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Auteur : Grafiati

Publié le 26 juillet 2024

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1

Falsone, Gioacchino. « A Syro-Phoenician Bull-Bowl in Geneva and its Analogue in the British Museum ». Anatolian Studies 35 (décembre 1985) : 131–42. http://dx.doi.org/10.2307/3642879.

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The following discussion begins with a study of a bronze bowl belonging to Monsieur George Ortiz, whose collection of ancient bronzes in Vandoeuvres/Geneva includes a large number of outstanding pieces of Near Eastern art. The bowl was recently acquired in the antiquities market and is said to come from modern Turkey. It is one of the finest and best preserved examples of a particular class of oriental metalwork in repoussé, the so-called Syro-Phoenician “bull-bowls”, which were most probably produced in the Levant in the early first millennium B.C. The main decoration of this class consists of concentric friezes of bovine animals in procession or similar sequence arranged around a central floral motif. The present paper will also examine a second, as yet unpublished, bowl kept in the British Museum.

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2

Zalman, Sandra. « Modern Art, Inc. : The Museum of Modern Art v. Huntington Hartford ». Grey Room 53 (octobre 2013) : 32–59. http://dx.doi.org/10.1162/grey_a_00126.

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3

Lauter, Rolf. « The museum of modern art, Frankfurt ». International Journal of Museum Management and Curatorship 5, n^o 1 (mars 1986) : 27–31. http://dx.doi.org/10.1080/09647778609515002.

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Lauter, R. « The Museum of Modern Art, Frankfurt ». Museum Management and Curatorship 5, n^o 1 (mars 1986) : 27–38. http://dx.doi.org/10.1016/0260-4779(86)90006-3.

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5

Rasmussen, Briley. « Museum as Métier : Victor D'Amico and the Museum of Modern Art ». Journal of Aesthetic Education 57, n^o 4 (1 décembre 2023) : 60–75. http://dx.doi.org/10.5406/15437809.57.4.04.

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Abstract Although Victor D'Amico's pedagogy and legacy are well known within the field of art education, discussions of his work often disregard the context in which he worked for over thirty years—The Museum of Modern Art. This essay examines D'Amico's key projects, considering how they were supported by and in collaboration with his museum colleagues. The result was a unique legacy steeped in a pedagogy of modern art and museum education. As a conclusion, this essay looks at the training of art educators and museum educators as requiring different kinds of foundational work and an acknowledgment of the importance of the museum as a context for art education.

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Eskilson, S. « Museum Movies : The Museum of Modern Art and the Birth of Art Cinema ». Journal of American History 93, n^o 1 (1 juin 2006) : 267–68. http://dx.doi.org/10.2307/4486181.

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7

Emerald, Serena, et Sinta Paramita. « Marketing Public Relations dalam Mempopulerkan Seni Modern dan Kontemporer di Museum ». Prologia 8, n^o 1 (18 mars 2024) : 160–69. http://dx.doi.org/10.24912/pr.v8i1.27575.

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The tourism industry is a growing economic sector worldwide. Art museums are one of the tourism attractions in Indonesia. Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) is the first museum in Indonesia to display a collection of modern art from Indonesia and around the world. Modern and contemporary art is still relatively new for the Indonesian public. This poses as a challenge for Museum MACAN to introduce itself and communicate modern and contemporary art to the public. As the industrial landscape evolves and competition becomes fiercer the fields of marketing and public relations are becoming more closely intertwined. Marketing Public Relations is the process of planning and evaluating programs by communicating information and creating a credible impression to attract attention and to connect an organization with the public. This research aims to discuss how Marketing Public Relations is implemented by Museum MACAN in popularizing modern and contemporary art. Through a qualitative approach with a case study method, the result shows that Museum MACAN applies Marketing Public Relations which includes push, pull, and pass strategies to popularize modern and contemporary art. Industri pariwisata merupakan sektor ekonomi yang terus berkembang di seluruh dunia. Museum seni merupakan salah satu daya tarik pariwisata di Indonesia, salah satunya adalah Museum of Modern and Contemporary Art in Nusantara (Museum MACAN). Museum MACAN merupakan museum pertama di Indonesia yang menampilkan koleksi seni rupa modern dari Indonesia dan internasional. Seni modern dan kontemporer masih tergolong sebagai hal yang baru bagi masyarakat Indonesia. Hal ini menjadi tantangan tersendiri bagi Museum MACAN untuk memperkenalkan dirinya dan mengkomunikasikan seni modern dan kontemporer ke masyarakat luas. Seiring dengan perkembangan industri dan persaingan yang semakin ketat, dunia pemasaran (marketing) dan hubungan masyarakat (public relations) memiliki keterkaitan yang semakin erat. Marketing Public Relations dipahami sebagai proses perencanaan dan pengevaluasian program dengan cara mengkomunikasikan informasi dan menciptakan kesan kredibel untuk menarik perhatian dan menghubungkan perusahaan dengan publik. Penelitian ini bertujuan untuk membahas bagaimana Marketing Public Relations yang diterapkan Museum MACAN dalam mempopulerkan seni modern dan kontemporer. Melalui pendekatan kualitatif dengan metode studi kasus, hasil penelitian menunjukkan Museum MACAN menerapkan Marketing Public Relations yang mencakup strategi push, pull, dan pass untuk mempopulerkan seni modern dan kontemporer.

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Selznick, Barbara. « Museum Movies : The Museum of Modern Art and the Birth of Art Cinema (review) ». Moving Image 6, n^o 2 (2006) : 136–38. http://dx.doi.org/10.1353/mov.2007.0015.

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9

Koszarski, Richard. « Museum Movies : The Museum of Modern Art and the Birth of Art Cinema (review) ». Film History : An International Journal 18, n^o 3 (2006) : 350–51. http://dx.doi.org/10.1353/fih.2006.0027.

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10

Keil, Charlie. « Museum Movies : The Museum of Modern Art and the Birth of Art Cinema (review) ». University of Toronto Quarterly 76, n^o 1 (2007) : 535–37. http://dx.doi.org/10.1353/utq.2007.0138.

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Aulia, Rahma, Zairin Zain et Valentinus Pebriano. « MUSEUM SENI RUPA MODERN DI PONTIANAK ». JMARS : Jurnal Mosaik Arsitektur 9, n^o 1 (21 février 2021) : 270. http://dx.doi.org/10.26418/jmars.v9i1.45157.

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Museums in general are used to store, maintain, secure and utilize museum collections in the form of cultural heritage objects. Fine arts museums are appreciated through visions with visible media and have a physical form or simply presented as a show. The city of Pontianak does not yet have a place to carry out the function of this fine art museum. The museum collection focuses on modern fine art with long-term loans to the museum. There are some art enthusiasts in Pontianak but there is no place to channel this interest. The design method uses three stages. The first stage, data collection by classifying data as information and facts on a problem. The second stage, the analysis aims to analyze the data that has been obtained. The third stage is systematic and systematic by using images in the form of stages with product results, namely, planning drawings and design reports. The design of the Modern Art Museum in Pontianak uses a green architectural approach, namely building planning that seeks to minimize various harmful influences on human health and the environment. This museum has two floors divided according to functions, namely manager and visitor functions. The facade used is of the 3R type (Reduce, Reuse, Recycle), so the walls use bricks and the windows will use low e-glass material and uPVC frames. The comparison composition of 60:40 for buildings and green land follows the requirements for building a museum.

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12

Evans, Walker. « The African Negro Art Exhibition, Museum of Modern Art, 1935 ». Grand Street, n^o 53 (1995) : 115. http://dx.doi.org/10.2307/25007889.

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13

Scott, David A. « Modern Antiquities : The Looted and the Faked ». International Journal of Cultural Property 20, n^o 1 (février 2013) : 49–75. http://dx.doi.org/10.1017/s0940739112000471.

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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the value of copies and reproductions of works of art have oscillated from promulgation in the 1860s to outright rejection by the 1920s. In a modernist sense, points of view are once again open to reevaluation as host nations demand back more originals than ever before. Arguments against the claims of nationalist-retentionist countries and those advanced in favor of the claims of nation-states regarding the repatriation of their art are discussed. The problems created by looted art in association with the ever-increasing number of fakes is highlighted, with examples of the issues surrounding pre-Columbian art and some classical antiquities. The utility of copies in relation to the protective value of the authentic piece is discussed in the context of museum examples in which the concept of the utilization of copies for museum display has been accepted in certain cases as desirable.

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14

Stalter, Sunny. « Book Review : Museum Movies : The Museum of Modern Art and the Birth of Art Cinema ». Journal of Visual Culture 5, n^o 1 (avril 2006) : 126–28. http://dx.doi.org/10.1177/1470412906064455.

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Bystriakova, Valentyna, Alla Osadcha et Olesia Pilhuk. « The Use of Decorative Art Elements in the Works of Ukrainian Designers ». Culturology Ideas, n^o 15 (1'2019) (2019) : 177–84. http://dx.doi.org/10.37627/2311-9489-15-2019-1.177-184.

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The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creative platforms of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine. It is unconditional that the role of design steadily increases in the modern world, and a similar trend will only gain strength. Designers of our country managed not only to accumulate the Ukrainian traditional, original art in modern art objects, but also to solve a problem of innovations in decorative art, to keep it as a valuable reference point of modern culture according to the level of social and technological development of society. The role of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine which act de facto as art spaces for creative exhibitions of designers and other artists of our country is considerable.

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16

Caragol, Taína. « Documenting Latin American art at the Museum of Modern Art Library ». Art Libraries Journal 30, n^o 3 (2005) : 33–36. http://dx.doi.org/10.1017/s0307472200014085.

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This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.

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17

Biryukova, Marina V. « Modern and Contemporary Art in the Russian Museum Context ». Muzeológia a kultúrne dedičstvo 8, n^o 3 (septembre 2020) : 63–74. http://dx.doi.org/10.46284/mkd.2020.8.3.3.

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The article considers contemporary and modern art in Russia as reflected in museum curatorial projects. The concepts of large-scale museum exhibitions are based on certain categories that correspond to following qualities: the connection with the centuries-old tradition, myth-making, ludic aspects and internationality – openness to the perception of other cultures. The article analyses exhibition projects in the beginning of the twentieth century, in which contemporary art is demonstrated in the space of tradition, the media context, the everyday context and the context of cultural myths and symbols. The problem of determination of the aesthetic value of contemporary art is stressed in the space of the museum, and represented artworks receive a bigger expressiveness in the neighborhood of works of traditional art. Exhibition curators effectively use aesthetic and formal contrasts; sometimes classical artworks themselves suggest new ways of understanding meanings, hypothetically included in contemporary art – as seen in the projects at the Hermitage, the State Russian Museum and the State Tretyakov Gallery, where curators can unite or contrast tradition and modernity.

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18

Tzortzi, Kali. « The art museum as a city or a machine for showing art ? » Architectural Research Quarterly 14, n^o 2 (juin 2010) : 129–38. http://dx.doi.org/10.1017/s1359135510000746.

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This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–b]. Their ground floors are conceived as a space you walk through, as a ‘piazza’; their spatial organisation is modular and flexible; their visual construction, punctuated by powerful views to the city. Moreover, they are guided by similar spatial ideas and share common fundamental morphological properties. Interestingly, their affinities extend to their collections – both begin with the turn of the twentieth century and extend to the twenty-first century; and their curatorial practices – as, for instance, the practice of reprogramming the galleries on a regular basis. But the experience of visiting the two museums is entirely different and each appears to have its own idiosyncratic spatial character, quite distinct from the other (described metaphorically by the museum designers as the museum as a city in the case of the Pompidou and as a machine for showing art in the case of Tate Modern). So, could these obvious similarities hide critical differences between the two museums?

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19

Hughston, Milan R. « Documenting the art of our time : a new research facility for The Museum of Modern Art, New York ». Art Libraries Journal 32, n^o 4 (2007) : 22–28. http://dx.doi.org/10.1017/s0307472200015054.

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The Museum of Modern Art’s ten-year building project provided new, purpose-built spaces for the library and museum archives, one of the world’s premier research resources documenting modern and contemporary art. This article summarizes the planning and implementation of the new space and reflects on its successes after six months of operations.

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20

Kuryłek, Dominik. « The Modern Spider Web in the Art Museum ». TEXTILE 16, n^o 4 (6 juin 2018) : 366–77. http://dx.doi.org/10.1080/14759756.2018.1447066.

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WALLACH, A. « The Museum of Modern Art : The Past's Future ». Journal of Design History 5, n^o 3 (1 janvier 1992) : 207–15. http://dx.doi.org/10.1093/jdh/5.3.207.

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22

Hood, Sallie, et Ron Sakal. « Home Delivery, Museum of Modern Art (Spring 2008) ». Design Issues 25, n^o 3 (juillet 2009) : 102–7. http://dx.doi.org/10.1162/desi.2009.25.3.102.

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23

Callahan, David. « Museum of Modern Art Film Stills Archive closes ». Film History : An International Journal 15, n^o 1 (mars 2003) : 103–5. http://dx.doi.org/10.2979/fil.2003.15.1.103.

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24

Poinsot, Jean-Marc. « Le Museum of Modern Art de New York ». Revue de l'art N° 154, n^o 4 (1 avril 2006) : 57–70. http://dx.doi.org/10.3917/rda.154.0057.

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25

Vuković, Vuk. « The Institutionalization of Video Art at the Museum of Modern Art ». Journal of Curatorial Studies 12, n^o 2 (1 octobre 2023) : 144–73. http://dx.doi.org/10.1386/jcs_00086_1.

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Analysing the history of video art poses challenges due to the complex environments from which video emerged. However, some of its conceptual origins can be traced through art institutions that pioneered the integration of video art into museums. By examining key projects and exhibitions at the Museum of Modern Art, I argue that the museum’s first study grant obtained from the Rockefeller Foundation not only expanded the exhibition and collection of video work, but also laid the foundation for its institutionalization, which in turn exerted decisive effects on the subsequent history of video art.

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26

Phillpot, Clive. « The Library of the Museum of Modern Art New York ». Art Libraries Journal 10, n^o 1 (1985) : 29–36. http://dx.doi.org/10.1017/s0307472200004065.

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In the Summer of 1984 the Library of the Museum of Modern Art, New York, re-opened in a purpose-designed space, following the expansion and renovation of the Museum by Cesar Pelli. This article traces the history of the Library from its origin at the foundation of the Museum in 1929, to date, and describes the scope of the present collection and some of its particular strengths.

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27

Lee, Kyunghwa. « Art Collector of Colonial Korea : Pak Yŏngch’ŏl’s Art Collecting and Museum ». Korean Journal of Art History 321 (31 mars 2024) : 39–68. http://dx.doi.org/10.31065/kjah.321.202403.002.

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Pak Yŏngch’ŏl (1879-1939) was a high-ranking government official, businessman and prominent art collector during the modern period. After Pak’s passing in 1940, his family donated Tasan mun’go (the Tasan Collection) to Keijō Imperial University in accordance with his will. The collection was comprised of 115 artworks, which included calligraphy, paintings, and craft items, along with a fund of 20,000 won. Pak’s financial support laid the foundation for the establishment of the Keijō Imperial University Museum two years later. Both the donation of his collection and the subsequent founding of the museum distinguish Pak Yŏngch’ŏl from contemporary Korean collectors. This study sheds light on Pak Yŏngch’ŏl’s character as an art collector and his perception of the museum based on a detailed investigation of the Tasan Collection housed at the Seoul National University Museum.Pak Yŏngch’ŏl did not actively participate in the appreciation and collection of art until the age of fifty. He began collecting art around 1928, coinciding with his appointment as the vice president of Chosŏn Commercial Bank. Pak then spent the next decade focused on building his collection. This study focuses on Pak Yŏngch’ŏl’s inspection tour of European countries in 1928, which was the catalyst that spurred his considerable devotion to the collection of art. During the tour, Pak Yŏngch’ŏl had the opportunity to experience various museums symbolizing modern civilization in Europe. The Louvre Museum in particular, which was first opened to the public and renown for its outstanding collection, seemed to have informed Pak of the value of art. The cultural treasures exhibited in the public spaces of museums would have reminded Pak that the preservation of historical artifacts is one of the indicators of civilization.In the pre-modern period, the appreciation and collection of calligraphy and painting were typically private activities limited to the individual’s personal domain. However, the political and social changes brought about in the modern period redefined art collecting within a public context. Pak Yŏngch’ŏl, who formed a collection and donated it with the purpose of establishing a museum, epitomizes the shift in perceptions of art collection in Colonial Korea.

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Jensen, Kirsten, et Karen Grøn. « The Kaleidoscope of Culture : expanding the museum experience and the museum narrative by inviting visitors into the curatorial process ». Museum and Society 13, n^o 3 (1 juillet 2015) : 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.

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29

Powers, Alan. « Exhibition 58 : Modern Architecture in England, Museum of Modern Art, 1937 ». Architectural History 56 (2013) : 277–98. http://dx.doi.org/10.1017/s0066622x00002513.

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Exhibition 58: Modern Architecture in England, held between 10 February and 7 March 1937 at the Museum of Modern Art in New York (MoMA), was a notable event. Amidst claims that ‘England leads the world in modern architectural activity’, the exhibition ‘amazed New Yorkers’ and equally surprised English commentators. However, it has not subsequently received any extended investigation. The present purpose is to look at it as a multiple sequence of events, involving other exhibitions, associated publications and the trajectories of individuals and institutions, through which tensions came to the surface about the definition and direction of Modernism in England and elsewhere. Such an analysis throws new light on issues such as the motives for staging the exhibition, the personnel involved and associated questions relating to the role of émigré architects in Britain and the USA, some of which have been misinterpreted in recent commentaries.Hitchcock's unequivocal claim for the importance of English Modernism at this point still arouses disbelief, and raises a question whether it can be accepted at face value or requires explaining in terms of some other hidden intention.

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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch et al. « Exhibition Reviews ». Museum Worlds 1, n^o 1 (1 juillet 2013) : 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)

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Portnova, Tatiana V. « Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space ». Journal on Computing and Cultural Heritage 14, n^o 4 (31 décembre 2021) : 1–6. http://dx.doi.org/10.1145/3460456.

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The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.

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Dilla, Adinda Salsa, et Azkia Avenzoar. « Identifikasi Aspek-aspek Desain Interior Sebagai Daya Tarik Odunpazari Modern Art Museum Turki ». Tekstur (Jurnal Arsitektur) 5, n^o 1 (18 avril 2024) : 139–47. http://dx.doi.org/10.31284/j.tekstur.2024.v5i1.5790.

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Museum merupakan lembaga non profit terbuka bagi umum dengan tujuan edukatif maupun rekreatif. Ditengah era modernisasi saat ini museum seni mulai kembali diminati oleh masyarakat. Kian banyak museum seni baru yang bermunculan yang membuktikan bahwa makin tinggi minat dan apresiasi masyarakat terhadap karya seni. Berbeda dengan jenis museum lain yang terkesan kuno, museum seni biasanya mengusung tema modern dan memiliki koleksinya yang unik. Musueum seni juga memiliki ciri khas yang instagramable. Hal ini yang menjadi daya tarik museum seni sehingga ramai dikunjungi. Tidak hanya desain bentuk bangunan museum saja yang dapat menarik pengunjung, justru desain interior menjadi aspek penting pada museum. Maka, ruang dalam pada museum perlu diperhatikan demi mendukung kesuksesan pada museum. Aspek yang perlu diperhatikan yaitu, antara lain dalam hal ruang, sirkulasi, penataan koleksi, material, pencahayaan dan aspek lainnya. Penelitian ini bertujuan untuk mengidentifikasi apa saja aspek-aspek desain interior pada Odunpazari Modern Art Museum di Turki sebagai penunjang dan daya tarik museum. Pada penelitian inimenggunakan metode analisis deskriptif. Sedangkan sumber data didapat melalui studi kepustakaan. Hasil analisis menunjukkan bahwa aspek-aspek desain interior pada museum secara optimal dapat memunculkan pengalaman ruang yang lebih menarik dan menjadi daya tarik museum.

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Karafotias, Theofanis. « Modern Art in the Gulf Region : The Case of Mathaf : Arab Museum of Modern Art ». International Journal of the Inclusive Museum 10, n^o 1 (2016) : 9–39. http://dx.doi.org/10.18848/1835-2014/cgp/v10i01/9-39.

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ZHAO, J., et O. YEZHOVA. « IMPACT OF DIGITAL ART ON DESIGN OF ONLINE MUSEUM : USER-CENTERED DESIGN, NARRATIVE DESIGN, AND INTEGRATION OF TECHNOLOGY ». Art and Design, n^o 3 (11 novembre 2023) : 92–100. http://dx.doi.org/10.30857/2617-0272.2023.3.8.

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This research aims to explore the means by which digital art presented in online museum exhibitions will contribute to an improved visitor experience of the museum exhibition. Theoretical and practical research methods are used, namely, analysis of scientific and professional literature on the impact of digital culture on museum exhibits, analysis of design analogs of online museums. Based on the research analysis, the influence of digital culture on art museums was established, which allowed them to go beyond physical spaces, display digital art and implement virtual reality technologies. The cases of the Museum of Modern Art, TATE, the Victoria and Albert Museum, as well as China's Palace Museum and Shaanxi History Museum have demonstrated the significant benefits of integrating digital culture into the art world. The use of augmented reality (AR), virtual reality (VR) and mixed reality (MR) in digital museum exhibitions was analyzed. It is substantiated that the impact of digital culture on art museums is evidence of the importance of digital technologies in the design of online museums. The scientific novelty lies in the fact that the design principles of digital art exhibitions of online museums have been further developed in the work, which allows them to reach a wider audience of visitors and improve the aesthetic perception of museum expositions by viewers. The results of the study can be used in their introduction into the modern practice of designing museum.

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Belting, Hans. « The Museum of Modern Art and the History of Modernism ». Nka Journal of Contemporary African Art 2020, n^o 46 (1 mai 2020) : 100–114. http://dx.doi.org/10.1215/10757163-8308222.

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Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, since its curators were tempted to exhibit its own collection, so unique up until the sixties, in the new exhibition halls. This launched a dilemma for MoMA, as it became a place for past art with little space for new art. In an in-depth analysis of what constitutes “modern” art in the context of the preeminent questions circulating in the art world during this time—When was modern art? and Where was modern art?—the author presents a focused chronology of the administration of MoMA under the museum’s first director, Alfred Hamilton Barr Jr. (1929–43), and, later, William Rubin, director of the Department of Painting and Sculpture (1968–88), with regard to their influence on the museum’s mission, exhibitions, and international profile. The author concludes with commentary on contemporary changes in art geography and contemplation on the effect on artists of the emergence of a global art market.

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ABRAMOVA, V. V., et A. ZH OVCHINNIKOVA. « MUSEUM PEDAGOGY AS A MODERN TECHNOLOGY OF ART AND PEDAGOGICAL EDUCATION ». Scientific Notes of Orel State University 100, n^o 3 (26 septembre 2023) : 138–44. http://dx.doi.org/10.33979/1998-2720-2023-100-3-138-144.

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The article examines the main stages of the formation of the national system of art education, identifies the conditions for the effective use of museum pedagogy as an innovative technology in the educational process at different stages of the development of art education. The specifics of the modern process of preparing future teachers for the implementation of the principles of museum pedagogy in the system of continuous art education and aesthetic education are indicated.

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Vlieghere, Dieter De. « Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936‐1943) ». Journal of Curatorial Studies 10, n^o 1 (1 avril 2021) : 2–25. http://dx.doi.org/10.1386/jcs_00029_1.

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Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

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Диденко, В., V. Didenko, Ю. Татищева et Yu Tatischeva. « Visual Art in the Museum and Exhibition Space and Modern Communication Technologies ». Scientific Research and Development. Modern Communication Studies 8, n^o 3 (4 juin 2019) : 8–14. http://dx.doi.org/10.12737/article_5ce3b367d0c2e1.77487645.

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The article is devoted to the use of modern communication technologies in the field of modern art. The authors consider and analyze such concepts as artistic communication and artistic perception in relation to the field of modern art. The ways of using modern communication technologies in modern art and museum and exhibition activities are presented in more detail.

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Uralman, Hanzade. « The library of Istanbul Museum of Modern Art : a new type of art museum library for Turkey ». Art Libraries Journal 35, n^o 2 (2010) : 30–34. http://dx.doi.org/10.1017/s0307472200016370.

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Libraries can easily be integrated into a museum’s activities, since museums too have functions that require the processing of information, such as preservation, research and communication. However museums in Turkey were not notable for developing efficient art libraries until Istanbul Museum of Modern Art opened. The distinctiveness of this museum’s library results from a change in the museum environment in Turkey, and the introduction of a number of features that are new in art libraries in this country.

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Subrizi, Carla. « Katherine S. Dreier e la Société Anonyme : un’altra storia del modernismo ». Boletín de Arte, n^o 36 (30 octobre 2017) : 21–29. http://dx.doi.org/10.24310/bolarte.2015.v0i36.3333.

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Prima che il Museum of Modern Art (MoMA) inaugurasse la sua apertura nel 1929, un altro Museum of Modern Art era già esistito. Si chiamava Société Anonyme-Museum of Modern Art 1920, dove il 1920 era un’indicazione aggiunta proprio dopo il 1929 per sot- tolineare la data di inizio di una storia che non doveva essere equivocata. Da allora e no al 1950, la Société Anonyme divenne un riferimento storico e culturale fondamentale per l’arte americana e internazionale. La stessa nascita del MoMA avrebbe avuto non poche relazioni con questa piccola società di artisti. In pochi anni la Société Anonyme raccolse inoltre un patrimonio straordinario di opere poi divenute la base delle collezioni americane museali più signi cative tra gli anni Quaranta e Cinquanta.

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Tatiana Borisovna, Mikhailova. « Modern museum landscape of the Urals ». Vestnik of Saint Petersburg State University of Culture, n^o 2 (55) (2023) : 49–53. http://dx.doi.org/10.30725/2619-0303-2023-2-49-53.

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In the paper the stages of formation of modern museum landscape in the Urals are traced. Factors are shown that influenced the change and restructuring of museum network, creating of new (state and private) museums, museification of industrial heritage. The concepts of creating and structure of corporative museums, exhibition activity of popular, cultural and art centers are analyzed. The author pays attention to the fact that the expansion of borders of museum world was affected by the process of globalization, rethinking of the XX century events, actual museological tendencies, development of domestic tourism.

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MASHTALIR, Вадим Віталійович. « PROBLEMATIC ISSUES AND DEVELOPMENT PERSPECTIVES OF MODERN UKRAINIAN MILITARY MUSEUM ART ». Військово-науковий вісник, n^o 35 (11 mai 2021) : 18–30. http://dx.doi.org/10.33577/2313-5603.35.2021.18-30.

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The article analyzes the current state, problems in the functioning of military history museums and it characterizes further directions of development of Ukrainian military museology.It is established that the research of the current period of development of military museum affairs in Ukraine allows to note the growing role of military history museums in the revival of military history of the people, in the development of national society and in the establishment of its patriotic foundations.Іn the article is proved that the military history museum should become more interactive and more responsive to the real needs of the public. The museum should attract the attention of potential visitors, interest them and should be open to all. The formation of an attractive image of the military history museum through the using of art and information tools and assistance in meeting the interactive needs of people to combine knowledge with entertainment in their free time, force modern museum-exhibition complexes to use information-analytical, entertainment-game and other methods of recreation for their visitors.

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Niloei, Ehsan Shafagh. « MUSEUM AND NEW ART REPRESENTATION IN THE MODERN AGE ». TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION 6, AGSE (10 août 2016) : 1797–802. http://dx.doi.org/10.7456/1060agse/062.

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Nioloee, Ehsan Shafagh. « MUSEUM AND NEW ART REPRESENTATION IN THE MODERN AGE ». TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION 6, JLYSPCL (1 juillet 2016) : 964–70. http://dx.doi.org/10.7456/1060jse/062.

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Duffy, Damien. « Dublin : Gary Hume at Irish Museum of Modern Art ». Circa, n^o 105 (2003) : 98. http://dx.doi.org/10.2307/25564027.

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Lyons, Catherine. « Dublin : Sophie Calle at Irish Museum of Modern Art ». Circa, n^o 109 (2004) : 88. http://dx.doi.org/10.2307/25564206.

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Donnelly, Cian. « Dublin : Juan Uslé at Irish Museum of Modern Art ». Circa, n^o 110 (2004) : 80. http://dx.doi.org/10.2307/25564245.

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Léith, Caoimhín Mac Giolla. « Dublin : Mark Manders at Irish Museum of Modern Art ». Circa, n^o 112 (2005) : 86. http://dx.doi.org/10.2307/25564326.

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Schwarz, Michael Viktor. « Die Abfahrt der Argonauten ins Museum of Modern Art ». Wiener Jahrbuch für Kunstgeschichte 57, n^o 1 (décembre 2008) : 263–82. http://dx.doi.org/10.7767/wjk.2008.57.1.263.

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Lassalle, Hélène. « Ciudad Bolívar's Museum of Modern Art (The Soto Foundation) ». Museum International 37, n^o 3 (septembre 1985) : 156–62. http://dx.doi.org/10.1111/j.1468-0033.1985.tb00575.x.

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