Academic literature on the topic 'New Zealand Academy of Fine Arts'

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For an artist, the most important today is often focusing on finding new, fresh ideas. Modern educational centers try to form a new view of art in everyone, which is a significant part of the educational process. It goes without saying that classical art education does not always have time to respond to cultural and historical changes. Therefore, critical classes are a necessary platform for rethinking artistic reality. In this article, we will look at some of the main advantages of holding critical classes.

Background. The article considers the stages of formation of anatomical science in two major art institutions of France in the XIX century, the Academy of Painting and Sculpture and the School of Fine Arts. Developments of theoretical works and bases of formation and development of plastic anatomy by known anatomists, anthropologists and artists-scientists of the XIX century are considered. Particular attention was paid to leading scientific and theoretical manuals on plastic anatomy. Excerpts from the works of the leaders of this discipline or researchers of their heritage have been translated from the original language. The methodical principles of teaching plastic anatomy are substantiated and the names of personalities who influenced the formation of plastic anatomy in the Academy and the School of Fine Arts are given. Their scientific work was of great importance for the development of anatomical science at the Academy and the School of Fine Arts. Thanks to them, not only the teaching process but also its spatial and architectural environment becomes important. The genesis of the term "plastic anatomy" is considered. Particular attention is paid to the transition from the term "anatomy" to the artistic term "plastic anatomy", which, in fact, is becoming typical of higher art education. Objectives. The purpose of the study is to highlight the methods of teaching plastic anatomy at the Academy and the School of Fine Arts during the XIX century. Methods. With the help of theoretical, informational methods and generalization method, the obtained research data were systematized and streamlined, the possibility of finding a solution to the problem was revealed and the practicality of the obtained results was evaluated. Results. For the first time in Ukrainian art history, material on the methods of teaching plastic anatomy was collected at the Academy and the School of Fine Arts of the XIX century. Conclusions. Prospects for further research require clarification of the relationship between anatomical practice and the philosophy of pragmatism, as well as a closer examination of some famous personalities (artists and anatomists-scientists) given in the article, who made a great contribution to the development of plastic anatomy.

The Central Academy of Fine Arts is the only higher education institution of fine arts under the jurisdiction of the Ministry of Education of the People's Republic of China. The history of the National Art School in Beiping dates back to the establishment of the National School of Fine Arts in Beijing in 1918, which was supported by the prominent pedagogue of art and its first director Cai Yuanpei. It was the first national school in the history of China, laid the foundation for the modern Chinese education in the field of fine arts. This article is dedicated to the analysis of the key events of more than a century-long history of the school, which allows tracings the evolution of the Chinese art education, and gives a better perspective on the role of modern China in the art world. The novelty of this work lies consists in description of the process of establishment of art education in China in the XX century, classification of the national traits of this period on the example of the Central Academy of Fine Arts in Beijing, as well as analysis of the Soviet impact upon the Chinese education in the field of art history. The international cooperation with the Russian School of Painting, namely I. E. Repin Academy of Fine Arts had a beneficial impact. The study of Chinese students in the USSR allowed the following generations to implement such valuable experience. The ancient techniques and plotline received a new life in the works of modern artists, which are justifiably regarded as the achievement and progress in the national culture.

Abstract This essay looks at art education in Russia in the nineteenth century, specifically at artist-training practices at institutions such as the Imperial Academy of Fine Arts and the Imperial Society for the Encouragements of the Arts in St. Petersburg. Particular emphasis is on the role and significance of Pavel Chistiakov and Jan Ciągliński, charismatic teachers who developed their distinct art-pedagogical systems as an alternative to the existing academic system and paved the way for the emergence of modern art and the avant-garde in Russia.

Abstract In the early twentieth century, Chinese literati painting was embroiled in arguments on the relationship between ancient and modern or east and west. Therefore, the artistic practices of Wu Changshuo, Chen Shizeng, Qi Baishi, Xu Beihong and so on, were in response to this development. However, with the occurrence of World War ii and changes in the post-war situation, literati painting underwent further, new changes in different regions. This article intends to discuss the overseas Chinese painters Chen Wen Hsi and Chung Chen Sun as examples in exploring the new development of literati painting in Singapore and Malaysia in the second half of the twentieth century. Chen Wen Hsi was born in Jieyang County, Guangdong Province in 1906. He studied at Shanghai Fine Arts College and Xinhua Art College. He went to Singapore and held an exhibition in 1948. In 1950, he taught at The Chinese High School, and the following year also began teaching Chinese ink painting at Nanyang Fine Arts College. Chung Chen Sun, a native of Mei County, Guangdong Province, was born in 1935 in Malacca, Malaysia. In 1953, he entered the Department of Art Education of Nanyang Academy of Fine Arts, which was founded by Lim Hak Tai. Chung was inspired by predecessors such as Cheong Soo-pien, Chen Wen Hsi and Chen Chong-swee who had pursued the Nanyang style. In 1967, Chung founded the Malaysian Academy of Art. Their styles of painting not only incorporate the Eastern aesthetics and Western theory but also include diverse elements. Their paintings wrote a new page in the history of literati painting during the Cold War era.

The article reviews the reports delivered on November 1–3, 2022, at the International Research-to-Practice Conference Media Art—XXI Century: Genesis, Art Programs, Education Problems. It was organized by the Russian Academy of Arts, the Research Institute of Theory and History of Fine Arts, the State Institute for Art Studies, Stroganov Moscow State Academy of Design and Applied Arts, the Moscow Architectural Institute (State Academy), and the National Academy of Design. The conference aimed at comprehending the current state of media art in the context of digitalization of classical works and methods of their exposure; at identifying key program and aesthetic dominants in media art; and at systematizing the most relevant educational projects. The organizers suggested the following aspects as the major research focuses: classical arts and media in digital discourse; new media in the socio-cultural environment; current media forms and their genesis; new media in the urban environment; interdisciplinary and authorial projects; educational processes and new competencies. Cultural institutions today are faced with the search for a definition of materiality, with fixation of transitory art; and in response, contemporary art studies are forced to develop new theoretical concepts to be used in scholarly discourse. It is how contemporary media, digital and post-digital technologies influence the state and development of contemporary art and art history practice, architecture, design, and decorative arts, that became the key research task of Media Art—XXI Century Conference. The conference demonstrated the wide range of aesthetic, art history, culturological and pedagogical aspects, which are incorporated in the creation, exposure, and further circulation of media art in the socio-cultural space.

This article discusses CLICK, a collaborative theatre project between the Mess Up The Mess Theatre Company in Wales, the Hong Kong Academy for Performing Arts, the Australian Theatre for Young People, and Inspired Productions in New Zealand. This case study demonstrates the value of using arts education to bring together young people from multiple countries across the world through the use of social media and theatre for development work, and to explore issues of diversity and identity through Education for Sustainable Development and Global Citizenship (ESDGC). This article will explore the use of social media within arts education and global youth work practice to promote critical social dialogue around sensitive issues as a catalyst for positive social change.

The following is an excerpt from a conversation between contemporary Chinese artist Xu Bing, Madeline Eschenburg, and Ellen Larson. Xu Bing curated an exhibition at the Central Academy of Fine Arts titled The Second CAFAM Future Exhibition, Observer-Creator: The Reality Representation of Chinese Young Art, on exhibition through March 2015. Our conversation centered around his thoughts on a new generation of young Chinese artists as well as reflection on his own early career and time in New York. The conversation was conducted in Chinese and has been translated into English.

This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
Doctor of Philosophy (PhD)

This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.

Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.

Temporal Landscapes is a research project concerned with culture-nature relations in the context of contemporary industrial land use in New Zealand; explored visually through the photographic representation and presentation of gold mining sites – former, current and prospective – in the Hauraki region. In the current period of industrial capitalism, featuring the mass exploitation of natural resources, nature is commonly thought of as subservient to humankind. This stance, with its origin in scientific ideology of the 17th Century, is interesting to consider in relation to contemporary notions of landscape, and the ‘ideal’ in nature. In New Zealand, a balance is being sought between interests of sustainability and conservation, and of industry and economy. This is not to say that industry opposes environmental safeguards; in contrast, sustainable management including the rehabilitation of land post-industrialisation is integral to modern mining practice in New Zealand. With this emphasis on controlled industrial progress, two key factors emerge. Firstly, this level of control implicates itself as a utopian vision, and secondly, industrialisation is advocated as a temporary situation, with industrial land as transitory, on the path to rehabilitation. The research question of Temporal Landscapes asks; in considering contemporary industrial land use in New Zealand within a utopian framework – focussing specifically on gold mining in the Hauraki Region – has our ideal in nature become that of a controlled, even post-industrial, landscape? The photographic representation of these sites offers a means to explore and express their visual temporality. With the expectation of industrial sites as fleeting and rehabilitated sites as static utopias, it would seem that this industrial process is a kind of contemporary ideal. Presented as a flickering projection piece, 23 Views. (Prospective gold mining site, Golden Valley, Hauraki, 2008 / Martha gold mine and Favona gold mine, Waihi, Hauraki, 2008), and a set of selectively lit prints, Untitled I. (Garden, pit rim walkway, Martha gold mine, Waihi, Hauraki, 2008), Untitled II. (View of pit, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), and Untitled III. (View of water treatment pond, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), they act as landscapes of partial comprehension.

This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.

Through the use of masculinity as a visual language this research aims to unravel the divide between the role of the act and the acted. French actor Julien Boisselier operates as the male manifestation of the actor in question and functions on multiple levels of performance, both as male and as an actor. Boisseliers depictions of major, medium and minor acted characters offer another level to the performance variable. The aim to highlight the visible triggers of a ‘pure performance’ (a performance where the actor may slip or falter out of acted character and into default human performance) as shown through the choreography of his physiognomy is the experience underpinning this thesis.

The Empty Portrait forefronts a new experience of the portrait for all participants involved: the photographer, the subject, and the viewer. Breaking away from the camera, the materiality of the photograph, and the portrait as a locus of identity are central aspects of this new experience. As it challenges the relationship between photography and temporality, The Empty Portrait attempts to blur the boundary between the photographic and cinematic image, asking the viewer to look and contemplate further.

The picnic blanket, as a textile object, is infused with meaning by its colonial history and its inherent use. Its purpose goes beyond providing a soft and dry surface to sit on. By putting down your picnic blanket you can temporarily stake your claim on that piece of land. We might consider the picnic blanket as a private haven in a public space. The cross-over between private and public space is a dynamic environment that is established by continually interacting and adapting. By collaborating with others in a space everyone can gain some ownership of that space. Using the picnic blanket as vehicle for investigation, I explore the boundaries of private and public space. Through linking the history of picnicking with the Sublime and particularly the Female Sublime, I establish its significance and the fact that it provides a gendered space. With the help of Marcuse’s ideas on the ‘natural state’ I define the private sphere as a state of mind. I then look at that notion in relation to public space. The appropriation of public pace as described by De Certeau and the appropriation of mind space as described by Foucault set up a dynamic field by which private space is surrounded. The social navigation of our environment is the constant consideration of willingness to collaborate. It is something we are all part of, some readily, some trying to resist. Returning to Marcuse, I examine ways in which the private mind space can be preserved. It is the notion of innocence, a state of mind from before ‘the fall’, that Marcuse and others indicate as providing a barrier against surplus repression of societal judgement. The question is how to maintain this innocence. My personal investigation of innocence, which is presented in this exegesis through narrative, runs parallel to my practice.

Thesis (M.F.A.)--Otago Polytechnic, 2007.
Supervisors: Bridie Lonie and Clive Humphries. Thesis typescript. First produced for a website at: http://www.regan.net.nz "July 2007." Otago Polytechnic department: School of Art. Includes bibliographical references.

The role and position of the documentary street photographer is examined in the context of other forms of contemporary visual survey, including Google Street View. The Street View methodology is critically examined and related to the methodologies of other visual artists, including street photographers Peter Black and Robert Frank. Comparisons are drawn between the methodological restrictions imposed by Street View and those imposed by the photographers in the course of their practice. The issue of authorship is discussed and the lack of specific authorship of Street View is related to its inability to augment the viewer's personal sense of space. Wainuiomata, a suburb of Hutt City in Wellington, New Zealand, is introduced as a location for the author's research into how documentary photography might operate. The author's own phenomenological history is considered, and it is proposed that Wainuiomata may act as a mirror which reflects a sense of place derived from personal history, triggered by the visual landscape. The author's installation work The 1 p.m. Project is discussed and contextualised as a response to the author's research findings.

The essay investigates the production of scientific images and threedimensional models in the effervescent dialogue between art and science of eighteenth-century Tuscany. Created to meet new didactic needs, these technical images, such as the anatomical tables conceived by anatomist Paolo Mascagni for the students of the Academy of Fine Arts, abandoned the Vesalian topos of the cadaver as a life-like statue and gave rise to a novel lithic iconography, which emphasised the textured materiality of human remains and their potential transformations across the natural and artificial realms. The miscegenation of manufactures and natural productions was given pride of place in anatomical and botanical atlases, as well as in the scientific collections that sprung up in Tuscany at the time.

Painter, etcher, and illustrator John Sloan was a leading figure in the Ashcan School, a group of turn-of-the-century urban realists who used dark palettes and heavy brushwork to paint the grittier side of New York life. In 1892, while working as an illustrator at the Philadelphia Inquirer, Sloan enrolled in evening classes at the Pennsylvania Academy of the Fine Arts and co-founded the Charcoal Club, a group of local artists who met for informal discussions and sketching sessions in Robert Henri’s studio. Sloan followed Henri to New York City, where he became associated with ‘The Eight.’

Article Summary 1. Origins. Among the dominant influences on eighteenth-century aesthetics are divisions between classicists and modernists, between the rationalism of Descartes (1596–1650), Leibniz (1646–1716), and particularly Christian Wolff (1679–1754) and the followers of Newton (1642–1727) and Locke (1632–1704), and between commercially motivated authors and critics and the talented polite learning of the nobility. A. G. Baumgarten (1750/1758) coined the word ‘aesthetics’ from the Greek αισθητικοσ, having to do with perceiving by the senses, but the word did not come into widespread use prior to Immanuel Kant’s (1790) adoption of it, and by then it was being used very differently than in Baumgarten’s rationalist project. Thus to use the word at all with regard to most eighteenth-century discussions centred on the arts is anachronistic. 2. The ancients and moderns: science and art. Eighteenth-century aesthetics is formed out of a debate within criticism and the arts over the relative priority of classical and modern arts and artists and the originality of artists, a debate that is itself a part of a larger argument over the relative merits of modern versus classical learning and culture. To many in the eighteenth century it seemed that the ancients achieved a perfection in the arts that no modern could challenge; thus, originality in the arts is an aesthetic problem. In the arts, the authority of classical authors and the achievement of classical artists placed taste and reason on the side of the ancients except in painting, where technical skill in perspective and a lack of ancient examples favoured the moderns. 3. Rationalism and empiricism. The strength of modern science favoured empiricist approaches to aesthetic issues, however. Both a Wolffian rationalist aesthetics and Lockean empiricist aesthetics appeal to experience and thus to the modernist, scientific side of the argument. The differences between rationalists and Lockean empiricists turn on how reason is understood. Reason is either the innate source of principles and rules or principles are based on experience alone. For a Lockean empiricist, beauty is only in the mind of the beholder, while for a Wolffian rationalist, beauty is not sensuous and confused but universal and clear. True beauty is order, Johann Christoph Gottsched (1740, §20) argued, while Francis Hutcheson (1725) follows the Lockean model and defines beauty as the individual experience of uniformity amidst diversity. Both Hutcheson and David Hume (1739) attempt to map the passions as forms of sensory input combined with mental oversight. (Hume is more extreme, however, in limiting that oversight to sentiment itself.) In France, both Denis Diderot (1748) and Jean-Jacques Rousseau (1761, 1762) appeal directly to sentiment and promote it to aesthetic control. The result is a subjectivism that is a problem for critical judgement. The point is not to blur the lines between rationalists of the Cartesian and Wolffian traditions, as represented by Baumgarten and Gottsched, on the one hand and the followers of Locke and Newton like Hutcheson, Hume, and Alexander Gerard (1759) on the other, but to emphasise that all are working out a modernist, scientific break with classical forms of aesthetics that depends on subjective, individual experience. 4. The arts and nature. The concept of the fine arts was itself a product of an evolving re-orientation of the arts in the eighteenth century (Kristeller, 1951, 1952). Artists were instructed to follow nature, and that command led the Third Earl of Shaftesbury (1711), David Hume (1739), and Rousseau (1761, 1762) to sentimentalism in the arts. Nature is the opposite of caprice, changeableness, and chance, however. To follow nature is to rely upon probabilities, as Hume argued. In France, Charles Batteux’s, The Fine Arts Reduced to a Single Principle (1746), argues that the imitation of what Batteux calls belle nature is an underlying principle of all of the fine arts. Following nature is completely compatible with following rules, however. At issue is the nature of the rules. The affective aesthetics of Shaftesbury, Hume, Diderot (1773) and Rousseau (1761, 1762, 1764–6) follows from the Abbé Jean-Baptiste Du Bos’s theory (1719) which claimed that only the effect determined the quality of a work. 5. Taste. For much of the eighteenth century, taste replaces beauty as the most important theoretical concept. It is first of all an individual, prudential concept (Gracián, 1674). Taste individualises judgement and locates it in the perceiver’s response. Criticism disciplines taste and provides a means for discrimination. Eighteenth-century aesthetics can be viewed as a struggle between taste and criticism, just as it reflects the struggle between the authority of the ancients and the originality of the moderns. 6. Sentiment and the passions. For those within the tradition that values sentiment, taste combines both normative and affective judgement. Sentiment is not simply pleasant; it is good or bad depending on how it fits into a larger system. Hume (1739) in particular makes sentiment and thus taste the master in the master–slave relation of reason and the passions. 7. A standard of taste. Appeals to taste were widespread in the eighteenth century. Taste was both defended as a form of polite learning accessible to everyone and reviled as an invitation to vulgar display and immoral subjectivity. Two issues having to do with taste shape the aesthetics of the mid-eighteenth century. The first is the question whether and how taste can be formed. The metaphor suggests that taste is as immediate and invulnerable to modification as its gustatory counterpart on the analogy of a palate in wine tasting. That makes delicacy of taste the controlling faculty, but it leaves judgements of taste wholly subjective. To counter that implication, Edmund Burke (1759) denies that in the arts taste is a separate faculty, and thus it is no longer a sense. To solve that problem, Hume turns to a different question that seems more amenable to factual distinction: the character of the judges. Where that can be determined, true judges can be identified, and then their judgements provide a standard. Hume’s contemporaries were not prepared to trust sentiment quite so far as he did, however. They viewed sentiment as one more subjective form of emotion. Alexander Gerard (1780) tries for a natural philosophy of taste that would provide principles of taste. Regarded in the light of a common human nature, taste can be predicted. Lord Kames’s (1762) belief in a standard of taste depends in large measure on his conviction that there is a common human nature, a view he shares with Charles Batteux (1746) in France. Most of those who regard taste as something positive in itself appeal to an assumed common nature to sort good from bad taste. 8. Imagination and expression. Taste is a responsive faculty. Its productive parallel is the faculty of the imagination and its creative form is genius. The imagination replaces an internal sense as a source of ideas in aesthetic theories. The imagination can then be separated into distinct kinds, especially the sublime and the picturesque; John Baillie (1747), Burke (1759) and Uvedale Price (1796) all distinguish the sublime as a separate aesthetic emotion. Imagination and genius make the activity of the mind itself the source of aesthetic experience through association of ideas just as the experience of the world is the source of ideas through the senses. Archibald Alison (1790) turns associationist psychology to a different end than it originally served by combining it with a theory of the mind’s expressive powers to produce an extensive theory of aesthetic effects and predicates. Alison does not go all the way to a unique form of aesthetic pleasure, however. That is left to Romanticism in the next century that arises, especially in Germany, after Kant (1790). 9. Cultural forces. Eighteenth-century aesthetics does not develop in cultural vacuum. In the course of the century, painters and authors changed from dependence on patronage to entrepreneurs who lived by the sale of their work. Patronage itself becomes more middle class. New economic forces mean new audiences. Private reading, professional critics, circulating libraries, salons, exhibitions, and serial publications transform aesthetic expectations. Academy exhibitions in France anticipate the museum culture that is already emerging from the classical collecting impulses of the eighteenth century and the opening of great houses and collections to picturesque tourists such as William Gilpin (1748). We should recognise that the eighteenth century is at once the root of our modern aesthetic and at the same time very different from it. We make a serious mistake if we view the century only with post-Kantian eyes.

The following paper contains some of the main points of discussion in a research project about the preservation of architecture of the Modem Movement in preparation at the Royal Academy of Fine Arts, School of Architecture, Copenhagen. It discusses the relativity of historical values within the early Modem Movement. Various aspects on the case of preservation of architecture of the Modem Movement are explained. Different examples of restoration, reconstruction and new interventions are analysed and ordered in a series of methods. The conclusion is that the architecture of this epoch needs a new attitude especially towards the question of authenticity.

Vlad Burlea is a prominent personality of the local musical culture. He is prodigiously active in the field of musical creation, signing works of great artistic value. He is involved in the musical life of the Republic, both by organizing various events, concerts, and directly participating in them. He manifests himself prodigiously in the sphere of musical pedagogy, educating generations of young musicians within the Ștefan Neaga Center of Excellence in Artistic Education and the Academy of Music, Theater and Fine Arts. The works of composer Vlad Burlea are successfully performed in concert halls in our country and abroad. The prestigious New Music Days International Festival organized annually in Chisinau has an important role in revealing the musical personality of maestro Vlad Burlea and his manner of composing.

This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.