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Artykuły w czasopismach na temat "National Exhibition of the Arts"
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Garg, Ruchi. "THEME DISPLAY IN NATIONAL ART EXHIBITION". ShodhKosh: Journal of Visual and Performing Arts 2, nr 1 (11.04.2021): 13–20. http://dx.doi.org/10.29121/shodhkosh.v2.i1.2021.23.
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English : The Lalit Kala Academy established for the purpose of greater publicity of visual arts across the country, has been organising the National Art Exhibition since its inception. This prestigious exhibition brings together the best selected works of visual arts under one roof and that of art reflect the the latest trends. These exhibition are a showcase of the achievements of artist working in the field of painting of ceremic sculpture graphic or photographic painting in the country. The Academy has organised 61 National Art Exhibition so far. These exhibitions represents the vivid and representative specimens of the latest trends in contemporary art.
I am presenting some evidence related to the painting related to the National Art Exhibition from 1990 to 2000 A.D.
Hindi : पूरे देश में दृश्य कला के वृहत् प्रचार.प्रसार के उद्देश्य को लेकर स्थापित ललित कला अकादमी आरंभ से ही राष्ट्रीय कला प्रदर्शनी का आयोजन करती आ रही है।यह प्रतिष्ठित प्रदर्शनी विभिन्न कला के श्रेष्ठ चयनित कार्यों को एक छत के नीचे लाती है और कला की नवीनतम प्रवृत्तियों को प्रतिबिंबित करती है। यह प्रदर्शनियाँ देश में पेंटिंग सिरेमिक मूर्ति शिल्प ग्राफिक अथवा छायाचित्र के क्षेत्र में कार्यरत कलाकारों की उपलब्धियों की प्रदर्शन मंजूषा है। यह अकादेमी अब तक 61 राष्ट्रीय कला प्रदर्शनी का आयोजन कर चुकी है। यह प्रदर्शनियाँ समकालीन कला की नवीनतम प्रवृत्तियों के व्रहत् और प्रतिनिधि नमूनों को दर्शाती है।
आज मैं 1990 से लेकर 2000 ई॰ तक की राष्ट्रीय कला प्रदर्शनी से संबंधित चित्रों के विषय में कुछ साक्ष्य प्रस्तुत कर रही हूँ।
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Stillwell, Joana. "Art Museum Exhibitions in the Library". International Journal of Librarianship 9, nr 2 (20.06.2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.
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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.
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Işıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat". Global Journal of Arts Education 6, nr 1 (30.05.2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.
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The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its beginning. ODTÜSanat is organized annually by ODTÜ in Ankara, Turkey as an art event. It brings together different areas of art including fine arts, music, theatre, and cinema and lasts for a month. The event started in 1999 as National Fine Arts Exhibition with the aim of exhibiting works of artists representing different senses of art in a 1200 m2 space. As its scope expanded, its name evolved into Art Festival in 2007 and ODTÜSanat in 2013. In this article, based on the sixteen-year professional experience in organizing the ODTÜSanat exhibitions, processes pertaining to exhibiting art, namely, planning, preparing, and implementation of the exhibition, are explained with examples of problems encountered and solutions developed. Keywords: ODTÜSanat; art; exhibition; artworks; design; space
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Yu, Hangyong. "NATIONAL THEME IN SCULPTURE AT THE CHINESE NATIONAL EXHIBITION OF FINE ARTS". Scientific and analytical journal Burganov House. The space of culture 20, nr 2 (10.04.2024): 34–48. http://dx.doi.org/10.36340/2071-6818-2024-20-2-34-48.
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Valerio, María Antonia González. "Repositioning Biotech Arts in Mexico". Monitor ISH 19, nr 2 (4.12.2017): 157–69. http://dx.doi.org/10.33700/1580-7118.19.2.157-169(2017).
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This paper examines the role played by biotech art in Mexico and the way in which it has been inscribed in the local issues. Specifically, it focuses on the first biotech art exhibition in Mexico and on the production of the installations at the National University. It emphasises the epistemological and aesthetic problems encountered during the production of the artworks and the setting up of the exhibition.
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Boluža, Anda. "RESEARCHERS, CURATORS AND DESIGNERS: THE EXHIBITIONS AS THE SPACE FOR COLLABORATIONS". Culture Crossroads 22 (13.09.2023): 149–60. http://dx.doi.org/10.55877/cc.vol22.444.
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The article looks at thematic exhibitions that explore certain cultural and historical processes and examines the specifics of the exhibition as a collaborative process between three actors: academic researchers, curators and designers. Such exhibitions, grounded in cultural aspects and built on academic research outcomes, differ from classic art displays in the sense that they lack artworks that “speak for themselves”. Moreover, the research often is based on the written word and original documents or artefacts that are visually uninteresting/non-appealing or monotonous. On this account, the exhibition’s story and visual form is put in the hands of the curator and designer. Does this vital role give designers and curators the authority to rework the research that underlies the narrative? Is the design applied as the exhibit itself ? To answer these questions and to explore artistic research in the context of exhibitions, this article discusses the exhibitions carried out at the National Library of Latvia. The article looks behind the exhibition production process to examine the collaboration methods employed by the creative teams consisting of researchers, curators and designers.
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Bahji, Zineb Bahji. "Ahmed Cherkaoui : Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 27.03.2018 - 27.08.2018." Museum and Society 17, nr 1 (10.03.2019): 137–40. http://dx.doi.org/10.29311/mas.v17i1.2977.
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The exhibition Ahmed Cherkaoui: Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI),Rabat,Morocco, 27.03.2018 - 27.08.2018 was held in a succession of art exhibitions that Museum Mohammed VI has programmed since its creation in 2014 to preserve, promote and celebrate the national arts of Morocco. The exhibition introduced and represented the artworks of one of the iconic founders of Moroccan modern painting in post-colonial Morocco, a leading figure who experimented with material and content to create a harmonious and mystic synthesis of the traditional and the modern. Through a varied set of abstract paintings and drawings, the exhibition illustrated and interpreted Cherkaoui's works, and it narrated the life of this artist to show how his hybrid cultural experience influenced his creation. Cherkaoui's fascination with the popular signs and decorative symbols of his civilization and his passion for abstraction in modern art inspired a unique plastic vocabulary and style that marked the birth, development and history of modern art inMorocco.
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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch i in. "Exhibition Reviews". Museum Worlds 1, nr 1 (1.07.2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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Abdul Halim, Siti Nur Balqis, i Sarena Abdullah. "Respons Seniman Malaysia Dekad 1970-an terhadap Dasar Kebudayaan Kebangsaan: Satu Analisis Awal Pameran "Towards a Mystical Reality" (1974) dan "Rupa dan Jiwa" (1979)". Melayu: Jurnal Antarabangsa Dunia Melayu 13, nr 2 (7.07.2020): 173–98. http://dx.doi.org/10.37052/jm.13(2)no1.
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Art exhibitions play an important role in developing and supporting art activities in Malaysia and are often used as platforms to showcase works of the visual arts to the public. The National Cultural Policy (NCP) (1971) had a profound impact on the development of the visual arts in Malaysia. This policy is the country’s official attempt to establish a Malaysian identity, especially in the arts. Indirectly, it also challenged the boundaries of the definition of art in terms of philosophy, sociology, and aesthetics, in the context of exhibition practices. This paper discusses two local art exhibitions— Towards a Mystical Reality (TMR) (1974) and Rupa dan Jiwa (1979). This paper discusses both exhibitions in the contexts of the NCP, particularly by focusing on the aspect of (Malay) nativism, and through the introduction of new ideas and concepts with an intellectual component.
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STAVILĂ, Tudor. "Referring to one exhibition". Arta 31, nr 1 (wrzesień 2022): 65–76. http://dx.doi.org/10.52603/arta.2022.31-1.09.
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The National Art Museum of Moldova constantly surprises with vernissages and original themes, regardless of whether it refers to personal or group exhibitions, to regional or international activities. The presence of the exhibition “Five couples”, which was opened this year, on May of 17 and it confirmed the actuality of some events, which have became a tradition and an evolution of the performances of that institution. The moment refers to painters and their works, which were active in various cultural spaces of modern Russia and interwar Bessarabia, from the Romanian Kingdom before the Second World War and the period of the emergence of the Moldavian SSR, following a not simple artistic way, in completely diverse and incompatible environments. Their creation demonstrated the existence of two value systems: one was of European formation; another was of Russian production, both were belonging to the opposite visions. Mihail Grecu and Lidia Arionescu, Mihail Grecu and Fira Grecu, Moisei and Eugenia Gamburd, Valentina Rusu-Ciobanu and Glebus Sainciuc, Ana Baranovici and Dmitrii Sevastianov were honored at the exhibition.
Rozprawy doktorskie na temat "National Exhibition of the Arts"
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Hersov, Mary. "The temporary exhibition in the Sainsbury Wing, National Gallery : commission, design and outcome". Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19861/.
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The Sainsbury Wing, the National Gallery’s new extension, opened in July 1991. It had the primary aim of providing new galleries for the Early Renaissance collection. It was also intended to give a new outward-looking face for the Gallery with expanded public facilities, including a larger temporary exhibition space. However, this space has been much criticised for its basement location and resulting lack of natural light. The rooms are limited in size and some are irregular in shape which make it difficult to install larger works and to provide enough viewing space for visitors to popular shows. This thesis investigates why the Gallery decided to build this space, why the design was developed and what were the consequences. It looks at the history of temporary exhibitions - the spaces they need in London and abroad. Using archive material and conversations with participants, it pieces together the convoluted story of the building of the temporary exhibition galleries in the Sainsbury Wing. It examines the many briefs, the involvement of the architects, Venturi Scott Brown, and explains how the resulting design developed. It then relates how the Gallery used the space for its expanded exhibitions programme and considers its advantages and disadvantages. In the conclusion, it makes some recommendations for the best way to create new exhibition galleries for the future. The thesis sheds new light on an aspect of institutional history of the Gallery. It provides an original analysis of an area of the Sainsbury Wing which has been little discussed. As a case study for the design of facilities for temporary exhibitions, it underlines the importance of these spaces and analyses the specific needs and requirements.
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Ballard, Tammara L. "A Case Study of the Springville Museum of Art Pre-Exhibition Workshop". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6283.
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The author designs a traveling professional development opportunity, Pre-Exhibition Workshop, for the Springville Museum of Art (SMA) Educational Outreach Program. All Utah high school art teachers and their students are invited to attend one of twenty-five presentations throughout the state's school districts. This thesis examines the challenges and benefits of including students in the process of preparing their own entries for the 2014 42nd Annual Utah All-State High School Art Show. The curriculum for the workshop follows a new lesson plan model of including enduring understandings and essential questions as outlined by the 2014 National Core Art Standards. The question driving this research project is: Will the schools that participate in a pre-exhibition workshop be better prepared to submit quality entries into the 2014 42nd Annual Utah All-State High School Art Show and be more likely to schedule a field trip to experience the exhibition? To develop the SMA Pre-Exhibition Workshop, the researcher applies a case study methodology that includes some aspects of action research including planning, acting, reviewing, and revising. The collected data measures the effectiveness of this workshop by analyzing observation notes collected during the workshop, reviewing surveys completed by participating teachers, and comparing the SMA 2014 42nd Annual Utah All-State High School Art Show entry data with the data collected from the attendees of the SMA Pre-Exhibition Workshop. It was concluded that most schools participating stated that the workshop did benefit their students by helping them prepare to submit their own art entries. Of the students attending the workshop, none were disqualified from the 2014 42nd Annual Utah All-State High School Art Show due to rule infringements, and several of the participating schools went on a field trip to view the exhibition. In conclusion, the author recommends that the SMA Pre-Exhibition Workshop continue and suggests ways of improving the program's promotions, presentation, and data collection.
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Assier, Mathilde. "La promotion des beaux-arts en Espagne (1853-1898). Soutenir les beaux-arts en temps de crise". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL091.
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Cette thèse s’attache à mettre en lumière l’organisation du système des beaux-arts et les conditions de production des œuvres d’art en Espagne entre 1853 et 1898, autour de trois pôles principaux : Madrid, Barcelone et Séville. Dans cette période de crise politique et économique, généralement envisagée sous le prisme du paradigme du retard ou de l’échec, la désillusion des artistes fut une réalité. Loin de conduire à la passivité, elle engendra un désir de « régénération » culturelle, de nombreuses controverses sur la manière d’encourager les arts ainsi que tout un jeu de comparaisons et de regards portés vers l’étranger. Ce bouillonnement intellectuel fut à l’origine d’un renouveau des structures de promotion des arts se traduisant par la création de musées, d’expositions, de concours ou par la concession de pensions. L’analyse des missions artistiques de la Maison royale, du ministère du Développement, des députations, des associations artistiques et des sociétés économiques des amis du pays s’appuie sur des études de cas et révèle les acteurs à l’œuvre : petits ou hauts fonctionnaires, artistes méconnus ou renommés, hommes politiques. Fondé sur un vaste travail de recherche en archives, ce parcours dans le paysage des arts espagnols permet de mieux comprendre quels furent les objectifs, les conséquences et les spécificités de l’encouragement public et privé de l’art, d’un point de vue régional et national, dans un contexte de construction de l’État-NationThis dissertation aims to bring to light the organization of the fine arts system and the conditions under which works of art were produced in Spain between 1853 and 1898, centering on three leading cities: Madrid, Barcelona, and Seville. During this period of political and economic crisis, usually understood through the lens of the paradigm of Spanish backwardness or failure, the artists’ disenchantment was considerable. However, far from driving them into passive resignation, this spurred a desire for cultural "regeneration," born of countless debates over the way in which the arts should be supported and a keen interest in comparison with what was happening abroad. This intellectual exuberance led to a renewal of the institutions promoting the arts, giving way to the creation of museums, exhibitions, contests, and grants. The analysis of the artistic missions of the royal household, the Ministry of Development, diputaciones (provincial governments), societies of artists, and the various Economic Societies of Friends of the Country, relies on case studies and reveals the agents at work: senior and junior civil servants, not-known or famous artists, and politicians. Rooted in broad archival research, this journey through the world of Spanish art enriches our understanding of the goals, consequences, and specific features of the public and private support of the arts on a regional and national scale and within the context of the construction of the nation-state
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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
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Cloutier, Geneviève. "An A/r/tographical Inquiry of a Silenced First Nation Ancestry, Hauntology, G(hosts) and Art(works): An Exhibition Catalogue". Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31797.
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As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry as I look towards the intergenerational narratives of my grandmother, mother, and I. As I employ the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography, as I draw on works which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal g(hosts) in spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise.
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Demange, Stéphanie. "« ¡A los pintores les ha dado por mojar el pincel en lágrimas! » : La pauvreté au miroir des Salons (Espagne, 1890-1910)". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040152.
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Entre 1890 et 1910, les prix des concours artistiques officiels vont en Espagne à des toiles qui représentent les souffrances des couches sociales les plus défavorisées de la société de la Restauration. Pauvres et vagabonds, migrants et chômeurs, mendiants et prostituées, ouvriers et paysans précaires sont les figures de proue d’un nouveau répertoire pictural qui déclasse la peinture d’histoire et remporte un succès public et critique considérable. La présente étude a pour ambition de faire l’histoire de cette peinture de la détresse sociale, en cherchant à comprendre les raisons de son triomphe dans les Salons d’un régime peu enclin à considérer la misère comme un scandale, voire même comme une question politique. Ce travail croise pour ce faire deux historiographies : l’histoire de l’art, en participant de la redécouverte d’une production qui, bien que légitime et couverte d’éloges en son temps, n’eut par la suite aucune fortune critique; et l’histoire culturelle, l’enjeu étant de mettre au jour les représentations sociales produites ou véhiculées par cette peinture. L’analyse des regards portés sur ces tableaux permet parallèlement de cerner l’évolution des sensibilités face à la pauvreté, mais aussi d’identifier les croyances et représentations largement partagées en matière de légitimation des inégalités. En faisant dialoguer ces approches, cette recherche vise à proposer un premier travail de synthèse sur ce chapitre absent jusqu’ici de l’histoire culturelle du XIXe siècle espagnolBetween 1890 and 1910, most prizes awarded in Spain by official art exhibits went to depictions of the hardships faced by the poorest subjects of the Restoration. Destitutes and vagrants, migrants and the unemployed, beggars and prostitutes, day laborers and poor peasants were the icons of a new repertoire of pictorial forms which not only superseded history painting but also proved immensely popular both with critics and the public. This thesis aims to write the history of this art of social destitution, by elucidating how it could triumph in the Salons of a Regime which was certainly not inclined to consider poverty as outrageous or as a legitimate political concern. This task has entailed melding two distinct historiographic traditions together: whereas the methods of art history were used to rediscover this body of work and explain why, shortly after having been officially sanctioned and showered with praise, it could be spurned by critics; those of cultural history were mustered to identify the different social constructs fashioned or promoted by these pieces. Moreover, the study of how these depictions of social destitution were perceived might help to determine how the feelings towards poverty evolved and what shared beliefs and preconceptions were used to legitimize inequality. By bringing these approaches together, this thesis hopes to offer the first synthetic study of a neglected chapter of Spanish, 19th century, cultural history
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Lasheras, Peña Ana Belén. "España en París. La imagen nacional en las Exposiciones Universales, 1855-1900". Doctoral thesis, Universidad de Cantabria, 2010. http://hdl.handle.net/10803/10660.
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Esta investigación aborda la participación española en las exposiciones universales celebradas en París durante el siglo XIX. Se ha tomado una perspectiva global, analizando, por tanto, el conjunto de factores que conformaron la imagen de lo español en las cinco ediciones universales organizadas en París: las instituciones efímeras y organismos permanentes que se encargaron de la organización de la asistencia española, los espacios e instalaciones que se adecuaron en París para albergar las colecciones nacionales, los productos seleccionados para representar a España (obras de arte, minerales, libros, tejidos, máquinas, productos agrícolas, etc.), así como los visitantes y comisionados que acudieron a la entonces denominada capital cultural del siglo.This research focuses on the Spanish participation in the international exhibitions held in Paris during the nineteenth century. It has been taken a global perspective, analyzing, therefore, all the factors that shaped the image of the Spanish in the five universal exhibitions organized in Paris: the ephemeral institutions and permanent organizations that were responsible for the Spanish attendance, the area and premises that were adapted in Paris to house the national collections, the items which were selected to represent Spain (works of art, minerals, books, fabrics, machines, agricultural products, etc..) as well as the visitors and commissioners who attended to the so-called cultural capital of the century at that time.
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Kazakova, Ekaterina. "La figure de la victime : un nouvel idéal artistique? : La (re) construction des imaginaires nationaux des états post-soviétiques à la Biennale de Venise (1993-2015)". Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALH018.
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Les Etats post-soviétiques participent à la Biennale d’art contemporain de Venise depuis les années 1990. Ils ont montré, dans les pavillons nationaux, tout au long de leur participation et de manière récurrente, des images de souffrance physique, de catastrophe sociale et de traumatisme politique. Ce thèse vise à analyser les causes possibles d’une telle insistance sur la représentation de la catastrophe en les liant aux enjeux politiques, économiques et artistiques qui déterminent, pour ces Etats, leur participation aux foires artistiques internationales.Ces pays post-soviétiques vérifient, en premier lieu une transformation radicale de la culture politique moderne: en quelques décennies, l'idéal orienté vers un avenir de progrès et de liberté a été remplacé par la célébration douloureuse d’un passé décliné sous une forme victimaire. Une telle transformation s'est accompagnée d'un changement de certains idéaux sociaux caractéristiques de la mythologie communiste : "Au centre de la culture historique moderne n'est plus l'idéal du héros, mais l'idéal de la victime". Le statut privilégié de la victime dans les années 1990 a créé alors de nouvelles formes d'auto-représentation et de politique identitaire : l'Arménie, un pays avec une longue tradition de souffrances depuis le génocide du début de siècle, ou les pays baltes, après l'effondrement de l'Union soviétique, ont construit leur identité sur le rôle de victime, en transformant l'histoire traumatique de la répression stalinienne et de l'occupation soviétique en glorification collective du passé misérable de leur peuple... Des expositions pour la Biennale illustrent visuellement, et avec une ferveur presque religieuse, cette histoire sacrificielle, représentant la résistance à la violence et le catastrophe vécu par le peuple comme origine héroïque de la naissance des nations. La célébration des catastrophes fonde une nouvelle conception de l'identité nationale. L'histoire traumatique, encore activement présente dans la mémoire vivante des contemporains, est transformée en objet esthétique et incluse dans le système international des manifestations artistiquesThe post-Soviet states have been participating in the Biennale of Contemporary Art in Venice since the late 1990s. They have constantly shown, in their national pavilions and throughout their participation, images of physical and social suffering and trauma. The PHD project analyse the possible causes of such an insistence on the representation of the suffering of people by linking them to the political, economic and artistic stakes that determine, for these states, their participation in international art fairs.These post-Soviet countries mainly deal with a general phenomenon which in political science has been called the conflict or the competition of victims. Victims compete for a bigger role in social memory. The historian Martin Sabrov asserts that a radical transformation of modern political culture took place: within a few decades, the ideal oriented towards a future of progress and freedom has been replaced by the painful celebration of a past haunted by victimhood. Such a transformation was accompanied by a change in certain social ideals characteristic of communist mythology: “At the center of modern historical culture is no longer the ideal of the hero, but the ideal of the victim.” The privileged status of the victim in the 1990s created new forms of self-representation and identity politics: Armenia, a country with a long tradition of suffering since the genocide of the turn of the century, and the Baltic countries, after the collapse of the Soviet Union built their identities on the role of the victim, transforming the traumatic history of Stalinist repression and the Soviet occupation into a collective glorification of the miserable past of their people. Exhibitions for the Biennale illustrate visually, and with almost religious fervour, this sacrificial history, representing the resistance to violence and the miserable destiny of the people as the heroic origin of the birth of nations. The celebration of heroic and miserable victims is the foundation of a new conception of national identity. Traumatic history, still actively present in the living memories of contemporaries, is transformed into an aesthetic object and included in the international system of artistic manifestations
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Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
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Cette thèse explore l’influence artistique et culturelle de la Grande-Bretagne en Australie, ou les caractéristiques britanniques de l’identité australienne, depuis les années suivant la fin de la Première Guerre Mondiale jusqu’à 1941. La culture australienne de cette période a souvent été décrite comme isolée, voire même « en quarantaine », caractérisée par son acceptation tardive du modernisme. Bien qu’à cette époque la Grande-Bretagne accorde davantage d’indépendance et d’autonomie à ses dominions, l’Australie cherche à maintenir des liens culturels et impériaux en s’identifiant exclusivement à la Grande-Bretagne. Ainsi, pendant cette période, la majorité des Australiens considèrent toujours l’Angleterre comme mère patrie et Londres attire de nombreux artistes australiens expatriés. Pour reprendre les termes de Daniel Thomas, historien de l’art australien, l’Australie développe une identité culturelle dite « bi-hémisphérique Anglo-australienne », imprégnée de nationalisme, de conservatisme et de valeurs patriarcales. Cette thèse examine les échanges artistiques entre l’Australie et la Grande-Bretagne pendant les années 1920 et 1930 et met en lumière les complexités de l’identification culturelle. Elle considère tout particulièrement le fait que l’historiographie nationaliste de l’art australien a passé sous silence le rôle joué par les femmes dans la construction de l’identité nationale et dans la définition d’un art australien. A travers l’analyse des collections nationales d’art britannique et les mécanismes de circulation de l’art moderne britannique en Australie, cette thèse met en avant la dualité de l’identité culturelle australienne et la marginalisation des femmes, non seulement en tant qu’artistes mais aussi en tant que défenseuses culturelles. En mettant l’accent sur l’expérience d’expatriés australiens en Angleterre et comment ceux-ci cherchent à s’intégrer à la scène artistique britannique, cette thèse rend compte de l’importance de l’expatriation en tant que concept contribuant aux historiographies de l’art en Grande-Bretagne et en Australie. Enfin, cette thèse conceptualise le travail de deux Australiennes expatriées, Edith May Fry et Clarice Zander, qui, en tant qu’organisatrices d’expositions, ont considérablement contribué à la dissémination du modernisme en Australie et à la définition de l’identité culturelle australienne pendant l’entre-deux-guerres. L’enjeu de cette thèse est de démontrer les mécanismes qui ont permis à l’Australie de représenter sa propre identité à travers l’art tout en continuant à s’identifier à la Grande-BretagneThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
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Kinoshita, Harumi. "La diffusion culturelle internationale : les enjeux de la politique de prêts d'oeuvre et d'expositions du MNAM-CCI (Centre Georges Pompidou) pendant la période 2000-2007". Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00767576.
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Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l'étude de la politique de diffusion : celle-ci est l'objet de ma thèse en sciences de l'information et de la communication intitulée " La diffusion culturelle à l'échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ".Le Mnam-Cci est l'un des plus importants musées au monde grâce à sa collection d'art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l'une des stratégies importantes du musée. Dans la perspective d'une étude muséologique, l'analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l'échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l'heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l'échelle internationale à travers la politique de diffusion.C'est ainsi que ce travail montre la diffusion culturelle à l'échelle internationale par l'intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci.
Książki na temat "National Exhibition of the Arts"
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Saqafat-e-Pakistan, Idara, red. 6th National Exhibition of Visual Arts, 1994. [Islamabad]: Pakistan National Council of the Arts, 1994.
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National Exhibition of Visual Arts (7th 1996 Islāmābād, Pakistan). 7th National Exhibition of Visual Arts, 1996: Catalogue 96. Islamabad: Pakistan National Council of the Arts, 1996.
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Artists, Ontario Society of, red. Catalogue of Department of Fine Arts. Toronto: [s.n.], 1996.
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Saqafat-e-Pakistan, Idara, red. 5th National Exhibition, 1984. Islamabad: Idara Saqafat-e-Pakistan, 1985.
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Canadian National Exhibition (Toronto, Ont.). Dept. of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1918. Toronto: Saturday Night Press, 1997.
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Canadian National Exhibition (Toronto, Ont.). Dept. of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1917. Toronto: W. Briggs, 1997.
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Canadian National Exhibition (Toronto, Ont.). Dept. of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1913. Toronto: Warwick Bros. & Rutter, 1996.
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Canadian, National Exhibition (Toronto Ont ). Dept of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1916. [Toronto?: s.n., 1997.
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Canadian National Exhibition (Toronto, Ont.). Dept. of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1915. [Toronto?: s.n., 1997.
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Subir, Choudhury, Bāṃlādeśa Śilpakalā Ekāḍemī i International Seminar on Folk Arts and Crafts of Asia and the Pacific Region Bangladesh (1994 : Bangladesh Shilpakala Academy), red. National Folk Arts and Crafts Exhibition, April 10 to 30, 1994. [Dhaka]: Bangladesh Shilpakala Academy, 1994.
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Papoulias, Evangelos, i Theoklis-Petros Zounis. "Artists and the University Heritage: The Case of the Athens University History Museum and the Exhibition “Opy Zouni: In First Person”". W Strategic Innovative Marketing and Tourism, 817–25. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_88.
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AbstractThe university museums protect, conserve and present the cultural heritage related to education. The paper presents the initiative of the Athens University History Museum of the National and Kapodistrian University of Athens (NKUA), a university museum that organizes for the first time in a university space a temporary exhibition dedicated to Opy Zouni, a painter with international recognition in the contemporary art of geometric abstraction. The exhibition “Opy Zouni: in first person” presented selected works by Opy Zouni with the main purpose of attributing the artistic dimension of the creator through the interpretation and analysis of her works by herself in the first person. The idea was conceived on the occasion of the tenth anniversary of the loss of the internationally renowned painter Opy Zouni with the consent of the family for a cultural event that would give the public a different perspective of her work. The paper presents a good example (useful for art curators and art managers) of a temporary exhibition of a university museum which connecting the contemporary art with the university heritage.
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Mallinson, Jonathan. "13. 1936–39: Pottery for a Troubled World". W William Moorcroft, Potter, 291–326. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.13.
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Moorcroft’s reputation as a designer continued to grow in these years. His newly launched SunRay tea ware attracted the attention of the influential Council for Art and Industry, and was selected for exhibition both at home and abroad as a model of progressive design. But Moorcroft was openly critical of what he saw as the CAI’s narrow appreciation of his work. He asserted his independence in a letter to The Times, criticising the CAI’s selection criteria for the British display at the International Exhibition of Art and Technology in Paris, 1937, and provocatively exhibited his own selection of decorative pieces in the International Pavilion. His exhibit inspired an article in La Revue moderne which identified in his work a timeless moral value, a particularly significant response at a time when culture was becoming increasingly politicised in Europe. Not coincidentally, he publicised the prominent display of his work in the culturally tolerant Deutsches Museum in Munich, a gesture all the more eloquent as politically motivated exhibitions of National Socialist and of Degenerate Art were taking place less than a mile away at just this time. Moorcroft’s work was appreciated for what one critic called its ‘real truth’; his international reputation as a ceramic artist had never been higher. This double success as designer and artist was unparalleled at a time when the gulf between industrial and studio production was at its deepest. And it doubtless inspired Blackie to invite Moorcroft to write a book on his work; it would have followed publications by two of the most influential potters and instructors of the time, Gordon Forsyth and Dora Billington, who had each recently examined from different perspectives the future relationship of studio pottery and industrial design. The project, though, was barely begun, and only jottings survive which sketch out some of his guiding principles, not least his commitment to integrity in design. Moorcroft’s exhibition at the New York World’s Fair of 1939 again drew the attention of the national press. Ledgers indicate that his sales income was also steadily rising, although not by enough to completely offset the relentless increase in costs. The declaration of war would bring its own problems.
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Labrador, Ana Maria Theresa P., i Cyril A. Santos. "Representing the Bangsamoro in an Exhibition of Ethnography at the National Museum of the Philippines". W Curating Islamic Art Worldwide, 95–106. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28880-8_8.
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Rahimova, Naila. "32 Art Works from the First Russian Art Exhibition in the Azerbaijan National Museum of Art, Baku". W 100 Years On: Revisiting the First Russian Art Exhibition of 1922, 212–16. Köln: Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525668.212.
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Roe, Annabelle Honess. "When Art Exhibition Met Cinema Exhibition". W Documenting The Visual Arts, 145–59. London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315123301-10.
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Stanley, Todd. "Exhibition". W 10 Performance-Based Projects for the Language Arts Classroom Grades 3-5, 69–82. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232483-7.
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Kludkiewicz, Kamila. "Museums of a Stateless Nation, between History and Art". W Spaces for Shaping the Nation, 131–52. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-007.
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In this article, Kamila Kudkiewicz is dedicated to the question of Polish national museums in the nineteenth century. At the end of the eighteenth century, the historical territory of Poland was divided among Russia, Austria, and Prussia. Each of these countries had its own laws and policies towards Poles: take, for example, the policies of Russification and Germanization implemented by the Russian and German authorities in their respective territories and, contrastingly, the autonomy granted to Polish Galicia in Austria-Hungary after 1860. Despite the differences between the regions, in the second half of the nineteenth century, Poles founded museums that were perceived to be 'national', whether on a de facto basis - as attested by publications and written sources from the period - or because they had the word 'national' in their very name. Although early initiatives to create museums with the designation 'national' were undertaken in Poland as early as the eighteenth century, actual national museums (or institutions considered to be such) only emerged after 1870. The latter consisted of : the Musee National Polonais (Polish National Museum) in Rapperswil, Switzerland (opened 1870), the Muzeum im. Mielzynskich w Poznaniu (Mielzynski Museum in Poznan, 1881), the Muzeum Narodowe w Krakowie (National Museum in Krakow, 1883), the Muzeum Narodowe im. Krola Jana III we Lwowie (King Jan III National Museum in Lviv, 1908), and the Muzeum Sztuk Pieknych w Warszawie (Museum of Fine Arts in Warsaw), which was called after 1916 the Muzeum Narodowe w Warszawie (National Museum in Warsaw). The most important Polish national museums were established in large urban centres, namely in regional capitals (i.e. Poznan, the capital of Greater Poland in the nineteenth century within the borders of Prussia, and Krakow, the main city of Galicia in the nineteenth century within Austria and later Austria-Hungary), but also in other nations (i.e. Rapperswil in Switzerland). They were founded by city authorities, learned societies, or private collectors. The fact that the museums were established and managed by various entities made their activities very diverse. However, one can observe two main areas of interest for Polish national museums in the nineteenth century: national (Polish) history, on the one hand, and Polish art, primarily contemporary painting, on the other. In some cases, like that of Rapperswil, the dominating elements of the collection were connected with historical elements that, at least initially, were also sentimental, nostalgic, and emotional in character. This sentimentality bespeaks the institution's intended influence on viewers. Elsewhere, the wish to exhibit and promote Polish art prevailed over the interest in objects related to national history (i.e. the Mielzynski Museum in Poznan). And certain museums underwent an evolution in their declared status, from that of a national gallery of painting to that of an institution attempting to show various aspects of Polish culture (National Museum in Krakow). The present analysis of the activity of these museums will focus on the discourse accompanying their creation, the goals set by their founders, and the curation of their exhibitions.
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Mallinson, Jonathan. "12. 1932–35: Individuality and Industrial Art". W William Moorcroft, Potter, 259–90. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.12.
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The chapter explores Moorcroft’s creative principles against the background of the Gorrell report and the continuing debate about industrial design, energised by high-profile exhibitions at Dorland Hall (1933), Harrod’s (1934) and the Royal Academy (1935), each with its own priorities. Moorcroft continued to promote the value of individuality, craft and ornament, as opposed to the functionalist machine aesthetic championed by Pevsner or Read, but he overlapped in significant ways with modernist thinking. He was no less critical of contemporary industrial design, often characterised by angular shapes and strident ornament, and he shared the belief that good design should be judged by its coherence and suitability to the manufacturing process, that it should reflect inner conviction rather than commercial opportunism, and that it gives to everyday objects an essential and uplifting beauty. This overlap was exemplified in the widespread admiration for the formal purity of his Powder Blue tea ware which, although launched in 1914, already anticipated modern design values of the 1930s, ‘undatedly perfect’ in Pevsner’s words. These principles also informed Moorcroft’s decorative pottery which continued to attract critical attention, not from the perspective of industrial design (as was now often the case in reviews of studio pottery), but as art work singled out for its expressiveness. But in a letter to The Times he provocatively disowned the label ‘artist’, applied to him by the British Pottery Manufacturers Federation, rejecting the implication that (his) art was elitist, or affordable only by connoisseurs. All his work was seen to have the same quality of design and production, whatever its cost or function, and he presented himself as a fusion of artist and industrialist, a position particularly significant at a time when modern critical thinking was encouraging the collaboration of designers and manufacturers. Amid an ongoing debate about the nature and importance of a national design tradition, Moorcroft’s work was often regarded as English on account of its individuality, irreducible to a (mere) style. Mussolini’s purchase of a flambé vase at the Milan Triennial Exhibition of 1933, reported in the national press, was seen as evidence of the international appeal of this pottery.
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Radbourne, Jennifer, i Margaret Fraser. "Arts management and national identity". W Arts Management, 3–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416463-2.
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Lawrenson, Anna, i Chiara O’Reilly. "Relinquishing the national". W The Rise of the Must-See Exhibition, 117–39. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315597119-6.
Pełny tekst źródłaStreszczenia konferencji na temat "National Exhibition of the Arts"
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Li, Zhaoxia. "The Historical Context of National Art Exhibition". W 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.21.
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Fang, GuangZhi. "Analysis on Structure of National Exhibitions of Fine Arts from 1949". W 2014 International Conference on Social Science (ICSS-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icss-14.2014.40.
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Qi, Jingkun. "The Phenomenon of Chinese Female Print Artists’ Creative Activities in the 13th National Exhibition of Fine Arts". W 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.076.
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Boda, Gherghina. "Romanian national heritage at the universal exhibition in Barcelona (1929)". W Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.05.
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Since the 18th century, universal exhibitions have undergone a wide development, each aiming to bring to the public’s attention not only the most special and innovative exhibits but, at the organizational level, the most varied and unique attractions, usually the latest technical innovations or using what is already known in a whole new way. Romania was one of the participating countries, the inauguration of the Romanian Pavilion in Barcelona, on an area of 400 square meters, taking place on October 4, 1929, in the presence of King Alfonso XIII of Spain. Th e layout of the Pavilion provided for two major groups: a cultural one and an economic one, with sections dedicated to peasant art, modern painting and sculpture, decorative art, household industries. Following the judging, the products on display, received 62 Grand Prix, 51 honorary diplomas, 49 gold medals, 14 silver medals, 8 bronze medals and 21 collaborator diplomas. Th is shows the special value of the exhibits, as well as the international recognition of the national art and economy.
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JIGHIRGIU, Octavian. "Five Days at the International Art Biennale in Venice". W The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0013.
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Seeing La Biennale di Venezia is a celebration in itself. This major contemporary art event has a long history that speaks on the importance of strategic thinking and the cultural dimension of a city's leaders. Because the “lagoon city” had such visionary people. At the end of the 19th century, in 1893, at the initiative of a group of Venetian intellectuals, led by the mayor of the time, Riccardo Selvatico, an administrative resolution was launched to “establish a national biennial art exhibition”. Two years later (1895), the first edition of this event dedicated to visual arts took place. Over time, the Venice Biennale branched out, accumulating new and new sections: music, theatre, cinematography, architecture and dance.
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Lin, Wenxuan. "A Comparative Study of Kassel Documenta and the National Art Exhibition in an Interwoven Context". 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.220706.085.
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Rocaciuc, Victoria. "Book graphics in the creation of the plastic artist Liudmyla Kozhokar". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.11.
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The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.
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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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Hsueh, Chiaho, i Chien-Hsiung Chen. "Usability Study on the User Interface of Arts and Culture Activity Platforms". W 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005437.
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Cultural and artistic activities are thriving, and leisurely exploration of events has become a habit and a popular trend for many citizens around the world. According to the 2021 Taiwan Cultural Content Consumption Trends Survey by the National Academy for Educational Research, approximately 30% of the population participated in performing arts events in the past year, with the average number of exhibition visits on the rise. However, the current content on various cultural platforms is complex and lacks organization, making it difficult for users to find what they need and thus resulting in a poor user experience. Among these factors, the usability of the platform interface in accordance with user experience is a crucial key. Therefore, the purpose of this study is to enhance the user experience of cultural activity platforms to increase participation in events. The study will propose improvements and suggestions for information architecture pertinent to user interface design based on experimental results that align with user experience.In this research study, experiments were conducted to help analyze the information architecture and functionality of three existing cultural activity platforms. Smartphones were used as experimental devices, and a usability experiment design for task operations was implemented. The study also involved observing and recording participants' operational behaviors and task performances. Finally, the System Usability Scale (SUS) and the Questionnaire for User Interaction Satisfaction (QUIS) were also employed, along with semi-structured interviews, to help understand the strengths and weaknesses of the cultural activity inquiry system and to derive conclusions and recommendations.The results and recommendations of this study are as follows: (1) It is important to provide operation methods that align with users' mental models. (2) The platform's information architecture should be designed with shallow layers as well as a clear and concise hierarchical structure. (3) The design consistence regarding colors, icons and buttons should be maintained during the operation process. (4) It is necessary to optimize the site-wide search by providing visible and meaningful icons, enabling users to quickly locate information. (5) It is vital to provide clear and understandable feedback strategies to enhance the pleasure of user interactions.
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Ledeneva, Ekaterina Ivanovna. "LES ARTS DÉCORATIFS ET APPLIQUÉS DES PEUPLES DE SIBÉRIE DANS LE CADRE DE L'ACTIVITÉ D'EXPOSITION DES FUTURS ENSEIGNANTS DES CLASSES PRIMAIRES EN TANT QUE COMPOSANTE DE LA FORMATION PROFESSIONNELLE". W Themed collection of papers from Foreign International Scientific Conference «Science and innovation in the framework of the strategic partnership between Algeria and Russia» by HNRI «National development» in cooperation with the University of Science and Technology Houari Boumediene. April 2024. Crossref, 2024. http://dx.doi.org/10.37539/240425.2024.13.82.012.
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The article presents an analysis of exhibitions of student works of the Institute of Childhood of Novosibirsk State Pedagogical University, made based on folk crafts and decorative and applied arts of the peoples of Siberia in the framework of practical classes and independent work, as a component of students' activities, allowing them to show their creative abilities and develop interest in the culture and art of the region. Une analyse des expositions des œuvres des étudiants De l'institut de l'enfance de l'Université pédagogique d'état de Novossibirsk, réalisées sur la base de l'artisanat d'art populaire et des arts décoratifs et appliqués des peuples de Sibérie dans le cadre d'activités pratiques et de travail indépendant, en tant que composante de l'activité des étudiants, permet d'exercer leur créativité et de développer l'intérêt pour la culture et l'art de la région.
Raporty organizacyjne na temat "National Exhibition of the Arts"
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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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Sanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, marzec 1994. http://dx.doi.org/10.18235/0007910.
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Davies, Christina, i Melanie Pescud. Arts and health promotion. The Sax Institute, marzec 2020. http://dx.doi.org/10.57022/rdac1868.
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A National Arts and Health Framework was endorsed by all Australian states and territories in 2014; acknowledging the role of the arts in contributing to health and wellbeing. This review, commissioned by VicHealth, aimed to identify: effective approaches for improving arts participation (especially in priority groups); programs or activities using the arts which have been effective in increasing awareness, knowledge, attitudes and behaviours in five priority areas; and which of these approaches, programs or activities may be implemented by local councils. The findings will be used to inform future strategic planning and investment for the VicHealth Arts Strategy 2019-2023.
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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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Dabrovolskas, Audrius. In Search of Film Policy and Film Exhibition Model Based on Mission Economy: the Case of the Baltic Film Industries. Publishing House - Vilnius Business College, czerwiec 2023. http://dx.doi.org/10.57005/ab.2023.1.2.
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In Europe film industries are regulated through film policies at national and supra-national levels. The biggest attention is paid to film production and distribution, because they are considered as the most crucial sectors regarding financial investment. Film exhibition on the other hand is more about whole commercial life of a film and since theatrical admissions in European Union increased by 5.3 % (in 2019) before covid-19 pandemic it demonstrates that theatrical release is still among one of the most important release windows. Yet Lithuanian, Latvian, and Estonian film exhibition trends and their role for developing film policy were not examined. The qualitative and quantitative research methods applied: descriptive statistics and its analysis of secondary sources such as cinema attendance, the number of multiplexes and digital screens, premieres of national films and box-office and the analysis of film policy (regulatory) documents in Lithuania, Latvia, and Estonia. Economically film exhibition sector during covid-19 pandemic was heavily influenced and challenged by enormous decline in cinema attendance and the competition and rising role of audiovisual video-on-demand platforms. The article provides insights and findings based on the analysis of current role of film exhibition for the development of film policy and its possible model in the Baltic film industries.
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Carrier, Roch. Bringing the Rainbow into the House: Multiculturalism in Canada. Inter-American Development Bank, luty 2001. http://dx.doi.org/10.18235/0007943.
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Smith, Adam, Madison Story, August Fuelberth i Megan Tooker. Historic landscape inventory for Zachary Taylor National Cemetery, Louisville, KY. Engineer Research and Development Center (U.S.), lipiec 2024. http://dx.doi.org/10.21079/11681/48753.
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This project was undertaken to provide the US Department of Veterans Affairs, National Cemetery Administration, with a cultural landscape inventory of Zachary Taylor National Cemetery via funding from the St Louis Mandatory Center of Expertise (MCX) for the Curation and Management of Archaeological Collections (CMAC). The 16-acre cemetery, listed on the National Register of Historic Places in 1983, is found in Louisville, Kentucky, and contains more than 11,400 burials. The US Army Engineer Research and Development Center-Construction Engineering Research Laboratory (ERDC-CERL) was tasked with inventorying and assessing the cultural landscape at Zachary Taylor National Cemetery through the creation of a landscape development context, a description of current conditions, and an analysis of changes to the cultural landscape over time. All landscape features were included in the survey as federal policy on national cemeteries requires that all national cemetery landscape features be considered contributing elements, regardless of age. The historic landscape elements of the cemetery, like the original over-arching Beaux-Arts plan and circulation, cannot be restored due to the current number of burials. However, some elements can be reemphasized by historic landscape management planning, such as the restoration of the portions of the allée of pin oak (Quercus palustris) trees.
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Cleary, Summers. Land Cover Summary Statistics for National Capital Region Park Units. National Park Service, 2024. http://dx.doi.org/10.36967/2301309.
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This report documents the acquisition of source data, and calculation of land cover summary statistics datasets for ten National Park Service National Capital Region park units and three custom areas of analysis: Catoctin Mountain Park, Chesapeake & Ohio Canal National Historical Park, George Washington Memorial Parkway, Harpers Ferry National Historical Park, Manassas National Battlefield Park, Monocacy National Battlefield, National Capital Parks - East, Prince William Forest Park, Rock Creek Park, Wolf Trap National Park for the Performing Arts, and the three custom areas of analysis - National Capital Parks - East: Oxon Cove Park, Oxon Hill Farm, Piscataway Park, National Capital Parks - East: Greenbelt Park and Baltimore-Washington Parkway, and National Capital Parks - East: DC and Suitland Parkway. The source data and land cover calculations are available for use within the National Park Service (NPS) Inventory and Monitoring Program. Land cover summary statistics datasets can be calculated for all geographic regions within the extent of the NPS; this report includes statistics calculated for the conterminous United States. The land cover summary statistics datasets are calculated from multiple sources, including Multi-Resolution Land Characteristics Consortium products in the National Land Cover Database (NLCD) and United States Geological Survey?s (USGS) Earth Resources Observation and Science (EROS) Center products in the Land Change Monitoring, Assessment, and Projection (LCMAP) raster dataset. These summary statistics calculate land cover at up to three classification scales: Level 1, modified Anderson Level 2, and Natural versus Converted land cover. The output land cover summary statistics datasets produced here for the ten National Capital Region park units and three custom areas of analysis utilize the most recent versions of the source datasets (NLCD and LCMAP). These land cover summary statistics datasets are used in the NPS Inventory and Monitoring Program, including the NPS Environmental Settings Monitoring Protocol and may be used by networks and parks for additional efforts.
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Henderson, Tim, Vincent Santucci, Tim Connors i Justin Tweet. National Park Service geologic type section inventory: National Capital Region Inventory & Monitoring Network. National Park Service, lipiec 2022. http://dx.doi.org/10.36967/2293865.
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Type sections are one of several kinds of stratotypes. A stratotype is the standard (original or subsequently designated), accessible, and specific sequence of rock for a named geologic unit that forms the basis for the definition, recognition, and comparison of that unit elsewhere. Geologists designate stratotypes for rock exposures that are illustrative and representative of the map unit being defined. Stratotypes ideally should remain accessible for examination and study by others. In this sense, geologic stratotypes are similar in concept to biological type specimens, however they remain in situ as rock exposures rather than curated in a repository. Therefore, managing stratotypes requires inventory and monitoring like other geologic heritage resources in parks. In addition to type sections, stratotypes also include type localities, type areas, reference sections, and lithodemes, all of which are defined in this report. The goal of this project is to consolidate information pertaining to stratotypes that occur within NPS-administered areas, in order that this information is available throughout the NPS to inform park managers and to promote the preservation and protection of these important geologic heritage resources. This effort identified 20 stratotypes designated within seven park units of the National Capital Region I&M Network (NCRN): Chesapeake and Ohio Canal National Historical Park (CHOH) contains three type sections, two type localities, one type area, and eight reference sections; George Washington Memorial Parkway (GWMP) contains one type locality; Harpers Ferry National Historical Park (HAFE) contains two type sections, and one type locality/type area; Manassas National Battlefield (MANA) contains two type areas; Monocacy National Battlefield (MONO) contains one type section; National Capital Parks-East (NACE) contains one type locality; Prince William Forest (PRWI) contains one type section. Note that two stratotype designations (for the Harpers and Mather Gorge Formations) are shared amongst multiple park units. Table 1 provides information regarding the 20 stratotypes currently identified within the NCRN. There are currently no designated stratotypes within Antietam National Battlefield (ANTI), Catoctin Mountain Park (CATO), Rock Creek Park (ROCR), and Wolf Trap National Park for the Performing Arts (WOTR). However, CATO, CHOH, and GWMP contain important rock exposures that could be considered for formal stratotype designation as discussed in the Recommendations section. The inventory of geologic stratotypes across the NPS is an important effort in documenting these locations in order that NPS staff recognize and protect these areas for future studies. The focus adopted for completing the baseline inventories throughout the NPS has centered on the 32 inventory and monitoring (I&M) networks established during the late 1990s. Adopting a network-based approach to inventories worked well when the NPS undertook paleontological resource inventories for the 32 I&M networks and was therefore adopted for the stratotype inventory. The Greater Yellowstone I&M Network (GRYN) was the pilot network for initiating this project (Henderson et al. 2020). Methodologies and reporting strategies adopted for the GRYN have been used in the development of this report for the NCRN. This report includes a recommendation section that addresses outstanding issues and future steps regarding park unit stratotypes. These recommendations will hopefully guide decision-making and help ensure that these geoheritage resources are properly protected and that proposed park activities or development will not adversely impact the stability and condition of these geologic exposures.
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Sklenar, Ihor, i Maryan Lozynskyi. CONTROVERSIAL ISSUES REGARDING THE COMPONENT OF NATIONAL JOURNALISM STUDIES – GENRE STUDIES (REFERENCE TO A TOPICAL SCIENTIFIC ARTICLE BY PROFESSOR MYKOLA TYMOSHYK). Ivan Franko National University of Lviv, marzec 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12150.
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The article is a reference to a scientific publication by Mykola Tymoshyk, Professor and Head of the Department of Journalism at the Kyiv National University of Culture and Arts, who raised a number of topical issues in the field of national journalism studies. The purpose of this review is to examine the main points of this article through the prism of my teaching (primarily lecturing) and journalistic experience. Using the method of content analysis, the article discusses the controversial issues related to the concept of «journalism genre», distinguishes the strengths of the researcher’s main theses on the theory and practice of genres. The article points out the valuable aspects of Prof. Tymoshyk’s article for researchers of journalistic genres, especially with regard to the grouping of genres in the works of foreign authors (European and American schools of journalism). These groupings are supplemented by the vision of German authors - researchers of media genres. In this article the author uses the historical method to examine the current works of Ukrainian media scholars on the issue of the main groups of genres. The author discusses with Prof. M. Tymoshyk on the subject of presence of some genres in the media of our information space and the expediency of their consideration in the studies of media researchers. Attention is paid to the advantages of this publication in relation to the following issues: the ambiguity of journalistic investigation from the point of view of journalism theory, the expediency of using the concept of «hybrid genres» in scientific texts of media researchers. The conclusion about necessity of further research on the issues of genre creation in journalism, especially in the context of the current war is made. The researcher’s thesis about the importance of not theoretical «new products» in the form of new names of genres as forms of journalistic presentation, but the substantiation of their varieties within the existing genres of national journalism is accepted. Key words: genre, genre studies, journalism, school of journalism, article, author, scientific publication.