Gotowe bibliografie tematyczne / Museum of Modern Art Syros

Gotowa bibliografia na temat „Museum of Modern Art Syros”

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Data publikacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Museum of Modern Art Syros"

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

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The following discussion begins with a study of a bronze bowl belonging to Monsieur George Ortiz, whose collection of ancient bronzes in Vandoeuvres/Geneva includes a large number of outstanding pieces of Near Eastern art. The bowl was recently acquired in the antiquities market and is said to come from modern Turkey. It is one of the finest and best preserved examples of a particular class of oriental metalwork in repoussé, the so-called Syro-Phoenician “bull-bowls”, which were most probably produced in the Levant in the early first millennium B.C. The main decoration of this class consists of concentric friezes of bovine animals in procession or similar sequence arranged around a central floral motif. The present paper will also examine a second, as yet unpublished, bowl kept in the British Museum.
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Zalman, Sandra. "Modern Art, Inc.: The Museum of Modern Art v. Huntington Hartford". Grey Room 53 (październik 2013): 32–59. http://dx.doi.org/10.1162/grey_a_00126.

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Lauter, Rolf. "The museum of modern art, Frankfurt". International Journal of Museum Management and Curatorship 5, nr 1 (marzec 1986): 27–31. http://dx.doi.org/10.1080/09647778609515002.

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Lauter, R. "The Museum of Modern Art, Frankfurt". Museum Management and Curatorship 5, nr 1 (marzec 1986): 27–38. http://dx.doi.org/10.1016/0260-4779(86)90006-3.

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Rasmussen, Briley. "Museum as Métier: Victor D'Amico and the Museum of Modern Art". Journal of Aesthetic Education 57, nr 4 (1.12.2023): 60–75. http://dx.doi.org/10.5406/15437809.57.4.04.

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Abstract Although Victor D'Amico's pedagogy and legacy are well known within the field of art education, discussions of his work often disregard the context in which he worked for over thirty years—The Museum of Modern Art. This essay examines D'Amico's key projects, considering how they were supported by and in collaboration with his museum colleagues. The result was a unique legacy steeped in a pedagogy of modern art and museum education. As a conclusion, this essay looks at the training of art educators and museum educators as requiring different kinds of foundational work and an acknowledgment of the importance of the museum as a context for art education.
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Eskilson, S. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema". Journal of American History 93, nr 1 (1.06.2006): 267–68. http://dx.doi.org/10.2307/4486181.

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Emerald, Serena, i Sinta Paramita. "Marketing Public Relations dalam Mempopulerkan Seni Modern dan Kontemporer di Museum". Prologia 8, nr 1 (18.03.2024): 160–69. http://dx.doi.org/10.24912/pr.v8i1.27575.

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The tourism industry is a growing economic sector worldwide. Art museums are one of the tourism attractions in Indonesia. Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) is the first museum in Indonesia to display a collection of modern art from Indonesia and around the world. Modern and contemporary art is still relatively new for the Indonesian public. This poses as a challenge for Museum MACAN to introduce itself and communicate modern and contemporary art to the public. As the industrial landscape evolves and competition becomes fiercer the fields of marketing and public relations are becoming more closely intertwined. Marketing Public Relations is the process of planning and evaluating programs by communicating information and creating a credible impression to attract attention and to connect an organization with the public. This research aims to discuss how Marketing Public Relations is implemented by Museum MACAN in popularizing modern and contemporary art. Through a qualitative approach with a case study method, the result shows that Museum MACAN applies Marketing Public Relations which includes push, pull, and pass strategies to popularize modern and contemporary art. Industri pariwisata merupakan sektor ekonomi yang terus berkembang di seluruh dunia. Museum seni merupakan salah satu daya tarik pariwisata di Indonesia, salah satunya adalah Museum of Modern and Contemporary Art in Nusantara (Museum MACAN). Museum MACAN merupakan museum pertama di Indonesia yang menampilkan koleksi seni rupa modern dari Indonesia dan internasional. Seni modern dan kontemporer masih tergolong sebagai hal yang baru bagi masyarakat Indonesia. Hal ini menjadi tantangan tersendiri bagi Museum MACAN untuk memperkenalkan dirinya dan mengkomunikasikan seni modern dan kontemporer ke masyarakat luas. Seiring dengan perkembangan industri dan persaingan yang semakin ketat, dunia pemasaran (marketing) dan hubungan masyarakat (public relations) memiliki keterkaitan yang semakin erat. Marketing Public Relations dipahami sebagai proses perencanaan dan pengevaluasian program dengan cara mengkomunikasikan informasi dan menciptakan kesan kredibel untuk menarik perhatian dan menghubungkan perusahaan dengan publik. Penelitian ini bertujuan untuk membahas bagaimana Marketing Public Relations yang diterapkan Museum MACAN dalam mempopulerkan seni modern dan kontemporer. Melalui pendekatan kualitatif dengan metode studi kasus, hasil penelitian menunjukkan Museum MACAN menerapkan Marketing Public Relations yang mencakup strategi push, pull, dan pass untuk mempopulerkan seni modern dan kontemporer.
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Selznick, Barbara. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)". Moving Image 6, nr 2 (2006): 136–38. http://dx.doi.org/10.1353/mov.2007.0015.

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

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

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Rozprawy doktorskie na temat "Museum of Modern Art Syros"

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Alamsjah, Winnie 1974. "Rethinking the modern : imagining the future of the Museum of Modern Art, New York". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62954.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.
Includes bibliographical references (p. 103-105).
The thesis seeks to explore the implications of the emergence of the digital media as a new art form on the museum space. The museum as an institution has faced some ideological and philosophical contradictions in recent times. Economically, heightened competition for dwindling funds has begun to shape programming decisions. Philosophically, the museum's perceived authoritarian role clashes with the critiques of cultural hegemony that are so much a part of the contemporary art world. Contemporary art forms that intentionally subvert the equation of art and object are often less compatible with traditional conceptions of museum space. And socially, museum expansion is often used as a tool for the gentrification of museum neighborhoods, a stratagem that cheers civic boosters and troubles social critics. All these point to a social, philosophical, political critique of the museum as an institution. The thesis does not attempt to resolve all the issues rooted in the current museum culture/structure. Rather, it seeks to study the various museums built historically and propose a new way of understanding the role of the museum in relation to the issues brought up by artists, social critics, historians alike. The exploration involves both spatial and material articulation. What could a museum be?
by Winnie Alamsjah.
M.Arch.
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Rasmussen, Briley. "Pedagogy for the modern : Victor D'Amico and the Museum of Modern Art, 1929-1969". Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/42851.

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This thesis explores the history of the educational mission and programs of the Museum of Modern Art, New York (MoMA) from 1929 to 1969, interrogating how education programs were critical to the museum’s presentation, definition, and dissemination of modern art in this period. It centers on the work of Victor D’Amico, the first director of education at MoMA, and follows the course of his tenure at MoMA from 1937 to his retirement in 1969. The first two chapters of this thesis address the philosophical roots of the museum and its education program. It begins with an examination of the progressive aspirations of the museum’s founders, as well as the pedagogical experiments of MoMA’s first director, Alfred H. Barr, Jr. It then introduces Victor D’Amico, exploring the progressive grounding of his work and the shifting notions of children and childhood that become the heart of his work at MoMA. Through the lens of specific programs the next three chapters investigate three different decades at the museum. Chapter Three focuses on the multiple exhibition Elements of Design and considers how the museum developed pedagogical tools to reach larger audiences for modern design. Chapter Four addresses the changing climate for MoMA and modern art following the Second World War and how the museum harnessed television as a critical medium to develop audiences for modern art and promote its place in a democracy. Finally, Chapter Five discusses how D’Amico’s Children’s Art Carnival was leveraged as a tool for cultural diplomacy in Europe and India during the Cold War. Through a focus on the educational philosophy and practices of the museum this thesis investigates the larger ambitions of MoMA to impact daily life. They believed an engagement with modern art and its ideas and practices could foster agency in people in the United States and abroad. Ultimately, this thesis charts a more expansive understanding of modernism and the role of museum education in the histories of art and museums.
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Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.

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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning media of modern art and television. This exploration will establish how the television project was an integral aspect of the MoMA's efforts since World War II to situate modern art as essential to the formation of an international polity shaped around the promise of universality, yet dependent on upholding the primacy of free and creative individuals. In addressing such a challenge, this dissertation will contend that television was not necessarily antithetical to modernism, rather it was just one among an array of struggling forces falling within the rubric of the modern. Moreover, this analysis will consider the importance of culture in logics of liberal governance. In order to elucidate the dimensions of cultural democracy as they emerged through the MoMA's television project, this study will be shaped around a discussion of three components crucial to the formation and maintenance of citizenly conduct---civic education, democratic cultural communications, and cross-cultural governance. To these ends, a range of sources from the disciplines of Communications, Cultural Studies and Critical Artistic Studies will be drawn on in order to investigate the provisional links forged between modern art, media pedagogy, and cultural citizenship in the Cold 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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Nicolescu, Gabriela. "Art, politics and the museum : tales of continuity and rupture in modern Romania". Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12491/.

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This thesis provides an exploration of moments of abrupt political change in modern Romania through an analysis of the multiple transformations that have occurred in the National Museum of the Romanian Peasant (NMRP). It traces the paradoxical process by which a museum, perceived as an ‘immutable institution’ not only reflected, but also became a stage for supporting the shift from monarchy to communism and the ensuing of the post-communist order. It reveals how the present-day NMRP is a mixture of institutions, fragments and deletions, a problematic assemblage of people and practices. This mix has resulted in the formation of conflicting and often contradictory views on representation: be they views of the peasant, the past, or the aesthetics of display. Such conflicts in turn exemplify tensions about Romanian identity and modernity more generally. The thesis is based on an analysis of a broad range of contemporary and archival material, such as photography relating to exhibitions and events, films, descriptions of museum displays, labels, and artefacts themselves. This analysis works in combination with ethnography and with reflection on the experience of curating a contemporary exhibition within the museum. In this exhibition, objects and words were used to explore the juxtaposition of concurrent views about the past and the co-existence of different pasts in the present. It is suggested that an understanding of how oppositions work together in the confined space of the museum enables clearer perceptions of social and political tensions within contemporary Romanian society.
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Johansson, Michael. "Bildhuggaren, soldaten, och modern : Ivar Johnssons ”Arbete och livsbejakelse” (1939)". Thesis, Linköpings universitet, Avdelningen för kulturvetenskaper, KVA, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-124698.

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Denna uppsats har berört Ivar Johnssons verk ”Arbete och Livsbejakelse” (1939) som finns placerad på fasaden av Östergötlands museum. Uppsatsens syfte är att beskriva verkets tillkomsthistoria samt undersöka dess relation till arbetartematiken och ideologi. Tillkomsthistorien har kunnat skrivas genom en redogörande genomgång av museibyggnadskommitteens protokoll samt samtida press. För undersökningen av verkets innehåll och motivbild har en analys gjorts med utgångspunkt från Erwin Panofskys och Jan- Gunnar Sjölins metoder. En diskussion görs efter analysen och resultatet visar att man kan se ideologiska tendenser i verket och att motiven kan ses följa arbetartematiken.
This essay has touched Ivar Johnson's works "Arbete och livsbejakelse" (1939) which are placed on the facade of Östergötlands museum. The purpose of this thesis is to describe the history about the origin of the artwork and examine its relationship to the working-class themes and ideology. The history about the origin of the artwork has been written by a narrative review of protocol, from the comittee of museum building and the contemporary press. For the survey of the work's content and motives image, an analysis has been made based on Erwin Panofsky and Jan-Gunnar Sjölins methods. A discussion is made after the analysis and the results show that one can see the ideological tendencies in the work and that the motives can be seen following the work themes.
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Gray, Campbell Bruce. "Recent design of the modern art museum in London : dissonance in theory and phenomenology". Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240406.

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Wright, Lesley. "Surviving in New York : an exploration of development at the Museum of Modern Art". ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/85.

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Uzumyemezoglu, Victoria Stephanie <1992&gt. "Istanbul Modern Museum: storia e analisi di un’istituzione museale moderna e contemporanea in Oriente". Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13043.

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Il presente lavoro espone una panoramica sull’arte moderna e contemporanea in Turchia e si occupa in particolare di analizzare l'attività dell'Istanbul Modern Museum, nato nel 2004, che è il primo museo di arte moderna e contemporanea della città; città che a sua volta è stata una metropoli caratterizzata da un prezioso patrimonio culturale e artistico. Il lavoro si apre analizzando il sistema dell’arte in Turchia, le correnti artistiche, la storia della stessa città di Istanbul e il suo contesto culturale. Viene presentato poi uno studio dettagliato sul Museo Moderno di Istanbul: la storia dell’istituzione museale, la fondazione Eczacıbaşı Holding Group, la mission e le attività didattiche del museo. Si approfondirà poi l’attività espositiva del museo focalizzandosi su cinque esposizioni temporanee come casi di studio: “Osservazione, Interpretazione, Molteplicità” del 2005; “Fikret Mualla”del 2005; “Venezia e Istanbul” del 2006; “Roger Ballen: Retrospective” del 2017 e “Artista e il Tempo” del 2017. Successivamente verrà presentato un paragone con l’attività didattica di un'istituzione museale simile in Italia: la Pinacoteca Giovanni e Marella Agnelli di Torino. Molte infatti sono le similitudini tra le due istituzioni museali, a cominciare dalla loro origine: entrambe nascono da collezioni private familiari diventate poi museo. L'analisi qui proposta riporta una ricostruzione storica della formazione delle collezioni private fino ad arrivare allo stato attuale di musei, analizzando gli elementi e le modalità attuali di gestione. A conclusione della tesi sono presentate delle valutazioni sul lavoro svolto dal Museo Moderno di Istanbul, determinando delle riflessioni sul suo operato e sul come si concretizza la loro offerta didattica al pubblico in confronto a quello della Pinacoteca Agnelli di Torino. Il lavoro è inoltre arricchito dalle interviste a Bedri Baykam, uno dei più noti artisti turchi a livello internazionale, e Yahşi Baraz, uno dei galleristi più importanti di Istanbul; e a Öykü Özsoy, uno dei curatori del Museo Moderno di Istanbul.
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Wasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.

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Książki na temat "Museum of Modern Art Syros"

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Wines, James. Museum of Modern Art, Frankfurt. London: Architectural Association, 1985.

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James, Wines, Muschamp Herbert, Architectural Association i SITE, red. Museum of Modern Art, Frankfurt. London: Architectural Association, 1985.

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editor, Airoumian Zara, i Igitʻian, Henrik, writer of foreword, red. Modern Art Museum of Armenia. Yerevan: Tigran Mets Publishing House, 2017.

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Henrik, Igitʻian, Airoumian Zara, Kʻochʻar Vahan, Khachaturov Vladimir i Ēmin Artashes, red. Modern Art Museum of Armenian. Yerevan: Tigran Mets Publishing House, 2012.

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Li︠u︡dvig, Muzeĭ. Muzeĭ Li︠u︡dviga v Russkom muzee =: Ludwig Museum in the Russian Museum = Museum Ludwig im Russischen Museum. [Saint-Petersburg]: Palace Editions, 1998.

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Sotheby's (Firm). Impressionist & modern art. New York: Sotheby's, 2003.

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1944-, Lane John R., i San Francisco Museum of Modern Art., red. The making of a modern museum: San Francisco Museum of Modern Art. San Francisco, Calif: San Francisco Museum of Modern Art, 1994.

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Banz, Stefan, i Luk Lambrecht. Museum III. Redaktor Cultuurcentrum Strombeek. Gent: MER. Paper Kunsthalle, 2018.

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Lowry, Glenn D. The new Museum of Modern Art. New York, NY: Museum of Modern Art, 2006.

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San Francisco Museum of Modern Art. San Francisco Museum of Modern Art. San Francisco: San Francisco Museum of Modern Art, 2000.

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Części książek na temat "Museum of Modern Art Syros"

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Brown, Michelle P. "The Modern Medieval Museum". W A Companion to Medieval Art, 957–76. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch39.

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Negri, Massimo. "Louisiana Museum of Modern Art". W Revisiting Museums of Influence, 33–36. Abingdon, Oxon ; New York : Routledge, [2021]: Routledge, 2020. http://dx.doi.org/10.4324/9781003003977-4.

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Hay, Bruce L. "Schoeps v. Museum of Modern Art". W Nazi-Looted Art and the Law, 227–37. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64967-2_11.

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Hay, Bruce L. "Grosz v. Museum of Modern Art". W Nazi-Looted Art and the Law, 159–82. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64967-2_8.

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MacLeod, Suzanne. "Louisiana Museum of Modern Art, Denmark, 1958". W Museums and Design for Creative Lives, 194–201. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429398698-23.

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Bewer, Francesca G. "Experiments in a Teaching Museum". W Histories of Conservation and Art History in Modern Europe, 127–42. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003127369-11.

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Klöpfer, Thorsten, i Oliver Kauselmann. "MOMAK — Museum of Modern Art Kabul http://www.momak.org". W Berichte des German Chapter of the ACM, 439–40. Wiesbaden: Vieweg+Teubner Verlag, 2003. http://dx.doi.org/10.1007/978-3-322-80058-9_56.

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Breuer, Marcel. "Whitney Museum of American Art (Currently Frick Madison), 1964–1966". W Great Windows in Modern Architecture, 192–201. London: Routledge, 2024. http://dx.doi.org/10.4324/9780429341977-18.

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Stanley, Nick. "Robert Goldwater and the Search for the Primitive: The Asmat Project at the Museum of Primitive Art". W A Companion to Modern Art, 91–107. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118639948.ch5.

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Nikonanou, Niki, Panagiotis A. Kanellopoulos, Elena Viseri i Elina Moraitopoulou. "Educational Commons in Art Museums". W Educational Commons, 151–72. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51837-9_9.

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AbstractThis chapter reports on four case studies that took place at four museums of the Metropolitan Organisation of Museums of Visual Arts (MOMus) in Thessaloniki, Greece, the Museum of Contemporary Art, the Experimental Center for the Arts, the Museum of Photography and the Museum of Modern Art-Costakis Collection. Different groups of young people participated in case studies that sought to bring together educational commons and collaborative artistic experimentation, leading to the co-creation of artistic projects. The chapter focuses on how commoning processes might contribute to the transformation of the museum towards an open-source institution through the cultivation of commoning practices in museum education. We also highlight the value of delving into forms of creative artistic engagement that induce unlearning traditional roles and questioning hierarchical power distribution.
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Streszczenia konferencji na temat "Museum of Modern Art Syros"

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Dobranszky, Diana de Abreu. "Beaumont Newhall e o Museum of Modern Art de Nova York". W Encontro da História da Arte. Universidade Estadual de Campinas, 2007. http://dx.doi.org/10.20396/eha.3.2007.3682.

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Widharini, Febrika, i Dorien Kartikawangi. "Integrated Marketing Communication at Museum MACAN: Modern and Contemporary Art in Nusantara". W The 2nd International Conference on Inclusive Business in the Changing World. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008433205200529.

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Quinn, Terence J. "Making the Absent Object Present: Towards a holographic museum of modern art (hMoMA)". W Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.29.

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Subroto, Dwina, i Arga Hananto. "The Influence of Experiential Quality, Excitement, Museum Image, and Experiential Satisfaction toward Revisit Intention (The Empirical Study at Modern and Contemporary Art Museum in Jakarta)". W Proceedings of the 2nd International Conference of Business, Accounting and Economics, ICBAE 2020, 5 - 6 August 2020, Purwokerto, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.5-8-2020.2301091.

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Bîzgu, Tatiana. "The art of traditional vests — recovery of treasure". W Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.29.

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Leather, fur and textile vests are part of the traditional costume of Transcarpathia and not only. This article presents the results of the analysis of vests from the collection of the National Museum of Ethnography and Natural History in Chisinau. The task was to analyze the materials, cut, decoration techniques of the studied exhibits. After a comparative analysis of this collection, was created a gallery with the most remarkable exhibits according to the studied parameters. The growing interest in traditional clothing among designers and artists contributes to the preservation and inclusion in modern images of various elements of traditional clothing, including vests. Studying the characteristics of the traditional vest is essential in order to pass on this treasure to future generations and use it as a rich source of inspiration for modern collections.
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Вертяшкина, Анастасия Валентиновна, i Андрей Анатольевич Ярцев. "MUSEUM COMPLEX “FRIEDLAND GATE”: HISTORY OF 20 YEARS OF MUSEUM IFICATION OF FORTIFICATIONS". W Международная научно-практическая конференция «Музеефикация фортификационных сооружений. проблемы и пути их решения». Crossref, 2023. http://dx.doi.org/10.54016/svitok.2023.22.91.001.

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Статья посвящена процессу музеефикации Фридландских ворот Кенигсбергской крепости. Задачей любой музеефикации является установление, раскрытие и сохранение исторической, научной, культурной, воспитательной, художественной, эстетической значимости объекта. За 20 лет прошедших с момента придания Фридландским воротам статуса музея было решено множество проблем. При этом в его состав были включены близлежащие крепостные постройки, что позволило увеличить объем экспозиционного пространства и рабочей территории. На сегодняшний день комплекс представляет ценность и как памятник фортификационного искусства и как пример реконструкции и приспособления к современным потребностям. Бывший некогда фортификационным объект стал служить мирным целям. The article is devoted to the process of museumification of the Friedland Gate of the Königsberg Fortress. The task of any museumification is to establish, disclose and preserve the historical, scientific, cultural, educational, artistic, aesthetic significance of the object. In the 20 years that have passed since the Friedland Gate was given the status of a museum, many problems have been solved. At the same time, nearby fortifications were included in its composition, which made it possible to increase the volume of the exposition space and working area. Today, the complex is of value both as a monument of fortification art and as an example of reconstruction and adaptation to modern needs. The once for- tified object began to serve peaceful purposes.
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Stăvilă, Tudor. "Scenographic art in interwar Bessarabia". W Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.01.

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Th e history of scenographic art in the Republic of Moldova coincides with the appearance of the National Th eater founded in Chisinau in 1921. Testimonies in this regard are the works of Bessarabian artists that are preserved in the collections of the National Museum of Art of Moldova. An impetus for the emergence of modern Bessarabian scenography was the Russian emigrant Georges Pojedaeff , who appeared in Chisinau in 1920 and befriended. Auguste Baillayre, who organized the personal exhibition of the scenographer at the School of Fine Arts on the borders of 1920-1921. Th anks to Auguste Baillayre, Th eodor Kiriacoff , Boris Nesvedov, Elena Barlo, Maria Starcevschi, Elisabeth Ivanovsky, Natalia Brăgalia and many others asserted themselves in this fi eld in Bessarabia, contributing to the establishment of modern Romanian scenography. Th e works kept in the museum’s collections demonstrate the painters’ attraction through the originality of the treatment and the tendencies of European art, included in the circuit of the well-known Russian Ballet tours organized in Paris by Serj Deagilev between 1905-1912. At the same time, we specify that the numerous works with which the Bessarabian exhibitors participated in the local Bucharest salons were lost during the last World War, being known the fate of the collection of the future Municipal Art Gallery, founded in Chisinau in November 1939.
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Ramadan, Lina Nabih. "The Role of Women Artists in Qatar and the Representation of their Work in Mathaf: Arab Museum of Modern Art". W Qatar Foundation Annual Research Conference Proceedings. Hamad bin Khalifa University Press (HBKU Press), 2016. http://dx.doi.org/10.5339/qfarc.2016.sshasp2487.

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Zagryadskaya, A. "THE FORMATION OF THE MUSEUM AS A RESULT OF CHANGES IN AESTHETIC CONSCIOUSNESS (FROM RENAISSANCE TO NEW TIME)". W Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2558.978-5-317-06726-7/113-117.

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The creation of the museum institutions and the drift of art from private life into a specialized exhibition space are analysed. The changes of views on the nature of the aesthetic from the Renaissance to Early modern period and their connection with the emergence of art institutions are considered. The interpretation of the concept of G.-H. Gadamer on the role of the spectator in art is given in the context of aesthetic experience.
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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community". W The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Raporty organizacyjne na temat "Museum of Modern Art Syros"

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Design in 20th Century Barcelona: From Gaudí to the Olympic Games. Inter-American Development Bank, luty 1997. http://dx.doi.org/10.18235/0006404.

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Fifty objects, from original bronzes and maquettes by Antoni Gaudí, to modern furniture and appliances, and Cobi, Javier Mariscal's design adopted for the mascot of the Olympic Games in 1992. The exhibit was developed with Barcelona architects Juli Capella and Quim Larrea, and presented in honor of the 38th Annual Meeting of the IDB Board of Governors held in March, 1997 in Barcelona. Most of the important 20th century Catalonian designers were represented, including Monegal, Sert, Bonet, Ricard, Tusquets, Lluscà, and Tresserra. Works were loaned from the Gaudí Museum at the Temple of the Holy Family, the Museum of Decorative Arts; the Museum of Arts, Industries and Popular Traditions; the National Museum of Catalonian Art, the Catalonian College of Architects, and the private collection of Juli Capella.
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