Bibliografias temáticas / Exhibition, 1923

Literatura científica selecionada sobre o tema "Exhibition, 1923"

Autor: Grafiati

Publicado: 25 de julho de 2024

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Artigos de revistas sobre o assunto "Exhibition, 1923"

Lavrov, Dmitrii Evgen'evich. "Exhibition activity of the Palekh lacquer miniature craft (1923-1939)". Человек и культура, n.º 4 (abril de 2022): 36–45. http://dx.doi.org/10.25136/2409-8744.2022.4.36873.

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The article is devoted to the analysis of the exhibition activity of the masters of the Palekh lacquer miniature. The author has chosen as a chronological period the first fifteen years of the existence of this fishery – from its inception in the first half of the 1920s to the beginning of the Second World War. The subject of the study, therefore, is an analysis of the exhibition practices of the Palekh art craft of the pre-war period (1923-1939). The article shows the importance of the exhibition activity of the Palekh lacquer craft at all stages of this brief, but nevertheless extremely eventful period. The purpose of the article is to show the importance that the exhibition activity had for the success and public recognition of Palekh as a new and quickly became the most famous lacquer craft in Russia. The scientific novelty of the article consists in the fact that, using historical-typological and structural research methods, as well as a historical-systematic approach, the author analyzes the most important domestic and foreign shows of the 1920s - 1930s, at which the products of the Palekh lacquer miniature were exhibited. The author emphasizes an important circumstance: the very formation and strengthening of the Palekh lacquer miniature craft in the first half and mid-1920s was caused precisely by the success of the prototypes exhibited at the largest exhibitions of that time, such as the All-Russian Exhibition of 1923 in Moscow, as well as the International Exhibition in Paris of 1925. At the same time, it is shown that Palekh's products continued to be successful at the shows (the exhibition "10 years of October" in 1927, the Soviet Exhibition in New York in 1928, the International Exhibition in Paris in 1937 and many other exhibitions analyzed in the article). Thus, it is the justification of the success of the exhibition activity of the Palekh lacquer miniature craft as an important factor of its public recognition that is the main conclusion of the article.

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Sidorova, Oksana. "CLASSICAL GRAPHIC ARTISTS OF ALTAI IN COLLECTIONS OF THE STATE ART MUSEUM OF THE ALTAI KRAI (BARNAUL, RUSSIA)". Proceedings of Altai State Academy of Culture and Arts, n.º 3 (2021): 52–59. http://dx.doi.org/10.32340/2414-9101-2021-3-52-59.

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The reported study was funded by Russian Fund of Basic Research according to the research project no. 19-412-220003 r_a. The paper outlines basic biographic information that reflects creative way of professional graphic artists from Altai, Russia: Fyodor Filonov (1919–2007), Andrei Vagin (1923–2006), Alexei Yugatkin (1926–2001), and Aleksandr Deriavsky (1927–2017), whose works will be in exhibition “Classical Works of Altai's Graphis Artists” of The State Art Museum of the Altai Krai (Barnaul, Russia) that will be held in 2022, after reconstruction of the institution's building. Individual artistic and aesthetic achievements of masters that followed stylistic traditions left by the first professional painters of Altai (Grigory Choros-Gurkin (1870–1923) and Andrei Nikulin (1878–1945), defined main vectors for development of professional graphics in Altai in the 2nd half of 20th century and the beginning of the 21st century. The author describes a contribution made by Vladimir Ramensky and Aleksandr Deriavsky in development of professional book graphics in Altai Krai, Vladimir Ramensky's work in developing professional artistic education in the territory.

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Ionescu, Adrian-Silvan. "Second Crusader Occupation in Constantinople, 1918-1923". Dialogica. Revistă de studii culturale și literatură, n.º 3 (novembro de 2023): 112–18. http://dx.doi.org/10.59295/dia.2023.3.15.

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The article presents an exhibition organized by the Istanbul Research Institute to commemorate the centenary since the Allied Occupation Forces left the city on the Bosporus. Titled “Meşgul Şehir: İşgal İstanbul’unda Siyaset ve Günlük Hayat 1918-1923” (Occupied City: Politics and Daily Life in Istanbul), the exhibition will be open from January 11, 2023, to December 26, 2023. The exhibited materials bring to light that historical moment through archival documents, most of them forgotten or unpublished, coming from several countries, some neighbors, others distant.The subsequent period is characterized by an unprecedented cultural vitality. Remarkably, a plethora of talented visual artists, many of whom came from other countries, including Russia, emerged during this time. After a century, the exhibition lifts a heavy veil from the tumultuous history of the Ottoman Empire’s capital, revealing unique aspects of a traumatic yet transformative era for both ordinary inhabitants and the elites in the final days of the sultanate and the dawn of the republic.

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Windisch e Tieber. ""Silent" Films, Singing Voices: Vocal Accompaniment in Viennese Moving Picture Exhibition, 1913-1923". Music and the Moving Image 8, n.º 1 (2015): 19. http://dx.doi.org/10.5406/musimoviimag.8.1.0019.

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Yu Elina, O. "Exhibiting nature, modernising agriculture: ecology and technology at the All-Russian Agricultural Exhibition, 1923". IOP Conference Series: Earth and Environmental Science 350 (15 de novembro de 2019): 012001. http://dx.doi.org/10.1088/1755-1315/350/1/012001.

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Pasarello, Clerice, e Sabaté Sentís. "The origins of rugby in Catalonia". Fizicko vaspitanje i sport kroz vekove 8, n.º 2 (2021): 42–72. http://dx.doi.org/10.5937/spes2102042p.

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Catalan rugby reached the high point of its young and successful history when became one of the founding nations of the International Amateur Rugby Federation (FIRA) and started competing at international level as an autonomous rugby nation. Towards the end 1921 rugby settled in Catalonia penetrating through sports such as football, athletics, boxing and swimming and owing much to French expatriates residing in Barcelona or Catalan citizens who had lived in France. In 1923 the Catalan Football Rugby Union was created due to the aroused need for organized competitions. With this institutionalisation and organisational structure began a flourishing period for the clubs, culminating in 1929 at the Barcelona International Exhibition where rugby was played in front of 60.000 spectators. In spite of this achievement, rugby remained a minority sport with restricted geographical appeal, with a group faithful and loyal followers.

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CHECHIK, Valentina. "VADIM MELLER’S ART: ON THE WAY TOWARDS CONSTRUCTIVIST ABSTRACTION". HUDPROM: The Ukrainian Art and Design Journal 2023, n.º 1 (30 de junho de 2023): 128–39. http://dx.doi.org/10.33625/hudprom2023.01.128.

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This article discusses the features of the refraction of the techniques and principles of abstract art in V. Meller’s early works. The research field comprised both widely known and completely unknown artist’s easel works and theatrical projects from the late 1910s to the early 1920s. The stylistic vocabulary of Meller’s works of this period in art history literature is rightly associated with CuboFuturism. At the same time, it is easy to see how the artist reaches the borders of Cubo-Futurist thinking – to abstract compositions. In the painting Futuristic Composition (1919–1920), and in the theatre sheets for B. Nijinska’s ballets (1918–1921), and for the plays (Maitre Patlin (1919) and Mazepa (1922)), the revealing of the rhythmic architecture of structural elements (color geometry such as circles, arcs, pointed triangles, and trapezoids), and means of their dynamic development are directly linked to the plastic laws of abstract art. Each of these works is a compositional experience. The artist builds the composition on the dominance of color and form, their plastic, rhythmic and semantic potential. At the same time, by “deobjectifying” a pictorial motif to an ornamental formula, the artist does not completely cancel the real form but leaves open the possibility of its returning to the material world. The same principles of form constructing are retained in the pictorial Sketch to the Portrait exhibited together with Portrait of T. Shevchenko at the 2nd Report Exhibition of the Ukrainian Academy of Arts (1921). The plastic codes of abstract art saturated V. Meller’s stage design for the early Berezil productions of 1923. Despite the use of K. Malevich’s Suprematist vocabulary in the stage backdrops for the production of R.U.R., A. Exter’s art and the language of her lyrically expressive and dynamic abstractions have always remained a source of creative inspiration. This was precisely the kind of composition V. Meller, transferred into the three-dimensional space of the stage in the production of Gas (1923). Its scenography marked the inner logic and independence of the artist’s movement towards subsequent structural-linear spatial modules (The New Ones Are Coming (1923)), which designated a brilliant period of “orthodox” theatrical constructivism on the Ukrainian stage.

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Nowakowska-Sito, Katarzyna. "Ludomir Sleńdziński’s Trips to Italy 1923–1925". Roczniki Humanistyczne 67, n.º 4 SELECTED PAPERS IN ENGLISH (30 de outubro de 2019): 81–101. http://dx.doi.org/10.18290/rh.2019.68.4-4en.

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The Polish version of the article was published in Roczniki Humanistyczne vol. 60, issue 4 (2012). Ludomir Sleńdziński was the main representative of classicism in Polish art in the period between the two World Wars. The article discusses his two trips to Italy in 1922/24 and 1924/25. They have not been yet researched in the context of the origin and character of his work, albeit impulses coming from Italy were thought to have been an important catalyst for the birth of the so-called “return to order.” Sleńdziński was Dmitry Kardovsky’s student at the Academy of Fine Arts in Sankt Petersburg, and it was in his class that he acquired a worship of the old masters and a perfect command of his trade, first of all perfect drawing skills. Apart from the Sankt Petersburg school, classicist trends came to Polish art from Paris where they were first noticed in the circles connected with the Museion magazine (1911-1913) and among artists belonging to the Polish colony, such as Henryk Kuna, Edward Wittig and Eugeniusz Żak. In the article, I reconstruct Sleńdziński’s tour of Italy, and I remind about the exhibition of Polish modern art that he staged in 1925 as part of the 3rd Roman Biennale. His personal contact with old and modern Italian art became an important moment in his artistic formation, stimulating his departure from academic towards modern classicism, in which the artist starts playing a game with the present day and with tradition, consciously using stylistic elements that belong to different epochs. In conclusion it must be said that Ludomir’s trips inclined him to introduce many new solutions (sometimes surprisingly close to works by well-known Italian artists of similar outlook) and determined the final shape of his mature work.

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Leal Rodrigues, Sofia. "“Vision in motion”: László Moholy-Nagy and the Genesis of the Visual Book". Disegno, n.º 1-2 (2021): 86–109. http://dx.doi.org/10.21096/disegno_2021_1-2slr.

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This essay aims to analyze the ways in which László Moholy-Nagy’s concepts of “new typography” and “typophoto” were essential to the creation of a new typology of publications: visual books, which have a strong image component, resulting from the popularization of photography and cinema. New typography was defined in 1923 by László Moholy-Nagy in a short text for the catalog of the Bauhaus exhibition Staatliches Bauhaus in Weimar 1919–1923. New typography resulted from a new graphical orientation by Bauhaus, influenced by the ideology of several avant-garde movements, such as De Stijl and Russian Constructivism, that celebrated simplification, geometrization and the advantages of modern technology to construct a visual language that could communicate clearly and in a universal manner. In Moholy-Nagy’s text, new typography called for an analysis of the relation between form and content through the collapsing of the “classic model” (the “old typography”) and the objective use of photography. In 1925, Moholy-Nagy introduced the notion of typophoto in Painting, Photography, Film to realize the “bioscopic book” of El Lissitzky, which is more visual than textual. In publications like the exhibition catalog Staatliches Bauhaus in Weimar 1919–1923 or the Bauhausbücher series, Moholy-Nagy puts both principles into practice, converting the book into a space of visual exploration, endowed with a cinematic dimension that comes close to his notion of “vision in motion”. Through the use of a qualitative research methodology, and based on a critical review of literature and the direct observation of case studies, this essay aims to show how Moholy-Nagy’s multidisciplinary legacy contributed to a paradigm shift in book design.

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Blackman, Cally. "The Colour of Fashion at the Salon du Goût Français: A Virtual Exhibition of French Luxury Commodities, 1921–1923". Costume 56, n.º 1 (março de 2022): 51–73. http://dx.doi.org/10.3366/cost.2022.0218.

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This article investigates the use of the Autochrome, an important photographic process invented by the Lumière brothers that produced the most accurate representation of colour between 1907 and the early 1930s, in a government-backed exhibition of French luxury commodities, the Salon du Goût Français. Between 1921 and 1923 the exhibition showed in Paris and undertook two international tours, first to North America and then to Australasia, China, Vietnam, Japan and India. Thousands of objects were displayed, from automobiles to umbrellas, including couture, ready to wear, lingerie, menswear, children's wear and accessories. By reducing the objects to two dimensions on the glass Autochrome plates, the exhibition could be shown in a relatively small venue in Paris, transported to America in a trunk and voyage on a decommissioned battle cruiser to the Far East. Using the trope of Western fashion as a form of soft power mediated by the global reach afforded by the Autochromes, the article proposes that the Salon du Goût Français offered a kind of roving virtual art gallery, a vividly colourful encyclopaedic display of over 2,000 images of luxury manufacturing deployed to restore France's imperial and cultural hegemony as supreme arbiter of taste after the trauma of the First World War.

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Teses / dissertações sobre o assunto "Exhibition, 1923"

English, Linda Christine. "The Calgary Exhibition and Stampedes, culture, context and controversy, 1884-1923". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ47940.pdf.

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Gray, Michael. "New Australian plants and animals. An exhibition - and - Physiology, phenomenology and photography: Picturing the indeterminate within an Australian art practice. An exegesis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1923.

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This practice-led research project investigates indeterminate aspects of perception related to human vision and postcolonial conditioning. Through an inventive range of lens-based artworks, the research draws parallels between preconscious visual phenomena and the subjective experience of non-indigenous Australians of multiple generations. The resulting body of creative work, New Australian Plants and Animals, can be seen to approach preconscious visual phenomena derived from the physiology of the human eye through the use of primitive photographic lens technology. This process is applied to the subject matter: introduced plants and partially naturalised migrants. This synthesis of subject and materials creates new insights into preconscious vision whilst questioning aspects of colonisation-in-reverse (Tacey, 1995) where the colonised land immeasurably exerts itself on the coloniser’s psyche. The partially naturalised migrant is metaphorically compared to introduced plants in Australia that are found inexplicably to evolve into new species. The research highlights photography’s historic role in falsely maintaining the view that the human eye views the world with a flat, sharp field of focus by revealing how images potentially appear at the back of the human eye before being processed by the mind. The photographic component of the research work can be seen to depart from the contemporary practice of representing cultured landscapes with highly refined technical processes. Instead, the photographs move towards picturing an indeterminate space where the physical world meets the embodied subject through the use of primitive photographic materials. Additionally, by inverting the power of the lens and photographing the coloniser instead of the colonised, this project enabled fresh insights into the postcolonial subject. In line with Paul Carter’s concept of material thinking (2004), this research relies on the ‘intelligence’ of materials to automatically reduce visual phenomena to a preconscious ocular quality whilst metaphorically operating as nineteenth-century colonial survey equipment. A broad range of artists has informed the research, ranging from late nineteenth-century European naturalist painters to contemporary Australian installation artists. The main theorists informing this project are Walter Benjamin, Maurice Merleau-Ponty and Edmund Husserl.

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Borchardt-Hume, Achim. "The history of the Esposizione Quadriennale d'Arte Nazionale 1927-1943 : sixteen years of aesthetic pluralism under Facist patronage". Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248636.

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Chasse, Sarah Noble. ""A Certain Kinship": The First Exhibitions of American Folk Art, New York, 1924-1932". W&M ScholarWorks, 2012. https://scholarworks.wm.edu/etd/1539626675.

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Welbourne, J. "Design theory and exhibition practice in Britain, 1924-1938 : The articulation and representation of modernist design theory between the Empire Exhibitions". Thesis, University of Essex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375731.

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Hedqvist, Eric. "Varats och utvecklingens kedja : en naturhistorisk museiutställning i Göteborg 1923-1968". Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-18922.

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This dissertation is a museological study of the coming into being of a natural history museum, its building and its adherent zoological exhibition during the years around the First World War. The main problem of the dissertation is the opposition between the curator´s program 1903 for the exhibit and its realization twenty years later. The theoretical perspective is that in its synchronic aspect science, in accordance with the views of swedish sociologist, Thomas Brante, is divided into three levels interdependent upon one another in varying degrees – theoretical, sociological and psychological level. In the present study, the main issue is the weighing of the relative significance of each of these levels. The exhibit was structured as along a scale, or chain, from lesser to greater animals. In this and in other respects it belonged to the legacy of Swedish naturalist Carolus Linnæus. Interest in maintaining this tradition was powerful in the Swedish society during the years before the First World War. Not until around 1950 was the modern theory of evolution explicitly announced to the visitor of the exhibit, still however without the representation of the forces behind it By an investigation of the milieu to which the museum belonged is shed light upon the scientific and other ideals which are represented in its exhibit. The result of an assess of the significance of the theoretical, the sociological ant the psychological level is that contemporay theory does not stand out as a driving force behind the creation of the exhibit in 1923. Nor does the curator of the exhibition emerge as an innovator. Most dominant is however the sociological level.
avhandlingen framlägges för disputation i ämnet museologi

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Petersen, Charlise. "Visual trauma: Representations of African bodies in the 1983 Contre Apartheid Exhibition". University of the Western Cape, 2018. http://hdl.handle.net/11394/6254.

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Magister Artium - MA (English)
After the 1976 student uprising, South Africa entered a period of increased violent state repression. The struggle against apartheid also became increasingly globalised, as can be seen in the UN resolution and the rise of various international anti-apartheid organisations. My thesis looks at the various ways in which art was used as a response to the crisis of late apartheid in the 1980s, focusing on a landmark international exhibition, the Art Contre Apartheid exhibition which opened in Paris on 1983. It examines the context and history of the Art Contre Apartheid collection, and follows its path to its current location at the Mayibuye Archive at the University of the Western Cape, where it mostly languishes in packing crates. My research locates its analysis of the works in broader debates around art and politics during the struggle years in South Africa, but also to highlights the continuities and contrasts between international responses to apartheid, and local struggle art produced in the period surrounding the launch of the exhibition. Some of most compelling works of art in the collection depict the human form, and register acts of torture. The analysis focuses specifically on depictions of a fragmentation and dismemberment of the human body. Drawing on Elaine Scarry's argument about the limitations of language as an adequate response to trauma, my research develops an analysis of these works that demonstrates how the body becomes a privileged site in which violent political contestations are made visible. The thesis also deals extensively with the 'absence of form', which highlights the various instances in the ACA collection where abstract art was used as a signifier of pain, and thus the unspeakable effects of apartheid.

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Andreotti, Libero. "Art and politics in Fascist Italy : the Exhibition of the Fascist Revolution (1932)". Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/14179.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.
Title as it appeared in M.I.T. Graduate List, Sept. 1989: Art and politics in Italy; the Exhibition of the Fascist Revolution.
Includes bibliographical references.
by Libero Andreotti.
Ph.D.

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Moss, Zahra Marie. "The Golden Treasures of Monte Alban: Mexican Representation and Exhibition Controversy, 1933-1936". Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242379.

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In 1932, Alfonso Caso, a rising professor of anthropology and employee of the Mexican National Museum of Anthropology and History made a huge archeological discovery; a centuries old tomb in the ancient citadel of Monte Alban located in the southern Mexican state of Oaxaca. In the months that followed the discovery the find was excavated, cleaned, cataloged and put on display. Altogether the cache consisted of hundreds of objects made of gold, precious stone, sea shells and human remains. Dubbed the Monte Alban Treasure by its discoverer, the find soon became a worldwide sensation. Public interest in a travelling exhibition exacerbated demands for the treasures public display in the United States. This dissertation traces the discovery, exhibition and consequences of the display of Monte Alban Treasures in the United States following the end of the armed phase of the Mexican Revolution. I argue that as the Revolution was in full swing, the existing new leadeship used archeology and art to dictate the cultural monikers that represented the country after the civil war. Defining the national character, establishing a cohesive cultural history and developing a visual narrative that coalesced with the governments aspirations informed the basis of the social changes fomented between 1921-1936. I argue that a series of popular art and archeological shows in Mexico and the United States in the late 1920's primed audiences for a revolutionary re-interpretation of Mexico's past that integrated indigenous populations into the history of the nation. This narrative minimized the impact and influence of European colonial powers and instead focused upon emphasizing the origins of Mexico's independent cultural identity. The display of Monte Alban Treasures in Mexico and the United States between 1922 and 1934 was part of this emergent revolutionary rhetoric. This research project explores the popular audience responses to the exhibit, but also charges alleging that the artifacts selected for display were fabricated. This twist demonstrates some of the major problems associated with using art and archeological evidence to represent broader political agendas. In this case, the Mexican government appropriated the Monte Alban Treasures, assigned them a narrative of indigenous appreciation and inclusivity and used their subsequent display to promote this abroad. This project will show how science and art were not contradicting fields of study, but fused to forge the public Revolutionary identity of Mexicans in the mid twentieth century.

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West, Kim. "The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977". Doctoral thesis, Södertörns högskola, Estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32143.

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This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence.
Space, Power, Ideology

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Livros sobre o assunto "Exhibition, 1923"

Sam, Francis. Sam Francis: 1923-1994. London: Grosvenor Gallery, 1996.

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Francis, Sam. Sam Francis: Prints and drawings, 1957-1989 [exhibition]. New York, NY: Associated American Artists, 1990.

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Sam, Francis. Sam Francis: Prints and drawings, 1957-1989 [exhibition]. New York, NY: Associated American Artists, 1990.

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Sam, Francis. Sam Francis: Etchings, 1973-1985 : exhibition Galerie Kornfeld, Bern, Zurich. Bern: Galerie Kornfeld, 1985.

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Davis, Earl. Stuart Davis scapes: An exhibition of landscapes, cityscapes, and seascapes made between 1910 and 1923. New York (20 E. 79 St., New York 10021): Salander-O'Reilly Galleries, 1990.

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Jenior, Pablo, e Barbara Schilling. "Neue Kunst in der Orangerie": Die Ausstellungen von 1913 - 1922 - 1927 - 1929 : Vorboten der Documenta? Kassel: Verlag Winfried Jenior, 2016.

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Hlito, Alfredo. Hlito: (1923-1993). Buenos Aires, Argentina: Centro Cultural Recoleta, 2003.

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Hlito, Alfredo. Hlito: (1923-1993). Buenos Aires, Argentina: Centro Cultural Recoleta, 2003.

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Patkerasrah, Hayastani Azgayin. Hayotsʻ Mets egheṛni 95 tarelitsʻin nvirvats tsʻutsʻahandes: Exhibition dedicated to the 95th anniversary of the Armenian Genocide. Erevan: Hayastani Azgayin Patkerasrah, 2010.

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Diab, Rashid. Rashid Diab: Retrospective exhibition, 1983-1993. Madrid: Medani, Estudio, Galeria de Arte, 1993.

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Capítulos de livros sobre o assunto "Exhibition, 1923"

Mallinson, Jonathan. "9. 1924–25: Recognition of the Artist Potter". In William Moorcroft, Potter, 185–206. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.09.

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This chapter explores the development of Moorcroft’s work against the background of two major international exhibitions: the British Empire Exhibition at Wembley in 1924, and the Exposition des arts décoratifs et industriels in Paris the following year. His high-profile involvement in the Wembley exhibition, epitomised in his magnificent stand designed by Edward Maufe, was one of the landmarks of his career. His display enhanced his reputation as a ceramic artist, culminating in an article published in the Daily Graphic entitled ‘A Potter of Genius’. Surviving reports written to Moorcroft three or four times a week by his two assistants record the impact made by his ware on the many visitors to the stand, from celebrities to ordinary members of the public. Such was Moorcroft’s status as one of the country’s most innovative potters that he was put under considerable pressure by the Board of Trade to exhibit at the Paris Exhibition. This event would become a focus for extensive reflection about the need to modernise British industrial design. While some argued for the aesthetic and economic benefits of following more closely the European and Scandinavian styles in evidence at the Paris Exhibition, Moorcroft did not. He set out his position in a letter to The Times, arguing for design primarily as a mode of self-expression, not of commercial expediency. For all that his work did not follow the trends of ‘modern’ style, it was nevertheless awarded a Gold Medal at the Exhibition. These are the years of Moorcroft’s greatest commercial success, but this was not the basis of his reputation. He was admired for his distinctive, expressive art, described in one review as ‘cogent and articulate’.

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Saha, Ranjana. "The Child Welfare Exhibition, 1920*". In Modern Maternities, 189–233. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003327837-6.

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Van de Casteele, Marlène. "Fashioning Beaton Portraits 1928–1968 Exhibition". In Histories of Exhibition Design in the Museum, 103–18. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003245377-9.

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Paver, Chloe. "Material Experiences, 1933–45". In Exhibiting the Nazi Past, 65–141. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77084-0_3.

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Kahn, Alison L. "The Pontifical Missionary Exhibition (1925): The Last Great Nineteenth-Century Exhibition". In Imperial Museum Dynasties in Europe, 95–114. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-3189-7_7.

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Goss, W. M., Claire Hooker e Ronald D. Ekers. "To the Cavendish Laboratory of the University of Cambridge, 1931". In Historical & Cultural Astronomy, 53–68. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-07916-0_6.

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AbstractFrom the 1851 Exhibition Scholarship Committee to Pawsey on 1 October 1931:Pawsey started out in research in the midst of excitement over the possibilities of radio communications and the iteratively developing physical understanding of the ionosphere and of the equipment that might be used to investigate it. During 1926–28 he completed his BSc at the University of Melbourne, Victoria. In 1929 he began a Master’s Degree, which was at that time a research-only degree, under the direction of Professor T.H. Laby. He was supported by receiving the M.J. Bartlett Research Scholarship. Presumably this, along with his work as a tutor in Physics at Queens College, provided him with a small, but independent, income. He embarked on a study of “atmospherics”—electrical disturbances in the atmosphere that Appleton, at King’s College, London, and others had linked in part with thunderstorm activity—and their impact on radio broadcasting. From January 1930 to August 1931, he carried out observations using a cathode ray direction finder, working with George H. Munro and Lenard Huxley as part of the Australian Radio Research Board (RRB). Pawsey wrote in 1933: “We were able to give strong evidence that all atmospherics originate in lightning flashes, and made measurements of intensity enabling the distance of the thunderstorms to be roughly determined.” (Ratcliffe & Pawsey, 1933)

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Hill, Lucinda. "Jung and the Picasso exhibition of 1932". In Jung's Reception of Picasso and Abstract Art, 14–28. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003222729-3.

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Alessandrini, Michela. "‘Repetition: Summer Display 1983’ at Van Abbemuseum". In Cultural Inquiry, 231–38. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_23.

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The reactivation of Rudi Fuchs’ 1983 exhibition ‘Summer Display’ took place in 2009 as part of the collection series, ‘Play van Abbe part 1: The Game and the Players’, and was entitled ‘Repetition: Summer Display 1983’. The reconstruction questioned the codes and systems used within (but also consciously and unconsciously outside) the museum and raised several questions, including: what story did the original composers want to tell, and how can this piece of history be understood today? Is the new presentation a separate exhibition entirely or a copy of the ‘original’ one? What is then the difference between the idea of copy, repetition, and reenactment? And what is the role of the museum’s archive in the process of restaging? What can curatorial institutional archives tell us about the museum itself?

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Dellapiana, Elena. "Toward Paris! 45 Years of Domus for a Design à la Français". In Springer Series in Design and Innovation, 285–94. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_27.

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AbstractBetween 31 May and 23 September 1973, the exhibition Domus: 45 ans d’architecture design, art,1928–1873 was held in Paris. It occupied an entire floor of the Pavillon Marsan in the Louvre, involving the entire editorial staff of the magazine. The exhibition, subdivided by decades, used panels, a collection of objects, and original artworks to illustrate the history of Ponti’s magazine from its foundation to 1973.It presents different levels of interpretation that are exemplary of the way of telling the Italian design in an international framework practised since the years of the first issues of “Domus”. On the one hand, the placement of the magazine’s interests in a temporal flow, in the form archive. On the other hand, the curatorial choice clearly privileges the cotè reserved for the visual arts, both in the reproduction of articles and reviews published over the years and thanks to the extraordinary contribution of exhibited artworks by Marino Marini, Max Bill, Renato Guttuso, Ben Sahan, Chillida, Tinguely, Armand among others.The thesis of the paper is that this has been a mode of the Italian project that shapes its narrative code as a transformism calibrated to the culture and mood of the host countries with the aim of presenting a compact and coherent image (the Made in Italy, the Italian way or the Italian line depending on the situation) but also to adapt it to the foreign public, both the generalist -and possible buyer- and the specialist.

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Fu, Yi, e Yu Zhai. "Dynamic Panorama Virtual System Display Platform for Digital Museum Exhibition". In Proceedings of the 3rd International Conference on Cognitive Based Information Processing and Applications—Volume 3, 41–50. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-1983-9_4.

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Trabalhos de conferências sobre o assunto "Exhibition, 1923"

Crain, Trevor, Trevor Fayer, Brian Fabien e Per Reinhall. "Structuring a Hybrid Vehicle Supervisory Control System Simulink Model for Simpler Version Control with Multiple Software Developers". In SAE 2014 World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2014. http://dx.doi.org/10.4271/2014-01-1923.

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Fabbri, G., F. Piraccini, R. Rossi, S. Di Piazza e A. Ferraresi. "Numerical Multi-scale Analysis of Motorbike Heat Exchangers". In SAE 2005 World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2005. http://dx.doi.org/10.4271/2005-01-1923.

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Rico, José, e Volker Sick. "Correlation of Spray Cone Angle and Fuel Line Pressure in a Pressure-Swirl Injector Spray". In 2004 SAE Fuels & Lubricants Meeting & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2004. http://dx.doi.org/10.4271/2004-01-1923.

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Subramanian, Chitrabala, Vijay Tirumala, Bill Williams e David Reynolds. "New Elastomer Composite Increases the Durability of Natural Rubber Parts for Superior Performance of Bushings and Mounts". In SAE 2013 Noise and Vibration Conference and Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2013. http://dx.doi.org/10.4271/2013-01-1923.

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SATO, Mayuka. "Representations of British women at the British Empire Exhibition, 1924–1925". In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_004.

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Lisov, A. G. "THE EXHIBITIONS OF THE UNOVIS ART GROUP IN VITEBSK (1920–1922)". In Regionalnye arhitekturno-hudozhestvennye shkoly. Новосибирский государственный университет архитектуры, дизайна и искусств имени А.Д. Крячкова, 2022. http://dx.doi.org/10.37909/978-5-89170-315-5-2022-2011.

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Boda, Gherghina. "Romanian national heritage at the universal exhibition in Barcelona (1929)". In 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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Stăvilă, Tudor. "Scenographic art in interwar Bessarabia". In 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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Keinonen, Arno, e Evan Martin. "Ice Risk Management for Stationary Vessel Operations in Moving Pack Ice in Ice Offshore Experience and State of Art". In SNAME 9th International Conference and Exhibition on Performance of Ships and Structures in Ice. SNAME, 2010. http://dx.doi.org/10.5957/icetech-2010-112.

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This paper summarises the development of ice risk management used for stationary operations with vessels in moving pack ice. The operations described and suggested as the basis for Ice Risk Management for future projects are: Beaufort Sea Drillships 1975 till ~ 1990 Kulluk, 1983 – 1993 Beaufort Sea Dynamic Positioning operations in the Sakhalin offshore 1999 Sakhalin 2, phase 1, oil production and export with tankers in the presence of ice, 1999 - 2007 Arctic Coring Expedition in the central polar pack 2004 .

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Dumont d'Ayot, Catherine. "Machines à exposer". In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.

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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025

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Relatórios de organizações sobre o assunto "Exhibition, 1923"

Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt e Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), junho de 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.

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Golovko, Khrystyna. TRAVEL REPORT BY ALEKSANDER JANTA-POŁCZYNSKI «INTO THE USSR» (1932): FROG PERSPECTIVE. Ivan Franko National University of Lviv, março de 2021. http://dx.doi.org/10.30970/vjo.2021.50.11091.

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The article analyzes a series of materials by Aleksander Janta-Polczynski «Into the USSR» from Soviet Russia during the in 1932, published on «Wiadomości Literackiе». The purpose of this article is explain the uniqueness of the reporter’s style and personality. We want to emphasize the role of Janta-Polczynski as the pioneer of reportage journalism. He was the first who worked professionally in this position in the full sense of this word. Analyzed the cycle of Alexander Janta-Polczynski from Russia, we can emphasize the scale of the reporter’s trip: in 1932 the journalist made the largest journalistic trip to the USSR. Janta visited the Eastern republics, which differed from the popular Moscow and Leningrad. Also, he saw the largest construction in the USSR at this time – which it bragged about russian newspapers – Magnitogorsk and Dneprostroy. For a better understanding are given the visual examples from reportorial texts. It should be noted that for Janta the main task of the reporter is to show what is seen and recorded: only facts and personal experience in communication. This cycle can safely be called a journey and social expedition. The main task for Janta the scene where the reportage takes place is to find proper characters and convince them of the importance of their story. These are the materials of a reporter – an eyewitness, not a researcher, a report from the scene, which pushes the reader to an independent conclusion. We explore that all the Janta-Polczynski texts are inextricably linked by looking into the «middle» of the process: the diversity of what is seen allows the journalist to look for differences and similarities, compare, look at the fundamental components, track changes and distinguish them. Special attention was paid to a low-angle shot in his materials. He describes how Soviet society lives, how factories work, how the system of educating a Soviet person, goes to the movies and exhibitions, communicates with ordinary citizens. Undoubtedly, all this is successfully complemented by the factual detail and uniqueness of the author’s style.

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Points of Departure in Contemporary Colombian Art. Inter-American Development Bank, fevereiro de 1998. http://dx.doi.org/10.18235/0006428.

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Twenty-seven paintings, sculptures and graphics by Colombian masters Alejandro Obregón (1920-1992), Enrique Grau (1920), Edgar Negret (1920), and Eduardo Ramírez Villamizar (1923), complemented with eight works by artists from a previous generation, made this one of the most important presentations of 20th century Colombian artists offered in Washington in the last three decades, and the opening paid a special tribute to Maestro Enrique Grau. The exhibit was in honor of the city of Cartagena de Indias, site of the 39th Annual Meeting of the IDB Board of Governors. Lenders to the exhibition included the National Museum of Colombia in Santafé de Bogotá, the Museum of Antioquia and the Pedro Nel Gómez Foundation, both in Medellín, as well as private collections and the permanent collection of the IDB.

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Commonwealth Bank of Australia - Premises - Wembley - British Empire Exhibition - 1924. Reserve Bank of Australia, março de 2022. http://dx.doi.org/10.47688/rba_archives_pn-000564.

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