To see the other types of publications on this topic, follow the link: Alfond Collection of Contemporary Art.
Journal articles on the topic 'Alfond Collection of Contemporary Art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Alfond Collection of Contemporary Art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Seidel, Anna. "‘The Revival of the Medal’." Journal of the History of Collections 32, no. 2 (April 1, 2019): 303–12. http://dx.doi.org/10.1093/jhc/fhz013.
Full textAbstract:
Abstract Alfred Lichtwark (1852–1914) was the first director (1886–1914) of the Hamburger Kunsthalle. At his personal instigation, a sculpture collection was founded. Focusing on contemporary sculpture, he became a pioneer in the museum world. Lichtwark aimed at introducing sculpture to a wider public: he considered contemporary medals and plaquettes to be the most suitable material for his purpose, and consequently he initiated the sculpture collection in 1891 by assembling ‘sculptures en miniature’ from Paris. In his practice he probed questions of the medals’ art historical context, as well as processes of making and display. When Lichtwark published his book on the revival of the medal – Die Wiedererweckung der Medaille – in 1897, his engagement and expertise in the field were already widely respected. While he is well known as an innovative museum director, his role as collector of contemporary sculpture has not been sufficiently appreciated. This paper suggests a re-evaluation of his achievements.
2
Anna, Mallek. "Pedagogika muzealna. Cele, idea, kierunek rozwoju i zastosowanie w praktyce na przykładzie „lekcji muzealnej” w polskim muzeum historycznym." Problemy Wczesnej Edukacji 28, no. 1 (March 31, 2015): 114–27. http://dx.doi.org/10.5604/01.3001.0008.5676.
Full textAbstract:
Museum education is a subdiscipline of Pedagogy which has been changing rapidly during the current century. The beginning of such education was inevitably related to the origin of the museum. The richest royal men as kings, princes and priests set up their own individual collections which were displayed only to chosen people. The fi rst museums are claimed to have existed during the Italian Renaissance, for instance Pope Sixtus IV hired Michaelangelo Buonarrotti to create a special place for ancient collections. During the French Revolution it was believed that art had got an unique ability to rehabilitate those members of society who suffered from alcoholism and other kinds of pathology. The Louvre was opened to the public in 1793 and, since that time, art collections have started to be organised in special exhibition form. At the end of the 19th century two German art historians and educationists Alfred Lichtwark and Georg Kerchensteiner started to form a special educational programme for children and young people, concerning the museum collection. In the history of Pedagogy they are claimed to be the forerunners of museum education which has been developing into one of the most infl uential and potential kinds of cultural education in the 21st century. Among history studies, I would like to present museum education in the context of one selected Polish historical museum and then analyze and interpret the ‘museum lesson’ in comparison with contemporary movements in museology and critical, progressive pedagogy.
3
Belting, Hans. "The Museum of Modern Art and the History of Modernism." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.
Full textAbstract:
Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, since its curators were tempted to exhibit its own collection, so unique up until the sixties, in the new exhibition halls. This launched a dilemma for MoMA, as it became a place for past art with little space for new art. In an in-depth analysis of what constitutes “modern” art in the context of the preeminent questions circulating in the art world during this time—When was modern art? and Where was modern art?—the author presents a focused chronology of the administration of MoMA under the museum’s first director, Alfred Hamilton Barr Jr. (1929–43), and, later, William Rubin, director of the Department of Painting and Sculpture (1968–88), with regard to their influence on the museum’s mission, exhibitions, and international profile. The author concludes with commentary on contemporary changes in art geography and contemplation on the effect on artists of the emergence of a global art market.
4
Bristowe, A. "CONTEMPORARY SOUTH AFRICAN ART: THE GENCOR COLLECTION." Nka Journal of Contemporary African Art 1998, no. 8 (March 1, 1998): 64. http://dx.doi.org/10.1215/10757163-8-1-64.
Full text
5
Abdallah, Monia. "Stories of Continuity. Contemporary Art and Collection of Islamic Art." Revista VIS: Revista do Programa de Pós-Graduação em Arte 16, no. 1 (June 26, 2017): 8–21. http://dx.doi.org/10.26512/vis.v16i1.20454.
Full textAbstract:
Nos últimos trinta anos, o Islã, entendido como civilização islâmica, tem sido, em vários sentidos, crescentemente associado à noção de arte contemporânea. Por exemplo, muitos grandes museus no mundo incluem, em suas coleções de arte islâmica histórica, trabalhos pertencentes a suas coleções de arte contemporânea originárias do Oriente Médio. Essa associação entre artecontemporânea e arte islâmica levou à noção de Arte Islâmica Contemporânea, que se baseia na ideia de permanência da arte islâmica. Assim, a arte islâmica pode ser vista como um “umanacronismo de uma arte medieval que nunca morreu” (Amy Goldin) e recebe a atribuição de um caráter trans-histórico: arte, produzida hoje em países muçulmanos ou por artistas ligados ao Islã por seus lugares de nascimento ou por ascendência, é compreendida como prolongamento da arte islâmica hoje. Essa interpretação também funda-se na ideia de permanência da civilização islâmica e em uma concepção ahistórica do tempo. Esse artigo analisará essa concepção alternativa de periodização da arte islâmica estudando o caso do British Museum erelacionando-a ao discurso de vários historiadores e autores não-ocidentais. O tema em questão vai além do campo da arte: esse renascimento da arte islâmica é um meio de estabelecer,através da arte, a continuidade cultural da civilização islâmica.
6
Danowitz, Erica Swenson. "Art Magazine Collection Archive." Charleston Advisor 23, no. 3 (January 1, 2022): 5–9. http://dx.doi.org/10.5260/chara.23.3.5.
Full textAbstract:
This resource provides full-text access to the digital archives of three significant art publications, ARTnews, Art in America, and The Magazine ANTIQUES. The 3,950 issues found in this database appear in digital format in their entirety as originally published. This database also includes the original advertisements found in these periodicals. These advertisements have been indexed and are searchable. This archive provides an extensive chronicle of art collecting, fine arts, art history, interior design, decorative arts, folk art, antiquing, and architecture in the twentieth and early twenty-first century. It also supports the study and research of the contemporary art movements of the twentieth century, the history of collecting, and the history of the art market.
7
Agthe, Johanna. "Religion in Contemporary East African Art." Journal of Religion in Africa 24, no. 1-4 (1994): 375–88. http://dx.doi.org/10.1163/157006694x00219.
Full textAbstract:
AbstractThis article describes three aspects of religious art in East Africa: firstly it examines the artists' personal attitude to and motivation by the Christian religion; secondly, it looks at Christian and Bible subjects in their paintings; and lastly it considers traditional religion and the newer independent churches as motifs. It draws on interviews with artists, their works in the collection of the Frankfurt Museum für Völkerkunde and a recent unpublished diploma study by Alois Krammer. 1
8
Frankel, David. "Africa hoy: Obras de la Contemporary African Art Collection." African Arts 25, no. 4 (October 1992): 34. http://dx.doi.org/10.2307/3336964.
Full text
9
Kember, Pamela, Chantal Wong, Claire Hsu, and Hammad Nasar. "Asia Art Archive." Art Libraries Journal 39, no. 2 (2014): 5–9. http://dx.doi.org/10.1017/s0307472200018241.
Full textAbstract:
Asia Art Archive was established in 2000 in Hong Kong to document and secure the multiple recent histories of contemporary art in the region. Built through a systematic programme of research and information gathering, it is widely regarded as one of the world’s leading public collections of primary and secondary source material about contemporary art in Asia, comprising hundreds of thousands of physical and digital items, searchable via its online catalogue. A growing selection of digitised material is now also available in the Collection Online.
10
Wood, Jiyeon. "SOAS Library: Chinese art and archaeology collection." Art Libraries Journal 39, no. 2 (2014): 27–32. http://dx.doi.org/10.1017/s0307472200018289.
Full textAbstract:
Chinese art has always been well-represented within SOAS Library. This article provides an overview of the Chinese art and archaeology collection, highlighting materials that make it unique, from rare books to literati paintings and woodblock prints. As the Library approaches its centenary, some of the issues that have influenced its past, such as limitations of space, are still informing its future. With increasing attention paid to modern and contemporary Chinese art, efforts have been made to build the collection to reflect this emphasis. As it has throughout SOAS’s history, the Library and the Chinese art and archeology collection continue to evolve to reflect new research interests, academic courses and the needs of its users.
11
Germana, Gabriela, and Amy Bowman-McElhone. "Asserting the Vernacular: Contested Musealities and Contemporary Art in Lima, Peru." Arts 9, no. 1 (February 7, 2020): 17. http://dx.doi.org/10.3390/arts9010017.
Full textAbstract:
This essay examines three museums of contemporary art in Lima, Peru: MAC (Museum of Contemporary Art), MALI (Lima Art Museum), and MASM (San Marcos Art Museum). As framed through curatorial studies and cultural politics, we argue that the curatorial practices of these institutions are embedded with tensions linked to the negotiation of regional, national, and international identities, coloniality, and alternate modernities between Western paradigms of contemporary art and contemporary vernacular art in Peru. Peruvian national institutions have not engaged in the collection of contemporary art, leaving these practices to private entities such as the MAC, MALI, and MASM. However, these three institutions have not, until recently, actively collected contemporary vernacular Peruvian art and its by-products, thus inscribing this work as “non-Western” through curatorial practices and creating competing conceptions of the contemporary. The curatorial practices of the MAC, MALI, and MASM reflect the complex and contested musealities and conceptions of the contemporary that co-exist in Lima. This essay will address this environment and the emergence of alternative forms of museality, curatorial practices, and indigenous artist’s strategies that continually construct and disrupt different modernities and create spaces for questioning constructs of contemporary art and Peruvian cultural identities.
12
Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.
Full textAbstract:
The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well as special materials from letters to photographic negatives, alongside information from galleries, cultural spaces and artistic centres.
13
Bitaieva, Hanna. "Mural Art as a Dynamic Art Phenomenon of Contemporary Ukrainian Society." Artistic Culture Topical Issues, no. 18(1) (May 31, 2022): 79–86. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260428.
Full textAbstract:
The article raises the issues of emergence, formation of mural art in Ukraine, and development of its manifestations in different cities. Analysis of factors allowed to state that muralism became a popular form of art and found its admirers among artists and city dwellers. Main distinctive features between a mural and graffiti are clarified. The key positions in the formation of the conceptual and ideological components of murals and the phenomenon of the viewer’sinteraction with murals were revealed. The system of organizing various street art festivals in the framework of which the majority of murals in the country were created was investigated. Ukrainian pioneering street artists every year enrich the collection of artworks in Ukraine. Globally renowned foreign artists, whose works can be observed on the facades of buildings in the cities of Ukraine, were listed. The development and spread of muralism in the environment of Ukrainian cities were structured. The positive and negative aspects of the manifestations of this art in the architectural environment were examined. The main factors of the influence of the spread of murals on the cultural and artistic development of the country, as well asthe growth of tourism and the importance of architectural structures with murals, were determined.
14
Léger, Danielle. "Le Centre d’information Artexte: Medi(t)ations autour du catalogue d’exposition et de la francophonie." Art Libraries Journal 21, no. 3 (1996): 34–39. http://dx.doi.org/10.1017/s0307472200009962.
Full textAbstract:
Founded in Montréal in 1980, the Centre d’information Artexte is a non-profit organisation devoted to the collection and distribution of information on all aspects of contemporary visual arts. The organisation has developed two subject areas in support of its objective (the exhibition catalogue and Canadian art) and sponsors activities on 3 fronts (documentation, distribution and publication). The Centre d’information Artexte’s collections are noted for their comprehensive holdings in contemporary art (1965-). A bibliographic database was developed by the Centre to support advanced research in contemporary art. A bilingual tool, it indexes indepth information found within the exhibition catalogue. Artexte serves both the French and English communities in Canada and promotes Canadian publications in contemporary art abroad.
15
Chuprina, N. V., T. V. Remenieva, I. V. Frolov, and O. H. Tereshchenko. "DESIGN OF THE CONTEMPORARY GARMENTS ON THE BASIS OF THE TRANSFORMATION OF STYLISTIC AND ARTISTIC-COMPOSITIONAL CHARACTERISTICS OF TRADITIONAL DECORATIVE ART." Art and Design, no. 3 (December 13, 2021): 30–44. http://dx.doi.org/10.30857/2617-0272.2021.3.3.
Full textAbstract:
The purpose. This research aims to analyze artistic-compositional characteristics of Ukrainian traditional embroidery and decorative-applied art (using the example of M. Prymachenko’s art) used in the decoration of the actual ethno-styled garments. Methodology. A systematic approach was used in this research to project authorial contemporary garments: literary-analytical, morphological, and comparative analysis of the creative primary source, associative means of its adaptation to the actual fashion trends. The methodology of the research is based on the systematic analysis of the design projects using elements of the cultural heritage of Ukraine. Systematic-informational and visual-analytical methods were used in this research. Systematic-structural analysis was used to analyze the transformation of artistic-compositional elements in the process of shaping contemporary costumes based on associative transformations. Results. In the process of design project of the authorial collection of female Ethno-style clothes, it was found that decorative art and national garments have a high level of authentic symbolism if used for the actual projection image in conditions of contemporary design activity. Characterizations were given to some principles of implementation of the national image in contemporary trends of fashion industry development. Symbolic image of the floral ornament adapted from Prymachenko’s works as well as stylization of her works in ornamental motifs of the collection were used. Based on pre-project analysis and customer survey it was defined that there is significant interest in national motifs. A collection of female clothes targeted at a wide group of customers was designed. Scientific novelty. Principles of design-project of the collection of contemporary garments with authorial embroidery were proposed using an adaptation of national traditions of female clothes embroidery and folk-art decoration as a basis. Usage of different floral motifs and geometric ornament in ethno-style and implementation of this image as popular among contemporary women in their everyday life were justified. Practical significance lies in the development of principles of formation of authorial costume collection project-image, in justification of principles of ethnographically oriented prints and embroidery and the choice of decoration methods of contemporary female clothes.
16
Bury, Stephen. "1, 2, 3, 5: building a collection of artists’ books." Art Libraries Journal 32, no. 2 (2007): 5–9. http://dx.doi.org/10.1017/s030747220001912x.
Full textAbstract:
Because artists’ books can be expensive to buy and to keep, institutions need to have a clearly articulated rationale for collecting them. This could range from documenting the history of art, and contemporary art in particular, to a survey of how artists have used the book format to explore their ideas. This latter approach would support the use of artists’ books in practical workshops leading to the creation of yet further artists’ books.
17
David, O’Flynn, and William Schupbach. "The art of those with lived experience: excavating the Adamson Collection." Journal of EAHIL 15, no. 4 (December 10, 2019): 23–38. http://dx.doi.org/10.32384/jeahil15354.
Full textAbstract:
We describe the journey of a British mid-20th century collection of asylum art from the objects’ creation, through decades of obscurity, to an influential place among the international collections. Key aspects include the development of a contemporary narrative and ongoing work on the ethics of viewing these collections. We describe how the Wellcome Library is working to understand and catalogue this large collection.
18
Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (June 2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.
Full textAbstract:
Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations
19
Balint, Adina. "MEMORY TRANSMISSION, SURVIVAL AND MULTICULTURALISM IN CONTEMPORARY CANADIAN LITERATURE." Alea : Estudos Neolatinos 18, no. 3 (December 2016): 422–34. http://dx.doi.org/10.1590/1517-106x/183-422.
Full textAbstract:
Abstract In 2014, the Quebecois writer Catherine Mavrikakis published Diamanda Galas, a tribute to the American artist performer of Greek origin, Diamanda Galas – at the Montreal Publishing House, Héliotrope, inaugurating a new collection, “Guerrières et Gorgones” (Warriors and Gorgons). At the same time and in the same collection, Martine Delvaux published a tribute to the American photographer Nan Goldin, in an eponymous essay. “What survives from/through artists who are prophets of the contemporary?”, inquires Mavrikakis. Acting on the tragedy of history and transgressing it, how can literature and art play with experiences of memory transmission and “survival” without necessarily working “to fix” them? What is at the heart of this link between history and creativity, reaffirmed by Georges Didi-Huberman in Survivance des lucioles? Through reflections on transcultural transference, multiculturalism and the power of women to transgress traumatic experiences, this article explores the question of memory transmission in two contemporary narratives on art and the AIDS period of the 1980s.
20
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.
Full textAbstract:
This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
21
Jasińska, Anna, and Artur Jasiński. "SUSCH MUSEUM." Muzealnictwo 61 (April 2, 2020): 27–38. http://dx.doi.org/10.5604/01.3001.0014.0805.
Full textAbstract:
Opened in January 2019, the Museum Susch crowned the collecting efforts of Grażyna Kulczyk, who, following her failed attempts at establishing a contemporary art Museum in Poznan and Warsaw, finally found home for her collection in a small Swiss village located between two Alps resorts: Sankt Moritz and Davos. The combination of both spectacular mountainous landscape and the edifices of an old convent into which the display has been built, as well as the purposefully created art pieces, contribute to creating a peculiar atmosphere of the place. Nature, architecture, and art have all merged into one total work here, namely into a contemporary Gesamtkunstwerk. Poland is echoed in the Museum: e.g. the genuine name of the institution: ‘Muzeum Susch’ is a combination of Polish and German words; furthermore, the pieces presented in the collection are to a great extent made up of works by contemporary Polish artists; wooden walls of the Museum Café are decorated with prints showing the Zakopane ‘Under Fir Trees’ (Pod Jedlami) Villa. The question whether Grażyna Kulczyk’s collection has found its final home here, or whether it is still possible for it to return to Poland, continues open. The collector herself does not provide an unambiguous answer to this.
22
Black, Jane. "Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives." Art Libraries Journal 44, no. 3 (June 12, 2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.
Full textAbstract:
The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.
23
Karnik, Meghana, Bellamy Printz, and Jennifer Finkel. "A Hospital's Contemporary Art Collection: Effects on Patient Mood, Stress, Comfort, and Expectations." HERD: Health Environments Research & Design Journal 7, no. 3 (April 2014): 60–77. http://dx.doi.org/10.1177/193758671400700305.
Full text
24
Leinman, Colette. "Le « Musée de poche »: collection productrice d'un patrimoine artistique." Nottingham French Studies 58, no. 3 (December 2019): 382–95. http://dx.doi.org/10.3366/nfs.2019.0264.
Full textAbstract:
In 1955 a polychrome and affordable collection of writers' biographies was created, allowing a large and young audience to easily access contemporary art, especially abstract art. This is hardly a given in the context of post-war, where the return to classical French aesthetics clashes with Socialist Realism. This study of ‘The Pocket Museum’ (1955–1965), shows how the collection fits into art writing, between art criticism and poetic writing, and how it enables the reader to discover abstract works. An ideal place for mediation and transmission, the collection, as an editorial strategy, helps to transform these new aesthetic creations into a national cultural heritage. Through a discursive analysis of ten books from the collection, three processes that have contributed to the promotion of abstract art are highlighted: the legitimacy of the author's discourse, whether he is an art critic, a poet, writer or journalist; the representation of the artist in question, whose difficult path is both stereotyped and singular, but always valorized; and finally, a series of analogies between abstract art and nature or comparisons with music, or else metaphorical expressions manifesting the ‘collapse of time’ where the universality of abstract art is part of the past, the present and the future.
25
Samarasinghe, Anya. "Stories of Victorian Paintings at Auckland Art Gallery Toi o Tāmaki – Navigating Intersections between Past and Present." Back Story Journal of New Zealand Art, Media & Design History, no. 9 (July 1, 2021): 95–111. http://dx.doi.org/10.24135/backstory.vi9.66.
Full textAbstract:
Victorian painting featured strongly in Auckland Art Gallery Toi o Tāmaki’s early collection and continued to be acquired well into the twentieth century. These artworks have tendedto be displayed through the lenses of theme and narrative. However, the need to invigorate this format is gaining momentum as curators are exploring ways to navigate intersections between past and present. Te Haerenga/The Passage, currently on display at Auckland Art Gallery Toi o Tāmaki, is in keeping with the drive towards enabling historical, international artworks, such as Victorian painting, to be displayed in connection with contemporary New Zealand and Māori art, thus shifting boundaries between traditional perceptions of the art historical canon and contemporary notions of identities and ideas.
26
Fitriana, Rina, Nurima Rahmitasari, and Marcelina Yoseli. "Analisis Motivasi Pengunjung Museum Macan Jakarta." Jurnal Ilmiah Pariwisata 25, no. 1 (March 31, 2020): 76. http://dx.doi.org/10.30647/jip.v25i1.1362.
Full textAbstract:
MACAN Museum (Museum of Modern and Contemporary Art in Nusantara) has a wide collection of modern and contemporary Indonesian arts up to the first international scale in Indonesia, and is one of the tourist attractions in Jakarta that is preferred by various circles. The collection is packaged with the concept of art shows and exhibitions that can be enjoyed by every visitor. This research aims to analyze the motivation of visitors coming to the museum using quantitative descriptive methods. Unit of analysis is the visitors of MACAN museum, meanwhile the independent variable is the visitors’ motivation. Data was taken by giving questionnaire to 100 respondents, having observation, and doing structured interviews. The data were analyzed by excel and presented in the frequency table and pie chart. The results showed that of the four motivations, cultural motivation obtained the highest value as the most motivating factor for visitors with a value of 4.19, and the average total value of the four motivations is 3.84 which states that visitors are motivated to visit the MACAN museum.
Keywords: MACAN Museum, Visitor Motivation, MICE, Contemporary Art
27
Pichou, Myrsini. "The ATOPOS cvc RIPPING Project: A ‘New’ Life for Dress Objects?" Costume 54, no. 2 (September 2020): 242–64. http://dx.doi.org/10.3366/cost.2020.0166.
Full textAbstract:
This article will examine the RIPPING ATOPOS project initiated by the Athens-based ATOPOS Contemporary Visual Culture Organization (ATOPOS). In this project, contemporary artists and fashion designers are commissioned to create their own works of art or garments, either inspired by specific pieces or by using duplicates of the 1960s paper dresses from the ATOPOS collection. The article describes results of the collaborations with the different artists and fashion designers. The project has enabled ATOPOS to investigate new ways of handling, managing and displaying its collection.
28
Mastandrea, Stefano, Gabriella Bartoli, and Giuseppe Bove. "Learning through Ancient Art and Experiencing Emotions with Contemporary Art: Comparing Visits in Two Different Museums." Empirical Studies of the Arts 25, no. 2 (July 2007): 173–91. http://dx.doi.org/10.2190/r784-4504-37m3-2370.
Full textAbstract:
The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that drive people to visit museums of ancient versus contemporary art. Results show that people who visit the Guggenheim Museum have higher socio-economic status (education and profession) and visit museums more frequently than those who attend the Borghese Museum. Additionally, educational level relates to the enjoyment of the visit and to the nature of the aesthetic experience; visit conduction by Borghese visitors was driven by the intent of understanding and knowing, while those who attended the Guggenheim took an emotional approach to their experience.
29
Charnley, Kim. "9.5 Theses on Art and Class by Ben Davis." Historical Materialism 23, no. 4 (November 27, 2015): 179–96. http://dx.doi.org/10.1163/1569206x-12341434.
Full textAbstract:
Ben Davis’s 9.5 Theses on Art and Class argues from a Marxist perspective that art and politics should be understood as distinct fields. In a collection of essays on different aspects of contemporary art, Davis attacks the tendency towards ‘aesthetic politics’ and the prevalence of Frankfurt School and post-operaist Marxism in contemporary art. Davis affirms that an understanding of class allows the relationship between art and politics to be correctly gauged, and excessive claims for art to be moderated. While it contains some useful observations, his argument often misrepresents recent art theory and deploys militant populist arguments in support of a conservative notion of the art critic as arbiter of artistic value. Davis’s hostility to work that blurs the boundary between art and politics is part of this conservatism. His argument is contrasted to rigorous analyses of the relation between art and class that emerged from the Art & Language collective since the mid-1970s. The work of this collective demonstrates that a thorough class-analysis always tends to destabilise the field of art, rather than clarifying it.
30
CATOIRA, Thais, and Carlos Xavier de AZEVEDO NETTO. "The importance of a differentiated representation of information for Contemporary Art: Use of fruition as a classification attribute." Transinformação 28, no. 3 (December 2016): 263–74. http://dx.doi.org/10.1590/2318-08892016000300002.
Full textAbstract:
Abstract The purpose of this study is to discuss information and art analyzing, through the representation of information, the role of Information Science. It is a discussion about the representation of information of Contemporary Art through the collaborative work among professionals. Information Science can contribute to the treatment and organization of information since it addresses the representation of information in different contexts and materials, reducing the complexity of these objects based on the possibility of abstraction and fruition. It includes a critical reflection based on artists' books that are part of the Paraiba's Center for Contemporary Art Collection. It was found that there is a tendency to homogenize the treatment of information of artworks through descriptive representation.
31
Ford, Simon. "Artists’ books in UK & Eire libraries." Art Libraries Journal 18, no. 1 (1993): 14–25. http://dx.doi.org/10.1017/s030747220000818x.
Full textAbstract:
An overview of the author’s research into the collection management of artists’ books in UK and Eire libraries, dealing with their selection, acquisition, processing, cataloguing, storage, conservation, and exploitation. Much of the information derives from a questionnaire distributed to 127 art and design libraries in the UK and Eire during 1992. Various policies are compared and the case of the National Art Library, at the Victoria and Albert Museum, is examined in detail. Artists’ books are seen to illuminate fundamental issues concerning both contemporary art and contemporary librarianship. Future prospects are discussed and recommendations for better use, management, promotion and understanding of the material are offered. A selection of 25 definitions of artists’ books is appended.
32
Montero, Gustavo Grandal. "Biennalization? What biennalization? The documentation of biennials and other recurrent exhibitions." Art Libraries Journal 37, no. 1 (2012): 13–23. http://dx.doi.org/10.1017/s0307472200017296.
Full textAbstract:
Biennials have been central to the development of contemporary art for decades, but there is a paucity of published material specifically related to this subject. Documentation for these important exhibitions is not always made available and it is often difficult to acquire, posing an obstacle to current and future research across a number of areas within contemporary art, curating and art history. This article offers an overview of major current biennials and of the different sources of information they produce (catalogues, other printed material, online resources, archives), and surveys the secondary literature of the phenomenon. It also discusses specific collection development issues in libraries, from a research perspective, proposing a set of recommendations for best practice.
33
Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
Full textAbstract:
Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
34
Arregui Pradas, Rocío. "Learning through the Collection: An Educational Resource on the Contemporary Art Andalusian Centre Web." International Journal of Arts Education 7, no. 2 (2013): 15–28. http://dx.doi.org/10.18848/2326-9944/cgp/v07i02/36135.
Full text
35
Alekseev, Evgeny P. "Art of Being an Art Critic. Review of: Busev, M. A. (2020). Iskusstvo postigat’ iskusstvo: sbornik statei k 100-letiiu N. A. Dmitrievoi [Art of Comprehending Art: Collected Articles for N. A. Dmitrieva’s 100th Birthday]. Moscow: BooksMArt. 408 p.: Il." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 2 (2021): 288–96. http://dx.doi.org/10.15826/izv2.2021.23.2.041.
Full textAbstract:
This review examines Art of Comprehending Art, a collection of scholarly articles based on the materials of the conference Historical and Theoretical Issues of Art Studies: For N. A. Dmitrieva’s 100th Birthday (held on April 24–25, 2017 at the State Institute of Art Studies of the Ministry of Culture of the Russian Federation). The first part of the collection presents colleagues’ memories about N. A. Dmitrieva’s work revealing various facets of her talent. In the second part of the book, scholarly articles by contemporary art historians are devoted to the issues that N. A. Dmitrieva examined, i.e. the history of art criticism and art education in Russia, theoretical and methodological issues (image and word, issues of interpretation, kitsch), the creative work of P. Picasso, M. Vrubel, and A. Chekhov. The third section contains fragments of N. A. Dmitrieva’s diary, as well as two previously unpublished articles.
36
Romi, Sezin. "Time of transformation: Research, resources, and access at SALT." Art Libraries Journal 47, no. 2 (April 2022): 32–39. http://dx.doi.org/10.1017/alj.2022.2.
Full textAbstract:
This article evaluates the transformation of a library in a small contemporary art institution into a large-scale organization, providing the essential infrastructure for research in Istanbul, Turkey, from 2001 onwards. It explains how Platform Garanti Contemporary Art Center's (2001-2010) library and archive collection were established and became part of SALT Research with other cultural entities in 2011. Focusing on the motivations behind SALT's founding, the article discusses the formation of SALT Research, which comprises a library, archive and learning platform. It presents the changing positions of the institution regarding developing library tools, user needs, and the pandemic.
37
Geissler, Marie. "Contemporary Indigenous Australian Art and Native Title Land Claim." Arts 10, no. 2 (May 11, 2021): 32. http://dx.doi.org/10.3390/arts10020032.
Full textAbstract:
This paper investigates a select number of examples in which largely non-literate First Nation peoples of Australia, like some First Nations peoples around the world, when faced with a judicial challenge to present evidence in court to support their land title claim, have drawn on their cultural materials as supporting evidence. Specifically, the text highlights the effective agency of indigenous visual expression as a communication tool within the Australian legal system. Further, it evaluates this history within an indigenous Australian art context, instancing where of visual art, including drawings and paintings, has been successfully used to support the main evidence in native title land claims. The focus is on three case studies, each differentiated by its distinct medium, commonly used in indigenous contemporary art—namely, ink/watercolours on paper, (Case study 1—the Mabo drawings of 1992), acrylics on canvas (Case study 2—the Ngurrara 11 canvas 1997) and ochre on bark, (Case study 3—The Saltwater Bark Collection 1997 (onwards)). The differentiation in the stylistic character of these visual presentations is evaluated within the context of being either a non-indigenous tradition (e.g., represented as European-like diagrams or sketches to detail areas and boundaries of the claim sites in question) or by an indigenous expressive context (e.g., the evidence of the claim is presented using traditionally inspired indigenous symbols relating to the claimant’s lands. These latter images are adaptations of the secret sacred symbols used in ceremonies and painting, but expressed in a form that complies with traditional protocols protecting secret, sacred knowledge). The following text details how such visual presentations in the aforementioned cases were used and accepted as legitimate legal instruments, on which Australian courts based their legal determinations of the native land title.
38
Weaver, Amy E. "The Art of Nursing: A Concept Analysis." International Journal for Human Caring 25, no. 1 (January 25, 2021): 16–21. http://dx.doi.org/10.20467/humancaring-d-20-00021.
Full textAbstract:
This article examines the art of nursing, through a systematic exploration of the literature and application of Rodgers' methodology for conducting a conceptual analysis. The phases of Rodgers' evolutionary approach are explained, including the selection of literary works and methods for data collection and analysis, and through the introduction of a model case. Although the literature revealed inconsistent interpretations and a dynamic conceptualization of the art of nursing, various meanings and contexts for understanding the art of nursing are presented, along with implications for advancing nursing knowledge and contemporary evidence related to the art of nursing.
39
Alonso, Christian. "Becoming Molecular as a Condition for Creating New Spaces of Freedom." REGAC - Revista de Estudios Globales y Arte Contempor�neo 8, no. 1 (December 22, 2022): 1–19. http://dx.doi.org/10.1344/regac2022.8.41401.
Full textAbstract:
This volume includes texts by authors who are explicitly inspired by the ecosophical pragmatics of Félix Guattari or who resonate with it. Published in a blend of English and Spanish, the thirteen articles were written by researchers, artists, art historians, philosophers, and schizoanalysts from Asia, America, and Europe. Their methods, ideas, and approaches highlight the ability of creative practice to map and engender complex, relational, singularized, transversal, and constitutive forms of life. Departing from bold analyses of capitalism’s mechanisms of subjection, their contributions describe how art is able to resist the repressive politics of dominant representations and mobilize processes of existential heterogenesis through molecular becomings. The origin of this publication is the IV International Symposium Mutant ecologies in contemporary art: machinic capitalism, molecular beings, and subsistence territories that took place online on November 25-26, 2020, which had as special guest the philosopher and art theorist Gerald Raunig. This special issue of the Journal of Global Studies and Contemporary Art builds on the project started with the book Mutating Ecologies in Contemporary Art (Edicions de la Universitat de Barcelona) which investigated the conjunction of the ecological turn in contemporary art and Guattarian ecosophy to inquire about the role of art in light of the challenges posed by the environmental degradation and the socio-political crises of today. Thirty years after Guattari’s death and the publication of Chaosmosis (1992), this collection of texts testifies that Guattari’s clinical and critical analyses continue to infuse artistic, ecological, and political practice with a revolutionary potential.
40
Fisher, Michelle Millar. "‘The Most Fascinating and Well-Designed Artifacts of Our Time’: Collecting and Exhibiting Contemporary Guns in the Art Museum." Journal of Visual Culture 17, no. 3 (December 2018): 272–85. http://dx.doi.org/10.1177/1470412918800006.
Full textAbstract:
Guns are usually designed with great attention to their aesthetic, ergonomic, and functional component parts. Yet, their contemporary manifestations are considered so culturally and symbolically fraught – especially in the United States – that guns produced in the last century have rarely been presented as industrial objects worthy of sustained and close reflection within the context of a major design exhibition or art museum collection. This article considers the few recent exceptions, the legacy that curators and design historians have inherited and recently mobilized around guns in the design canon, and the future of public conversations in the art museum around contemporary intersections of design and violence.
41
Vandsoe, Anette. "Listening to the world. Sound, Media and Intermediality in Contemporary Sound Art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 1, no. 1 (December 2, 2011): 67–81. http://dx.doi.org/10.7146/se.v1i1.4071.
Full textAbstract:
One of the newer tendencies in contemporary sound art is the use of scientific modes of data collection through laboratory set ups or field recordings, as it is for instance seen in media artist Anne Niemetz' and nano-scientist Andrew Pelling's The Dark Side of the Cell (2004) or Katie Egan and Joe Davies Audio Microscope (2000). This article tries to describe how the sound experience is conditioned by such art projects. The main argument in the article is that in such art projects we are not just experiencing ‘the world’, ‘the sound’, ‘the technology’ or ‘the listening’ but the mediating gesture happening between these positions. In order to describe this complex mediating operation the article uses a variety of media and intermedial theory particularly Lars Elleströms (Elleström, 2010) distinctions between qualified, basic and technical media. The latter is used to describe how the intermediality of such sound art projects is not just between conventional medias of art – as for instance text and sound – but between very different media aspects such as “sound” and “microphone” and “art”. On behalf of such an analysis the article claims that these art projects can be seen as an articulation of an auditory turn, in which sound no longer appears to be a transparent channel between us and the world, but rather a media conditioning that which is experienced.
42
Piccinini, Ranieli. "Casa Daros Library: a nascent Latin American contemporary art library in Brazil." Art Libraries Journal 39, no. 4 (2014): 21–26. http://dx.doi.org/10.1017/s0307472200018514.
Full textAbstract:
In 2006, Daros Latinamerica – one of the most comprehensive collections dedicated to Latin American contemporary art in the world – acquired a building, designed by the architect Francisco Joaquim Bethencourt da Silva (1831-1912) and listed as official historical heritage of the city of Rio de Janeiro. After seven years of refurbishment, Casa Daros and its library opened its doors on 23 March 2013. The library has maintained and improved its collection about contemporary Latin American art – considered unique in the region – ever since, with a view to motivating and increasing the amount of research on the subject in Brazil. At the same time, the library team plays an important role in the preparation of the programming planned in the cultural centre – considered a platform for art, education, and communication – and also during the events at Casa Daros, providing support for the researchers’ needs.
43
Šabarić, Irena, Anita Koturić, and Beti Rogina-Car. "The application of traditional elements of a leather vest from the Croatia area in a contemporary collection of women's clothing." Koža & obuća 69, no. 1 (2021): 25–29. http://dx.doi.org/10.34187/ko.69.1.5.
Full textAbstract:
Due to the richness and variety of costumes, one leather element from the leather coat (kožuh) has been singled out, which has been developed in a new way and applied in a contemporary clothing collection.A lot of attention has been paid to handmade workmanship and quality, so this collection also has high fashion features. In the art part, through sketches, the selected theme or element is elaborated.Models have been developed and places where and in what way leather elements and mirrors will be applied.The collection transforms the costume element into simple, refined garments, creating a contrast between the old and the new, tradition and modernity.It depicts the present, a contemporary collection created on the foundations of a rich past and tradition.The result is presented in the form of a realized fashion collection of women's clothing with leather ethno applications.
44
Hava, Jarmila. "The Library at the National Gallery of Zimbabwe." Art Libraries Journal 11, no. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.
Full textAbstract:
The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often content to continue traditions without seeking to innovate or to respond to other works of art. Both Gallery and Library have accepted and are developing an active educational role.
45
Batovska, Olena, Natalia Grebenuk, Nataliya Byelik-Zolotaryova, Yuliia Ivanova, Tetiana Sukhomlinova, and Iana Kaushnian. "Traditions and Innovations in Contemporary Vocal and Choral Art." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 73–98. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.06.
Full textAbstract:
"The problem of traditions and innovations in vocal and choral performance is a large-scale, many-sided integral system. This phenomenon of musical culture combines the classical direction and modernization of interpretation processes, which determines the topicality of the research. The aim of the article was to reveal the phenomenon of traditions and innovations in vocal and choral art as a complex multi-vector phenomenon that includes components of different scales, content, and functions that they perform. Methods. The research involved theoretical and practical methods. Problem: theoretical methods are represented by the analysis and arrangement of materials; identification of the main elements of the problem; generalization of the data obtained during the research. The practical methods are based on the search for and collection of scientific concepts and empirical data from the fields of performance, history, pedagogy, philosophy, aesthetics, medicine; on the monitoring of educational, as well as concert and performing activities; creative collaboration with soloists and the choral group. Results. The problem of traditions and innovations in vocal and choral performance is based on the following blocks: preservation of classical principles of academic vocal performance; their synthesis with discoveries and achievements of other spheres; modernization promoted by the expansion and updating of the genre framework, as well as modern engineering equipment. Conclusions. The fact of significance of the phenomenon of traditions and innovations in vocal and choral performance for the culture of society was revealed during the research. Its universality as a many-sided, flexible, large-scale integral phenomenon which consists of many different elements that play a leading role in its formation and are closely related was proved. Its interaction with different areas of society is shown. Prospects. The issue of traditions and innovations in vocal and choral performance is constantly enriched with new content, expands the scope of its implementation and interaction with various forms of social consciousness, science, medicine, which necessitates further study of this phenomenon. Keywords: academic vocal performance; performance software support; practice of vocal and choral art; educational and performance activities; breathing exercises; artistic directing; monitoring of educational and concert practice. "
46
Caragol, Taína. "Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection - by Abelardo G. Mena Chicuri." Bulletin of Latin American Research 27, no. 4 (October 2008): 599–600. http://dx.doi.org/10.1111/j.1470-9856.2008.00286_16.x.
Full text
47
Chen, Yu. "Possession and Access: Consumer Desires and Value Perceptions Regarding Contemporary Art Collection and Exhibit Visits." Journal of Consumer Research 35, no. 6 (April 2009): 925–40. http://dx.doi.org/10.1086/593699.
Full text
48
Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.
Full textAbstract:
Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.
49
Dane, William J. "John Cotton Dana: a contemporary appraisal of his contributions and lasting influence on the library and museum worlds 60 years after his death." Art Libraries Journal 15, no. 2 (1990): 5–9. http://dx.doi.org/10.1017/s0307472200006684.
Full textAbstract:
John Cotton Dana, who died in 1929, had been Librarian of the Newark Public Library since 1902. Among many other achievements, he was responsible for the development of remarkable art collections in the Library, including a collection of prints, and of a Picture Collection of visual images; the programme of art exhibitions he organised in the Library led to the founding of the Newark Museum. The collections Dana initiated continued to grow after his death, guided by his inspiration: they are of regional and even national importance and, via library networking, serve the whole state of New Jersey; the scope of the print collection has been extended to include several categories of printed ephemera, including shopping bags.
50
Kristiyono, Jokhanan, Rachmah Ida, Wirawan Ida Bagus, and Mayastuti Mayastuti. "The Chronicle of Digital (Media) Arts in Contemporary Indonesia: The Shifting of Focus Toward Society 5.0." Technium Social Sciences Journal 34 (August 8, 2022): 271–82. http://dx.doi.org/10.47577/tssj.v34i1.6976.
Full textAbstract:
This article describes the advances in the genealogy of digital media art in Indonesia. The evolution of digital art or works of digital art is inseparable from the growth of the art itself. This article chronologically describes the development of art in Indonesia, from the starting point of the advancement of art in the Dutch colonial era to digital art. The method used in this study is a digital meta-analysis with an exploratory qualitative approach-data collection technology by observing digital metadata to develop media and participatory art in the Indonesian art community. The result is technology-based art (digital art). This article is the essential concept and idea of today's digital artists, with works of art not just produced in the platform or digital format. Creating a work of art using the concept of digital thinking as a form of artistic appreciation is the basis for making a digital work of art. Digital media art is the foundation of thinking, thinking, and interaction. This modern society is shifting toward society 5.0. In conclusion, the development of the Indonesian digital art community resulted in an extraordinary digital revolution in Indonesia. By placing 'digital' and 'revolution' into a critical perspective. The digital artist community continues to produce technology-based artworks to communicate their work to the public by holding art exhibitions for Indonesian artists as a collective social movement with digital platforms.