Bibliografías temáticas / Fantasy in art – Exhibitions

Literatura académica sobre el tema "Fantasy in art – Exhibitions"

Autor: Grafiati
Publicado: 26 de julio de 2024

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Artículos de revistas sobre el tema "Fantasy in art – Exhibitions"

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Otto, Kristin. "Shapes of the Ancestors: Bodies, Animals, Art, and Ghanaian Fantasy Coffins". Museum Anthropology Review 13, n.º 1 (29 de marzo de 2019): 47–58. http://dx.doi.org/10.14434/mar.v13i1.26580.

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This project report describes the research and presentation of Shapes of the Ancestors: Bodies, Animals, Art and Ghanain Fantasy Coffins, an exhibition focusing on the workshop of Ghanain fantasy coffin maker Paa Joe. The exhibition was on display at the Mathers Museum of World Cultures in Bloomington, Indiana from August 14 through December 16, 2018.
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Chan, JJ y Mathew Gillings. "Constructions and representations of Chinese identity through England’s curatorial imagination: A corpus-assisted analysis". Research in Corpus Linguistics 12, n.º 1 (2024): 114–39. http://dx.doi.org/10.32714/ricl.12.01.05.

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This article explores the linguistic representation of Chinese identity in art exhibitions across England in the period immediately following the Umbrella Revolution. It focuses on publicly funded institutions through an analysis of press releases from Art Council England’s National Portfolio Organisations (NPOs) between 2014 and 2020. By employing corpus-assisted methods of analysis (Baker et al. 2008; Partington et al. 2013; Gillings et al. 2023) and drawing on Karen Barad’s (2007) notion of ‘diffraction’ to read through linguistic and artistic practices, we identify five key areas of interest that run throughout the press releases: namely, colonial history, the foregrounding of ethnicity, the media, fantasy, and green issues. This analysis allows us to speculate on how the creative actions of these publicly funded institutions might have contributed to the socio-political Zeitgeist surrounding a racialised population in England, raising important questions for NPOs and other institutions on the role of the curatorial in the forming of social realities, and the extent of their practice in discourse on decolonisation, language, race, and politics. On a theoretical and methodological level, it also allows us to explore potential synergies between corpus-assisted discourse analysis and the arts.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”". Observatory of Culture 18, n.º 2 (31 de mayo de 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.

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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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Wilmink, Melanie. "Surface and light". Alphaville: Journal of Film and Screen Media, n.º 17 (1 de julio de 2019): 169–78. http://dx.doi.org/10.33178/alpha.17.11.

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Utilising case studies from my curatorial practice, this paper discusses the balance between research and creation, and elaborates on exhibition projects that centre the spectator within an embodied experience of the moving image. While some of my curatorial practice includes installation art that literalises the space of the image, including Urbanity on Film (2009), and The Situated Cinema Project; in camera (2015), other programs have achieved this same effect within a single-channel screening format, including Radiant Bodies (2015) and Dirt City Rock Fantasy: The Short Films of Trevor Anderson (2016). By treating the moving image as an experience that incorporates the space and time of the viewer’s body, these curatorial projects explore the idea of artwork as a phenomenological tool, creating exciting environments while simultaneously advancing knowledge through the process of being with the artwork.
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Luibyva, Mariia-Milana. "AD GLORIAM DEI: PATTERNS OF PAIN, SUFFERING AND PLEASURE IN MEDIEVAL CULTURE". UKRAINIAN CULTURAL STUDIES, n.º 1(12) (2023): 55–58. http://dx.doi.org/10.17721/ucs.2023.1(12).12.

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The article provides a cultural analysis of the triad of pain, punishment and pleasure as a significant component of medieval religious practices and their representations. The artistic and visual sphere of medieval culture is characterized by the hegemony of images of violence. Accordingly, the study attempts to identify the potential of portraying violence to generate and legitimize various forms of pleasure. Violence in the religious discourse of the Middle Ages and its representations operates on several different levels: the pleasure associated with identifying with the victim, the pleasure of projecting cruelty on the tormentors, the pleasure of fantasizing about ritual violence against the sacred victim. Comparing the mechanisms of pain gratification in religious practices and masochism sheds light on the symbolic load and functions of pain in Medieval Culture. Medieval images of pain as a tool of punishment did not just reflect cruel realities: and images were common because they were motivated and created by certain types of pleasure. Artistic images of pain and suffering do not just depict broken bodies and psyche, they also create opportunities for constructing the "I", institutions and ideas in the interests of a whole range of different programs and ideological positions. The hegemony of violence in the visual art of the era has the potential to create a space for the cultivation of broader, subversive possibilities: compassion and opposition to the pain of martyrs, fantasies of resistance, emancipation, the formation of alternative forms of eroticism, getting voyeuristic pleasure from hurting others. The paper attempts a transcultural comparison of the practices of getting pleasure from causing pain on the example of religious practices (self-harm) and masochism: they are based on dramatic expectation, postponement, delay in final satisfaction, investment in fantasy, attraction to exhibitionism. Using masochism as an interpretive category, one can see the structures of fantasy, tension, and view that formed the basis of certain genres of medieval representation. Through fantasy, obscurity, and exhibitionism, masochism transcodes the body in pain to the scene of erotic liberation. With the help of a similar trio of techniques, martyrdom forms the sublime body of a saint.
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Guk, Alexey A. "Cultural and Aesthetic Dynamics of Photography as a Form of Contemporary Art". Observatory of Culture 21, n.º 2 (19 de abril de 2024): 149–57. http://dx.doi.org/10.25281/2072-3156-2024-21-2-149-157.

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Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary artists of the conceptual possibilities of photography. It was mainly the photographic documentation of process-action forms of contemporary art. The same period saw the birth and formation of the main artistic strategies and creative methodologies of art-photography: adherence to documentaries, the use of staging (directing), the introduction of seriality (typology), the combination of word and image. The second stage (1980s — 1990s) of art-photography functioning is characterized by further development and enrichment of established artistic tendencies and the emergence of new practices in which photographic material expands its subject matter and claims the role of a text that problematizes (thematizes) the represented reality. The development of art-photography at the third stage (2000s to the present) is determined by two main factors: the processes of digitalization and oscillation of contemporary culture and art, which leads to the transformation of the “mode of truth” of the photographic image and the strengthening of the importance of the aesthetics of the individual photographic frame. At the level of practice, this is expressed in the creation of photographic pictures where reality and fantasy images merge into a single whole and become indistinguishable. This effect was reinforced by printing photographs of enormous size and exhibiting them in museum spaces and galleries. Nowadays, art-photography, while remaining a form of contemporary art, seeks to go beyond it and acquire signs of aesthetic self-sufficiency.
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Littrup, Signe Lykke y Poul Grinder-Hansen. "Fakta og fantasi, historiebrug og museernes troværdighed". Nordisk Museologi 35, n.º 1-2 (2 de enero de 2024): 20–36. http://dx.doi.org/10.5617/nm.10817.

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This article discusses a somewhat controversial exhibition at the UNESCO World Heritage Site Kronborg Castle in Elsinore, The Royal Series at Kronborg Castle – Facts and Imagination with Jim Lyngvild and Poul Grinder- Hansen, which opened at Kronborg Castle in April 2021. The authors contributed to the exhibition’s content and form, Signe Lykke Littrup as curator and project manager, senior researcher Poul Grinder-Hansen as historical co-creator of the exhibition’s content in text, speech, and film. The article is built around experiences from the exhibition, methodological and theoretical considerations about its communication skills and quotes from interviews with guests who visited the exhibition in the summer and autumn of 2021. The article concludes that a cultural-historical exhibition can, through the conscious use of both contemporary and ancient works of art in a dialogue-based form, involve guests and create considerations about the conditions for the uses of the past in storytelling.
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Classen, Albrecht. "Sherry C. M. Lindquist and Asa Simon Mittman. With a Preface by China Miéville, Medieval Monsters: Terrors, Aliens, Wonders. New York: The Morgan Library & Museum, 2018, 175 pp., more than 90 colored ill." Mediaevistik 31, n.º 1 (1 de enero de 2018): 284. http://dx.doi.org/10.3726/med012018_284.

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This wonderfully illustrated book accompanied an exhibition that took place at the Morgan Library & Museum, New York, from June 8 to September 23, 2018, authored by two well established and respected art historian*s, who provide us with a sweeping view of the world of monsters and many other related creatures in medieval fantasy. While previous research mostly focused on monsters in the narrow sense of the word, i.e., grotesque and oversized human-like creatures normally threatening ordinary people in their existence, Lindquist and Mittman pursue a much broader perspective and incorporate also many other features in human imagination, including wonders, aliens, Jews, Muslims, strangers in general, the femme fatale, sirens, undines, mermaids (but there is no reference to the Melusine figure, though she would fit much better into the general framework), devils, and evil spirits. However, I do not understand why ‘gargoyles’ have been left out here. This vast approach allows them also to address the beasts from the Physiologus tradition, then natural wonders, giants, and then, quite surprisingly, religious scenes in psalters (148), depictions of nobles playing chess (150; where are the wild men alleged surrounding the players?), the whore of Babylon (153), figures from the Apocalypse, and anything else that smacks of wonder.
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Simmel, Georg. "On Art Exhibitions". Theory, Culture & Society 32, n.º 1 (23 de mayo de 2014): 87–92. http://dx.doi.org/10.1177/0263276414531052.

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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach y Olga Zulabueva. "Exhibitions". Museum Worlds 6, n.º 1 (1 de julio de 2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm
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Tesis sobre el tema "Fantasy in art – Exhibitions"

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Dulude, Marc. "Fantasme de calvitie". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.

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Kientzel, Paula. "Artifacts and fantasy". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4895.

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Thesis (M.F.A)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 28, 2008) Includes bibliographical references.
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Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s". Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.

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Molid, Mats. "Fantasy : genrens bildmässiga särdrag". Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-558.

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Forstrom, Melissa. "Interpretation and visitors in two Islamic art exhibitions". Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.

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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideologies like Orientalism and Islamophobia. Contemporaneously, there has been a steadily growing body of research on interpretative theory in new museology. However, no significant attempt has been made to amalgamate and apply the recent academic research in interpretative theory, including design interpretation, museum graphics and written interpretation to the analysis of Islamic art exhibitions. This thesis examines the interpretation, the process(es) of interpretation production and visitors responses in two Islamic art exhibitions in the United States: the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia and Later South Asia (New Galleries) at the Metropolitan Museum of Art in New York City and Pearls on a String: Artists, Poets, and Patrons at the Great Islamic Courts (Pearls) at the Walters Art Museum in Baltimore, Maryland. This thesis utilizes a triangulated methodological approach where the theoretical research in interpretative theory is applied to a case study of New Galleries interpretation. A critical reflection method is adopted to examine the author’s professional involvement in the Pearls exhibition. Summative visitor evaluations of both exhibitions were undertaken in order to better understand the meanings visitors’ make. Ultimately this thesis argues that a unified, process-based approach (Whitehead,2012) to interpretation with both design and written interpretation is important because of the association or slippage between Islamic art exhibitions and the broader social and political contexts.
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Hatcher, Lynn A. "Exhibition in the curriculum preparing students to complete the artistic cycle /". Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).
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Fuller, Michele. "Reviewing medium: paint as flesh". Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.

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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
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Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions". Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.

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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
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Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931". Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.

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이윤영 y Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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

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Pierini, Marco y Lorenzo Fusi. Flesh for fantasy. Prato: Gli ori, 2004.

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Masakazu, Takei. Double fantasy: Korean contemporary art. Tokyo: Foil, 2009.

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Ellen, Seifermann, Hafner Hans-Jürgen, Rathjen Ulrike y Kunsthalle Nürnberg, eds. Trouble with fantasy. Nürnberg: Verlag für moderne Kunst, 2005.

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Museum, Sir John Soane's. Diverse maniere: Piranesi, fantasy and excess. [Madrid]: Factum Arte, 2014.

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Doré, Gustave, Lisa Small, Eric Zafran y Robert Rosenblum. Fantasy and faith: The art of Gustave Doré. New Haven: Yale University Press, 2005.

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Eric, Zafran, Doré Gustave 1832-1883, Rosenblum Robert y Small Lisa, eds. Fantasy and faith: The art of Gustave Doré. New York: Dahesh Museum of Art, 2007.

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David, Frisby y Los Angeles County Museum of Art., eds. Expressionist utopias: Paradise, metropolis, architectural fantasy. Berkeley, CA: University of California Press, 2001.

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Planes, Segundo. Frijol: Obra reciente : Art Miamí 95, International Art Exposition, January 6-10, 1995. Garza García, N.L., México: Galería Ramis Barquet, 1995.

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Barry, Judith. Public fantasy: An anthology of critical essays, fictions and project descriptions. London, [England]: Institute of Contemporary Arts, 1991.

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Bolton, Andrew. Superheroes: Fashion and fantasy. New York: Metropolitan Museum of Art, 2008.

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Capítulos de libros sobre el tema "Fantasy in art – Exhibitions"

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Codell, Julie F. "International Exhibitions". En A Companion to British Art, 220–40. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch10.

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Tanga, Martina. "Extramural Exhibitions". En Arte Ambientale, Urban Space, and Participatory Art, 24–62. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9781351187954-2.

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Zabunyan, Elvan. "Decolonizing contemporary art exhibitions". En Decolonizing Colonial Heritage, 152–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100102-11.

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Mader, Rachel. "Art for Society, Whitechapel Art Gallery, London, 1978". En "When exhibitions become politics", 95–110. Köln: Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412504632-005.

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Brannigan, Erin. "Exhibitions and Exclusions". En Choreography, Visual Art and Experimental Composition 1950s–1970s, 220–25. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-8.

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Frey, Bruno S. "Superstar Museums and Special Exhibitions". En Economics of Art and Culture, 89–95. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_11.

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Grabar, Oleg. "On Catalogs, Exhibitions and Complete Works*". En Islamic Art and Beyond, 311–20. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003554424-24.

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Wynne-Jones, Victoria. "Introduction: Exhibitions and the Choreographic Turn". En Choreographing Intersubjectivity in Performance Art, 1–42. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-40585-4_1.

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Moscoso, Philip G. y Alejandro Lago. "The ‘la Caixa’ Foundation: Art exhibitions". En When Business Meets Culture, 182–90. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230295117_13.

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Vives, Anna. "Planells’ Participation in Two Major Exhibitions". En Àngel Planells’ Art and the Surrealist Canon, 60–77. New York : Routledge, 2020. | Series: Studies in surrealism: Routledge, 2019. http://dx.doi.org/10.4324/9780429439605-4.

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Actas de conferencias sobre el tema "Fantasy in art – Exhibitions"

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Aydoğan, Derya. "Art Exhibitions During the Pandemic". En COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.

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Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual reality exhibitions became a notable alternative to online exhibitions in a lot of respects such as allowing typical curatorial arrangements as well as adding digital methods, and making the audience feel like they are actually visiting an exhibition. However, it obviously causes overcrowding and loss of aura as a result of a phenomenon based on excessive display in structures open to the participation of everyone. In order to preserve the aura of art and exhibition and to maintain its compatibility with new technologies, it’s necessary to introduce new curatorial understandings, new aesthetic perceptions, and new quality elements. In this study, the existence of art exhibitions in online environments, especially during the pandemic, will be evaluated within the context of qualitative descriptive analysis.
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Pittarello, Fabio. "Designing AR enhanced art exhibitions". En the 13th Biannual Conference of the Italian SIGCHI Chapter. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3351995.3352052.

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Prince, P. "A brief history of SIGGRAPH art exhibitions". En SIGGRAPH 89 Art show catalog - Computer art in context. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/73877.73878.

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Hasegawa, Tomohiro. "A fantasy based on reality the art of Final Fantasy XV". En SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3084363.3085082.

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Coulton, Paul, Emma Murphy, Klen Čopič Pucihar, Richard Smith y Mark Lochrie. "User curated augmented reality art exhibitions". En NordiCHI '14: The 8th Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2639189.2670190.

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Wee, C. J. "Coordinating Contemporary Asia in Art Exhibitions". En International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338678.

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Tsukamoto, Satoshi. "Party from Final Fantasy VIII". En ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.313040.

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Song, Suwan. "Discussions about Web Celebrities Frequenting Art Exhibitions". En 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.006.

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Morozova, Anna. "SPANISH ART EXHIBITIONS IN RUSSIA: THE SOCIOCULTURAL CONTEXT". En 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s14.030.

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Hayashi, Masaki, Steven Bachelder y Masayuki Nakajima. "Automatic Generation of Art Exhibitions from the Internet Resources". En 2020 IEEE 9th Global Conference on Consumer Electronics (GCCE). IEEE, 2020. http://dx.doi.org/10.1109/gcce50665.2020.9291722.

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Informes sobre el tema "Fantasy in art – Exhibitions"

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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, marzo de 2013. http://dx.doi.org/10.18235/0006015.

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The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage
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Butyrina, Maria y Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, febrero de 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Moreno Mejía, Luis Alberto y Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, febrero de 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, diciembre de 2023. http://dx.doi.org/10.32370/iaj.2998.

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"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impressive example of the artist`s unique style, which blends elements of surrealism and abstraction to create a sense of fantasy and wonder. The overall effect is an intriguing and vibrant work of art that captures the viewer`s imagination. With its expert technique and distinctive style, "Fancy Pink Goat" is truly a gem in the Fancy Collection.
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Sequeira, Dora María, Ileana Alvarado V. y Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, agosto de 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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The IDB Art Collection in Miami. Inter-American Development Bank, marzo de 2008. http://dx.doi.org/10.18235/0008063.

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Presenta two exhibitions featuring selections from the Art Collection of the Inter-American Development Bank was open in Miami at the end of March in anticipation of the IDB Annual Meeting of Governors. IDB owns nearly 1,700 works of art representing all 47 member countries of the Bank, and this collection adorns the public areas and executive offices at the Bank¿s headquarters in Washington, DC.
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3rd Inter-American Biennial of Video Art. Inter-American Development Bank, diciembre de 2006. http://dx.doi.org/10.18235/0006410.

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The call for the Third Biennial included larger cash awards, an electronic registration system in four languages and, for the first time, the inclusion of Puerto Rico as a good will gesture to the United States, and artists from the Commonwealth who are indeed members of the Latin American and Caribbean family. Artist nationals from 20 countries, including Puerto Rico, submitted a total of 211 videos. The international jury with Irma Arestizábal, Cultural Secretary of the Istituto Italo-Latinoamericano in Rome and Curator of the Latin American Pavilion for the Venice Biennial, and José Roca, Chief of Temporary Exhibitions at the Museum of Colombia¿s Central Bank, Luis Angel Arango Library, selected 19 videos from 9 countries for the 2006-07 edition of the Biennial.
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Contemporary Jamaican Artists: A Jamaican Presence in the ABOUT CHANGE Exhibition. Inter-American Development Bank, mayo de 2011. http://dx.doi.org/10.18235/0005963.

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Contemporary Jamaican Artists is part of ABOUT CHANGE, a project implemented by the World Bank Art Program in cooperation with the Inter-American Development Bank Cultural Center, and the Art Museum of the Americas of the Organization of American States (OAS). This initiative comprises a series of exhibitions representing Latin America and the Caribbean that are being held in various venues in Washington during 2011.
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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding Works by Artists from the Spanish, English, French, and Dutch Speaking Caribbean. Inter-American Development Bank, octubre de 2007. http://dx.doi.org/10.18235/0006408.

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The Art Museum of the Americas is a unique and singular asset of the Organization of American States. The museum, inaugurated in 1976, houses the most comprehensive twentieth-century art collection from Latin America and the Caribbean on public display in Washington, DC. The OAS collection, which stands for so many nationalities, traditions, and visual languages has come to embody the goals of integration and mutual understanding long pursued by our inter-American system. The IDB, through its Cultural Center, has been a long-time supporter of the Art Museum of the Americas, and that relationship is reflected in exhibitions like this
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Inter-American Development Bank Cultural Center Annual Report 2001. Inter-American Development Bank, enero de 2002. http://dx.doi.org/10.18235/0005701.

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The IDB Cultural Center ended 2001 with a successful balance of diverse programming. In the Region and throughout the year, the IDB Cultural Center contributed to the implementation of 40 socio-cultural projects in 25 countries. At headquarters, the Center produced 32 events, including 5 art exhibitions, 13 concerts and music workshops, 12 lectures and 2 presentations of "La Cátedra Siglo XXI Lecture Series." These activities attracted an estimated 15,000 visitors to the Bank and 7,000 to traveling exhibitions. As a result, the Center received over 200 local, national and international newspaper, magazine, radio and TV reviews. The publicity generated by the Center's activities enhanced the image of the IDB as an institution concerned with all aspects of development, and promoted a positive view of Latin America and the Caribbean.
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