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Journal articles on the topic 'Art, Asian Exhibitions History'

Author: Grafiati

Published: 10 December 2022

Last updated: 31 July 2025

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1

Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.

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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. H

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Xiang, Yuning, and Bingzhe Xiang. "Chinese art in the Tang Dynasty and the forms of its presentation in museums of the People’s Republic of China at the beginning of the 21st century." Issues of Museology 12, no. 2 (2021): 257–67. http://dx.doi.org/10.21638/spbu27.2021.208.

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The topic of this study is a realistic due to the fact that in Chinese history, the Tang Dynasty (618–907) is considered as the peak of national strength. It is during this period that ancient China became the center of economic and cultural exchanges with a number of states in the medieval world. Thanks to stable social development and the steadily developing economy, Chinese art of this period flourished. To this day, it has a special meaning for both Chinese and Asian cultures. The article examines the presentational forms of the art of Tang Dynasty in historical and art museums of the Peop

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Teh, David. "Festivity and the contemporary: Worldly affinities in Southeast Asian art1." Art & the Public Sphere 8, no. 2 (2019): 131–45. http://dx.doi.org/10.1386/aps_00012_7.

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What is the place of the festival in the global system of contemporary art, and in that system’s history? Can the large, recurring surveys that are its most prominent exhibitions today even be considered festivals? Such questions become more pressing as sites newly embraced by that system take their place on a global event calendar, and as the events increasingly resemble those held elsewhere or merge with the market in the form of art fairs. What becomes of community and locality, of spontaneity and participation, as that market ‐ and art history ‐ takes up the uncommodified fringes and untol

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Goltz, Sophie, Reza Afisina, Ade Darmawan, and Iswanto Hartono. "New Currencies or the Persistence of Representation." Cultural Politics 20, no. 3 (2024): 458–71. http://dx.doi.org/10.1215/17432197-11321304.

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Abstract In an extended follow-up to their first interview with Sophie Goltz, “Collective Crafting in Post-Suharto Indonesia” (Cultural Politics 18, no. 3), key members of ruangrupa, the Indonesian art collaborative, reflect on their tenure as directors of the fifteenth edition of the international art exhibition documenta (2022), held every five years in Kassel, Germany. Afisina, Dramawan, and Hartono discuss ruangrupa's long-standing attempt to forge a mode of artistic cohabitation through which a perpetually emergent, networked space constitutes, in itself an articulation of autonomy. Empha

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Wee, C. J. W. L. ""We Asians"? Modernity, Visual Art Exhibitions, and East Asia." boundary 2 37, no. 1 (2010): 91–126. http://dx.doi.org/10.1215/01903659-2009-038.

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Starodubtseva, Marina V. "Alexander Sedov: “We Tell People about Their Culture”." Oriental Courier, no. 3-4 (2021): 21. http://dx.doi.org/10.18254/s268684310017997-4.

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An interview with Alexander V. Sedov, the Director-General of The State Museum of Oriental Art devoted to the launch of the new master’s program of the Faculty of Oriental Studies of the State Academic University for the Humanities (GAUGN) and the Department of Oriental History of the Institute of Oriental Studies Russian Academy of Sciences “Socio-Cultural Development of East Asian Countries”, which is headed by Alexander Sedov as an academic curator (Dinara V. Dubrovskaya, the head of the Department of Oriental History of the Institute of Oriental Studies RAS, is the supervisor of the progra

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Barakzai, Homa, and Giangabriele Fini. "A COMPARATIVE ANALYSIS: DIFFERENCES AND SIMILARITIES BETWEEN AFGHANISTAN’S AND KAZAKHSTAN’S FINE ART OVER THE LAST HUNDRED YEARS." Bulletin of Kazakh Leading Academy of Architecture and Construction 88, no. 2 (2023): 142–52. http://dx.doi.org/10.51488/1680-080x/2023.2-16.

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This paper conducts a comparative analysis of the countries of Afghanistan and Kazakhstan. In terms of fine art, contemporary art, and painting, the study compares the two countries’ art history of the last one-hundred years with the aim to find similitudes and resemblances for the evaluation for an inclusion in a thematic conjunct exhibition. A Framework for Comparative Art Analyses is used to compare two Central Asian countries with ancient and rich art histories. Throughout history, Afghan and Kazakh art have merged and absorbed each other, and both have continued to improve and develop. Fi

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Kaidagaliyeva, Alena. "Kazakhstan’s participation in the venice biennale: contexts and transformations." Jete – Jоurnal of Philosophy, Religious аnd Cultural Studies 151, no. 2 (2025): 214–24. https://doi.org/10.32523/3080-1281-2025-151-2-214-224.

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This article examines the preconditions for the formation of contemporary art in Kazakhstan, as well as its gradual gaining visibility, legitimacy and recognition on the world art scene. As an example, it analyzes the country's participation in one of the most prestigious international exhibitions - the Venice Biennale, which began its history in 1895 and continues to be one of the most important platforms of artistic expression. The study focuses on the formation, development and institutionalization of the Kazakhstani pavilion from the moment when the country was included in the artistic dis

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Jennison, Rebecca S. "In/Visible—New Directions in Contemporary Art by Zainichi Koreans: Fragile Frames/Precarious Lives—in Soni Kum's Morning Dew (2020)." Seoul Journal of Korean Studies 36, no. 2 (2023): 465–83. http://dx.doi.org/10.1353/seo.2023.a916927.

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Abstract: A growing body of research, writing, and new spaces for exhibitions, film-showings, dialogue, and exchange elucidate rich and diverse forms of cultural production by Zainichi Koreans across generations. The first section of this paper introduces selected collaborative research and curatorial projects conducted from 2000 to the present that have engaged artists, scholars, and activists concerned with Korean diaspora and postcolonial studies, intergenerational memory and contemporary art in Japan. Over the last two decades, a younger generation of artists and curators and new possibili

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Hongfeng, Tang. "Archive, Mediation, and Reflections on Colonization in Modern Asia." China and Asia 2, no. 1 (2020): 97–133. http://dx.doi.org/10.1163/2589465x-00201004.

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This paper will use the artworks and exhibitions of Cai Yingqian, Chen Min, Timoteus Anggawan Kusno, and Chen Chieh-jen to discuss how contemporary art reflects on modern colonial history through mediations. By employing ready-made media materials handed down through history, archival art moves from medium to mediation, mediating between subjects, media materials, and artistic works, and at the same time highlights the materiality and mediality of media, forming a historical picture where media and the message, objects and narrations, images and the deceased together form a unified entity. Whi

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Walravens, Hartmut. "Otto Fischer (22 Mai 1886 — 9 April 1948) Veröffentlichungen zur asiatischen Kunst." Письменные памятники Востока 20, no. 1 (2023): 95–114. http://dx.doi.org/10.55512/wmo202797.

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Otto Fischer was born into a merchant family in Reutlingen on May 22, 1886. From 1904 he studied law, then art history in Tbingen, Munich, Vienna and Berlin and received his doctorate in 1907 with the dissertation Altdeutsche Malerei in Salzburg under Heinrich Wlfflin in Berlin. After study trips to Italy and France, he lived in Munich from 1909 to 1913 as a private scholar and was in close contact with the young artists of the Neue Knstler-Vereinigung Mnchen, which developed into the Blaue Reiter. In 1913, he habilitated in Gttingen with the thesis Die chinesische Malerei, which was published

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Clark, John. "Canon-Making and Curating in Recent Asian Art." Silpa Bhirasri (Journal of fine arts) 2, no. 2 (2020): 33–93. https://doi.org/10.69598/sbjfa241000.

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Canons involve selection against value choice and differences in the attitude to history among art historians and curators. These are outlined in the Asian context. Reception or selection conditions for two works actually shown in a 2011 exhibition at ZKM Karlsruhe are compared against other art historical knowledge of the artists unmentioned in preliminary material. Difference between curating at Asian and non-Asian centres is due to differences in conditions of reception. The canon varies according to artist or curator; the functionality of some artists as curators and their relative asymmet

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Oh, Younjung. "Oriental Taste in Imperial Japan: The Exhibition and Sale of Asian Art and Artifacts by Japanese Department Stores from the 1920s through the Early 1940s." Journal of Asian Studies 78, no. 1 (2019): 45–74. http://dx.doi.org/10.1017/s0021911818002498.

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From the 1920s to the early 1940s, Japanese department stores provided Japanese urban middle-class households with art and artifacts from China, Korea, Taiwan, and Southeast Asia. The department stores not merely sold art and artifacts from Japan's Asian neighbors but also promoted the cultural confidence to appreciate and collect them. At the same time, aspiring middle-class customers satisfied their desire to emulate the historical elite's taste for Chinese and other Asian objects by shopping at the department stores. The aesthetic consumption of Asian art and artifacts formulated a privileg

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Henning, Moritz, Sally Below, Christian Hiller, and Eduard Kögel. "Encounters with Southeast Asian Modernism." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 85–88. http://dx.doi.org/10.52200/63.a.sv57esux.

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Against the backdrop of the Bauhaus centenary in 2019, Encounters with Southeast Asian Modernism examined the history, significance, and future of postcolonial modernism in this region, with partners in four cities – Jakarta, Phnom Penh, Singapore, and Yangon. The project provided a historical perspective on the societal and political upheaval that accompanied the transition to independence after the colonial period in these countries. It also showcased current initiatives in the fields of art, architecture, and science that are committed to the preservation and use of Modernist buildings. In

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Khairi, Miftahul. "The Eksistensi Karya Seni Rupa Islam dalam Medan Seni Rupa Indonesia: Studi Kasus Pameran Fragments of Modern Indonesian Art History di OHD Museum Magelang." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 16, no. 2 (2025): 168–84. https://doi.org/10.33153/brikolase.v16i2.6590.

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This research explains the development of Islamic art in the modern and contemporary Indonesian art scene through Rispul and Tita Rubi's works collected by OHD Museum. The fundamental question is how OHD's taste in choosing its collection? How is the curation process in the exhibition Fragment of Modern Indonesian Art History? And why Rispul and Titarubi's works were chosen for the exhibition? This question is explained through the sociology of art theory from Becker and Bourdieu and uses a qualitative method with a case study approach. The results of the study show that OHD as a pure collecto

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Ngoei, Wen-Qing. "Exhibiting Transnationalism after Vietnam: The Alpha Gallery’s Vision of an Artistic Renaissance in Southeast Asia." Journal of American-East Asian Relations 29, no. 3 (2022): 271–99. http://dx.doi.org/10.1163/18765610-29030004.

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Abstract This essay examines the Alpha Gallery, an independent artists’ cooperative that Malaysians and Singaporeans established, which staged art shows during the 1970s to spark an artistic renaissance in Southeast Asia. The cooperative’s transnational vision involved showcasing Balinese folk art as a primitive and, therefore, intrinsically Southeast Asian aesthetic, while asserting that it shared cultural connections with the Bengali Renaissance of the early 20th Century. Alpha’s leaders believed these actions might awaken indigenous artistic traditions across Southeast Asia. Their project u

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Scheffer, Krisztina, Enikő Szvák, and Hedvig Győry. "Korok és Kórok kiállítás 2019-2020." Kaleidoscope history 11, no. 22 (2021): 305–15. http://dx.doi.org/10.17107/kh.2021.22.305-315.

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The HNM Semmelweis Museum of Medical History's exhibition „Diseases for the Ages, What the Deceased Tell Us”, is displaying the anthropological collection of the Museum which never was presented earlier, and the mummy-research made in the framework of the Nephthys Project, with some additional material from the Hungarian Natural History Museum and the Hopp Ferenc Asian Art Museum. Visitors can learn about the appearance of known and little-known diseases visible on archaeological human remains and gain insight into the know-how and the results of the mummy research. The exhibition is accompani

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18

Lee, Michelle. "Decompositional Forms: Asiatic Disfigurement, Sensorial Excess, and Queer Inhumanisms in Candice Lin’s Natural History." Asian Diasporic Visual Cultures and the Americas 8, no. 1-2 (2023): 86–111. http://dx.doi.org/10.1163/23523085-08010005.

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Abstract This article analyzes Candice Lin’s 2020 solo exhibition, Natural History: A Half-Eaten Portrait, an Unrecognizable Landscape, a Still Still Life, a show that reflects the artist’s ongoing enquiry into non-Western botanical knowledge and attempts to develop nontoxic death rituals by building more-than-human intimacies. Merging the biological processes associated with decomposition and the discursive formations of race and gender, the work also interrogates the knowledge systems constructed by museums. I examine Lin’s works through the lens of queer inhumanisms to illustrate how this e

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Way, Jennifer. "Narrative Failures." Anthropos 114, no. 2 (2019): 547–62. http://dx.doi.org/10.5771/0257-9774-2019-2-547.

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This article considers what an unstudied collection of Vietnamese handicraft owned by the Smithsonian National Museum of Natural History reveals about its collecting culture and, conversely, what the collecting culture discloses about the collection. I show how the collecting culture’s activities intersected with American State Department efforts to bring postcolonial South Vietnam into the Free World during the Cold War. Attention to the Smithsonian National Collection of Fine Arts’ exhibition, “Art and Archaeology of Vietnam. Asian Crossroad of Cultures,” also reveals narratives of power and

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Zhang, Fan. "Artistic Intervention as Scene Construction/Deconstruction: An Analysis of the Display of the Kangxi Throne in the Humboldt Forum in the Context of the Cross-Cultural Exhibition." Asian Culture and History 15, no. 2 (2023): 54. http://dx.doi.org/10.5539/ach.v15n2p54.

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Based on the research perspective of cross-cultural exhibition analysis, this paper takes case study as the fundamental methodology under the framework of museology and art history research in order to analyse the new display of the Kangxi throne and its screen, which were lost overseas from China during the war years and have been transferred from the Museum of Asian Art in Dahlem to the Humboldt Forum, which is deeply involved in the controversy of its colonial history. This study primarily focuses on the situational methods in which the exhibits were connected to the public under artistic i

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Lopez, Donald S. "“Lamaism” and the Disappearance of Tibet." Comparative Studies in Society and History 38, no. 1 (1996): 3–25. http://dx.doi.org/10.1017/s0010417500020107.

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At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive

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May, Anthony, and XiaoLu Ma. "Hong Kong: Changing Geographies of a Media Capital." Media International Australia 124, no. 1 (2007): 156–65. http://dx.doi.org/10.1177/1329878x0712400115.

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Thanks to its stunning entry into the ranks of world cinema in the 1970s, the history of the Hong Kong film industry up to 1997 is relatively well known. However, the coincidence of the Asian economic recession and the city's reintegration into the People's Republic of China (PRC) has worked to obscure recent developments. This article analyses contemporary Hong Kong cinema and its relations with the government of the mainland. We argue that the economic, cultural and geopolitical location of the city is contributing to developments that will allow the art cinema of the People's Republic of Ch

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董維琇, 董維琇. "臺灣環境美學復興：社會參與式藝術實踐與地方藝術祭的啟示". 藝術評論 43, № 43 (2022): 219–54. http://dx.doi.org/10.53106/101562402022070043006.

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<p>自1990年代後期以來，臺灣當代藝術發展出社會參與式藝術實踐的趨勢，亦即走出美術館展覽的藩籬並企求與公眾面對面、與社群連結的藝術創作。此一歷程發展適逢後解嚴時代，在地文化認同與本土意識抬頭，反映在文化政策上的則是1990年代的社區總體營造運動乃至於近年來倡議的地方創生。此後，各地的藝術祭更是持續不斷地帶來參與者對地方人文與環境的新感受，發展出在獨特的臺灣文化脈絡與社會變遷的背景下所帶動的「環境美學」復興&mdash;&mdash;對自然與人文環境的重新發現，以及對地方文化歷史脈絡的重思與再建構。對環境與地方的自然和人文關懷是目前亞洲地區正歷時與共的境況，本文以臺灣的社會參與式藝術和地方藝術祭為主要探討對象，自其所帶來的環境美學復興，延伸思考社會參與式藝術暨地方藝術祭的亞洲觀點所帶來的啟示，並以更全觀的視角來思辨藝術的社會實踐，啟發藝術工作者，面對此一全球共同的環境議題。</p> <p>&nbsp;</p><p>Since the late 1990s, Taiwanese contemporary art has developed a trend of socially-engaged art practice that goes beyond the usual framework of

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Santos, Raquel, Ana Claro, Ana Serrano, Maria João Ferreira, and Jessica Hallett. "Textiles, Trade & Taste—Portugal and the World: A Project on the Global Circulation of Textiles and Dyes." Textile Museum Journal 47, no. 1 (2020): 187–95. http://dx.doi.org/10.1353/tmj.2020.a932820.

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Abstract: Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network’s artistic and historical research has ranged from collating archival

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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.

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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibit

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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Rea

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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Inclu

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Ash, C. "EXHIBITIONS: NATURAL HISTORY ART: Paper Museums." Science 320, no. 5880 (2008): 1163. http://dx.doi.org/10.1126/science.1159434.

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Boaden, Sue. "Art information networks in Asia and the Pacific." Art Libraries Journal 11, no. 4 (1986): 4–7. http://dx.doi.org/10.1017/s0307472200004855.

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As former colonial links and reliance on a technologically-developed ‘West’ recede into the past, Asian and Pacific countries, including Australia, are becoming increasingly aware of one another as neighbours. Circulation of exhibitions, artists’ visits, cultural festivals, government and UNESCO activities, and art publishing, provide a network for sharing art and art information between countries in this region. Among art libraries, those in Australia and New Zealand participate in the network represented by ARLIS/ANZ; the IFLA Section of Art Libraries and its global role offers scope for fur

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Wintner, Julia. "Rootedness: Exploring The Role Of Collaboration In Contemporary Art In India." Museological Review, no. 27 (January 24, 2025): 247–55. https://doi.org/10.29311/mr.vi27.4903.

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Collaboration is the key to the creative future of South Asian Art. Artists create a sense of belonging by transforming spaces, through representation, and by helping to nurture healthy, vibrant, and joyful communities where people feel welcome. This paper reviews my teaching experience in Fall 2024 at the Srishti Manipal Institute of Art, Design and Technology, in Bangaluru, South India titled: Collaborative Curating: Multi-Disciplinary Approaches, and its 3 group-curated exhibitions that challenge highly politicised subjects such as caste, free speech, and environmental degradation. These th

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Senina, J. N. "«Blasphemy» in Contemporary Art Exhibitions in Russia, or Why Art Offends." State, Religion and Church in Russia and Worldwide 42, no. 4 (2025): 137–74. https://doi.org/10.22394/2073-7203-2024-42-4-137-174.

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The article examines the contemporary art exhibitions in twenty‑first‑century Russia that sparked accusations of “blasphemy” and extensive public debate and prompted law enforcement interventions. In the first part of the article, I retrospectively illustrate the history of the most prominent “blasphemous” contemporary art exhibitions in Russia, leading to the application of Article 282 of the Russian Criminal Code against the artists. These incidents, which followed the “Pussy Riot” case, resulted in the amendments to the Criminal Code that tightened the penalties for offending religious sent

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Speck, Catherine, and Lisa Slade. "Art History and Exhibitions: Same or Different?" Australian and New Zealand Journal of Art 14, no. 2 (2014): 141–50. http://dx.doi.org/10.1080/14434318.2014.973635.

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Htwe, Diana Nway. "/ Shi : A Signpost on the Blurry Map of Myanmar Art History." Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, no. 1 (2024): 91–116. http://dx.doi.org/10.56159/sen.2024.a924617.

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Abstract: /Shi was a citywide satellite exhibition I co-curated in Yangon, Myanmar, held from 12 November 2022 to 12 January 2023. The exhibition was chiefly sponsored by the Goethe Institute of Yangon and comprised seven venues and over fifty artists. Art exhibitions are not rare in Myanmar and there have been other large-scale exhibitions prior to /Shi in the recent decade. However, the lack of critique and documentation on these activities in the Myanmar art world have rendered these art projects and cultural endeavours generationally unable to build upon their predecessors and always havin

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Świtek, Gabriela. "Across Borders and Art Histories: Travelling Exhibitions." Artium Quaestiones, no. 35 (December 31, 2024): 55–82. https://doi.org/10.14746/aq.2024.35.3.

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The concept of art geography is undergoing a process of revision in light of recent research on exhibition histories. The analysis of major perennial art exhibitions is conducted in relation to the spatial, global structures of social and economic life, or as an aspect of tourism geographies. The geography of art exhibitions entails mapping circulation, analysing the spatial and temporal conditions under which art is presented, and the identifying cultural boundaries in the reception of travelling artworks. This article examines the circulation of international exhibitions that were presented

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Turner, Dianne. "Exhibitions of Children's Art: History, Ideology, and Economics." Marilyn Zurmuehlen Working Papers in Art Education 7, no. 1 (1988): 44–59. http://dx.doi.org/10.17077/2326-7070.1345.

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Yu, Shiyang. "The Research on the Characteristics and Forms of Immersive Experience in Art Exhibitions—Take “Van Gogh—the Immersive Experience” as an Example." Journal of Education, Humanities and Social Sciences 6 (December 31, 2022): 154–59. http://dx.doi.org/10.54097/ehss.v6i.4417.

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Immersive experience is a new type of interaction that integrates culture and technology, and it shows great promise for application by combining with multi-panel content. With the continuous development of virtual technology, immersive experience is also applied to art exhibitions and obtains surprising effects. People are not satisfied with the original way of art appreciation, and the increase of aesthetic demand also requires more diversified ways of exhibition, which has led to the prevalence of immersive exhibitions. In recent years, there have been few attempts at immersive art exhibiti

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SUVOROVA, Anna A. "Outsider Аrt in Art Museum: from “Comparative Material” to Art History (Case of the Museum of Modern Art)". International Journal of Cultural Research, № 3 (2023): 6–21. http://dx.doi.org/10.52173/2079-1100_2023_3_6.

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The article investigates transformations of the discourse of Outsider Art in the culture of the 20th – early 21st centuries through the perspective of its institutionalization and museumification. The article provides a critical analysis of the curatorial strategies of the Museum of Modern Art (New York, NY), as well as other American art institutions (National Art Gallery (Washington, DC), Brookline Museum (New York, NY), etc.), the structure of exhibitions and permanent expositions, curatorial texts of projects dedicated to outsider art. The study of the curatorial strategies of MoMA in the

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T., Tishkina, and Tishkina K. "EXHIBITIONS IN BARNAUL DEDICATED TO THE 100TH ANNIVERSARY OF THE FORMATION OF THE UNION OF SOVIET SOCIALIST REPUBLICS." Preservation and study of the cultural heritage of the Altai Territory 29 (2023): 342–50. http://dx.doi.org/10.14258/2411-1503.2023.29.52.

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The Union of Soviet Socialist Republics existed from December 30, 1922 to December 26, 1991. During this period of time, significant successes were achieved in industry, agriculture, science and culture, and a victory was won over the Fascist conquerors was won in 1945. To the 100th anniversary of the formation of the USSR in Barnaul, there were exhibitions: “Soviet Porcelain” and “The Country of the Soviets” (the State Art Museum of the Altai Territory); “The USSR in the Mirror of Art” (exhibition hall of “Museum “City”); “Art that has become History” (“Shchetinins Art Gallery”); “Greetings f

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Świtek, Gabriela. "The Borderlines of the Thaw: Graphic Art from the Federal Republic of Germany in Warsaw’s “Exhibition Factory” (1956–1957)." Biuletyn Historii Sztuki 82, no. 1 (2020): 127–58. http://dx.doi.org/10.36744/bhs.638.

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The aim of the essay is to delineate the political and artistic contexts of two exhibitions of graphic art from the Federal Republic of Germany held in the Central Bureau of Art Exhibitions, the main state art gallery in Warsaw (1956–1957). The historians consider the year 1956 – similarly to the years 1968 or 1989 – to be an important caesura in the political and social history on the global scale. In the history of modern art in Poland, the year 1956 is also perceived as a period crucial to changes in artistic life (Polish thaw). As the first show of West German artists in post-war Poland, t

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Hopfener, Birgit. "Complicating Narratives of Contemporary Chinese Art as Global Art through the Lens of Exhibition Histories." ARTMargins 12, no. 3 (2023): 89–101. http://dx.doi.org/10.1162/artm_r_00365.

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Abstract This essay reviews two publications on Chinese contemporary art and its relation to the global through the lens of exhibition histories. The monograph Die chinesische Avantgarde und das Dispositiv der Ausstellung. Konstruktionen chinesischer Gegenwartskunst im Spannungsfeld der Globalisierung (The ‘Chinese avant-garde’ and the exhibition as dispositive. Constructing contemporary Chinese art in the global context) authored by Franziska Koch (2016), and the edited volume Uncooperative Contemporaries: Art Exhibitions in Shanghai in 2000, (2020) published in the Exhibition Histories serie

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Filipová, Marta. "Response to Issue 31(2) on World's Fairs." Anthropological Journal of European Cultures 32, no. 1 (2023): v—xi. http://dx.doi.org/10.3167/ajec.2023.320101.

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World's fairs and international exhibitions do not cease to fascinate researchers. Just as the objects, people and ideas on display at these massive events captivated their audiences, many humanities disciplines have studied exhibitions with similar curiosity and interest. A vast number of publications comprising articles, monographs, anthologies and special issues have been written on individual world's fairs, histories of exhibitions in a single country, or the participation of a specific country in the expositions. They are approached from various subject areas, but most commonly and fruitf

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Flores, Patrick. "Southeast Asian History as Contemporary Art." American Historical Review 128, no. 4 (2023): 1699–705. http://dx.doi.org/10.1093/ahr/rhad479.

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Toirov, Ilkhom Yorievich. "HISTORY OF CENTRAL ASIAN PAINTING ART." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 3, no. 5 (2023): 430–32. https://doi.org/10.5281/zenodo.7927825.

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Central Asian painting art has been known to the world since ancient times. The magnificent buildings built by our ancestors in the past have not lost their charm to this day. We are amazed by the exquisite designs.

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

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

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Zychowicz, Karolina. "The Exhibition-Organising Activity of the Committee for Cultural Cooperation with Foreign Countries (1950–1956) Based on the Example of Selected Exhibitions at the Zachęta Central Bureau of Art Exhibitions." Ikonotheka 26 (June 26, 2017): 63–94. http://dx.doi.org/10.5604/01.3001.0010.1673.

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The documentation of the Committee for Cultural Cooperation with Foreign Countries, which was an offi cial agency active in the years 1950–1956, is currently deposited at the Central Archives of Modern Records in Warsaw and constitutes an invaluable source for any Polish scholar interested in the history of exhibitions. It contains large amounts of interesting data which make it possible to ascertain the character of Polish exhibitionorganising activity in the fi rst half of the 1950s. In the six years of its existence the Committee organised ca. one hundred exhibitions. The essay concerns exh

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Maxwell, Robyn J. "Asian art acquisitions." Asian Studies Association of Australia. Review 8, no. 3 (1985): 23–24. http://dx.doi.org/10.1080/03147538508712361.

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Menzies, Jackie. "Asian art acquisitions." Asian Studies Association of Australia. Review 8, no. 3 (1985): 24. http://dx.doi.org/10.1080/03147538508712362.

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Jack‐Hinton, Fiona. "Asian art acquisitions." Asian Studies Association of Australia. Review 8, no. 3 (1985): 25–26. http://dx.doi.org/10.1080/03147538508712363.

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Pripon, Liviu Răzvan. "Natural Object or Element of an Artwork? Case Study: Artists, Artworks and Exhibitions in Cluj, Romania." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (2020): 159–72. http://dx.doi.org/10.24193/subbphil.2020.spiss.12.

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"Natural object or element of an artwork? Case Study: Artists, Artworks and Exhibitions in Cluj, Romania. In this article, we discuss the relationship between art and natural objects such as stuffed animals, skins, bones, dried plants or minerals and their aesthetical value from their position as artworks or elements of an artwork. In Cluj, between 2017 and 2019, artworks and exhibitions which integrate this type of practices and natural history materiality flourished. We aim to compose an inventory that could contribute to the archive of local art events, artworks, and artists in order to ser

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Wade, Sarah. "Ecological Exhibitions at the Musée Océanographique de Monaco." Journal of Curatorial Studies 9, no. 2 (2020): 162–81. http://dx.doi.org/10.1386/jcs_00019_1.

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In 2010, the Musée Océanographique de Monaco initiated a contemporary art programme to mark its centenary and reaffirm its commitment to its founding premise of displaying objects of both art and science. Ever since, the museum has regularly staged exhibitions promoting marine wildlife protection. I argue that as well as examining ecological concerns, these exhibitions have functioned in ecological ways, adopting curatorial approaches that traverse art and science to highlight interconnections between humans and ocean life. By revisiting historical modes of display, such as the Wunderkammer, a

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