Relevant bibliographies by topics / Art exhibition

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art exhibition'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 June 2025

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Journal articles on the topic "Art exhibition"

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Magdalena, Agustina. "Human Resource Planning In The Art Exhibition Committee (Case Study: SODALIS Art Exhibition of 2023 Arts Management Students)." Jurnal Indonesia Sosial Sains 6, no. 3 (April 8, 2025): 956–68. https://doi.org/10.59141/jiss.v6i3.1652.

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Human Resource (HR) planning is essential in organizing events, including art exhibitions, to ensure smooth operations and alignment with organizational goals. It is crucial for both logistical tasks and fostering creativity and collaboration within the committee for a successful exhibition. This research aims to explore how HR planning is applied in the committee of the SODALIS Art Exhibition, organized by the 2023 Arts Management students. The research specifically examines how HR planning supports the exhibition's success in managing human resources effectively and achieving the exhibition's goals. The study uses a qualitative approach, utilizing participatory observation and documentation analysis. The researcher, who was involved as both the chairperson and a committee member, observed and documented the exhibition's planning and execution from its initial committee formation to its conclusion. The researcher also compared theoretical HR planning models with the actual practices observed during the exhibition. The HR planning process in the SODALIS Art Exhibition successfully met the human resource needs, organized committee members effectively, and ensured smooth coordination among them. The tasks were distributed efficiently, which helped in avoiding unnecessary resource allocation and operational costs. The planning process contributed to the development of a collaborative committee culture, fostering creativity and innovation, and achieving a successful event. HR planning is essential in organizing an art exhibition, ensuring that human resources are utilized efficiently to meet organizational goals. The study highlights the importance of proper HR planning in achieving the success of such events, demonstrating that a well-structured committee can optimize resources, improve efficiency, and enhance the overall outcome of the exhibition. This research provides valuable insights for future art exhibitions and other events requiring effective HR planning.
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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.

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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
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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 at the Central Bureau of Art Exhibitions (CBAE) in Warsaw as part of cultural diplomacy i the 1970s. During this decade, the CBAE gallery hosted exhibitions of contemporary art from twenty-one countries. What kind of foreign art was seen at the state-organised exhibitions in Warsaw depended on global geopolitics. The primary case study is the exhibition Contemporary Indian Art from the Collection of the National Gallery of Modern Art in New Delhi, which was toured from New Delhi through the Middle East to Eastern Europe (including Warsaw and Prague) in 1978–79. The exhibition brought together 100 works by 80 artists, created between the 1920s and 1970s. It included paintings by pioneers of modern and contemporary Indian art, such as Jamini Roy, Amrita Sher-Gil, Rabindranath Tagore, Gaganendranath Tagore, and K.C.S. Paniker. The diplomatic circumstances of organising the exhibition in Warsaw are set in the broader context of the Polish-Indian art exchange since the 1950s. This encompasses Poland’s participation in the New Delhi Triennial (established in 1968) and the completion of the modernist building of the Polish Embassy in New Delhi (1978). Furthermore, the article examines the impact of travelling national exhibitions on fostering intercultural understanding. The Contemporary Indian Art exhibition provided a valuable opportunity to transcend the conventional boundaries of Indian and Polish art histories. While in the 1960s and 1970s Polish academic discourse typically concluded the history of Indian art in the 1910s, the exhibition’s catalogue served as the primary source of information on twentieth-century Indian art. Consequently, the reception of Contemporary Indian Art in Warsaw is contextualised within the broader discourse of global art history and postcolonial studies.
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Readshaw, Grahame. "Art Exhibition." Medical Journal of Australia 158, no. 5 (March 1993): 364. http://dx.doi.org/10.5694/j.1326-5377.1993.tb121824.x.

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Veerapen, Nadarajen. "Art exhibition." ACM SIGEVOlution 10, no. 4 (June 5, 2018): 6–7. http://dx.doi.org/10.1145/3231555.3231557.

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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 be regarded as a space of contest among the artists and of encounter between the artists and the public, as well as a site of development of modern audiences and their sensitivity.
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Ivana, Jessica, I. Ketut Mustika, and Ni Made Purnami Utami. "ISI Denpasar Fine Arts Study Program MBKM 2023 Artwork Exhibition Display at Living World Denpasar." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 2 (November 4, 2023): 148–53. http://dx.doi.org/10.59997/ctkr.v3i2.2864.

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Display is a system of arranging objects in a room which aims to display or show off these items. Display in the exhibition space is an important element that needs to be implemented to create an exhibition space that is comfortable for viewing works of art. This becomes a challenge for the exhibiton designer/gallerist to design the best possible exhibition space. The design of the artwork display will affect the visuals and atmosphere of the displayed artwork. In designing exhibition space displays, various concepts, approaches to methods of presenting works can be used. It is this variation of display design that will determine how visitors can perceive the meaning of exhibitions and works of art. Displays that are well designed will increase aesthetic value, value and can highlight the uniqueness of the work of art.
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JOHN Ph.D, IDIBEKE AMOS, SUNDAY ETIM EKWERE Ph.D, and PROFESSOR EDEM ETIM PETERS. "VISUAL ART EXHIBITION: A CATALYST FOR SOCIAL UNIFICATION IN NIGERIA." International Journal of Applied Science and Research 05, no. 04 (2022): 01–04. http://dx.doi.org/10.56293/ijasr.2022.5401.

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This paper attempts a definition of the term exhibition with particular attention to Visual Art Exhibition, knowing that there are different forms of exhibitions that may not relate to visual arts. The paper equally highlighted on the various types of exhibitions pointing out the virtual exhibition as a new inclusion that has greatly changed the traditional format of visual art exhibition with its attendant impact on the outcome of the results of exhibitions. The highlighted focuses on the challenges of understanding the scope of the basic types of exhibition in contemporary times, as has been redefined by the concept of virtual exhibition. The relevance of exhibition to artists and the significance to the public is deeply discussed with the aim of positioning visual art exhibition in its rightful place as a catalyst for social change. This assertion could be seen in the significant effort of Kenneth C. Murray as a pioneer curator and organizer of visual art exhibition in Nigeria. Murray was a British Art Teacher in Nigeria who was instrumental to the establishment of Oron Museum in Akwa Ibom State, Nigeria, and he recognized Oron Carvings since 1938 and collected them for permanent art exhibition in the Oron Museum. The above therefore formed the conceptual framework of this paper. The opinions, positions and oppositions of other authorities in this matter are considered as they form the indices for postulating the idea of art exhibition as catalyst for social unification. However, the paper concludes that for the visual art exhibition to function as a catalyst for social unification, the elements of unity and integration must be factors the exhibitions composed of, for it to engender the expression of such feelings of social togetherness.
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Cui, Dalong. "EXHIBITION ART DESIGN AND PRACTICE OF "XINJIANG CULTURAL RELICS EXHIBITION"." Advances in Culture and Arts 3, no. 1 (July 17, 2023): 05–07. http://dx.doi.org/10.26480/aca.01.2023.05.07.

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Exhibition art design is a significant procedure that cannot be ignored when a museum organizes exhibitions. Any movement to weaken exhibition art design is to lower the museum’s exhibition level. Exploring and researching it broadly and deeply has positive practical significance. This essay takes “Xinjiang Cultural Relics Exhibition” as an example, analyzes and summarize its thinking conception and practical methods of exhibition art design, as well as summarizes the internal aesthetic principles of the exhibition, to provide a highly referential approach for the exhibition art design of museums in the future.
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Işıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat." Global Journal of Arts Education 6, no. 1 (May 30, 2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.

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The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its beginning. ODTÜSanat is organized annually by ODTÜ in Ankara, Turkey as an art event. It brings together different areas of art including fine arts, music, theatre, and cinema and lasts for a month. The event started in 1999 as National Fine Arts Exhibition with the aim of exhibiting works of artists representing different senses of art in a 1200 m2 space. As its scope expanded, its name evolved into Art Festival in 2007 and ODTÜSanat in 2013. In this article, based on the sixteen-year professional experience in organizing the ODTÜSanat exhibitions, processes pertaining to exhibiting art, namely, planning, preparing, and implementation of the exhibition, are explained with examples of problems encountered and solutions developed. Keywords: ODTÜSanat; art; exhibition; artworks; design; space
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Dissertations / Theses on the topic "Art exhibition"

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Porobic, Damir Verona. "MFA thesis exhibition." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4189.

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Thesis (M.F.A.)--West Virginia University, 2005.<br>Title from document title page. Document formatted into pages; contains vi, 30 p. : ill. (some col.). Includes a video file in the QuickTime format. Includes abstract. Includes bibliographical references (p. 30).
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MASSON, MICHEL NUNES LOPES. "SPACE IN THE ART OBJECT EXHIBITION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5715@1.

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O Espaço na Exibição de Obras de Arte é um estudo que visa entender o papel do espaço expositivo nas exibições de obras de arte. Assume sua interferência na fruição das obras como uma ação nos limites do campo do design. Parte de um estudo histórico e social das exibições para construir as bases para suas conjecturas, buscando entender em que medida o design de exibições pode se constituir como linguagem. Para isso, se vale da dicotomia existente nesse espaço, a do espaço neutro e ativo, como um de seus principais pontos de apoio.<br>The Space in Works of Art Exhibition is a study that intends to understand the role of the enviroment in art exhibitions. Assumes it`s interference in the fruition of pieces as an action towards the design field limits. Starts from an historical and social analisys of exhibition to build the basis under it`s proposals, trying to understand how the exhibitions design can be recognized as language. For such, it makes use of the space`s existing dicotomy, the neutral and the active space, as one of it`s pillars.
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Christiansen, Lauren. "Redefining exhibition in the digital age /." This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.

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Harkett, Daniel. "Exhibition culture in Restoration Paris." View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

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Thesis (Ph.D.)--Brown University, 2005.<br>Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
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Molony, Mary Carolyn. "Confessions: A BFA Exhibition." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/154.

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The artist discusses her Bachelor of Fine Arts Exhibition, Confessions, held at the Tipton Gallery, from November 14th to November 25th. The exhibit portrays how the artist responds to issues such as organized religion, war, and politics. Being drawn to art from the Renaissance to Baroque era, the work encorporates an "old world" aesthetic, also with an emphasis on Gothic architecture.
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Burns, Ian. "Art Viewing and New Technology: Manufacturing the Screen Image." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/365383.

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This exegesis outlines the procedures, processes and methodology used in developing a significant body of studio work that investigates the dominance of the screen-image in contemporary art and culture. Following the established modes of practice-based research, the outcomes can be seen in two phases: the work developed and exhibited during the candidature, and the culminating submission exhibition. All the outputs resulted from intensive studio practice, although without using the studio as a hermetic environment, but rather as the base for practice attuned to the feedback loop of constant interaction and review of the most recent developments in exhibition practice and technique. All of the works discussed in the exegesis and developed towards the final submission demonstrate the progressive interrogation of the production of a screen-image from primitive forms such as the camera obscure through to the high-definition digital television image. A clear evolution is evident in the forms and strategies for dealing with the relationship between the screen and the machinations and industry that is behind bringing the image to fruition. The final submission exhibition brings these processes to a point of conclusion, if not resolution, where the material production experience and knowledge of the limits of the technology combine to demonstrate a new understanding of the impact of digitally generated screen-images and the role of the image in the age of new technology...<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland College of Art<br>Queensland College of Art<br>Full Text
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Page, Patrick J. "Submission to shelter." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137666.

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The goal of this project was to create a mobile structure in which a suite of paintings could be transported and viewed. When the structure and paintings are arranged as an "installation," they will create a more active role for a "viewer" who could then be defined as a "participant." The participant would be involved in the assembly of the environment and would find more opportunities for interaction in the assembled environment than he or she would in a traditional gallery or museum setting. A description and explanation of the processes involved in the creation of this project is preceded by a discussion of different historical, cultural, and methodological ways by which artwork is or has been presented. Also referenced are different artists and philosophies that informed this project.<br>Department of Art
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Chan, King Lun Kisslan. "IGolf : contemporary sculptures exhibition 2009 /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.

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Caldwell, Andrew E. "Daylighting and exhibition at the High Museum of Art." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23971.

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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.<br>published_or_final_version<br>Fine Arts<br>Master<br>Master of Philosophy
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Books on the topic "Art exhibition"

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(Group), Thai IV. Art exhibition. Bangkok, Thailand: C.V.N. Art Center, 1999.

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University of Peshawar. Dept. of Art & Design. Art exhibition. Peshawar: Department of Art and Design, University of Peshawar, 2011.

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Sumahendra. Roopam: Art exhibition. Jaipur: Rajasthan School of Art Alumni, 2009.

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Sumahendra. Roopam: Art exhibition. Jaipur: Rajasthan School of Art Alumni, 2009.

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Nino, Caruso, Perugia (Italy :. Province), and Rocca paolina (Perugia Italy), eds. Ceramic art exhibition. [Perugia, Italy]: Arnaud, 1994.

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Simon, Marshall, Sharp Alice, and Shoreditch Town Hall, eds. Crock: Art exhibition. [London]: [Chelsea College of Art & Design, 1997.

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Museum, Nottingham Castle, ed. Quilt art: Exhibition. City of Nottingham: The Museum, 1988.

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Michael, Bond. Paddington's art exhibition. New York: Putnam, 1986.

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Dick, Goody, Telegraph, and Oakland University Art Gallery, eds. Telegraph: [exhibition]. Rochester, Mich: Oakland University Art Gallery, Dept. of Art and Art History, College of Arts and Sciences, Oakland University, 2006.

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(Burma), National League for Democracy. July images art exhibition. Yangon: National League for Democracy, Education Network "A Mayt Eain" Gratis Education, 2012.

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Book chapters on the topic "Art exhibition"

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Roe, Annabelle Honess. "When Art Exhibition Met Cinema Exhibition." In Documenting The Visual Arts, 145–59. London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315123301-10.

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Werner, Thomas. "The Exhibition." In The Business of Fine Art Photography, 105–29. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003086925-4.

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Spangler-Bickell, Caitlin. "Integrating Front-of-House with Behind-the-Scenes Practice in Contemporary Art Conservation." In Conservation of Contemporary Art, 341–63. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42357-4_17.

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AbstractThe “biographical approach to contemporary art conservation” has highlighted the efforts required by professionals to maintain the identity of complex artworks, given the changes that occur when they move between biographical stages such as creation, acquisition, installation and storage. Although this model indicates that every life phase should be a locus of professional attention, conservation practice is concentrated more on the transitional phases before and after exhibitions than on the exhibition period itself. Because conservators must turn their skills and energy to preparations for the next exhibition soon after an installation is complete, the exhibition period is an underrepresented biographical phase in conservation—an especially urgent deficiency for works that are only fully “activated” when on display. To remedy that, this chapter argues for expanding the collections care remit to integrate the “front-of-house” with behind-the-scenes conservation practice by making use of “ethnography for conservation” during the exhibition life phase. A participant observation study in the gallery space of the interactive exhibition Take Me (I’m Yours) at Pirelli HangarBicocca illustrates how this methodology, as well as an amplified role for invigilators, can help understand and assess risks, generate mitigation tactics and improve collections care.
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Rosen, Aaron. "Exhibition as Pilgrimage." In Religion and Contemporary Art, 103–16. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003326809-9.

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Mojadidi, Amanullah. "The Exhibition." In The Routledge Handbook of Contemporary Art in Global Asia, 237–46. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003285298-24.

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Baers, Michael. "No good time for an exhibition." In Curating Art, 213–27. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-32.

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Wang, Yiyan. "Art Exhibition, art reforms and the debates." In Modern Art for a Modern China, 87–120. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316005-5.

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Graham, Beryl. "Exhibition Histories and Futures." In A Companion to Digital Art, 575–96. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch27.

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Senior, Kim, and Bianca Hill. "Working towards the art exhibition." In Teaching to Learn, 41–49. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-720-7_4.

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Niu, Xueying, and Yuelin Liang. "Interactive Experience Art in Exhibition." In Lecture Notes in Computer Science, 647–58. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49757-6_47.

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Conference papers on the topic "Art exhibition"

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Tsuchiya, Yosuke, and Naoki Ishibashi. "Implementation Method of an Autonomous Art Exhibition System with Open-Source Hardware." In 2024 16th IIAI International Congress on Advanced Applied Informatics (IIAI-AAI), 426–31. IEEE, 2024. http://dx.doi.org/10.1109/iiai-aai63651.2024.00084.

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Xun, Gao. "Research on System Architecture of Communication Network in Virtual Reality Art Exhibition." In 2024 IEEE 2nd International Conference on Electrical, Automation and Computer Engineering (ICEACE), 573–77. IEEE, 2024. https://doi.org/10.1109/iceace63551.2024.10898967.

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Zhang, Zheng, Zheng Zhang, Mingquan Wei, Yehan Wu, Rong Guo, Xuetao Hu, and Yanjun Liu. "Infinite: Immersive Space Art Exhibition - Exploration and Practice of Cross-disciplinary Immersive Experience." In 35th IAA Symposium on Space and Society, Held at the 75th International Astronautical Congress (IAC 2024), 316–23. Paris, France: International Astronautical Federation (IAF), 2024. https://doi.org/10.52202/078382-0033.

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Barua, Subhrajit, Galina Muromtseva, and Tatyana Ivshina. "The BRICS Universe Exhibition - A Fusion of Space and Art in UNESCO's Creative Cities." In IAF Space Education and Outreach Symposium, Held at the 75th International Astronautical Congress (IAC 2024), 838–40. Paris, France: International Astronautical Federation (IAF), 2024. https://doi.org/10.52202/078378-0102.

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Yang, Wenbin. "Design and Implementation of a Virtual Exhibition System for Beilin Calligraphy Art Using VR Technology." In 2024 4th International Conference on Digital Society and Intelligent Systems (DSInS), 220–23. IEEE, 2024. https://doi.org/10.1109/dsins64146.2024.10992131.

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Fowler, E. P., and L. K. Halme. "State of Art in Cable Screening Measurements." In 9th International Zurich Symposium and Technical Exhibition on Electromagnetic Compatibility, 151–58. IEEE, 1991. https://doi.org/10.23919/emc.1991.10781164.

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Gemeinboeck, Petra, and Mary Agnes Krell. "Art exhibition." In the 13th annual ACM international conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1101149.1101379.

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"Art exhibition committee." In 2011 IEEE International Symposium on Mixed and Augmented Reality. IEEE, 2011. http://dx.doi.org/10.1109/ismar.2011.6092343.

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"Art exhibition committee." In 2011 IEEE International Symposium on Mixed and Augmented Reality. IEEE, 2011. http://dx.doi.org/10.1109/ismar.2011.6162844.

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Irrgang, Daniel. "Thought Exhibition. On critical zones, cosmograms, and the impossible outside." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-66-full-irrgang-thought-exhibition.

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The paper discusses the curatorial concept of “thought exhibition” coined by Bruno Latour and Peter Weibel and developed in collaboration with curators, artists, and researchers during four exhibitions at the ZKM Centre for Art and Media, Karlsruhe (Germany). Thought exhibitions transgress the distinctions between philosophy, art, and science by testing ideas in an art museum, a space of discourse, representation, and participation. They engage visitors in a spatio-aesthetic thought experiment by bringing them into a position where preconceptions derived from epistemes of European Modernity are explicated and where alternatives are suggested. The analysis focusses on the most recent exhibition, in the preparation of which the author was involved: “Critical Zones. Observatories for Earthly Politics” (May 23, 2020 – January 9, 2022) mapped the symptoms and origins of the “New Climatic Regime” (Latour) of the late Anthropocene. In this paper, Critical Zones is framed within its theoretical context (Descola, Haraway, Margulis, Whithehead, among others) and discussed as relational spatio-aesthetic approach (Dikeç). The analysis concludes with Sarah Sze’s installation “Flash Point (Timekeeper)” (2018) as one of the exhibition’s central works – a representation, or “cosmogram” (Tresch), of a common planet that may provide an alternative to the globalized world of late capitalism.
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Reports on the topic "Art exhibition"

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

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Sanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, March 1994. http://dx.doi.org/10.18235/0007910.

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Удріс, Ірина Миколаївна, and Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.

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The purpose of the article is to determine the artistic and graphic peculiarities of the Franco-Belgian exhibition poster of the 1890s in the context of the formation of the Art Nouveau style. The research methodology of the work is based on the use of traditional art methods: historical and cultural, reconstructive and model, historical and attributive, which contributed to the revealing of artistic and graphic transformations in the field of Franco-Belgian spectacular poster. The scientific novelty of the article lies in the author’s artistic interpretation of the stylistic manner of the creators of the spectacular poster in “style floreale” as one of the leading directions of the development of the artistic style of that period. The distinctive features of this type of the artistic work are outlined on the basis of the review of the stylistic and image transformations of exhibition posters of the famous artists – J. Chéret, A. Toulouse-Lautrec, E. Grasset, A. Mucha, A. Privat-Livemont and others. Attention is focused on the identification of the presentation features of the advertised exhibition events as an important cultural events of that time. Means of artistic visualization of information are studied taking into consideration the specific nature of the poster. Conclusions. In the general cultural and historical context of that time, the poster has become a significant component of the formation of national trends in the artistic style of the day, in particular - the Franco-Belgian Art Nouveau style. The exhibition poster, reflecting the stylistic landmarks of the time, contributed to the formation of the artistic vision as a manifestation of the cultural and artistic landmarks of the studied period.
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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt, and Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), June 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
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Gallegos de Donoso, Magdalena. The Development of Sculpture in the Quito School. Inter-American Development Bank, October 1994. http://dx.doi.org/10.18235/0007914.

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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Näslund-Hadley, Emma. An Equal Start: Numeracy Education in Latin America and the Caribbean. Inter-American Development Bank, June 2010. http://dx.doi.org/10.18235/0005962.

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This art exhibit, held at IDB's headquarters on June 7-11, 2010, embodies the hope and aspiration that all students will gain a level of numeracy essential for successful participation in school, work and everyday life. The artworks on exhibit were selected from over 250 pieces submitted by artists representing nineteen Latin American and Caribbean countries. The exhibition constitutes the visual launch of a new IDB effort focused on implementing policies that help children reach their full potential in mathematics and natural science.
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Plessi, Fabrizio, Celestino Soddu, and Adriano Abbado. digitalyart: An exhibition honoring Italy, Host of the 44th Annual Meeting of the Board of Governors of the Inter-American Development Bank. Inter-American Development Bank, February 2003. http://dx.doi.org/10.18235/0005909.

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An exhibition of technological art from Italy, featuring the seminal piece ROMA II by Venetian contemporary master Fabrizio Plessi, with digitally designed architectural projects by Celestino Soddu, and interactive images by Adriano Abbado. Held in honor of Italy and the City of Milan, host of the 44th Annual Meeting of the IDB Board of Governors, the show was organized by the IDB Cultural Center with support from the IDB Information and Communication Technology for Development Division, and cooperation from the Istituto Italiano di Cultura of Washington, D.C.
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Angel, Félix, and Cristina Rossi. Latin American Artists of Italian Descent. Inter-American Development Bank, August 2011. http://dx.doi.org/10.18235/0006441.

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This catalogue belongs to the exhibit that celebrates the 150th Anniversary of Italy's Unification. The exhibition includes a selection of art works by Latin American artists of Italian descent that constitutes a symbolic yet significant exploration of the Italian cultural presence and its influence in Latin America. Among the artists included are: Héctor Borla, Sergio Camporeale, Ricardo Crivelli, Eduardo Medici, Emilio Pettoruti, and Rogelio Polesello (Argentina), Lyria Palombini (Brazil), Roberto Sebastián Matta (Chile), Umberto Giangrandi (Colombia), Francisco Amighetti (Costa Rica), Javier Bassi, Miguel A. Battegazzore, José Belloni, Enrique Broglia, Pedro Figari, Antonio Frasconi, Diego Masi and Carlos María Tonelli (Uruguay). The catalogue comprises an essay on the interaction of experiences between Italy and Latin America by Professor Cristina Rossi. The text can be found in English, Spanish and Italian.
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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