Готові списки джерел за темами / War in art – exhibitions

Добірка наукової літератури з теми "War in art – exhibitions"

Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 29 липня 2024

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Статті в журналах з теми "War in art – exhibitions"

1

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.

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Анотація:
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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2

Belozyorov, V. V. "Exhibitions of Japanese children’s drawings in the USSR: Depicting Japan, showing the world." Japanese Studies in Russia, no. 1 (April 11, 2023): 27–45. http://dx.doi.org/10.55105/2500-2872-2023-1-27-45.

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The article is devoted to the history of exhibitions of Japanese children’s drawings in the Soviet Union in 1920s – 1980s, as well as to the critical interpretation and perception by the Soviet audience of the artistic works of Japanese children. The importance of such events can be seen not only in the artistic value of the exposition material, but also in the influence of the expositions on the image of Japan in mass consciousness.The material is devoted to key exhibition projects related to the presentation of Japanese children’s art, in particular, the “Exhibition of Children’s Books and Children’s Art of Japan” in 1928, as well as a series of international exhibitions “I See the World,” held in the USSR since the late 1960s. The greatest attention is paid to the peculiarities of Soviet art criticism towards Japanese children’s drawing in the pre-war and post-war period, as well as the influence of Soviet ideology on the interpretation of children’s art from Japan.The author comes to the conclusion that the approach to the exhibitions was characterized by ideological indoctrination, as well as certain stereotypes about Japan, which created a request for exoticization of the creative products of the Japanese children. During the initial period of the Russian-Japanese cultural ties, despite the controversial nature of the Soviet art criticism of Japanese children’s drawings, the exhibition had substantial importance for the cultural ties of the two countries. In the post-war period, not only mono- national exhibitions, but also large projects involving multiple countries drew attention to various creative works of Japanese children. Since the early 1990s, the past importance of such exhibitions as an important element of cultural exchange receded, which is also true for the present times, despite the episodic exhibition projects of this sort in various regions of Russia. The “propaganda” component of children’s drawings faded. It is, however, regrettable that such exhibitions stopped attracting public attention due to the lack of interest of the media to these initiatives, as well as of systematic study of the works of Japanese children from the point of view of art studies and psychology.The article is based on documents, many of which are being introduced into scientific circulation for the first time, from the following archives: the State Archive of the Russian Federation (GARF), the Russian State Archive of Literature and Art (RGALI), the Central State Archive of St. Petersburg.
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3

Jankevičiūtė, Giedrė. "State Strategy of International Art Exhibitions in Interwar Lithuania 1918–1940." Arts 13, no. 1 (January 23, 2024): 19. http://dx.doi.org/10.3390/arts13010019.

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The Republic of Lithuania was one of several young nation-states that re-established or proclaimed their statehood in the aftermath of the First World War, following the dissolution of empires in Europe. The quest for cultural identity and attempts at its representation within the country, in the region, and on the international stage was the crucial element in the nation-building process, where cultural diplomacy played a pivotal role. For Lithuania, as for most European countries of that era, exhibitions, especially art exhibitions or art sections in the case of world shows (for instance, the Expo 1937 in Paris or the New York World’s Fair in 1939), served as a prominent means of expressing its identity. An overview of the Lithuanian state art exhibition strategy, the dynamics of its organizational process, the exhibition content, and their geographical reach are discussed in the article. To comprehensively grasp Lithuania’s cultural strategy and to reconstruct the network of its artistic connections, foreign art exhibitions organized at the state level and the acquisition of artifacts from these exhibitions for Lithuania’s national art collection, the M. K. Čiurlionis Art Gallery, are briefly reviewed as well.
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4

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.

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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.
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5

Ainutdinov, A. S. "Sverdlovsk Artists at Post-War Art Exhibitions, 1946–1952." Art & Culture Studies, no. 1 (February 2022): 164–95. http://dx.doi.org/10.51678/2226-0072-2022-1-164-195.

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The article is devoted to studying various aspects of the exhibition process in the post-war Sverdlovsk. For the first time in the Ural art history, the art exhibitions that were held after the Great Patriotic War and had works by Sverdlovsk visual artists on display, are named, described, systematized, and classified in one research. The new data sources used in the research uncover the reasons behind the low levels of participation of Sverdlovsk painters, sculptors, and graphic artists in the All-Soviet and national exhibitions in 1946–1952. When performing the research task, the author achieves the main goal: generating new knowledge about the history of Sverdlovsk visual arts of the post-war period and gaining additional factual information on the Soviet art history of the 1940–1950s through the analysis of various sources. Of significant interest to art studies is a wider perspective on the creative activity of Sverdlovsk painters, sculptors, graphic and other artists analyzed against the background of the general organizational objectives of the Sverdlovsk branch of the Artists’ Union of the USSR and the socio-cultural life of the period, which determined the nature of relations between the authorities and the intelligentsia, and artistic connections between different regions of the USSR.
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6

Garduño, Ana. "Tokio descubre México." Latin American and Latinx Visual Culture 5, no. 1 (January 1, 2023): 48–64. http://dx.doi.org/10.1525/lavc.2023.5.1.48.

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This is a case study that analyzes the cold-war era policies of the Mexican government with respect to art exhibitions. In Washington, DC, in 1953, an exhibition of ancient Japanese art opened and thus ended the artistic invisibility of Japan that stemmed from the Second World War. Following this sign of “official rehabilitation,” Mexico presented a compendium of much of the history of Mexican art in Japan in 1955. The exhibition, Mekishiko Bijutsu-ten, reproduced an exhibition archetype that had been formalized decades earlier, by building itself around three large nuclei: ancient, modern, and popular art. There were in fact three exhibitions—each coordinated by the Instituto Nacional de Bellas Artes (INBA, Mexico’s national institute of fine arts)—with pavilions at the Venice Biennale of 1950 and at Paris’s Museum of Modern Art in 1952. Together, they demonstrate the power of the INBA over ideas about Mexican art. The adjustments in the selection of works sought to reveal aesthetic parallels with Japan and generate cultural empathy. At the time, Mexico was triumphantly promoting its art as a product of an artistic renaissance that had occurred after the 1910 Revolution, an avant-garde that was seen as a possibility for the future of Japan. The Mekishiko Bijutsu-ten, too, was received as a novel proposal to activate old artistic forms for contemporary aesthetic production. This practice contrasted with the Japanese view of the issue, which had generally experienced as disruptive attempts to modernize the past. Thus, the exhibition fostered the transfer of cultural strategies.
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7

Dhaenens, Laurens. "Sympathy or strategy." MODOS: Revista de História da Arte 7, no. 3 (October 2, 2023): 95–116. http://dx.doi.org/10.20396/modos.v7i3.8673725.

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The paper explores two Belgian art exhibitions that took place in Buenos Aires in 1946 and 1948: the Exposición de arte belga moderno and the Exposición de arte belga contemporáneo. Although these exhibitions appear to be part of the same cultural initiative showcasing Belgian art in Argentina after World War II, a closer examination reveals that they were distinct endeavors with differing institutional frameworks and objectives. The study offers a detailed analysis of the institutional context and discourse surrounding both exhibitions from a Belgian viewpoint. Specifically, it delves into the roles of Louis Piérard, the Argentine Commission for Intellectual Cooperation, the Belgian community in Buenos Aires, and the Belgian ministries of Foreign Affairs and Public Education. As such, it unravels the meaning and impact of the exhibitions in a post-war context. Ultimately, the paper demonstrates how these exhibitions reflect Belgium's evolving approach to international cultural diplomacy.
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8

Skarupsky, Petra. "“The War Brought Us Close and the Peace Will Not Divide Us”: Exhibitions of Art from Czechoslovakia in Warsaw in the Late 1940s." Ikonotheka 26 (June 26, 2017): 95–110. http://dx.doi.org/10.5604/01.3001.0010.1674.

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Анотація:
In his book Awangarda w cieniu Jałty (In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989), Piotr Piotrowski mentioned that Polish and Czechoslovakian artists were not working in mutual isolation and that they had opportunities to meet, for instance at the Arguments 1962 exhibition in Warsaw in 1962. The extent, nature and intensity of artistic contacts between Poland and Czechoslovakia during their coexistence within the Eastern bloc still remain valid research problems. The archives of the National Museum in Warsaw and the Zachęta – National Gallery of Art which I have investigated yield information on thirty-fi ve exhibitions of art produced in Czechoslovakia that took place in Warsaw in the period of the People’s Republic of Poland. The current essay focuses on exhibitions organised in the late 1940s. The issue of offi cial cultural cooperation between Poland and Czechoslovakia was regulated as early as in the fi rst years after the war. Institutions intended to promote the culture of one country in the other one and associations for international cooperation were established soon after. As early as in 1946, the National Museum in Warsaw hosted an exhibition entitled Czechoslovakia 1939–1945. In 1947 the same museum showed Contemporary Czechoslovakian Graphic Art. A few months after “Victorious February”, i.e. the coup d’état carried out by the Communists in Czechoslovakia in early 1948, the Young Czechoslovakian Art exhibition opened at the Young Artists and Scientists’ Club, a Warsaw gallery supervised by Marian Bogusz. It showed the works of leading artists of the post-war avant-garde, and their authors were invited to the vernissage. Nine artists participated in both exhibitions, i.e. at the National Museum and at the Young Artists and Scientists’ Club. A critical analysis of art produced in one country of the Eastern bloc as exhibited in another country of that bloc enables an art historian to outline a section of the complex history of artistic life. Archival research yields new valuable materials that make it impossible to reduce the narration to a simple opposition contrasting the avant-garde with offi cial institutions.
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9

Nae, Cristian. "Constellational Modernisms: “Socialist Humanism” and “Contextual Art” in Ion Bitzan and Wanda Mihuleac's Graphic Art of the 1970s." ARTMargins 13, no. 2 (June 1, 2024): 45–64. http://dx.doi.org/10.1162/artm_a_00383.

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Abstract Art exhibitions acted as facilitators of transnational encounters among artists during the Cold War. This article analyzes the emergence and local circulation of two art critical concepts which described adaptations of art practices and techniques associated with Pop art and conceptual art in Romanian graphic arts of the 1970s as an expanded artistic medium. Focusing on the way Romanian artists Ion Bitzan and Wanda Mihuleac adjusted their experimental art practices to suit different audiences in state-supported exhibitions such as the Romanian Pavilions in Venice or the Ljubljana Graphic Arts Biennale, as well as in other large-scale exhibitions organized in Romania and abroad, the text helps undermine the distinction between official and unofficial art in art under socialism. It argues for the continuities between artistic experimentation in the two spheres of artistic activity and proposes a constellational reading of their graphic art practices as examples of modernisms in translation.
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10

Mehring, Frank. "Advancing American Art and Intercultural Confrontations in Germany, 1945–1948." International Journal for History, Culture and Modernity 7, no. 1 (November 2, 2019): 971–90. http://dx.doi.org/10.18352/hcm.594.

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This article critically addresses the multivalent function of American art exhibitions in the period of de-Nazification and re-democratization. What kind of cultural and political parameters shaped the perception of American Art in Germany during the early post-war years? I investigate intercultural confrontations surrounding the project of advancing American art and the critical response of German audiences by first looking at the exhibition Advancing American Art from 1947. I then analyze the role of the transatlantic cultural mediator Hilla von Rebay to understand developments in the German perspective on American art. The German-born artist von Rebay emigrated in 1927 to the United States and organized the German tour of Zeitgenössische Kunst und Kunstpflege in U.S.A. (Contemporary Art and the Promotion of Arts in the U.S.A.) authorized by the Office of Military Government, United States (OMGUS) in 1948. The project of ‘advancing American art’ resembles a struggle with many setbacks due to lack of official support and finding a larger public in the early years after World War II.
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Дисертації з теми "War in art – exhibitions"

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Holland, Nicole Murphy. "Worlds on view visual art exhibitions and state identity in the late Cold War /." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.

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Анотація:
Thesis (Ph. D.)--University of California, San Diego, 2010.
Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
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2

Sousa, Luis. "Between monument and memorial : the design of the Korean War veterans memorial." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23012.

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Petcavage, Stephanie. "Fascist Art and the Nazi Regime: The Use of Art to Enflame War." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1463130930.

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Robertson, Kirsty M. "We stand on guard for thee : protecting myths of nation in "Canvas of War" /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ63358.pdf.

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5

Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.

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6

Forstrom, Melissa. "Interpretation and visitors in two Islamic art exhibitions." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.

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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideologies like Orientalism and Islamophobia. Contemporaneously, there has been a steadily growing body of research on interpretative theory in new museology. However, no significant attempt has been made to amalgamate and apply the recent academic research in interpretative theory, including design interpretation, museum graphics and written interpretation to the analysis of Islamic art exhibitions. This thesis examines the interpretation, the process(es) of interpretation production and visitors responses in two Islamic art exhibitions in the United States: the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia and Later South Asia (New Galleries) at the Metropolitan Museum of Art in New York City and Pearls on a String: Artists, Poets, and Patrons at the Great Islamic Courts (Pearls) at the Walters Art Museum in Baltimore, Maryland. This thesis utilizes a triangulated methodological approach where the theoretical research in interpretative theory is applied to a case study of New Galleries interpretation. A critical reflection method is adopted to examine the author’s professional involvement in the Pearls exhibition. Summative visitor evaluations of both exhibitions were undertaken in order to better understand the meanings visitors’ make. Ultimately this thesis argues that a unified, process-based approach (Whitehead,2012) to interpretation with both design and written interpretation is important because of the association or slippage between Islamic art exhibitions and the broader social and political contexts.
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Hatcher, Lynn A. "Exhibition in the curriculum preparing students to complete the artistic cycle /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).
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8

Fuller, Michele. "Reviewing medium: paint as flesh." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.

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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
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Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.

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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
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Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.

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Книги з теми "War in art – exhibitions"

1

Alfredo, Jaar, Drake Willie Avon 1946-, Anderson Gallery, Virginia Museum of Fine Arts., and Museum of Contemporary Art (Chicago, Ill.), eds. Alfredo Jaar: Geography=war. Richmond, VA: Anderson Gallery, Virginia Commonwealth University, 1991.

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2

Haase, Claus-Peter. Make art not war. Berlin: PatchWorldVerlag, 2008.

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3

Szabó, Ádám. War games. Paks: Paksi Képtár, 2017.

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4

1957-, Monegal Antonio, Torres Francesc 1948-, Ridao Jose Maria 1961-, and Centre de Cultura Contemporania de Barcelona., eds. At war. Barcelona: Centre de Cultura Contemporània de Barcelona, 2004.

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5

Germany), Galerie Designtransfer (Berlin, and Universität der Künste Berlin, eds. War postdigital besser? Berlin: Revolver, 2014.

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6

Perrone, Diego. War games. Milano, Italia: Humboldt Books, 2017.

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7

Brigitte, Jacobs-van Renswou, Zentralarchiv des Internationalen Kunsthandels, SK Stiftung Kultur, and Art Cologne (2010), eds. Am Anfang war das Informel. Nürnberg: Verlag für moderne Kunst, 2010.

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8

Frances, Morris, and Tate Gallery, eds. Paris post war: Art and existentialism 1945-55. London: Tate Gallery, 1993.

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9

1950-, Barron Stephanie, Eckmann Sabine, Gillen Eckhart 1947-, Los Angeles County Museum of Art., Germanisches Nationalmuseum Nürnberg, and Deutsches Historisches Museum, eds. Art of two Germanys--Cold War cultures. New York: Abrams, 2009.

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10

Solnit, Rebecca. Secret exhibition: Six California artists of the Cold War era. San Francisco: City Lights Books, 1990.

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Частини книг з теми "War in art – exhibitions"

1

Gamble, Antje. "Introduction." In Cold War American Exhibitions of Italian Art and Design, 1–18. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003265900-1.

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2

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

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Gamble, Antje. "Thoughts on the Cultural Impacts of Italy at Work." In Cold War American Exhibitions of Italian Art and Design, 113–22. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003265900-6.

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

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Gamble, Antje. "Displaying Italian Producers for American Consumers." In Cold War American Exhibitions of Italian Art and Design, 83–112. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003265900-5.

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Gamble, Antje. "Organizing Italy at Work under the Auspices of the Marshall Plan." In Cold War American Exhibitions of Italian Art and Design, 19–37. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003265900-2.

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Orišková, Mária. "From Hanoi and Havana to Paris and New York: Czecho-Slovak Cultural-Diplomatic Exhibitions during the Cold War." In State Construction and Art in East Central Europe, 1918–2018, 164–73. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003265818-18.

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Mallinson, Jonathan. "12. 1932–35: Individuality and Industrial Art." In William Moorcroft, Potter, 259–90. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.12.

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The chapter explores Moorcroft’s creative principles against the background of the Gorrell report and the continuing debate about industrial design, energised by high-profile exhibitions at Dorland Hall (1933), Harrod’s (1934) and the Royal Academy (1935), each with its own priorities. Moorcroft continued to promote the value of individuality, craft and ornament, as opposed to the functionalist machine aesthetic championed by Pevsner or Read, but he overlapped in significant ways with modernist thinking. He was no less critical of contemporary industrial design, often characterised by angular shapes and strident ornament, and he shared the belief that good design should be judged by its coherence and suitability to the manufacturing process, that it should reflect inner conviction rather than commercial opportunism, and that it gives to everyday objects an essential and uplifting beauty. This overlap was exemplified in the widespread admiration for the formal purity of his Powder Blue tea ware which, although launched in 1914, already anticipated modern design values of the 1930s, ‘undatedly perfect’ in Pevsner’s words. These principles also informed Moorcroft’s decorative pottery which continued to attract critical attention, not from the perspective of industrial design (as was now often the case in reviews of studio pottery), but as art work singled out for its expressiveness. But in a letter to The Times he provocatively disowned the label ‘artist’, applied to him by the British Pottery Manufacturers Federation, rejecting the implication that (his) art was elitist, or affordable only by connoisseurs. All his work was seen to have the same quality of design and production, whatever its cost or function, and he presented himself as a fusion of artist and industrialist, a position particularly significant at a time when modern critical thinking was encouraging the collaboration of designers and manufacturers. Amid an ongoing debate about the nature and importance of a national design tradition, Moorcroft’s work was often regarded as English on account of its individuality, irreducible to a (mere) style. Mussolini’s purchase of a flambé vase at the Milan Triennial Exhibition of 1933, reported in the national press, was seen as evidence of the international appeal of this pottery.
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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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Mallinson, Jonathan. "13. 1936–39: Pottery for a Troubled World." In William Moorcroft, Potter, 291–326. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.13.

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Moorcroft’s reputation as a designer continued to grow in these years. His newly launched SunRay tea ware attracted the attention of the influential Council for Art and Industry, and was selected for exhibition both at home and abroad as a model of progressive design. But Moorcroft was openly critical of what he saw as the CAI’s narrow appreciation of his work. He asserted his independence in a letter to The Times, criticising the CAI’s selection criteria for the British display at the International Exhibition of Art and Technology in Paris, 1937, and provocatively exhibited his own selection of decorative pieces in the International Pavilion. His exhibit inspired an article in La Revue moderne which identified in his work a timeless moral value, a particularly significant response at a time when culture was becoming increasingly politicised in Europe. Not coincidentally, he publicised the prominent display of his work in the culturally tolerant Deutsches Museum in Munich, a gesture all the more eloquent as politically motivated exhibitions of National Socialist and of Degenerate Art were taking place less than a mile away at just this time. Moorcroft’s work was appreciated for what one critic called its ‘real truth’; his international reputation as a ceramic artist had never been higher. This double success as designer and artist was unparalleled at a time when the gulf between industrial and studio production was at its deepest. And it doubtless inspired Blackie to invite Moorcroft to write a book on his work; it would have followed publications by two of the most influential potters and instructors of the time, Gordon Forsyth and Dora Billington, who had each recently examined from different perspectives the future relationship of studio pottery and industrial design. The project, though, was barely begun, and only jottings survive which sketch out some of his guiding principles, not least his commitment to integrity in design. Moorcroft’s exhibition at the New York World’s Fair of 1939 again drew the attention of the national press. Ledgers indicate that his sales income was also steadily rising, although not by enough to completely offset the relentless increase in costs. The declaration of war would bring its own problems.
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Тези доповідей конференцій з теми "War in art – exhibitions"

1

Aydoğan, Derya. "Art Exhibitions During the Pandemic." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.

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Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual reality exhibitions became a notable alternative to online exhibitions in a lot of respects such as allowing typical curatorial arrangements as well as adding digital methods, and making the audience feel like they are actually visiting an exhibition. However, it obviously causes overcrowding and loss of aura as a result of a phenomenon based on excessive display in structures open to the participation of everyone. In order to preserve the aura of art and exhibition and to maintain its compatibility with new technologies, it’s necessary to introduce new curatorial understandings, new aesthetic perceptions, and new quality elements. In this study, the existence of art exhibitions in online environments, especially during the pandemic, will be evaluated within the context of qualitative descriptive analysis.
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Irrgang, Daniel. "Thought Exhibition. On critical zones, cosmograms, and the impossible outside." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-66-full-irrgang-thought-exhibition.

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The paper discusses the curatorial concept of “thought exhibition” coined by Bruno Latour and Peter Weibel and developed in collaboration with curators, artists, and researchers during four exhibitions at the ZKM Centre for Art and Media, Karlsruhe (Germany). Thought exhibitions transgress the distinctions between philosophy, art, and science by testing ideas in an art museum, a space of discourse, representation, and participation. They engage visitors in a spatio-aesthetic thought experiment by bringing them into a position where preconceptions derived from epistemes of European Modernity are explicated and where alternatives are suggested. The analysis focusses on the most recent exhibition, in the preparation of which the author was involved: “Critical Zones. Observatories for Earthly Politics” (May 23, 2020 – January 9, 2022) mapped the symptoms and origins of the “New Climatic Regime” (Latour) of the late Anthropocene. In this paper, Critical Zones is framed within its theoretical context (Descola, Haraway, Margulis, Whithehead, among others) and discussed as relational spatio-aesthetic approach (Dikeç). The analysis concludes with Sarah Sze’s installation “Flash Point (Timekeeper)” (2018) as one of the exhibition’s central works – a representation, or “cosmogram” (Tresch), of a common planet that may provide an alternative to the globalized world of late capitalism.
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Nosenko, A. І., and D. О. Velichko. "«Playing» and «not playing» collage: exhibition projects of Odessa artists." In THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-25.

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Conti, Alessandro, Grazia Tucci, Valentina Bonora, and Lidia Fiorini. "HOW WERE THE TAPESTRIES IN THE SALA DI SATURNO OF PITTI PALACE ARRANGED? GEOMATICS AND VIRTUAL REALITY FOR ART CURATORS." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12175.

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Three-dimensional acquisition techniques, reality-based modelling and virtual reality are tools used in Digital Humanities prevalently for displaying the results of a study, but they can also suggest new methods of investigation to humanities scholars. In a case study regarding art history, these techniques made it possible to recreate the layout of the Sala di Saturno in Pitti Palace (Florence) in the 17th century, based on information obtained from archive documents on the tapestries designed for that hall and a 3D model expressly elaborated with geomatic techniques. The results were summarised in a video showed in 2019 during the exhibition on tapestries dedicated to Cosimo I de' Medici. A tool was also developed to assist exhibition and museum curators in their work. Through virtual reality, they can design temporary exhibitions or modify the display of the works of art in a museum in a realistic way, using visually and metrically accurate models of the pieces and exhibition rooms.
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Greub, Charlott. "On Planting and Deconstruction: The Architecture Exhibition as Radical Medium." In 2021 ACSA Teachers Conference. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.teach.2021.37.

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This presentation reviews Rotor’s strategic use of the exhibition medium in the light of radical practices in architecture and design since the 1960’s. To interrogate these radical manifestations two architecture exhibitions will be examined as case studies. The first exhibition was curated by Emilio Ambasz and titled, “Italy: The New Domestic Landscape” in 1972 at the Museum of Modern Art in New York and the second one was staged at the Venice Biennale in Italy in 2010 by Rotor titled “Usus/Usures”. The selected exhibitions will be reviewed to explore the current and past debate of radical practices when associated with ecology, sustainability, and environmental protection and the potential discourse that aims to inspire a radical redesign of the discipline.
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Tkachev, Vitaliy. "To the Question of Organization of Art Exhibitions in the Cities of the Irkutsk Province of the Beginning of the XX Century: on the Materials of Periodic Printing." In Irkutsk Historical and Economic Yearbook 2021. Baikal State University, 2021. http://dx.doi.org/10.17150/978-5-7253-3040-3.36.

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The article analyzes the sources of periodicals of the early XX century. on the organization of art exhibitions in the cities of the Irkutsk province. Newspapers told readers about unique events, familiarized residents with the paintings of domestic and foreign artists, the artistic life of the region. The study examines the main stages of exhibitions, identifies problems and results of events. The work proved that the sources of periodicals show how the idea of urban residents about the exhibitions taking place, value guidelines in art was formed.
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Reșetnic, Elena. "Th e contribution of the National Museum of Ethnography and Natural History to the organization of free time in the post-war period." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.13.

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Th e Communist Party entirely controlled the lives of the citizens, including the way of organizing and spending leisure time. Th e individual didn’t actually have the choice of what to do in his spare time. In order not to allow people too many “useless” thoughts, it was necessary for them to be always busy with something. Since they were little, they passed into the ranks of Octombrees, then of pioneers, later they became komsomolists and party members. Th ere are a lot of activities for spending the free time: watching movies, theatrical performances, sports activities, visiting museums, etc. Th e cinema, the theater, the museum were all effi ciently used in the party’s propaganda policy. From the very beginning, museums have occupied a leading place in the list of ideological instruments. Th e exhibitions off ered to the public by the NMENH, in the fi rst postwar years, focused on topics such as: Th e participation of Moldova in the October Revolution, the Great War for the Defense of the Fatherland, ancient Slavic settlements on the territory of Moldova, etc. In the following decades, they no longer refl ect the war so oft en, but the unbelievable success that the Moldovan people achieved in the construction of communism, under the guidance of the party, were always displayed. Of course, in connection with these achievements, exhibitions were organized until the dissolution of the USSR. Only in the late 60’s, visitors have the opportunity to appreciate exhibitions on ethnography themes, from an ideological perspective, of course. At the same time, during the entire Soviet period, the museum employees had an impressive number of annually planned lectures, which they had to deliver in the villages and districts of the republic. Besides, they were organizing touring exhibitions with the same purpose. Everyone had a duty to know the results of the last elections in the Council of Ministers of the MSSR, who G. Kotovski was, how Moldova has evolved since it was “liberated”, etc. On the one hand, the museum was accessible to all, and on the other hand, it continued to be an instrument of political enlightenment until the dissolution of the USSR. Comparing this period with present times, when we have the right to decide how we organize our time, be it for work, or rest, it is more obvious that the political ideologization of that period used all possible means, including activities devoted to leisure time.
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Thorogood, Miles, Kirsteen McCulloch, and Aleksandra Dulic. "Light Up Kelowna: Coordination and Development of Networked Community-based Media Art Urban Screen Infrastructure." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-87-full-thorogood-et-al-light-up-kelowna.

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The ‘Light up Kelowna’ urban screen features a variety of digital artists who use technology to push art in different and thought-provoking directions, tell our community’s vital stories and allow the public to engage with the artwork in a multidimensional and multisensory way. In this paper, we outline the structure for coordinating engaged parties in developing scalable urban screen infrastructure and considerations necessary for installing rear projection urban screens in existing city spaces. We discuss the network architectures and topologies for creating networked urban screen systems, borrowing concepts from networked music performance and installation contexts. Finally, we demonstrate the use of our approach for developing an urban screen, showcasing multiple exhibitions.
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Mariategui, Jose-Carlos. "A Latin America Network for Art and Cybernetics: The Centre for Art and Communication (CAyC)." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-71-full-mariategui-cayc.

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Towards the end of the 1960s—a period of intense creative, technological and political changes—the Argentinian art critic and entrepreneur Jorge Glusberg founded the CAyC in Buenos Aires. CAyC was an interdisciplinary experimental project that explored the relationship between art, technology and society. It sought to articulate a network of discussions and productions by a new style of Latin American artist, deeply influenced by science, technology and society. Glusberg defined such practice as Systems Art, which appeared in three ways, namely as a system of collective representation; a system of meaning that defied formal categories; and a system of relationships and processes for social inquiry. In doing so, the artist became a researcher who reflected on their social context and the latter’s processes of production. This paper will discuss CAyC’s pioneering work and its global influence through three main initiatives: its exhibitions Art and Cybernetics, Systems Art in Latin America and the International Open Encounters on Video. These events were driven by the revolutionary artistic and experimental promotion of the distinctive ways in which Latin American artists were using technology to respond to local issues at a time when computer systems and cybernetic models for management and organizational practices were being introduced across the region.
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Hong, Haoran, Weiyue Lin, Genshen Li, Hiroki Kobayashi, Yingying She, Yiran Chen, Pintong Xiao, Yinan Fu, and Jiayi Lei. "Evergreen: A Mixed Reality Transformation for Experiencing Plant Dyeing." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003426.

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Plant dyeing is a traditional process of dyeing with plants, which is natural, environmentally friendly and safe. However, in modern times, due to the widespread popularity of low-cost chemical dyeing and changeless conventional exhibition forms, plant dyeing is gradually losing people's attention. With an increasing urgent need to promote this sustainable ancient handicraft, the transformation and evolution of conventional plant dyeing exhibitions are of great importance, towards experiences that are helpful for the public to understand courses of plant dyeing, during which the advocated products bring people the aesthetic satisfaction and consumption desire. To enhance the effectiveness and improve the learning experience of exhibition activities, we applied MR (Mixed-Reality) technologies to construct an environment by merging the real and virtual worlds. Allowing participants to interact with the coexisting physical and digital objects, this MR environment sets up an interactive feedback information loop between the virtual world, real world and participants, intensifying the sense of reality in user experience. In this paper, we designed a transformation of promotion from traditional physical exhibitions to mix-reality ones, and implemented Evergreen, a MR interactive space that allows people to experience plant dyeing. As it was demonstrated at an art exhibition in Xiamen city, China, we conducted user tests on site to verify the effectiveness of this proposed transformation.
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Звіти організацій з теми "War in art – exhibitions"

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Himes, John M. Art of War Essay. Fort Belvoir, VA: Defense Technical Information Center, October 1989. http://dx.doi.org/10.21236/ada438287.

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Church, Thomas R. Operational Art in Pontiac's War. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ad1001264.

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Cleveland, William R. The Art of War in Transition? Fort Belvoir, VA: Defense Technical Information Center, May 1992. http://dx.doi.org/10.21236/ada254122.

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Rosenstrauch, Jason H. Operational Art in the Sino-Vietnamese War. Fort Belvoir, VA: Defense Technical Information Center, December 2014. http://dx.doi.org/10.21236/ada614152.

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Cox, Robert D. India and the Operational Art of War. Fort Belvoir, VA: Defense Technical Information Center, April 1991. http://dx.doi.org/10.21236/ada240408.

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Handel, Michael I. Sun Tzu and Clausewitz: The Art of War and on War Compared. Fort Belvoir, VA: Defense Technical Information Center, January 1991. http://dx.doi.org/10.21236/ada239084.

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Smith, Jay M. Operational Art in Military Operations Other Than War. Fort Belvoir, VA: Defense Technical Information Center, February 1995. http://dx.doi.org/10.21236/ada293907.

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Shufelt, Jr, and James W. Operational Art in the Sioux War of 1876. Fort Belvoir, VA: Defense Technical Information Center, May 1993. http://dx.doi.org/10.21236/ada274339.

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