Log in

Relevant bibliographies by topics / Canton Museum of Art / Journal articles

To see the other types of publications on this topic, follow the link: Canton Museum of Art.

Journal articles on the topic 'Canton Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Canton Museum of Art.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Viscaino Naranjo, Fausto Alberto, Jorge Bladimir Rubio Peñaherrera, and Freddy Patricio Baño Naranjo. "Mobile Technology as a Virtual Assistant at the Museum of the Isidro Ayora Fiscal School." Journal of Science and Research: Revista Ciencia e Investigación 3, CITT2017 (February 23, 2018): 91–99. http://dx.doi.org/10.26910/issn.2528-8083vol3isscitt2017.2018pp91-99.

Full text

Abstract:

The Isidro Ayora School located in the Latacunga Canton, between Quijano / Ordóñez and Tarqui streets, has a museum that is open to the citizens without any age difference, projecting during the tour in a traditional, monotonous and unconventional way all their art, By this factor the influx of public is very sporadic, which does not allow the development and recognition of the Museum. For the development of the research was applied the hypothetical-deductive method and the analytical, on the other hand was applied the methodology of application development for Smartphones Mobile-D; Through the collection of information that involves eld research, it was veri ed that the Museum does not have technological alternatives that allow the dissemination of the historical-cultural heritage, thus demonstrating that the creation of the virtual guide through mobile technology is the technological solution to improve The user’s experience in visiting and disseminating museums; So is the search for the use of new technologies helping to turn a forgotten environment into an interactive and friendly environment. With the implementation of Mobile Technology in the Museum of the Isidro Ayora School, visitors will be able to interact with the art articles displayed and visualize their information on any Android device through a multimedia library by simply scanning the QR code that each contains and In consequence it will allow the innovation, difusion and recognition of the Museum.

APA, Harvard, Vancouver, ISO, and other styles

2

Franklin, Adrian, and Nikos Papastergiadis. "Engaging with the anti-museum? Visitors to the Museum of Old and New Art." Journal of Sociology 53, no. 3 (June 6, 2017): 670–86. http://dx.doi.org/10.1177/1440783317712866.

Full text

Abstract:

Hailed as the most important cultural event since the opening of the Sydney Opera House, the Museum of Old and New Art (Mona) in Tasmania seemingly made very substantial changes to visitor experiences of an art gallery, catalysed a significant cultural florescence in Hobart and achieved tourism-led urban and regional regeneration on a par with the Guggenheim Museum Bilbao. Drawing on a large survey of visitors this article illuminates the origins, social aims and impacts of successful attempts to push art museums beyond what Hanquinet and Savage call ‘educative leisure’. It contributes to our knowledge of the processes by which traditional forms of ‘highbrow’ cultural experience associated with the dominance of the classical and historical canon are being eclipsed by newer, performative, emotional and sensual forms of cultural taste.

APA, Harvard, Vancouver, ISO, and other styles

3

Korpysz, Ewa. "MUSEUM CURATOR BY VOCATION. CANON MIROSŁAW NOWAK PHD (1961–2021): DIRECTOR OF THE WARSAW ARCHDIOCESE MUSEUM." Muzealnictwo 62 (August 6, 2021): 173–78. http://dx.doi.org/10.5604/01.3001.0015.0682.

Full text

Abstract:

Having fought a long and tough battle against COVID-19, on 11 April 2021, Mirosław Nowak PhD, a theologian, art historian, museum curator, Archdiocese Conservator, and the Director of the Warsaw Archdiocese Museum, passed away. In 1982–1987, Fr. Mirosław studied art history at the History Department of the University of Warsaw, at the same time studying philosophy and theology at the Higher Metropolitan Seminary in Warsaw. Having taken holy orders in 1990, throughout his life he was able to successfully harmonize his ministry with the profession of an art historian. With his research focused on Baroque art, in 2006, he defended his doctoral dissertation on the Chapel of Blessed Ceslaus in the Wrocław church of the Dominicans. Fr. Mirosław Nowak performed many Diocese-wide functions, with 2013 being for him breakthrough: it was then that he became Director of the Warsaw Archdiocese Museum. Under him, the Museum was moved to a new extensive home in the centre of Warsaw’s Old Town; he mounted a permanent exhibition, and created an energetic cultural centre of high impact. At the Museum, he organized lectures, shows, authors’ presentations, concerts, and conferences. Fr. Nowak established contacts with other museums in Poland and abroad; he organized around 40 temporary exhibitions, among which the biggest and most interesting was that dedicated to the Silesian master of the Baroque Michael Willmann, The Warsaw Archdiocese Museum will painfully miss a good human and an excellent director.

APA, Harvard, Vancouver, ISO, and other styles

4

Andermann, Jens. "Showcasing Dictatorship." Journal of Educational Media, Memory, and Society 4, no. 2 (September 1, 2012): 69–93. http://dx.doi.org/10.3167/jemms.2012.040205.

Full text

Abstract:

This article compares two recently inaugurated museums dedicated to the period of dictatorial terror and repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago, Chile (opened in 2009), and the Museum of Memory at Rosario, Argentina (2010). Both museums invoke in their very names the "memorial museum" as a new mode of exhibitionary remembrance of traumatic events from the past. They seek to sidestep the detachment and "objectivity" that has traditionally characterized historical museum displays in favor of soliciting active, performative empathy from visitors. Neither of the two institutions, however, complies entirely with the memorial museum's formal characteristics; rather, they reintroduce modern museographical languages of history and art, thus also challenging the emergent "global canon" of memorial museum aesthetics.

APA, Harvard, Vancouver, ISO, and other styles

5

Ananiev, V. G. "J. A. Schmidt on the research departments of museum galleries." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 11–14. http://dx.doi.org/10.30725/2619-0303-2020-4-11-14.

Full text

Abstract:

One of the most topical issues in the museum history is the question of the relationship between international and national principles in museum practice and museological thought. In this article, using the example of a report read by the curator of the Hermitage Picture Gallery, James Alfredovich Schmidt (1876–1933) at the Institute of Art History in 1926, the author shows the connection between international trends and early Soviet museological thought. Schmidt’s report is based on the idea of the need to divide the collection of an art museum (picture gallery) into two parts. One part should include the most significant works and be intended for the public. The second – the research department – should be oriented to the work of experts. We find the same ideas in the most significant international research projects in museology of the era – volumes of articles «Museums: An International Study on the Reform of Public Galleries» (1931) and «Museography: Architecture and Organization of Art Museums» (1935). The author establishes a connection between these ideas and the concept of the canon, which was forming in this period, in relation to the history of art.

APA, Harvard, Vancouver, ISO, and other styles

6

Meier, Nikolaus. "Art and museum libraries in Switzerland." Art Libraries Journal 21, no. 4 (1996): 23–26. http://dx.doi.org/10.1017/s0307472200010075.

Full text

Abstract:

Die Situation der Kunstbibliotheken in der Schweiz ist durch verschiedene historische Faktoren geprägt. Die Kulturhoheit der verschiedenen Kantonsrepubliken und die vier Landessprachen haben in der Vergangenheit die Entwicklung einer einheitlichen Bibliothekslandschaft erschwert. Ebenso wenig mündete die von großen Persönlichkeiten geprägte Entwicklung der Kunstwissenschaft und des Museumswesens in eine vielfältige Landschaft von Kunstbibliotheken. Die drei Zentren für Kunstbibliotheken sind Basel, Zürich und Genf. Eine Kunstbibliothek für die italienischsprachige Schweiz, wie u.a. in einem kürzlich enstandenen Grundlagenbericht für Kunstgeschichte empfohlen wird, ist immer noch ein Desiderat.The situation of Swiss art libraries is determined by different historic developments. The different Swiss cantons, with their sovereignty in cultural matters, and the four official languages of the country, have impeded the development of a homogeneous libraries’ scene. The development of art libraries has been constrained by the slow and erratic growth of art history and museology. In Switzerland there are three centres for art libraries: Basle and Zurich, and Geneva, in French-speaking Switzerland. An art library for Italian-speaking Switzerland - as once again recommended in a recently published Grundlagenbericht für Kunstgeschichte (= Basic Report for Art History) - is still desired.

APA, Harvard, Vancouver, ISO, and other styles

7

Lubiak, Jarosław. "CANONIZATION OF THE AVANT-GARDE: ON THE PUBLICATION AVANT-GARDE MUSEUM." Muzealnictwo 62 (June 23, 2021): 128–31. http://dx.doi.org/10.5604/01.3001.0014.9723.

Full text

Abstract:

The monumental publication Avant-garde Museum (ed. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020) juxtaposes and analyses four museum projects: Museums of Artistic Culture in Soviet Russia, the activity of the Société Anonyme in the USA, Poland’s ‘a.r.’ Group, and the Kabinett der Abstrakten, the selection criterion being that each was conceived by Avantgarde artists; additionally, in the projects’ assumptions the artists were to run the implementation of the projects. The publication has been divided into three sections: research papers, source texts, and the catalogue of documents and works. The study of the Avant-garde museum projects spans over four areas: the concept, collection, organization, and display. However, these issues are not isolated in the research, but more purposefully integrated. The main goal of the study is to show how the Avant-garde institutionalized itself. This very thesis is reflected upon in the present paper. Just like the consequences of this publication: e.g., entering the Avant-garde into the canon of art history and sanctifying its output as an unquestionable value.

APA, Harvard, Vancouver, ISO, and other styles

8

Fisher, Michelle Millar. "‘The Most Fascinating and Well-Designed Artifacts of Our Time’: Collecting and Exhibiting Contemporary Guns in the Art Museum." Journal of Visual Culture 17, no. 3 (December 2018): 272–85. http://dx.doi.org/10.1177/1470412918800006.

Full text

Abstract:

Guns are usually designed with great attention to their aesthetic, ergonomic, and functional component parts. Yet, their contemporary manifestations are considered so culturally and symbolically fraught – especially in the United States – that guns produced in the last century have rarely been presented as industrial objects worthy of sustained and close reflection within the context of a major design exhibition or art museum collection. This article considers the few recent exceptions, the legacy that curators and design historians have inherited and recently mobilized around guns in the design canon, and the future of public conversations in the art museum around contemporary intersections of design and violence.

APA, Harvard, Vancouver, ISO, and other styles

9

Dal Lago, Francesca. "The “Global” Contemporary Art Canon and the Case of China." ARTMargins 3, no. 3 (October 2014): 77–97. http://dx.doi.org/10.1162/artm_r_00095.

Full text

Abstract:

This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of canonization performed at the expenses of other contemporaneous artistic forms—ink and academic painting—whose culturally and historically specific nature de facto excludes them from a concept of art globalization still largely determined and rooted by Euro-American modernism.

APA, Harvard, Vancouver, ISO, and other styles

10

Wagner, Karin. "Randomness and recommendations – exploring the web platform of the artist Ivar Arosenius and other digital collections of art." Museum and Society 18, no. 2 (July 4, 2020): 243–57. http://dx.doi.org/10.29311/mas.v18i2.3252.

Full text

Abstract:

This article concerns efforts to increase the accessibility of art through digital collections on the web. Features for display and comparison used by the platform of the Swedish artist Ivar Arosenius and by web projects such as Europeana and Google Art & Culture will be discussed. These features include random display, recommendations and machine learning of visual similarities. Key questions are: What are the general implications of these features for the art history canon? What are the relations between the digital collections on the web and the physical museum? There is a risk that recommendations based on machine learning will come to influence the way we perceive similarity. If the canon is to be challenged, a closer cooperation between the digital collections and the physical exhibitions will be needed.

APA, Harvard, Vancouver, ISO, and other styles

11

Joselit, David, Michelle Kuo, and Amy Sillman. "Shape: A Conversation." October 172 (May 2020): 135–46. http://dx.doi.org/10.1162/octo_a_00398.

Full text

Abstract:

A wide-ranging conversation between artist Amy Sillman, Museum of Modern Art curator Michelle Kuo, and October editor David Joselit on Sillman's influential Artist's Choice exhibition, The Shape of Shape, presented in the reopening of MoMA's galleries in 2019. Topics range from the re-introduction of intuition into histories of contemporary painting to strategies for expanding the modernist canon.

APA, Harvard, Vancouver, ISO, and other styles

12

Tavel, Ronald. "Disputing the Canon of American Dramatic ‘Literature’." New Theatre Quarterly 13, no. 49 (February 1997): 18–28. http://dx.doi.org/10.1017/s0266464x00010769.

Full text

Abstract:

In this article, Ronald Tavel argues that the commercial American theatre, endorsed by the American educational system and theatrical establishment, has never nurtured a vision of the scripted play as art – and has consequently produced no single example of it. The nation's genuine playwrights who saw their tasks as makers of art have, he claims, been neglected throughout American history, and left to wither in the wings. In the 1960s, Ronald Tavel founded and named the still-extant Theatre of The Ridiculous, and has written forty produced plays, a number of which have been translated into a dozen languages and staged in four continents. He has written and directed thirteen films for Andy Warhol: ten of these have recently been restored for international distribution by the New York Museum of Modern Art, and all are to be collected for publication later this year by Sun and Moon Press, Los Angeles. Ronald Tavel lives in Taipei, but is currently teaching a course on Warhol and the filmmaker-architect Jack Smith at the Art Centre College of Design in California. The American Institute in Taiwan selected the article which follows as the keynote address at the Seventeenth Annual Convention of the American Studies Association of the Republic of China.

APA, Harvard, Vancouver, ISO, and other styles

13

Bincsik, Monika. "European collectors and Japanese merchants of lacquer in ‘Old Japan’." Journal of the History of Collections 20, no. 2 (August 5, 2008): 217–36. http://dx.doi.org/10.1093/jhc/fhn013.

Full text

Abstract:

Abstract During the Meiji period, following the opening of Japan's borders to foreign trade, not only did the Japanese lacquer trading system and the market undergo a marked change but so too did almost all the factors affecting collecting activities: the European reception of the aesthetics and history of Japanese lacquer art, the taste of the collectors, the structure of private collections, the systematization of museum collections, along with changes in the art canon in the second half of the nineteenth century. The patterns of collecting Japanese lacquer art in the second half of the nineteenth century cannot be understood in depth without discussing shortly its preliminaries in the seventeenth and eighteenth centuries, focusing also on the art historical reception of Japanese lacquer in Europe. Supplementary material relating to this article in the form of a list of dealers and distributors of lacquer in Japan during the Meiji period (1868–1912) is available online.

APA, Harvard, Vancouver, ISO, and other styles

14

Ford, Simon. "The disorder of things: the postmodern art library." Art Libraries Journal 18, no. 3 (1993): 10–24. http://dx.doi.org/10.1017/s0307472200008403.

Full text

Abstract:

Postmodernism has stimulated a ‘new art history’, which challenged, and then displaced, the highly selective canon of the ‘Old Masters’ and ‘Modern art’ with a broader approach, recognising a wider range of art and interested in investigating both the contexts of art, and the nature of art history itself. The new art history is represented on the shelves of art libraries, but a ‘new art librarianship’ must do more than passively reflect this cultural shift. A new art librarianship will expect of art librarians that they should be aware of the ways in which art libraries legitimise certain books and artworks, thus reinforcing the hegemony of the dominant culture, and that they should be prepared to use the power of art libraries knowingly and productively. Instead of imposing order through inflexible classification schemes, the new art librarianship will embrace the ‘disorder’ of a vast complex of knowledge seen from multiple viewpoints, accommodated by hypertext, for example. It is possible that electronic networking will eventually liberate information from the custody of libraries; the new art librarianship will not resist this, but will in parallel with such developments re-value art books, and books as art, as historical artefacts, reviving a more museum-like function from the history of librarianship, while continuing to serve as a manifest symbol of the wealth of human knowledge.

APA, Harvard, Vancouver, ISO, and other styles

15

Sides, Josh. "The Sunland Grizzly." California History 91, no. 4 (2014): 56–63. http://dx.doi.org/10.1525/ch.2014.91.4.56.

Full text

Abstract:

In 1916, Cornelius Birket Johnson, a Los Angeles fruit farmer, killed the last known grizzly bear in Southern California and the second-to last confirmed grizzly bear in the entire state of California. Johnson was neither a sportsman nor a glory hound; he simply hunted down the animal that had been trampling through his orchard for three nights in a row, feasting on his grape harvest and leaving big enough tracks to make him worry for the safety of his wife and two young daughters. That Johnson’s quarry was a grizzly bear made his pastoral life in Big Tujunga Canyon suddenly very complicated. It also precipitated a quagmire involving a violent Scottish taxidermist, a noted California zoologist, Los Angeles museum administrators, and the pioneering mammalogist and Smithsonian curator Clinton Hart Merriam. As Frank S. Daggett, the founding director of the Los Angeles County Museum of History, Science and Art, wrote in the midst of the controversy: “I do not recollect ever meeting a case where scientists, crooks, and laymen were so inextricably mingled.” The extermination of a species, it turned out, could bring out the worst in people.

APA, Harvard, Vancouver, ISO, and other styles

16

Денисюк, Татьяна Владимировна. "Eucharistic Themes in Ukrainian Art of the XVII-XVIII centuries: A Review of the Monuments." Вестник церковного искусства и археологии, no. 1(1) (June 15, 2019): 124–41. http://dx.doi.org/10.31802/2658-5111-2019-1-124-139.

Full text

Abstract:

Статья посвящена изучению евхаристической тематики в украинском искусстве XVII-XVIII вв. Впервые сделан обзор памятников украинского изобразительного искусства на тему символико-аллегорического изображения темы Евхаристии. В статье приведены примеры икон и картин из собрания Национального музея в Львове, Музея волынской иконы (г. Луцк, Украина), Национального художественного музея Украины (г. Киев), Национального Киево-Печерского историко-культурного заповедника. Анализ композиций позволил выделить и систематизировать символические сюжеты евхаристического содержания. В статье подробно рассматриваются иконы: «Христос Виноградная Лоза», «Христос в точиле», «Христос в чаше», «Недреманное око»; картины: «Пеликан», «Соглядатаи земли Ханаанской», а также другие памятники изобразительного искусства, которые раскрывают христианский догмат Евхаристии, искупительную жертву Христа. Эти сюжеты были широко распространены в иконописи, скульптуре, лицевом шитье, гравюре, резьбе, керамике. Также описаны редкие случаи использования символических сюжетов «Недреманное око» и «Христос Виноградная Лоза» в стенописи. В статье отмечены иконографические особенности каждого сюжета, подробно описаны и проанализированы изображения, проведён сравнительный анализ разных икон с изображением одинакового сюжета, изучен контекст и значение некоторых композиций. The article is devoted to the study of the Eucharistic theme in the Ukrainian art of the XVII-XVIII centuries. For the first time made the review of the monuments of Ukrainian art on the theme of symbolic and allegorical image of the Eucharist theme. The article presents examples of icons and paintings from the collection of the National Museum in Lviv, the Museum of Volyn Icon (Lutsk, Ukraine), the National Art Museum of Ukraine (Kiev), the National Kiev-Pechersk Historical and Cultural Reserve. The analysis of the compositions made it possible to identify and systematize the subjects of the Eucharistic content. The article describes in detail the: “Jesus Christ the Grape-Vine”, “Christ in the winepress”, “Christ in the bowl”, “Undreaming Eye”; pictures: “Pelican”, “The Spies of the land of Canaan” and other monuments of the fine arts, that reveal the Christian dogma of the Eucharist, the atoning sacrifice of Christ.These subjects were widely distributed in icon painting, sculpture, sewing, engraving, carving, and ceramics. The rare instances of the use of the symbolic plots “Undreaming Eye” and “Jesus Christ the Grape-Vine” in murals are described. The iconographic features of each subject are also noted in the article, images are described and analyzed in detail, a comparative analysis of different icons with the image of the same subject was carried out, the context and meaning of some compositions were studied.

APA, Harvard, Vancouver, ISO, and other styles

17

Tanglen, Randi Lynn. "Review: Border Cantos: Sight & Sound Explorations from the Mexican-American Border, Crystal Bridges Museum of American Art, Bentonville, AR." Public Historian 39, no. 4 (November 1, 2017): 146–51. http://dx.doi.org/10.1525/tph.2017.39.4.146.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Holguín Valdez, Anthony. "Un retrato de Santa Rosa de Lima firmado por el pintor Pedro Díaz." Illapa Mana Tukukuq, no. 16 (December 28, 2019): 46–55. http://dx.doi.org/10.31381/illapa.v0i16.2582.

Full text

Abstract:

ResumenEl Museo y Convento San Francisco de Lima conserva en su pinacoteca un retrato ovalado de Santa Rosa de Lima, obra firmada por el pintor Pedro Díaz. Damos a conocer esta pintura realizada por encargo del canónigo catedralicio José Joaquín de Uztáriz en 1804, obra inédita que nos aproxima a la trayectoria artística del pintor limeño y su importante producción pictórica en la escena local.Palabras clave: pintura, Santa Rosa de Lima, Pedro Díaz, José Joaquín de Uztáriz, convento de SanFrancisco. AbstractThe San Francisco de Lima Museum and Convent conserves in its art gallery an oval portrait of Santa Rosa de Lima, a work signed by the painter Pedro Díaz. We present this painting commissioned by Canon José Joaquín de Uztáriz in 1804, an unpublished work that brings us closer to the artistic trajectory of the Lima painter and his important pictorial production in the local scene.Keywords: painting, Santa Rosa de Lima, Pedro Díaz, José Joaquín de Uztáriz, San Francisco Convent

APA, Harvard, Vancouver, ISO, and other styles

19

Chvyr, L. A. "The Visitor and the East West Jazz." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 61–75. http://dx.doi.org/10.31696/2618-7302-2020-1-61-75.

Full text

Abstract:

The article is based on the author’s impressions of the East West Jazz exhibition in the Pushkin Museum of Fine Arts in Moscow in the fall of 2019. The exhibition was quite notable, and especially attractive due to the fashionable way of exhibiting the works of art, deliberately erasing the established boundaries between genres, styles and trends. The originality of the exposition was manifested in a paradoxical comparison of two artistic traditions, standing far from each other in all respects — chronologically, territorially, ethnically, religiously, and culturally. But the main and interesting feature was the opposition of two types of arts — decorative and applied art pieces and easel painting. The first are the artifacts of folk art of Central Asia of the 19th — early 20th centuries in the form of magnificent examples of oriental silk-weaved traditional robes (from the private collection of Alexander Klyachin); the second — a number of paintings and drawings by European abstract artists of the mid-20th century (from the collections of the Jean Claude Gandur Foundation in Geneva, the Pompidou Center and the Applicat-Prazan Gallery in Paris). The samples selected on both sides, located in the exposition side by side in “pairs”, clearly demonstrated ornamental and coloristic analogies in dressing gowns and abstract paintings. However, the idea of the organizers of the exhibition (according to the catalog) was not simply to compare them, but to show different types of abstraction, equally expressing the “idea of freedom”, which in the West is often symbolized by jazz music. The author of the article develops this idea, believing that the underlying cause of these similarities is the use of the main (“jazz”) principle — improvisation within the canon, originally inherent in any sphere of both ancient, and modern “oral” pieces, not only musical, but also visual.

APA, Harvard, Vancouver, ISO, and other styles

20

Wagner, Keith B., and Michael A. Unger. "Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture." Visual Communication 18, no. 1 (January 3, 2018): 83–106. http://dx.doi.org/10.1177/1470357217742333.

Full text

Abstract:

As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim appropriations of archival or news footage to more experimental approaches in documentary, such as the use of dioramas, the authors examine the commercial and artistic articulations of trauma, reconciliation and testimony in two case studies: The Museum of Modern Art (MoMA) exhibition Photographs from S-21: 1975–1979 (1997) and Pithy Panh’s documentary The Missing Picture (2013). The authors first focus on the relatively obscure scholarship devoted to contextualizing images from international genocides outside the Euro-American canon for genocide study in order to build their critical formulations; they go on to explore whether these atrocity-themed still and moving images are capable of defying aspects of commodification and sensationalism to instead convey positive notions of commemoration and memory. Finally, their contribution to this debate regarding the merit of appropriating atrocity imagery is viewed from two perspectives: ‘commodified witnessing’ (a negative descriptor for the MoMA exhibition) and ‘commemorative witnessing’ (a positive term for the Cambodian film).

APA, Harvard, Vancouver, ISO, and other styles

21

Remizova, Olena. "ARCHITECTURAL MEMORY AND FORMS OF ITS EXISTENCE." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 2 (September 14, 2020): 97–108. http://dx.doi.org/10.3846/jau.2020.13053.

Full text

Abstract:

The article attempts to highlight the traces of memory in the theory, history and practice of architecture. The subject of research is the existing forms of memory in architecture. It is traditionally accepted that the “history of architecture” as a science is the main repository of knowledge about the evolution of architecture. Facts and artifacts, descriptions of monuments and cities are retained in it. The article emphasizes that the traditional “history of architectural objects” is not the only form of memory. Another equally important and complicated aspect of the architectural memory is detected during the decoding of the evolution of project activity and its language. Analysis of the evolution of architecture allowed us to differentiate the epochs in which historical thinking prevails: the Renaissance, Romanticism, Eclecticism, Art Deco, Postmodernism. They are characterized by such ways of thinking as dialogical, historical and typological, historical and associative. They are opposed to design approaches in which abstract thinking dominates (Art Nouveau and Modernism). The article shows that the concept of architectural memory has many shades and manifests itself in a variety of different forms of professional consciousness. As historical knowledge, memory exists in such forms as: a chronological description, science of history, evolutionary studies, catalog of styles, museum, archive. In designing and its language, memory is represented in such forms as canon, dialogue with bygone era, norm, architectural fantasy, remembrance, historical association, reconstruction, restoration and others. It is shown that the most important way of storing and transferring information is the architectural language and compositional logic. Postmodern consciousness raised the problem of loss of memory and the development of architectural language and communication of culture.

APA, Harvard, Vancouver, ISO, and other styles

22

Tam, Isabella. "Canton Express: Urbanization and contemporary Chinese art." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 241–60. http://dx.doi.org/10.1386/jcca_00028_1.

Full text

Abstract:

Canton Express was a project situated within the larger exhibition Zone of Urgency in the Venice Biennale in 2003. It was the first comprehensive exhibition focusing on the relationship of urbanization and cultural landscape in the Pearl River Delta and presented on an international platform. Since the open-door policy in 1979, the Pearl River Delta played a pioneering role in China’s economic reform and urbanization throughout the 1980s and 1990s. This was resulted with unprecedent transformation of the cityscape and inhabitants’ lifestyle. More importantly, it defined the artistic context and character of the southern region uniquely from other parts of China, providing an opportunity for an alternative narrative in the discourse of contemporary Chinese art. Taking Canton Express as a case to reflect the uncanny observations and immediate responses among the fourteen participating artists and collectives on the new reality brought by urbanization and economic development which may, however, conflicted with the socialist-communist political ideology. And such tension nevertheless triggered a collective consciousness in the artistic community and their traits of flexibility, openness and self-autonomy to seek for an artistic identity independent from the existing narrative of contemporary Chinese art legitimized by the officials for biennales held inside and outside China. On this note, the essay will point out Canton Express proposed an interdisciplinary curatorial methodology for positioning ‘urbanism’ in the discourse. It will also provide examples of how it was instituted into the official system, expanding the multiplicity of contemporary Chinese art other than the market and political symbols, and shifted attention to art productions from a local perspective with global resonance. Through Canton Express and curatorial projects held afterwards, this essay attempts to prompt future research and discussion on qualities and conditions for artistic production and circulation of Chinese art in a world emerging from the COVID-19.

APA, Harvard, Vancouver, ISO, and other styles

23

Robertson, Bruce. "The Tipping Point: "Museum Collecting and the Canon"." American Art 17, no. 3 (October 2003): 2–11. http://dx.doi.org/10.1086/444621.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Hein, Hilde. "Philosophical Reflections on the Museum as Canon Maker." Journal of Arts Management, Law, and Society 22, no. 4 (January 1993): 293–309. http://dx.doi.org/10.1080/10632921.1993.9944412.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (April 1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

van Deventer, Anriet. "The Pietersburg Art Museum." de arte 33, no. 57 (April 1998): 61–62. http://dx.doi.org/10.1080/00043389.1998.11761270.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Stylianou-Lambert, Theopisti. "Perceiving the art museum." Museum Management and Curatorship 24, no. 2 (June 2009): 139–58. http://dx.doi.org/10.1080/09647770902731783.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Carrier, David. "The Art Museum Today." Curator: The Museum Journal 54, no. 2 (April 2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

Full text

Abstract:

Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

APA, Harvard, Vancouver, ISO, and other styles

30

Hebb, Timothy Tore. "Kalmar Museum of Art." Architectural Design 78, no. 6 (November 2008): 134–35. http://dx.doi.org/10.1002/ad.791.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Tollfree, Eleanor. "Art and the Museum." Art Book 8, no. 2 (March 2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Guffey, Elizabeth. "The Disabling Art Museum." Journal of Visual Culture 14, no. 1 (April 2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (October 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Miller, Jack, and Laurie B. Reese. "MUSEUM TOL: Confessions of an Art Museum Librarian." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 4 (December 1987): 168–69. http://dx.doi.org/10.1086/adx.6.4.27947827.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Godfrey, Jenny. "The DACS Slide Collection Licensing Scheme." Art Libraries Journal 26, no. 4 (2001): 10–17. http://dx.doi.org/10.1017/s030747220001244x.

Full text

Abstract:

For many years slide libraries in higher education institutions in the UK grew steadily in size as they accommodated the needs of new and expanding art and design courses. Although some slide librarians acquired new slides by photographing works of art in museums and art galleries, and most bought slides of the traditional art history canon from commercial publishers and art galleries, the largest proportion of these ever growing slide collections was made up of slides produced by copy photography, using slide film to photograph images taken from books, journals and exhibition catalogues. Changes in UK copyright law in 1988 made this illegal and jeopardised the ability of lecturers to present the visual material they needed for their courses. Slide librarians were forced to consider ways of getting around the law. A licence scheme ultimately emerged as the answer, but one that has its detractors and critics.

APA, Harvard, Vancouver, ISO, and other styles

37

Carrier, David. "THE ART MUSEUM AS A WORK OF ART: THE J. PAUL GETTY MUSEUM." Source: Notes in the History of Art 22, no. 2 (January 2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Eskilson, S. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." Journal of American History 93, no. 1 (June 1, 2006): 267–68. http://dx.doi.org/10.2307/4486181.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (June 30, 2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

Full text

Abstract:

Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.

APA, Harvard, Vancouver, ISO, and other styles

40

Lee, Eunjeok. "Art Museum Education to Form Art Subject Competencies." Korean Association For Learner-Centered Curriculum And Instruction 18, no. 9 (May 5, 2018): 955–77. http://dx.doi.org/10.22251/jlcci.2018.18.9.955.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Stone, Denise L. "The Secondary Art Specialist and the Art Museum." Studies in Art Education 35, no. 1 (1993): 45. http://dx.doi.org/10.2307/1320837.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein." de arte 37, no. 65 (January 2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Barbosa, Ana Mae Tavares Bastos. "Art education in a museum of contemporary art." Museum International 41, no. 1 (March 1989): 45–49. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00757.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Moomaw, Kate. "Collecting participatory art at the Denver Art Museum." Studies in Conservation 61, sup2 (June 2016): 130–36. http://dx.doi.org/10.1080/00393630.2016.1190904.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Jacoby, Thomas. "ETHIOPIAN ART: THE WALTERS ART MUSEUM. Kelly Holbert." Art Documentation: Journal of the Art Libraries Society of North America 21, no. 2 (October 2002): 46. http://dx.doi.org/10.1086/adx.21.2.27949210.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Darish, Patricia J. "African Art at the Indiana University Art Museum." African Arts 20, no. 3 (May 1987): 30. http://dx.doi.org/10.2307/3336475.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Stone, Denise Lauzier. "The Art Museum and the Elementary Art Specialist." Journal of Museum Education 17, no. 1 (December 1992): 9–11. http://dx.doi.org/10.1080/10598650.1992.11510190.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Glesne, Corrine E. "Museum Art in Everyday Life." LEARNing Landscapes 5, no. 2 (May 2, 2012): 99–116. http://dx.doi.org/10.36510/learnland.v5i2.555.

Full text

Abstract:

Art museums engage diverse audiences in multiple forms of learning. Based on qualitative research at seven academic institutions, this article focuses on the role academic art museums play in the everyday life of students and faculty, on how people become interested in art and art museums, and on possible contributions of campus art museums beyond use in classes and research.

APA, Harvard, Vancouver, ISO, and other styles

49

Camilla Jalving. "Utopia at the Art Museum:." Utopian Studies 22, no. 2 (2011): 360. http://dx.doi.org/10.5325/utopianstudies.22.2.0360.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Gaber, Tammy. "Islamic Art and the Museum." American Journal of Islam and Society 31, no. 2 (April 1, 2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.

Full text

Abstract:

This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!