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Journal articles on the topic 'Art exhibition audience'
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O’Reilly, Chiara, and Anna Lawrenson. "Revenue, relevance and reflecting community: Blockbusters at the Art Galley of NSW." Museum and Society 12, no. 3 (2015): 157–70. http://dx.doi.org/10.29311/mas.v12i3.257.
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Museums are judged not solely on the basis of their exhibition quality and collection care but, within a corporate model, they are also judged on quantitative measures such as audience numbers and, in turn, their financial viability. Programming has, therefore, become a major focus of forward planning and the basis for funding development. Blockbuster exhibitions, strategically placed throughout annual programs, have been a common way to increase audience numbers and sustain support. In more recent times, the blockbuster model has developed to address more complex measures of success beyond their quantifiable benefits. In addition to the aim of increasing visitor numbers, the blockbuster exhibition and its associated public and education programs, have been effectively utilized as a means of broadening and diversifying audiences. Such efforts help museums to meet expectations, often set by governments, to address and reflect the diverse demographic communities within which they are situated and to whom they serve.The Art Gallery of New South Wales (AGNSW) in Australia provides one such example of a museum that is working creatively within the blockbuster model in order to present exhibitions that build on their collection strengths and existing programs, attract large audiences and engage diverse audiences by focusing on community building. This paper uses the AGNSW blockbuster exhibition The First Emperor: China’s Entombed Warriors, to examine the role of this format in contemporary museums more broadly. We use this exhibition as a frame by which to analyse how the Gallery has modified the blockbuster model, and indeed built on it, in order to target geographically and culturally diverse audiences. We argue that this has been effectively achieved as a result of the Gallery building blockbusters around their curatorial and collection strengths, by working with external organizations and community groups and by offering a range of activities and opportunities for engagement both within the museum and outside of its boundaries. This exhibition proves that when blockbusters are used creatively to support museum wide efforts to engage culturally and linguistically diverse audiences they can achieve success that is both quantitative and qualitative.
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Lønstrup, Ansa. "Facing sound – voicing art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (2013): 153–71. http://dx.doi.org/10.7146/se.v3i1-2.15646.
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This article is based on examples of contemporary audiovisual art with a primary focus on the Tony Oursler solo exhibition Face to Face in Aarhus Art Museum ARoS, 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audience’s interactions with the exhibition and the artwork in the museum space, and short analyses of individual works of art based on reception aesthetics, phenomenology, and newer writings on sound, voice and listening. The focus of the investigation is the quality and possible perspectives of the interaction with audiovisual works of art, articulating and sounding out their own ‘voices’. This methodological combination has been chosen to transgress the dichotomy between the aesthetic or hermeneutic artwork ‘text’ analysis and cultural theory, which focuses on the context understood as the framing, the cultural acts and agendas around the aesthetic ‘text’. The article will include experiences with another exhibition, David Lynch: The Air is on Fire (Fondation Cartier pour l’art contemporain, Paris, 2007 and Kunstforeningen Gl. Strand, Copenhagen, 2010- 2011). The two exhibitions are fundamentally different in their integration of sound. My field of interest concerns the exploration of sound as artistic material in audiovisual combinations and those audiovisual works of art that might cause a change in the participatory strategy of the art museum towards the audience.
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Castellano, Carlos Garrido, and Magdalena Lopez. "Inside and Outside the Exhibition Space." Small Axe: A Caribbean Journal of Criticism 24, no. 3 (2020): 31–52. http://dx.doi.org/10.1215/07990537-8749758.
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This essay deals with issues of citizenship, artistic labor, and belonging in the context of the Dominican Republic. It examines the collaborative work of the Colectivo Quintapata to understand how artistic collaboration is used as a way for generating social transformation and reaching audiences beyond the artistic medium. Analyzing art installations, public interventions, and socially engaged art pieces produced by Quintapata between 2009 and 2014, this essay argues that artistic collaboration works in the case of Quintapata, not so much as a formula but rather as a flexible tool employed to face situations of economic and institutional precariousness, extending the outcomes of each project beyond its original temporality and audience.
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Hughes, Sarah Anne. "Contemporary publishing by national museums and art galleries in the UK and its future." Art Libraries Journal 39, no. 3 (2014): 34–41. http://dx.doi.org/10.1017/s0307472200018423.
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Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.
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Kartseva, E. A., and A. I. Shutova. "How the potential audience of museums perceives art: results of a segmentation study of aesthetic preferences." Voprosy kul'turologii (Issues of Cultural Studies), no. 6 (May 20, 2021): 524–40. http://dx.doi.org/10.33920/nik-01-2106-06.
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The increase, diversification and complexity of the museum audience in recent years has become the reason for the development of deeper and more targeted approaches to its study based on interdisciplinary research. The article analyzes the aesthetic preferences of the potential audience of exhibition projects according to the results of sociological segmentation based on a quantitative survey conducted in January 2020 on the mail.ru platform on the social network in VKontakte (audience coverage 73.4 million in 2020) with a sample of 1905 people. The filling of the questionnaire and data analysis were carried out by the authors using an art history approach, and the research methodology and statistical data analysis were prepared on the basis of sociological and marketing approaches. The assimilation of sociology and marketing tools by cultural institutions is interpreted by the authors optimistically, as an opportunity to oppose the negative aspects of the commercialization of art, to form a community of active supporters of cultural institutions, increase knowledge about their preferences, increase efficiency and reduce costs for promoting exhibition projects. The study also resulted in recommendations for marketing and PR promotion of exhibitions for a more accurate audience coverage and better satisfaction of the aesthetic needs of visitors. Accompanying information in the form of leaflets, audio guides, visuals should be offered in the format preferred by the largest segment of the audience. Curators can refer to research results and shape the exposition, taking them into account, but without losing professional quality. Data analysis was carried out using the methodologist of the Foreitor research company, Yu.R. Wolfson.
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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 artists; the exhibition design and display; the architecture of the venue; the artists’ intentions; the roles of commissioner, sponsor and curator; and, the split audience: original and intended.
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Harding, Clare, Susan Liggett, and Mark Lochrie. "Digital Engagement in a Contemporary Art Gallery: Transforming Audiences." Arts 8, no. 3 (2019): 90. http://dx.doi.org/10.3390/arts8030090.
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This paper examines a curatorial approach to digital art that acknowledges the symbiotic relationship between the digital and other more traditional art practices. It considers some of the issues that arise when digital content is delivered within a public gallery and how specialist knowledge, audience expectations and funding impact on current practices. From the perspective of the Digital Curator at MOSTYN, a contemporary gallery and visual arts centre in Llandudno, North Wales, it outlines the practical challenges and approaches taken to define what audiences want from a public art gallery. Human-centred design processes and activity systems analysis were adopted by MOSTYN with a community of practice—the gallery visitors—to explore the challenges of integrating digital technologies effectively within their curatorial programme and keep up with the pace of change needed today. MOSTYN’s aim is to consider digital holistically within their exhibition programme and within the cannon of 21st century contemporary art practice. Digital curation is at the heart of their model of engagement that offers new and existing audience insights into the significance of digital art within contemporary art practice.
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Bartlett, Vanessa. "Psychosocial curating: a theory and practice of exhibition-making at the intersection between health and aesthetics." Medical Humanities 46, no. 4 (2019): 417–29. http://dx.doi.org/10.1136/medhum-2019-011694.
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A recent Manifesto for a Visual Medical Humanities suggested that more in-depth analysis of the contribution of visual art to medical humanities is urgently required. This need perhaps arises because artists and curators experience conflict between the experimental approaches and tacit knowledge that drive their practice and existing audience research methods used in visitor studies or arts marketing. In this paper, I adopt an innovative psychosocial method—uniquely suited to evidencing aesthetic experiences—to examine how an exhibition of my own curation facilitated audiences to undertake psychological processing of complex ideas about mental distress. I consider the curator working in a health context as a creator of care-driven environments where complex affects prompted by aesthetic approaches to illness can be digested and processed. My definition of care is informed by psychosocial studies and object relations psychoanalysis, which allows me to approach my exhibitions as supportive structures that enable a spectrum of affects and emotions to be encountered. The key argument of the paper is that concepts from object relations psychoanalysis can help to rethink the point of entanglement between curating and health as a process of preparing the ground for audiences to do generative psychological work with images and affects. The case study is Group Therapy: Mental Distress in a Digital Age, an exhibition that was iterated at FACT (Foundation for Art and Creative Technology), UK and University of New South Wales Galleries Sydney, with an emphasis on audience response to key artworks such as Madlove—A Designer Asylum (2015) by the vacuum cleaner and Hannah Hull. It is hoped that this paper will help to reaffirm the significance of curating as a cultural platform that supports communities to live with the anxieties prompted by society’s most complex medical and social issues.
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Gluibizzi, Amanda. "‘Artist as Activist’: promoting collections, outreach and community learning." Art Libraries Journal 34, no. 2 (2009): 31–34. http://dx.doi.org/10.1017/s0307472200015868.
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Inspired by their new university president’s call for global outreach and a desire for community partnerships, several libraries at the Ohio State University worked with the Columbus Museum of Art on a proposal for exhibitions and public programming. Called ‘Artist as Activist’ this exhibition and educational program proposed a dynamic collaboration between the institutions, with the goal of broadening the audience for the museum’s and the libraries’ collections and developing an inclusive educational and dissemination model.
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Irmer, Thomas. "Traverses of art and audience participation: An interview with Olaf Nicolai." Maska 31, no. 181 (2016): 20–25. http://dx.doi.org/10.1386/maska.31.181-182.20_7.
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On the roof of the German pavilion at the 2015 Venice Biennale, Olaf Nikolai produced boomerangs whose shape was adapted to local wind currents. He thus reified the conditions of their production, while each thrower individualised each boomerang through their throwing. The art work was thus created only with the help of the participants; similarly to the installation with singers entitled Non Consumiamo... at the exhibition curated by Okwui Enwezor at the Arena.
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Bulmer, Alex. "Admiring All We Accomplish." Canadian Journal of Disability Studies 8, no. 1 (2019): 149–59. http://dx.doi.org/10.15353/cjds.v8i1.474.
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Andrade, Pedro de. "Epistemology and methodology of urban cultural tourism: the case of the artistic sociology of mobile cultures and tourism communication in urban social networks." Comunicação e Sociedade 33 (June 29, 2018): 243–69. http://dx.doi.org/10.17231/comsoc.33(2018).2916.
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The epistemological, theoretical and methodological debates that aim at scientific credibility, cannot ignore the corresponding application to the social fabric. Conversely, action should always inform reflection. This article rationally demonstrates and sensorialy exhibits the following: one of the sociological genres, Artistic Sociology, transports sociology and its scientific language, from the academia to creative extension activities such as the exhibition of sociological knowledge within urban public space, for example in the case of the art gallery. In the same way, artistic knowledge and language should contaminate sociological discussion through an innovative sensibility. This is possible through the insertion, within a sociological text, not only of images from an art exhibition, presented as ‘Figures’ (1,2 ... n). In addition, the art exhibition itself can be understood as a social and sociological configuration that is an organic part of the very body of the traditional sociological text. Thus, a profound hybridization of knowledge is sought, which can enrich, but also subvert, both sociological debates and art exhibitions. This purpose is accomplished here by several interconnected means: an epistemological approach between Artistic Sociology and Hybridogy; the theoretical problematization of mobile cultures; the empirical field work in the context of urban communication at City 3.0 and tourism communication in the context of Tourism 3.0; and the exhibition ‘New Art Fest’17, as the field for the application of innovative sociological and artistic methodological approaches. A first step was Sociological Exibition on Tourism 3.0 / Cidade 3.0, that demonstrated and showed the urban and travel knowledge, within the space of the art gallery. In a second phase, this knowledge tested through the exhibition audience, is reintroduced in a scientific journal article. Such a double research movement hybridizes and confronts, in both originary and original forms, scientific and artistic knowledge and practice.
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Chaplin, Robert, and Josephine Richards. "Beyond reason: art and psychosis." Psychiatric Bulletin 21, no. 5 (1997): 276–77. http://dx.doi.org/10.1192/pb.21.5.276.
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It is unusual for an exhibition of unknown artists to open with critical acclaim and draw crowds to a major gallery. What is more remarkable is that few of the artists received formal tuition, none belonged to a movement or painted commercially and they did not expect their work to be seen by an audience. The artists were mentally ill people residing in asylums throughout Europe whose work was collected between 1918 and 1921 by the German psychiatrist and art historian Hans Prinzhorn (1886–1933).
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Holland, Ashley. "At the Center of the Controversy: Confronting Ethnic Fraud in the Arts." American Indian Culture and Research Journal 43, no. 4 (2019): 13–24. http://dx.doi.org/10.17953/aicrj.43.4.holland.
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The large-scale retrospective exhibition Jimmie Durham: At the Center of the World (re)introduced self-identified “Cherokee” artist Jimmie Durham to a mainstream audience. Despite efforts in the 1990s to unmask the impostor, who has no known or recognized tribal affiliation, once again Durham was occupying space as a Native artist in the art world. This article addresses larger issues that face the field of Native art and Native representation in museums as a whole, offering personal reflections and a brief review of the exhibition as well as a biographical overview of the artist.
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Azzarito, Laura. "Moving in My World: From School PE to Participants-Centered Art Exhibitions." Journal of Teaching in Physical Education 35, no. 1 (2016): 38–53. http://dx.doi.org/10.1123/jtpe.2014-0189.
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To address persistent health and physical activity issues, listening to the opinions and needs of a diverse population should be at the forefront of a social justice agenda. This article examines how a participant-centered photo exhibition, as the culmination of a two-year-long visual participatory research project, provided a site of public pedagogy for the audience to be acculturated around issues of ethnically diverse young people’s physical activity. Drawing from constructivist theory, I first present ethnically diverse young people as “experts of their own lives” and as active agents in their self-expression of their embodiments. I then demonstrate how young people’s visual narratives created alternative visions to media-driven body ideals, and to current schooling practices of body control and regulation. Last, I consider the benefits and limitations of organizing a photo exhibition as a pedagogical means to disseminate research findings to a larger audience, beyond the “academic monopoly,” for social change.
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Северин, Віктор Дмитрович, та Надія Василівна Северин. "ФІЛОСОФСЬКО-КУЛЬТУРОЛОГІЧНИЙ ВИМІР ВИСТАВКОВОЇ ДІЯЛЬНОСТІ В КОМУНІКАТИВНОМУ ПРОСТОРІ СУСПІЛЬСТВА". Humanities journal, № 4 (19 грудня 2018): 45–53. http://dx.doi.org/10.32620/gch.2018.4.05.
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Exhibition activity in Ukraine is becoming important. Exhibitions as a factor of scientific, technical and cultural progress in modern conditions contribute improving the efficiency and quality of production, the development of economic relations and international cooperation. The object of the article is to define the concept of exhibition design as a particular aspect of art-design activity, its role and functions in the information and communication space of the modern design culture of Ukraine. The problem of exhibition design is relevant in modern art history. Researchers suppose that at a certain stage people began to use objects and the environment as tools to satisfy an instinctive impulse to discover, emphasize, deify, sell and interpret elements of their own experience. Such «communication environment» considered as a creative sphere, or exhibition design. In the conditions of technical progress, the incorporation of elements of aesthetics into production gradually began to cover all production areas. The role of exhibition design in the organization of modern exposition is to create, in combination with communication room design, an environment that would provide the most profound and complete transmission of information, help to attract the audience and increase the intensity of understanding. The functions of exhibition design are: educational, cognitive, axiological, psychological, aesthetic, communicative, etc. Exhibition design in the 21st century both in the world and in Ukraine is characterized by the use of innovative technologies, which contribute to the expansion of the information field of the exposition and the disclosure of its main idea.
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Ushkarev, Aleksandr A. "Art Museum Audience: The Arguments of Consumer Choice." Observatory of Culture 15, no. 4 (2018): 444–59. http://dx.doi.org/10.25281/2072-3156-2018-15-4-444-459.
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Diversification of artistic supply and growing competition in the market of cultural services lead to the fact that the quality of artistic product (performance, concert, exhibition) is perceived as increasingly relative and loses its former importance as a decisive argument of consumer choice. What guides people in their communication with art? What are the determinants of their consumer behavior and are there any patterns in it? The chance of overcoming communication barriers and establishing a constructive dialogue between cultural institutions and their potential audience depends on whether the answers to these and other questions will be found. The article deals with the cultural aspect of this interaction — the role of motivation and individual preferences in art consumption, their influence on people’s cultural activity. The article is based on the results of a large-scale sociological study of visitors to the State Tretyakov Gallery, conducted by a research group from the State Institute of Art Studies. The museum’s audience was studied not only by the objective parameters traditionally described by art sociologists, but also by a number of difficult-to-measure content features that go far beyond socio-demographic descriptions. The study allows us to get closer to understanding some general patterns of consumer behavior in art, to determine the nature of consumer motivations and individual preferences’ influence on cultural choice. The article proves the existence of a statistically significant connection between these subjective behavioral determinants and the measure of personal cultural capital. The use of methods of mathematical statistics and econometrics expands the traditional potential of sociology of art and provides a qualitatively new level of reliability of results.
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Suhr, H. Cecilia. "The Audience and Artist Interactivity in Augmented Reality Art: The Solo Exhibition on theFlameSeries." Critical Arts 32, no. 3 (2018): 111–25. http://dx.doi.org/10.1080/02560046.2018.1493054.
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Mitnik, Margarita Andreevna. "The art of exhibiting chandeliers as art objects in the open air." Человек и культура, no. 4 (April 2021): 151–59. http://dx.doi.org/10.25136/2409-8744.2021.4.36483.
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This article examines the exhibition of chandeliers in the open air. The subject of this research is the projects that display the actual texture and functionality of the historical models of chandeliers, as well as their modern interpretations within the independent art projects that use structural and stylistic elements of chandeliers as part of the topic or material for the viewers’ reflection. For more in-depth analysis of the chandelier as the object of exposition in the open air, the author explored the websites and exhibition catalogues, methodological textbooks, articles and books that demonstrate methods of presenting the objects of decorative and applied art. Similar projects were found. Based on the extensive sampling, the author conducted typological analysis of such projects was carried out, considering the environmental effects and concepts, namely ecological, which underlie the particular solutions. The conclusion is made that open space of the city and garden allow displaying classical chandeliers and various interpretations of ceiling lighting to wide audience, emphasize the texture of the material, and demonstrate the aesthetics of lighting devices not as a historically reserved or subordinate to some household concept, but as aesthetics that expands the customary concepts associated with space.
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Huang, Chiao Hui, and Ming Chuen Chuang. "An Aesthetic Practice in Higher Education through Exhibition Transformation." International Journal for Innovation Education and Research 3, no. 3 (2015): 117–31. http://dx.doi.org/10.31686/ijier.vol3.iss3.332.
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This study takes the NCCU Very Fun Park exhibit, collaboratively carried out by the NCCU Art and Culture Center and the Fubon Art Foundation in Taiwan, as its primary object of investigation. Using archive analysis and participant observation, this study aims to map out the cooperative strategies between two institutions in transforming the Very Fun Park into the NCCU Very Fun Park on the National Chengchi University campus. In addition, it uses audience surveys to gauge the success of this collaborative effort. The results of this study show the benefits and specific positive results of collaboration between a university art center and outside foundation. This case study can serve as a reference guide for other universities under budget restraints hoping to combine resources with an outside institution; through the concept of the “wall-less museum,” NCCU successfully transformed the Very Fun Park into its own experiential aesthetic education project for students and the public.
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Serexhe, Bernhard. "Total Control: Recoding Humanity?" New Global Studies 13, no. 2 (2019): 243–59. http://dx.doi.org/10.1515/ngs-2019-0011.
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AbstractThe following article relates to the exhibition, “Global Control and Censorship,” curated by Bernhard Serexhe and Livia Nolasco-Rozas, which was shown, from October 2015 until July 2016, at the ZKM | Center for Art and Media Karlsruhe (DE) and continued in 2017-18 as a traveling exhibition through seven Eastern-European countries, Tallinn (EST), Zilina (SK), Bialystok (PL), Vilnius (LT), Prag (CZ), Riga (LV), and Debrecen (H). Due to the urgency of its theme this exhibition attracted considerable audience and received international media coverage. The inserted images by photographer Anatole Serexhe document a selection out of more than 80 artworks shown in this exhibition.
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Kjærboe, Rasmus. "Embodied discourse in the bourgeois museum: performative spaces at the Ordrupgaard collection." Museum and Society 12, no. 2 (2015): 65–87. http://dx.doi.org/10.29311/mas.v12i2.2784.
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In a suburb just north of Copenhagen is Ordrupgaard. At the inauguration in 1918, it was arguably the best collection of impressionism open to the public outside France and the USA. This paper has two goals: First, to reconstruct and analyze the important yet little known original exhibition ensemble at Ordrupgaard, and second, to develop a view of the bourgeois art exhibition as a performative ritual. Building on ideas of exhibition narratives and visitor involvement derived from diverse work done within museology and museum studies, the paper proposes a close examination of how collective memory and performative embodiment drive exhibition experience. From this, Ordrupgaard emerges as an early example of a museum that offers its audience the possibility of a pleasurable enactment of middle class identity within a setting encompassing nature, art and architecture. The case of a small collection museum therefore reveals important mechanics at work within a potentially much larger field of institutions.
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De Nigris, Ornella. "Continuum Generation by Generation: The representation of Chinese traditions at the China Pavilion of the 57th Venice Biennale." Journal of Contemporary Chinese Art 6, no. 2 (2019): 343–66. http://dx.doi.org/10.1386/jcca_00011_1.
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Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.
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Adhiambo Oguda, Benta G., George Vikiru, and Christine Wasanga. "The Influence of Presentation Format on Responses of Male Sex Offenders to Digital Paintings that illustrate the Consequences Sexual Crimes." Journal of Sociological Research 12, no. 2 (2021): 26. http://dx.doi.org/10.5296/jsr.v12i2.18454.
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Although art viewing experiences occur in varied contexts, responses of audience may be profoundly affected by the presentation format. In this paper, focus is drawn upon participation in a digital paintings exhibition and visual representation in assessing the responses of male sex offenders to digital paintings that illustrate the consequences of sexual crimes. The relationship between arts and technology is an emerging area of interest in modern research. In addition to the traditional gallery displays, digital technologies have provided new ways of audience participation in arts, enabling more involvement in the way art is consumed. The authors sought to determine the effect of viewing screen projected images in Rapid Serial Visual Presentation and in a gallery display. The study applied brief repeated exposures as described in Mere Exposure research. The study utilized temporary exhibition displays and projection by Rapid Serial Visual Presentation (RSVP) where the respondents were passive participants, simply viewing the artwork. The participants were drawn from male sexual offenders aged 18-45 years at Nairobi West Prison, a male offenders’ facility in Nairobi City County. Stratified random sampling was used to select 61 male offenders convicted for defilement and rape. Respondents were randomly assigned to two experimental conditions involving viewing in projection by RSVP and gallery display. A five-point Likert scale was used to measure the participants’ responses to digital paintings illustrating consequences of sexual crimes. A Multivariate Analysis was used to assess ratings of the digital paintings against the various components of art. Findings show that painting style, colour schemes, themes and exposure frequency significantly influenced the participants’ responses to the digital paintings. The study recommends use of comparative analysis to determine how exposure to digital paintings impacts differently on other types of audiences.
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Si-hang, Cheng, and Wang Yun-long. "The Application of Entertainment Design And Digital Technology in Children's Educational Exhibition Space——Take the "Art Education in Fun" exhibition as an example." E3S Web of Conferences 236 (2021): 05091. http://dx.doi.org/10.1051/e3sconf/202123605091.
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The purpose is by integrating entertainment design and digital technology thinking into the display space design, enhancing spatial narrative and interactive experience, stimulating children's interest and imagination, and cultivating innovative thinking mode. The methods is taking the exhibition planning of "Art Education in Fun" as an example, visually displaying the narrative space, combined with digital technology and entertainment interaction, strengthening the fit between the two-dimensional plane and the three-dimensional space, and providing the audience with a more dimensional and stronger textured exhibition experience. The conclusion is with the addition of entertainment design and digital technology, deepening the basic value of the information dissemination in the exhibition space itself, building a better information exchange platform, and providing a positive boost to culture, education, and industrial economy.
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Carey, Moya, and Mercedes Volait. "Framing 'Islamic Art' for Aesthetic Interiors: Revisiting the 1878 Paris Exhibition." International Journal of Islamic Architecture 9, no. 1 (2020): 31–59. http://dx.doi.org/10.1386/ijia_00003_1.
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Abstract The 1878 Exposition Universelle in Paris is known for the substantial scope and content of its Islamic art displays ‐ the most extensive offered to an international audience by that date. A renewed analysis of this influential event demonstrates that it featured a network of distinct ‐ though often interlinked ‐ installations that come under the label of 'Islamic art', situated across a complex site. These included national initiatives, such as L'Égypte des Khalifes, sponsored by the ruling Khedive of Egypt, and the purpose-built Pavillon de la Perse, constructed by master-builders dispatched from Qajar Tehran. Commercial undertakings included a display of Vincent Robinson's Iranian carpets in the British India section. At the Galerie orientale curated by Albert Goupil in the Palais du Trocadéro, other objects loaned from private collections were presented. Common across these various displays was persuasively staged architecture. This article argues for the centrality of architectural salvage and reconstruction in the early history of private and public displays of Islamic art. By examining the different individuals who created both L'Égypte des Khalifes and the Galerie orientale, article proposes a new assessment of an elite domestic culture, pursued by affluent bachelor aesthetes of the period, with many modern resonances.
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Jones, Ryan. "Responding to Change and Looking to the Future in Temporal Turn." Undergraduate Research Journal for the Humanities 2, no. 1 (2017): 184–92. http://dx.doi.org/10.17161/1808.23869.
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This review covers the five themes of Temporal Turn: Art and Speculation in Contemporary Asia, and suggests the greatest achievement of the exhibition, while also offering suggestions to improve its impact. The paper also delves into the rapid changes in Asia over the past 50 years, including political, cultural, and population transformation, tying them to specific works in the exhibition. The article selects artworks in Temporal Turn emphasizing these large, rapid changes made by contemporary Asian artists. Research into the economic, political, and cultural facets of East Asian culture is used to back claims made in the paper. Furthermore, the paper proposes how the viewer should respond to the exhibition with thematic context, suggesting it disorients its audience in time and reality.
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Wulandari, Anak Agung Ayu, Ade Ariyani Sari Fajarwati, and Fauzia Latif. "The Relationship of Exhibition Space Design and the Success of Delivering Messages to Museum Visitors in Jakarta." Humaniora 8, no. 3 (2017): 219. http://dx.doi.org/10.21512/humaniora.v8i3.3634.
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The research explored exhibition space designs, particularly the interior design elements such as circulation, lighting, and display techniques to find out whether the design elements corresponded the design principles and to find out which museum had the most ideal exhibition design that was able to deliver exhibition messages to the audience. The research applied qualitative method with case study approach in three museums in Jakarta, those were National Museums, Bank of Indonesia museum, and museum of Fine Art and Ceramic as case studies and qualitative data collecting methods through observations to get real-settings information. Data analysis and comparison of various interior elements shows that from the three case studies only Bank of Indonesia Museum has an integrated exhibition space using various interior elements; circulation and lighting design as well as display technique that support the success of a museum to deliver exhibition messages to their visitor. It can stimulate visitors senses visually, auditory, and kinetic.
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Ilić, Ivana, and Iva Nenić. "The anatomy of voice: Two views on the exhibition post-opera ('Tent' Gallery and 'V2_Lab for the Unstable Media', Rotterdam, April 19 - June 30 and May 3-26 2019)." New Sound, no. 56-2 (2020): 179–99. http://dx.doi.org/10.5937/newso2055179i.
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In this paper we discuss the exhibition Post-Opera, a complex and provocative curatorial project by Kris Dittel and Jelena Novak, in which the changeable relations between the voice and the (human) body are investigated from the creative and the theoretical perspectives, relying on juxtaposing and reflection between visual arts, technology and opera. Firstly, in the paper we examine the curatorial procedure, in its shift from the mediatory function between the work and the audience towards the practice, which intervenes in both of these domains and results in an exhibition as an autonomous art object. In the second part we interpret the politics and the effectiveness of the singing and the speaking voice in contemporary art and culture, while in the third part we write about the resemantization of the relation between the singing body and the sung voice within 'installing the operatic'.
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Dаtsenko, A. A. "The ways of gathering of the art works of Primorye in the funds of Primorye State Art Gallery." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 41–56. http://dx.doi.org/10.46748/arteuras.2020.03.004.
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The article analyzes the experience of introducing interactive technologies in the practice of scientific and educational work of an art museum. The article considers the prerequisites for using such practices, pros and cons, relevance and prospects for their development in the Primorye State Art Gallery in 2014–2020. On the basis of a number of exhibition projects held in the gallery, the effectiveness of such forms of interaction with the audience is shown as the following: thematic video presentation, expansion of information carriers using QR codes, virtual reality cinema, elements of augmented reality, or AR, quests within the edutainment direction. The article also briefly presents the communication of employees of the Primorye State Art Gallery with the audience in social networks. Статья посвящена истории и направлениям комплектования коллекции приморского искусства в Приморской государственной картинной галерее. Процесс формирования коллекции самого восточного художественного музея России представлен комплексно, с опорой на архивные документы и в соответствии с этапами развития художественного процесса Приморского края. Материал исследования охватывает период с 1930-х годов до 2020 года и отражает становление разных видов приморского изобразительного искусства: живописи, скульптуры, графики, декоративно-прикладного искусства. Широко представлен жанровый диапазон произведений: портрет, пейзаж, тематическая и историческая картины, анималистика и многие другие. Впервые сделан обзор поступлений последнего десятилетия в коллекцию галереи.
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Degarrod, Lydia N. "Making the unfamiliar personal: arts-based ethnographies as public-engaged ethnographies." Qualitative Research 13, no. 4 (2013): 402–13. http://dx.doi.org/10.1177/1468794113483302.
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I present the installation Geographies of the Imagination, an arts-based ethnography about long-term exile, as a form of public ethnography that unveils the acquisition and transmission of ethnographic knowledge as interactive, emergent, and creative. I will show how the methods of collaboration and art making created bodily forms of knowledge among the participants and the audience at the exhibition of the installation that have the potential for stimulating new thinking. The use of these methods advanced the acquisition of ethnographic knowledge, and heightened the development of empathy among the participants and the researcher. Furthermore, the public exhibition of this installation allowed the participants to exercise social justice, and created a setting for socially experiencing embodied knowledge.
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Caballero Cano, Francisco Javier. "Espacios expositivos virtuales: Proyecto UMUSEO, una nueva opción para la difusión artística." Virtual Archaeology Review 3, no. 7 (2012): 44. http://dx.doi.org/10.4995/var.2012.4384.
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<p>The technology revolution has, in recent years, meant something of a transformation in the way we perceive art and, at the same time, in our way of understanding art exhibition spaces. New works demand updated spaces and different approaches to their care and exhibition. American museums were the first to respond to these changes and begin to put resources behind the necessary objectives. Throughout the 1980s a revolutionary process unfolded which focused on changing attitudes<br />and opening up to a growing and increasingly diverse audience.<br />This process soon spread to the rest of the world and gradually museums and exhibition spaces started to become part of an overall impulse of opening-up and conceptual change that, judging by the outcomes, was precisely what society was waiting and asking for. Rather than change their collections, museums changed their interpretation of them, the way in which they were brought to their publics, their approach to external communications and the role of visitors.<br />New information technologies (particularly the most recent) offer museums the chance to respond to society’s requirements. Hence access to museums takes on a whole new dimension. As well as the traditional uses of the Internet, art online offers two new possibilities: interactivity and the removal of physical barriers. Museums online are open to anybody and everybody, at any time of day, offering easy access and the scope for users to relate directly with a virtual exhibition space. The emergence of the Internet has transcended the barriers of space and time, enabling real-time communication with people from all continents, meaning that messages can be conveyed with limitless reach.<br />The University of Murcia´s Virtual Museum project – UMUSEO – makes an innovative contribution to the possibilities offered by new technologies in the realm of artistic production and its dissemination. This is a research project designed to be a Centre for a range of art-forms operating exclusively online and specialising in exhibitions relating to the artistic heritage of the University of Murcia.<br />In the 1960s and 70s questions started to be asked about the role of museums and their future, giving rise to the idea that museums had become passive exhibition centres. Today they are continually evolving, becoming centres of active experimentation in which public participation takes on a special relevance.</p>
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Blazhenkova, Y. P. "Modern interactive technologies in the cultural and educational activities of the art museum (in case of the Primorye State Art Gallery)." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 121–30. http://dx.doi.org/10.46748/arteuras.2020.03.010.
Full textAbstract:
The article analyzes the experience of introducing interactive technologies in the practice of scientific and educational work of an art museum. The article considers the prerequisites for using such practices, pros and cons, relevance and prospects for their development in the Primorye State Art Gallery in 2014–2020. On the basis of a number of exhibition projects held in the gallery, the effectiveness of such forms of interaction with the audience is shown as the following: thematic video presentation, expansion of information carriers using QR codes, virtual reality cinema, elements of augmented reality, or AR, quests within the edutainment direction. The article also briefly presents the communication of employees of the Primorye State Art Gallery with the audience in social networks. В статье анализируется опыт внедрения интерактивных технологий в научно-просветительскую работу художественного музея. Рассматриваются предпосылки возникновения таких практик, плюсы и минусы, актуальность и перспективы развития в Приморской государственной картинной галерее в 2014–2020 годы. На примере ряда выставочных проектов, состоявшихся в галерее, показана эффективность таких форм взаимодействия со зрителями, как тематическая видеопрезентация, расширение информационных носителей с помощью QR-кодов, кинотеатр виртуальной реальности, элементы дополненной реальности, или AR, квесты в рамках направления «эдьютейнмент» — игрового и развлекательного обучения. Кратко представлена коммуникация сотрудников музея с аудиторией в социальных сетях.
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Li, Xi, Runzhe Yu, and Xinwei Su. "Environmental Beliefs and Pro-Environmental Behavioral Intention of an Environmentally Themed Exhibition Audience: The Mediation Role of Exhibition Attachment." SAGE Open 11, no. 2 (2021): 215824402110279. http://dx.doi.org/10.1177/21582440211027966.
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Many scholars have focused on the role of exhibitions in business promotion, and numerous studies have been conducted. The exhibition may influence the audience’s behaviors through the dissemination of information and ideas, but few researchers have looked into this further. There is a distinct lack of research on the process of exhibition influencing people’s behavioral intentions. Based on the belief–emotion–norm theoretical model, this study integrates environmental beliefs, exhibition attachment, and an audience’s environmental behavior intentions into a research model to explain how the exhibition affects the audience. The Macau International Environmental Cooperation Forum & Exhibition attendees served as the research object in the current empirical study. The study’s findings suggest that audiences’ environmental beliefs may have a significant and positive impact on their attachment to environmentally themed exhibitions as well as their environmental behavioral intentions. This study also confirmed that attachment to exhibitions, a temporary space, can play an important mediating role between environmental beliefs and intentions to engage in pro-environmental behavior. The exhibition dependency, in particular, acts as a mediator between environmental beliefs and pro-environmental behavior intentions. Although the mediating effect of exhibition identity is insignificant, exhibition dependence–exhibition identity as a whole has a partial mediating effect in the process of influencing exhibition audiences’ environmental behavior. This research helps to improve our understanding of how environmentally themed exhibitions influence audience behavior. It also has implications for exhibition organizers in terms of better exhibition planning, more effective information transmission, and influencing audience behavior.
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Rudenko, Oleh. "The importance of «interprint» in the development of Ukrainian graphics." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 60–65. http://dx.doi.org/10.33838/naoma.29.2020.60-65.
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The article studies Ukrainian graphic art of the late twentieth century, undergoing changes caused by political events in Eastern Europe. Two iconic exhibitions became the turning point for native art as they revealed the Ukrainian graphic arts, and broke through the "iron" curtain of the totalitarian regime. The ideological seclusion of the USSR focused solely on the themes celebrating the life of a happy worker, peasant, or intellectual, did not let the works of another content to be displayed in public. Moreover, all areas of art creativity were controlled by the Union of Artists of Ukraine, headed by people with party membership cards. This prohibition referred especially to works of national-patriotic, conceptual, abstract, or surrealistic nature. The idea to hold an international exhibition that would present Ukrainian graphics to the world arose in the heads of a few independent politicians. At the state level, that idea certainly did not gain any support, but some people contributed to its implementation. Interestingly, the first exhibition of graphics "Interdruk'90" took place just before the collapse of the USSR, and the second, "Interdruk'92", in an already independent Ukraine. The exhibitions showed a high level of Ukrainian graphics, which equaled and sometimes surpassed the works of foreign masters. Among the exhibited art were works by such masters of national graphics as Valeriy Demya- nyshyn, Oleg Denysenko, Mykhaylo Alexandrov, Volodymyr Gumenny, Konstantin Kalinovich, Ivan Kravetz, Pavlo Makov, Mychaylo Moskal, Volodymyr Pinigin, Igor Podolchak, Yuriy Pshenychny, Roman Romanyshyn, Yevgen Ravsky, Alexander Aksinin et al. Their works reflected the whole spectrum of current life themes, which were seen and interpreted in new ways, imaginative technical and formal solutions. Most of those national artists had been exhibited abroad and won the most prestigious graphic contests, yet they were little known in their Motherland. On the other hand, the Ukrainian audience got a chance to learn about the works and achievements of graphic artists from France, Great Britain, Argentina, Korea, Israel, Spain, Holland, Poland, Canada, Russia, Japan, Italy and other countries. We may state that those two exhibitions of printmaking art opened the way to the development of graphics in independent Ukraine.
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Richardson, Sarah Harvey. "The Art Gallery and its Audience: Reflecting on Scale and Spatiality in Practice and Theory." Museum and Society 16, no. 2 (2018): 201–19. http://dx.doi.org/10.29311/mas.v16i2.2769.
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This paper explores scale and spatiality in the practice and theory of the art gallery. Through the example of Des Hughes: Stretch Out and Wait, an exhibition at The Hepworth Wakefield, I unpick the construction of scaled notions such as ‘local’, ‘(inter)national’ and ‘community’, in particular, a ‘local’ versus‘(inter)national’ binary; and explore how we may seek alternatives to such hierarchized thinking and practice. By testing and developing Kevin Hetherington’s approach of analyzing the topological character of the spaces of the museum (1997), I treat the space of Des Hughesas one which is complex, contingent and folded around certain objects on display. In so doing, this paper argues that scale and spatiality should not only be attended to as a subject of study for museums, galleries and heritage; but that they can also form a useful methodological lens through which productive alternatives for the knowledge and practice of these organizations may be explored.
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Garcia-Ruiz, Juan Manuel, Fermin Otalora, Alfonso Garcia-Caballero, Luis A. González-Ramírez, and Cristobal Verdugo-Escamilla. "CRISTALES: a world to discover.An exhibition for schools and universities." Journal of Applied Crystallography 48, no. 4 (2015): 1264–75. http://dx.doi.org/10.1107/s1600576715007724.
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The exhibitionCRISTALES: a world to discoveris a teaching/outreach activity whose main goals are to increase awareness of the importance of crystallography and its role in everyday life in modern society, motivate young people, and promote education and research in crystallography.CRISTALESis designed to inspire the audience with a careful design and a view of crystallography that places the emphasis not only on the most important contributions of crystallography to society's welfare, including new materials and biomedical research, but also on those aspects of crystallography related to art and the mind. This article describes the simplest version of the exhibition, composed of 14 posters that have been created specifically for schools and universities. Each poster displays an image that is both aesthetically powerful and scientifically intriguing, so as to provoke the curiosity of the students. The posters also contain a brief text explaining the image and its relation to crystallography and a QR code that links the poster to a web page containing further information.
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Belting, Hans. "The Museum of Modern Art and the History of Modernism." Nka Journal of Contemporary African Art 2020, no. 46 (2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.
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Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, since its curators were tempted to exhibit its own collection, so unique up until the sixties, in the new exhibition halls. This launched a dilemma for MoMA, as it became a place for past art with little space for new art. In an in-depth analysis of what constitutes “modern” art in the context of the preeminent questions circulating in the art world during this time—When was modern art? and Where was modern art?—the author presents a focused chronology of the administration of MoMA under the museum’s first director, Alfred Hamilton Barr Jr. (1929–43), and, later, William Rubin, director of the Department of Painting and Sculpture (1968–88), with regard to their influence on the museum’s mission, exhibitions, and international profile. The author concludes with commentary on contemporary changes in art geography and contemplation on the effect on artists of the emergence of a global art market.
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Smith, Paul Julian. "Screenings." Film Quarterly 69, no. 4 (2016): 78–81. http://dx.doi.org/10.1525/fq.2016.69.4.78.
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FQ Columnist Paul Julian Smith traces the changes in queer Mexican cinema since the 1990s and asks: What does it mean for a film to be both queer and mainstream? Recent Mexican features with lesbian, gay, and trans themes pose this question. They are audience-friendly genre movies, either romantic comedies or thrillers, naturalistic in style, apolitical in attitude, and commercially produced in the hope of exhibition in theaters. Reaching out through social media to a queer community of viewers, they also seek to connect closely with their audience. Smith suggests that a new corpus of queer films is emerging that may be premature in rejecting the political and artistic radicalism of earlier Mexican queer cinema. The great virtue of these new queer films, however, is that they aim to connect with an audience beyond the art house that needs—in these changing, challenging times—to see this newly visible community represented on the big screen.
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Kok, Annemarie. "Do it yourself!" Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 68, no. 1 (2019): 378–405. http://dx.doi.org/10.1163/22145966-06801013.
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In 1962, the Dutch art audience was confronted with a remarkable participatory art project in the Stedelijk Museum Amsterdam: a dynamic labyrinth that visitors could enter, be part of and contribute to. This article analyses the particular relation between participation and instruction in the Dylaby exhibition. After a brief sketch of its particular setup, its ideals, plans and precursors are discussed, together with other contemporary proposals for labyrinths. This is followed by a short excursion into theoretical interpretations of participatory art, centering on the dynamics of freedom and control in this particular art practice. The third part focuses on procedures of guidance and instruction with regard to particular artworks. On the basis of historical source material forms of instruction are reconstructed and examined. Finally, the options of visitors to discover for themselves how to participate will be addressed, with a short detour to the pedagogical theory of Paolo Freire.
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Montero, Gustavo Grandal, and Erica Foden-Lenahan. "Occasional Papers: archival troves, affordability and accessories." Art Libraries Journal 40, no. 1 (2015): 20–29. http://dx.doi.org/10.1017/s0307472200000079.
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The world of art publishing is often characterized by hefty exhibition catalogues and glossy artist monographs that aim to be comprehensive documentation of a theme or an artist’s output, but also cost more than pocket money to purchase. As art librarians we purchase, move, and sometimes read them every day. Occasionally a publication will catch your attention, maybe because it appears ephemeral, or perhaps because it more closely resembles books that you might accession into an artists’ books or artists’ publications collection. Occasional Papers publications have that look and yet their content points to a wider audience. Their philosophy of the cheap paperback makes them unusual in mainstream art publishing. How does a small publisher survive? Clearly by disregarding just about everything the publishing textbooks say. Occasional Papers has found its niche and sat down to tell us about it.
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Amazonas, Mauro, Thais Castro, João Gustavo Kienen, Rosiane Freitas, and Bruno Gadelha. "Composing aleatoric music through interaction." Per Musi, no. 40 (June 22, 2021): 1–35. http://dx.doi.org/10.35699/2317-6377.2020.26077.
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Urban public art is an art exhibition held in public places, contextualized with their surroundings and its audience. Technology is a significant trend in public art due to its connection possibilities with human life, fostering different kinds of interaction. In this way, this work presents an installation proposal consisting of an environment for creating collaborative random music from interaction with mobile devices in public spaces. Everyone participating in the installation is a composer and interaction is a chance agent, although it follows John Cage's composition methods. In order to probe technology, we carried out two pilot studies, followed by a workshop for the installation itself. Those two pilot studies led us to a new version that was put into practice during the workshop. During the workshop, participants' interaction generated fourteen compositions, and the sounds resulting from the collaborative composition were made available to the public through a website.
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frisk, henrik, and miya yoshida. "new communications technology in the context of interactive sound art: an empirical analysis." Organised Sound 10, no. 2 (2005): 121–27. http://dx.doi.org/10.1017/s1355771805000762.
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in this article we discuss the notion of ‘interaction’, ‘participation’ and ‘the public’ in artistic work, specifically within the context of the exhibition the invisible landscapes (curated by miya yoshida, malmö konstmuseum, 2003) and ethersound (created by henrik frisk), a sound installation displayed in that exhibition. in this work the audience is invited to participate in the creation of new sound events by sending text messages from their mobile phones. thus, our discussion is focused on the space and the mode of participation opened up by new communication technology. based on our experiences of that project, we introduce and explain what we believe are relations of creative production and a different kind of creativity that may emerge from active interaction. we also attempt to describe what we believe an implementation of active public participation can lead to.we are combining two modes of thinking in this article; one is inspired by a discourse of cultural theories and the other by reflection on our experience of the event. the latter is, by definition, rather subject centred and expansive based on individual observation. we examine and analyse the phenomenon of ‘participation’ whilst playing ethersound as a process of creative production, and seek to reflect upon the power of the co-operative practice and its relation to participation and creativity.
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ROGERS, HOLLY. "Acoustic Architecture: Music and Space in the Video Installations of Bill Viola." Twentieth-Century Music 2, no. 2 (2005): 197–219. http://dx.doi.org/10.1017/s1478572206000260.
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Video installation art is a collaboration of sound, image, and space, with a closer relationship to music and art than to cinema. Accordingly, those working in this genre are often both artist and musician, a double role that represents a radical departure from the artist/musician divide of many other audio-visual genres. Because it is single authored, video installation can invert many elements of the filmmaking process: while it is common procedure to add a soundtrack to film during post-production, for instance, many video artists use sound as their starting point, often basing whole works on a musical structure. While such an inversion invites reconsideration of musical audibility and film narrative, video work, when installed, also challenges the notions of screen space and realism. An audience is no longer offered the single-point perspective of film, but is instead enveloped within a three-dimensional space. And as image expands beyond the four sides of the cinema screen – a space occupied previously by music alone – important questions are raised: what happens to music when film breaks from the containment of the screen? when it destroys its own boundaries? Focusing on the work of Bill Viola, this paper explores the ways in which video installation art confronts methods of film exhibition and audience engagement, and investigates how such confrontation redefines the roles of music and image in film.
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Schieder, Martin. "»Entartete Genialität« Guernica im geteilten Deutschland." Zeitschrift für Kunstgeschichte 82, no. 2 (2019): 234–48. http://dx.doi.org/10.1515/zkg-2019-2005.
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Abstract When in 1955/1956, for the first time in divided postwar Germany, a major Picasso exhibition took place in Munich, Cologne, and Hamburg, it came to be a cultural event that reached and emotionalized the German audience, media, and sciences to an unprecedented extent. The exhibition Picasso 1900 – 1955 contributed significantly to the popularization of Picasso at all levels of society and gave the German people access to modern art on a much wider scale than the first documenta held concurrently in Kassel. The undisputed eye-catcher of that spectacular exhibit was Guernica, on display in Germany for the first and only time. Its controversial reception reveals that at that time there was no intention to see the work in Germany in a memorial relationship with Germany’s own historical responsibility. Thus it virtually functioned as a symbol for a collective amnesia of the West German postwar society, whereas the socialist East of the Republic stylized the painting into an anti-fascist icon.
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Portnova, Tatiana V. "Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space." Journal on Computing and Cultural Heritage 14, no. 4 (2021): 1–6. http://dx.doi.org/10.1145/3460456.
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The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.
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Neglinskaya, Marina Aleksandrovna. "“Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism." Культура и искусство, no. 2 (February 2020): 44–50. http://dx.doi.org/10.7256/2454-0625.2020.2.29690.
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The subject of this research is the art of Cai Guo-Qiang (born in 1957) &ndash; the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of &ldquo;gunpowder painting&rdquo;. The first works of the painter were canvasses in oil painting, and by 1980&rsquo;s he invented a new &ldquo;gunpowder&rdquo; technique, which was first applied in combination with oil on the canvas, and since 1990&rsquo;s &ndash; with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (&ldquo;October&rdquo;, Moscow, 2017). Authors of the exhibition catalogue justifiably note the &ldquo;cosmopolitan mission&rdquo; of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter&rsquo;s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of &ldquo;Chinese style&rdquo; (Chinoiserie) of the XVIII century.
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Ghidini, Marialaura. "Curating on the Web: The Evolution of Platforms as Spaces for Producing and Disseminating Web-Based Art." Arts 8, no. 3 (2019): 78. http://dx.doi.org/10.3390/arts8030078.
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By analysing a series of exhibition projects responding to central changes in web technology since its public unveiling (1991), this study identifies a historical trajectory for discussing the evolution of curating on the web. Such evolution highlights how curators have devised exhibition models that operate as platforms for not only displaying art specific to the web, but also for producing and disseminating it in a way that responds to the developments of web technology—and its socio-cultural and economic impact. With the massification of web tools, in fact, these platforms have generated distributed systems of artistic production free from the physical and conceptual limitations of the gallery and museum space. They have not only become spaces for displaying art, but also platforms that nurture its production, different modes of audience engagement and critique the canons of the institutionalised art world. Originating from the desire to reduce the historical fragmentation of this field of work and its partial mapping, this study follows a periodisation that starts from the early internet, with its BBS-enabled platforms such as ARTEX (1980), to introduce the 1990s experimentations with the web browser and the developments of projects like äda’web (1995). It then dives into the Web 2.0 when, with the platformisation of the technology, curators developed an array of approaches for adopting existing web services, as in the instances of CuratingYouTube (2007–present) and #exstrange (2017). Lastly, it outlines the trends of today’s web, which saw the birth of projects like the blockchain-enabled cointemporary (2014), to then draw conclusions about the relevance of this historical trajectory in the field of curatorial studies and the production of web-based and digital art.
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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 design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.
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Fayard, Nicole. "Spaces of (Re)Connections: Performing Experiences of Disabling Gender Violence." Text Matters, no. 9 (December 30, 2019): 273–91. http://dx.doi.org/10.18778/2083-2931.09.17.
Full textAbstract:
The article explores the potential “healing” role performance art can have when representing disabling trauma, and engaging, as part of the creative process, participants who have experienced in their lives significant trauma and physical, as well as mental health concerns arising from gender violence. It focuses on the show cicatrix macula, performed during the exhibition Speaking Out: Women Healing from the Trauma of Violence (Leicester, 2014). The exhibition involved disabled visual and creative artists, and engaged participants in the process of performance making. It was held at the Attenborough Arts Centre in Leicester (UK), a pioneering arts centre designed to be inclusive and accessible. The show cicatrix macula focused on social, cultural, mental, and physical representations of trauma and disability, using three lacerated life-size puppets to illustrate these depictions. Working under the direction of the audience, two artists attempted to “repair” the bodies. The creative process was a collaborative endeavour: the decision-making process rested with the audience, whose privileged positions of witness and meaning-maker were underscored. Fayard demonstrates the significance of cicatrix macula in debunking ablist gender norms, as well as in highlighting the role played by social and cultural enablers. She calls attention to its potential for mobilizing positive identity politics, including for viewers who had experienced trauma. For example, the environment of the participatory performance space offered some opportunities for the survivor to become the author or arbiter of her own recovery. In addition, the constant physical exchange of bodies within this space of debate was well-suited to the (re)connection with the self and with others.