Thematische Bibliographien / Art museums – exhibitions

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Auswahl der wissenschaftlichen Literatur zum Thema „Art museums – exhibitions“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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Zeitschriftenartikel zum Thema "Art museums – exhibitions"

Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.

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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 characterist

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Yao, Si Hang, and Sungho Yoon. "A Study of the Exhibition Characteristics of Modern Art Museums from the Perspective of Heterotopia." Korea Institute of Design Research Society 9, no. 4 (2024): 947–63. https://doi.org/10.46248/kidrs.2024.4.947.

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This study explores the characteristics of planning spaces in contemporary art museums and their application in exhibitions through Foucault's theory of 'Heterotopia.' It examines four case studies: “Electronic Forest” at the National Museum of Modern and Contemporary Art in Seoul, Korea; “INFINITY CHINA AEROSPACE” at Today Art Museum in Beijing, China; “Refik Anadol: Unsupervised” at the Museum of Modern Art in New York, USA; and “Yayoi Kusama: Infinity Mirror Rooms” at Tate Modern in London, UK. The study analyzes how these museums utilize space design, interactive experiences, and digital t

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Cui, Dalong. "EXHIBITION ART DESIGN AND PRACTICE OF "XINJIANG CULTURAL RELICS EXHIBITION"." Advances in Culture and Arts 3, no. 1 (2023): 05–07. http://dx.doi.org/10.26480/aca.01.2023.05.07.

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Exhibition art design is a significant procedure that cannot be ignored when a museum organizes exhibitions. Any movement to weaken exhibition art design is to lower the museum’s exhibition level. Exploring and researching it broadly and deeply has positive practical significance. This essay takes “Xinjiang Cultural Relics Exhibition” as an example, analyzes and summarize its thinking conception and practical methods of exhibition art design, as well as summarizes the internal aesthetic principles of the exhibition, to provide a highly referential approach for the exhibition art design of muse

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ZHAO, J., and O. YEZHOVA. "IMPACT OF DIGITAL ART ON DESIGN OF ONLINE MUSEUM: USER-CENTERED DESIGN, NARRATIVE DESIGN, AND INTEGRATION OF TECHNOLOGY." Art and Design, no. 3 (November 11, 2023): 92–100. http://dx.doi.org/10.30857/2617-0272.2023.3.8.

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This research aims to explore the means by which digital art presented in online museum exhibitions will contribute to an improved visitor experience of the museum exhibition. Theoretical and practical research methods are used, namely, analysis of scientific and professional literature on the impact of digital culture on museum exhibits, analysis of design analogs of online museums. Based on the research analysis, the influence of digital culture on art museums was established, which allowed them to go beyond physical spaces, display digital art and implement virtual reality technologies. The

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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Ar

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Vuković, Vuk. "The Institutionalization of Video Art at the Museum of Modern Art." Journal of Curatorial Studies 12, no. 2 (2023): 144–73. http://dx.doi.org/10.1386/jcs_00086_1.

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Analysing the history of video art poses challenges due to the complex environments from which video emerged. However, some of its conceptual origins can be traced through art institutions that pioneered the integration of video art into museums. By examining key projects and exhibitions at the Museum of Modern Art, I argue that the museum’s first study grant obtained from the Rockefeller Foundation not only expanded the exhibition and collection of video work, but also laid the foundation for its institutionalization, which in turn exerted decisive effects on the subsequent history of video a

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Rosso, Aluminé. "The cinefication of museums: from exhibitions to films. The case of Tate Modern." Digital Age in Semiotics & Communication 5 (December 30, 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.

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Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the

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Xintong, Guo. "Interactive Spaces in art museums: New landscapes for exhibitions." ISRG Journal of Arts Humanities & Social Sciences (ISRGJAHSS) II, no. VI (2024): 193–97. https://doi.org/10.5281/zenodo.14493277.

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Abstract The interactive function of art museums has been paid more and more attention by the public, and art museums are constantly expanding their boundaries. The interactive scene application shows the practical power and innovation of the museum practitioners. In the wave of digitalization, art museums actively respond to technological changes, use digital technology to digitize precious resources such as cultural relics and artworks, build an open public platform, promote the "democratization" of artworks, and build a new exhibition landscape. On the one hand, art mus

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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.

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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 ethnograph

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Ivashko, Yulia, Aneta Pawłowska, Dominika Kuśnierz-Krupa, and Andrii Dmytrenko. "Problems of replacing museum exhibitions during the Russian-Ukrainian war." Museologica Brunensia, no. 2 (2024): 38–45. https://doi.org/10.5817/mub2024-2-4.

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The article analyzes the experience of replacing expositions in Kyiv museums during the Russian-Ukrainian war. Since most of the museums that fell under the Russian occupation were looted or destroyed, and museums in other territories of Ukraine suffered from shelling, one of the options for preserving unique exhibits is their temporary relocation for storage abroad or hiding in shell-proof storage facilities. Instead, their place is occupied by modern exhibitions of photographs, works of contemporary art, modern decorative products, etc. The principles of replacing permanent exhibitions with

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Dissertationen zum Thema "Art museums – exhibitions"

Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.

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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the probl

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Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.

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Petty, Nancy. "African Art in Western Museums: Issues and Perspectives." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/992.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information. Bachelors Arts and Sciences Art History

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Louzada, Heloisa Olivi. "Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/.

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A arte brasileira durante a década de 1970 se destacou pelo alto grau de experimentalismo e de contestação aos cânones tanto artísticos como museológicos. As exposições anuais Panorama da Arte Atua Brasileira e Jovem Arte Contemporânea, organizadas respectivamente pelo Museu de Arte Moderna de São Paulo e pelo Museu de Arte Contemporânea da Universidade de São Paulo, se dedicaram a expor e legitimar determinadas tendências da arte dita jovem e atual durante esse período. A análise comparativa proposta por essa pesquisa revela e discute os mecanismos de seleção, organização, premiação e apresen

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Moraes, Marcia Martins Rodrigues de. "Entre o museu e a praça : o legado de Lygia Clark e Helio Oiticica." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284786.

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Orientador: Maria de Fatima Morethy Couto Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-07T06:11:05Z (GMT). No. of bitstreams: 1 Moraes_MarciaMartinsRodriguesde_M.pdf: 2220447 bytes, checksum: 93444011f38c863dfc681cf69cc62e2a (MD5) Previous issue date: 2006 Resumo: O descompasso entre a arte contemporânea e as convenções museológicas já se delineia há algumas décadas, e pode ser explicado pelo fato de que o museu convencionado durante o modernismo tornou-se inadequado frente às produções artísticas mais recentes e

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Högström-Schnee, Linn. "Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547.

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The present study is, to my knowledge, the first investigating the newly renovated and rearranged permanent art and design exhibition at Nationalmuseum, Stockholm: The Timeline. The exhibition presents Western art from 1500 to 1914 and design and portraiture from 1500 until today in a chronological arrangement. In the first chapter of the analysis, the exhibition is compared to previous arrangements of the permanent art exhibition at Nationalmuseum, as well as to historical museological trends. In the second chapter, Carol Duncan’s perspective of the ritual structure is applied in order to exp

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Grunenberg, Christoph. "The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.

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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.

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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is r

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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.

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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permane

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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art

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Bücher zum Thema "Art museums – exhibitions"

McKie, Annamarie. Displays and exhibitions in art libraries. [ARLIS/UK & Ireland], 2009.

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Sharon, Macdonald, and Basu Paul, eds. Exhibition experiments. Blackwell Pub., 2007.

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Recklinghausen, Städtische Kunsthalle, ed. Weltkunst und Kunst der Welt: Kunstwerke aus den Museen der Freien und Hansestadt Hamburg : 40. Ruhrfestspiele Recklinghausen 1986 : 3. Mai-29. Juni 1986, Städtische Kunsthalle Recklinghausen. Ruhrfestspiele Recklinghausen, 1986.

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Russell, John, and New York Times. Traveler's Guide to Art Museum Exhibitions 2000. Harry N Abrams, 1999.

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Giles, Waterfield, Dulwich Picture Gallery, and National Gallery of Scotland, eds. Palaces of art: Art galleries in Britain, 1790-1990. Dulwich Picture Gallery, 1991.

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American Association of Museums. Technical Information Service., ed. Exhibition planning and management: Reprints from NAME's Recent and recommended. American Association of Museums, Technical Information Service, 2001.

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1942-, Köb Edelbert, and Stiller Adolph, eds. Räume der Kunst =: Space for art. Pustet, 1998.

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Bruce, Altshuler, and Sharmacharja Shamita, eds. A manual for the 21st century art institution. Koenig Books, 2009.

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Grammel, Søren. Ausstellungsautorschaft: Die Konstruktion der auktorialen Position des Kurators bei Harald Szeemann : eine Mikroanalyse. Revolver, 2005.

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Italy), Musei capitolini (Rome, ed. Acquisti e doni nei musei comunali, 1997- 2005: Roma, Musei capitolini, 19 gennaio- 19 marzo 2006. Gangemi, 2006.

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Buchteile zum Thema "Art museums – exhibitions"

Frey, Bruno S. "Superstar Museums and Special Exhibitions." In Economics of Art and Culture. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_11.

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Scheltinga, Evelien. "Exhibiting in wartime. Nazification and resistance in Dutch art exhibitions." In Museums, Modernity and Conflict. Routledge, 2020. http://dx.doi.org/10.4324/9780429295782-10.

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Schum, Swenja. "Museum texts – On breaking down linguistic barriers in museums and art exhibitions." In Handbook of Accessible Communication. Frank & Timme GmbH, 2024. http://dx.doi.org/10.57088/978-3-7929-9120-6_30.

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Schum, Swenja. "Museum texts – On breaking down linguistic barriers in museums and art exhibitions." In Easy – Plain – Accessible. Frank & Timme GmbH, 2024. https://doi.org/10.57088/978-3-7329-8775-7_30.

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Kludkiewicz, Kamila. "Museums of a Stateless Nation, between History and Art." In Spaces for Shaping the Nation. transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-007.

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In this article, Kamila Kudkiewicz is dedicated to the question of Polish national museums in the nineteenth century. At the end of the eighteenth century, the historical territory of Poland was divided among Russia, Austria, and Prussia. Each of these countries had its own laws and policies towards Poles: take, for example, the policies of Russification and Germanization implemented by the Russian and German authorities in their respective territories and, contrastingly, the autonomy granted to Polish Galicia in Austria-Hungary after 1860. Despite the differences between the regions, in the s

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Baião, Joana. "Museums and the Art Reforms of the First Portuguese Republic (1910–1926)." In Collections, Exhibitions and Museums in Portugal and its Empire. Routledge, 2025. https://doi.org/10.4324/9781003512264-13.

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Mahboob, Samra, and Mohd Nishat Faisal. "Qatar Museums: The Case of Promoting Tourism and Qatari Identity, Culture, and Heritage During FIFA World Cup 2022." In Gulf Studies. Springer Nature Singapore, 2025. https://doi.org/10.1007/978-981-97-8414-1_10.

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Abstract Qatar Museums (QM) is a government entity established to support the nation in the development and promotion of its unique art and culture to local and global audiences through its network of museums, heritage sites, exhibitions, public art installations, and vibrant events. The FIFA World Cup 2022 was a golden opportunity for QM to showcase the unique identity and culture of the Qatari people as well as the wider Arab world to a massive audience on a global scale. However, a challenge for the marketing strategy was the awareness that a certain number of football fans would travel to

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Cosaert, Annelies, Geert Bauwens, and Estelle De Bruyn. "Enhance Performance and Reduce Energy Use in Storage Areas: Two Belgian Case Studies." In Springer Proceedings in Archaeology and Heritage. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-85655-6_17.

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Abstract Resilient Storage is a project that focuses on designing a protocol for Belgian museums to implement short term energy-savings strategies, decrease CO2 emissions and improve preservation conditions. Cultural institutions’ mandate to optimally preserve their collections often encourages them to invest in Heating, Ventilation and Air-Conditioning (HVAC) systems to strictly control the indoor climate in their collection storage. These HVAC systems induce high operating costs and energy use. Today’s context calls for a combined strategy, one that reduces an institution’s environmental imp

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Rosso, Aluminé A. "What Do Museum Visitors Leave Behind? The New Experience and the New Visitor in the Twenty-First Century." In Frontiers in Sociology and Social Research. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11756-5_6.

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AbstractVisits to museums in the twenty-first century do not merely involve coming in contact with art but also living an interactive and relational experience that has changed the organization of museums, not only the exhibition rooms but also other museum spaces: boutiques, cafés, restaurants, and public areas. This new type of visit implies the role of an original agent: the frontalier visitor who, by inhabiting spaces adjacent to exhibition rooms, expands and reinforces the museum’s boundaries and the museum experience itself. This work is focused on visitors’ footprints as material and vi

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Berndt, Jaqueline. "Deviating from “Art”: Japanese Manga Exhibitions, 1990–2015." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0020.

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As comics exhibits expanded and diversified in the US and in Europe, the Western way of exhibiting comic art became influential internationally. Up to the 1990’s, the Japanese considered manga to be a strictly literary genre, not a form of art. People went to the manga museum to read, not to look at displays of drawings. In this 2017 essay, manga scholar Jaqueline Berndt analyzes a series of influential Japanese exhibitions at institutions like the Kyoto International Manga Museum and the Kawasaki City Museum, as well as shows by individual artists to demonstrate how exhibits of manga evolved

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Konferenzberichte zum Thema "Art museums – exhibitions"

Ziarek, Zbigniew Jan. "DESIGNING GEOEDUCATIONAL TOOLS FOR GEOTOURISM NEEDS � A CASE STUDY OF THE OUTER FLYSCH CARPATHIANS." In 24th SGEM International Multidisciplinary Scientific GeoConference 24. STEF92 Technology, 2024. https://doi.org/10.5593/sgem2024/1.1/s01.06.

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A geoeducational tools are innovative solutions used to popularize knowledge in the field of Earth Sciences and the promotion of geotourism. These methods enhance the appreciation of geodiversity, raising awareness about cognitive and aesthetic values. By adopting this approach, there is a commitment to geoheritage protection for future generations. The efficacy of geoeducational instruments relates on a knowledge of geological processes and their outcomes, coupled with adept geointerpretation. During the geointerpretative phase it is important to maintain correctness and reliable explanation

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Lee, Chia-Fen, and Min-Yuan Ma. "Research on the attractiveness factors of international exhibition cultural products: a case study of art museum in Taiwan." In 9th International Conference on Kansei Engineering and Emotion Research (KEER2022). Kansei Engineering and Emotion Research (KEER), 2022. http://dx.doi.org/10.5821/conference-9788419184849.62.

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In recent years, due to the active development of cultural and creative industries in Taiwan, cultural elements in exhibitions are often used in product design. Generally speaking, cultural and creative design elements exist in ordinary life and can be found in specific life. Although Tainan Art Museum in Taiwan aims to promote local art, it introduces a special exhibition of Japanese contemporary artist Yoshitomo Nara for the purpose of promoting modern art. Taking this special exhibition as a case, this research aims to analyze the attractiveness of the commodities in transnational exhibitio

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

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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanis

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Plastova, T. "PROBLEMS OF THE EXPOSITION OF PAINTINGS OF THE XXTH C. EXHIBITION EXPERIENCE OF A. PLASTOV'S PAINTINGS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2543.978-5-317-06726-7/48-50.

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The article is devoted tothe problems of XX century art exposition. The experience of A. Plastov exhibitions and the analysis of principles of European museums expositions allowed us to formulate some principles of XX century painting representation.

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Zhang, Xiaoyue. "The Status and Challenges of Online Exhibitions in Art Museums in China – Based on Interviews With Curators." In Proceedings of EVA London 2024. BCS Learning & Development, 2024. http://dx.doi.org/10.14236/ewic/eva2024.16.

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Xinran, Huang. "Design model of museum IP special exhibition: Standardization of workflow." In 16th International Conference on Applied Human Factors and Ergonomics (AHFE 2025). AHFE International, 2025. https://doi.org/10.54941/ahfe1006332.

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With the development of big data, the Internet and digital technology, the development of mass communication has been accelerated, and the audience needs of museums have also been different. The expansion of the culture and museum consumer market and the support of the policy environment have promoted the self-innovation of museums, and the intellectual property of many museums has participated in the development of cross-media, creating more forms of products and services. The museum's special exhibition on intellectual property is a branch of the museum's cultural creative derivative works.

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Grizante de Andrade, Daniel. "Immaterial Collections, Ephemeral Exhibitions: animations in exhibition design." In LINK 2024 Conference Proceedings. Tuwhera, 2024. https://doi.org/10.24135/link2024.v5i1.233.

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The research is about the use of animations in the design of exhibitions in intangible-themed museums, which are seen as spectacular and are becoming increasingly popular nowadays. Animation, a language that has always been close to the universe of children, media manifestations, entertainment and fantasy, comes up against the museum, an institution with social authority, centred on its concern with reality and the historical document. The collision between these two worlds gave rise to this research. It starts by investigating the museum universe, with a view to technological use and the rela

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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.

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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of natio

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Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.

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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the arti

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Жамилова, М. Ж., and Ю. В. Гусарова. "TRADITIONS OF GIJDUVAN CERAMICS IN THE WORKSHOP OF THE NARZULLAEV DYNASTY." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.53.

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Небольшой город Гиждуван неподалеку от Бухары является колыбелью одной из древнейших школ искусства керамики в Узбекистане, где ремесленники бережно хранят лучшие традиции многовекового гончарного промысла, передавая свое мастерство и неповторимый почерк орнамента из поколения в поколение. Алишер Нарзуллаев, керамист в шестом поколении, делится секретами аутентичной технологии изготовления уникальных изделий, которые становятся гордостью музеев и украшением многочисленных выставок. The small town Gijduvan, not far from Bukhara, is the cradle of one of the oldest schools of ceramic art in Uzbek

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Berichte der Organisationen zum Thema "Art museums – exhibitions"

Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 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 funct

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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 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 wi

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Hertrich, André. The Atomic Bomb Victims in Nagasaki and Hiroshima on Display: Differing Exhibition Strategies and International Trends in Musealization. Austrian Academy of Sciences, 2024. http://dx.doi.org/10.1553/0x003f56e7.

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The Japanese cities Hiroshima and Nagasaki represent the horrors of war as places of the hundred-thousandfold killing of humans with scientific and industrial means. And as such Hiroshima and Nagasaki (to a lesser degree) became dominant symbols within global memory culture. In my paper I will juxtapose this form of commemoration with what Jeffrey Alexander claimed was an ongoing universalization of the Holocaust as a symbol of radical evil. This universalization also supposedly led to the globalization of aesthetic standards in museum designs of memorial museums worldwide, deriving from Holoc

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The w

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Gallegos de Donoso, Magdalena. The Development of Sculpture in the Quito School. Inter-American Development Bank, 1994. http://dx.doi.org/10.18235/0007914.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Ma

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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2

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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan tech

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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan tech

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A Beautiful Horizon: The Arts of Minas Gerais, Brazil. Inter-American Development Bank, 2006. http://dx.doi.org/10.18235/0006396.

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The exhibition comprises 56 objects that unites Baroque oratórios, folk and popular art, applied arts and works by contemporary artists representing a variety of artistic expressions from the State of Minas Gerais and its capital city, Belo Horizonte, site of the IDB¿s 47th Annual Meeting of Governors in April 2006, showing the interrelationships that exist in Brazilian society. The pieces were borrowed from the Museu do Oratório, Instituto Cultural Flávio Gutierrez, Museum de Arte da Pampulha Museu Histórico Abílio Barreto, Fundação Municipal de Cultura, Casa de Guignard Museum, and private c

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