Relevant bibliographies by topics / Art – Exhibition techniques

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Academic literature on the topic 'Art – Exhibition techniques'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Art – Exhibition techniques"

1

MUŞKARA, Üftade, Oylum TUNÇELLİ, and Serpil ŞAHİN. "ART AND ARCHAEOLOGY CLOSE ENCOUNTERS OF THE THIRD KIND." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (2021): 732–49. http://dx.doi.org/10.7456/11102100/024.

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Art and archaeology have a growing interaction, which is expressed mainly in displaying the material culture of ancient civilizations. The post-modernist concept suggests that art is for everyone. Likewise, archaeologists recognize the idea that archaeological narratives are supposed to be everyone to understand and enjoy. Today, many museum displays and special exhibitions consist of contemporary design features of art. The technology-driven exhibition techniques applied in the “Curious Case of Çatalhöyük” exhibition and Göbeklitepe Animation Center to increase the perception of visitors establish the basis of the study. The paper examines the backgrounds of the relation between two disciplines by “digging” up the history of archaeological theories and analyzing main art movements corresponding to a period from Dadaism to contemporary art. Archaeological storytelling of history and culture using post-modern rhetoric is defined as the “close encounter.” The interactive display provides new directions in the visual reconstructions of past societies. We proposed that the Çatalhöyük exhibition and Göbeklitepe Animation Center are among the best examples of the new approach for presentation in archaeology.
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Hottman, Tara. "Alexander Kluge’s Installations." New German Critique 47, no. 1 (2020): 57–80. http://dx.doi.org/10.1215/0094033x-7908378.

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Abstract Analysis of recent exhibitions featuring Alexander Kluge’s earlier films and televisual work in dialogue with work by other artists demonstrates how the aesthetics of installation art and modes of exhibiting moving images in art museums and galleries have allowed Kluge to continue developing but also revise practices he first engaged in other media. The so-called white-cube exhibition space presents Kluge’s earlier works in terms of remediation and provides him with an opportunity to employ and reconceptualize his approach to montage techniques and reception aesthetics. With their deployment in the white cube, his earlier works become emphatically transmedial, their content and forms no longer bound to one primary medium. This article proposes that the white cube might be better suited for actively and collectively engaging with Kluge’s work in the twenty-first century than the black box of the cinema, the late-night television screen, or the internet.
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Liu, Li Jun, and Tai Yuan Kang. "Structure Design in the Design of Natural Lighting of Exhibition Hall Space of the Contemporary Convention and Exhibition Building." Applied Mechanics and Materials 193-194 (August 2012): 107–10. http://dx.doi.org/10.4028/www.scientific.net/amm.193-194.107.

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Taking structure design of the exhibition hall of a convention and exhibition building as the research subject, based on the two cross-discipline areas of Structure and Architectural Creation, from the perspective that the structure of convention and exhibition building itself has its own art characteristic, on the basis of outstanding cases of contemporary convention and exhibition buildings,in the method of analytic induction ,this article analyses the combination of structural design of a convention and exhibition building and natural lighting of the exhibition hall space in the convention and exhibition building, and summarizes the structural design techniques combining with the natural lighting of the exhibition hall.
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Purkis, Harriet. "Making Contact in an exhibition zone: Displaying contemporary cultural diversity in Donegal, Ireland, through an installation of visual and material portraits." Museum and Society 11, no. 1 (2015): 50–67. http://dx.doi.org/10.29311/mas.v11i1.222.

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The ‘museum as contact zone’ (Clifford 1997: 192) has been a concept that has theoretically framed the inclusion of different cultures in museums. The contact zone concept has been revisited, for example by Boast 2011. Further, the idea of the ‘dialogic contact zone’ (Witcomb 2003; Bennett 2006) is used in relation to exhibition communication techniques that aim to establish a dialogue on cultural diversity between visitors, exhibitions and curators. This paper sets out to reframe the contact zone concept, by considering both the nature and form of contact in an exhibition. The method used is the practical curation of one exhibition by the author in Ireland called Destination Donegal. The main argument is that a curatorial production focused on individual people can create an empathetic contact zone between individual subjects and visitors, achieved through the non-verbal display language of art installation using multimedia portraits.
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5

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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Muhamad, Noor A'yunni, Azian Tahir, and Noor Enfendi Desa. "Art Appreciation: The Expression of Etching in Printmaking through Mohd Fawazzie Arshad’s Artwork." Idealogy Journal of Arts and Social Science 6, no. 1 (2021): 35–42. http://dx.doi.org/10.24191/idealogy.v6i1.252.

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In art world, Intaglio is one of the printmaking techniques that focuses on incising metal surfaces such as copper, steel or zinc plate. By using intaglio technique in producing printmaking artworks, that includes etching, drypoint or even mezzotint approach, the only thing that matters is the development of form through the understanding of lights and dark which leads to the exploration of value in art and design. On 14th September 2020, an artwork exhibition titled SI+SA was held at Galeri Shah Alam, with the aim of this exhibition is celebrating art from the different backgrounds of artistes during Covid-19 pandemic phenomenon. Mohd Fawazzie Arshad is one of the featuring artistes who participated in this exhibition and presented his remarkable intaglio artwork which emphasises the value of element and principle in arts. In this writing, the author was granted with the opportunity to conduct an interview with Mohd Fawazie Arshad to discuss the insight in his artworks and how does his artwork embark a different perspective in intaglio printmaking. This interview scrutinised on what are the elements that inspired the artist to produce his artwork and what are the references that artist has used in terms of developing idea and style in his artwork making. In this writing also, Mohd Fawazie Arshad will also explain the process of his artwork making based on his studio practises. It is important to understand the artist’s studio environment in order to explore the techniques and medium which has been practised by the artist in his artwork making. Findings from this research will produce a complete exclusive write up about Mohd Fawazie Arshad past and present artwork. It will enliven the art industry and academic writing especially in the field of Malaysian Printmaking art scene.
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Herle, Anita. "Exhibitions as Research." Museum Worlds 1, no. 1 (2013): 113–35. http://dx.doi.org/10.3167/armw.2013.010108.

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Drawing on a recent exhibition, Assembling Bodies: Art, Science and Imagination, at the University of Cambridge Museum of Archaeology and Anthropology (MAA), this article argues that curatorial techniques, involving a sustained engagement with objects, can play a vital role in anthropological research. Processes involved in the creation and reception of the exhibition facilitated the investigation of how bodies are composed, known, and acted upon in different times, places, and disciplinary contexts. Assembling Bodies attempted to transcend the dualism of subject and object, people and things, by demonstrating how different technologies for making bodies visible bring new and oft en unexpected forms into focus. Processes of exploration and experimentation continued after the exhibition opened in the discussions and activities that the displays stimulated, and in the reflections and ideas that visitors took away.
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8

Reichelt-Brushett, Amanda, and John Smith. "Connecting Silos - Inviting Art and Science Interactions." Leonardo 45, no. 5 (2012): 484–85. http://dx.doi.org/10.1162/leon_a_00453.

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In tertiary education in Australia there are often clear divisions between disciplines defined by hierarchy that is established for administrative purposes. These purposes often conflict with notions of trans-disciplinary study by creating an environment of competition rather than one of collaboration. Through this project we brought together science and art by developing a ‘hands on’ workshop where scientists and artists explored tools and techniques from unfamiliar disciplines. Collaborative projects and self emersion post workshop resulted in an exhibition of outcomes. The development of these outcomes challenged both artists and scientists to explore their discipline boundaries and connectivity by using tools and knowledge in unique ways.
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9

HingTing, Karine Lan, and Ines Di Loreto. "A Participatory Design Approach with Visually Impaired People for the Design of an Art Exhibition." International Journal of Sociotechnology and Knowledge Development 9, no. 4 (2017): 43–57. http://dx.doi.org/10.4018/ijskd.2017100104.

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This article describes the participatory design (PD) approach adopted in systematically involving visually impaired people in the design of an art exhibition adapted to their needs. This exhibition will be the outcome of a publicly-funded research project aimed at making visual art accessible to everyone: specifically (but not exclusively) to visually impaired people, in an objective of social inclusion. This article presents the research done to elicit, capture, and analyse the needs of visually impaired people who are the active actors of this research. The aim of the article is to trigger discussion about both the necessity and difficulty of elaborating relevant techniques in this empirical and open-ended approach, and what is meant by participation in this particular setting.
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O.A., Kostjuchenko, Bolotov G.I., and Birillo I.V. "SPECIAL ASPECTS OF ARCHITECTURAL AND PLANNING ARRANGEMENT OF ART CENTRES IN UKRAINE." International Journal of Engineering Technologies and Management Research 7, no. 2 (2020): 103–10. http://dx.doi.org/10.29121/ijetmr.v7.i2.2020.523.

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The authors of the article investigate the special aspects of architectural and planning arrangement of art centres in Ukraine in comparison with the arrangement of art centres in the US, taking into account peculiar cultural, ethnic, and mentality features. The research technique is based on a method of comparative analysis to identify common features and differences and further develop recommendations. It has been established that introvert nature of Ukrainians, which is one of their key features, is the prerequisite for the use of certain techniques in the arrangement of space in art centres and, thus, has an effect on their architectural and planning arrangement. The use of certain subjects, the use of subject boundaries between parts of the exhibition, and other functional areas are one of such techniques. It has been suggested to use scripts of visual practices used, based on the studying of types of interrelations between humans and the outside world and their perception of the architectural space. The conducted research, dedicated to art centres in Ukraine, shows the need to take into account the peculiarities of Ukrainian culture and mentality in the development of architectural and planning arrangement of buildings for the art centres.
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