Relevant bibliographies by topics / Art Exhibition Public

Contents

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

Academic literature on the topic 'Art Exhibition Public'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Art Exhibition Public"

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Eamon, Christopher. "Exhibition 3: Rare Film and Audio Art." Public 23, no. 46 (2012): 77–97. http://dx.doi.org/10.1386/public.23.46.77_1.

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Eamon, Christopher. "Exhibition 3: Rare Film and Audio Art." Public 46, no. 1 (2012): 77–97. http://dx.doi.org/10.1386/public.46.1.77_1.

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de Ridder-Vignone, Kathryn D. "Public Engagement and the Art of Nanotechnology." Leonardo 45, no. 5 (2012): 433–38. http://dx.doi.org/10.1162/leon_a_00440.

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Nanotechnology art exhibitions provide more than a portal through which to enter the future world of nanotechnology. They also represent the state of nanotechnology in society today. This paper compares three exhibition forums that serve as representations of three of the most common genres of nanotechnology art (nanoart). These exhibition forums and their creators demonstrate distinct perspectives about what counts as engagement and how best to achieve it; they all attempt to persuade their publics that art can serve as a conduit for the creation of alternative nanofutures.
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Ciric, Biljana. "Building archives through curatorial practice." Art Libraries Journal 39, no. 2 (2014): 10–13. http://dx.doi.org/10.1017/s0307472200018253.

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An understanding of the museum as an exhibiting space, rather than as a research-based organisation, has led to the current lack in China of institutions tasked with archiving and making art documentation public. A number of projects organised by the author in Shanghai and elsewhere, including History in the Making: Shanghai 1979-2009 and From a History of Exhibitions towards a Future of Exhibition-Making, have addressed the role of archives in exhibition making, while developing new documentary resources for curatorial and art historical research.
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Işıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat." Global Journal of Arts Education 6, no. 1 (2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.

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The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its begin
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Gwoździewicz-Matan, Paulina. "MUSEUM EXHIBITION VERSUS COPYRIGHT." Muzealnictwo 60 (September 2, 2019): 225–32. http://dx.doi.org/10.5604/01.3001.0013.4132.

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Organisation of exhibitions from the point of view of copyright (Act on Copyright and Related Rights of 4 Feb. 1994, further copyright) is a multifaceted issue. The analysis conducted in the paper boils down to some selected aspects: beginning with the right to display, through exhibition as a separate copyrighted work, up to the exhibition author, namely curator. When purchasing items for collections or acquiring them on the ground of a loan contract, museums should make sure the work can be exploited through public display. Such agreement can be either expressed in the contract (rights or li
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Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)." Ikonotheka 26 (June 26, 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.

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From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January
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Chai, yan, and Won-jun Chung. "A Study on Public Exhibition Space for Installation Art." Journal of Communication Design 67 (April 30, 2019): 329–40. http://dx.doi.org/10.25111/jcd.2019.67.25.

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Pavlova, T. "The First Public Exhibition of the “Vremya” Group in Kharkiv: a New Art Medium Manifesto." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (2020): 54–61. http://dx.doi.org/10.33625/visnik2020.03.054.

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A certain liberalization of life accompanied the period known as Khrushchev’s thaw. It contributed to the formation of the new directions in artistic culture of Ukraine. Although they were not supported by the authorities, these directions were more in line with reality. Their viability depended entirely on the corresponding alternative groupings which appeared at that period. Such program was presented by the avant-garde Kharkiv “seven”, the photographers who united in the group “Vremya” in 1971. The group included Yu. Rupin and Ye. Pavlov (the founders), B. Mikhailov, O. Maliovany, H. Tubale
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O'Connor, Maureen Sarah. "Education in Motion: The Virginia Museum of Fine Arts Artmobile, 1953 – 1994." Museum and Society 17, no. 1 (2019): 19–36. http://dx.doi.org/10.29311/mas.v17i1.2780.

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This essay explores five exhibitions created for the Virginia Museum of Fine Arts Artmobile, the first mobile art museum in the United States. The mission of the Artmobile was to bring works of art directly to citizens throughout the state of Virginia from 1953 to 1994. In analyzing educational and exhibition materials, such as exhibition booklets, audio guide recordings, press releases, and speeches, this research examines the educational philosophies of each exhibition in relation to contemporaneous museum education literature. Applying Tony Bennett’s analysis of the impact of culture on the
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Dissertations / Theses on the topic "Art Exhibition Public"

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Högström-Schnee, Linn. "Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547.

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The present study is, to my knowledge, the first investigating the newly renovated and rearranged permanent art and design exhibition at Nationalmuseum, Stockholm: The Timeline. The exhibition presents Western art from 1500 to 1914 and design and portraiture from 1500 until today in a chronological arrangement. In the first chapter of the analysis, the exhibition is compared to previous arrangements of the permanent art exhibition at Nationalmuseum, as well as to historical museological trends. In the second chapter, Carol Duncan’s perspective of the ritual structure is applied in order to exp
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Bauerfeind, Bettina. "Le contexte en question : les expositions de projets d’art public et leur influence sur la création artistique contemporaine." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040158.

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Les expositions de projets d’art public, nouvelle forme de commande artistique née dans les années 1970, changent de manière significative les paramètres de la création artistique contemporaine dans la ville. Associant une présentation dans l’espace public à la création in situ, elles incitent les artistes à réaliser leurs œuvres en vue d’un événement citadin et en fonction d’éléments spécifiques du contexte d’exposition urbain (comme la topographie du lieu, son histoire, son architecture...). Si l’impulsion première que ces manifestations délivrent aux artistes est primordiale pour la créatio
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Dabul, Ligia Maria de Souza. "O PÃblico em PÃblico: PrÃticas e InteraÃÃes Sociais em ExposiÃÃes de Artes PlÃsticas." Universidade Federal do CearÃ, 2005. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4088.

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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior<br>Essa tese à o resultado de pesquisa sobre a presenÃa do pÃblico em exposiÃÃes de artes plÃsticas em centros culturais e museus de arte. Utilizando dados da observaÃÃo etnogrÃfica, descrevemos prÃticas sociais e interaÃÃes efetuadas entre os atores sociais durante o tempo em que estÃo em exposiÃÃes. ApÃs aproximarmos o leitor do universo da pesquisa e discutirmos conceitos da abordagem sociolÃgica de exposiÃÃes de arte, tratamos das prÃticas sociais fundamentais do pÃblico em exposiÃÃes, como estudar, brincar, conversar, observar a
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Onsal, Basak. "Emergence Of Art Galleries In Ankara A Case Study Of Three Pionerring Galleries In The 1950s." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608100/index.pdf.

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This thesis attempts to analyze the emergence of private art galleries in Turkey by focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquo<br>s Gallery, and Society of Artlovers&rsquo<br>Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our f
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Sjöberg, Mikaela. "Kronobergsgatan 35 : Från brandvägg till utställningsrum." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165525.

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Utställningsrummet för gatukonst växte fram långsamt på Kronobergsgatan 35. Genom att följa utvecklingsprocessen, platsen och verken som visats undersöker jag hur väggen växer fram till en hybrid som inte bara är ett utställningsrum. Det är även centrum för urban konst i Stockholms offentliga rum. Utställningsrummet är ett ovanligt inslag i en stad som fortsatt är präglad från en långvarig nolltolerans. Curering av väggen återspeglar ett utbildningssyfte för att visa att graffiti är mer än klotter. Jag undersöker vilka aktörer som är inblandade och deras mål med väggen utifrån curating teori.
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Edmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.

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The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history. Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to eng
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Souza, Tálisson Melo de. "18ª e 19ª bienais de São Paulo: curadoria entre a prática e o debate no Brasil." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/84.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-03T14:19:01Z No. of bitstreams: 1 talissonmelodesouza.pdf: 5159280 bytes, checksum: 518577b5946c28a4a28d6be6120c76c2 (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-03T14:21:12Z (GMT) No. of bitstreams: 1 talissonmelodesouza.pdf: 5159280 bytes, checksum: 518577b5946c28a4a28d6be6120c76c2 (MD5)<br>Made available in DSpace on 2015-12-03T14:21:12Z (GMT). No. of bitstreams: 1 talissonmelodesouza.pdf: 5159280 bytes, checksum: 518577b5946c28a4a28d6be6120c76c2 (MD5) Previous issue
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Cho, Sung Yeun. "Les expositions aux galeries nationales du Grand Palais : enjeux, pratique et développements 1966-2005." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H026.

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Cette thèse retrace l’histoire des expositions temporaires à caractère artistique organisées aux Galeries nationales du Grand Palais (GNGP) entre 1966 et 2005. Les analyses sur le contexte historique, politique et social et sur la politique artistique internationale en France révèlent que le pouvoir publique contribue à cette histoire des expositions dès l’origine : il soutient et institutionnalise des expositions temporaires en tant qu’action culturelle de l’État. La mise en oeuvre des expositions est coordonnée principalement par trois organismes publiques : la Réunion des Musées nationaux (
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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.

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McKenzie, Anna, and n/a. "An Investment in Being Human EXPLORING YEAR 9 STUDENT EXHIBITIONS AN ACT CASE STUDY." University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20081216.140527.

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ACT Year 9 Exhibitions Program aligns curriculum, pedagogy and assessment in the design and implementation of rich learning tasks, which are focussed on transdisciplinary, problem-based, community-centred issues. It provides an authentic assessment model through a panel assessment process of demonstrated student achievement. This case study research examines the uptake of an Exhibitions approach in three ACT high schools. It discovers, through their own telling, what inspires commitment by participants to the program and the ways that they measure success. The study draws on a rich data set of
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Books on the topic "Art Exhibition Public"

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Traylor, Bill. Bill Traylor: Exhibition history, public collections, selected bibliography. Luise Ross Gallery, 1990.

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Marcon, Marco. Iteration : Again: 13 Public Art Projects across Tasmania. punctum books, 2013.

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The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, connoisseurs and the public. Ashgate, 2011.

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Gerz, Jochen. Jochen Gerz: Une exposition = an exhibition. Fondation Cartier pour l'Art Contemporain, 1988.

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Cragg, Tony. TonyCragg: Exhibition guide. Arts Council of Great Britain, 1987.

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What is exhibition design? RotoVision, 2007.

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Pergam, Elizabeth A., and Elizabeth A. Pergam. The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, connoisseurs and the public. Ashgate, 2011.

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Steirischer Herbst 2009 (2009 : Graz, Austria) and Steirischer Herbst 2010 (2010 : Graz, Austria), eds. Utopia and monument: Exhibition for the public space, steirischer herbst 2009-2010. SpringerWienNewYork, 2011.

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Haring, Keith. Keith Haring on Park Avenue: An exhibition of the Public Art Fund. Andre Emmerich Gallery, 1997.

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Art for the nation: Exhibitions and the London public, 1747-2001. Manchester University Press, 1999.

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Book chapters on the topic "Art Exhibition Public"

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Alarcón-Díaz, Ximena, Kira Askaroff, Linda Candy, Ernest A. Edmonds, Jane Faram, and Gillian Hobson. "Evaluation in Public Art: The Light Logic Exhibition." In Interactive Experience in the Digital Age. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-04510-8_13.

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Braysmith, Hilary A. "Public Sculpture Exhibitions in Neighborhoods: Arts-Driven, Heritage-Based, Urban Revitalization, and Social Practice (Part 1)." In Socially Engaged Art History and Beyond. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43609-4_11.

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Salkowitz, Rob. "Splashing Ink on Museum Walls: How Comic Art Is Conquering Galleries, Museums, and Public Spaces." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0036.

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In this 2018 essay, Forbes cultural journalist Rob Salkowitz explains how exhibitions contribute to the valuation of an artist’s work while recognizing exhibitions of comic art as landmarks on comics’ long march to cultural legitimacy. Salkowitz begins his essay by sharing his memories of the 2016 Seattle Art Museum exhibition Graphic Masters, which was centered around The Bible Illuminated: R. Crumb’s Book of Genesis. This chapter discusses the evolution of exhibitions since 1990, how exhibitions have enhanced the valuation of original comics drawings, challenges for commercial galleries and dealers, and curatorial strategies.
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Maheshwari, Malvika. "Introduction." In Art Attacks. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199488841.003.0001.

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Niraj Jain remembers 9 May 2007 as the day the ‘world finally recognized’ him.<sup>1</sup> The ‘glory’ it brought upon him was such that even nine months later he triumphantly recounted his leading role in the incident at the Faculty of Fine Arts (FFA) of Maharaja Sayajirao University (MSU) in Vadodara, the third-largest city of the western state of Gujarat. It was the annual examination–exhibition of the final-year Fine Arts students; Jain was among the visitors, though it remains disputed whether the exhibition was open to the public at large or was restricted to members of the faculty. As Jain entered the exhibition hall, he began making telephone calls to the police and to his ‘contacts’ in the local press, and with uncharacteristic efficiency they reached the scene within minutes. In their presence, Jain went on to abuse, manhandle, and threaten a final-year Masters student S. Chandramohan—whose works were on display—for creating allegedly obscene and vulgar (...
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Kang, Yowei, and Kenneth C. C. Yang. "Employing Digital Reality Technologies in Art Exhibitions and Museums." In Virtual and Augmented Reality in Education, Art, and Museums. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1796-3.ch008.

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The global AR, MR, and VR markets will reach USD$40.6 billion in 2019. As a result, digital reality technologies have become a key component of promoting art exhibition and museum industries to the general public around the world. Emerging applications such as ARCHEOGUIDE, ARCO, and 3D-MURALE have allowed museum-goers to access archeological artefacts and sites remotely without physically visiting the museums. Digital reality technologies have therefore been perceived to have the great potential to promote (creative) cultural industry contents, because of the characteristics of these platforms (e.g., interactivity, realism, and visualization). This chapter employs a case study approach to discuss the current state of digital reality technology applications in museums and art exhibitions around the world. The study provides several best practice examples to demonstrate how digital reality technologies have fundamentally transformed the art exhibitions and museums.
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Rose, Louis. "The Vienna–London Connection, 1932–36." In Psychology, Art, and Antifascism. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300221473.003.0003.

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This chapter examines how Kris organized the Daumier exhibition from the spring of 1935 to the autumn of 1936—the period coinciding with the inception and rise of the Popular Front movement in France. Through Honoré Daumier, he and Gombrich moved beyond the psychology and theory of caricature to engage directly with its history. In the world of European galleries, the exhibition was unique: in continental Europe, Daumier's art appeared in no other place outside France during the 1930s. By displaying Daumier's work in Vienna at that moment, Kris and Gombrich attached their scholarly researches to the antifascist cause. The space for examining Daumier's artwork would allow the public to view a culture of republicanism and internationalism that was disappearing in Austria but that still survived beyond its borders.
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Micheli, Francesca De. "Minority Audience: The Oudayas Museum and the Manufacturing of Elitism in Moroccan Museums1." In The Art of Minorities. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0004.

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This chapter focuses on the relationship between Moroccan museums and their relationship with local visitors. Drawing from original interviews, historical archives and the Moroccan museum context, it investigates how a postcolonial country like Morocco translates a colonial museum apparatus into public national heritage, destined to all citizens. The chapter’s analysis is based on an exhibition held at the Oudayas Museum in Rabat in 2003, as well as interviews with residents of the kasbah surrounding the museum. It highlights a slew of social, cultural, and economic issues linked to symbolic capital and local perception. The chapter shows the need for the Moroccan museum sector to re-think museums in local terms as a pathway toward cultural democratisation.
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Yoe, Craig. "Sequential Titillation: Comics Stripped at the Museum of Sex, New York." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0023.

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This chapter includes a 2018 commentary about Comics Stripped (2011) at the Museum of Sex in New York curated by publisher/collector Craig Yoe and Sarah Forbes. Covering the decades between the Great Depression to the present, the exhibit featured art by Joe Shuster, R. Crumb, Wally Wood, Jack Cole, Tom Finland, and many others. Topics included Tijuana Bibles (“The People’s Pornography”), 1950’s men’s magazines, censorship crusades, the underground comix revolution, fetish art by Joe Shuster (as featured in Yoe’s book Secret Identity: The Fetish Art of Superman’s Co-Creator Joe Shuster) and Eric Stanton, cartoon porn, same sex comics, and international comics. This chapter includes commentary by curator, collector, and publisher Craig Yoe about how this extensive examination of sexual taboos and other naughty bits came about, as well as his thoughts about sharing his collection and the public response to the show. Images: two exhibition photos
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Pergam, Elizabeth A. "An Ephemeral Display within an Ephemeral Museum : The East India Company Contribution to the Manchester Art Treasures Exhibition of 1857." In The Home, Nations and Empires, and Ephemeral Exhibition Spaces. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720809_ch07.

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This chapter seeks to reconstruct Saloon G at the Manchester Art Treasures Exhibition of 1857. Devoted primarily to objects from the Indian subcontinent, this section of the ground-breaking, blockbuster exhibition was drawn mostly from the holdings of the Honorable East India Company. India and Manchester were linked through their common interest in cotton; however, there was surprisingly little commentary at the time about the connections. The turmoil in India that began days after the opening Art Treasures Palace had a decided impact on the objects that were on view to the public. With little extant documentation about the specific works on view, this chapter confronts mid-Victorian attitudes to the applied arts, as well as objects produced in the “colonies.”1
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Henderson, Lynette K. "Meltdown at Fukushima." In Advances in Media, Entertainment, and the Arts. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1665-1.ch005.

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How do we integrate topics such as a global catastrophic event with visual literacy? With a spotlight on the 2011 tsunami-damaged Fukushima nuclear reactors on the coast of Japan, this chapter discusses theory and practice for an innovative thematic curriculum unit. This unit integrates formal studio skills with student learning about an international environmental crisis affecting geographical shores and water life. Students studied the environmental effects of radioactive contamination on sea life in the Pacific Ocean, and ongoing problems and concerns for people in Japan, the U.S. and beyond. Following research activities, students focused on studio work to create mixed-media and brilliantly colored ocean creatures, culminating in a group exhibition entitled Radioactive Seafood Market. The exhibition functioned as a powerful visual learning experience about art and global issues, for both students and the viewing public. Student artwork and exhibition examples include elementary and high school students, and pre-service teachers for high school art education and K-5 classrooms.
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Conference papers on the topic "Art Exhibition Public"

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Ogawa, Hideaki, Emiko Ogawa, Manuela Naveau, et al. "Participatory art cards & archive system for public exhibition." In the 20th ACM international conference. ACM Press, 2012. http://dx.doi.org/10.1145/2393347.2396531.

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Al-thani, Noora, Nitha Siby, Fatma Nabhan, and Ruba Ali. "Cultivating Curiosity by Integrating Art in Science through Photography." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0259.

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Arts-integrated science is a tantalizing educational approach that captures the attention of scientific learners through the lighter side of science. This study highlights the findings of a schoolbased applied research study conducted to develop public school students’ curiosity and their aesthetic qualities by exploring scientific knowledge by using photography. This study incorporated photography as a learning aid in STEAM workshops for 386 high school students, including 220 males and 166 females from 19 schools, and tested methods for enhancing the curiosity or interest of students to expl
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Nishimura, Kunihiro, Yasuhiro Suzuki, Tomohiro Tanikawa, Takeshi Naemura, Kiyoharu Aizawa, and Michitaka Hirose. "Report of the Exhibition: “Digital Public Art in HANEDA AIRPORT “AIR HARBOR” - Technology Meets Air: A Sensation of a New World”." In 2010 16th International Conference on Virtual Systems and Multimedia (VSMM). IEEE, 2010. http://dx.doi.org/10.1109/vsmm.2010.5665967.

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Kukka, Hannu, Johanna Ylipulli, Jorge Goncalves, Timo Ojala, Matias Kukka, and Mirja Syrjälä. "Creator-centric study of digital art exhibitions on interactive public displays." In MUM 2017: The 16th International Conference on Mobile and Ubiquitous Multimedia. ACM, 2017. http://dx.doi.org/10.1145/3152832.3152835.

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Contarini, Marina, Anna Bernabè, Marco Manfra, and Davide Turrini. "Design for Cultural Heritage at the University of Ferrara." In Sixth International Conference on Higher Education Advances. Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/head20.2020.11085.

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Alongside Teaching and Research, Italian universities are also committed to Public Engagement activities featuring teaching and cultural initiatives for a non-academic audience. At the University of Ferrara, this commitment was translated into an exhibition in April 2019, originating from a virtuous union of cultural heritage and teaching activities. The creation of the “Natura Naturata” exhibition involved the synthesis of taught courses and research by the University of Ferrara's Industrial Product Design students together with their teachers, in collaboration with librarians. In the Product
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Lertliangchai, Thitaree, Birol Dindoruk, Ligang Lu, and Xi Yang. "A Comparative Analysis of the Prediction of Gas Condensate Dew Point Pressure Using Advanced Machine Learning Algorithms." In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205997-ms.

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Abstract Dew point pressure (DPP) is a key variable that may be needed to predict the condensate to gas ratio behavior of a reservoir along with some production/completion related issues and calibrate/constrain the EOS models for integrated modeling. However, DPP is a challenging property in terms of its predictability. Recognizing the complexities, we present a state-of-the-art method for DPP prediction using advanced machine learning (ML) techniques. We compare the outcomes of our methodology with that of published empirical correlation-based approaches on two datasets with small sizes and d
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Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.

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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanis
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Sharma, P., P. N. N. Khanapurkar, and A. Thakar. "Leveraging the Power of Historical Data and Already Emerged Technologies to Unlock the Unconventional Resources Potential in MENA Region." In SPE Middle East Unconventional Resources Conference and Exhibition. SPE, 2015. http://dx.doi.org/10.2118/spe-172932-ms.

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Abstract With worldwide increases in the demand for hydrocarbons, finding and developing unconventional resources has become a global necessity. Outside North America, shale gas discoveries have been made in recent years; however, significant commercial production has been limited to North America. Finding and developing unconventional resources outside North America is the next big challenge for the oil and gas industry. Although the reported potential of unconventional gas resource volumes in the Middle East and North Africa (MENA) region is almost similar in size to that in the US, explorat
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Koryagina, Irina O. "CREATIVE METHODOLOGIES FOR ENVIRONMENTAL GRAPHIC DESIGN PROJECTS BASED ON WORK BY IRINA KORYAGINA." In TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1013.

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This article demonstrates examples of realized projects in the field of environmental graphic design developed by Irina Koryagina in collaboration with leading international design agencies, architects, and institutions.These projects, built in various locations across the United States, are open to public, and reveal how graphic design can enrich and open new opportunities for the design of public spaces, exhibitions, and signage.
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Lisovetc, Irina. "The Modern Multi-Functional Cultural Center (Yeltsin Center) as a Platform for Dialogue Both Public & Private." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-11.

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The article covers the modern multi-functional cultural centre as an institution of Russian culture of the 21st Century in the terms of the interaction of publicity and privacy. On the basis of the institutional approach in cultural theory and the philosophical and aesthetic analysis of the space of the cultural centre, the most important role of this institution in individual and personal assimilation of sociocultural values is substantiated. The objectives (programme) of such an institution, its chronotope and functionality are directed at the involvement of contemporaries into various forms
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Reports on the topic "Art Exhibition Public"

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The role of incentives in encouraging workplace HIV/AIDS policies and programs. Population Council, 2004. http://dx.doi.org/10.31899/hiv15.1007.

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This brief examines the role of incentives in encouraging companies in Thailand to adopt workplace policies and programs that address AIDS-related stigma and discrimination and respond to the needs of workers for information and services. The research was a collaboration between the Horizons Program, American International Assurance (AIA), the Thailand Business Coalition on AIDS (TBCA), and AusAID. After the initiative was launched (known as the AIDS-response Standard Organization), TBCA staff built relationships with company managers to explain and promote the advantages of joining. Companies
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