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Journal articles on the topic 'Art exhibition audiences'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Yu, Deng, and Wang Yao. "Research on holographic display and technology application of art museum based on immersive design." Journal of Physics: Conference Series 2425, no. 1 (2023): 012048. http://dx.doi.org/10.1088/1742-6596/2425/1/012048.

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Abstract With the rapid development of science and technology, artificial intelligence digital technology has gradually entered human life and combined with art. It has become a major trend of future exhibitions to create immersive exhibitions through the intervention of digital technology and artificial intelligence in art museums. The immersive art exhibition is to change the sensory conditions of the audience through the intervention of digital media, from the original visual experience to the fusion of various senses such as “sight, hearing and touch”, so that the audience can enter a new

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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 th

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

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

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Huang, Nanyan. "Immersive Exhibition: Its Theoretical Development, Its Audiences and the Re-discovery of Modern Art Exhibition." Communications in Humanities Research 3, no. 1 (2023): 318–24. http://dx.doi.org/10.54254/2753-7064/3/20220317.

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As an innovative form of art exhibition, immersive exhibitions have gained popularity all over the world in recent years. Such exhibitions are not only a departure from traditional gallery displays but also lead to different modalities of visiting cultural sites. One distinguishable tendency, one that could be detected in the curatorial strategies of most contemporary exhibitions, is the increasing emphasis put on the aesthetic effect that exhibitions could offer. Correspondingly, the relationship between the visitors and the artworks is changed through the ways visitors situate and perform th

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Nam, YunTae, and Jeho Oh. "Development of Exhibition Media Content for Overcoming COVID-19: Focused on The Exhibition <New Normal + Convergence Design> Utilizing Interactive Video and Augmented Reality Content." Korean Society of Culture and Convergence 45, no. 9 (2023): 1193–204. http://dx.doi.org/10.33645/cnc.2023.09.45.09.1193.

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Even in the post-COVID era, various exhibitions continue to provide audiences with the experience of art in both online and offline exhibitions. The aim of this research is to plan a user-centered exhibition for overcoming COVID-19 in the post-pandemic era and create media design exhibition content accordingly. The goal is to convey the message of overcoming COVID-19 to people in this era through the experiences of users with the <New Normal + Convergence Design> exhibition content. In order to achieve this, these six exhibition contents consist of three interactive video works using pro

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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

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He, XiaoLing, and Yifei Li. "A Recommended Approach to Classical Literature and Art Exhibition Activities Oriented towards Interactive Modelling." Security and Communication Networks 2022 (August 25, 2022): 1–9. http://dx.doi.org/10.1155/2022/5491714.

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Chinese classical literature and art exhibition activities have a special role to play in improving the humanities of students. Introducing elements of classical literature into cultural activities can effectively complement the current humanities education in universities. To improve the efficiency and intelligence of classical literature and art exhibition activities, this paper proposes an interactive modelling-oriented method for recommending classical literature and art exhibition activities in response to the characteristics of existing art exhibition event management systems (AEEMS) in

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Hashim Amir, Nur Muhammad Amin, Aznan Omar, and Hilal Mazlan. "Utilizing and Evaluating of Virtual Tours in Art Exhibition Amidst Global Pandemic." INTERNATIONAL JOURNAL OF ART AND DESIGN 5, no. 2 (2021): 69–78. http://dx.doi.org/10.24191/ijad.v5i2.7.

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Covid-19 has sojourned the world as we know then into a cessation. It affects various disciplinary fields to a standstill which includes art and tourism. In Malaysia, to adapt to the global pandemic; new opportunities have emerged and dealt with it no longer becomes optional but rather a solution. Therefore, this research is mainly focused on implementing virtual tours to cope with the new norms; and evaluates its implication specifically in showcasing art exhibitions. The researcher uses the concept of Google Street View to capture virtual spaces; combining with Pano2Vr software as constructi

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

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

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Beasy, Kim, and Leah Page. "Exploring Food Cultures through Art: Meeting People Where They Are at." Education, Language and Sociology Research 2, no. 3 (2021): p47. http://dx.doi.org/10.22158/elsr.v2n3p47.

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Engaging people in critical conversations about food practices is often challenging. In this paper, we explore how an exhibition was used as an educative site to explore food insecurity and food cultures and to promote food ethics and healthy eating. Surveys and interviews from the opening night of an exhibition were collected and Bourdieu’s habitus was used to theoretically inform analysis. The diversity of artworks displayed were found to provoke critical reflection about food cultures among participants. Findings revealed the exhibition was a non-intrusive space for meeting people ‘where th

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Semmerling, Linnea, Peter Peters, and Karin Bijsterveld. "Staging the Kinetic: How music automata sensitise audiences to sound art." Organised Sound 23, no. 3 (2018): 235–45. http://dx.doi.org/10.1017/s1355771818000146.

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Western audiences have long been fascinated with music automata. Against this backdrop, it may not be surprising that art and music curators display historical examples of such mechanical instruments together with contemporary sounding art. Yet what exactly do these curators aim to accomplish when combining historical music automata with kinetic sound art? And do visitors understand the connections between the objects on display in the ways intended by the curators? To examine the curators’ ambitions, this article analyses three exhibitions: Für Augen und Ohren (West Berlin 1980), Ballet Mécan

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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.

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Jeon, Yun-Kyung. "A Study on the Development of Exhibition Contents of Jeju Arte Museum as ‘Site-specific Art’." Society for Jeju Studies 59 (February 28, 2023): 1–38. http://dx.doi.org/10.47520/jjs.2023.59.1.

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Recently, ‘Arte Museum’ has been gaining popularity. In this study, the direction pursued by the 'Arte Museum' was found to be in 'site-specific art', which reveals the place and considers the audience's reaction to be a formative element in completion element of the work. This study compares the way in which the place of 'Jeju' is expressed in the Jeju Arte Museum with the method of expression in the Yeosu and Gangneung Arte Museums. In doing so, the study attempts to uncover what exhibition contents are needed to continuously develop the Jeju Arte Museum. To this end, this paper explores the

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Lang, Sabine, and Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods." Arts 7, no. 4 (2018): 64. http://dx.doi.org/10.3390/arts7040064.

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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases

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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 psy

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Xu, Junping, Sixuan Liu, Wei Yang, Meichen Fang, and Younghwan Pan. "Beyond Reality: Exploring User Experiences in the Metaverse Art Exhibition Platform from an Integrated Perspective." Electronics 13, no. 6 (2024): 1023. http://dx.doi.org/10.3390/electronics13061023.

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With the rise of the metaverse, digital transformation is profoundly affecting the field of art exhibitions. Museums and galleries are actively adopting metaverse technologies to present artworks through virtual platforms, providing audiences with novel opportunities for immersive engagement and art experiences and shaping high-quality user experiences. However, the factors influencing user engagement in the metaverse art exhibition platform (MeAEP) remain unclear in the current research. This research combines the information systems success model (ISSM) and the hedonic motivation system adop

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Blunden, Jennifer. "Adding ‘something more’ to looking: the interaction of artefact, verbiage and visitor in museum exhibitions." Visual Communication 19, no. 1 (2017): 45–71. http://dx.doi.org/10.1177/1470357217741938.

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Around the world, museums dedicate enormous resources to developing exhibitions with the aim of making their collections and knowledge accessible to broad public audiences. Interpretive texts, both spoken and written, play an important role in this endeavour, underpinned by the belief that they will add ‘something more’ to the experience gained by looking alone. But is this belief justified? This article draws on recent theoretical developments in systemic functional linguistics (SFL) and multimodal semiotics to explore the complexity of meanings and relations involved in the interaction betwe

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Park, Jaehyung. "Installation Art and the Aesthetics of Experience." Korean Society of Culture and Convergence 45, no. 4 (2023): 309–20. http://dx.doi.org/10.33645/cnc.2023.04.45.04.309.

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This study aims to review the relationship between works and audiences in contemporary art by discussing installation art in terms of audience participation. For this purpose, it analyzes the aspects and structures of installation art that induce and encourage participation in various directions, and examines what kind of experiences installation art provides to the audience. The contents of the study will interpret minimalism in relation to Merlo-ponty's phenomenology and discuss the meaning of the exhibition that changes from space to place based on the consideration of the existing installa

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Endt-Jones, Marion. "Cultivating ‘Response-ability’: Curating Coral in Recent Exhibitions." Journal of Curatorial Studies 9, no. 2 (2020): 182–205. http://dx.doi.org/10.1386/jcs_00020_1.

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This article explores the reasons for the recent surge of interest in exhibitions and displays featuring corals and coral reefs, as well as the challenges and opportunities involved in curating coral. I argue that, while it can be difficult to convey the complex natural characteristics of corals through displays of coral specimens in museums, exhibitions such as Coral: Something Rich and Strange (2013‐14), and artworks such as Christine and Margaret Wertheim’s Crochet Coral Reef (2005‐present) and Tamiko Thiel’s Unexpected Growth (2018‐19), can deepen a sense of wonder in exhibition visitors a

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Sangweme, Davison, Evan Lampert, and Erin McIntosh. "Microbe Art Can Educate & Correct Misconceptions about Microorganisms." American Biology Teacher 82, no. 3 (2020): 162–69. http://dx.doi.org/10.1525/abt.2020.82.3.162.

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Microorganisms are diverse, minute, simple life-forms that generally cannot be seen by the naked eye and require the use of a microscope to be visualized. They have a great impact on all other life-forms. Their tiny size conceals them from us, engendering misunderstanding and fear due to the diseases caused by only a tiny minority of them. We conceptualized and installed an art exhibition called Tiny Enormous with the intent to educate our campus community and correct misconceptions about microorganisms. Tiny Enormous utilized a variety of artistic media, including paint, sculpture, video, and

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Moreno, Dafne del Carmen. "Resisting the Power of Curators and the Professional Art Class." Journal of Extreme Anthropology 1, no. 2 (2017): 48–53. http://dx.doi.org/10.5617/jea.4896.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay focuses critically on the role of curators and 'art explainors' in determining what is art and what is worthy of our attention and argues that we should resist this infantilization of the audiences by the professional art class.

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Mehring, Frank. "Advancing American Art and Intercultural Confrontations in Germany, 1945–1948." International Journal for History, Culture and Modernity 7, no. 1 (2019): 971–90. http://dx.doi.org/10.18352/hcm.594.

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This article critically addresses the multivalent function of American art exhibitions in the period of de-Nazification and re-democratization. What kind of cultural and political parameters shaped the perception of American Art in Germany during the early post-war years? I investigate intercultural confrontations surrounding the project of advancing American art and the critical response of German audiences by first looking at the exhibition Advancing American Art from 1947. I then analyze the role of the transatlantic cultural mediator Hilla von Rebay to understand developments in the German

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Cortez, Alcina. "Reflections on the challenges of exhibiting popular music at the beginning of the 21st century through a case study of ‘A Magia do Vinil’." Popular Music 36, no. 3 (2017): 370–92. http://dx.doi.org/10.1017/s0261143017000332.

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AbstractThis paper sets out to reflect on the implications of the heritagisation of popular music by museums. ‘Heritage’ is not something that holds intrinsic value but rather represents a social construction that produces difference by adding value to specific objects within particular social dynamics. This means that heritagisation processes operant in museums prove highly susceptible to ideological distortion and hence require scrutiny. Studying the case of the Portuguese exhibitionA Magia do Vinil, a Música que Mudou a Sociedade, I analyse two specific domains: the concepts and the narrati

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Moore, Alexandra, and Rachel Nelson. "Barring Freedom: Art, Abolition and the Museum in Pandemic Times." Journal of Curatorial Studies 11, no. 1 (2022): 52–71. http://dx.doi.org/10.1386/jcs_00055_1.

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Barring Freedom, a travelling exhibition featuring artworks engaging the histories and current conditions of prisons and policing in the United States, was to open in April 2020. While COVID-19 disrupted that plan, the realities of inequity in the United States placed into stark relief by the pandemic and the uprisings of summer 2020 brought urgency to rethinking the curatorial vision of the exhibition to reach audiences beyond the gallery walls. Buoyed by the idea that, in the words of Angela Davis, art can ‘propel people towards social emancipation’, the exhibition and related programming wa

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Sârbu, Alexandra, Anamaria Tomiuc, and Alice Andreea Iliescu. "The Museum as a Catalyst of Community. Case Study: The Exhibition Imagining Futures: Urban Comics From Artivistory Collective at the Art Museum in Cluj-Napoca." Studia Universitatis Babeș-Bolyai Historia Artium 68 (December 30, 2023): 115–40. http://dx.doi.org/10.24193/subbhistart.2023.05.

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The Museum as a Catalyst of Community. Case Study: The Exhibition Imagining Futures: Urban Comics from ArtiViStory Collective at the Art Museum in Cluj-Napoca. The present article aims at illustrating the role of the contemporary museum as a conscious central stakeholder that strengthens the community and connects in the era of participatory culture with different types of audiences. Built in two parts, the article points out the main concepts of the new museum philosophy as explored in the expertise in the field and brings on a case study that focuses on the analysis of the cultural mediation

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Bégoc, Janig. "L’objet de la performance. Pour une réévaluation du rôle des « accessoires » produits et exposés dans les centres artistiques italiens des années 1970." Studiolo 9, no. 1 (2012): 158–84. http://dx.doi.org/10.3406/studi.2012.863.

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The Object of the Performance. Towards a Reassessment of the Role of “Accessories” Produced and Displayed in Italian Artistic Centers in the 1970s ; A large part of the historiography on performance art still tends to focus on the ephemeral nature of its actions, taking for granted the rejection of commercial structures on which the ideology of the dematerialization of art was founded. By reducing performance art to an attitude, such discussions overlook the existence of its display environment. In order to understand the material culture of the art of performance, the essay focuses on the Ita

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Morgan-Thorp, Emma. "Our Ancient Forests: Virtual Visiting and Art for Conservation." Performing (in) Place: Moving on/with the Land 7, no. 1-2 (2022): 116–30. http://dx.doi.org/10.7202/1085316ar.

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This article reflects upon two virtual reality experiences included in the Our Ancient Forests exhibition at the Sunshine Coast Arts Council: Sanctuary: The Dakota Bear Ancient Forest Experience and Tree Earth Sky. It works through questions about the use of virtual reality both as a means of visiting a wild place and as a means of moving audiences to environmentalist and anticolonial action. In doing so, it considers settler desires for deeper relationships with wild places and the more-than-human world and settler responsibilities within environmental and anticolonial movements.

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Griniuk, Marija. "UNIVERSAL EDUCATIONAL MATERIAL. EXHIBITION BY PER ISAK JUUSO FOR YOUTH AND CHILDREN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (July 3, 2023): 328–37. http://dx.doi.org/10.17770/sie2023vol2.7114.

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This article explores the strategies employed by educators at the Sámi Center for Contemporary Art in Karasjok, Norway, in the production of educational materials related to an exhibition by Sámi duodji artist Per Isak Juuso. The study examines the process of creating materials that are suitable for various age groups of children and youth, and applicable to both local Sámi and international visitors. The research question is: How can the content of educational material within an art exhibition be designed to appeal to diverse audiences of children and youth? The aim of the study is to identif

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Ughetto, Pascal. "Scholars and poor communicators? Old Masters exhibitions as a scientific practice and communication activity for art museum curators." Current Sociology 65, no. 3 (2015): 376–94. http://dx.doi.org/10.1177/0011392115617226.

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Museum curators are rarely the subject of analysis as scientists. By contrast, there is a whole literature on their propensity to give priority to the scientific knowledge of collections over the effort to communicate with different audiences and make museums accessible. This article examines the Late Raphael exhibition at the Louvre (Paris) and draws on the exhibition texts (catalogues, artwork labels, wall texts) to explore the practical activity and preoccupations of the museum curators concerned: the exhibition is simultaneously material for the scientific demonstration of a thesis – part

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Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to

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Pruulmann-Vengerfeldt, Pille, Giuseppina Addo, Maria Engberg, Åsa Harvard Maare, and Hassan Taher. "Tingens metod – asjast lähtumise meetod auditooriumide kaasamiseks." Eesti Rahva Muuseumi aastaraamat 64, no. 1 (2023): 239–66. http://dx.doi.org/10.33302/ermar-2023-007.

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As scholarly institutions, museums are expected to produce research similar to academic institutions, i.e. journal articles, book chapters and monographs. At the same time, there are ongoing discussions in the academic sector about the status of artistic research, and it is possible to approach exhibition making from the perspective of artistic research. In order to bolster the contribution of museums towards spreading democracy and participatory culture, it becomes necessary to devise methods for bringing together audience engagement and possibilities for artistic research in the creation of

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Chen, Chen, Kailin Teng, and Kexin Xie. "Analysis on the Development Value of Curatorial Commerce." Advances in Economics, Management and Political Sciences 34, no. 1 (2023): 198–203. http://dx.doi.org/10.54254/2754-1169/34/20231707.

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The rapid changes in the development of contemporary society drive exhibitions to create more diversified ideas and ways to cope with the needs of different audiences. In the field of curation, the diversification of ideology and artistic resources is also presented. Commercial curation is a mode of production significance in the field of curation, which leads to the constant elimination of the boundary between art and business. More and more exhibitions are connected with commercial activities. For the modern society with increasingly vigorous material and cultural demands, curation plays an

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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

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Vejlby, Anna Schram. "Romantic Portraits and Contemporary Audiences: Report from an Exhibition on the History of Emotions." Cultural History 7, no. 2 (2018): 145–66. http://dx.doi.org/10.3366/cult.2018.0171.

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This article combines two issues: the actual emotional landscape of Danish portraiture from the first half of the nineteenth century and twenty-first-century audiences' response to these portraits. My research is based on written sources, art historical methods of the interpretation of visual material, and surveys among the audiences of the Hirschsprung Collection in Copenhagen, where the exhibition Keeping up Appearances. Portraits and emotions in the Golden Age takes place in the autumn of 2017. The exhibition is based on previous research that I have conducted into emotion in Danish portrai

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Gilligan, Sarah. "Fashioning Masculinities: Critical reflections on curation and future directions in masculinity studies." Critical Studies in Fashion & Beauty 14, no. 1 (2023): 87–104. http://dx.doi.org/10.1386/csfb_00056_3.

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Fashioning Masculinities: The Art of Menswear at the V&A Museum in London (19 March–6 November 2022) marked a significant curatorial and cultural moment. Curated by Claire Wilcox, Rosalind McKever and Marta Franceschini, the exhibition explored the shifting landscape of menswear by focusing on the intersections among fashion, art, time and gender. This review essay critically reflects on the curation of the Fashioning Masculinities exhibition and the accompanying two-day symposium (13–14 October 2022) co-convened by the V&A and the Masculinities Research Hub at London College of Fashio

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Copeland, Huey. "On Black Affective Forms: A Conversation with Garrett Bradley." October, no. 178 (2021): 100–120. http://dx.doi.org/10.1162/octo_a_00441.

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Abstract In this conversation—recorded in 2019 for the artist's first solo museum exhibition—New Orleans–based Garrett Bradley discusses her filmic work as well as its relationship to institutional archives and personal communities with art historian Huey Copeland. What emerges is a critical account of Bradley's evolving Black feminist practice—its inspirations, antecedents, and analogues—which puts pressure on filmic conventions to move toward an “affective resymbolization” of America's racial imaginaries and the means through which they might be contested, shared, and visualized for audience

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Robinson, Sarah, and Monika Lukowska. "TRANSMEDIAL." IMPACT Printmaking Journal 2 (January 3, 2024): 9. http://dx.doi.org/10.54632/524.impj1.

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To enhance future technology-integrated approaches with handmade print, this paper aims to trigger conversations on how printmaking might change in an ambitious digital world, albeit in a new form. TRANSMEDIAL is a research project accompanying an international printmaking exhibition that examines diverse intersections between art, technology and science. Curated by artists and researchers Monika Lukowska and Sarah Robinson, TRANSMEDIAL asks in what way technology has embedded itself within the printmaking medium, not only technically but also conceptually, and what the implications are for au

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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 e

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Sundram, Abhimanyu, and Nandini Sundram. "Teach Your Parents project." Canadian Journal of Children's Rights / Revue canadienne des droits des enfants 10, no. 2 (2023): 127–31. http://dx.doi.org/10.22215/cjcr.v10i2.4298.

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We started the Teach Your Parents project to explain the science behind climate change through comics in a child-friendly manner. The project team was my sister, Nandini Sundram (Grade 6), me, Abhimanyu Sundram (Grade 11) and our father, Sanjay Sundram. School-children after reading the comic created painting based on what they had learnt. Selected paintings were exhibited in an Art gallery in Ottawa. Over 700 children from India and Canada took part and the final exhibition was held from Feb to April 2024. We also exhibited robotics enabled pieces to further inform audiences about climate cha

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Zetterman, Eva. "The PST Project, Willie Herrón’s Street Mural Asco East of No West (2011) and the Mural Remix Tour: Power Relations on the Los Angeles Art Scene." Culture Unbound 6, no. 3 (2014): 671–95. http://dx.doi.org/10.3384/cu.2000.1525.146671.

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This article departs from the huge art-curating project Pacific Standard Time: Art in L.A., 1945–1980, a Getty funded initiative running in Southern California from October 2011 to April 2012 with a collaboration of more than sixty cultural institutions coming together to celebrate the birth of the L.A. art scene. One of the Pacific Standard Time (PST) exhibitions was Asco: Elite of the Obscure, A Retrospective, 1972–1987, running from September to December 2011 at the Los Angeles County Museum of Art (LACMA). This was the first retrospective of a conceptual performance group of Chicanos from

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Lin, Jenny. "Old Is the New: Immersive Explorations in Another Beautiful Country—Moving Images by Chinese American Artists." Arts 12, no. 6 (2023): 224. http://dx.doi.org/10.3390/arts12060224.

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This article explores how diasporic Chinese video artists present familial histories and tales of cross-cultural exchange in the context of an exhibition I am curating, Another Beautiful Country: Moving Images by Chinese American Artists, at the University of Southern California (USC) Pacific Asia Museum. I discuss projects by featured artists Richard Fung and Patty Chang. These artists’ experimental documentaries and performative videos foster deep personal discoveries that defy the late-capitalist obsession with the new as defined by youth, novelty, and the next trend, providing revelatory i

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Sperber, David. "The Liberation of G-D: Helène Aylon’s Jewish Feminist Art." IMAGES 12, no. 1 (2019): 122–33. http://dx.doi.org/10.1163/18718000-12340105.

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Abstract Helène Aylon (b. 1931) is among the first generation of feminist artists who identified and challenged traditional patriarchal and misogynist readings of ancient religious texts. This article analyzes the discourse and examines the reception of Aylon’s work The Liberation of G-d (1990–1996) within the Jewish art world and the American Conservative Jewish community, and her contribution to these two diverse audiences. Despite the work’s confrontation with tradition, some rabbis from the Conservative movement played a significant role in the acceptance of the work and its exhibition in

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Chibalashvili, Asmati, Polina Kharchenko, Ruslana Bezuhla, Igor Savchuk, and Victor Sydorenko. "Interactive Sound Installation as an Implementation of Contemporary Communication Models." Postmodern Openings 13, no. 2 (2022): 239–53. http://dx.doi.org/10.18662/po/13.2/451.

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Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is bein

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Yerushalmy, Merav. "Re-Enacting Pasts, Presents, and Futures in the Middle East in Yochai Avrahami and Doron Tavori’s “Land of the Gilead”." Arts 12, no. 3 (2023): 89. http://dx.doi.org/10.3390/arts12030089.

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This article focuses on a performance titled In the Land of the Gilead, performed in 2012 by Doron Tavori and Yochai Avrahami at the Centre for Digital Art in Israel. The work was performed as a part of the exhibition Le’an (Where To?). Its title is derived from a plan suggested by Laurence Oliphant (a British colonialist bureaucrat, author, and Member of Parliament) in 1881 to settle Jews in the Gilead region east of the Jordan River. The article examines the ways in which Tavori and Avrahami re-enact Oliphant’s plan, which was never realised, as well as numerous other historical moments of O

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Beck Cohen, Stephanie. "Quilting in West Africa: Liberian Women Stitching Political, Economic, and Social Networks in the Nineteenth Century." Arts 12, no. 3 (2023): 97. http://dx.doi.org/10.3390/arts12030097.

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Quilts occupy a liminal position in the histories of art and material culture. Centering analyses around specific artworks like Martha Ricks’ 1892 Coffee Tree quilt, as well as investigating women’s writing about their material production, illuminates ignored narratives about the ways black women participated in international social, political, and economic networks around the nineteenth-century Atlantic world. Quilters who emigrated from the United States to Liberia in the nineteenth century incorporated an aesthetic heritage from the American South with new visual vocabularies developing alo

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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook." October 145 (July 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.

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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the O

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Strom, Mary Ellen, and Shane Doyle. "Cherry River." Nka Journal of Contemporary African Art 2021, no. 48 (2021): 112–30. http://dx.doi.org/10.1215/10757163-8971342.

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The multimedia exhibition Cherry River, Where the Rivers Mix was presented to audiences in August 2018 at the Missouri Headwaters State Park in Three Forks, Montana. Long before the European invasion across the Atlantic, the headwaters, or the confluence of three forks of the Missouri River, was a crossroads for Northern Plains Indians. The place-based project, Cherry River, created by artist Mary Ellen Strom and Native American researcher Shane Doyle, was produced by Mountain Time Arts, a collaborative arts and culture organization in southwestern Montana. In an effort to analyze the site, Mo

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Herle, Anita. "Displaying Colonial Relations: from Government House in Fiji to the University of Cambridge Museum of Archaeology and Anthropology." Museum and Society 16, no. 2 (2018): 279–97. http://dx.doi.org/10.29311/mas.v16i2.2808.

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AbstractThis paper focuses on the assemblage and display of Fijian collections at Government House during the first few years of British colonial rule and reflexively considers its re-presentation in the exhibition Chiefs & Governors: Art and Power in Fiji (6 June 2013 – 19 April 21014) at the University of Cambridge Museum of Archaeology and Anthropology (MAA). It moves beyond reductionist accounts of colonial collecting and investigates the specificity and nuances of complex relationships between Fijian and British agents, between subjects and objects, both in the field and in the museum

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Rosenbloom, Nancy J. "From Regulation to Censorship: Film and Political Culture in New York in the Early Twentieth Century." Journal of the Gilded Age and Progressive Era 3, no. 4 (2004): 369–406. http://dx.doi.org/10.1017/s1537781400003546.

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The struggle over censorship stood at the core of the relationship between the political culture of progressivism and early moving pictures. Called by contemporaries and historians alike a democratic art, the moving pictures invited audiences to participate in the new mass culture of the early twentieth-century. As some early film makers began to use the medium to tell stories, those sitting in small theaters in towns and cities across America saw before them a make-believe world that was nonetheless plausible commentary on the past, the present, and the future. What remained unresolved was ho

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Boh, Aondowase, and Terkimbi Joseph Adoka. "Artistic creativity, digital technologies and theatrical sustainability: Integrating new media in theatre practice." Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 23, no. 1 (2024): 27–37. http://dx.doi.org/10.4314/ntj.v23i1.3.

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Arts and technology have continually been inter-related. Artistic expressions have been facilitated by technological innovations that enable artists either to adapt technologies meant for other purposes, or to invent them as a way to foster the creative process. The evolution of digital technologies in the knowledge era has had a huge impact on the theatre profession, in which digital transformation has influenced the ways theatrical contents are created, presented, distributed and circulated to audiences. This article examines technological advances of the digital era and their impact on the

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