386/w15089.

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Siebert, Rudolf J., and Michael R. Ott. Catholicism and the Frankfurt School. Association Inter-University Centre Dubrovnik, December 2020. http://dx.doi.org/10.53099/ntkd4301.

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The paper traces the development from the medieval, traditional union, through the modern disunion, toward a possible post-modern reunion of the sacred and the profane. It concentrates on the modern disunion and conflict between the religious and the secular, revelation and enlightenment, faith and autonomous reason in the Western world and beyond. It deals specifically with Christianity and the modern age, particularly liberalism, socialism and fascism of the 2Oth and the 21st centuries. The problematic inclination of Western Catholicism toward fascism, motivated by the fear of and hate against socialism and communism in the 20th century, and toward exclusive, authoritarian, and totalitarian populism and identitarianism in the 21st. century, is analyzed, compared and critiqued. Solutions to the problem are suggested on the basis of the Critical Theory of Religion and Society, derived from the Critical Theory of Society of the Frankfurt School. The critical theory and praxis should help to reconcile the culture wars which are continually produced by the modern antagonism between the religious and the secular, and to prepare the way toward post-modern, alternative Future III - the freedom of All on the basis of the collective appropriation of collective surplus value. Distribution and recognition problems are equally taken seriously.
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TITOVA, E. HISTORIOGRAPHIC REVIEW ON THE TOPIC OF THE STUDY OF MIGRATION PROCESSES IN THE RUSSIAN FAR EAST AT THE BEGINNING OF THE XXI CENTURY. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-2-34-53.

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The article provides an overview of scientific research on the study of migration processes in the Far Eastern regions. The problems of migration, the state mechanism for regulating migration issues, and the peculiarities of interethnic interactions are very topical topics not only at the regional, but also at the national level. In the Russian Federation, studies on these topics have appeared relatively recently. Due to the fact that at the end of the 20th century there was a surge in the ethnic self-awareness of the peoples of the country, together with the intensification of socio-economic transformation processes, there are sharp, often radical, changes in the field of interethnic interactions, in particular, the growth of armed interethnic conflicts, an increase in migration outflows or inflows. etc. Modern scientific research in the field of migration processes is practice-oriented, that is, they are aimed at the implementation of narrow applied problems, there is also an increase in the accumulation of an updated extensive theoretical and methodological base. In particular, studies, for example, concerning the topic of interethnic interactions, are directly related to the topic of ethnic tolerance, which has also become very popular and in demand in the last decade for specialists from various scientific fields - psychologists, ethnographers, lawyers, etc.
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