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1
Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.
Повний текст джерелаАнотація:
The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
2
Readshaw, Grahame. "Art Exhibition." Medical Journal of Australia 158, no. 5 (March 1993): 364. http://dx.doi.org/10.5694/j.1326-5377.1993.tb121824.x.
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3
Veerapen, Nadarajen. "Art exhibition." ACM SIGEVOlution 10, no. 4 (June 5, 2018): 6–7. http://dx.doi.org/10.1145/3231555.3231557.
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4
JOHN Ph.D, IDIBEKE AMOS, SUNDAY ETIM EKWERE Ph.D, and PROFESSOR EDEM ETIM PETERS. "VISUAL ART EXHIBITION: A CATALYST FOR SOCIAL UNIFICATION IN NIGERIA." International Journal of Applied Science and Research 05, no. 04 (2022): 01–04. http://dx.doi.org/10.56293/ijasr.2022.5401.
Повний текст джерелаАнотація:
This paper attempts a definition of the term exhibition with particular attention to Visual Art Exhibition, knowing that there are different forms of exhibitions that may not relate to visual arts. The paper equally highlighted on the various types of exhibitions pointing out the virtual exhibition as a new inclusion that has greatly changed the traditional format of visual art exhibition with its attendant impact on the outcome of the results of exhibitions. The highlighted focuses on the challenges of understanding the scope of the basic types of exhibition in contemporary times, as has been redefined by the concept of virtual exhibition. The relevance of exhibition to artists and the significance to the public is deeply discussed with the aim of positioning visual art exhibition in its rightful place as a catalyst for social change. This assertion could be seen in the significant effort of Kenneth C. Murray as a pioneer curator and organizer of visual art exhibition in Nigeria. Murray was a British Art Teacher in Nigeria who was instrumental to the establishment of Oron Museum in Akwa Ibom State, Nigeria, and he recognized Oron Carvings since 1938 and collected them for permanent art exhibition in the Oron Museum. The above therefore formed the conceptual framework of this paper. The opinions, positions and oppositions of other authorities in this matter are considered as they form the indices for postulating the idea of art exhibition as catalyst for social unification. However, the paper concludes that for the visual art exhibition to function as a catalyst for social unification, the elements of unity and integration must be factors the exhibitions composed of, for it to engender the expression of such feelings of social togetherness.
5
Işıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat." Global Journal of Arts Education 6, no. 1 (May 30, 2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.
Повний текст джерелаАнотація:
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
6
Khiatthong, Thongchue, Chakrit Ketruangroch, and Samutcha Apisitsuksonti. "DIGITAL EXHIBITION DESIGN OF THONBURI ART." Journal of Southwest Jiaotong University 56, no. 6 (December 24, 2021): 588–98. http://dx.doi.org/10.35741/issn.0258-2724.56.6.51.
Повний текст джерелаАнотація:
This research article presented the digital exhibition design of Thonburi Art. This research is to: 1) learn knowledge of art and design ideas in the digital exhibition of Thonburi Art; 2) study the design model for the digital exhibition of Thonburi Art; 3) study the satisfaction of visitors. Activities on the website of exhibitions, participants, workshops about the content and quality of the exhibition design. However, this research method uses qualitative and quantitative analysis principles. The results showed that the provider for many exhibitions, the average age of 63 years, 37% of the contributors are in the Y model, so they are satisfied with the high digital exhibition. The satisfaction of the digital exhibition of Thonburi's art (development) by the workshop participants in many ways is also high. Although many factors are at a higher level, this may be because the assessment is performed by experts and related parties that may know and understand the details and research methods. However, the satisfaction survey of Thonburi's digital exhibition, both models and development, information providers is of the high level of satisfaction and information providers from various groups. This may be derived from the components of the same model as the group. Both of the two have the Y models as the main population.
7
Widjono, Rani Aryani, and Shania Geraldine. "Modifikasi Interaksi Fisik dalam Pameran Virtual." Idealogy Journal 7, no. 2 (September 1, 2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.
Повний текст джерелаАнотація:
The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in creating emotional connections with the various parties involved. Based on this, this study will discuss the efforts to implement gamification design that replicates the physical interactions that commonly occur in an exhibition. The purpose of implementing gamification design is to maximize user experience (UX) when visiting exhibitions virtually so that the experience value of virtual exhibitons can increase. The output of this research is the concept of gamification in a virtual exhibition.
8
Ciric, Biljana. "Building archives through curatorial practice." Art Libraries Journal 39, no. 2 (2014): 10–13. http://dx.doi.org/10.1017/s0307472200018253.
Повний текст джерелаАнотація:
An understanding of the museum as an exhibiting space, rather than as a research-based organisation, has led to the current lack in China of institutions tasked with archiving and making art documentation public. A number of projects organised by the author in Shanghai and elsewhere, including History in the Making: Shanghai 1979-2009 and From a History of Exhibitions towards a Future of Exhibition-Making, have addressed the role of archives in exhibition making, while developing new documentary resources for curatorial and art historical research.
9
Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho, and Chan Hee Lee. "Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror." Journal of Conservation Science 37, no. 4 (August 31, 2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.
Повний текст джерелаАнотація:
In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.
10
Critical Resistance, Oakland. "Prisoners' Art Exhibition." Journal of Prisoners on Prisons 16, no. 2 (December 1, 2007): 140–41. http://dx.doi.org/10.18192/jpp.v16i2.5414.
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11
Martin, Colin. "Exhibition Corporeal art." Lancet 376, no. 9749 (October 2010): 1292. http://dx.doi.org/10.1016/s0140-6736(10)61902-2.
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12
Zarobell, John. "Global Art Collectives and Exhibition Making." Arts 11, no. 2 (March 1, 2022): 38. http://dx.doi.org/10.3390/arts11020038.
Повний текст джерелаАнотація:
Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored. Some of the collectives included in these exhibitions have also been very involved in exhibition making themselves. The Indonesian art collective ruangrupa was selected to curate the 2022 edition of documenta. This selection emerges not only from their participation in international biennials and their own exhibition practice in Jakarta—including the organization of regular exhibitions, workshops and film screenings at their compound—but also more ambitions events such as Jakarta 32 °C, a festival of contemporary art and media (2004–2014), or O.K. Video (2006–2018). Another group, the Raqs Media Collective, based in Delhi, curated the Shanghai Bienniale in 2016 and the Yokohama Trienniale in 2020. This paper will connect the local and the global through an examination of art collectives’ community-based work in their own cities, and the way it translates into global art events.
13
Lee, Soo-jin, and Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace." Leonardo 41, no. 5 (October 2008): 454–59. http://dx.doi.org/10.1162/leon.2008.41.5.454.
Повний текст джерелаАнотація:
TenYearsAfter is an annual media art exhibition based in Korea, begun in 2003, organized by Kwang-yun Wohn and curator Mira Kim to facilitate collaboration among engineers, scientists, artists and designers. Unlike other major media-art exhibitions, TenYearsAfter has included artworks by mainstream media artists, independent experiments, and products and research results by artists and non-artists alike. The fourth exhibition in this series, TenYearsAfter_v4.0_OuterSpace, organized by the authors, was held in 2006. This article elaborates on the process of organizing this event and contemplates the implications of annual media art events in the Korean media art context.
14
Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)." Ikonotheka 26 (June 26, 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.
Повний текст джерелаАнотація:
From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).
15
Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
Повний текст джерелаАнотація:
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)
16
Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.
Повний текст джерелаАнотація:
Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.
17
Nakagawa, Katsushi, and Tomotaro Kaneko. "A Documentation of Sound Art in Japan: Sound Garden (1987–1994) and the Sound Art Exhibitions of 1980s Japan." Leonardo Music Journal 27 (December 2017): 82–86. http://dx.doi.org/10.1162/lmj_a_01024.
Повний текст джерелаАнотація:
This article examines the exhibition series Sound Garden (1987–1994) as a first step toward analyzing the sound-based artwork exhibitions of late-1980s Japan. The article begins with an outline of the series and the types of artworks exhibited therein, followed by an examination of the context in which Sound Garden was created by considering prototypes that predate the exhibition series. Finally, the authors discuss related exhibitions and highlight the educational context that inspired these presentations.
18
Gwoździewicz-Matan, Paulina. "MUSEUM EXHIBITION VERSUS COPYRIGHT." Muzealnictwo 60 (September 2, 2019): 225–32. http://dx.doi.org/10.5604/01.3001.0013.4132.
Повний текст джерелаАнотація:
Organisation of exhibitions from the point of view of copyright (Act on Copyright and Related Rights of 4 Feb. 1994, further copyright) is a multifaceted issue. The analysis conducted in the paper boils down to some selected aspects: beginning with the right to display, through exhibition as a separate copyrighted work, up to the exhibition author, namely curator. When purchasing items for collections or acquiring them on the ground of a loan contract, museums should make sure the work can be exploited through public display. Such agreement can be either expressed in the contract (rights or licence transfer) or can be implicit (it can be then assumed that non-exclusive licence with all its limitations has been transferred). Furthermore, the construction of fair use from Art. 32.1 of Act on Copyright can be applicable. An issue apart is the question of exhibition as a separate copyrighted work. It can be a co-authored work in the case when it combines creative efforts of e.g. curator and author of the exhibition layout. The article analyses exhibition understood as a collection of exhibits selected and arranged following a script or presented following a layout in order to fulfil the assumptions of a derivative work (Art. 2 Act on Copyright) or a collection (Art. 3 Act on Copyright). As a result of the assumption that exhibition is a work, the curator becomes an author, thus will have copyright to the created work. Depending on the formal curator-museum relationship, the author’s economic rights shall either be transferred to the museum (employee’s work, specific-task contract with rights transfer or licence granting), or shall exceptionally remain with the author.
19
Verling, Luke. "Exhibition Curation: Art Unlimited." Circa, no. 71 (1995): 30. http://dx.doi.org/10.2307/25562772.
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20
Su, Stephanie. "Exhibition as Art Historical Space: The 1933 Chinese Art Exhibition in Paris." Art Bulletin 103, no. 3 (July 3, 2021): 125–48. http://dx.doi.org/10.1080/00043079.2021.1882808.
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21
Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (June 2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.
Повний текст джерелаАнотація:
Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations
22
Świtek, Gabriela. "The Borderlines of the Thaw: Graphic Art from the Federal Republic of Germany in Warsaw’s “Exhibition Factory” (1956–1957)." Biuletyn Historii Sztuki 82, no. 1 (May 6, 2020): 127–58. http://dx.doi.org/10.36744/bhs.638.
Повний текст джерелаАнотація:
The aim of the essay is to delineate the political and artistic contexts of two exhibitions of graphic art from the Federal Republic of Germany held in the Central Bureau of Art Exhibitions, the main state art gallery in Warsaw (1956–1957). The historians consider the year 1956 – similarly to the years 1968 or 1989 – to be an important caesura in the political and social history on the global scale. In the history of modern art in Poland, the year 1956 is also perceived as a period crucial to changes in artistic life (Polish thaw). As the first show of West German artists in post-war Poland, the Exhibition of the Works of Graphic Artists from the Federal Republic of Germany opened in Warsaw on the same day when Nikita Khrushchev delivered his celebrated “Secret Speech” in Moscow (25 February 1956). The exhibition Poster Art in the Federal Republic of Germany was organized in 1957, after the events of the Polish October (1956). The idea to juxtapose art exhibitions with political events of their era follows contemporary reflections on the phenomenon of noncontemporaneity and on the heterogeneous nature of the visual time of art and exhibition histories.
23
KARAKAŞ TABAK, Dilara. "EXHIBITING EVERYTHING: A REVIEW ON DAMIEN HIRST’S “REAL” EXHIBITION." ATLAS JOURNAL 7, no. 44 (September 24, 2021): 2178–94. http://dx.doi.org/10.31568/atlas.763.
Повний текст джерелаАнотація:
In the development process of art, it is seen that many different artistic styles follow each other. Each movement has been linked to each other in a chain and the way of expression of the artists has been directly affected by the conditions of the period and the cultural background. Contemporary art is undoubtedly completely different from any movement that comes before it. The sharpest point of the break is that the perception of beauty has changed. As a result of this change, a new type of expression that is often difficult to understand, questioning, related to concepts and contexts has emerged. With the transformative power of contemporary art, every object can gain the ability to represent and become a work of art. In this respect, making iconographic analysis in order to better understand the nature of contemporary art requires evaluating the work together with the conditions of the period. In this study, Damien Hirst's new exhibition named "Fact Paintings and Fact Sculptures" has been examined together with the subject of the works, the explicit or hidden meanings of the objects, the past exhibitions of the artist and the similarities of his works with his past works, and the artistic conditions of the period. As a result of the examination, it is seen that the exhibition clearly reflects Hirst's artistic style.
24
Kapoor, Punita. "The Punjab Exhibition of 1881 and Politics of the British Raj." Past and Present: Representation, Heritage and Spirituality in Modern India 4, Special Issue (December 25, 2021): 40–48. http://dx.doi.org/10.12944/crjssh.4.special-issue.05.
Повний текст джерелаАнотація:
In 1849, Punjab was annexed by the English East India Company. This paper deals with the Punjab Exhibition of 1881, where along with textiles, arts and other local handicrafts of India were put on display. Claiming to revive the indigenous Indian arts, crafts and textiles, the exhibition represents the politics of selected exhibits that catered to the taste1 and choice of the British. The exhibition helps in understanding the objective and importance of conducting imperial exhibitions, as exhibitions were also redefining the European homes. A detailed analysis of the exhibition foregrounds how colonial rule redefined the idea and representation of indigenous handicrafts and art. The indigenous handicraft was also immensely being guided by the European market. Thus, the paper focuses on the aspects and strategy adopted by the British at promoting and preserving Indian art and textile. Moreover, efforts at preservation of the arts got institutionalised in the form of art schools. These were set up for the purpose of promoting and building taste for Indian traditional art in the British markets. The paper attempts to understand how the British shaped the notion of heritage and cultural difference between the coloniser and colonised and the ‘self’ and the ‘other’ through the exhibition. By analyzing the Punjab Exhibition 1881, the paper aims to deal with some pertinent issues such as strategic organisation and representation of the exhibits, as well as the legacy of the exhibition during colonial rule. The paper argues that though the British took to organising exhibitions to promote and preserve Indian art and textile, but in reality, it was a disguise aimed at establishing imperial supremacy over the colonised and maintain a hierarchical relationship of aesthetic and traditional culture between the ruler and the ruled.
25
Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art." Art Libraries Journal 13, no. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.
Повний текст джерелаАнотація:
Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importance of exhibition catalogues as important art historical documents is also demonstrated by a chronological analysis of bibliographic citations in the major scholarly journal of African art in the United States. Finally, scrutiny of sources and annotations included in an important bibliographic guide to the literature of African art indicates how firmly established the exhibition catalogue has become as one of the most important publication forms for the dissemination of scholarly writing on African art.[This paper won the ARLIS/NA Gerd Muehsam Award for 1986. We hope to publish a sequel in a future issue, on exhibitions of African art in Africa and the development of catalogues written by Africans. Editor].
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Cai, Gangwei, Lei Xu, Weijun Gao, Yan Hong, Xiaoyu Ying, Yan Wang, and Fanyue Qian. "The Positive Impacts of Exhibition-Driven Tourism on Sustainable Tourism, Economics, and Population: The Case of the Echigo–Tsumari Art Triennale in Japan." International Journal of Environmental Research and Public Health 17, no. 5 (February 26, 2020): 1489. http://dx.doi.org/10.3390/ijerph17051489.
Повний текст джерелаАнотація:
After the recession in Japan in the 1990s, Japanese art exhibitions began to appear. The purpose of these exhibitions was to revitalize these areas through the presentation of art (attracting visitors and tourists). Correspondingly, this study explores the significance of exhibition-driven tourism in Japan. The Echigo–Tsumari Art Triennial (ETAT) was used as a case to study how exhibition-driven tourism has impacted sustainable tourism, economics, and the population. The current paper collected panel data from 1900 to 2018. These panel data were analyzed by descriptive statistics and a correlation analysis (a one-way ANOVA and a Pearson correlation analysis in SPSS26). The empirical analysis showed that the Echigo–Tsumari Art Triennial (exhibition-driven tourism) had positive impacts on sustainable tourism, economics, and the population; its correlations with Niigata were also clear. This study generated results that are valuable from both academic and industry perspectives (exhibition-driven tourism), as this field has not been extensively researched. The current paper also presents the theoretical and practical implications of the statistical results.
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Selwood, Sara, and Lillia McEnaney. "Exhibition Reviews." Museum Worlds 8, no. 1 (July 1, 2020): 216–28. http://dx.doi.org/10.3167/armw.2020.080116.
Повний текст джерелаАнотація:
Hogarth: Place and Progress, Sir John Soane’s Museum, London, 9 October 2019 – 5 January 2020.Place, Nations, Generations, Beings: 200 Years of Indigenous North American Art, Yale University Art Gallery, New Haven, Connecticut, 1 November 2019–28 February 2021.
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Kolokolceva, N. Yu, K. V. Valkova, and I. V. Pyanzina. "The Importance of the Position of an Exhibition Organizer at the Association of Artists-Peredvizhniki (on the Example of A.D. Chirkin's Activities in 1872-1881)." Izvestiya of Altai State University, no. 3(125) (July 12, 2022): 23–27. http://dx.doi.org/10.14258/izvasu(2022)3-03.
Повний текст джерелаАнотація:
The article is devoted to the consideration of organizational issues related to the implementation of the mobile form of exhibition activity of the Society for Travelling Art Exhibitions in the first decade of its existence. The special role of the Commissioner for the organization of exhibitions or the organizer of exhibitions in the coordination of these issues is noted. The experience of organizing the First Traveling Exhibition in 1871-1872 showed the need to attract to the Society a person who understands art and is ready to assume the responsibilities associated with exhibiting in the province for a nominal fee. The article presents a description of the main tasks that fell within the scope of activity of the first manager Alexander Dmitrievich Chirkin. The tasks went far beyond the mere support of exhibitions and expanded over time. A.D. Chirkin was an intermediary between the artists of the Society and the public, the success of the Peredvizhniki (The Wanderers) directly depended on his organizational talent and boundless love for art. The conclusion is made that the significance of the personality of the steward in the business of the Society is not appreciated, since it was with the accompanying person in power and the public in the province that the Peredvizhniki were associated.
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Kenigsberg, Ekaterina. "THE GENESIS OF THE DOCUMENTA INTERNATIONAL EXHIBITION OF CONTEMPORARY ART AS A DIALOGUE PLATFORM FOR ELITE ART AND MASS CULTURE." Herald of Culturology, no. 3 (2022): 158–75. http://dx.doi.org/10.31249/hoc/2022.03.10.
Повний текст джерелаАнотація:
The article examines the genesis of the documenta exhibition as the largest forum in the world of contemporary art, based on the dialogical character of elite art and mass culture. On the example of 14 exhibitions held from 1955 to 2017 documenta traced the long path of development from a single art event as part of the Federal Exhibition of Gardens to a regular global event, studied the role of its artistic directors - curators.
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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
Повний текст джерелаАнотація:
This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
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Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
Повний текст джерелаАнотація:
Raumkunst by Teodor Axentowicz
Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (October 15, 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.
Повний текст джерелаАнотація:
This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.
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Garg, Ruchi. "THEME DISPLAY IN NATIONAL ART EXHIBITION." ShodhKosh: Journal of Visual and Performing Arts 2, no. 1 (April 11, 2021): 13–20. http://dx.doi.org/10.29121/shodhkosh.v2.i1.2021.23.
Повний текст джерелаАнотація:
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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Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (September 27, 2019): 126. http://dx.doi.org/10.3390/arts8040126.
Повний текст джерелаАнотація:
Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
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Guseva, Anna V. "Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 287–302. http://dx.doi.org/10.15826/izv2.2022.24.2.040.
Повний текст джерелаАнотація:
The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.
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de Ridder-Vignone, Kathryn D. "Public Engagement and the Art of Nanotechnology." Leonardo 45, no. 5 (October 2012): 433–38. http://dx.doi.org/10.1162/leon_a_00440.
Повний текст джерелаАнотація:
Nanotechnology art exhibitions provide more than a portal through which to enter the future world of nanotechnology. They also represent the state of nanotechnology in society today. This paper compares three exhibition forums that serve as representations of three of the most common genres of nanotechnology art (nanoart). These exhibition forums and their creators demonstrate distinct perspectives about what counts as engagement and how best to achieve it; they all attempt to persuade their publics that art can serve as a conduit for the creation of alternative nanofutures.
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Bao, Hongwei. "Curating queerness and queering curation: Exhibiting queer Chinese art in Europe." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 313–32. http://dx.doi.org/10.1386/jcca_00069_1.
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This article examines the curatorial strategies of the Secret Love exhibition, the biggest queer Chinese art exhibition outside Asia to date. The exhibition brought together 150 works created by 27 queer Chinese artists. It first took place at the Museum of Far Eastern Antiquities (MFEA) in Stockholm, Sweden, from 21 September 2012 to 31 March 2013, and subsequently toured to other museums in Europe. The exhibition raises the critical question of how one can curate queer Chinese art when definitions of queerness, Chineseness and art remain unstable and contested. This article proposes queer curating – that is, collecting and exhibiting genders, sexualities and desires in an art gallery or museum setting without reinscribing social norms and reinstating identity categories – as a critical curatorial method. Queer curating challenges fixed identity categories and dominant power relations; it also explores a non-essentialist and anti-identitarian mode of curatorial practice. As an example of transnational and transcultural curating, the Secret Love exhibition compels us to consider how curators can work with the structural constraints of exhibition and discursive spaces to create new curatorial possibilities.
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Juříčková, Miluše. "Two Art Exhibitions as Dialogic Events in the History of Czech-Norwegian Cultural Relations." AUC PHILOLOGICA 2021, no. 1 (August 30, 2021): 121–27. http://dx.doi.org/10.14712/24646830.2021.16.
Повний текст джерелаАнотація:
The article analyses two art exhibitions in the context of Czech-Norwegian relations, presenting both the Czechoslovak book exhibition in Oslo (1937) and the Norwegian painting and applied art exhibition in Prague (1938) as important parts in a bilateral cultural dialogue. The promising initial communication in form of a mutual information exchange was soon disrupted by the beginning of World War II and post-war politics.
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Waryanti, Dessy Rachma. "KLASIFIKASI PRIORITAS KETERTARIKAN PERILAKU PENGUNJUNG PAMERAN TERHADAP KARYA SENI RUPA KONTEMPORER." INVENSI 1, no. 2 (April 26, 2017): 1–12. http://dx.doi.org/10.24821/invensi.v1i2.1611.
Повний текст джерелаАнотація:
Many elements are presented to visitors during an exhibition of contemporary art. These elements include the overaching concept of the exhibit (Ko), issues raised in the exhibition (Is), the name of the artist whose popularity attracts patrons (Na), and visual forms of the art itself (Vi). Using these four elements I compiled questions and interviewed patrons with various backgrounds in the arts. The goal was to find out these patron’s interest priorities; in other words, which aspects of the exhibit were of most interest to them as an observer. Previous literature on visitor behavior and social response at contemporary art exhibitions has been used as a base for this research. This study aims to highlight the different interest priorities as a visitor behaviour and audiens reception due to exhibition. I My respondences in this research is the exhibition visitors who had a background in art, but not necessarily in the discipline being exhibited. The results of this study will serve to determine the interest of art exhibition patrons, so that artists and curators can be made more aware of the gaps that exist between exhibit creation and viewer interest, and how those gaps can be better closed.
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Sun, Dan, and Xiaoyan Wang. "From the Inside to the Outside:Study on Exhibition Design and Communication of University Art Museum." Learning & Education 10, no. 5 (March 13, 2022): 91. http://dx.doi.org/10.18282/l-e.v10i5.2683.
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With the continuous improvement of living standards,peoples aesthetic awareness and aesthetic level of continuous
improvement,a large part of art education in the way of exhibition to us. However, China's art industry is not fully mature, and art
exhibitions mainly focus on art education, lacking a strong sense of substitution,so the design requirements for exhibitions have
become higher.
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Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.
Повний текст джерелаАнотація:
Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand? Design/methodology/approach – Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions. Findings – The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity. Practical implications – These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective. Social implications – Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature. Originality/value – The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.
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Dunaway, Judy. "The Forgotten 1979 MoMA Sound Art Exhibition." Resonance 1, no. 1 (2020): 25–46. http://dx.doi.org/10.1525/res.2020.1.1.25.
Повний текст джерелаАнотація:
Over the past 40 years “sound art” has been hailed as a new artistic category in numerous writings, yet one of its first significant exhibitions is mentioned only in passing, if at all. The first instance of the hybrid term sound art used as the title of an exhibition at a major museum was Sound Art at the Museum of Modern Art in New York (MoMA), shown from 25 June to 5 August 1979. Although this was not marketed as a feminist exhibition, curator Barbara London selected three women to exemplify the new form. Maggi Payne created multi-speaker works that utilized space in a sculptural fashion; Connie Beckley combined language and sounding sculptural objects, showing sound in both a conceptual and physical manifestation; and Julia Heyward’s work used aspects of feminist performance art including music, narrative, and the voice in order to buck abstract aesthetics of the time. This paper uses archival research, interviews, and analysis of work presented to reconstruct the exhibition and describe the obstacles both the artists and the curator encountered. The paper further provides context in the lives of the artists and the curator as well as the surrounding artistic scene, and ultimately exposes the discriminatory reasons this important exhibition has been marginalized in the current discourse.
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Lønstrup, Ansa. "Facing sound – voicing art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (December 1, 2013): 153–71. http://dx.doi.org/10.7146/se.v3i1-2.15646.
Повний текст джерелаАнотація:
This article is based on examples of contemporary audiovisual art with a primary focus on the Tony Oursler solo exhibition Face to Face in Aarhus Art Museum ARoS, 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audience’s interactions with the exhibition and the artwork in the museum space, and short analyses of individual works of art based on reception aesthetics, phenomenology, and newer writings on sound, voice and listening. The focus of the investigation is the quality and possible perspectives of the interaction with audiovisual works of art, articulating and sounding out their own ‘voices’. This methodological combination has been chosen to transgress the dichotomy between the aesthetic or hermeneutic artwork ‘text’ analysis and cultural theory, which focuses on the context understood as the framing, the cultural acts and agendas around the aesthetic ‘text’. The article will include experiences with another exhibition, David Lynch: The Air is on Fire (Fondation Cartier pour l’art contemporain, Paris, 2007 and Kunstforeningen Gl. Strand, Copenhagen, 2010- 2011). The two exhibitions are fundamentally different in their integration of sound. My field of interest concerns the exploration of sound as artistic material in audiovisual combinations and those audiovisual works of art that might cause a change in the participatory strategy of the art museum towards the audience.
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Crenshaw. "The Dynamic Display of Art Holography." Arts 8, no. 3 (September 19, 2019): 122. http://dx.doi.org/10.3390/arts8030122.
Повний текст джерелаАнотація:
Holograms have been displayed in single-artist and group exhibitions, since the late 1960’s. The content within a holographic image can be greatly compromised if the hologram is not displayed correctly. Holography exhibitions can either enhance or diminish the impact of the images depending on how the exhibit layout and lighting are designed. This paper looks at art holography from the exhibition installation perspective and offers methods for assuring dynamic displays.
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Cameron, Gordon. "Envisioning the future art exhibition." ACM SIGGRAPH Computer Graphics 33, no. 4 (November 4, 1999): 69–74. http://dx.doi.org/10.1145/345370.345419.
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Bier, Carol. "Bridges Coimbra 2011: Art Exhibition." Journal of Mathematics and the Arts 6, no. 1 (March 2012): 43–52. http://dx.doi.org/10.1080/17513472.2011.628616.
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Calter, Paul. "Bridges Towson 2012 Art Exhibition." Journal of Mathematics and the Arts 7, no. 1 (March 2013): 40–49. http://dx.doi.org/10.1080/17513472.2013.765327.
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du Plessis, Rory. "Unisa ‘Staff/Stuff’ Art Exhibition." de arte 48, no. 87 (January 2013): 61–67. http://dx.doi.org/10.1080/00043389.2013.11877182.
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Robinson, Andrew. "Exhibition Art of the elements." Lancet 386, no. 10005 (October 2015): 1730. http://dx.doi.org/10.1016/s0140-6736(15)00685-6.
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Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (October 20, 2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.
Повний текст джерелаАнотація:
This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.