Gotowe bibliografie tematyczne / Culture in art – Exhibitions

Gotowa bibliografia na temat „Culture in art – Exhibitions”

Autor: Grafiati
Data publikacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Culture in art – Exhibitions"

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Helmreich, Anne. "Victorian Exhibition Culture: The Market Then and the Museum Today1". Articles, nr 55 (20.04.2010): 0. http://dx.doi.org/10.7202/039556ar.

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Abstract This essay examines the dialectical relationship between the formation of the commercial art market in London over the course of the second half of the nineteenth century and the representation of Victorian art in museum displays of recent decades. With respect to the latter, the essay provides an overview of recent monographic and group exhibitions devoted to Victorian art. It reveals, through the examination of the twinned phenomena of the commercial art market and museological practice, the central role played by exhibition culture in our understanding of Victorian art. It closes by posing questions as to how we might improve our interpretation of Victorian art and culture as presented through museum exhibitions and displays.
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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach i Olga Zulabueva. "Exhibitions". Museum Worlds 6, nr 1 (1.07.2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm
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Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective". Communications in Humanities Research 9, nr 1 (31.10.2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.

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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.
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Andreeva, E. Yu. "Soviet Art at Art Exhibitions and Expositions of Russian Museums and Galleries in the 1990s-2020s". Art & Culture Studies, nr 4 (grudzień 2023): 390–421. http://dx.doi.org/10.51678/2226-0072-2023-4-390-421.

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The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginalized layers of artistic culture into scientific circulation and the public sphere. In relation to this work, these are research exhibitions of the Russian-Soviet avant-garde and artistic movements of the 1920s-1930s and non-conformism of the 1940s-1980s. The goals of attraction exhibitions (the proposed term is based on S. Eisenstein’s well-known method of “the montage of attractions”) are associated with the creation of an entertaining visual environment that affects the viewer, offering them ways of understanding the Soviet past ideologized in the Soviet style. The purpose of the article is also to show how the cultural policy of temporary exhibitions affects the re-expositions of the State Russian Museum and the State Tretyakov Gallery, that is, the formation of certain patterns or scenarios for the presentation of the art of the Soviet past.
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Waterfield, Giles. "A culture of exhibitions: the Manchester Art-Treasures Exhibition in context". Bulletin of the John Rylands Library 87, nr 2 (wrzesień 2005): 21–36. http://dx.doi.org/10.7227/bjrl.87.2.3.

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T., Tishkina, i Tishkina K. "EXHIBITIONS IN BARNAUL DEDICATED TO THE 100TH ANNIVERSARY OF THE FORMATION OF THE UNION OF SOVIET SOCIALIST REPUBLICS". Preservation and study of the cultural heritage of the Altai Territory 29 (2023): 342–50. http://dx.doi.org/10.14258/2411-1503.2023.29.52.

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The Union of Soviet Socialist Republics existed from December 30, 1922 to December 26, 1991. During this period of time, significant successes were achieved in industry, agriculture, science and culture, and a victory was won over the Fascist conquerors was won in 1945. To the 100th anniversary of the formation of the USSR in Barnaul, there were exhibitions: “Soviet Porcelain” and “The Country of the Soviets” (the State Art Museum of the Altai Territory); “The USSR in the Mirror of Art” (exhibition hall of “Museum “City”); “Art that has become History” (“Shchetinins Art Gallery”); “Greetings from the USSR” (Altai State Museum of Local Lore). The exhibitions displayed photos, works of fine and decorative art, and items of material culture created in the 1920s-1980s. The purpose of the exhibitions is to expand visitors’ knowledge of the history of Russia, form a positive image of the USSR in the minds of the younger generation and improve the patriotic mood of the citizens.
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Yu, Shiyang. "The Research on the Characteristics and Forms of Immersive Experience in Art Exhibitions—Take “Van Gogh—the Immersive Experience” as an Example". Journal of Education, Humanities and Social Sciences 6 (31.12.2022): 154–59. http://dx.doi.org/10.54097/ehss.v6i.4417.

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Immersive experience is a new type of interaction that integrates culture and technology, and it shows great promise for application by combining with multi-panel content. With the continuous development of virtual technology, immersive experience is also applied to art exhibitions and obtains surprising effects. People are not satisfied with the original way of art appreciation, and the increase of aesthetic demand also requires more diversified ways of exhibition, which has led to the prevalence of immersive exhibitions. In recent years, there have been few attempts at immersive art exhibitions, and the organizers have succeeded in creating very creative presentations. This paper takes “Van Gogh’s Secret World” as an objective, and the result shows the features of the immersive experience, include the concept and history of immersive experiences, and the expressions and characteristics of immersive experience in art exhibitions, hope can help people look into the future of the interactive art.
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Flores-Marcial, Xóchitl M. "Getting Community Engagement Right". Latin American and Latinx Visual Culture 3, nr 1 (1.01.2021): 98–108. http://dx.doi.org/10.1525/lavc.2021.3.1.98.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Vargas-Santiago, Luis. "Emiliano". Latin American and Latinx Visual Culture 3, nr 1 (1.01.2021): 109–19. http://dx.doi.org/10.1525/lavc.2021.3.1.109.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Ortiz-Torres, Rubén. "Mexicos and Americas". Latin American and Latinx Visual Culture 3, nr 1 (1.01.2021): 70–79. http://dx.doi.org/10.1525/lavc.2021.3.1.70.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Rozprawy doktorskie na temat "Culture in art – Exhibitions"

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Morrison, Ann Katherine 1929. "Canadian art and cultural appropriation : Emily Carr and the 1927 exhibition of Canadian West Coast Art - Native and Modern". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31244.

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In December 1927, Emily Carr's paintings were shown for the first time in central Canada in an exhibition called Canadian West Coast Art - Native and Modern. This event was held at the National Gallery of Canada in Ottawa, and marked a major turning point in Carr's career, for it brought her acceptance by the intellectual and artistic elite with their powerful networks of influence, as well as national acclaim in the public press. To this point, art historical writings have tended to focus on the artist and her own experiences, and in the process, the importance of this experimental exhibition in which her work was included has been overlooked and marginalized. This thesis attempts to redress this imbalance by examining the exhibition in detail: first, to analyze the complexities of its ideological premises and the cultural implications of juxtaposing, for the first time in Canada, aboriginal and non-native artistic production within an art gallery setting; second, to consider the roles played by the two curators, Eric Brown, Director of the National Gallery, and C. Marius Barbeau, chief ethnologist at the National Museum; and third, to indicate the ways in which Emily Carr's works and those of the other non-native artists functioned within the exhibition. During the 1920s, both the National Gallery and the National Museum were caught up in the competitive dynamic of asserting their leadership positions in the cause of Canadian nationalism and the development of a national cultural identity. In this 1927 exhibition, these issues of nationalism, self-definition and the development of a distinctly "Canadian" art permeated its organization and presentation. The appropriated aboriginal cultural material in the museum collections that had languished within storage cases was to be given a contemporary function. It was to be redeemed as "art," specifically as a "primitive" stage in the teleological development of the constructed field of "Canadian" art history. In this elision process, the curators relegated the native culture to a prehistoric and early historic past, suppressing its own parallel historical and cultural development. The exhibition also presented the native objects as an available source of decorative design motifs to be exploited by non-native artists, designers and industrial firms in their production of Canadian products, underlining the assumption of the right to control and manipulate the culture of the colonized "Other." Emily Carr"s twenty-six paintings, four hooked rugs and decorated pottery represented the largest contribution from any single artist. In their interpretations of the native culture, Carr and the other non-native artists were also engaged in a "self-other" definition, and had filtered their perceptions through the practices and conventions of western art traditions, especially in the use of modernist techniques. In the context of the exhibition, the artistic production by the fourteen non-native artists, including Carr, was caught up in a reaffirmation of the ideological and cultural positions of the two curators and the institutions they represented. The alternate discourses that could have been provided by the native people remained unheard.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Harkett, Daniel. "Exhibition culture in Restoration Paris". View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

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Thesis (Ph.D.)--Brown University, 2005.
Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
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Sutherland, Ann. "Art exhibitions in the national interest: Australian cultural diplomacy, 1918 to 1941". Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.

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Australia’s relationship with the rest of the world was particularly complex in the two decades of acute economic, political, and social crises between World War One and Two. This thesis argues that Australia employed visual arts exhibitions in the national interest within its foreign policy stance to amplify and recruit allies for its response to this complexity and that it did so to both international and domestic audiences. Six visual arts exhibitions between 1918 and 1941 have been selected to illustrate this transactional Australian cultural diplomacy within the decline of the European empires, the establishment of the League of Nations in 1920 and the rise of American power after 1930. The thesis opens with the nation a member of the British War Office in 1918 and ends with Australia a member of the Pacific War Council which formed in Washington DC in 1942. While post-WWII initiatives in cultural diplomacy have been studied, their antecedents have been rarely noted in either the literature on Australian diplomacy, or within the history of Australian art and its exhibition. This thesis seeks to address this oversight, necessarily doing so from a broad multidisciplinary perspective. The profiled exhibitions are detailed as to their origins and content within their historical backdrop, the politics and the people involved. The thesis argues that visual arts exhibitions established a distinguishing aspect of national projection in the interwar period, one which remains embedded in policy and the public cultural programs of government and the national, state, and regional art galleries. I draw three principal findings from the presented research. The exhibitions discussed enrich our knowledge of the various ways the nation managed its strategic interests as an internationally aligned nation after 1918. Secondly, it addresses a gap which will continue while the many public actors captured by cultural diplomacy - the participants, their objectives and location, institutional arrangements, and foreign and strategic policy – are investigated in isolation from each other. Finally, my hope is that this thesis will make an original contribution to an understanding of the role of exhibitions within the modernisation and the cosmopolitanising of the nation, including the important contribution of artists and arts institutions, business, and public administrators to those exhibitions in the inter-war period.
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.

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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Bernardi, Donatella. "Arts festival as a global cultural product". Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/41785.

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In this thesis, I address ephemeras - namely temporary displays in the form of festivals and exhibitions belonging to the field of contemporary art. The most appropriate criterion with which to select and discuss the ephemera, i.e., the data in which I analyse in this thesis, is the notion of the 'event'. 'Event' is a philosophical concept, and therefore does not belong to artistic or aesthetic categories. However, two main characteristics are particularly relevant in considering it, and these are also pertinent to the field of art. Firstly, the tandem contingency and necessity. Secondly, the fact that no one can control the reach and impact of an event, which is also the case with an artwork and its interpretation. In this thesis, I am creating a confrontation between what is usually described as abstract thought (a work of philosophy for example) and the production of contemporary art, which is so often culturally and economically dependent on the art market and hegemonic power structures such as institutions, as well as the apparatus of historians and experts to evaluate and legitimise it. Furthermore, it is also necessary to state my understanding of art. This latter has strong propinquities with that defined by Kant when he coined the term 'fine art', namely a cultivated, context-aware and sensitive art, one's reflection on which provides pleasure exceeding the pure enjoyment or satisfaction produced by erudition or technical virtuosity. Secondly, the artistic manifestations that I discuss are always produced by a collective, group or organisation of which I am part. Consequently, what unfolds is an organisational discourse originating in my praxis of art. Finally, the very fact that I am a member of the group of people whose activities are discussed leads logically to autoethnography, a field of inquiry that I am also contributing to.
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Sin, Song-Chiew James. "Arts, culture and museum development in Singapore". Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/240.

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This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine art
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Sin, Song-Chiew James. "Arts, culture and museum development in Singapore /". View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030901.095617/index.html.

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Christiansen, Lauren. "Redefining exhibition in the digital age /". This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.

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Rodriguez, Kathryn Lorraine. "Henry Meloy the portraits : a narrative of the exhibition /". The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05202008-125608/.

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The Montana Museum of Art & Culture (MMAC) exhibited the portraiture of Montana modernist painter Henry Meloy in July and August of 2007. As curatorial intern, I assisted in the mounting of this exhibition and researched the biography of and portraits created by Meloy. The professional paper describes the process of mounting the show from the acquisition of the permanent loan of the Meloy collection by the MMAC through exhibiting and and shipping the work. This description is supplemented with biographical information and critical assessment of the portraits, which show stylistic developments in visual arts in the United States between 1920 and 1950.
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Sin, Song-Chiew James, University of Western Sydney i of Performance Fine Arts and Design Faculty. "Arts, culture and museum development in Singapore". THESIS_FPFAD_XXX_SinSongChiew_ J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/240.

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This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine art
Master of Arts (Hons)
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Książki na temat "Culture in art – Exhibitions"

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Donna, Harkavy, Posner Helaine, University of Massachusetts at Amherst. University Gallery., Bowdoin College. Museum of Art. i Samuel P. Harn Museum of Art., red. The culture of violence: Exhibition. Amherst, Mass: University Gallery, University of Massachusetts Amherst, 2002.

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O'Neill, Paul. The culture of curating and the curating of culture(s). Cambridge, MA: MIT Press, 2012.

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Stebich, Ute. A Haitian celebration: Art and culture. Milwaukee, Wis: Milwaukee Art Museum, 1992.

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Rosenkranz, Pamela. Alien culture. Milan-Italy: Mousse Publishing, 2020.

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Graham, Evans, i Stoke-on-Trent (England). City Museum and Art Gallery., red. Palaces of culture: The great museum exhibition. [Stoke on Trent]: Stoke on Trent City Museum & Art Gallery, 1987.

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Thorp, Robert L. Chinese art and culture. New York: Abrams, 2000.

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M, Davidson Janet, Starzecka D. C i British Museum, red. Maori: Art and culture. Wyd. 2. London: Published for the Trustees of the British Museum by British Museum Press, 1998.

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Anne & Julien. Hey ! Modern art and Pop culture, Act III, 2015-2016. Roubaix: Ankama Editions, 2015.

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Bengal Gallery of Fine Arts (Dhaka, Bangladesh), European Commission i Bangladesh Embassy (Belgium), red. Contemporary Bangladesh: Art from the vibrant culture. Dhaka: Bengal Gallery of Fine Arts, 2008.

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Anđelko, Badurina, Marković Vladimir i Biblioteca apostolica vaticana, red. The Croats: Christianity, culture, art. Zagreb [Croatia]: Gallery Klovićevi dvori, 1999.

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Części książek na temat "Culture in art – Exhibitions"

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

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

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Li, Wenhua, i Xiaojie Huang. "A New Way to Experience Art: Experience Design and Strategies for Immersive Exhibitions". W Culture and Computing, 136–49. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-34732-0_10.

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Gamble, Antje. "Italian-Americans as Stakeholders in an American Exhibition of Western Culture". W Cold War American Exhibitions of Italian Art and Design, 38–60. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003265900-3.

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Grabar, Oleg. "An Exhibition of High Ottoman Art*". W Islamic Visual Culture, 1100-1800, 327–43. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003554882-20.

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Gamble, Antje. "Ceramic Sculpture's Special Role in Validating Italian Humanist Culture for an American Audience". W Cold War American Exhibitions of Italian Art and Design, 61–82. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003265900-4.

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Baldacci, Cristina. "Re-Presenting Art History". W Cultural Inquiry, 173–82. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_18.

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Can reenactment both as reactivation of images and restaging of exhibitions be considered an alternative way of tackling the critical task to re-present art history (i.e., to present it anew) in the here and now, over and over and over again? The gesture of restoring visibility to something no longer present, reactivating or reembodying it as an object/image in and for the present, is here proposed as a (political) act of restitution and historical recontextualization. Examining the boundaries between past and present, original and copy (as well as originality and copyright), repetition and variation, authenticity and auraticity, presence and absence, canon and appropriation, durée and transience, the paper focuses on remediation, reinterpretation, and reconstruction as creative gestures and cultural promises in contemporary art practice, curatorship, and museology.
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Elliott, Luba. "Discovering Culture with AI". W Edition Museum, 181–86. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-016.

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The past few years have seen a rapid development in AI capabilities and applications, including in the fields of art and culture. Machine learning tools now find a varie- ty of uses in cultural institutions, such as improving accessibility, aiding research, and providing new forms of audience engagement by means of roaming robots, dee- pfake installations, chatbots, and interactive image processing applications. Muse- ums simultaneously serve as venues for AI art exhibitions and discussions of tech- nology ethics. This paper provides an overview of creative AI practices of cultural institutions, showcases artistic exploration with AI, and considers tools for public
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Lomas, Andy. "Morphogenetic Creations: Exhibiting and Collecting Digital Art". W Museums and Digital Culture, 353–65. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_17.

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Kontou, Tatiana, Victoria Mills i Kate Nichols. "International Exhibition 1862: Official Catalogue of the Fine Art Department". W Victorian Material Culture, 354. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-109.

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Streszczenia konferencji na temat "Culture in art – Exhibitions"

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Ploşniţă, Elena. "Folk art gallery — an eff ective means of promoting traditional culture". W Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.12.

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Traditional culture is an important element of the Romanian identity. Th ere are dozens of concepts and defi nitions for traditional culture; even any culture can be considered traditional. No matter how we defi ne it, one thing is certain: in the era of globalization, it must be protected, because traditional culture, with its inherent changes, continues to exist, and society is called upon to promote it. In this article, the author touches upon the issue of promoting traditional art by organizing folk art galleries in the form of sales exhibitions. Art galleries are a modern solution for promoting the values of folk art, and their creation would solve several problems: — make a signifi cant contribution to the development of traditional culture through an exhibition approach; — promote authentic traditional culture in the country and abroad; — solve a number of problems related to the sale of traditional art works of folk craft smen; — facilitate the process of studying and learning about traditional culture through organizing some workshops and seminars within them.
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Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.

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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
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Song, Suwan. "Discussions about Web Celebrities Frequenting Art Exhibitions". W 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.006.

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Chun Wai, Wilson Yeung, i Estefanía Salas Llopis. "THE SPACE BETWEEN US". W INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
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Lee, Chia-Fen, i Min-Yuan Ma. "Research on the attractiveness factors of international exhibition cultural products: a case study of art museum in Taiwan". W 9th International Conference on Kansei Engineering and Emotion Research (KEER2022). Kansei Engineering and Emotion Research (KEER), 2022. http://dx.doi.org/10.5821/conference-9788419184849.62.

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In recent years, due to the active development of cultural and creative industries in Taiwan, cultural elements in exhibitions are often used in product design. Generally speaking, cultural and creative design elements exist in ordinary life and can be found in specific life. Although Tainan Art Museum in Taiwan aims to promote local art, it introduces a special exhibition of Japanese contemporary artist Yoshitomo Nara for the purpose of promoting modern art. Taking this special exhibition as a case, this research aims to analyze the attractiveness of the commodities in transnational exhibitions and discuss the essential spirit of the intercultural commodities. The research results put forward four attractiveness, that are practical feeling, satisfied feeling, mysterious feeling and unique feeling, for the formation of museum cultural commodities, can be used as a reference for the future product development and selection of art museums.
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Mihaylov, Pelo. "TOURIST RESOURCES FOR BUSINESS TOURISM IN SOFIA AND PLOVDIV". W TOURISM AND CONNECTIVITY 2020. University publishing house "Science and Economics", University of Economics - Varna, 2020. http://dx.doi.org/10.36997/tc2020.172.

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The article presents the resources for business tourism in Sofiya and Plovdiv. These events are described in the "Catalogue of fairs and exhibitions in Bulgaria". In Sofia, such events are held at the Inter Expo Center, the Central Department Store, the National Palace of Culture, the Universiade Hall and Sofia Tech Park, while in Plovdiv they are organized only at the International Fair. The article uses the terms exhibition day, when a fair or exhibition is held and calendar day when one or more exhibitions are held in the city. Intensity interval is the ratio between the exhibition days and the calendar days by rounding to the second decimal place and it can be explained as the number of exhibitions that residents (visitors, tourists) of (in) a city can visit in one day.
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Muthoharo, Shoqifatul. "Disability Art at the Exhibition “Seni Raba Menggambar Suara”". W The Kyoto Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2436-0503.2023.42.

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Karaseva, A. R. "Contemporary Digital Projects in the Victorian Studies Art Exhibition Culture)". W X ИНФОРМАЦИОННАЯ ШКОЛА МОЛОДОГО УЧЕНОГО Екатеринбург, 19-22сентября 2022 г. Екатеринбург: ООО "Издательство УМЦ УПИ", 2022. http://dx.doi.org/10.32460/ishmu-2022-10-0017.

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Platonova, Maria A. "Art gallery in the scientific library providing cultural and recreation activities". W Twenty Fifth International Conference and Exhibition «LIBCOM-2021». Russian National Public Library for Science and Technology, 2022. http://dx.doi.org/10.33186/978-5-85638-247-0-2022-47-49.

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The cultural and recreation activities in the scientific libraries enable to build new functional spaces and widen their possibilities. By organizing art exhibitions (picture galleries), the libraries offer users to enjoy beauty and introduce them to cultural values. The author provides examples of art spaces in regional science libraries and describes the art gallery at RNPLS&T.
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Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.

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Background: As material culture improves, people's need for spiritual culture becomes more and more urgent. Art exhibitions are an important way for the public to participate and absorb cultural and spiritual nutrients, and the interactive installation works in the exhibition are a favorable form of creation that can bring the audience closer to the works. However, the diversity of audiences and the varying degrees of professional inculcation have led to some audiences being turned away. This situation extent an obstacle to the dissemination and development of the arts.Aims: The interactive installation removes the distance between the audience and the artworks, enhances the interactivity and experience between the audience and the artworks, and diversifies the exhibition format and enriches the visual language.Method:Through the variety of exhibition displays, new forms of artistic expression are discussed. Specifically, the phenomenon of audiovisual association and the correlation characteristics that exist between audiovisual factors are studied, key influencing factors are extracted and applied to the creation of interactive installation artworks, opening up the way of perception for the audience to recognize the works through multiple channels.Consequence:Through the creation of the experimental works, it was found that there is a cross-correlation between the sound and the visual presentation in the interactive installation; secondly, the audience is transformed from a single spectator to a participant. Compared to static installations or sculptures, interactive installations with audio-visual associations have unparalleled advantages in terms of creative dimension and cognitive engagement with the work.Keywords: audiovisual synesthesia、 interactive artwork、 sound consciousness、experience、exhibition
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Raporty organizacyjne na temat "Culture in art – Exhibitions"

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Moreno Mejía, Luis Alberto, i Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, luty 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, marzec 2013. http://dx.doi.org/10.18235/0006015.

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

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Sequeira, Dora María, Ileana Alvarado V. i Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, sierpień 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Удріс, Ірина Миколаївна, i Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.

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The purpose of the article is to determine the artistic and graphic peculiarities of the Franco-Belgian exhibition poster of the 1890s in the context of the formation of the Art Nouveau style. The research methodology of the work is based on the use of traditional art methods: historical and cultural, reconstructive and model, historical and attributive, which contributed to the revealing of artistic and graphic transformations in the field of Franco-Belgian spectacular poster. The scientific novelty of the article lies in the author’s artistic interpretation of the stylistic manner of the creators of the spectacular poster in “style floreale” as one of the leading directions of the development of the artistic style of that period. The distinctive features of this type of the artistic work are outlined on the basis of the review of the stylistic and image transformations of exhibition posters of the famous artists – J. Chéret, A. Toulouse-Lautrec, E. Grasset, A. Mucha, A. Privat-Livemont and others. Attention is focused on the identification of the presentation features of the advertised exhibition events as an important cultural events of that time. Means of artistic visualization of information are studied taking into consideration the specific nature of the poster. Conclusions. In the general cultural and historical context of that time, the poster has become a significant component of the formation of national trends in the artistic style of the day, in particular - the Franco-Belgian Art Nouveau style. The exhibition poster, reflecting the stylistic landmarks of the time, contributed to the formation of the artistic vision as a manifestation of the cultural and artistic landmarks of the studied period.
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Plessi, Fabrizio, Celestino Soddu i Adriano Abbado. digitalyart: An exhibition honoring Italy, Host of the 44th Annual Meeting of the Board of Governors of the Inter-American Development Bank. Inter-American Development Bank, luty 2003. http://dx.doi.org/10.18235/0005909.

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An exhibition of technological art from Italy, featuring the seminal piece ROMA II by Venetian contemporary master Fabrizio Plessi, with digitally designed architectural projects by Celestino Soddu, and interactive images by Adriano Abbado. Held in honor of Italy and the City of Milan, host of the 44th Annual Meeting of the IDB Board of Governors, the show was organized by the IDB Cultural Center with support from the IDB Information and Communication Technology for Development Division, and cooperation from the Istituto Italiano di Cultura of Washington, D.C.
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Huezo Mixco, Miguel. El Salvador and the Construction of Cultural Identity. Inter-American Development Bank, październik 1999. http://dx.doi.org/10.18235/0007937.

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Angel, Félix, i Cristina Rossi. Latin American Artists of Italian Descent. Inter-American Development Bank, sierpień 2011. http://dx.doi.org/10.18235/0006441.

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This catalogue belongs to the exhibit that celebrates the 150th Anniversary of Italy's Unification. The exhibition includes a selection of art works by Latin American artists of Italian descent that constitutes a symbolic yet significant exploration of the Italian cultural presence and its influence in Latin America. Among the artists included are: Héctor Borla, Sergio Camporeale, Ricardo Crivelli, Eduardo Medici, Emilio Pettoruti, and Rogelio Polesello (Argentina), Lyria Palombini (Brazil), Roberto Sebastián Matta (Chile), Umberto Giangrandi (Colombia), Francisco Amighetti (Costa Rica), Javier Bassi, Miguel A. Battegazzore, José Belloni, Enrique Broglia, Pedro Figari, Antonio Frasconi, Diego Masi and Carlos María Tonelli (Uruguay). The catalogue comprises an essay on the interaction of experiences between Italy and Latin America by Professor Cristina Rossi. The text can be found in English, Spanish and Italian.
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, marzec 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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