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Journal articles on the topic 'Art museums – exhibitions'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.

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Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characterist

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Yao, Si Hang, and Sungho Yoon. "A Study of the Exhibition Characteristics of Modern Art Museums from the Perspective of Heterotopia." Korea Institute of Design Research Society 9, no. 4 (2024): 947–63. https://doi.org/10.46248/kidrs.2024.4.947.

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This study explores the characteristics of planning spaces in contemporary art museums and their application in exhibitions through Foucault's theory of 'Heterotopia.' It examines four case studies: “Electronic Forest” at the National Museum of Modern and Contemporary Art in Seoul, Korea; “INFINITY CHINA AEROSPACE” at Today Art Museum in Beijing, China; “Refik Anadol: Unsupervised” at the Museum of Modern Art in New York, USA; and “Yayoi Kusama: Infinity Mirror Rooms” at Tate Modern in London, UK. The study analyzes how these museums utilize space design, interactive experiences, and digital t

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Cui, Dalong. "EXHIBITION ART DESIGN AND PRACTICE OF "XINJIANG CULTURAL RELICS EXHIBITION"." Advances in Culture and Arts 3, no. 1 (2023): 05–07. http://dx.doi.org/10.26480/aca.01.2023.05.07.

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Exhibition art design is a significant procedure that cannot be ignored when a museum organizes exhibitions. Any movement to weaken exhibition art design is to lower the museum’s exhibition level. Exploring and researching it broadly and deeply has positive practical significance. This essay takes “Xinjiang Cultural Relics Exhibition” as an example, analyzes and summarize its thinking conception and practical methods of exhibition art design, as well as summarizes the internal aesthetic principles of the exhibition, to provide a highly referential approach for the exhibition art design of muse

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ZHAO, J., and O. YEZHOVA. "IMPACT OF DIGITAL ART ON DESIGN OF ONLINE MUSEUM: USER-CENTERED DESIGN, NARRATIVE DESIGN, AND INTEGRATION OF TECHNOLOGY." Art and Design, no. 3 (November 11, 2023): 92–100. http://dx.doi.org/10.30857/2617-0272.2023.3.8.

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This research aims to explore the means by which digital art presented in online museum exhibitions will contribute to an improved visitor experience of the museum exhibition. Theoretical and practical research methods are used, namely, analysis of scientific and professional literature on the impact of digital culture on museum exhibits, analysis of design analogs of online museums. Based on the research analysis, the influence of digital culture on art museums was established, which allowed them to go beyond physical spaces, display digital art and implement virtual reality technologies. The

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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Ar

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Vuković, Vuk. "The Institutionalization of Video Art at the Museum of Modern Art." Journal of Curatorial Studies 12, no. 2 (2023): 144–73. http://dx.doi.org/10.1386/jcs_00086_1.

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Analysing the history of video art poses challenges due to the complex environments from which video emerged. However, some of its conceptual origins can be traced through art institutions that pioneered the integration of video art into museums. By examining key projects and exhibitions at the Museum of Modern Art, I argue that the museum’s first study grant obtained from the Rockefeller Foundation not only expanded the exhibition and collection of video work, but also laid the foundation for its institutionalization, which in turn exerted decisive effects on the subsequent history of video a

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Rosso, Aluminé. "The cinefication of museums: from exhibitions to films. The case of Tate Modern." Digital Age in Semiotics & Communication 5 (December 30, 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.

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Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the

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Xintong, Guo. "Interactive Spaces in art museums: New landscapes for exhibitions." ISRG Journal of Arts Humanities & Social Sciences (ISRGJAHSS) II, no. VI (2024): 193–97. https://doi.org/10.5281/zenodo.14493277.

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<strong>Abstract</strong> <em>The interactive function of art museums has been paid more and more attention by the public, and art museums are constantly expanding their boundaries. The interactive scene application shows the practical power and innovation of the museum practitioners. In the wave of digitalization, art museums actively respond to technological changes, use digital technology to digitize precious resources such as cultural relics and artworks, build an open public platform, promote the "democratization" of artworks, and build a new exhibition landscape. On the one hand, art mus

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnograph

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Ivashko, Yulia, Aneta Pawłowska, Dominika Kuśnierz-Krupa, and Andrii Dmytrenko. "Problems of replacing museum exhibitions during the Russian-Ukrainian war." Museologica Brunensia, no. 2 (2024): 38–45. https://doi.org/10.5817/mub2024-2-4.

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The article analyzes the experience of replacing expositions in Kyiv museums during the Russian-Ukrainian war. Since most of the museums that fell under the Russian occupation were looted or destroyed, and museums in other territories of Ukraine suffered from shelling, one of the options for preserving unique exhibits is their temporary relocation for storage abroad or hiding in shell-proof storage facilities. Instead, their place is occupied by modern exhibitions of photographs, works of contemporary art, modern decorative products, etc. The principles of replacing permanent exhibitions with

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Rodionova, Natalia Vladislavovna, and Natalia Ivanovna Barsukova. "Visual identification of an art museum as a complete system." Pan-Art 5, no. 1 (2025): 42–46. https://doi.org/10.30853/pa20250005.

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The article discusses the issues of creating a visual image of an art museum by expanding the issues. The purpose of the study is to identify in modern design practice the design concepts of museum exhibitions that convey the profile or uniqueness of museum activities and form its visual image. The study is novel in that it is the first one to present the visual system of museums not only as an identity, but as an integrated visual identification system, where it is necessary to include individual exhibition projects reflecting the uniqueness and originality of the museum. The issues of concep

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BAKHODIROV, Shakhzod L. "ART SHOP AT MUSEUMS OF UZBEKISTAN." Art and Design: Social Science 02, no. 03 (2022): 19–22. http://dx.doi.org/10.37547/ssa-v2-i3-06.

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Traditionally, museums perform the functions of collecting, storing and broadcasting cultural values to the public. Today we can talk about a new trend – the transformation of museums into cultural, historical and leisure centers, which makes it necessary to abandon the traditional approach to museum activities in the broad sense of this concept. Museum management should now pay attention not only to the creation of exhibitions and exhibitions, but also to the work of recreational areas, leisure centers, infrastructure development. An important aspect is the work with the visitor, the organiza

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Qafarova, Gunay N. "Azerbaijan National Museum of Art: On the history of foundation." Issues of Museology 13, no. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.

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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibit

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Härmä, Vuokko. "Experiencing Pervasive Computer Mediated Art Exhibitions." Suomen Antropologi: Journal of the Finnish Anthropological Society 35, no. 3 (2010): 90–93. http://dx.doi.org/10.30676/jfas.127502.

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Cultural institutions such as museums and galleries are going through a transformation driven by an increasingly competitive funding environment and a sense that they need to reconnect with their contemporary visitors. Audience-led design has been seen as one of the main ways to attract visitors to museums for some time (McLean 1993). Active participation during visits to cultural institutions has been reported to generate positive feedback from visitors (Bagnall 2007), and so contemporary museums and galleries have become increasingly concerned with promoting public engagement through offerin

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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.

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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue

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Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (2016): 915. http://dx.doi.org/10.21301/eap.v10i4.7.

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Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the rea

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Dmitrievna, Evallyo Violetta. "Online Museums as a Complex Work of Art." Perspectiva Filosófica 50, no. 2 (2023): 150–69. http://dx.doi.org/10.51359/2357-9986.2023.259054.

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Since the 21st century, digitalization has been actively implemented in all spheres of life, and this trend is relevant for Russian museums. The main content of the museum's digital environment is characterized by visual diversity and various communication accents. The same theme or exhibitions can be exploited in various visual forms, which allows you to see different shows. An important component of visual content is its split-screen implementation, which partially restores the lost material architectonics to the abstract digital space, or rather, creates an illusion of such a process. The p

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Mikule, Stanislav. "Galerijní výstavy a vlastivědná muzea." Muzeum Muzejní a vlastivedná práce 58, no. 1 (2021): 38–43. http://dx.doi.org/10.37520/mmvp.2020.005.

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The paper is based on the author‘s practice in the Regional Museum in Žďár nad Sázavou. In many cities, museums and galleries are located side by side, and museums also hold gallery exhibitions. Museums of local history have considerable potential to supplement such an exhibition with the help of other museum collection objects of a non-artistic nature, such as the document of time of life and work of a given artist or related to the theme of the presented work. This makes the exhibition attractive to a wider range of visitors. The author describes art exhibitions in which collection items fro

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CHETVERIKOVA, A. S. "TRAVELING EXHIBITIONS AS A LEADING EDUCATIONAL ACTIVITY OF THE OREL ART GALLERY (1950s – 2000s)." JOURNAL OF PUBLIC AND MUNICIPAL ADMINISTRATION 13, no. 1 (2024): 175–89. http://dx.doi.org/10.22394/2225-8272-2024-13-1-175-189.

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The main purpose of the article is to analyze traveling exhibitions as leading educational activity of the Orel Art Gallery. According to the organizers, the creation of the Orel Art Gallery and other similar open art museums was supposed to promote the aesthetic and public education. Therefore, summarizing the results of this multifaceted activity, the functioning and organization of exhibitions, the selection of expositions and authors are the subject of close attention. According to the Party ideology, museums and galleries had to be accessible. But not all forms of educational work were in

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Stojanović Stošić, Milena М., and Marija М. Nešić. "Mogućnosti i značaj virtuelnih poseta muzejima na časovima likovne kulture." УЗДАНИЦА XIX, no. 1 (2022): 345–58. http://dx.doi.org/10.46793/uzdanica19.1.345ss.

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Museums, as keepers of tradition and culture, are ideal places for learning and enhancing children’s interest in art. However it is not always easy to take pupils to exhibi- tions, or organise an art class in a museum, which opens the possibility for virtual museum tours. Many renowned museums around the world provide this opportunity. As a result, pupils can see the greatest works of art and have the full museum experience, without having to leave their classrooms. This paper presents an online educational program of the National Museum in Belgrade, titled The National Museum in the Classroom

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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.

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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in

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Perry, Lara, and Elke Krasny. "Against Sexual Violence in the Museum: Art, Curating, and Activism." Journal of Cultural Analysis and Social Change 7, no. 2 (2022): 11. http://dx.doi.org/10.20897/jcasc/12752.

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Depictions of sexual violence are frequently found in the collections and displays of art museums, and material that represents and affirms violence against women often is displayed unchallenged. This article poses questions about how the presence of this material has been addressed in the relations between feminist activism against sexual violence, art made by artists responding to and participating in feminist activism, and the curatorial activities that have arisen to address the challenges that these activities present to art museums. The chapter investigates the 2021 exhibition <i>T

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Song, Jiaxuan. "Theory and Application of Interaction in Exhibitions - Take the "Good Things and Stylings" Exhibition of the Hong Kong Museum of Art as an Example." Lecture Notes in Education Psychology and Public Media 80, no. 1 (2025): 61–65. https://doi.org/10.54254/2753-7048/2024.20357.

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As society develops, people are gradually shifting from necessities to pleasure consumption. More and more people have enough time and money to improve their self-cultivation and aesthetic taste, so the number of art exhibitions has increased significantly. However, many of these exhibitions have problems, such as being unable to guarantee quality and losing the value of the exhibition itself. In typical museums, interaction with exhibits and blending with exhibitions has become a way that can determine the exhibition to stand out, which also represents the indispensable importance of interact

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Gaižutytė-Filipavičienė, Žilvinė. "Meno muziejai ir medijos." Lietuvos kultūros tyrimai 2 (2012): 47–63. https://doi.org/10.53630/lkt.2012_1.3.

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The article deals with interaction of art museums and media in the context of new museological paradigms. The rapid development of digital media technologies and internet in the end of 20th century has led to the emergence of new methods to create art exhibitions and to the understanding of museum itself as medium. Analysing why and in which ways art museums apply new media technologies, the author has identified few important factors. Firstly, the changes of Western museological paradigm in the 910 decades: the shift from “objects” to “ideas”. It also means a change in the concept of museum f

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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the h

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Grosheva, Z. D., and I. V. Kupriyanova. "MODERN TRENDS IN THE EXPOSITION AND DISPLAY WORK OF MUSEUMS." Topical Issues of Culture, Art, Education 35, no. 1 (2023): 17–23. http://dx.doi.org/10.32340/2949-2912-2023-1-17-23.

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The article discusses trends in the exhibition work of modern museums, caused by modernization processes in the cultural sphere. Examples of original exhibitions in some museums in Russia and abroad are given, related to changes in museum activities. In the era of changes in society on the one hand, and in art on the other, there is a need for new forms, approaches and ideas in museology. The museum becomes a place where one can see, understand and comprehend the processes taking place in the world. The museum exhibition, like no other cultural form, allows us to show the changes happening in

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Stanley, Nile, Laurel Stanley, and Steffani Fletcher. "Maximizing use of Poetry and Art in Public Spaces for Promoting Language Development." Babylonia Journal of Language Education 3 (December 23, 2022): 78–84. http://dx.doi.org/10.55393/babylonia.v3i.207.

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Over time, graffiti has inspired art and poetry exhibits by marginalized youth, once excluded by elite museums, now is surging in popularity, and being curated in public spaces at airports, subways, parks, street corners, and even construction sites. This paper highlights Hope at Hand, Inc., an established North Florida nonprofit provider that uses therapeutic art and poetry exhibitions in public spaces to help incarcerated youth recognize and overcome circumstances that limit their successful participation in society. Also, the paper reviews similar international art exhibitions that re-envis

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Wu, Meng. "Designing exhibitions of Chinese art in Soviet Art Museums: from collectible to problematic method." Культура и искусство, no. 6 (June 2024): 200–212. http://dx.doi.org/10.7256/2454-0625.2024.6.70750.

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The object of research is Chinese fine art presented in Soviet museums, museum practice and scientific discourse that has developed around the study of Chinese art in the USSR. The subject of the research is the specifics of designing exhibitions of Chinese art in Soviet art museums and the issues of its historical transformation. The analysis of a number of exhibition events held in Soviet museums and dedicated to Chinese fine art is proposed. During the consideration of the topic, such issues as the factors that influenced the methods of Soviet scientists in planning Chinese expositions, the

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Tkachev, Vitaliy Viсtorovich. "ART MUSEUMS AND GALLERIES AS COMPONENTS OF URBAN CULTURAL LIFE IN THE IRKUTSK RE-GION (ON THE MATERIALS OF THE MUSEUM SPECIALISTS’ WORKS)." Вестник Восточно-Сибирского государственного института культуры 168 (November 11, 2024): 22–31. http://dx.doi.org/10.31443/2541-8874-2024-3-31-22-31.

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Art museums and galleries in the Irkutsk region are places of concentra-tion of the people who are interested in the art and creativity of domestic mas-ters of the pre-revolutionary, Soviet and modern periods. The institutions act as centers for disseminating knowledge about the achievements in the museum development and existing directions of the schools of painting. As part of the research, the museum specialists’ works on the history of creation and devel-opment of art museums and galleries are examined. The plots are presented to describe the changing attitude of scientific and creative co

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Palkovljević-Bugarski, Tijana, and Lolita Pejović. "Activities of the gallery of Matica Srpska in the service of cultural diplomacy." Kultura, no. 173 (2021): 113–24. http://dx.doi.org/10.5937/kultura2173113p.

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Within the framework of rich and diverse activities of museums, which include exhibitions, publishing, educational and conservation / restoration activities, a special place is given to international cooperation programs which, if well designed, can play an important role in the cultural diplomacy system of each country. In the process of transformation from a traditional to a modern museum of the 21st century, the Gallery of Matica Srpska has directed an important part of its activities towards international cooperation and thus cultural diplomacy. These activities are realized through hostin

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Ash, C. "EXHIBITIONS: NATURAL HISTORY ART: Paper Museums." Science 320, no. 5880 (2008): 1163. http://dx.doi.org/10.1126/science.1159434.

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Andreeva, E. Yu. "Soviet Art at Art Exhibitions and Expositions of Russian Museums and Galleries in the 1990s-2020s." Art & Culture Studies, no. 4 (December 2023): 390–421. http://dx.doi.org/10.51678/2226-0072-2023-4-390-421.

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The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginali

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ZHAO, J., and O. YEZHOVA. "DESIGN OF APPLICATIONS FOR ACCESS TO DIGITAL ART WORKS IN ONLINE MUSEUMS." Art and Design, no. 1 (April 1, 2024): 68–77. http://dx.doi.org/10.30857/2617-0272.2024.1.6.

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The purpose. The research aims to explore the integration of digital art with online exhibitions in museums, focusing on the design of application interfaces and museum exhibitions. Methodology. The study uses a mixed approach that combines theoretical research, analysis of scientific research with analysis of practical examples. Results. It has been found that the use of digital art has a significant impact on museum online exhibitions, contributing to more interactive, immersive, and inclusive visitor access. The integration of ICT into the museum sector, while primarily focused on digitizat

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Fonseca, Alice Registro, Eliza Hasselmann, Millah Gomes, Helena Cunha de Uzeda, and Priscila Faulhaber. "O uso dos textos nas exposições museológicas entre museus no Rio de Janeiro." Anais do Museu Paulista: História e Cultura Material 33 (April 29, 2025): 1–36. https://doi.org/10.11606/1982-02672025v33e14.

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This paper analyses texts in exhibitions at five museums in Rio de Janeiro, Brazil, with the aim of identifying their use. The methodology applied was exploratory and descriptive in the following museums: the Historical Museum of the City of Rio de Janeiro, Rio Art Museum, Eva Klabin House Museum, Benjamin Constant House Museum and Rui Barbosa House Museum. The analysis included long-term and temporary coverage, seeking to understand the communicational effect of exhibition texts and their integration into the exhibition design, that is, textual impact on the transmission of the message. The m

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Abbey, Heidi N. "Does a decade make a difference? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011." Art Libraries Journal 37, no. 3 (2012): 34–40. http://dx.doi.org/10.1017/s0307472200017582.

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The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programmin

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Cachia, Amanda. "Constructing Elastic Worlds: From Avant-Garde Exhibition Design to Crip Comfort." Journal of Curatorial Studies 13, no. 2 (2024): 180–98. https://doi.org/10.1386/jcs_00107_1.

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This article argues that avant-garde exhibition design was at the forefront of constructing elastic worlds for bodies of all shapes, heights and sizes, yet there is a dearth of scholarship recognizing what these innovations mean for addressing diversity in the museum. The work of designers such as Frederick Kiesler offers excellent templates for thinking outside the frame, paving the way for exhibition design to be more cognizant of a greater variation of embodied experiences in museum architecture. Despite this, museums still lag behind in thinking about this plethora of needs. In the current

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Vaniuha, Liudmyla, Mariya Markovych, Nataliya Hryhoruk, Svitlana Matviishyn, and Yaroslava Toporivska. "The history of the creation, formation and development of the Museum of Theater, Music and Cinema Arts of Ukraine." History of science and technology 13, no. 1 (2023): 78–100. http://dx.doi.org/10.32703/2415-7422-2023-13-1-78-100.

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The authors analyzed the stages of creation, formation, development and modern activity of the Museum of Theater, Music and Cinema Arts of Ukraine, which is the only one in Ukraine in terms of its specialization. This museum has a history famous for its names and events. It is widely known in Ukraine and abroad for its permanent exhibitions and mobile exhibitions, created on unique exhibits from the history of theater, music, and cinema. Collected during its existence – since 1923 – a large and multifaceted collection of monuments from the history of the development of arts, which is constantl

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Xiang, Yuning, and Bingzhe Xiang. "Chinese art in the Tang Dynasty and the forms of its presentation in museums of the People’s Republic of China at the beginning of the 21st century." Issues of Museology 12, no. 2 (2021): 257–67. http://dx.doi.org/10.21638/spbu27.2021.208.

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The topic of this study is a realistic due to the fact that in Chinese history, the Tang Dynasty (618–907) is considered as the peak of national strength. It is during this period that ancient China became the center of economic and cultural exchanges with a number of states in the medieval world. Thanks to stable social development and the steadily developing economy, Chinese art of this period flourished. To this day, it has a special meaning for both Chinese and Asian cultures. The article examines the presentational forms of the art of Tang Dynasty in historical and art museums of the Peop

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Gao, Yijia. "Technical Analysis and Development Advantages of Online Virtual Exhibition from the Digital Technology Perspective." Communications in Humanities Research 9, no. 1 (2023): 134–39. http://dx.doi.org/10.54254/2753-7064/9/20231158.

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Institutions and peoples lives have been impacted by public health initiatives to contain the COVID-19 virus. The outbreak may qualify as a mega event due to its potential for global impact and transformation. The contemporary art world has especially felt the impact of the epidemic, as the entire cultural activity has been suspended due to the outbreak, including exhibitions and museums of various themes. During this period, art institutions and collectives around the world have responded by providing alternative materials for artistic works through various technological technologies and onli

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Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (2019): 158. http://dx.doi.org/10.3390/rel10030158.

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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the uni

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Spiridon (Ciocoiu), Ioana-Cristina. "„Efectul Picasso”. Expoziție desfășurată la Muzeul de Artă Recentă, București, 27 septembrie 2023-22 ianuarie 2024." Revista Muzeelor 1 (2024): 175–82. https://doi.org/10.61789/rm.2024.14.

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The exhibition “The Picasso Effect”, held at the private art museum MARe, is part of an international celebration of 50 years from Pablo Picasso’s death, along with exhibitions held at other 42 worldwide museums, such as “The Echo of Picasso” in Malaga, “Diego Velázquez invites Pablo Picasso... and Carmen Calvo” at the House of Velázquez, “Picasso Sculptor. Matter and Body” at Guggenheim Museum from Bilbao, “Picasso: drawing to infinity” at Centre Pompidou. The relevance of the exhibition held in Bucharest resides mainly in: mapping Bucharest for international, acclaimed artists, highlighting

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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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Zhang, Qianyuan. "Rethinking “Live”: Creative Practice of Art Exhibitions in the Post-Pandemic." Highlights in Business, Economics and Management 4 (December 12, 2022): 257–62. http://dx.doi.org/10.54097/hbem.v4i.3499.

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Exhibiting is a method of sociological practice that has been widely concerned and discussed following the COVID-19 pandemic. The reason for this is that exhibitions have the potential to create “live” public encounters. Creative dialogue and collaboration can provide people with great psychological support, particularly during restricted movement. At the same time, exhibitions are about caring and gently relieving anxious minds, and art has great cultural resilience in times of crisis. From a practical perspective, museum or gallery practitioner all over the world create discourse spaces thro

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Zhang, Juntong. "Research on Factors Influencing Online Art Exhibitions and the Role that Social Media Can Play during Online Exhibitions." Communications in Humanities Research 3, no. 1 (2023): 38–45. http://dx.doi.org/10.54254/2753-7064/3/20220131.

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During the epidemic, many art exhibitions and museums started online exhibitions actively or passively. How to make online art exhibitions accepted by more people and how to promote online art exhibitions more smoothly have become the main problems facing the society. This paper aims to explore the factors that affect people to watch online art exhibitions, and how to make the promotion of online art exhibitions successful.

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Knowles, Chantal, and Neil Curtis. "Exhibiting the MacGregor collections." Memoirs of the Queensland Museum - Culture 13 (2022): 443–68. http://dx.doi.org/10.17082/j.2205-3239.13.1.2022.2022-15.

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Two extensive groups of indigenous material culture assembled by Sir William MacGregor in British New Guinea (1888–1898), the Official and Personal collections, are largely held in three museums – Queensland Museum, University of Aberdeen Museums and the Papua New Guinea National Museum and Art Gallery – each of which has a distinct history. This paper explores the public lives of the collections through their inclusion in galleries and exhibitions. This comparative history of how objects have been used and interpreted is revealing as it monitors the changing roles of ethnographic collections

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van Buren, Luca. "‘CENTRUM VAN WELDADIGE KRACHT VOOR HET ONDERWIJS’ OF ‘KOOP-MANSZAAK’?" De Moderne Tijd 2, no. 1 (2018): 2–27. http://dx.doi.org/10.5117/dmt2018.1.001.bure.

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‘CENTRE OF A BENEFICENT FORCE IN EDUCATION’ OR ‘ORDINARY MERCHANT BUSINESS’? THE MUSEUM OF EDUCATION AND ART IN ROTTERDAM, 1880-1886 For a short period of time, the city of Rotterdam housed a rather unique museum, the Museum of Education and Art (Museum voor Onderwijs en Kunst). It existed for six years and only for less than a year in its original form. In 1880 it was unlike other educational or – as they were usually called – school museums. Other than today’s cultural history school museums, these museums were integrated in education and functioned as a means to support mass education by th

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Jørgensen, Anna Vestergaard. "Kunstkritik og institutionskritik i x-rummet." Periskop – Forum for kunsthistorisk debat, no. 21 (May 22, 2019): 70–87. http://dx.doi.org/10.7146/periskop.v2019i21.121797.

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In 2013, the SMK – National Gallery of Denmark initiated a series of exhibitions that was supposed to deal with the role of the museum in the 21st century. This article focuses on the two first exhibitions in this series: Haim Steinbach’s The Window and Henrik Olesen’s Abandon the Parents. The article claims that these exhibitions can be seen as working within the tradition of institutional critique, but also after it; through curating some of the museum’s own works and mimicking, respectively, the modernist “white cube” aesthetics and the Wunderkammer aesth

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Anderson, Stephanie B. "Museums, Decolonization and Indigenous Artists as First Cultural Responders at the new Canadian Museum for Human Rights." Museum and Society 17, no. 2 (2019): 173–92. http://dx.doi.org/10.29311/mas.v17i2.2806.

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The Canadian Museum for Human Rights (CMHR) is part of a global movement of human-rights–driven museums that commemorate atrocity-related events through exhibitions aimed to communicate a national social consciousness. However, museums in Canada are increasingly understood to contribute to the perpetuation of settler colonial memory regimes as dominant narratives of national identity. Through the analysis of theexhibit ‘Aborigina lWomen and the Right to Safety and Justice’, this article explores how museums in represent difficult knowledge and act as sites of decolonization, while suggesting h

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Guoxin, Chen. "Digital Art in Art Museums in the New Era-Take Queensland Museum of Modern Art as an Example." International Journal of Current Science Research and Review 06, no. 04 (2023): 2388–92. https://doi.org/10.5281/zenodo.7822856.

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<strong>ABSTRACT: </strong>This paper explores the role of digital art in the Queensland Art Gallery of Modern Art (QAGOMA) in Brisbane, Australia. QAGOMA has been at the forefront of exhibiting and collecting digital art since the early 2000s, and has developed a significant collection of works in this medium. The paper examines the ways in which QAGOMA has embraced digital art, including through its exhibitions, acquisitions, and programming. It also considers the challenges of exhibiting and collecting digital art, such as technological obsolescence, preservation, and the question of authen

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Matul, Katarzyna. "The Transition to Art: Poster Exhibitions at the Outset of the Poster’s Institutionalisation." Ikonotheka 26 (June 26, 2017): 239–51. http://dx.doi.org/10.5604/01.3001.0010.1680.

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What happened when the poster, originally an advertising medium, became an object of appreciation in the museums of Communist Poland? What criteria did it have to comply with in order to be accepted into a temple of art, a museum? The article analyses poster exhibitions organised at the Zachęta Central Bureau of Art Exhibitions in the 1950s. During this period, the interest of museum curators, critics and art historians in this medium must be envisioned as always being underpinned by political and propagandist interests; the transition of the poster to the status of a work of art is analysed h

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