Academic literature on the topic 'Prints 20th century Exhibitions'
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Journal articles on the topic "Prints 20th century Exhibitions"
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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries." Observatory of Culture 18, no. 5 (October 29, 2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.
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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
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Dragońska, Urszula. "„Pejzaż górski nie odpowiadał mi malarsko”, Zakopiański epizod graficzny Jana Skotnickiego." Artifex Novus, no. 5 (December 13, 2021): 118–35. http://dx.doi.org/10.21697/an.9374.
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Abstrakt:
W artykule omówiona została graficzna twórczość młodopolskiego malarza Jana Skotnickiego, przypadająca na lata 1909–1914. W 1908 r. artysta wraz z żoną Teodorą z Trenklerów wyjechali z Krakowa do Zakopanego. Pobyt artysty zbiegł się w czasie z intensywnym rozwojem kulturalnym kurortu. W miejscowe inicjatywy Skotnicki angażował się osobiście, przy finansowym wsparciu swego teścia, łódzkiego przemysłowca i kolekcjonera, Henryka Grohmana. Jednocześnie tutejszy krajobraz i popularna w owym czasie góralska sztuka ludowa, zupełnie artysty nie inspirowały, przez co niemal zarzucił malarstwo, a zainteresował się grafiką i kilimiarstwem. Polem nowych zainteresowań stała się otwarta staraniem Grohmana eksperymentalna pracownia wyposażona m.in. w prasy drukarskie. W kolejnych latach Skotnicki prezentował swoje ryciny na licznych wystawach, także tych towarzyszących organizowanym konkursom graficznym (1911, 1914), a po wyjeździe do Warszawy (1912) przyłączył się do Towarzystwa Przyjaciół Sztuk Graficznych.
Skotnicki uprawiał techniki metalowe, bardzo szybko osiągając w nich wysoki poziom zauważony przez krytyków. Łączył akwafortę, akwatintę, suchą igłę i ruletkę, eksperymentował z drukiem barwnym i kolorował odbitki, mocno indywidualizował prace podczas ich odbijania, stosując tintę. Jego dorobek graficzny oszacowany zastał na ponad 50 kompozycji, przy czym w kolekcjach publicznych znajduje się ich obecnie przynajmniej 36. Są to pejzaże, widoki miasteczek i architektury, akty, studia postaci i zwierząt, w wielu przypadkach wzorowane na własnych szkicach i obrazach. Tematycznie i kompozycyjnie wykazują one wiele podobieństw do prac twórców młodopolskich, zarówno z grona profesorów (J. Stanisławski), jak i rówieśników podejmujących próby graficzne (W. Skoczylas). W sposobie budowania kompozycji, kadrowania, asymetrii i fragmentaryczności przedstawień widoczne są wpływy sztuki japońskiej, stanowiącej ważne źródło inspiracji za sprawą kolekcji i działalności Feliksa „Mangghi” Jasieńskiego. Znacząca była również kolekcja Grohmana, za pośrednictwem której Skotnicki mógł poznać twórczość XIX-wiecznych odnowicieli sztuk graficznych, jak i artystów kolejnych pokoleń (J.M. Whistler, F. Rops, E. Carrière), co znalazło odbicie w jego rycinach.
Nieco zapomniana działalność Skotnickiego wpisuje się w ogólniejszą tendencję: zainteresowania młodopolskich artystów sztukami graficznymi i zaangażowania na rzecz ich popularyzacji na przełomie XIX i XX w. Jest przykładem poszukiwania własnego języka wypowiedzi w nowym medium, samodzielnie podejmowanego eksperymentu. Choć Skotnicki nie był pionierem sztuk graficznych na ziemiach polskich, to z pewnością stał się ich propagatorem.
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The article discusses the graphic output of Jan Skotnicki, a painter of Young Poland, which he created in the years 1909–1914. In 1908, the artist and his wife, Teodora née Trenkler, left Cracow for Zakopane. The artist’s stay there coincided with the intensive cultural development of the resort. Skotnicki was personally involved in local initiatives, with the financial support of his father-in-law, an industrialist and art collector from Łódź, Henryk Grohman. However, the local landscape and the highland folk art popular at that time did not suit him at all. As a result, he nearly gave up painting and became interested in prints and kilims. An experimental studio, opened thanks to Grohman’s efforts, became Skotnicki’s new field of interests. It was equipped with, among other things, printing presses. In the following years, Skotnicki presented his prints at numerous exhibitions, including those accompanying print competitions (in 1911 and 1914), and after moving to Warsaw (in 1912), he joined the Society of Friends of Graphic Arts.
Skotnicki used metal techniques and quickly achieved a master level, which was noticed by critics. He combined etching, aquatints, drypoints and roulette, experimented with colour printing and coloured prints. He strongly individualised his works while creating prints by using tint. His graphic output was estimated at more than 50 compositions, with at least 36 currently in public collections. They include landscapes, views of towns and architecture, nudes, studies of figures and animals, which in many cases were modelled on his own sketches and paintings. In terms of themes and composition, they show many similarities to the works of Young Poland artists from the group of professors (J. Stanisławski) as well as peers undertaking graphic attempts (W. Skoczylas). The way of building the composition, framing, asymmetry and fragmentation of the representations reveal the influence of Japanese art, which was an important source of inspiration thanks to the collection and activity of Feliks "Manggha" Jasieński. Grohman’s collection was also significant, as Skotnicki could learn from it about the works of 19th-century restorers of graphic arts, as well as about the artists of subsequent generations (J. M. Whistler, F. Rops, E. Carrière), which was reflected in his prints.
The somewhat forgotten activity of Skotnicki was part of a more general trend: the interest of Young Poland artists in graphic arts and their involvement in their popularisation at the turn of the 19th and 20th centuries. His output is an example of searching for one’s own language of expression in a new medium, and an experiment he performed independently. Although Skotnicki was not a pioneer of graphic arts in Poland, he certainly became their promoter.
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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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Johnston, Ewan. "Reinventing Fiji at 19th-century and early 20th-century exhibitions." Journal of Pacific History 40, no. 1 (June 2005): 23–44. http://dx.doi.org/10.1080/00223340500082459.
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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States." American Anthropologist 111, no. 4 (November 17, 2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.
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Pasitska, Oksana. "«TRADE LOCAL, BUY LOCAL, BE LOCAL»: AGRICULTURAL EXHIBITIONS AND FAIRS IN HALYCHYNA IN THE 20-30S OF THE 20TH CENTURY." Contemporary era 8 (2020): 19–27. http://dx.doi.org/10.33402/nd.2020-8-19-27.
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The article focuses on the exhibition activities of the Ukrainians, which were reflected upon in periodicals. In particular, it analyzes the organizational aspects and features of fairs and exhibitions of the agricultural products that were held upon the initiative of economic institutions and public organizations such as «Silskyi Hospodar» («The Farmer»), «Maslosoiuz», «Tsentrosoiuz», RSUK («The Auditing Union of Ukrainian Cooperatives»), «Soiuz ukrainok» («The Union of Ukrainian Women»), «The Ukrainian Folk Art» («Ukrainske narodne mystetstvo»), «The Hutsul Art» («Hutsulske mystetstvo»), «The Beekeeping Union» («Pasichnycha spilka»), «Rii» («The Swarm»), «Prosvita» («The Education») county unions, cooperatives, etc. Economic educational institutions also took part in the exhibitions. The first Ukrainian agrotechnical exhibitions were held in Stryi in 1909 and 1907, and later they took place in various Halychyna towns and villages, including Staryi Sambir, Dashava, and Sokal. Cooperative figures, such as D. Sembratovych, E. Olesnytskyi, O. Nyzhankivskyi, O. Lutskyi, A. Zhuk, M. Khronoviat, etc., played an important role in the organization of the given exhibitions. The article outlines the main functions performed by the exhibitions and fairs and the range of goods in demand among the visitors. Each exhibition was divided into separate sections, where the passers-by and the buyers could get acquainted with the results of work of the Ukrainian entrepreneurs and farmers in crop production, horticulture, vegetable growing, animal husbandry, beekeeping, crafts, and agricultural equipment. «Maslosoiuz» products, folk art products, and a wide range of medical products were especially popular at agro-technical exhibitions. Exhibitions and fairs were the manifestation of competitiveness in the local market, a factor of the region's economic and cultural development, as they were accompanied by entertainment and educational activities, including lectures, speeches, and presentations of new economic publications. Keywords: exhibitions, fairs, Halychyna, agricultural exhibitions and fairs
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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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Pešić, Mladen. "Exhibitionary complex: Architecture as an exhibit." SAJ - Serbian Architectural Journal 5, no. 3 (2013): 282–305. http://dx.doi.org/10.5937/saj1303282p.
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Within this research, the exhibitions are considered primarily as institutions, and as a place of interaction among different identities through choice of exhibits, their presentation, spatial layout and the selection and use of the accompanying texts. The context of the research thus put into place will attempt to answer the question of how it is possible to construct a history of the exhibitions-which are forgotten, often without sufficient documentation or records about them. In addition, it will be reconsidered in which manner the exhibitions helped to create and promote the idea of architecture during the 20th century, overlapping with the shifting of discourses, broader philosophical debates and technological innovations.
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Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica." Ars Adriatica 8, no. 1 (December 28, 2018): 195–210. http://dx.doi.org/10.15291/ars.2762.
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This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
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Buchli, Victor. "The Destruction of Gemütlichkeit? Programmatic Exhibitions on Domestic Living in the 20th Century." Home Cultures 4, no. 2 (July 2007): 201–6. http://dx.doi.org/10.2752/174063107x209028.
Full textDissertations / Theses on the topic "Prints 20th century Exhibitions"
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Oguibe, Oluchukwu Olu. "The paintings and prints of Uzo Egonu, 20th century Nigerian artist." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29692/.
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This work is as much about ways of looking at 20th century African art as it is a study of one artist and his work. The central thesis is that 20th century African art cannot be fully comprehended using deterministic frames and rigid categories. It begins by tracing the emergence of new art forms in Africa - Nigeria in particular - especially from the turn of the 19th century, a process underlined not by a capitulation to the cultural domination of colonialism but by a nationalist determination to undermine its ideological bases by disproving the artistic superiority of the white man. It then looks briefly at the life of Uzo Egonu, the Nigerian painter and printmaker whose work is the focus of the study. To set out a theoretical frame for studying the artist's art, the dissertation posits that a successful appreciation of 20th century African art is possible not by constructing and imposing grand narratives from outside, but by observing closely, systems of reading and appreciation within African societies. It then advances an alternative theory which ciraws from the Masquerade, a central topos in most African cultures as well as a complex interpretative system. Like the Masquerade, posits this theory, 20th century African art is mutative, fundamentally eclectic, and essentially transgressive, and any tool which ignores this is ineffectual. Also, because the work of art, like the Masquerade, operates on several different levels and defies the linear perspective, no interpretation is absolute. Because art is a masquerading act, reading must remain speculative and open. The work offers an appreciation of aspects of Egonu's oeuvre, tracing his development of a personal language, his strong sense of community, and the diversity of his production and concerns, demonstrating through these the poverty of current approaches to the study of 20th century African art.
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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.published_or_final_version
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Silverthorne, Diane. "New spaces of art, design and performance : Alfred Roller and the Vienna Secession 1897-1905." Thesis, Royal College of Art, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602330.
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Czujack, Corinna. "An economic analysis of price behaviour in the market for paintings and prints." Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212155.
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Collins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.
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This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distinguished in selected works in Canadian Indian Art '74, as well as through Native-run visual arts programs. First Nations art history is charted via new Canadian art narratives starting in the early 1970s, followed by the development of spatial productions and hybrid discourses in New Work By a New Generation in 1982, and Stardusters in 1986. The final chapter opens with a history of installation art since the Second World War, as related to the pronounced presence of multi-mediactic works in Beyond History in 1989. Post-colonial and postmodern theories are deployed to conclusively situate both the artistic and political concerns featured throughout this study, and lead into the analysis of selected installations at Indigena: Contemporary Native Perspectives and Land, Spirit, Power: First Nations at the National Gallery of Canada. These 1992 shows in the national capital region ultimately confirm the maturation of a particular socio-political aesthetic that tested issues of Canadian identity, while signifying Aboriginal sites of difference.
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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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Eellend, Johan. "Cultivating the Rural Citizen : Modernity, Agrarianism and Citizenship in Late Tsarist Estonia." Doctoral thesis, Stockholm : Huddinge : Department of History, Stockholm university ; Södertörns högskola [distributör], 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7026.
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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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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.
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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.
Books on the topic "Prints 20th century Exhibitions"
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Craig-Martin, Michael. Michael Craig-Martin: Prints. London: Alan Cristea Gallery, 1997.
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British International Miniature Print Exhibition (1st 1989 City of Bristol Museum and Art Gallery). First British International Miniature Print Exhibition. [London: The Council, 1989.
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Biennale of Sydney (8th 1990). The readymade boomerang: Certain relations in 20th century art. [S.l]: Biennale of Sydney, 1990.
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Stomberg, John R. A theater of recollection: Paintings and prints. Boston: Boston University Art Gallery, 1997.
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Carnegie Institute. Museum of Art. Modern Japanese prints: The twentieth century. Pittsburgh, Pa: Carnegie Museum of Art, 2009.
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Bijutsukan, Toyama Kenritsu Kindai. 20-seiki no Yōroppa Amerika hanga: Korekushon o chūshin ni shite = Prints of Europe and America in the 20th century. Toyama-shi: Toyama Kenritsu Kindai Bijutsukan, 1992.
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University of Virginia. Art Museum. Early 20th century French graphics: The T. Catesby Jones Collection. Charlottesville: Bayly Art Museum, University of Virginia, 1989.
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Miami University (Oxford, Ohio). Art Museum. 20th century American prints: Looking back and: 20th century American paintings: looking back / [gallery guide written by exhibition curator Edna Carter Southard]. Oxford, Ohio: Miami University Art Museum, 1993.
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Desperate measures: Posters prints and more. San Francisco, Ca: Last Gasp, 2002.
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Alison, McClean-Cameron, Campbell Laura, McDonald Mark P, and British Museum, eds. Revolution on paper: Mexican prints 1910-1960. Austin [Tex.]: University of Texas Press, 2009.
Find full textBook chapters on the topic "Prints 20th century Exhibitions"
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Bromley, Michael, and Karen Hasin-Bromley. "Galleries without Walls: Art and the Mechanical Mass Culture of the Press." In The Edinburgh History of the British and Irish Press, Volume 2, 616–21. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424882.003.0042.
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This chapter explores how a huge increase in the production and consumption of printed paper products in the nineteenth century provided an environment for the growth of popular printed illustration in parallel with an expanding consumerism. Art defined narrowly offered a ready-made basis for massification through print. Art moved from galleries and exhibitions into newspapers and magazines, advertising, packaging, labels and prints and posters. This provided a confluence of aesthetics and connoisseurship with commercialism, and of ‘improvement’ with consumption which impacted on the art world, too, helping to make celebrities out of artists. These new print forms of art were works in their own right. Yet, the chapter argues, the potential for a form of democratisation of art through mass consumption was circumscribed by persistent inflections of class.
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Wilk, Stephen R. "Tanagra Theater and the Fishbowl Mermaid." In Sandbows and Black Lights, 162–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197518571.003.0035.
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In the early 20th century, an optical arrangement started appearing at exhibitions, fairs, and department stores that produced a convincing illusion of miniaturized people walking on a tiny stage. It could be viewed from a variety of angles and gave a convincing illusion of a three-dimensional figure. This was named Tanagra Theater after “Tanagra”, a location in Greece where miniature figures had recently been discovered. How did they create the illusion so convincingly? How do you produce the same effect if you’re a sideshow operator with little access to precision optics and no optical training?
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"An Early Modern Empress Consort’s Role in the Courtly Public Sphere: Eleonor Magdalene of Neuburg and Her Media Appearance in Single-Sheet Prints and Medals between 1676 and 1687." In Empresses and Queens in the Courtly Public Sphere from the 17th to the 20th Century, 71–119. BRILL, 2021. http://dx.doi.org/10.1163/9789004460904_004.
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Regina Baggio Osinski, Dulce, and Ricardo Carneiro Antonio. "Children’s Art Exhibitions in Brazil: A Modern Badge for the New Man." In Pedagogy - Challenges, Recent Advances, New Perspectives, and Applications [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.99161.
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In this article we analyze, within the context of the decades between 1940 and 1960, children’s art exhibits as a strategy for asserting the importance of Art in educating and developing a child’s personality, using newspaper articles, pictures, children’s drawings, reports and other institutional documents as sources. The artistic vanguards of the early 20th century, advocates of the artist’s self expression, and the acknowledgement – by Psychology and Pedagogy – of the specificities of being a child have resulted both in the defense of the child’s freedom of artistic expression, and in a renewal of Art and education concepts of that period of time. As of the mid ‘40s, children’s art caught UNESCO’s attention because it represented potential integration and fraternity among people and the desire to build a new Man. Such exhibits acted as showcases for several ideas and justified the importance of children’s art involving, in the Brazilian context, from governmental agencies to national newspapers and private companies. Aiming at inculcating an educational conduct based on assumptions such as the unrestricted freedom of children’s creative spirit they had, as a contradiction, the censorship of themes considered unsuitable such as violence, and the need to follow a pre-defined esthetic standard.
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Poddubtsev, Ruslan A. "The Newspaper Nov’ and the Supplement Utrennij Telefon “Novi”: List of Contents." In Russian Literature and Journalism in the Pre-revolutionary Era: Forms of Interaction and Methodology of Analysis, 562–681. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0661-1-562-681.
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This work is a list of the contents of the daily newspaper Nov’, as well as the accompanying supplement Utrennij telefon “Novi”. The objects of attention were publications that touch upon topics related to literature, music, painting, theater, architecture, sculpture and philosophy. The pages of a relatively short-lived newspaper reflected, in particular, such events as the arrival in Moscow of F. Marinetti, H. Wells, G. Kogan, the protest actions of European suffragettes, the exclusion of V. Rozanov from the Religiousphilosophical society, the centenary anniversary of T. Shevchenko, the return of M. Gorky to Russia and exhibitions of avant-garde artists. This indicates that the Nov’ newspaper can be used as a valuable source for the study of Russian culture at the beginning of the 20th century.
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Hrichi, Ali Sallemi. "Online Inter@ctivity via Web 3.0." In Advances in Business Information Systems and Analytics, 210–19. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-3756-5.ch012.
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The end of the 20th century was marked by the advent of the internet along with the transformation of the consumer behavior into an information behavior. As a matter of fact, our daily life becomes centered on a multitude of informational exhibitions through which brands have invested this cutting-edge information technology, tending for delivering the perfect service by adopting the multichannel communication strategies. The advent of interactive marketing has brought new features to the web, allowing online companies to configure websites and manage smarter, more social, and more personalized interactions and communications. Accordingly, this chapter aims to make a synthetic study of the concept of online interactivity and to present a review of the literature, and to better explain the concept and to how to achieve the role of Web 3.0.
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Kraševac, Irena, and Petra Šlosel. "Networking of Central European Artists’ Associations via Exhibitions. The Slovenian Art Association, Czech Mánes and Polish Sztuka in Zagreb in the Early 20th Century." In Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 16–36. Institute of Art History, 2018. http://dx.doi.org/10.31664/9789537875596.02.
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Gigante, Lorenzo. "Incontri, scontri, confronti Appunti sulla ricezione della xilografia nordica in Italia tra XV e XX secolo." In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/007.
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Germany, France, Italy: the attribution of the first woodcut images has long been debated between several countries, to gain the technological primacy of the invention of reproductive printmaking, before Gutenberg’s movable type printing. Today we know how difficult it is, if not impossible, to establish a place and a date of origin of image printing in Europe. Impossible and probably unimportant. Printing was a European phenomenon in the 15th century, and we may ask ourselves whether a northern woodcut beyond the Italian borders was intended as something different than an Italian one. The contrast between northern and southern prints, which has been claimed by art historians from Vasari until the half of the 20th century, seems to be denied by early modern Italian sources. For example, a German woodcut from the first decades of the 15th century and a Florentine painting from the end of the 14th century can coexist as models for the illumination of the same manuscript. This unpublished case study of two Florentine 15th-century illuminations shows how a European cultural horizon was more common than we think today, and how much woodcut has been a fundamental tool for this broadening of horizons, since its very beginning.
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"Appendix List of the Turkestanian (T), Russian (R), and International (I) Exhibitions of the 2nd Half of the 19th and Early 20th Century in which Private Collections of Russian Turkestan have been presented (See also note 203)." In The Private Collections of Russian Turkestan in the Second Half of the 19th and Early 20th Century, 125–30. De Gruyter, 2003. http://dx.doi.org/10.1515/9783112400326-006.
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Rios, Fernando. "Musical Dimensions of Indigenismo." In Panpipes & Ponchos, 21–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692278.003.0002.
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In 1925, La Paz city residents observed Bolivia’s first centennial of political independence, with official state celebrations that in hindsight appear remarkably devoid of Bolivian nationalist exhibitions of indigenismo. Twenty-three years later, urban La Paz hosted another lavish commemoration, this time to honor the city’s 400th anniversary. But, in a clear departure from the 1925 centennial, the 1948 event included a “folklore” festival that was wholly devoted to Andean indigenous music-dance traditions, the Concurso Folklórico Indígena del Departamento. As the Concurso’s inclusion in the 1948 celebration suggests, mainstream La Paz criollo-mestizo views about the cultural value and meanings of Andean indigenous expressive practices had undergone a significant transformation in the twenty-three years following the 1925 centennial. This chapter elucidates this major shift, by exploring key developments in the paceño indigenista musical scene that transpired in the period from the 1920s to 1940s. Throughout Latin America, elite and middle-class interest in regionally distinctive music-dance expressions reached new heights in the early decades of the 20th century, as part of a quest among a varied cast of politicians, writers, and artists for local traditions that unmistakably demonstrated the nation’s cultural uniqueness. Indigenismo represented a manifestation of this phenomenon. The Bolivian variant of this nativist movement took inspiration from indigenista currents radiating from other Latin American countries, including Mexico and Argentina, but above all else from Peru.
Conference papers on the topic "Prints 20th century Exhibitions"
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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.
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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.
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Ardava-Āboliņa, Laura. "30 Years after the Barricades of January 1991: Media Event for the Transfer of Collective Memory and Knowledge of History." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.74.
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In the middle of pandemic, January 2021 marked the 30th anniversary of the Barricades of January 1991. Media events have the function of transmitting social memory and teaching history to an audience of children, young people, and people who do not have these memories in their personal experience. Sociologist John Thompson introduced the concept of ‘mediated historicity’ almost two decades ago. He explained that most individuals in Western societies gained their knowledge on 20th century history primarily from media products (Thompson, 2004). The study analyzes the discourses of remembrance of the Barricades in the most popular media in Latvia: “Latvian Television”, www.delfi.lv, Channel TV, www.tvnet.lv, “Latvian Radio 1” (Media Literacy of the Population of Latvia: Quantitative Research, 2020), paying particular attention to the content of the remembrance (exhibitions, concert programs, memories, documentaries, photo competitions for young people, book openings, etc.). The theoretical basis of the research is formed by the theoretical approaches of media event and mediated historicity. Media messages was analyzed with the discourse historical method by Ruth Wodak. The research results confirm the impact of the current epidemiological situation on the sense of the commemoration forms and the emotions of the participants, new educational dimension and orientation towards the past.
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Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025
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Granados González, Jerónimo. "Captando la mirada. Publicidad y reclamo en el espacio expositivo de Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.699.
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Resumen: Dentro de la obra de Le Corbusier, el espacio expositivo fue un tema ampliamente desarrollado. La idea de generar un prototipo teórico de museo, por ejemplo, fue recurrente a lo largo de toda su obra, como una idea latente, en gestación, a la espera del momento para ser llevada a la realidad de la construcción. En el caso concreto del museo de crecimiento ilimitado, desarrollado teóricamente a lo largo de la década de 1930, los pocos ejemplos construidos son ejecutados a partir de los años cincuenta. Al realizar una compilación de los ejemplos de espacios expositivos proyectados por Le Corbusier, siguiendo líneas tipológicas similares, en donde se incluyan no solo museos, sino también, pabellones y salas de exposición, montajes expositivos e, incluso, propuestas comerciales (donde lo expuesto es una mercancía), se constata que el número total de obras supera las ochenta, abarcando proyectos desde 1910 (la sala de exposiciones del Taller de artistas) hasta la muerte de Le Corbusier en 1965, con el último ejemplo proyectado: el museo del siglo XX en Nanterre. A la hora de analizar las distintas estrategias proyectuales empleadas por el maestro a la hora de enfocar la arquitectura expositiva, un punto interesante es el reclamo publicitario, la propaganda y la captación del interés de los visitantes, la relación con el diseño gráfico y la publicidad, el empleo del color, el grafismo o la cartelería. Todos estos aspectos son especialmente relevantes en el caso de pabellones de exposición y pabellones para marcas comerciales. Abstract: Within the work of Le Corbusier, the exhibition space was a theme widely developed. For example, the idea of a theoretical prototype of the museum was recurrent throughout his work, as a latent idea, waiting for the time to be taken to the reality of construction. In the case of the museum of unlimited growth, theoretically developed throughout the 1930s, the few built examples are executed from the fifties. In carrying out a compilation of examples of exhibition spaces designed by Le Corbusier, following similar typological lines, where not only museums but also pavilions, exhibition halls, expositions and even commercial proposals are included, we find that the total number of works exceeds eighty, covering projects since 1910 (the exhibition hall of the Ateliers d’Artistes) to the death of Le Corbusier in 1965, with the final example: the Museum of the 20th Century in Nanterre. When analyzing the different design strategies employed by the Master at the exhibition architecture, an interesting point is the study of advertising, propaganda (attracting the interest of visitors), the relationship with graphic design, and the use of color, graphics and signage. All these aspects are especially relevant in the case of exhibition halls and pavilions for trademarks. Palabras clave: pabellones; exposiciones; museos; publicidad. Keywords: pavilions; exhibitions; museums; advertising. DOI: http://dx.doi.org/10.4995/LC2015.2015.699
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Lopes Dias, Tiago. "La mirada de Pedro Vieira de Almeida a Le Corbusier: una visión desde Portugal en la segunda mitad del siglo XX." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.732.
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Resumen: Pedro Vieira de Almeida (Lisboa, 1933 – Matosinhos, 2011) es uno de los más importantes críticos y teóricos de la arquitectura en la segunda mitad del siglo XX en Portugal. En 1963, presenta en la Escuela de Bellas Artes de Oporto una tesis titulada “Ensayo sobre el espacio de la arquitectura”, influida por el pensamiento de Bruno Zevi. Hasta la Revolución de los Claveles (1974), va a compaginar su práctica profesional como arquitecto con una intensa actividad crítica ejercida sobre todo en periódicos y revistas culturales. Desde sus primeros trabajos se evidencia una notable capacidad de utilizar conceptos críticos innovadores en el análisis de obras de arquitectura, lo que será fundamental en sus estudios historicos desarrollados a lo largo de su vida, dados a conocer en publicaciones y exposiciones retrospectivas sobre arquitectos clave. Este ensayo propone una reflexión sobre el legado de Le Corbusier poniendo el aciento en algunos artículos de Vieira de Almeida escritos entre 1965 y 1970, así como en la investigación que ha llevado a cabo en los últimos años de su vida. Esta lectura diacrónica pone de relieve el papel central del maestro franco-suizo en la lectura crítica de Vieira de Almeida del racionalismo, a través de las nociones por él manejadas: “estructura crítica como condición base de la creación”, las vertientes poético-simbólica y mítica de la arquitectura o el concepto de carácter más instrumental de la “espesura”. Abstract: Pedro Vieira de Almeida (Lisbon, 1933 – Matosinhos, 2011) is one of the most prominent critics and theorists of architecture in the second half of the 20th century in Portugal. In 1963, he presented at the Oporto School of Fine Arts a thesis entitled “Essay on architectural space”, clearly influenced by the thoughts of Bruno Zevi. Until the Carnation Revolution (1974), he will combine his professional practice as an architect with an intense critical activity, developed mainly in newspapers and cultural magazines. Since his early work, a remarkable ability to use innovative concepts in the critical analysis of buildings have been put forth, with major consequences in his historiographical studies, developed throughout his life through publications or retrospective exhibitions on key architects. The following paper proposes a reflection on the legacy of Le Corbusier based on Vieira de Almeida’s theoretical work, linking some texts written between 1965 and 1970 with his research carried out in his last years of life. This diachronic study highlights the central role of Le Corbusier in Vieira de Almeida’s critical approach to rationalism, by means of notions as: “criticism as a basic condition of creation”, poetic-symbolic and mythical aspects of architecture, or the more instrumental concept of “thickness”. Palabras clave: Crítica; Teoría; Pedagogía; Poética; Espesura; Ronchamp. Keywords: Critique; Theory; Pedagogy; Poetics; Thickness; Ronchamp DOI: http://dx.doi.org/10.4995/LC2015.2015.732