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Journal articles on the topic 'An exhibition on Ontario Artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Authors and Artists, Multiple. "Soft Walls." ti< 10, no. 1 (2021): 2–8. http://dx.doi.org/10.26522/ti.v10i1.2748.

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Catalogue of art exhibition Soft Walls at City Hall, St. Catharines, Ontario. Artists and authors from the Centre for Studies in Arts and Culture (STAC) and the Department of Visual Arts (VISA), Marilyn I. Walker School of Fine and Performing Arts, Brock University.

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Davies, Robertson, Richard Courtney, and Alexander Leggatt. "The Stage is All the World: The Theatrical Designs of Tanya Moiseiwitsch, Shakespeare’s World of War: The Early Histories, Shakespeare’s World of Love: The Middle Comedies." Canadian Theatre Review 84 (September 1995): 77–79. http://dx.doi.org/10.3138/ctr.84.014.

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The Stage is All the World is the catalogue of an exhibition of the stage designs of Tanya Moiseiwitsch that toured North America in 1994 and 1995. It includes drawings and photographs representing all periods of her career (including her work at Stratford, Ontario, whose famous thrust stage she designed), essays on her life and art by a variety of authors, and selections from interviews with the artist herself. This material allow us to reflect on not just a distinguished career but a whole philosophy of theatre.

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Grace, Claire, and Kevin Lotery. "Artists Design Exhibitions: Introduction." October 150 (October 2014): 3–8. http://dx.doi.org/10.1162/octo_a_00197.

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In the first half of the twentieth century, exhibition design served a central and multivalent function: As spaces of the public sphere, exhibitions offered sites for aesthetic experimentation, for the confrontation with new technologies, and for the dissemination of propaganda materials. Rather than elaborating a medium per se, artists who turned to exhibition design sought tactical, site-specific—even project-specific—interventions in the pressing questions of their present, and they did so by positioning their work within the terms, materials, and technologies then active. One need only con

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Lee, Soo-jin, and Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace." Leonardo 41, no. 5 (2008): 454–59. http://dx.doi.org/10.1162/leon.2008.41.5.454.

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TenYearsAfter is an annual media art exhibition based in Korea, begun in 2003, organized by Kwang-yun Wohn and curator Mira Kim to facilitate collaboration among engineers, scientists, artists and designers. Unlike other major media-art exhibitions, TenYearsAfter has included artworks by mainstream media artists, independent experiments, and products and research results by artists and non-artists alike. The fourth exhibition in this series, TenYearsAfter_v4.0_OuterSpace, organized by the authors, was held in 2006. This article elaborates on the process of organizing this event and contemplate

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Tsukamoto, Eri, and Eri Tsukamoto. "A Reflection on the Artists and Academics Exhibition." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (2017): 227–31. http://dx.doi.org/10.31273/eirj.v4i2.159.

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On 26 November 2016, the Artists and Academics Exhibition was held at Fargo Village in Coventry. The Exhibition was a collaborative project between seventeen PhD researchers from the University of Warwick and seventeen local artists, in which each artist created a piece inspired by a research idea. The Exhibition fostered active conversation between artists, academics and the general public, thereby encouraging all participants to talk about academic works in an informal setting and to explore new ideas and perspectives. Collaborative projects like the Exhibition thus benefit all who participa

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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of art

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Grussani, Linda, Rachel E. Smith, Garance Nyssen, et al. "Exhibition Reviews." Museum Worlds 12, no. 1 (2024): 241–60. https://doi.org/10.3167/armw.2024.120118.

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In 2022, the MacKenzie Art Gallery in Regina, Saskatchewan, Canada, organized and launched the ground-breaking exhibition Radical Stitch, North America's largest ever beadwork exhibition to feature contemporary First Nations, Métis, Inuit, and Native American artists. The exhibition, which has been awarded the 2024 Canadian Museums Association/Association des Musées Canadiens Award of Outstanding Achievement, is curated by an esteemed Indigenous curatorial team comprising Sherry Farrell Racette (University of Regina), Cathy Mattes (University of Winnipeg), and Michelle LaVallee (National Galle

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Raharjo, Timbul, Suastiwi Triatmodjo, and Yulriawan Dafri. "“Guyub Trisno” Fine Art Exhibition: Donation and Recovery of The COVID-19 Pandemic." Devotion Journal of Community Service 4, no. 3 (2023): 803–12. http://dx.doi.org/10.36418/devotion.v4i3.439.

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A pandemic is like a mirror that shows us the realities of life (Teng & Margaret, 2020). This fact of life is the importance of doing for humanity as did the artists of Trisno Guyub’s members. They initiated a joint exhibition for donations and recovery from the Covid-19 pandemic. This exhibition was attended by 118 artists and exhibited around 200 works of art, paintings and sculptures. The first purpose is an effort to share and the second is so that artists can fulfill their artistic expression. This study uses a qualitative method in the form of an explanation of the pandemic condition

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Mantas, Kathy, and Carole Roy. "Virtual Art Exhibition." Canadian Journal for the Study of Adult Education 32, no. 2 (2020): 165–90. http://dx.doi.org/10.56105/cjsae.v32i2.5622.

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This virtual art exhibition showcases artwork from twenty two artists/artist scholars, and is featured in this special issue entitled, Learning and Teaching Artful Narratives of Transformation of the Canadian Journal for the Study of Adult Education ( a first for this journal This exhibit is meant to complement and further discussions on the textured, colourful multi layered and complex theme of learning, teaching and transformation, defined broadly. We would like to thank everyone who submitted artwork for consideration and our external jurors for their time and expertise As well, we are grat

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10

Harling, R. "Exhibition: Artists for Medecins du Monde." BMJ 318, no. 7197 (1999): 1562. http://dx.doi.org/10.1136/bmj.318.7197.1562.

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Kōdera, Tsukasa, Tatsuya Saito, Megumi Soda, and Geneviève Aitken. "Introduction." Journal of Japonisme 2, no. 1 (2017): 1–37. http://dx.doi.org/10.1163/24054992-00021p01.

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The exhibition of Japanese prints held at the École des Beaux-Arts in Paris in 1890 is a milestone in the history of Japonisme. Organized by S. Bing in collaboration with a number of Japonistes, the exhibition presented more than 1100 Japanese prints, illustrated books and kakemono. This article reconstructs this historic event in its diverse aspects: clarifying the preparation process, reconstructing the exhibition venue, identifying exhibits, and examining their lenders. All these factors will be placed in a historical context, revealing how meticulously Bing prepared the exhibition and subs

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Carollina, Donna. "Graffiti Virtual Exhibition “Pandemic Youth”." International Journal of Creative and Arts Studies 7, no. 2 (2020): 129–35. http://dx.doi.org/10.24821/ijcas.v7i2.4655.

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In the middle of March 2020, Indonesia declared a Covid-19 emergency. This pandemic has an impact on art activities, including the artistic world of graffiti. During this time, the activities of graffiti artists in public spaces were increasingly limited. However, this limitation does not dampen their spirit, especially in terms of organizing exhibitions. Where on May 17, 2020, they held a virtual exhibition titled "Youth Pandemics." This topic is interesting to discuss since organizing a virtual exhibition is a new thing for graffiti artists, especially in Indonesia. This research uses the de

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Nixon, Mignon. "Death Work in Venice: In memoriam Khadija Saye." October 161 (August 2017): 3–10. http://dx.doi.org/10.1162/octo_a_00300.

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Mignon Nixon reflects on the Manchester Arena bombing, London Bridge and Borough Market attack, and Grenfell Tower fire in London, as well as the 2017 Venice Biennial, via J-B Pontalis's writings on the psychoanalytic notion of death-work. Nixon argues that the defining problem of Christina Macel's exhibition Viva Art Viva in Venice, an exhibition so insistently art- and artist-positive—“designed with artists, by artists, and for artists” as the press release notes—is that its aesthetics of redemption is predicated on a negation of life, and thereby a negation of art.

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Park, Yu Mi, and Choon Sung Shin. "Study On Online Platform For Personal Exhibition In Metaverse Emvironment." Korean Institute of Smart Media 11, no. 6 (2022): 37–50. http://dx.doi.org/10.30693/smj.2022.11.6.37.

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This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metavers

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Konova, Marieta. "“Stories” an Exhibition by Laura Dimitrova and Stefan Altkov." Visual Studies 8, no. 2 (2024): 168–75. http://dx.doi.org/10.54664/fvcr2420.

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The text is an interpretive analysis of the artworks of the artists Laura Dimitrova and Stefan Altkov, created in the period 2022–2023 and presented in a general exhibition “Stories” in various gallery spaces in the country. The exhibition takes on a different look in each exhibition area, it is rearranged and its individual components and details are added, removed or replaced in order to achieve a spatial arrangement of the “narrative”. The artworks are characterized by a unique plastic language for each of the artists, individual preferences of means of expression and materials, but the exh

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Wilska, Zuzanna. "„Spotkały się i rozeszły”. Malarki ze środowiska warszawskiego w Galerii Dziekanka w 1987 roku. Badania wstępne." Czas Kultury XLI, no. 2 (2025): 141–53. https://doi.org/10.61269/r25n1acc/pyzr3591.

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“They Met and Parted.” Painters from the Warsaw Community at the Dziekanka Gallery in 1987. Preliminary Research This article examines an exhibition organized in October 1987 at the Dziekanka Gallery in Warsaw, which aimed to highlight the contributions of women artists during the period of transformation. It addresses the marginalization of female artists in the 1980s and analyzes the motivations behind the initiative, the selection of participants, and the structure of the exhibition. The methodology involves reconstructing the event through the analysis of archival materials, visual documen

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Lavrentiev, Alexander Nikolaevich. "Review of the exhibition and catalog: Girlfriends. For the anniversary of Varvara Stepanova. Exhibition catalog. Moscow: Pushkin State Museum of Fine Arts (2024)." Design. Art. Industry, no. 11 (November 13, 2024): 80–86. http://dx.doi.org/10.56900/2312-6116_2024_11_80.

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The exhibition "Girlfriends. To the anniversary of Varvara Stepanova", (curators A.A. Danilova, A.A. Savinov, A.N. Lavrentiev), which opened in July 2024 at the Pushkin State Museum of Fine Arts reveals the contribution of Russian avant-garde artists to the formation of constructivism as an influential global trend in architecture and design, the development of domestic fashion design, graphic design, theater. The exhibition presents the works of A.I. Akhtyrko (students of A.M. Rodchenko in VKhUTEMAS), E.A. Ignatovich (a photojournalist and journalist who worked with V.F. Stepanova), L.S. Popo

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Lebakeng, Teboho. "Exhibition Review." Image & Text, no. 37 (November 1, 2023): 1–5. http://dx.doi.org/10.17159/2617-3255/2023/n37a16.

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The group exhibition You don't say, is based around a third-year Fine Arts project completed at the University of Pretoria under the guidance and teachings of Johan Thom in collaboration with the South African conceptual artist Willem Boshoff. The works of other year groups, ranging from second-year to Master's level, also form part of the exhibition as a way to broaden the conversation across different levels of students and their relative perspectives. The exhibition included more than twenty selected individual young artists' works shown alongside three related works of art by Boshoff: Ash

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Serfas, Shawn, Abigail Serfas, Alexandra Yakovleva, et al. "Conversations d'artistes / Conversations with Artists." ti< 4, no. 1 (2015): 34–45. http://dx.doi.org/10.26522/ti.v4i1.1162.

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Rosiejka, Karolina. "The 1st Exhibition of Polish Women Artists in Bydgoszcz: On the strategies of visibility on the cultural map of the reborn Second Polish Republic." Quart, no. 4(66) (December 1, 2022): 112–31. http://dx.doi.org/10.19195/quart.2022.4.95176.

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The text presents the background to the 1st Exhibition of Polish Women Artists, which took place in 1930 in the Bydgoszcz City Museum. The exhibition presenting only works by women is linked in the article to the social discourse of the Second Republic. It sought to build a progressive reborn Polish society based on the ideal of equality, including gender equality. The text proves that the 1st Exhibition of Polish Women Artists was aimed at raising the profile of the institution organising the event on the cultural map of Poland, and further, of the city itself, where the exhibition was held.

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Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.

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Raumkunst by Teodor Axentowicz Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promote

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22

Eden, Alice, and Alice Eden. "Art, Scholarship, Community: Experiences of Viewing." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (2017): 232–43. http://dx.doi.org/10.31273/eirj.v4i2.162.

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This critical reflection originated in a visit to the ‘Artists and Academics’ exhibition held at Fargo Creative Village, Coventry, 26 November 2016. My thoughts about the exhibition have served as a springboard to consider ideas of scholarship, art and community more broadly. I use my research on British artists from the early twentieth century, their ideas about the processes of viewing art and the spiritual in art, to discuss examples in the exhibition. I conclude by considering how this collaborative event can bring academic ideas into conversation with artworks. I suggest that the resultin

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Fowler, Cynthia. "A Progressive View on Religion and Modern Art." Religion and the Arts 19, no. 5 (2015): 488–530. http://dx.doi.org/10.1163/15685292-01905002.

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This article examines the Religious Art of Today exhibition, originally held in 1944 at Boston’s Institute of Modern Art and then reformulated for the Dayton Art Institute in Ohio. The exhibition was eclectic in that it included a wide range of artists and a diversity of faiths, and engaged the debate held among museum professionals about the relationship between religion and modern art. The article focuses closely on Catholic, Jewish, and Navajo art included in the exhibition. The IMA’s commitment to the figurative tradition afforded artists the opportunity to explore their identities—as Jews

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Winslow, Margaret. "Aesthetic Dynamics, Inc. Presents: Afro-American Images 1971." Journal of Curatorial Studies 8, no. 2 (2019): 184–204. http://dx.doi.org/10.1386/jcs_00003_1.

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Abstract In February 1971, the artist collective Aesthetic Dynamics, Inc. presented its first major undertaking: an exhibition of over 130 works of art by 66 artists. Organized as a memorial to the late James A. Porter, Afro-American Images 1971 was presented at the National Guard Armory in Wilmington, Delaware. Many of the artists who participated in the show were well-established nationally; however, the location and inclusion of many artists known only to the local community resulted in the marginalization of this significant exhibition. In 2021, the Delaware Art Museum will restage the exh

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Ponamarchuk, Igor. "Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc." Text and Image: Essential Problems in Art History, no. 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.

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The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing Schoo

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Cummings, Sally Nikoline. "Entangled interpretations and a transnational art exhibition:The case of (…) Ketsin! Art from the Kyrgyz Republic (Shoreditch, May 2013)." Museum and Society 13, no. 3 (2015): 336–55. http://dx.doi.org/10.29311/mas.v13i3.334.

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Through the case study of a visual arts exhibition on the Kyrgyz Revolution, (...) Ketsin! (May 2013), this article traces the complex set of factors that influence how a transnational exhibition is interpreted. Combining literatures on visual representation, the role of intentionality in authorship, and, museum and gallery studies, I propose here the notion of ‘entangled interpretations’ to convey the overlapping and muddled layers rather than discrete parts that together constitute interpretation. These layers comprise: the artworks; other works in the same genre and other works by the same

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Krokosz, Paweł. "Przygotowanie czasowej wystawy muzealnej dotyczącej tematyki wojskowej. Na podstawie wystawy czasowej „Wieliczka na drodze ku niepodległości”, prezentowanej w Muzeum Żup Krakowskich Wieliczka na przełomie 2016 i 2017 r." Textus et Studia, no. 3/4(19/20) (July 16, 2021): 61–79. http://dx.doi.org/10.15633/tes.05304.

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The article is devoted to issues related to the comprehensive preparation of a temporary museum exhibition on military topics. The article presents the following aspects: developing the concept of the exhibition and its scenario; selecting exhibits; preparation of documentation (loans and returns of objects); realization of the exhibition (cooperation with artists and technicians); preparation of a popularizing and educational program accompanying the exhibition (museum lessons, scientific sessions, etc.).

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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.

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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

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Lucey, Kate. "Celebrating African American Children’s Literature: An “Eye of the Beholder” Workshop." Children and Libraries 16, no. 3 (2018): 7. http://dx.doi.org/10.5860/cal.16.3.7.

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As an academic librarian at a liberal arts university, I was asked by our school’s art museum staff to collaborate on programming for an exhibition by African American illustrators of children’s books. The exhibition, called Telling a People’s Story: African-American Children’s Illustrated Literature, ran on campus through June 2018 as the first of its kind. To represent 33 different artists, the nearly 130 works on display included paintings, pastels, drawings, and mixed-media works. Artists included veterans like Jerry Pinkney, who has been illustrating award-winning books since the 1960s, a

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Giorgis, Elizabeth. "Sharjah Biennial 15 at Kalba." Nka: Journal of Contemporary African Art 2023, no. 53 (2023): 126–36. http://dx.doi.org/10.1215/10757163-10904146.

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Sharjah Biennial 15 Thinking Historically in the Present hurled a spectacular exhibition that featured more than three-hundred works by one-hundred fifty artists from over seventy countries. While global ideas informed the artists of the Biennial, the specific historical and political contexts from which they emerged also shaped their distinctive subjectivities. It is in this regard that I look into the works of Nari Ward, Doris Salcedo, and Ibrahim Mahama who come from different historical, cultural and political trajectories but whose multiple articulations are shared and connected. By exami

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Chan, Ada, Suzan Ozkul, Devin Waldie, Bing Cherry, and Alanna Price. "Artworks from BEING Studio." Public 33, no. 66 (2022): 143–51. http://dx.doi.org/10.1386/public_00128_7.

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Krasnoslobodtsev, Constantine V. "EXHIBITION OF MODERN FRENCH ART IN MOSCOW (1928) ON THE MATERIALS OF RGALI AND THE ARCHIVE OF THE PUSHKIN STATE MUSEUM OF FINE ARTS." History and Archives, no. 3 (2022): 52–62. http://dx.doi.org/10.28995/2658-6541-2022-3-52-62.

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The cooperation of the new Soviet art and the artists of Russian emigration is a subject of particular interest. The period of the 1920s became a unique in the history of art when the new Soviet avant-garde artists, as well as artists who remained at home and those who decided to leave and not return, got along at international exhibitions within the Russian section. Russian art was still perceived as a single whole, geographical boundaries did not play a role, and the abyss of “non-return” had not yet opened between the creators themselves. The last chords in that still general composition we

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Gavrilyuk, M. N. "GLAGOLEV IN THE IDEOLOGICAL FIELD OF THE FINE ARTS OF THE CRIMEAN ASSR (1928–1946)." Scientific Notes of V.I. Vernadsky Crimean Federal University. Historical science 7 (73), no. 2 (2021): 39–52. http://dx.doi.org/10.37279/2413-1741-2021-7-2-39-52.

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The article describes the activities of Alexander Nikolaevich Glagolev, a Crimean artist who was the most prominent figure in the ideological field of the fine arts of the Crimean ASSR. Working first as an artist, and then as head of the illustration department of the newspaper «Red Crimea», he made every possible effort to implement state policy in all spheres of artistic life in Crimea. Since 1929, he has been developing an unprecedented activity for Crimea, hoping to «wrest artists from the state of dead apoliticality and switch them to serving the interests of the revolutionary proletariat

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Shirai, Yumi, and Carissa Maria DiCindio. "Museum as a Mutual Learning Space for Artists with Intellectual and Developmental Disabilities and University Students." Canadian Journal of Disability Studies 11, no. 3 (2022): 30–60. https://doi.org/10.15353/cjds.v11i3.926.

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Using a university museum as a mutual learning space, guided by the core principles of multivocality and inclusive arts practice, six adult artists with intellectual disability and 16 undergraduate students collaborated to plan a public art exhibition. In this article, we describe the facilitation of the 6-week group process with artists with intellectual disability who have varied cognitive and communication abilities, to curate their own stories and prepare for a public art exhibition, and students to gain field experiences as community art educators, working with a community artist group. B

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Powers, Holiday. "Stranieri Ovunque—Foreigners Everywhere and the History of Global Modernism." Nka: Journal of Contemporary African Art 2024, no. 55 (2024): 104–18. http://dx.doi.org/10.1215/10757163-11507542.

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Occurring every two years, the Venice Biennale remains a key node for contemporary art. In Venice, in addition to a main exhibition, national pavilions are located primarily between the two main biennale sites, the Giardini and the Arsenale, and collateral events are scattered across the city. Understood as the sum of these many exhibitions, Venice allows visitors and participants to take stock of the current guiding interests and concerns within the art world. The main exhibition of the 60th edition, Stranieri Ovunque—Foreigners Everywhere, is curated by Adriano Pedrosa. The exhibition first

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Durand-Ruel, Victoria Mouraux, and John Zarobell. "Contemporary art from the Global South in the art auction market from 2020 to 2022." Arts & Communication 2, no. 1 (2023): 1608. http://dx.doi.org/10.36922/ac.1608.

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In recent years, emerging artists from the Global South have garnered substantial attention in the art market. This study seeks to examine the market value and ecosystem evolving around these emerging artists by analyzing the sales results of 51 artists between 2020 and 2022. This research aims to establish patterns linking unprecedented sales results with exhibition history and highlights the essential network required for these artists&rsquo; commercial success. The study reveals that the emergence of artists in the global art market results from a deliberate effort by a network of stake

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Idibeke Amos John, Ndem Emmanuel Joseph, and Edem Etim Peters. "Visual art exhibition: An agent for political stability in Nigeria." World Journal of Engineering and Technology Research 2, no. 1 (2022): 012–17. http://dx.doi.org/10.53346/wjetr.2022.2.1.0035.

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Visual Arts exhibition, by its nature, holds a mirror up to society, reflecting its interests and concerns while at the same time challenging its ideologies and preconceptions. With the state of political instability in Nigeria today, artists through the medium of visual art exhibition have distinct role to play that may ensure that those factors that accelerate instability be curtailed. The problem this paper addresses is that, these roles played by visual art through exhibitions are being overlooked and not recognized by some artists in Nigeria and the non-artist alike, of which, this paper

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Евтых, С. Ш., and Е. А. Морозкина. "Digital technologies in the exhibition activity of the artist." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 3(302) (January 24, 2023): 148–54. http://dx.doi.org/10.53598/2410-3489-2022-3-302-148-154.

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В статье рассматривается разнообразие способов организации экспозиционно-выставочного пространства в цифровом формате. Искусствоведческий интерес представляют вариации вовлечения художников и зрителей в интернет платформу. Раскрываются виды цифровых технологий и опыт применения этих технологий в выставочной деятельности краснодарских художников The paper discusses the variety of ways to organize the exposition and exhibition space in digital format. Of interest to art historians are variations in the involvement of artists and viewers in the Internet platform. The types of digital technologies

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Çevik, Aslıhan, Tuğçe Kazanasmaz, and Hasan Engin Duran. "User Lighting Preferences Based on Navigation and Space Quality in Virtual Exhibition Environments." Volume 28, Number 2, 2020, no. 02-2020 (April 2020): 28–37. http://dx.doi.org/10.33383/2019-052.

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Just as any other interior environment, lighting of exhibition spaces must be examined to enhance its visual quality and comfort. In this study, user behaviour, perception and impressions are analyzed for more comprehensive understanding by including subjective reasoning. Due to the chaotic progress and contradictory choices in exhibition lighting, daylight is mostly avoided while the role of users and relation between quantitative and qualitative parameters are often neglected. A series of sample exhibition spaces illuminated either artificially or by daylight are modelled virtually in Lumion

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Albert, Samuel D. "Austria and Hungary at the 1904 St. Louis World’s Fair: A Hint of the End." Journal of Austrian-American History 7, no. 2 (2023): 109–37. http://dx.doi.org/10.5325/jaustamerhist.7.2.0109.

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Abstract This article examines the Austrian participation at the 1904 St. Louis World’s Fair, focusing particularly on the display of art. Spread across two venues, the Austrian Pavilion and the Palace of Fine Arts, the display, with contributions from the Mánes Association of Fine Artists, Society of Polish Artists “Sztuka,” the Hagenbund, and the Vienna Künstlergenossenschaft illustrates the changes taking place in Cisleithanian art at the time, with the emergence and increased recognition of nationally organized art societies, whose very existence questioned the long-standing supremacy of V

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Stefanescu, Mirela Adriana. "Ways of exploring and expressing contemporary artistic practices for young artists." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(46) (December 2024): 98–103. https://doi.org/10.55383/amtap.2024.1.14.

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This article is focused on exhibition projects that encourage and stimulate young artists, whether students or graduates of higher art education, to explore various means of plastic expression and to experiment with different techniques and artistic formulas. Connected to the dynamics of contemporary society, aligned with current stylistic trends, and interested in the latest advancements in technology, the young artists have a highly expressive and dynamic artistic discourse that reflects their creative potential. Thus, various artistic institutions, either individually or through partnership

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Fuller, Martin G. "Less than Friends, More than Acquaintances: Artists, Markets and Gallery Openings in New York." International Review of Social Research 5, no. 2 (2015): 120–29. http://dx.doi.org/10.1515/irsr-2015-0011.

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Abstract This article describes one way that unknown and ‘emerging’ artists with limited exhibition history or reputation take steps towards developing their careers. Artists cannot apply directly for exhibition opportunities, therefore they develop social associations with gallerists that are described as being ‘kind-of-friendly-with’. Using a descriptive ethnographic narrative drawn from a case study of artists as they navigate an evening of commercial gallery openings in New York’s Chelsea district, it is argued that establishing a career in contemporary visual art depends on the ability to

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Galindo, Mateo, and Michele Thursz. "Contemporary Strategies of Sonic Agency." Resonance: The Journal of Sound and Culture 5, no. 1 (2024): 51–81. http://dx.doi.org/10.1525/res.2024.5.1.51.

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As an institutional resident at the International Studio and Curatorial Program (ISCP) in New York City, Mateo Galindo of Atomic Culture curated an exhibition of nine artists whose work is at the forefront of a new current in the art world, particularly with their engagements of sound. Wave Phenomena: Contemporary Strategies of Sonic Agency was on view from September 2023 to January 2024; it examined the use of sound as a catalyst for personal, political, spiritual, and environmental considerations. Michele Thursz invited Galindo to select a few artists from the exhibition and engage them in a

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HAŞEGAN, Teodor. "The Salon of mobilized artists, Iasi – Chisinau, January 1918." Dialogica 2 (August 15, 2020): 97–102. https://doi.org/10.5281/zenodo.3978107.

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The article provides information about the organization and content of the Exhibition of painting and sculpture of mobilized artists, organized on January 24, 1918, in the School of Fine-Arts (belle-arts) in Iasi, while the city of Bucharest was occupied by enemies. In the Moldovan capital, even in the hard years of the war, in galleries, sometimes improvised, in shop windows, at the headquarters of newsrooms, confectioneries etc., the exhibitions were held in chains. The exhibition of paintings and sculptures of the mobilized artists was an authentic and large replica of the Official Salon in

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Mironova, Tatiana. "Apartment exhibitions: In search for the spaces of authenticity." Quart, no. 1(59) (March 1, 2021): 128–46. https://doi.org/10.19195/quart.2021.1.81516.

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Nowadays contemporary artists start to work on the representation of memory and history which leads them to the non-artistic spaces. Among such are the museums of conscience which provide the documents and evidences of the Holocaust, repressions, genocides, or places of memory, e.g. industrial ruins, where the history is dissolved in the landscape. Also, apartment exhibitions start gaining popularity again. However, the understanding of such spaces is quite different from Soviet underground artists, who used the apartment as a substitute of a gallery or an alternative to the white cube, creati

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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.

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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibi

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Razor, Sasha. "The Code of Presence: Belarusian Protest Embroideries and Textile Patterns." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 26 (July 29, 2022): 72–98. http://dx.doi.org/10.17161/folklorica.v26i.18373.

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Since the fraudulent presidential elections of 9 August 2020, the Republic of Belarus has become a battleground between the women-led democratic opposition forces and the authoritarian regime of Alexander Lukashenka. Current forms of political oppression in Belarus make open public protest dangerous. This exhibition report highlights safer ways to express dissent in a dictatorial society by grounding it in the textile arts, collective labor, and participatory practices. “The Code of Presence: Belarusian Protest Embroideries and Textile Patterns” is a permanent digital exhibition that I curated

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Machal�kov�, Pavla. "Flowers and windows : the first art exhibitions in Prague in the nineteenth century and the shaping of modern exhibition spaces." Art East Central, no. 3 (2023): 111–39. http://dx.doi.org/10.5817/aec2023-3-6.

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The staging of art exhibitions has been a decisive factor in the formation of the modern art scene since the beginning of the 19th century at the latest. The art exhibition served as a space that facilitated regular viewing and discussions of contemporary artistic production. In the Spring of 1832 an art exhibition opened in Prague that provided an alternative to the official academic exhibition held annually since 1821. The show attracted critical opinions both inland and abroad. For this reason, its analysis can provide an insight into early concepts and ideas of an art exhibiting, which can

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Myburgh, Brittany, and Ellen Zhang. "The Royal Ontario Museum’s Asia-Pacific Collection." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (2019): 46–59. http://dx.doi.org/10.33137/relocations.v2i1.33464.

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The Royal Ontario Museum’s Africa, Americas and Asia-Pacific collection boasts over 1,400 artifacts produced over a span of two thousand years. Located on the third floor of the museum, the collection comprises a range of material from global indigenous cultures. While there are many impressive objects housed within the collection, the amalgamation of these distinct geographic zones raises problems in the exhibition and display of these cultural artifacts. The singular nature of the narrative currently presented is the subject of this exhibition critique. We argue that an updated Asia-Pacific

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Li Zhenchao and Tetriana Ahmed Fauzi2. "A STUDY ON THE FEATURES OF MINORITY-THEMED PAINTINGS IN THE 13TH NATIONAL ART EXHIBITION OF CHINA." Jurnal Gendang Alam (GA) 14 (December 16, 2024): 56–71. https://doi.org/10.51200/ga.v14i.5794.

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ABSTRACT This study aims to identify the features of minority-themed paintings in the 13th National Art Exhibition of China. The judging committee selected three award-winning artworks themed on minority subject. These three artworks can show us the features of minority-themed paintings distinctly. So, the researcher set these artworks as the research objective of this study. The research problems of this study are which ethnic groups the artists choose, what expressive strategies they use, and what aesthetic features are presented in these artworks. Based on exploratory research method, the r

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