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Palacios Celi, Miguel. « El ginecólogo, un pastor de cigüeñas ». Revista Peruana de Ginecología y Obstetricia 63, no 3 (13 octobre 2017) : 473–74. http://dx.doi.org/10.31403/rpgo.v63i2017.
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Señor Editor. En 1504, cuando apenas frisaba los 30 años de edad, Miguel Ángel Michelangelo Buonarotti presentaba en sociedad la obra de arte cumbre de todos los tiempos y hoy patrimonio de la humanidad, El David, esculpida en mármol, de 4,1 metros de altura, bellísima por todos los lados, actualmente expuesta en la Galleria dell’ Accademia de Florencia. El artista recibía elogios de reyes, príncipes y entendidos, ¡solo le falta hablar! le decían. Pero, con mucha humildad respondió diciendo que la mejor de sus obras no se compara en nada a una mujer dando a luz, que es una verdadera obra de arte viviente, única y extraordinaria en todos los tiempos. Y así este polifacético artista mostró su respeto y admiración por ese momento cumbre de la vida, lleno de misterios y esoterismo, lleno de miedos y supersticiones, lleno de leyendas y metáforas.
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Magalhães, Ana G. « Achille Funi nella collezione del MAC-USP ». L'uomo nero. Materiali per una storia delle arti della modernità 19, no 19-20 (13 décembre 2022) : 141–50. http://dx.doi.org/10.54103/2974-6620/uon.n19-20_2022_pp141-150.
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Negli ultimi anni, molto è stato detto, nella storiografia dell’arte brasiliana, sulla creazione delle istituzioni artistiche dedicate all’arte moderna nel paese, a partire dai contatti, negli anni Quaranta, del critico paulistano Sérgio Milliet e, poi, dell’industriale Francisco Matarazzo Sobrinho (di discendenza italiana) con gli Stati Uniti, in particolare col Museum of Modern Art di New York. Da queste trattative, svolte con maggior intensità nel 1946, risultò l’acquisto, da parte di Francisco Matarazzo Sobrinho e di sua moglie, Yolanda Penteado, di un primo gruppo di opere moderniste italiane e francesi, che giunsero in Brasile nel 1947. Quei due anni segnarono l’inizio del progetto di costituzione del primo Museo d’Arte Moderna di San Paolo (MAM), la cui collezione fu trasferita all’Università di San Paolo nel 1963, con la creazione del Museo di Arte Contemporanea (MAC-USP) per accoglierla.Il saggio si concentra su un dipinto di Achille Funi incluso nella collezione, L’indovina (1924), comprato per tramite della Galleria Il Milione di Milano nel 1946.
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Kober, O. I. « Меценатство и коллекционирование в провинции : на примере галереи искусств М.Ф. Коннова в Оренбурге ». Iskusstvo Evrazii [The Art of Eurasia], no 2(21) (30 juin 2021) : 76–91. http://dx.doi.org/10.46748/arteuras.2021.02.007.
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Collecting works of art in the modern Russian provinces is still a poorly studied topic of art history. The relevance of the study is determined by considering the main activities of private art galleries in Orenburg, which is being done for the first time. The author points out the factors that led to the collection of works by Orenburg artists, who was influenced by the graduates of the Moscow State Academic Art Institute named after V.I. Surikov since the 1960s. Changes in the methodological work of art galleries with viewers and buyers at the present stage are noted. The object of the analysis is the art gallery “On Pushkinskaya” as an example of exhibition, information and educational activities. The study emphasizes the role of the personality of the gallery owner M. F. Konnov, a collector, philanthropist and artist, thanks to whom the art gallery has become a cultural center of the city. Коллекционирование произведений искусства в современной российской провинции остается малоизученной темой искусствоведения. Актуальность исследования обусловлена рассмотрением основных направлений деятельности частных художественных галерей Оренбурга, что делается впервые. Указываются факторы, предопределившие собирание картин коллектива оренбургских художников, сформировавшегося под влиянием выпускников Московского художественного института им. В.И. Сурикова, приехавших в степной город в 1960-е годы. Отмечаются изменения в методической работе арт-галерей со зрителями и покупателями на современном этапе. Объектом анализа является галерея искусств «На Пушкинской» как образец выставочной, информационной, образовательной и просветительской деятельности по приобщению зрителей к современному искусству. В исследовании подчеркивается роль личности владельца галереи М.Ф. Коннова, коллекционера, мецената и художника, благодаря которому галерея искусств превратилась в культурный центр города.
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Capssa, Andrea. « GALERIAS ON-OFF : MERCADO DA ARTE E (RE)CONFIGURAÇÕES / ON-OFF galleries : art market and (re)configurations ». arte e ensaios 26, no 40 (2 décembre 2020) : 185–99. http://dx.doi.org/10.37235/ae.n40.13.
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Este artigo no campo da Arte Contemporânea, propõe discutir as estratégias de atuação das Galerias ON-OFF[1], que atuam paralelamente em ambientes virtuais e físicos. A capacidade de articulação das galerias ao disseminar conteúdo nas redes, divulgar artistas e obras, ao realizar ações no campo da curadoria e expandir seus contatos em feiras de arte, promover eventos e firmar parcerias, estabelece, sobretudo, as suas relações com o mercado da arte. Busca-se compreender a atuação das galerias na contemporaneidade, através da curadoria, o público-alvo e suas estratégias, sobretudo as relações entre as galerias ON-OFF e o mercado da arte, as dinâmicas do sistema e suas (re)configurações.Palavras-chave: Arte Contemporânea; Galerias ON-OFF; Curadoria; Mercado da arte.AbstractThis article in the field of Contemporary Art proposes to discuss the strategies of ON-OFF galleries acting in parallel in virtual and physical environments. The ability to articulate the galleries by disseminating contended on the networks, publicize artists and works, carry out actions in the field of curatorship and expand their relations with the art market. It seeks to understand the performance of galleries in the contemporary world, through curatorship, the target audience and their strategie, especially the relations between the ON-OFF galleries and the art market, the dynamics of the system and its (re)configuartions.Keywords: Contemporary Art; ON-OFF Galleries; Curatorship; Art Market.[1] Conceito proposto e defendido pela autora para caracterizar as galerias de arte que na atualidade atuam online e offline concomitantemente, de acordo com suas estratégias de atuação.
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Halley, Peter, Caroline Alciones De Oliveira Leite et Luiz Sérgio de Oliveira. « After Art [Depois da Arte] ». POIÉSIS 18, no 30 (31 décembre 2017) : 109. http://dx.doi.org/10.22409/poiesis.1830.109-116.
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O ensaio “After Art” foi publicado originalmente no número 27 da New Observations (Nova York, 1985) e posteriormente no livro Peter Halley, Collected Essays 1981-1987, Zurique, Bruno Bischofberger Gallery, 1988, de onde esta tradução foi realizada.
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Colmenares, Elkin. « La ruina, una mirada desde el arte ». Revista Habitus : Semilleros de investigación, no 3 (7 septembre 2012) : 79–84. http://dx.doi.org/10.19053/22158391.1787.
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El siguiente ensayo parte de las reflexiones que se dan cuando un objeto entra en la galería después de haber pasado por el afuera (la calle). Por otra parte, también incluye el análisis de las variables que tiene la mirada del espectador con relación a espacios invisibles (la ruina) y al ejercicio artístico (la tiza), permitiendo evidenciar los cambiosde significado que las cosas experimentan con el tiempo, y de la transfiguración significante que el espectador les da a los objetos al llegar a una galería o museo. Palabras claveRuina, galería, lo visible, lo invisible. AbstractThe following essay departs from the reflections that occur when an object enters the gallery after having passed through the outside (the street). On the other hand, it also includes the analysis of variables that has the viewer in relation to invisible spaces (the ruin) and the artistic exercise (the chalk), allowing demonstrate changes of signification that the things experience over time, and the significant transfiguration that the viewer gives to objects that come to a gallery or museum.KeywordsRuin, gallery, the visible, the invisible.
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Biagi, Juliet. « The Art Gallery / La Galería de Arte ». Education and Urban Society 33, no 4 (août 2001) : 409–26. http://dx.doi.org/10.1177/0013124501334005.
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Courtright, Nicola, Lucio Gambi et Antonio Pinelli. « La Galleria delle Carte geografiche in Vaticano/The Gallery of Maps in the Vatican ». Art Bulletin 79, no 1 (mars 1997) : 156. http://dx.doi.org/10.2307/3046235.
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Chong, Derrick. « A ‘Family of Galleries’ : Repositioning the Tate Gallery ». Museum Management and Curatorship 18, no 2 (janvier 1999) : 145–57. http://dx.doi.org/10.1080/09647779900301802.
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Miniati, Mara. « Birth and life of Scientific Collections in Florence ». Museologia & ; Interdisciplinaridade 5, no 9 (30 avril 2017) : 14–41. http://dx.doi.org/10.26512/museologia.v5i9.17201.
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O artigo centra-se na história das coleções científicas em Florença. Na era dos Medici, Florença foi um importante centro de pesquisa científica e de coleções. Este aspecto da cultura florentina é geralmente menos conhecido, mas a ciência e coleções científicas foram uma parte consistente da história da cidade. O recolhimento de instrumentos científicos era um componente importante das estratégias políticas dos grão-duques florentinos, convencidos de que o conhecimento científico e controle tecnológico sobre a natureza conferiria solidez e prestígio ao seu poder político. De Cosimo I a Cosimo III, os grão-duques Médici concederam o seu patrocínio e comissões sobre gerações de engenheiros e cientistas, formando uma coleção de instrumentos matemáticos e astronômicos, os modelos científicos e produtos naturais, exibidos ao lado das mais famosas coleções de arte na Galleria Uffizi, no Palazzo Pitti, e em torno da cidade de Florença e outros lugares da Toscana. Esta coleção soberba, ainda existente, é uma expressão não só do "gosto" dos tempos, mas também dos interesses multifacetados do grão-duques. Após o fim da era Medici, no século 18, a dinastia Lorena Florence separou as coleções artísticas das coleções científicas e estas últimas foram colocados no novo Museu Imperial e Real de Física e História Natural, pelo Grão-Duque Pedro Leopoldo de Lorena e aberta ao público em 1775. A fundação deste museu pela dinastia Lorena representou um novo desenvolvimento e uma nova fase para esse material de interesse científico em Florença. Este artigo descreve as transformações ocorridas entre os séculos 18 e 19 na vida cultural da capital da Toscana: as artes e ciências foram promovidos, e os florentinos cultivados estavam interessadas no desenvolvimento recente da física, na Itália e no exterior. Nesse período, numerosas coleções científicas privadas e públicas de Florença existentes, que eram menos famosas, mas não menos importantes do que as coleções Médici e Lorena se destacaram. Finalmente, o artigo descreve como as coleções florentinas se desenvolveram. A fundação do Instituto e Museu de História da Ciência deu nova atenção aos instrumentos científicos antigos. Sua intensa atividade de pesquisa teve um impacto sobre a organização do Museu. Novos estudos levaram a novas atribuições aos instrumentos científicos, as investigações de arquivamento contribuiram para um melhor conhecimento da coleção, e os contactos crescentes com instituições italianas e internacionais feitas do Museu tornaram-no cada vez mais ativo em uma ampla rede de empreendimentos cooperativos sobre temas específicos. A última alteração de sua denominação (Museo Galileo) e a reorganização moderna são a expressão de uma "continuidade" do patrimônio histórico-científico, preservado pelo Museu, e do "Inovação" para permiti-lo "falar" e torna-lo inteligível a um público contemporâneo.
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Machado, Tiago. « A ARTE A PARTIR DO SEU LUGAR : O TRABALHO IN SITU DE DANIEL BUREN E OS ESPA�OS EXPOSITIVOS NOS NOS 19701 / Art from its place : Daniel Buren?s in situ work and exhibition spaces in the 1970?s ». arte e ensaios 27, no 42 (3 janvier 2022) : 188–209. http://dx.doi.org/10.37235/ae.n42.15.
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Pela an�lise de algumas instala��es realizadas pelo artista franc�s Daniel Buren (1938)�durante a d�cada de 1970, procura-se evidenciar a import�ncia dos locais especializados de exposi��o da arte para a constru��o do sentido da hist�ria da arte contempor�nea. Apesquisa ora apresentada se organiza em torno dos escritos de Daniel Buren e na documenta��o fotogr�fica produzida na ocasi�o de cada uma das interven��es analisadas, centrando-se em tr�s pontos principais: na an�lise da situa��o dos museus de arte europeus que ent�o se abriam para a arte contempor�nea; na atua��o comercial e pr�tica das galerias de vanguarda nos Estados-Unidos e, finalmente, no papel exercido no campo art�stico pelos ?novos museus? que, ao final da d�cada de 1970, se consolidam como espa�os importantes para a anima��o da vida cultural no hemisf�rio Norte.Palavras-chave:Trabalho in situ. Museu. Galeria. Novos museus. D�cada de 1970.�AbstractThrough the analysis of some installations carried out by the French artist Daniel Buren (1938) during the 1970s, we seek to highlight the importance of specialized art exhibition sites for the construction of the meaning of the history of contemporary art. The� research presented here is organized around the writings of Daniel Buren and the photographic documentation produced during each of the analyzed interventions, focusing on three main points: the analysis of the situation of European art museums that were then opening up to the contemporary art; in the commercial and practical performance of avant-garde galleries in the United States and, finally, in the role played in the artistic field by the ?new museums? which, at the end of the 1970s, were consolidated as important spaces for the animation of cultural life in the North hemisphere.Keywords:Work in situ. Museum. Gallery. New museums. 1970s.
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Chisté, Priscila de Souza, et Sandra Soares Della Fonte. « O corpo no museu de arte ». Revista Educação, Artes e Inclusão 17, no 2 (30 décembre 2021) : 001–24. http://dx.doi.org/10.5965/198431781722021001.
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Considerando a importância dos museus de arte e espaços afins como loci para a promoção de diferentes experiências estéticas, discute-se como as configurações e percursos de exposições artísticas podem moldar o comportamento dos corpos dos visitantes desses espaços. Para tanto, elege-se quatro mostras artísticas para análise: exposição “L’ultimo Caravaggio eredi e nuovi maestri” na Gallerie dela Scala em Milão, Itália (2018); a exposição “Art of the Brick” de Nathan Sawaya na Oca – Usp no Parque do Ibirapuera, São Paulo (2016); a exposição do acervo fixo de Arte Moderna e Contemporânea e, por fim, as oficinas de arte promovidas pela Tate Modern em Londres, Inglaterra (2018). Essas mostras expressam dois modelos distintos. Nas exposições italiana e paulista, os espaços são pré-determinados e moldados para atender ao modelo veiculado pelas empresas que promovem megaexposições artísticas; nelas, ocorre uma presença rápida e formatada dos corpos visitantes. Nas exposições londrinas, há menos rigidez na configuração, propiciando um grau maior de liberdade e desaceleração do bailar dos corpos dos visitantes nos espaços expositivos. Percebe-se, portanto, que museus de arte e espaços afins são organizados a partir de projetos educativos amplos que incluem uma educação corporal dos seus visitantes.
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Alarcon Parra, Pepita, et Giovanny Alarcon Parra. « Análisis y propuesta a la gestión de la Galería “El Palacio de Bellas Artes” / Analysis and proposal of promotion in the Gallery "El Palacio de Bellas Artes” ». Ciencia Unemi 9, no 18 (8 septembre 2016) : 11. http://dx.doi.org/10.29076/issn.2528-7737vol9iss18.2016pp11-18p.
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La gestión de la galería del siglo XXI plantea nuevas perspectivas de los procesos del arte y la relación que existe entre lo público y lo privado, que abarca los métodos de gestión de cultura, evidenciado en afiches, catálogos, redes sociales, agendas expositivas, entre otros. Muestran un arte local de vanguardia y revelan la circulación de obras y exposiciones que buscan posicionarla en un mercado artístico y la participación de un colectivo en este mundo del arte. El gestor cultural es quien conoce este horizonte amplio y es capaz de identificar todas las implicaciones e influencias que tiene que el arte en la sociedad mediante la observación e investigación. Este trabajo se centra en el análisis objetivo y detallado del mecanismo de gestión de una galería de arte y generar una propuesta de gestión de galería, ya que el mundo y mercado del arte son altamente complejos y cambiantes en el contexto económico y tecnológico actual. Abstract OManagement of art gallery in the XXI century poses new perspectives of art processes and the relationship between public and private areas, covering the promotion methods of culture, evident in posters, catalogs, social networks, exhibitions, and others. They show a local avant-garde art and reveal the circulation of works and exhibitions that seek to locate it in an art market and the participation of a group in this world of art. The cultural promoter is the one who knows this wide horizon and is able to identify all the implications and influences that art has in society through observation and research. This work focuses on an objective and detailed analysis of the promotion method in an art gallery and creates a proposal for the promotion of an art gallery, since the world and art market are highly complex and changing in the current economic and technological context.
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Oh, Na Yea, Young Ho Kim et Jin Wan Park. « A Case Study on Online Exhibition of SIGGRAPH ASIA 2020 Art Gallery ». Korean Society of Science & ; Art 39, no 4 (30 septembre 2021) : 261–70. http://dx.doi.org/10.17548/ksaf.2021.09.30.261.
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Salcedo Sánchez, Esteban. « 24 galerías, un museo : la encuesta como instrumento de diseño ». Cuadernos de Proyectos Arquitectónicos, no 11 (27 décembre 2021) : 46–55. http://dx.doi.org/10.20868/cpa.2021.11.4824.
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ResumenA mediados de los años setenta, en Madrid, es posible identificar una serie de experiencias que fueron más allá de la práctica arquitectónica tradicional, de los dominios establecidos de la academia y de la dinámica habitual de las actividades editoriales e institucionales. Las galerías de arte, con sus publicaciones, comisarios, coleccionistas, críticos y visitantes, resultaron un escenario prolífico para una red informal de agentes e instituciones que, a través de la programación de eventos de diversos formatos, instituyeron una mediación activa en la formación crítica de la ciudadanía. El seminario “Nuevos Comportamientos Artísticos”, celebrado en el Instituto Alemán de Madrid a lo largo de 1974, fue uno de estos acontecimientos. Su galería resultó ser pionera en la muestra de prácticas vinculadas al arte y al diseño, que promovían abiertamente su expansión hacia otros campos del conocimiento amparadas en una interpretación local de lo que se bautizó en España como “arte de concepto”. La acción ‘Encuesta a 24 galerías de Arte de Madrid’ con la que el colectivo multidisciplinar Grup de Treball (GdT) contribuyó en dicho seminario, sirve aquí para ilustrar la activación de esta red de galerías como un ‘contra-proyecto’. Un acto de diseño, apoyándose en la definición que Peter Eisenman hace de la ‘Arquitectura Conceptual’, que trasciende a lo artístico y lo contestatario para ofrecer una alternativa. La exposición de la encuesta y el conjunto de datos que se extraen de ella, acumulan los valores de lenguaje, interfaz, plataforma y medio necesarios para redefinir el marco de relaciones entre sus participantes y conformar en su asociación una comunidad con la capacidad de ser un Museo. Una institución inmaterial, fragmentaria y heterogénea que cuestiona las relaciones convencionales entre el arte, la ciudadanía y el mercado.AbstractIn the mid-1970s in Madrid, it’s possible to identify a series of experiences that went beyond traditional architectural practice, the established domains of academia and the usual dynamics of editorial and institutional activities. The art galleries, with their publications, curators, collectors, critics and visitors, proved to be a prolific setting for an informal network of agents and institutions that, through programming events of various formats, instituted an active mediation in the critical formation of the citizenry. The seminar “Nuevos Comportamientos Artísticos” (“New Artistic Behaviors”), held at the Madrid’s German Institute in 1974, was one of these events. Its gallery proved to be a pioneer in the exhibition of practices linked to art and design, which openly promoted their expansion into other fields of knowledge based on a local interpretation of what was noticed in Spain as “conceptual art”. The action “Survey of 24 art galleries in Madrid,” was the contribution to the seminar of the multidisciplinary collective Grup de Treball (GdT), and serves here to illustrate the activation of this network of galleries as a ‘counter-project’. An act of design, based on Peter Eisenman’s definition of ‘Conceptual Architecture’, that transcends art and controversies to offer an alternative. The exhibition of the survey’s answers accumulated the values of language, interface, platform and medium necessary to redefine the framework of relations between its participants. Whose association gathered a community with the capacity to be a Museum: a dematerialized, fragmented and heterogeneous institution that challenged conventional relationship between art, citizenry and the market.
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Lorente, Jesús-Pedro. « Galleries of modern art in nineteenth-century Paris and London : their location and urban influence ». Urban History 22, no 2 (août 1995) : 187–204. http://dx.doi.org/10.1017/s0963926800000468.
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Museums of contemporary art tend to be exclusive landmarks of great capitals. We are used to finding art galleries in the most prominent of locations, either in old palaces, or in purpose-built museum buildings. For the special case of galleries of contemporary art, however, it is also a common policy to provide space at the middle of an out-of-town park, or else into the heart of an urban renewal area, using modern arts as ‘flagships’ of city regeneration. This article strives to show that today's dilemmas and choices about the siting of galleries of art are a legacy of the nineteenth century, recalling the lively controversies concerning the urban setting of the Parisian Musée des Artistes Vivants and its London equivalents. The different national cases are explored, to reveal several distinct models of gallery formation.
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Kats, L. M. « Приморская государственная картинная галерея как центр художественного пространства Дальнего Востока ». Iskusstvo Evrazii [The Art of Eurasia], no 4(19) (30 décembre 2020) : 68–83. http://dx.doi.org/10.46748/arteuras.2020.04.006.
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The article is devoted to the last decade of exposition and exhibition activity of the Primorye State Art Gallery. The focus is on art projects that have become the result of increasingly strong inter-Museum contacts: “guest”, exchange and joint exhibitions. They are born as a result of searches for interested partners and sponsors, agreements with the heads of various institutions at forums and seminars. The patronage of Central museums is of great importance: the State Hermitage Museum, the state Tretyakov Gallery, the State Russian Museum, and others. The Primorye State Art Gallery organizes international exhibitions in order to promote Far Eastern fine art in the countries of the Asia-Pacific region, to open new names for these territories in the artistic sphere of the region and the district. The experience of the the Primorye State Art Gallery can be useful for museum workers in the Far Eastern and Siberian regions, and the information obtained can become an incentive for establishing new inter-museum contacts. The Primorye State Art Gallery is a relatively young museum formed in 1966 on the basis of the art collection of the Primorsky Regional Museum of Local Lore (now the Museum of the History of the Far East named after V. K. Arsenyev). Over five and a half decades, the gallery's funds have grown immeasurably, and it has become a methodological center for art museums in the Far East: the State Hermitage Museum has held six master classes on restoration and conservation of works of art in the gallery, and specialists from the State Russian Museum have been conducting scientific and practical seminars for the Far Eastern Federal district in recent years here. Статья посвящена последнему десятилетию экспозиционно-выставочной деятельности Приморской государственной картинной галереи. В центре внимания — арт-проекты, ставшие результатом все более крепнущих межмузейных контактов: «гостевые», обменные и совместные выставки. Рождаются они как итог поисков заинтересованных партнеров и спонсоров, договоренностей с руководителями различных институций на форумах и семинарах. Большое значение имеет шефское внимание центральных музеев: Государственного Эрмитажа, Государственной Третьяковской галереи, Государственного Русского музея и других. Международные выставки Приморская картинная галерея организует с целью продвижения дальневосточного изобразительного искусства в страны Азиатско-Тихоокеанского региона, открытия для этих территорий новых имен в художественной сфере края и округа. Опыт Приморской государственной картинной галереи может быть полезным для музейных работников Дальневосточного и Сибирского регионов, а полученная информация — стать побудительным импульсом для установления новых межмузейных контактов. Приморская государственная картинная галерея — сравнительно молодой музей, образовавшийся в 1966 году на основе художественной коллекции Приморского краевого краеведческого музея им. В.К. Арсеньева (ныне Музей истории Дальнего Востока им. В.К. Арсеньева). За пять с половиной десятилетий неизмеримо выросли фонды галереи, она превратилась в методический центр для художественных музеев Дальнего Востока: Государственный Эрмитаж провел в стенах картинной галереи Владивостока шесть мастер-классов по реставрации и консервации произведений искусства, специалисты Государственного Русского музея в последние годы выезжают с научно-практическими семинарами для зоны Дальневосточного федерального округа.
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Meegama, Sujatha Arundathi. « Curating the Christian Arts of Asia ». Archives of Asian Art 70, no 2 (1 octobre 2020) : 151–71. http://dx.doi.org/10.1215/00666637-8620357.
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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.
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Real López, Inmaculada. « La aculturación y la identidad gallega en la Argentina ». Boletín de Arte, no 22 (21 septembre 2021) : e033. http://dx.doi.org/10.24215/23142502e033.
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Crespi Vallbona, Montse, et Oscar Mascarilla Miró. « INNOVACIÓN EN EL MERCADO TURÍSTICO : EXPERIENCIAS EN ARTE URBANO ». Cuadernos de Turismo, no 48 (10 décembre 2021) : 25–48. http://dx.doi.org/10.6018/turismo.492651.
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El turismo es una de las actividades que más encarecidamente precisa de la innovación y la creatividad para mantenerse constantemente en auge. Las tendencias actuales de la demanda exigen experiencias activas, que generen emociones, esten repletas de contenido, tengan dosis de placer. El arte urbano siempre presente en los espacios públicos de las ciudades, emerge como una propuesta innovadora, atendiendo a su capacidad de provocación e interacción con el peatón espectador. Barcelona es el actual laboratorio turístico en el que se lleva a cabo la denominada Pinacoteca a Cel Obert, una galeria de arte abierta que ocupa el espacio público de la ciudad, con 24 obras pictóricas clásicas en el sí de calles comerciales, en las puertas de sus establecimientos. El análisis cualitativo de la información recopilada en la encuesta a 150 visitantes y las entrevistas a los stakeholders del proyecto, conduce a determinar que esta galeria de arte urbano y su itinerario ofrecen una satisfactoria experiencia turística, repleta de emociones y vivencias. Tourism is one of the activities that most urgently requires innovation and creativity to keep its constantly booming. The current demand tendencies require active experiences, that generate emotions, experience content, doses of pleasure. The permanent presence of street art in public spaces emerge now as an innovative proposal due to its capacity of provocation and interaction with the pedestrian observar. Barcelona is the present tourism lab where the Pinacoteca a Cel Obert is implemented, an open gallery in the public space of the city, with 24 classic paintings into the street, on the business doors. Cualitative analysis of collected data in the survey to 150 visitors and the interviews to the project stakeholders, lead to conclude that this street art gallery and its itinerary offer a satisfactory tourist activity, pleint of emotions and experiences.
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Garnelo-Díez, Isabel, et Ana Sedeño Valdellós. « Más allá de los espacios alternativos situados más allá del cubo blanco / Beyond the Alternative Spaces Situated beyond the White Cube ». Revista Internacional de Cultura Visual 6, no 1 (2 janvier 2019) : 1–13. http://dx.doi.org/10.37467/gka-revvisual.v6.1838.
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ABSTRACTThe present work is an approach to the study of the production and exhibition of net.art and digital art on the Internet, to make a comparison between the exposure budgets proposed by these new modes of art production in relation to those propoused by traditional exhibition spaces such as museums and art galleries. As an example of digital art exhibition, we will focus on the spanish context, and more specifically on the International Biennial of Digital Art that is known as The Wrong. RESUMENEl presente trabajo es una aproximación al estudio de la producción y la exposición de net.art y arte digital en Internet, para hacer una comparación entre los presupuestos de exposición que proponen estos modos de hacer en relación con los propuestos por los espacios tradicionales de exhibición como museos y galerías de arte. Como ejemplo de exposición de arte digital nos centraremos en el contexto español, y más concretamente en la Bienal Internacional de Arte Digital conocida por el nombre de The Wrong.
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Bellido Gant, María Luisa. « El Arte Latinoamericano en los Estados Unidos durante el siglo XX. Exposiciones, coleccionismo, museología ». Illapa Mana Tukukuq, no 14 (18 février 2019) : 118–29. http://dx.doi.org/10.31381/illapa.v0i14.1885.
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Este texto reflexiona sobre la presencia del arte latinoamericano en Estados Unidos desde la década de los veinte hasta los años noventa, con el llamado boom del mercado de arte latinoamericano. Nuestro objetivo es presentar de una manera sintética diferentes momentos que jalonaron los vínculos artísticos entre Latinoamérica y Estados Unidos, en especial la presencia, en este país, de artistas de aquella región. Analizaremos las exposiciones individuales y colectivas, el coleccionismo público y privado, la acción institucional, el papel de las galerías de arte y la incidencia de la crítica de arte.
Palabras clave: Arte Latinoamericano, coleccionismo, exposiciones, XX, Estados Unidos.
AbstractThis text considers the presence of Latin American art in the United States from 1920 to 1990 with the so called Latin American art market boom. Our goal is to present in a synthetic way different moments that marked the artistic links between Latin America and the United States, especially the presence, in this country, of artists from Latin America. We will analyze individual and collective exhibitions, public and private collecting, institutional action, the role of art galleries and the incidence of art criticism.
Keywords: Latin American Art. collecting. exhibitions. XX. United States.
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Gracía Melero, Sandra. « Berlín : todo un paradigma en el pasado, presente y futuro del arte urbano ». Ge-conservacion 16 (11 décembre 2019) : 166–75. http://dx.doi.org/10.37558/gec.v16i0.705.
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Desde el muro de Berlín y la East Side Gallery, al Urban Nation. Una historia política con perspectiva comercial. Berlín ha sido siempre un referente en arte urbano a nivel mundial. La zona ocupada por los EE. UU, el Berlín Oeste, fue en los ochenta un hervidero de subculturas de las que surgieron escritores de graffiti que usaron el muro como lienzo. Tras su caída en el 1989, estas manifestaciones callejeras se fueron extendiendo y desde finales de los noventa hasta nuestros días el graffiti, el arte urbano y el muralismo han ido mutando y siguen formando parte del ambiente contracultural berlinés. Enmarcado en este contexto, en el año 2017 abrió sus puertas el Urban Nation Museum, un claro ejemplo de que la musealización del arte urbano supone un grandísimo reto, ya que se trata de un oxímoron con respecto a sus valores, códigos y medios de difusión propios, que difieren del arte tradicional.
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Unwin, Simon. « The architect is present ? » Architectural Research Quarterly 14, no 2 (juin 2010) : 89–91. http://dx.doi.org/10.1017/s1359135510000709.
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Some artists have a sense of architecture, using it in or around their work. I am thinking of Antony Gormley whose casts of his own body are almost always located in relation to a setting – whether a beach, the courtyard of a gallery or the precipitous edges of high buildings. I am thinking too of James Turrell whose light spaces are works of architecture, places in which to contemplate the sky, to watch the sunlight pan slowly around the space. I would cite too Martin Creed whose fugitive sprinters ran approximately along the axis of the Duveen Galleries at Tate Britain in London, framed by them, avoiding visitors as they rushed from one end to the other; and Anish Kapoor for his bulbous walls or his vast ‘trumpet’ – Marsyas – in the Turbine Hall of Tate Modern.
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Silva, Jofre. « Fotomoda : Espelho, espelho meu... » dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 2, no 4 (12 février 2008) : 29. http://dx.doi.org/10.26563/dobras.v2i4.325.
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Invenção e transformação definem a fotografia de moda na cultura visual contemporânea. Cenas espetaculares, irreverentes, misteriosas e até um pouco sinistras aparecem na última exposição da Photographers’ Gallery de Londres, com o objetivo de destacar o papel da tecnologia fotográfica na moda, mediando os diálogos existentes com a arte, a literatura e o cinema (...)
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Brannigan, Erin. « Dance and the Gallery : Curation as Revision ». Dance Research Journal 47, no 1 (avril 2015) : 5–25. http://dx.doi.org/10.1017/s0149767715000054.
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… for several years now I've failed to find a solution to the London Tate Modern's demand for an exhibition of dance. … I never managed to find an adequate connection between the museum framework and dance. … We must try and solve this problem: dance is starting to be recognized as art. In the end it's as if you had to enter the museum to be legitimized! As a result, pressure to exhibit is growing.(Jérôme Bel n.d. 2014)13 Rooms, an exhibition curated by Hans Ulrich Obrist (Serpentine Gallery, London) and Klaus Biesenbach (MoMA, New York) and presented in Sydney in April 2013, included the work of choreographers and dancers as authors, performers, objects, and gallery guides. Described by its curators as an exhibition of “living sculptures” featuring “protagonists,” it raised many issues around dance-based knowledges, power relations between dance and the visual arts, art as commodity, and performer agency in performance-based works exhibited in galleries, particularly re-enacted durational works. During the course of the exhibition, a cast of around 100 performers, drawing on their own repository of physical training and “body-archive,” realized works by artists such as Marina Abramovic (Luminosity, 1997) and Joan Jonas (Mirror Check, 1970). These two works in particular required physical skills and training, and the performers were chosen on this basis. For both these pieces, the body-to-body transmission of the artists' intentions—which is so important in dance processes—was undertaken by the artists' representatives.
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Baldock, Janine. « Science is... at the Birmingham Museum of Science and Industry ». Public Understanding of Science 4, no 3 (juillet 1995) : 285–98. http://dx.doi.org/10.1088/0963-6625/4/3/006.
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Science interpretation in museums has, until now, largely focused on the products of science—the technological artefacts of our scientific past and the scientific phenomena presented in hands-on galleries. Little, if anything, is said about the process of science—what it is, how it's done, who does it, and why. For this reason, the Birmingham Museum of Science and Industry is planning a new gallery based on science itself. Science is... will interpret science from a cultural perspective by looking at how culture affects science, and how changes in scientific thought have changed our own views of ourselves and the world around us. The objectives of the exhibition are: to raise awareness that science is a key part of our culture; to increase understanding of the method, history and philosophy of science and the scientific community; and to promote realistic images of science and scientists. Using the example of the Copernican Revolution, part of the gallery will focus on changing ideas in science, how change is affected by culture, and the consequences of accepting new scientific theories.
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Nerefuh, Leandro, et Tobi Maier. « Good Morning, Warsaw ». ARS (São Paulo) 13, no 25 (14 juin 2015) : 7. http://dx.doi.org/10.11606/issn.2178-0447.ars.2015.105518.
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Este texto foi concebido em conjunto com a exposição Amor e ódio a Lygia Clark / Love and Hate to Lygia Clark, na Zachęta Gallery, Varsóvia (13/12/2013 – 23/02/2014), mas permanecia inédito até o momento. Nerefuh e Maier refletem sobre a explosão de exposições de arte contemporânea com tema brasileiro no mundo todo durante as primeiras duas décadas do século XXI.
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Moreschi, Bruno, Amanda Jurno et Giselle Beiguelman. « Continuum histórico e normatizações em acervos de arte e datasets ». MODOS : Revista de História da Arte 6, no 2 (15 mai 2022) : 202–67. http://dx.doi.org/10.20396/modos.v6i2.8667715.
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Este artigo apresenta um conjunto de experimentos no campo da História da Arte com tecnologias de Inteligência Artificial (visão computacional) realizados no âmbito do demonumenta, um projeto de pesquisa e extensão universitária que busca tensionar crítica e criativamente políticas públicas de memória. A partir do entendimento de que datasets (conjuntos de dados organizados) e acervos artísticos são práticas análogas, questionamos como trabalhar nesta intersecção para subverter os pressupostos normativos que caracterizam a organização de coleções de arte, bancos de dados e os discursos que suas ferramentas enunciam. Acreditamos que parte desta resposta está na ativação crítica de acervos públicos para reformular o modo como hoje treinamos as máquinas. Para tanto, elaboramos um dataset, com base nas obras do Museu Paulista da Universidade de São Paulo (USP) disponíveis no seu GLAM (Galleries, Libraries, Archives & Museums) nos projetos Wiki. A sistematização desse dataset foi a base para a realização de cinco experimentos analíticos com algoritmos de Inteligência Artificial. São eles: Naturezas Numéricas, Paisagens Possíveis, Arqueologia das Cores, Álbum Afirmativo e Ignorância Animada. Tais experimentos evidenciam o continuum colonialista que elabora a narrativa histórica a partir de parâmetros e padrões visuais normatizantes.
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Rowell, Charles Henry. « Two Galleries, Engaging Art, Great Talents, and Challenging Minds : The Howard University Gallery of Art, the Little Paris Group, and the Barnett-Aden Gallery ». Callaloo 39, no 5 (2016) : 1163–67. http://dx.doi.org/10.1353/cal.2016.0150.
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Ricciardi, Maria Luisa. « Lorenzo Lotto. Il Gentiluomo della Galleria Borghese ». Artibus et Historiae 10, no 19 (1989) : 85. http://dx.doi.org/10.2307/1483285.
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Savasta Alsina, Mene. « Music is not enough ». Revista Música 20, no 1 (9 juillet 2020) : 381–400. http://dx.doi.org/10.11606/rm.v20i1.170852.
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The first event in Argentina that ever included arte sonoro in its programming was Experimenta. Through its concerts and workshops, it was a milestone for the argentinean experimental music at the end of the 90s. Since its first edition in 1997, it challenged circles and procedures already stabilized in music, bringing together artists from different generations and sonic searches. It was in its year 2000 edition that the festival incorporated arte sonoro as one of its tags for the first time. What does it happen when it becomes necessary, from one moment to the next, to use a new expression to name an artistic activity?
That music is not enough is the hypothesis of this outline of the sound art history in Argentina, which aims to illuminate the foundational moment when that category arte sonoro began to be used in the programming of events and festivals.
From the observation of the textual framework around works and events -that is, catalogs, critical texts or press releases- we will see that, since 2000 in Argentina, the initial circulation of the expression arte sonoro shows what could be understood as musical origin, as a reaction to what was established, and as one of the features that contribute to the particular identity of early Argentine arte sonoro, in contrast with other histories -from other geographies- that usually link the origin of sound art with art installations and the participation of galleries and museums.
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Lee, Pamela L. « Lying in the Gallery ». October, no 176 (2021) : 53–72. http://dx.doi.org/10.1162/octo_a_00426.
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Abstract This essay addresses a recent exhibition phenomenon associated with time-based art: the striking preponderance of beds, beanbag chairs, and other horizontal viewing platforms in the staging of such work. Indeed, in black-box galleries around the world, viewers have been increasingly solicited to go horizontal. What might these new modes of display tell us about contemporary cultures of work when compared to historical examples from the 1960s, particularly in regard to the mass phenomenon known as “burnout” in the present? Might such novel conditions of reception shed light on the shifting interactions between humans and computers in what the ethnographer Marcel Mauss called nearly one hundred years ago, the “civilization of latitude”? Departing from Niki de Saint Phalle's She (1966)—an immersive media environment presented as a recumbent female figure—the essay argues that lying in the gallery chimes with technologies of work post-Internet, our incorporation of its media platforms, and the generalization of the network as a ubiquitous and ambient resource.
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Ibarra, Xandra. « Aguas Calientes ». TDR/The Drama Review 60, no 1 (mars 2016) : 2–3. http://dx.doi.org/10.1162/dram_a_00519.
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Xandra Ibarra is an Oakland-based performance artist from the El Paso/Juarez border who performs under the alias of La Chica Boom. She uses hyperbolized modes of racialization and sexualization to test the boundaries between her own body and coloniality, compulsory whiteness, and Mexicanidad. Her practice integrates performance, sex acts, and burlesque with video, photography, and objects. Her work has been featured at El Museo de Arte Contemporañeo (Bogotá, Colombia), Popa Gallery (Buenos Aires, Argentina), Joe’s Pub (NYC), PPOW Gallery (NYC), Yerba Buena Center for the Arts (San Francisco), and The Burlesque Hall of Fame (Las Vegas), to name a few. She was awarded the Yerba Buena Center for the Arts Award, ReGen Artist Fund, Theater Bay Area Grant, and the Franklin Furnace Performance and Variable Media Award.
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Schofield, Sally. « Coles, A., & ; Jury, H. (Eds.). (2020). Art Therapy in Museums and Galleries : Reframing Practice. Jessica Kingsley Publishers. » Arteterapia. Papeles de arteterapia y educación artística para la inclusión social 16 (25 mai 2021) : 217–18. http://dx.doi.org/10.5209/arte.72008.
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Lovett/Codagnone et Tom Zook. « Your Hero Is a Ghost, 2010 ». TDR/The Drama Review 56, no 3 (septembre 2012) : 2–3. http://dx.doi.org/10.1162/dram_a_00205.
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Stainless steel, wood, conduit, black paint, speakers, sound. Photo by Jason Mandella, courtesy Sculpture Center, New York, and the artists Lovett/Codagnone, an artist team based in New York, have worked together since 1995 using photography, performance, video, sound, and installation. Their ongoing exploration of relations of power, as manifested in explicit cultural signifiers as well as clandestine or unconscious practices, investigates the way power comes to play within social structures (relationships, family) to focus on intimacy and the construction of desire. Recent solo exhibitions: Museo Marino Marini, Florence, 2012; LA><ART, Los Angeles, 2012; September Galerie, Berlin, 2011; Sculpture Center, New York, 2010; Sara Meltzer Gallery, New York, 2009; MoMA PS1, New York, 2007–2008. Their performances have been presented at the ICA Philadelphia (2010); Judson Memorial Church, New York (2010); and the ICA Boston (2007). Their work has been shown in galleries and museums in France, Germany, Italy, and The Netherlands. Supplemental media related to this piece can be found at www.mitpressjournals.org/doi/suppl/10.1162/DRAM_a_00205
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Brumfield, William C. « GALLERY ». Visual Resources 26, no 3 (septembre 2010) : 320–21. http://dx.doi.org/10.1080/01973762.2010.506072.
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Viz González, Jorge. « Entre lo institucional y la autogestión. Arte y espacio público en Galicia de 1990 al 2010 ». Atrio. Revista de Historia del Arte, no 28 (21 décembre 2022) : 334–50. http://dx.doi.org/10.46661/atrio.6000.
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Tras la consolidación de las políticas culturales de la Xunta de Galicia en la última década del siglo XX, comenzaba a observarse una dicotomía que oscilaba entre lo institucional, con eventos culturales ambiciosos, ampliamente dotados de financiación económica, y lo autogestionado, nacido de proyectos, que comprendían desde la creación a la difusión, y colectivos independientes, capaces de producir tensión en las instituciones y de generar responsabilidad colectiva. Para comprender las sinergias que alimentaron el tejido de las redes culturales de la comunidad gallega, el presente artículo trata de aproximarse a esta dualidad, esclareciendo las experiencias y proyectos alternativos de las comunidades de creativos independientes, y los proyectos institucionales que tuvieron lugar desde 1990 hasta 2010.
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López, Teresa. « “Con abundancia de razóns” : a literatura na Gramática de Saco Arce ». Boletín da Real Academia Galega, no 379 (29 mai 2019) : 351. http://dx.doi.org/10.32766/brag.379.737.
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As gramáticas galegas publicadas no século XIX non se limitaron á descrición e á prescrición gramatical: todas elas teñen un certo carácter híbrido e inclúen informacións e materiais diversos, cunha presenza importante da literatura. Neste artigo, repasamos as referencias á literatura e a presenza da produción literaria na Gramática gallega (1868) de Saco Arce, para analizar as súas funcións no discurso gramatical, mais tamén patriótico, do autor ourensán.
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Bishop, David, Amy Lake, Abigail Bloor et Nicky Goodfellow. « GALLERY ». Journal of Visual Communication in Medicine 30, no 2 (janvier 2007) : 78–80. http://dx.doi.org/10.1080/17453050701441652.
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Wressell, Adrian. « Gallery ». Journal of Visual Communication in Medicine 30, no 2 (janvier 2007) : 47. http://dx.doi.org/10.1080/17453050701441660.
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Wigglesworth, Mick. « GALLERY ». Journal of Visual Communication in Medicine 28, no 2 (janvier 2005) : 79. http://dx.doi.org/10.1080/01405110500253055.
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Dakin, Andrew. « GALLERY ». Journal of Visual Communication in Medicine 28, no 2 (janvier 2005) : 51. http://dx.doi.org/10.1080/01405110500281478.
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Tsirogiannis, Christos. « antiquities market we deserve : 'Royal-Athena Galleries' (1942-2020) ». Acta ad archaeologiam et artium historiam pertinentia 32, no 18 N.S. (13 septembre 2021) : 147–75. http://dx.doi.org/10.5617/acta.9024.
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On September 13, 2020 a quarter of a century had elapsed since the Swiss and Italian authorities raid in the Free Port of Geneva, on the warehouses of Giacomo Medici, later convicted of involvement in cases of trafficked antiquities. Since then, many other raids followed on properties of other notorious antiquities traffickers, thousands of antiquities were confiscated from them and their invaluable archives were discovered and seized. The research on these archives resulted in hundreds of notable repatriations so far, but mainly in the enrichment of our knowledge about the criminal way in which the so-called ‘reputable’ members of the international antiquities market have been acting since the 1970 UNESCO Convention, which they completely ignored in practice. Despite the numerous occasions on which these ‘reputable’ members were identified as involved, even today they continue to act in the same way, some without any (or known) legal sanctions. This chapter reviews the illicit associations of one of these ‘prominent’ members of the international antiquities market, the ‘Royal-Athena Galleries’ in New York, a gallery run by the antiquities dealer Jerome Eisenberg, who has repeatedly been found selling looted, smuggled and stolen antiquities. I then present seven antiquities, most of them identified in October 2019, one in March 2020, soon before the retirement of Jerome Eisenberg and the closure of ‘Royal-Athena Galleries’ on October 31, 2020. This piece lays out all the relevant evidence from the confiscated archives and combines everyone involved to illustrate the network that ‘circulated’ these seven objects. This case study also highlights all the problems that are ongoing in this research field, proving that essentially nothing has changed since 1995, or even 1970, and we indeed deserve the (illicit) antiquities market we still have. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Moersch, Carmen. « Gallery Education ». International Journal of Art Design Education 22, no 2 (mai 2003) : 208–14. http://dx.doi.org/10.1111/1468-5949.00355.
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Fernández-Inglés, Soledad, et Rosario Gutiérrez-Pérez. « El método biográfico narrativo aplicado a los bienes culturales. Una experiencia inclusiva e intercultural en la GAMeC. » Tercio Creciente, 23 juin 2018. http://dx.doi.org/10.17561/rtc.n14.1.
Texte intégralRésumé :
La narración no es solo un género literario: se encuentra en la Paleontología, la Historia, la Psicología, la Pedagogía, en el Derecho, en el discurso científico. Es algo verdaderamente amplio. Ciencia y Arte han cooperado en la experimentación del discurso narrativo sobre qué supone narrar, el lenguaje y la percepción en la capacidad de transformar y transformarse del ser humano.
La narrativa museal está entrando de lleno en algunos museos como medio de acercamiento a la obra de arte. Con detractores y defensores se abre camino de forma tímida, aunque aún no sabemos qué recorrido tendrá en el tiempo. En este ámbito trabaja desde 2007 la Galleria d’Arte Moderna e Contemporanea (GAMeC) de Bergamo, que lo ha adaptado como herramienta de los Servicios Educativos en su política de desarrollo y de inclusión social y cultural.
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Nájera Febles, Federico. « Galería fotográfica : A todas luces, diálogo de saberes entre arte y ciencia ». Revista Digital Universitaria 19, no 3 (4 mai 2018). http://dx.doi.org/10.22201/codeic.16076079e.2018.v19n3.a8.
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Caspary, Gabriela. « A Petite Galerie, Franco Terranova e o circuito de arte no Rio de Janeiro, 1954-1988 ». Revista Concinnitas 20, no 35 (3 septembre 2019). http://dx.doi.org/10.12957/concinnitas.2019.44878.
Texte intégralRésumé :
Esta pesquisa propõe uma biografia da Petite Galerie (PG), galeria de arte que funcionou no Rio de Janeiro e em São Paulo entre 1954 e 1988, pontuada por um exame da trajetória de seu principal sócio, o marchand e escritor Franco Terranova (1923-2013). Palavras chave: Petite Galerie, Franco Terranova, galeria de arte, circuito de arte, Rio de Janeiro ABSTRACT This research proposes a biography of the Petite Galerie (PG), an art gallery that operated in Rio de Janeiro and São Paulo between 1954 and 1988, punctuated by an examination of the trajectory of its main partner, the marchand and writer Franco Terranova (1923- 2013). Key words: Petite Galerie, Franco Terranova, art gallery, art circuit, Rio de Janeiro
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Elyna Amir Sharji, Lim Yan Peng, Peter Charles Woods et Rose Linda Zainal Abidin. « Visitors’ Interaction in an Experiential Designed Environment : A Case Study of a Multimedia Gallery ». Wacana Seni Journal of Arts Discourse 21 (7 octobre 2022). http://dx.doi.org/10.21315/ws2022.21.5.
Texte intégralRésumé :
Currently, there has been a shift in the built environment in creating engaging exhibition spaces such as museums and galleries. This is a challenge nowadays as the creation of digital exhibition spaces depend largely on technological content and devices. Issues arise where visitors may not perceive the intended environment. It is seen that this sense of change needs further study on visitors’ perception and behaviour as users of the space. Experiential design deals with human interaction with the built environment. The objective of this study is to observe how visitors’ behaviour and interaction are influenced by the experiential design concept. A case study is conducted at a local gallery with selected visitor profile of young adults and adults with art and design background. The investigation is done based on the case study guideline, mapping out setting, and timing and tracking observation method to gauge visitors’ perception and action in a multimedia gallery. Eighty visitors were observed throughout the three-day exhibition from 9:00 a.m. to 5:00 p.m. Data collected answers the research question: how does the experiential design concept influence visitors’ behaviour and interaction in a multimedia gallery? The findings are beneficial to understand gallery visitors’ needs in achieving fulfilling interactive and engaging experience. From the observation done, it is identified that multimedia galleries incorporated with experiential design elements build meaningful experiences through the five senses, promotes a sense of place and well-being as well as the allowance for visitors to be more confident in approaching tools and devices that are unfamiliar to them. Curators, designers and artists will gain from this research in designing better interactive environment. The research limitation is the visitor age group which is the young adults and adults’ age group, as well as the single case study done.
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Bahia, Ana Beatriz. « Museu virtual (e plural) de arte ». Visualidades 13, no 1 (22 décembre 2015). http://dx.doi.org/10.5216/vis.v13i1.33885.
Texte intégralRésumé :
O artigo aborda os museus virtuais de arte, interfaces on-line que essas instituições desenvolvem para ampliar a comunicação com seus públicos. Evoca o conceito de museu plural proposto por Martín-Barbero e discute iniciativas em três tipos de interface: bancos de dados, visitas virtuais e jogos digitais. Analisa a relação obra-espectador que se dá em cada iniciativa, enfocando jogos de três museus: Tate Gallery de Londres, Museu Boijmans de Roterdan e Museu Virtual de Arte Brasileira. Conclui que o emprego de tecnologias não é condição, sequer garantia, para realização do conceito de museu plural, o que depende de como o museu entende seu papel institucional e relaciona-se com seus públicos.Palavras-chave: Museu virtual, obra de arte, Martín-Barbero