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1
Skinner, Sarah J., Robert B. Ekelund, Jr. e John D. Jackson. "Art Museum Attendance, Public Funding, and the Business Cycle". American Journal of Economics and Sociology 68, n. 2 (aprile 2009): 491–516. http://dx.doi.org/10.1111/j.1536-7150.2009.00631.x.
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Gaber, Tammy. "Islamic Art and the Museum". American Journal of Islam and Society 31, n. 2 (1 aprile 2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.
Testo completoAbstract (sommario):
This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...
3
Soloshenko, V. "Looting of Cultural Property in Europe for the Fuhrer – Museum in Linz". Problems of World History, n. 13 (18 marzo 2021): 190–202. http://dx.doi.org/10.46869/2707-6776-2021-13-9.
Testo completoAbstract (sommario):
The article analyzes the activities of the Nazi “Special Mission Linz”, its organization and preparations for the opening of the Fuhrer-Museum in Linz. By A. Hitler’s design, Berlin was supposed to become a kind of Rome, and Linz – to become the European capital of world art. Although this museum was never established, its creation project and precious collections, most of which were seized from Jewish families, deserve a great deal of attention, and the connected with it secrets continue to be a concern of mankind. The crucial role in the selection and formation of the creating museum's expositions was played by its leaders. They took charge of future museum and selected for it the most precious items of the looted collections of Europe, coordinating the process of museum’s filling with Hitler.
The author finds out that the Fuhrer-Museum in Linz expositions consisted mainly of art collections of Jews. The main criterion for the selection of valuable pieces of art for the museum was its belonging to the European high art.
The article analyzes the components of the “mission’s” activities, outlines the routes of the artworks, which got into the museum collections in different ways. Besides, significant attention is paid in the article to the key figures: architects whose projects were approved by the Fuhrer, leaders of the museum in Linz – art historians and other executors who were directly involved in organizing and conducting of a large-scale looting of cultural property in Europe. The author notes that the purpose of the “Special Mission Linz”, was, inter alia, to find artworks created by masters of “Aryan” birth. The study emphasizes that such kind of museum establishment was an attempt to prove the greatness and steadfastness of the German Reich. It is noted in the article that Hitler was planning to build cultural centers in Königsberg and Drontheim (Norway) during the war. The Fuhrer wanted to establish a museum with cultural property from Eastern Europe in Königsberg, and the artworks of German authors were supposed to decorate the exposition of the newly created museum in Drontheim – the northernmost center of the future Great Empire. The fact that the Fuhrer-Museum in Linz was never built does not give any grounds to reject the facts of systematic looting and confiscation of cultural property that were conducting during many years of Nazi rule.
4
Kepin, Dmytro. "The Cabinet of curiosities as a phenomenon of European culture: a source study". Вісник Книжкової палати, n. 8 (25 agosto 2022): 40–47. http://dx.doi.org/10.36273/2076-9555.2022.8(313).40-47.
Testo completoAbstract (sommario):
The article considers the history of the emergence of Cabinets of curiosities in Western and Central Europe. The works of museologists, historians, art critics, architects on the topic are analyzed. The expositions of the National Museum of Arts named Bogdan and Varvara Khanenko (Kyiv), the National Museum of Medicine in Kyiv, the Pharmacy Museum of Podil'sk district of Kyiv, the Lviv National Art Gallery named Boris Voznitsky, the Pharmacy-Museum "Under the Black Eagle" of Lviv, the funds and expositions of the State Historical and Cultural Reserve of the city of Ostroh of the Rivno region were involved. It turned out that the first "Collections of curiosities" meetings appear in the Middle Ages. Varieties of Cabinets of curiosities in Europe are known in the XVI—XVIII centuries. Museum treatises of that time were analyzed. The definition of the concept of "Cabinet of curiosities" during the Renaissance and Enlightenment is considered.
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Buigut, Steven, e Odekhiren Amaize. "Determinants of theatre, dance, and art museum attendance in the United Arab Emirates". Journal of Heritage Tourism 15, n. 6 (5 febbraio 2020): 612–25. http://dx.doi.org/10.1080/1743873x.2020.1719117.
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Kepin, Dmytro. "The bassoon as a monument of musical culture: source studies". Вісник Книжкової палати, n. 7 (28 luglio 2022): 42–48. http://dx.doi.org/10.36273/2076-9555.2022.7(312).42-48.
Testo completoAbstract (sommario):
The article for the first time in Ukrainian historiography, museology and monumentology considers works of European fine art, where there is an image of a wind wooden musical instrument bassoon. Works of painting, graphics, works of monumental art (sculpture) are analyzed. This is a characteristic of the collections of bassoons in museums in Western Europe, the USA and Canada. Publications stored in the funds of the Vernadsky National Library of Ukraine, Yaroslav Mudryi National Library Of Ukraine, the National Historical Library of Ukraine, the National Scientific and Research Restoration Center of Ukraine were used. The expositions of the Bohdan and Varvara Khanenko National Museum of Arts (Kyiv), the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv), the State Yagotynsky Historical Museum (Yagotyn, Kyiv Region), as well as Internet resources of collections of wind instruments of a number of museums in Europe, the USA and Canada are analyzed. Materials from the personal archive and musical collection of the bassoonist, teacher in the class of wind musical instruments, soloist of orchestra V. Kepin (Kyiv) were involved. Based on the analysis, it was concluded that the Flemish artist Dеnis van Alsloot can be considered one of the first in European painting, which brought to our time the composition of wind musical instruments characteristic of the musical culture of Western Europe of the XVII century. In Ukraine, one of the oldest copies of the bassoon (1730s) is stored in the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv).
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Bao, Hongwei. "Curating queerness and queering curation: Exhibiting queer Chinese art in Europe". Journal of Contemporary Chinese Art 9, n. 3 (1 novembre 2022): 313–32. http://dx.doi.org/10.1386/jcca_00069_1.
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This article examines the curatorial strategies of the Secret Love exhibition, the biggest queer Chinese art exhibition outside Asia to date. The exhibition brought together 150 works created by 27 queer Chinese artists. It first took place at the Museum of Far Eastern Antiquities (MFEA) in Stockholm, Sweden, from 21 September 2012 to 31 March 2013, and subsequently toured to other museums in Europe. The exhibition raises the critical question of how one can curate queer Chinese art when definitions of queerness, Chineseness and art remain unstable and contested. This article proposes queer curating – that is, collecting and exhibiting genders, sexualities and desires in an art gallery or museum setting without reinscribing social norms and reinstating identity categories – as a critical curatorial method. Queer curating challenges fixed identity categories and dominant power relations; it also explores a non-essentialist and anti-identitarian mode of curatorial practice. As an example of transnational and transcultural curating, the Secret Love exhibition compels us to consider how curators can work with the structural constraints of exhibition and discursive spaces to create new curatorial possibilities.
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Leszkowicz, Paweł. "The Dissident Power of Queer Art and Curating in Central Eastern Europe". Ikonotheka, n. 32 (18 gennaio 2024): 35–58. http://dx.doi.org/10.31338/2657-6015ik.32.3.
Testo completoAbstract (sommario):
The text aims to explore the political, cultural and artistic implications of LGBTQ+ art and curatorial practices in Central Eastern Europe in the 21st century. Currently, queer exhibitions, are on the rise in post-communist Europe, especially those held in contemporary art centres and museums. They cast light on new queer art and activism and the volatile sexual politics in the region because of the significant increase in the number of artists working with LGBTQ themes and the topical political background of this movement and its impact on cultural debates. Curators are developing innovative perspectives on sexual, social and artistic dimensions of queer exhibitions in this geographic context still seriously affected by homophobic state policy. The objective is to feature three art shows of major queer artists which have been organised in Hungary, Poland and Estonia in the last decade. The exhibitions are: The Survivor’s Shade: The Life and Work of El Kazovsky at the Museum of Fine Art- Hungarian National Gallery, Budapest in 2015/16; Daniel Rycharski: Fears at the Museum of Modern Art, Warsaw in 2019 and Jaanus Samma. Not Suitable for Work. A Chairman’s Tale, Museum of Occupations and Freedom, Tallinn in 2016. The three artists and their exhibitions have been selected because they were organised by major cultural institutions in the capitals, they have achieved a significant social impact and huge audience and the artists have played an important role in the contemporary art scene in each country. Their work is a current manifestation of the queer artistic and intellectual culture that has been developing slowly in the region since the 1980s and has come to play an increasingly important role in recent years. The exhibitions and art of the three artists are a starting point for a broader outline of the themes and important figures in recent queer art in Central Eastern Europe (CEE). Moreover, in each case, they appear in a complex and difficult political context related to the struggle for LGBTQ+ rights. Hence, I would like to propose a thesis about the dissident power and status of queer art and curating in CEE.
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Jasińska, Anna, e Artur Jasiński. "NEW BUILDING OF THE WHITNEY MUSEUM OF AMERICAN ART IN NEW YORK". Muzealnictwo 59 (30 marzo 2018): 19–27. http://dx.doi.org/10.5604/01.3001.0011.7190.
Testo completoAbstract (sommario):
On the 1st of. May 2015, in Meatpacking District of West Manhattan, the new building of the Whitney Museum of American Art was opened. It is the fourth location of this well-known New York museum, which was established in 1930, by Gertrude Vanderbilt Whitney. The Whitney possesses the world’s largest collection of American art and focuses on exhibiting living artists. Spectacular, industrial in character architecture signed by Renzo Piano has met with mixed reactions. The building is functional and well connected with the post-industrial site, however, not appreciated by everyone. Similar situation happened forty years ago, when Centre of Georges Pompidou, designed by Renzo Piano and Richard Rogers, pioneers of high-tech architecture, was widely criticised. Only popularity, high attendance and commercial success of famous Paris facility changed that negative opinion. Is the New Whitney following the same path – time will tell.
10
Spiridon, Ioana-Cristina. "M. H. Maxy: de la avangardă la socialism". Revista Muzeelor 1 (2023): 216–23. http://dx.doi.org/10.61789/rm.2023.13.
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„M. H. Maxy: from avant-garde to socialism”, opened on the 28th of December 2023 at the Romanian National Museum of Art, uses a chronological line of events to bring up to date the image of Max Herman Maxy (1895 – 1971), seen as a leading artist with a significant role in the Romanian Avant-garde, but also as the first director of the Romanian National Museum of Art. Subsequently, his contribution to the development of the national art scene can’t be denied in art history. Furthermore, the opening was carefully chosen to mark a symbolic anniversary of 145 years since the first Romanian Jew obtained his citizenship, therefore enhancing the role that the Jew community had in the bloom and spread of the Avant-garde in Europe. The exhibition has a tacit dialogue to the main artistic events which celebrate Timișoara as The Cultural Capital of Europe 2023, the retrospectives dedicated to Victor Brauner and Constantin Brâncuși, suggesting the main artistic pillars in the dawn of Modern Romania.
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Chernega, Petro, e Oleksii Kozak. "Collection Activity and Establishment by the Family of Bohdan and Varvara Khanenko the museum of foreign art". Ethnic History of European Nations, n. 65 (2021): 49–64. http://dx.doi.org/10.17721/2518-1270.2021.65.06.
Testo completoAbstract (sommario):
The phenomenon of collecting in Ukraine in the late XIX – early XX centuries is revealed on the example of the family of Bohdan and Varvara Khanenko. It is shown that their collection of works of art and antiquities of Ukrainian and Western European and Eastern peoples contributed not only to acquaintance with world art, but also to the revival of the historical development of Ukrainian spiritual culture and the formation of museum work in Ukraine. The use of historical comparative method and interdisciplinary approach allowed to analyze the main stages and characteristics of the family of Bohdan and Varvara Khanenko collecting artifacts, their activities to create a museum of Western art and art and science and industry in Kiev, and helped to substantiate theoretical positions and conclusions. For the first time, the article comprehensively and meaningfully reveals the concept, tasks, and characteristic features of B. and V. Khanenko’s collection of works of fine art and antiquities of the peoples of Western Europe, the East, and Ukraine. The significant contribution to the formation and development of museum work, education and spiritual culture of Ukrainians in general is highlighted. An attempt was made to further analyze the socio-political and cultural value and significance of the charitable activities of the couple, which contributed to the formation of national museum studies and museum education. The abolition of serfdom in 1861 led to the development of a market economy, the emergence of an active socio-economic group of entrepreneurs with high economic and financial status, which included Bogdan and Varvara Khanenko. The family upbringing and traditions of their famous Khanenko and Tereshchenko families became an important precondition and reason for collecting and creating a museum of works of fine art, antiques of their people and the peoples of Europe and the East. Their activity, as a socio-economic phenomenon, had a clear artistic, scientific and educational orientation, pronounced humanistic content and character, which contributed to the revival of national memory of the Ukrainian people, increasing interest in their past, historical and cultural heritage and art of the world.
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Lee, Kyunghwa. "Art Collector of Colonial Korea: Pak Yŏngch’ŏl’s Art Collecting and Museum". Korean Journal of Art History 321 (31 marzo 2024): 39–68. http://dx.doi.org/10.31065/kjah.321.202403.002.
Testo completoAbstract (sommario):
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.
13
Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery". Art Libraries Journal 20, n. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.
Testo completoAbstract (sommario):
Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SANG) Library collection are made accessible in the widest possible sense and that museum library information programmes should be directed externally, as well as internally to the museum staff.
14
Blessing, Patricia. "Presenting Islamic Art: Reflections on Old and New Museum Displays". Review of Middle East Studies 52, n. 1 (aprile 2018): 147–52. http://dx.doi.org/10.1017/rms.2018.12.
Testo completoAbstract (sommario):
AbstractThis essay presents a reflection on a selection of collections of Islamic art in Europe and the Middle East, focusing on new installations that emerged in the last decade. While various approaches have been discussed in the context of new installations, chronological narratives still prevail. Perhaps, these are indeed the best way to introduce audiences unfamiliar with the material to its complex historical and cultural contexts. The overarching goal of many of these displays may be to create positive public engagement with Islamic art in a global context where Islam is often associated with war and destruction.
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Bahn, Paul G. "Pleistocene Images outside Europe." Proceedings of the Prehistoric Society 57, n. 01 (1991): 91–102. http://dx.doi.org/10.1017/s0079497x00004904.
Testo completoAbstract (sommario):
At first sight it may seem a pointless exercise to produce a survey of late Pleistocene ‘artistic activity’ around the world, but there are two specific aims involved here: first, to show that human beings in different parts of the world were producing ‘art’ at roughly the same time, i.e. from about 40,000 BC onward, and particularly at the end of the Pleistocene, from about 12,0000 BC, and second, to show that the well known Ice Age art of Europe is no longer unique, but part of a far more widespread phenomenon (Bahn 1987; Bahn and Vertut 1988, 26–32). The European art remains supreme in its quantity and its ‘quality’ (i.e. its realism and its wide range of techniques), but that situation may well alter in the next decade or two as new discoveries are made elsewhere and new dating methods are refined and extended.Ironically, the first clue to Pleistocene art outside Europe was found as long ago as 1870, only a few years after Edouard Lartet's and Henry Christy's discoveries in southern France were authenticated. Unfortunately, the object in question was badly published, and dis-appeared from 1895 until its rediscovery in 1956, and consequently very few works on Pleistocene art mention it. This mineralized sacrum of an extinct fossil camelid was found at Tequixquiac in the northern part of the central basin of Mexico. The bone is carved and engraved (two nostrils have been cut into the end) so as to represent the head of a pig-like or dog-like animal (pl. 18a). The circumstances of its discovery are unclear, but it is thought to be from a late Pleistocene bone bed, and to be at least 11,000 or 12,000 years old (Aveleyra 1965; Messmacher 1981,94). At present it is on exhibit in Mexico's National Museum of Anthropology.
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Belting, Hans. "The Museum of Modern Art and the History of Modernism". Nka Journal of Contemporary African Art 2020, n. 46 (1 maggio 2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.
Testo completoAbstract (sommario):
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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Jasińska, Anna, e Artur Jasiński. "THE CALOUSTE GULBENKIAN MUSEUM IN LISBON". Muzealnictwo 58, n. 1 (10 aprile 2017): 24–37. http://dx.doi.org/10.5604/01.3001.0009.8341.
Testo completoAbstract (sommario):
The Calouste Gulbenkian Museum is located off the tourist paths, on the outskirts of Europe, and far away from the centre of Lisbon, in the serenity of the Santa Gertrudes Park. Its austere concrete buildings hide treasures from the collection of an extraordinary man, a millionaire of Armenian origin, an oil magnate, and an art and garden lover. The article presents the collector, the history of his collection and the museum buildings which now form an original park and museum complex run by the Calouste Gulbenkian Foundation. In 2010, the complex was entered into the register of national monuments of Portugal, thus being the first masterpiece of the 20th-century architecture to feature in this register.
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Popper, Frank. "Art, Science, Technology: Six Exhibitions 1966–1998". Leonardo 52, n. 2 (aprile 2019): 194–95. http://dx.doi.org/10.1162/leon_a_01163.
Testo completoAbstract (sommario):
From the late 1960s until the end of the twentieth century, the author organized, or helped organize, six exhibitions throughout Europe that saw artists integrate and alter the collective destinies of science, art and technology. The works of art presented at these exhibitions: KunstLichtKunst at the Stedelijk Van Abbe Museum in Eindhoven; the Lumière et Mouvement exhibition at the Musée d’Art Moderne de la Ville de Paris; Cinétisme, Spectacle, Environnement, held at the Mobile theater of the Maison de la Culture in Grenoble; Interventions and Environments in the Streets of Paris and in Its Suburbs and Electra at the Museum of Modern Art of the City of Paris; and the Virtual Art show in Boulogne-Billancourt in 1998, did more than just lay a formal and theoretical foundation for new media art to follow—they challenged the perceptions of both the spectator of the art as well as other artists working in this area. This article chronicles the aesthetic and societal ramifications, particularly within the artistic community, that the works in these exhibitions created.
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Mitterauer, Michael. "Shroud and Portrait of a Medieval Ruler". Balkanistic Forum 29, n. 3 (1 novembre 2020): 197–223. http://dx.doi.org/10.37708/bf.swu.v29i3.10.
Testo completoAbstract (sommario):
The research is concerning two unusual evidences of the late Medieval art, which could be seen in the Museum of the cathedral St. Stephan in Vienna. Both of them are related to Herzog Rudolf IV of Austria (1358 - 1365). One artefact in the museum is his silk gold woven shroud elaborated with especial mastership from Chinese silk in Tabriz, a city in present Iran. Especially important for this fabric is that thanks to the interwoven name of the ruler it could be dated precisely. The road of this Near East fabric to Europe and to the tomb of the Herzog in Vienna could be reconstructed. Rudolf IV died suddenly during the visit to his relative Bernabo Visconti in Milano who was one of the richest men in Europe by that time. Probably the fabric was brought across the Silk Road to Constantinople and further across the sea to Genova and to the city of silk Lucca and then to Milano. Such gold woven fabrics from the Islamic world could be found not rarely in the European ruler’s tombs. The second unusual object in the cathedral museum is a portrait of the Herzog. So far this portrait was attributed to a Prague artist. But it could be proved that it originated from Upper Italy and probably was painted by an artist from Verona who was associated to the society around the great humanist Francesco Petrarca. This portrait rises the question about the emergence of early ruler's portraits in Eu-rope and in this aspect is also related to achievements of the „Palaeologus Renaissance“ art in South – East Europe. The two objects are considered as expression forms of the ruler’s funeral culture of the late Medieval age. In the context formed by the comparative approach new possibilities for analysis are created which cross over the traditional methodology of History of Art.
20
Sidorova, Elena. "MoMA Goes beyond the Iron Curtain: The Eastern European Tour of The Prints of Andy Warhol". Arts 13, n. 2 (21 febbraio 2024): 42. http://dx.doi.org/10.3390/arts13020042.
Testo completoAbstract (sommario):
In 1990, three years after Andy Warhol’s death and one year after the fall of the Berlin Wall, the Museum of Modern Art (MoMA) organized the first one-man show of this pop artist in Eastern Europe. The Prints of Andy Warhol, although never shown at the MoMA in New York, traveled to the Fondation Cartier pour l’Art Contemporain in Jouy-en-Josas, France, the Národní Galerie in Prague, Czechoslovakia, the Staatliche Kunstsammlung in Dresden, the GDR, the Mücsarnok in Budapest, Hungary, and the Muzeum Narodowe in Warsaw, Poland. The current paper analyzes the cultural–political context of The Prints of Andy Warhol. It first discusses the place of both American pop art and Eastern Europe in MoMA’s International Program (IP) and then explores the organizational challenges, art historical contents, and public reception of the exhibition. The paper concludes by examining the broader impact of The Prints of Andy Warhol on both the growing awareness of American pop art in Eastern Europe and MoMA’s cultural diplomacy in this region after the fall of the Iron Curtain.
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Selejan, Ileana L. "Incident Transgressions: A Review of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MOMA". ARTMargins 5, n. 2 (giugno 2016): 87–104. http://dx.doi.org/10.1162/artm_r_00149.
Testo completoAbstract (sommario):
By placing on view a large selection of objects recently acquired by the New York Museum of Modern Art, the exhibition Incident Transgressions: Report on “Transmissions: Art in Eastern Europe and Latin America 1960–1980” (September 5, 2015 to January 3, 2016) sought to situate artistic practices from Latin America and Eastern Europe within a discursive model of cross-cultural and aesthetic transmission. However, the exhibition marginalized an account of the specific relations between these objects in favor of a more encompassing global curatorial narrative. While seeking to outline the parameters of the exhibition, and its implications in regard to contemporary trends in art history and museology, the text aims to highlight some of the instances of transmission and contact, both real and imagined, between the objects displayed.
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Dodds, Douglas. "Integrating access to distributed images: the Electronic Library Image Service for Europe (ELISE) project". Art Libraries Journal 24, n. 1 (1999): 40–42. http://dx.doi.org/10.1017/s0307472200019325.
Testo completoAbstract (sommario):
The Victoria and Albert Museum in London is a partner in the Electronic Library Image Service for Europe (ELISE) project, which is part-funded by the European Community. ELISE I began in 1993 and was completed in 1995. The V&A’s National Art Library is particularly involved in the second phase of the project, ELISE II, which began in 1996 and is due to finish in 1999. This paper explains the background to ELISE and considers the implications for the V&A and the wider art and design community.
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Kozin, Vladimir V., e Tatiana I. Kirdiashkina. "Attendance monitoring of ethnic tourism objects in the Republic of Mordovia in 2017". Finno-Ugric World 10, n. 3 (30 dicembre 2018): 86–94. http://dx.doi.org/10.15507/2076-2577.010.2018.03.086-094.
Testo completoAbstract (sommario):
The Republic of Mordovia is a multinational region of the Russian Federation. For centuries, Russians, Mordovians (Moksha and Erzya), Tatars, and others coexist peacefully on its territory. This necessitates the development of ethnic tourism, the area of tourism with a pronounced ethnic identity in the Republic. It can be distinguished as internal and external ethnic tourism. For the research of the development of ethnic tourism in Mordovia, the authors employed general research analytical methods (comparative, functional, natural history, etc.) and a survey as a tool for collecting primary sociological information. The survey was conducted in all municipal districts of the Republic in September 2017. The most famous objects of ethnic tourism are the ethnographic Museum complex “Mordovian Courtyard” and the Museum of Mordovian folk culture; they are the most visited sites. The percentage of people who know about the Center for National Culture in Old Terizmorga village and Podlesno-Tavlinskoy Children’s Experimental Art School is quite high. The prospects for the development of ethnic tourism can be assessed as favorable, since there is a high percentage of those who would like to visit other objects of ethnic tourism as well. The conclusion is made about further development of internal and external ethnic tourism in Mordovia.
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Kheleniuk, Anastasia. "MIRTALA PYLYPENKO’S COLLECTION IN THE MUSEUM OF HISTORY OF THE NATIONAL UNIVERSITY OF OSTROH ACADEMY". Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (17 dicembre 2020): 232–39. http://dx.doi.org/10.25264/2409-6806-2020-31-232-239.
Testo completoAbstract (sommario):
Special attention in this article is paid to the analysis of art collection of the Ukrainian artist from abroad Mirtala Pylypenko at the Museum of Ostroh Academy. In 1997 the Museum of history of the Ostroh Academy was founded. A great contribution to its development process was made by Ukrainians from abroad. They supported the museum, sent interesting exhibits, and joined in museum projects. Nowadays the museum has valuable art collections, among which sculptures of the well-known Ukrainian artist Mirtala Pylypenko. Mirtala Pylypenko was born in Ukraine. During World War II she emigrated, and since 1947 she has been living and working in the USA. She graduated from the Boston Museum’s Art School and Tufts University in Boston. Mirtala’s sculptures are not just artworks, but a profound philosophical and original vision of the world. She showed her talent not only in sculpture and art photography, but also in poetry – her poetic collections “Verses”, “Rainbow Bridge”, “Road to Oneself” have been published in various languages. Mirtala received acclaim in the US and Europe in the 1970s – 1980s. Since the early 1990s her works have been known in Ukraine, where the artist held a series of solo exhibits and presentations. Mirtala presented one collection of her works to the National University of Ostroh Academy. Now it is one of the most valuable collections in the university museum. As a sculptor with a long exhibiting career, Mirtala has combined images of her sculptures with her poems, creating a single whole, which is greater than its parts. Mirtala’s collection of sculptures is monumental, philosophic and gracious. However, at the same time, it is sunny and brings back the life-asserting symbols of eternal space and time. The artist has spent most of her life across the ocean (in the USA), but her soul remains tied to Ukraine. Mirtala Pylypenko is an extraordinary figure in the Ukrainian art. And now, many generations of university students have an opportunity to get acquainted with her unique talent. It is important that sooner or later, Ukraine reveals its artists. Therefore, the museum tries to return and represent the Ukrainian diaspora art and history in museum collections in order to create a single Ukrainian cultural space.
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Trouli, Sofia. "Teens Challenged to Re-think the Concept of European Identity in the Museum". Higher Education Studies 11, n. 3 (23 agosto 2021): 156. http://dx.doi.org/10.5539/hes.v11n3p156.
Testo completoAbstract (sommario):
Museums seek to be places for democratization, inclusion and polyphony. In this paper we present the multimodal conversations of the participating adolescents in the course of a museum pedagogical program in the Museum of Contemporary Art of Crete. The program’s topic is Europe and the concept of European identity. Firstly, we prepare the ground through creating an environment of safety and confidence, and next, together with our groups we study the selected artworks, following the routines of ‘Artful Thinking’, which propose the development of critical thinking through specific questions. This process reinforces reflective thinking and skills of participating in a dialogue. Our aim is to describe and share how a museum through its collections and programs can constitute a space where democratic dialogue and healthy debate are cultivated. In this space, everybody is invited to participate in inquiring, reflecting on self, answering, sharing, with and through the art.
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Khoronko, Lubov, e Anna Mokina. "Museum practice in the developing of applied artists’ professional competencies in the context of digitalization of education". E3S Web of Conferences 273 (2021): 12066. http://dx.doi.org/10.1051/e3sconf/202127312066.
Testo completoAbstract (sommario):
The article examines the modern approach in the pedagogical science of training future decorative and applied art artists, the search for new forms of practice, especially museum practice. The issue of forming future specialists’ professional competencies is always acute, but today, in connection with the issues of the pandemic and the partial transition to distance learning, it has become particularly relevant and topical, including the field of art education. The authors are tasked to analyze the effectiveness of the discipline «Museum Practice» in a remote form, the development of professional competencies by bachelors. In the standard situation, this practice is partially conducted in the city museums where the university is located and also off-premise, by personal attendance, but in the 2019-2020 academic year, changes were made to the curriculum of the field of education «Decorative and Applied Arts and Folk Crafts» at the Southern Federal University, and the practice was held in an online form. The article considers the issue of remote dialogue between teacher-student-museum, identifies the positive and negative aspects of this form of communication for the development of professional competencies by future applied artists. The use of interactive, multimedia and visual technologies in the synthesis with independent work of the student gives a positive effect for the development of the necessary professional skills, even in a non-standard situation of practical training.
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Jagodzińska, Katarzyna. "Historyczne mury dla nowych muzeów. Muzealna moda na początku XXI wieku". Kultura i Społeczeństwo 55, n. 4 (22 novembre 2011): 171–90. http://dx.doi.org/10.35757/kis.2011.55.4.9.
Testo completoAbstract (sommario):
The Author considers a trend, which comes from the west, to use post-industrial developments for museums. The article includes issues concerning adaptation of post-industrial developments for museum functions, references to history and identity of the building concerned, as well as relations of an institution — which is hosted within the historical construction — with the surroundings. The museums which have been selected for the analysis are representative for a boom observed in Poland since the beginning of the 21st century — the majority of newly-established museums are located in adapted old buildings, the museums representing almost exclusively only two categories: historical museums and contemporary art museums. The Author seeks an answer to a question whether museums must follow current trends. She concludes that a quest for success translating to a good image and high attendance is and certainly shall remain an important goal of a museum. She warns, however, of dangers related with a museum trying to be a “trendy” place to attend, especially in the times of public life commercialization, which is more and more common.
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Mleziva, Jindřich. "Iznik or Paris? Imitations of Ottoman Pottery in the Collection of the West Bohemian Museum in Pilsen". Annals of the Náprstek Museum 37, n. 1 (26 luglio 2016): 33–40. http://dx.doi.org/10.1515/anpm-2017-0003.
Testo completoAbstract (sommario):
Abstract The article focuses on imitations of Asian craftsmanship, manufactured during the 19th century and found in the West Bohemian Museum in Pilsen collection. The collection was created at the end of the 19th century. During that period the museum acquired both original Asian products and products manufactured in Europe under the influence of Asian art. In some cases, however, it happened that objects acquired for the collection a hundred years previously were later thought to be Asian originals. The Pilsen ewer is described in accounts records as a teapot made according to a Persian model. Although in the past it was confused with original work, today objects like this are an indication of the influence that Ottoman ceramics had not only on ceramics production in the second half of the 19th century Europe, and a reflection of the interest in and considerable popularity of Middle Eastern and Oriental arts and crafts in Europe.
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Dulal, Lok Nath. "Sculpture of Panchayan Deities of National Museum: An Illustrative Stone Work of Nepal". International Journal of Culture and History 9, n. 1 (3 febbraio 2022): 105. http://dx.doi.org/10.5296/ijch.v9i1.19534.
Testo completoAbstract (sommario):
Historical evidence proves the history of sculpturing art is as old as the history of human beings. The findings of stone sculpture and other forms of art from the different prehistoric sites of Europe, Africa and Asia have strongly supported the above mentioned acquaintance. It means the tradition of sculpturing stone art has evolved from the pre- historic culture in the world. Likewise, the tradition of creating stone sculpture and other forms of stone art also existed from the pre- historic age in Nepalese society. It is justified through the findings of hand axes and other different art objects which are being displayed in the National Museum. There are some noteworthy illustrations of Nepalese stone art in different museums abroad and in Nepal as well. Out of Nepalese stone sculptures, Panchayan deities of the national museum are considered an important specimen through religious, cultural, style, skill and technological perspectives. In this stone panel the figures of Shiva, Vishnu, Surya, Ganesh and goddess have been depicted. In Nepal, there are plenty of sculptures and paintings of these gods and goddess in single and with their families as well. But such a sculpture of this kind which has been exhibited in the stone work section of the national museum is very rare. Therefore, it is claimed that the panel is one of the important sculptures of Panchayan gods of Nepal. In this article, regarding the different issues of such sculptures going to be examined.
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Blakesley, Rosalind P. "Art, Nationhood, and Display: Zinaida Volkonskaia and Russia's Quest for a National Museum of Art". Slavic Review 67, n. 4 (2008): 912–33. http://dx.doi.org/10.2307/27653031.
Testo completoAbstract (sommario):
In 1831, the journal Teleskop published Princess Zinaida Volkonskaia's proposal for a national art museum in Moscow. Volkonskaia's project was progressive to a degree (Russia had no such museum at the time), yet the model she proposed was highly traditional. She excluded Russian art entirely, despite her support of modern Russian artists. Instead, Volkonskaia privileged classical and more recent western European art, underlining the deference to western practice that influenced cultural politics even as Russia moved toward a stronger national sense of self. Volkonskaia's project marks an important juncture in Russia's cultural history: the intersection of aristocratic female patronage and the institutionalization of academic procedure. It also provides a platform from which to consider Russia's self-image vis-à-vis Europe in the aftermath of the Napoleonic campaigns. By tracing an intricate dialogue in which national pride developed alongside continuing admiration for neoclassical ideals, Rosalind P. Blakesley addresses the paradoxes of Volkonskaia's project, and the difficulties of conceptualizing a “national” space of artistic display. Volkonskaia's project poses significant interpretive problems and her exclusion of Russian art prefigures the segregation of Russian and western art in Russian museums today, which has marginalized Russian art even within Russia itself. Volkonskaia's project thus has wide resonance, for the question of whether and how museums encapsulate national cultural identities remains an issue of great intellectual concern.
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Kagouridi, Kassiani. "Vienna-Paris-Corfu: Japonisme and Gregorios Manos (1851–1928)". Journal of Japonisme 5, n. 2 (7 settembre 2020): 152–79. http://dx.doi.org/10.1163/24054992-00052p02.
Testo completoAbstract (sommario):
Abstract The present study defines the connection between Japonisme and the Greek diplomat and donor-collector Gregorios Manos (1851–1928). Manos collected Japanese pieces during the reign of Japonisme in Europe, was a pioneer of the study of Japanese art in Greece, and the first donor of Chinese and Japanese artifacts to the Greek State in 1919. The donation resulted in the foundation, in 1926, of the Sino-Japanese Museum (renamed in Museum of Asian Art in 1973) in Corfu. The present research is based on primary and secondary sources and seeks to present unpublished data as well as re-examine Manos’ connection to Japonisme. In addition, this micro-perspective research aims to reveal Manos’ studies, diplomatic carrier, collecting practices, and donating vision. At the same time, it hopes to enrich macro-perspective study by outlining the circumstances under which collectors founded museums of Asian art in peripheral places, such as Greece, during the first half of the twentieth century under and beyond the allure of Japonisme.
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Tamimi Arab, Pooyan. "Islamic heritage versus orthodoxy: Figural painting, musical instruments and wine bowls at the Dutch National Museum of World Cultures". Journal of Material Culture 26, n. 2 (5 marzo 2021): 178–200. http://dx.doi.org/10.1177/1359183521997503.
Testo completoAbstract (sommario):
Shahab Ahmed’s What Is Islam? The Importance of Being Islamic (2016) challenges anthropologists, Islamic Studies scholars, art historians and museum practitioners to question the theological assumptions underlying conceptions of Islamic art and material culture. This article analyses three object types key to Ahmed’s analysis – Islamic figural painting, musical instruments and wine bowls – from the vantage point of the collection of the Dutch National Museum of World Cultures. Based on the author’s experience as Assistant Curator for West Asia and North Africa in 2015–2016 and on exhibition developments up until 2019, Ahmed’s framework is demonstrated as a guide for critical interpretations of exhibitions of Islamic art and material culture. This perspective lays bare a tension that contemporary museums struggle with in response to nationalist pressures to integrate Muslim citizens in Western Europe: between a diverse Islamic heritage, on the one hand, and orthodox desires to materially purify the very idea of Islam, on the other.
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Grzybkowska, Teresa. "PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)". Muzealnictwo 58, n. 1 (13 febbraio 2017): 2–13. http://dx.doi.org/10.5604/01.3001.0009.5602.
Testo completoAbstract (sommario):
Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.
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Bonţa, Claudia M. "Propaganda istorica si culturala reflectata in colectii grafice muzeale". Banatica 1, n. 33 (2023): 553–70. http://dx.doi.org/10.56177/banatica.33.1.2023.art.29.
Testo completoAbstract (sommario):
The Erdélyi Museum in Cluj, the forerunner of the National Museum of History of Transylvania in Cluj‑Napoca, was established in 1859, at a peak moment in terms of interest in national history. Graphic portraits are an important sample of collections and motivation is given by the desire to draw educational directions in the knowledge of the general public. Researching the old museum collections we note that an essential element in the Transylvanian educational program was the promotion of the cult of the great historical and cultural personalities of Europe. This trend is particularly visible in the graphic arts where in the 19th century lithography was required, which offered the possibility of multiplying the prints at affordable costs. Characters belonging to Transylvanian space, culture and history were preferred, but the graphic collections also enjoy important European personalities.
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McLeod, Douglas M., e Jill A. MacKenzie. "Print Media and Public Reaction to the Controversy Over NEA Funding for Robert Mapplethorpe's “The Perfect Moment” Exhibit". Journalism & Mass Communication Quarterly 75, n. 2 (giugno 1998): 278–91. http://dx.doi.org/10.1177/107769909807500204.
Testo completoAbstract (sommario):
In 1989, Robert Mapplethorpe's photographic exhibit The Perfect Moment toured the country with the support of a $30,000 grant from the National Endowment for the Arts. The exhibit, which included several sado-masochistic and homo-erotic photographs, drew the ire of the Reverend Donald Wildmon, who turned to Senator Jesse Helms (R- NC). In the summer of 1989, Congress debated policy toward the funding practices of the NEA, sparking a major controversy in Congress and in the arts community. This study examines media coverage of the controversy and the reaction of the public in terms of museum attendance and the value of Mapplethorpe's art.
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Bovino, Emily Verla. "Curation-as-branding and the problem with cultural diplomacy: The case of Q Art Group". Journal of Contemporary Chinese Art 10, n. 3 (1 novembre 2023): 389–412. http://dx.doi.org/10.1386/jcca_00091_1.
Testo completoAbstract (sommario):
Founded in 2018 by Hong Kong heiress Queenie Rosita Law of the Law family apparel brand Bossini fame, Q Art Group is a private art initiative between Hungary and China that, in the words of its Hungarian artistic director, promotes Central and Eastern European art ‘within the dynamics of the Belt and Road Initiative’ (BRI). Hungary was the first European country to sign onto BRI cooperation, and it leads the 14 + 1 initiative promoting investment between China and Central and Eastern Europe. The country’s national-conservative Prime Minister Viktor Orbán uses Hungary’s position as a BRI gateway to bolster an ‘illiberal’ agenda within the European Union. Meanwhile, Hong Kong’s Q Art Group – comprising the Budapest private museum, Q Contemporary, the Hong Kong gallery Double Q and Q Studio, an art studio that works with luxury properties – is rebranding both Central and Eastern Europe and China in a mix of cultural diplomacy and art market strategy between Hong Kong and Budapest. The article considers the co-constituting images of the Greater China and Central and Eastern Europe that Q Art Group presents in Hungary and Hong Kong by positioning itself as a discourse maker in Central and Eastern European art. What is the ‘post-communist landscape’ – as Q Art Group calls Central and Eastern Europe – mobilized in this endeavour and how does it serve China’s cultural diplomacy and nation-branding? Mapping the social, economic, juridical and political conditions that Q Art Group negotiates, this article asserts there is no ‘good’ way of curating art for cultural diplomacy, but that the exchange of what is called ‘culture’ and ‘identity’ under cultural diplomacy is but an operation of mutual branding among privileged forms of state capital that use art to circulate the violent philosophical logic behind cultural difference.
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Nijhoff, Michiel. "The early history of the Stedelijk Museum library: the Kloet years". Art Libraries Journal 33, n. 4 (2008): 14–16. http://dx.doi.org/10.1017/s030747220001556x.
Testo completoAbstract (sommario):
On 5 May 2007, the Stedelijk Museum library in Amsterdam was exactly 50 years old – although a collection of books known as ‘the library’ began long before that in the building on the Paulus Potterstraat. Louis Kloet was the first librarian. He founded and ran the library from 1953 until 1980, a period in which the collection and the number of visitors grew steadily and it evolved into one of the most important libraries of modern art in Europe.
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Hourihane, Colum. "Revealing the African Presence in Renaissance Europe (Baltimore, The Walters Art Museum, 14 October 2012-21 January 2013; Princeton Art Museum, 16 February-9 June 2013, Princeton University Art Museum). Catalogue Revealing the African Presence in Renaissa". Renaissance Studies 28, n. 5 (22 gennaio 2014): 787–92. http://dx.doi.org/10.1111/rest.12036.
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Little, Stephen. "Art and Science in LACMA’s Cosmologies Exhibition". Culture and Cosmos 27, n. 0102 (ottobre 2023): 159–71. http://dx.doi.org/10.46472/cc.01227.0219.
Testo completoAbstract (sommario):
This paper presents an overview of the Cosmologies exhibition that will be presented by the Los Angeles County Museum of Art (LACMA) in late 2024 – early 2025. Created in collaboration with scientists at the Carnegie Observatories and the Griffith Observatory, and a global array of consulting scholars, Cosmologies presents a group of one hundred twenty rare artworks, stone, ceramic, and metal sculptures; paintings; works on paper; manuscripts; astronomical instruments; and computer visualizations. The exhibition’s goal is to explore the variety of human attempts to explain the universe’s origins, mechanics, and meaning. Cosmologies is an aesthetically and intellectually ambitious exhibition that explores the history of multiple cosmologies around the globe from the Neolithic period to the present day, as they have developed across a wide range of regions and cultures, including Indigenous North and South America, Mesoamerica, Neolithic Europe, Mesopotamia, Greece, Rome, South and Southeast Asia, East Asia (China, Korea, and Japan), the Islamic Middle East, Europe, and the United States, ending with an exploration of the current and future state of cosmology. The exhibition explores the development of cosmologies not only as scientific (i.e., astronomical and observable) systems of understanding, but also as ontological systems of belief that provided models for human beings’ place and purpose in the cosmos.
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KAPLAN, W. "Art and Design in Europe and America 1800 1900 at the Victoria and Albert Museum". Journal of Design History 2, n. 4 (1 gennaio 1989): 315. http://dx.doi.org/10.1093/jdh/2.4.315.
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Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33". Prospects 27 (ottobre 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.
Testo completoAbstract (sommario):
During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.
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Jäger, Gottfried. "Concrete Photography: (In-Between) Light Image and Data Image". Leonardo 51, n. 2 (aprile 2018): 146–54. http://dx.doi.org/10.1162/leon_a_01350.
Testo completoAbstract (sommario):
The author discusses his works of concrete photography contributed to the Peter C. Ruppert Collection, Concrete Art in Europe after 1945, in the Museum im Kulturspeicher Würzburg. He discusses Concrete Photography as a form of nonrepresentational photography in which the medium itself moves away from its classical role of representing the external world to take on a strict self-referential role, in between both traditional light-images and images of the digital world.
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Martinez, Katharine. "The Research Libraries Group: new initiatives to improve access to art and architecture information". Art Libraries Journal 23, n. 1 (1998): 30–37. http://dx.doi.org/10.1017/s0307472200010798.
Testo completoAbstract (sommario):
This survey of the achievements of the Research Libraries Group (RLG) and its Art and Architecture Group shows the effectiveness of a collaborative approach in developing best practices and standards, and implementing new methodologies and technologies, to benefit the international art library and research communities. RLG members in Europe, North America and Australia include many of the major art research libraries. RLG offers services such as the RLIN bibliographic database and the MARCADIA retrospective conversion service in conjunction with projects documenting sales catalogue records (SCIPIO), preserving serials (the Art Serials Preservation Project) and facilitating the interloan of material between members. More recently the partnership between the RLG and the Getty Information Institute has made available an enormous range of art documentation work carried out by the Getty: standards and authority control work such as the Art & Architecture Thesaurus, the Union List of Artists’ Names and the Thesaurus of Geographic Names. In the 1980s the RLG conducted a survey identifying information needs in the humanities, which has led to resources such as the Bibliography of the History of Art becoming widely accessible, with the Provenance Index to follow shortly. This partnership is now active in the museum field, attempting to bridge the gap between the domains of secondary and primary materials in the field of art research. The REACH project (Record Export for Art and Cultural Heritage) is experimenting with the export of existing machine-readable data from heterogeneous museum collection systems, and testing the feasibility of designing a common interface for access which will complement RLG’s other resources.
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Ittu, Gudrun-Liane. "300 de ani de la nașterea baronului Samuel von Brukenthal (26 iulie 1721 - 9 aprilie 1803)". Studia Universitatis Babeș-Bolyai Historia Artium 66, n. 1 (30 dicembre 2021): 5–26. http://dx.doi.org/10.24193/subbhistart.2021.01.
Testo completoAbstract (sommario):
"Three Centuries Since Baron Samuel von Brukenthal was Born (26th of July 1721 - 9th of April 1803). Baron Samuel von Brukenthal was an outstanding personality, a man of great erudition and refined taste, whose political career culminated with the dignity of Governor of Transylvania, a dignity he held between 1777 and 1787. Brukenthal was the only Transylvanian Saxon who enjoyed this great honor. Living for many years abroad, he got acquainted with Viennese cultural patterns he tried to implement in his own country. As a Transylvanian representative of the Enlightenment, Brukenthal became famous through his major creation, the first museum in the South Eastern part of Europe opened in 1790 to connoisseurs and foreign travelers and in 1817 to the large public. His fine art collection comprised about 1100 paintings belonging to the major European art schools. Besides paintings he also had a rich collection of etchings in copper, a library consisting of about 16000 volumes, rare archeological objects, as well as a numismatic collection and one of minerals. But his sphere of interest was much wider, including a large scale of sciences, the educational system, the musical life of Sibiu, the art of gardening. Keywords: Brukenthal, baron, politician, governor of Transylvania, Enlightenment, museum, paintings, major European art schools, library, archeological objects, numismatics, minerals. "
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Sabev, Mitko. "Grayson Perry. Has Ceramic Art Achieved its Renaissance?" Visual Studies 6, n. 3 (13 dicembre 2022): 278–84. http://dx.doi.org/10.54664/piaf8576.
Testo completoAbstract (sommario):
In 2003, the prestigious Turner Prize for Contemporary Art of the Tate Britain Museum was awarded to the artist Grayson Perry for his painted ceramic vases. This award has been described by many institutions across Europe as a positive reappreciation of the ceramic material in the contemporary art world, and Grayson Perry has been seen as a precursor of the long-awaited ‘renaissance’ of ceramics. When compared to contemporary artworks executed in other materials, contemporary works using or entirely executed in ceramics show no thematic or expressive limitations conditioned by the specific qualities of the ceramic material. However, ceramics still has a very limited presence on the contemporary art stage. Historically layered cultural classification prejudices in society and the difficult specificity of the ceramic metalanguage are cited as the main reasons for the undervaluation of this material.
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Pederson, Claudia Costa. "The Museology of Computergames—An interview with the curator of the Computerspiele Museum, Andreas Lange, and art historian and archivist Dr. Winfried Bergmeyer, Berlin." Eludamos: Journal for Computer Game Culture 4, n. 1 (26 aprile 2010): 87–100. http://dx.doi.org/10.7557/23.6116.
Testo completoAbstract (sommario):
Germany may be the second largest market for videogames in Europe after Britain, but its recognition of the cultural impact of computer games is rather unique. The first videogame museum in the world, the Computerspiele museum in Berlin is thriving on the German state’s support of non-profit initiatives dedicated to develop digital media literacy. Since the museum’s founding in 1997, its activities have been steadily branching out from the initial goal of providing an educational venue focused on computer game culture. At its cramped office space in the Marchlewskistr. 27, the museum hosts Europe's largest collection of entertainment software and hardware. The archives also contain a collection of publications. Its exhibitions range in scope with of late a focus on exhibiting the work of artists using videogames as an artistic medium. The museum is also involved in research related to digital media archiving and preservation. My visit took place on the eve of the upcoming move to larger quarters that presume a permanent exhibition, a public library, and facilities for academic research.
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Skarupsky, Petra. "“The War Brought Us Close and the Peace Will Not Divide Us”: Exhibitions of Art from Czechoslovakia in Warsaw in the Late 1940s". Ikonotheka 26 (26 giugno 2017): 95–110. http://dx.doi.org/10.5604/01.3001.0010.1674.
Testo completoAbstract (sommario):
In his book Awangarda w cieniu Jałty (In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989), Piotr Piotrowski mentioned that Polish and Czechoslovakian artists were not working in mutual isolation and that they had opportunities to meet, for instance at the Arguments 1962 exhibition in Warsaw in 1962. The extent, nature and intensity of artistic contacts between Poland and Czechoslovakia during their coexistence within the Eastern bloc still remain valid research problems. The archives of the National Museum in Warsaw and the Zachęta – National Gallery of Art which I have investigated yield information on thirty-fi ve exhibitions of art produced in Czechoslovakia that took place in Warsaw in the period of the People’s Republic of Poland. The current essay focuses on exhibitions organised in the late 1940s. The issue of offi cial cultural cooperation between Poland and Czechoslovakia was regulated as early as in the fi rst years after the war. Institutions intended to promote the culture of one country in the other one and associations for international cooperation were established soon after. As early as in 1946, the National Museum in Warsaw hosted an exhibition entitled Czechoslovakia 1939–1945. In 1947 the same museum showed Contemporary Czechoslovakian Graphic Art. A few months after “Victorious February”, i.e. the coup d’état carried out by the Communists in Czechoslovakia in early 1948, the Young Czechoslovakian Art exhibition opened at the Young Artists and Scientists’ Club, a Warsaw gallery supervised by Marian Bogusz. It showed the works of leading artists of the post-war avant-garde, and their authors were invited to the vernissage. Nine artists participated in both exhibitions, i.e. at the National Museum and at the Young Artists and Scientists’ Club. A critical analysis of art produced in one country of the Eastern bloc as exhibited in another country of that bloc enables an art historian to outline a section of the complex history of artistic life. Archival research yields new valuable materials that make it impossible to reduce the narration to a simple opposition contrasting the avant-garde with offi cial institutions.
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Linko, Maaria E. "The Guggenheim Museum Helsinki Plan as a Media Debate". Museum and Society 18, n. 4 (30 ottobre 2020): 425–40. http://dx.doi.org/10.29311/mas.v18i4.3171.
Testo completoAbstract (sommario):
In connection with today’s competition between cities to portray an alluring image of economic and cultural success, the City of Helsinki and the Solomon R. Guggenheim Foundation put forward a plan to establish a Guggenheim museum in Helsinki, Finland. Following the plan’s release, a heated public debate emerged in the media. The present article analyzes this debate as a mediatized conflict and aims to show in what ways the debate on the Guggenheim report affected the decision-making process concerning the Helsinki Guggenheim museum. This debate is analyzed within the framework of current discussions on the culture-led development of cities, by applying a methodological tool inspired by Luc Boltanski’s and Laurent Thévenot’s theory of critical judgement to analyze the various justifications that the different actors used during the debate. Further, the article interprets why the museum plan was rejected in the first deliberation. It was found that the distance between different actors grew so wide that it could not be reconciled, especially with the effect of social media. Because the City did not encourage a discussion and communication with the art world was neglected at first, during the debate it proved impossible to convince the art world of the benefits a Guggenheim might bring to other art institutions or artists. Guggenheim Helsinki was planned for a small capital in northern Europe, and yet it is linked to current European politics affected by nationalistic ideology and the question of preserving local cultures in the face of a globally shared culture. The article ends with a discussion on what can be learned from the failure of the Guggenheim Helsinki.
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Vugar Aliyev, Elshad, e Mehbara Tahir Abbasova. "The “Sufi” Portrait in the Giovio Series". SCIENTIFIC WORK 15, n. 2 (9 marzo 2021): 16–18. http://dx.doi.org/10.36719/2663-4619/63/16-18.
Testo completoAbstract (sommario):
Founded in 1501, the Safavid state and the young leader of this state, Shah Ismail I, attracted the attention of European aristocratic dynasties, kings and religious leaders. Ambassadors, diplomats and merchants sent from Europe to Azerbaijan conveyed various information about Ismail to their homeland, and later these records and sources were published in books, albums and memoirs. Gradually, engravings and paintings depicting Ismail Safavid appeared in the European fine arts. Unfortunately, the descriptions of Shah Ismail I in the European visual arts have not been sufficiently studied. It is known that the portrait, taken as the standard of appearance of Ismail the First, was exhibited at the Paolo Giovio Museum in Como. The article examines the activities of Paolo Giovio, his famous museum and the portrait of "Sufi" in Giovio's collection. Key words: Shah Ismayil, Paolo Giovio, Italian art, portrait painting, Museum of Como, Safavid period
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Meyer, Caspar. "Ancient vases in modern vitrines: the sensory dynamics and social implications of museum display". Bulletin of the Institute of Classical Studies 63, n. 1 (1 giugno 2020): 91–109. http://dx.doi.org/10.1093/bics/qbaa009.
Testo completoAbstract (sommario):
Abstract This contribution explores the changing sensory priorities underpinning the display of Greek painted pottery in European collections. The focus is on the introduction of glass-fronted cabinets in the purpose-designed public museums of art and archaeology of the mid-nineteenth century. Contrary to expectations, the contemporaneous debates surrounding the use of gallery furniture show that the museum stakeholders were less worried about the safety of the objects than the prospect of middle- and working-class visitors being exposed to the sexualized imagery on Athenian pottery. A survey of the different traditions of display in Britain and continental Europe highlights the shift from the multisensory engagements in early modern elite collections with vases as evidence of ancient custom to the selective viewing of the objects’ painted decoration as works of art whose proper interpretation called for classical education.