Relevant bibliographies by topics / Catalogs and exhibitions

Contents

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

Academic literature on the topic 'Catalogs and exhibitions'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Catalogs and exhibitions"

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Robertson, Jack. "The exhibition catalog as source of artists’ primary documents." Art Libraries Journal 14, no. 2 (1989): 32–36. http://dx.doi.org/10.1017/s0307472200006210.

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Exhibition catalogs and related ‘ephemera’ frequently include statements by artists which can be regarded as primary documents. Artists’ statements which are included in catalogs of group exhibitions tend to be relatively difficult to access and so are easily overlooked, while statements included in ephemeral publications associated with group exhibitions are virtually irretrievable even when such material is retained by libraries. Some help is available from published bibliographies and online databases; more thorough cataloging procedures are also available.
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Domini, Giacomo. "Exhibitions, patents, and innovation in the early twentieth century: evidence from the Turin 1911 International Exhibition." European Review of Economic History 24, no. 3 (2019): 578–600. http://dx.doi.org/10.1093/ereh/hez004.

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Abstract This paper investigates the relevance for innovation of international exhibitions. While the first of these events, i.e., London’s 1851 Great Exhibition, was an “exhibition of innovations,” many of the subsequent ones, following the model of industrial exhibitions developed in France, did not select exhibits based on novelty. In fact, they displayed a large spectrum of products, ranging from machines to primary products. Therefore, the suitability of data from their catalogs for proxying innovation, and their relationship to the traditional patent measure, should be better qualified. To do so, this paper performs an in-depth analysis of the Turin 1911 international exhibition, a medium-sized representative “French-model” exhibition. It matches a new database, built from the catalog of this event, with patents granted in Italy, revealing substantial differences. Furthermore, it evaluates how inventors could use the exhibition to promote their ideas, establish their reputation, and develop their career.
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Halkevych, Tetiana. "Printed catalogs of art exhibitions as biographical sources." Entsykpopedychnyi Visnyk Ukrainy [The Encyclopedia Herald of Ukraine] 1 (December 1, 2009): 56–62. http://dx.doi.org/10.37068/evu.1.9.

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Piechota, Grażyna, and Agnieszka Kida-Bosek. "Nineteenth-Century Catalogs of Artistic Exhibitions As a Bibliological Source." Folia Bibliologica 59 (August 3, 2018): 251. http://dx.doi.org/10.17951/fb.2017.59.251.

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

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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases, available to public audiences and scholars. While a manual analysis has proved to be insufficient, because of the sheer number of available data, computational approaches and tools allowed for a greater access. The following article describes how digital images of exhibitions, as released by the New York Museum of Modern Art in the fall of 2016, are studied with a retrieval system to analyze in which artistic contexts selected artworks were presented in exhibits.
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Ponamarchuk, Igor. "Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc." Text and Image: Essential Problems in Art History, no. 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.

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The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing School M. Muraskho in the public presentation of works of art by Kyiv’s artists. The author reconsiders the peculiarities of exhibition activity in Kyiv from the seldom events of the late 1870's to the exhibitions systematically led in the early 20th century. The statutes of Kyiv artistic intelligentsia associations from the 1890s-1900s ("Bakhtins", the Association of Artists of Kyiv, the Kyiv Union of Artists), the frequency and membership of their exhibitions were revealed. The author highlights the role of O. Murashko in the consolidation of artistic milieu of Kyiv, his initiative in the emergence of the Kyiv Association of Artists (KAA). Also the author carries out a comparative analysis of the Statute of the KAA and similar materials of the associations of Kyiv artists from the late nineteenth and early twentieth centuries. The author shows the key aspects of the art and exhibition activity of KAA during 1916-1918 and determines the role of the KAA in the cultural and artistic life of Kyiv with the advent of Soviet occupation (1917-1918) as well as the participation of KAA members in the establishment of the Council of United organizations, the Professional Union of Artists, the All-Ukrainian Congress of Artistic Organizations, the First Congress of People Ukrainian plastic art.
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Holzenberg, Eric. "Bridging the Gap: Education and Special Collections—The 46th RBMS Preconference." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 7, no. 1 (2006): 12–15. http://dx.doi.org/10.5860/rbm.7.1.252.

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Like most of their colleagues in other branches of the profession, special collections librarians often act as teachers, informally with individual users or formally as leaders of classes. But because of the preservation and security needs of the rare books and manuscripts under their care, special collections librarians must take on the additional roles of interpreter, impresario, advocate, and cheerleader. Fragile and valuable materials not browsable by the casual user must be showcased and interpreted through exhibitions and catalogs; faculty and students must be proselytized about the value of special collections in the curriculum; library and university administrations must be . . .
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Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.

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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Киселева and T. Kiseleva. "Modern Approaches of Marketing of the Intellectual Products: OmniChannel." Economics 4, no. 3 (2016): 54–59. http://dx.doi.org/10.12737/19943.

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The article deals with the prospects for the development of modern marketing
 tools used in terms of OmniChannel for intellectual products: rich media, viral,
 hidden, guerrilla marketing, mobile marketing, business social networks, the
 SMM, online exhibitions, catalogs and subject heading, online conferences and
 seminars, contextual advertising, text ads; analyzed and interpreted the data
 collected by the experts of the company “Garant”, working with an intelligent
 product, the agency IAB Russia and Zenithoptimedia agencies, including cluster
 analysis means of promotion; based on the BCG matrix model is made up of
 funds of promotion of intellectual products; ABC analysis conducted means
 of promotion based on data for 2015; appropriate conclusions about the viability
 of the hypothesis of the applicability of the OmniChannel concept of intellectual
 product.
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Wu, M. "Guidebooks and Catalogs of Exhibitions in Russia in Late XIX - Early XX Centuries as a Source of Historiographic Research on Chinese Art." Университетский научный журнал, no. 54 (2020): 72–83. http://dx.doi.org/10.25807/pbh.22225064.2020.54.72.83.

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Dissertations / Theses on the topic "Catalogs and exhibitions"

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Gledhill, John. "A catalogue raisonne of the oil paintings of Matthew Smith with a critical introduction to his work." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341480.

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Barbosa, Delano Pessoa Carneiro. "CatÃlogos de ExposiÃÃo: a circulaÃÃo das obras de Raymundo Cela." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=20293.

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nÃo hÃ<br>Este trabalho busca compreender o processo de circulaÃÃo da obra do pintor, desenhista e gravador Raymundo BrandÃo Cela (1890-1954), desde seu perÃodo de formaÃÃo na Escola Nacional de Belas Artes (ENBA), no inicio do sÃculo XX, atà exposiÃÃes realizadas nos dias de hoje. Por meio da reproduÃÃo das obras do artista, impressas em catÃlogos de exposiÃÃo, procuro construir uma sociologia do objeto artÃstico, ou seja, o modo como determinadas convenÃÃes sÃo acionadas para classificÃ-las e como tal classificaÃÃo recebe camadas de significados. Portanto, nÃo apenas a ordem discursiva sobre as obras terà lugar de destaque, mas tambÃm o suporte no qual elas circulam: exposiÃÃes, catÃlogos, livros-catÃlogo, folhetos e jornais. No caso dos catÃlogos de exposiÃÃo, estes tÃm lugar de destaque, pois trazem à tona a maneira pela qual os mundos da arte atuam, ou seja, como fomentam um sistema de enunciados sobre exposiÃÃes, artistas e obras, a partir de uma rede de interdependÃncia presente nas instituiÃÃes da arte. Tal abordagem contribuirà para os debates â ainda iniciais â sobre a histÃria dos impressos nos mundos da arte, alÃm de levantar questÃes sobre a arte brasileira por intermÃdio das exposiÃÃes e coleÃÃes de arte.
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Cloutier, Geneviève. "An A/r/tographical Inquiry of a Silenced First Nation Ancestry, Hauntology, G(hosts) and Art(works): An Exhibition Catalogue." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31797.

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As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry as I look towards the intergenerational narratives of my grandmother, mother, and I. As I employ the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography, as I draw on works which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal g(hosts) in spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise.
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Lidman, Charlotte. "Konstes fria studie : En undersökning av förändringarna i avgångselevernas examensutställningar vid Kungliga Konsthögskolan 1962-2011." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-276865.

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The aim of the essay is to examine how the student exhibitions of the Royal University college of Fine Arts in Stockholm has changed between 1962-2011, and what these changes can depend on. The questions are: What are the changes in the choice of examination work for the students of the Royal University college of Fine Arts, and what can they depend on? Is the school adjusting their education to the surrounding art world, and in what way is that noticeable? By studying the catalogs from the exhibitions, newspaper reviews and other literature, a shorter conclusion is given concerning the art world, the study situation and the student’s choices of examination works the affected years. The works has gone from being a submission of the study fields during the year, to becoming free projects where stories about important subjects are told. Pressures on the school from students and teachers to be able to keep up with the surrounding view of art in the society that is constantly changing, together with reforms and investigation has led to these changes.
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Tréhondart, Nolwenn. "Le livre numérique enrichi : conception, modélisations de pratiques, réception." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080059.

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Comment les formes et les figures d’un catalogue d’exposition numérique ou d’un récit de fiction enrichi pour tablette, cadrées dans des pages-écrans et ancrées dans un dispositif numérique, modélisent-elles des lecteurs et des pratiques de réception ? Comment les concepteurs imaginent-ils ces modélisations de pratiques et comment celles-ci s’actualisent-elles de diverses manières dans une situation de réception précise en fonction des attentes des lecteurs ? Il n’existe pas encore de travaux sur le livre numérique enrichi confrontant les pratiques réelles ou imaginées de communautés de producteurs et de récepteurs aux pratiques modélisées par l’artefact, ses formes graphiques, ses signes alphabétiques et ses relations rhétoriques entre pages-écrans. Cette thèse retrace la genèse d’une méthodologie d’analyse socio-sémiotique, alliant en profondeur l’étude empirique des contextes de production et de réception du livre numérique enrichi avec l’analyse des stratégies sémiotiques et rhétoriques de ses interfaces. Souhaitant favoriser l’émergence d’une culture critique du design numérique, la méthodologie propose d’identifier les rapports de pouvoir qui traversent les pratiques en conception pour se loger dans la matérialité des artefacts. À travers un croisement expérimental d’approches sémiotique, sociologique et économique, nous faisons émerger un vocabulaire original des « figures de la lecture » du livre numérique enrichi. Indexé sur les pratiques des concepteurs, celui-ci met en avant le rôle des représentations, habitudes et normes sociales dans la sémiose. Il est enrichi par une étude en réception sur l’un des artefacts du corpus<br>How will an exhibition catalog or a fictional story, enhanced for digital tablets, translate the visitor’s reading habits and expectations into pages-screens? How do the e-books’ designers understand and conceive these reading practices? How will concrete readers’ expectations meet the implicit reader of the text? This thesis is based on a social semiotic methodology, deeply intertwining the empirical study of the current e-books creative and consumption practices with a methodical analysis of the semiotic and rhetorical strategies of their editorial interfaces. Empirically merging semiotic, sociological and economical research, we bring to light a new original vocabulary of “reading features” of enhanced e-books. Combining it with the designers’ practices, this vocabulary exhibits the role played by usages and social standards in semiosis. It is also enriched with a reception study on a specific artifact
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Dornis, Kurt. "Kurt Dornis - Malerei, Grafik." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-78529.

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Hilger, Andrea, Claudia Leutemann, and Mara Sailer. "Ostrale'O15: Katalog." Ostrale - Zentrum für zeitgenössische Kunst, 2015. https://slub.qucosa.de/id/qucosa%3A7451.

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Dornis, Kurt. "Kurt Dornis - Malerei, Grafik." Kurt Dornis, 2010. https://slub.qucosa.de/id/qucosa%3A1626.

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Anderson, Simon. "Re-flux action : concerning the Fluxshoe exhibition tour of 1972-73, and the subsequent attempt to catalogue the residual collection, held in the Tate Gallery Archive : including general problems of performance art history which this raised." Thesis, Royal College of Art, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600806.

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González, Vásquez Angélica. "Les écrits des curateurs : analyse depuis la théorie curatoriale et l'histoire des expositions." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080091.

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Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentes<br>This thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training
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Books on the topic "Catalogs and exhibitions"

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d'Orléans, Galerie des ventes. [Poster auction catalogs]. La Galerie, 1992.

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Petrova, Olʹha. Olʹha Petrova: Vystavky = Olha Petrova : exhibitions. Holovne upravlinni︠a︡ kulʹtury i mystet︠s︡tv Kyïvsʹkoï misʹkoï derz︠h︡avnoï administrat︠s︡iï, 2002.

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Petrova, Olʹha. Olʹha Petrova: Vystavky = Olha Petrova : exhibitions. Holovne upravlinni︠a︡ kulʹtury i mystet︠s︡tv Kyïvsʹkoï misʹkoï derz︠h︡avnoï administrat︠s︡iï, 2002.

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Exhibit catalogs of the German-speaking countries of Europe, 1958-1988: A selective bibliography. Library of Congress, for sale by the Supt. of Docs., U.S. G.P.O., 1990.

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Centre, Agnes Etherington Art. Exhibitions 1988-1989. Agnes Etherington Art Centre, 1990.

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Brown, Mimi, Mandy Chan, and Sean Wong, eds. Wong Wai Yin: Without Trying. Spring workshop, 2016.

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Parsons, Eunice. Eunice Parsons: A catalogue of the artist's work, [exhibition catalog]. Charitable Partnership Fund?, 2001.

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Matthew, Smith. Matthew Smith: An exhibition of paintings. BedeGallery, 1988.

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Rogerson, Ian. Albert Rutherston: A catalogue of the illustrated books, periodicals, pamphlets, christmas cards, pantomimes, diaries and almanacks, pattern papers, ornaments and autographed letters in the collections of the Manchester Metropolitan University Library together with an introduction. 2nd ed. Manchester Metropolitan University Library, 1993.

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Rogerson, Ian. Albert Rutherston. Manchester Polytechnic Library, 1988.

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Book chapters on the topic "Catalogs and exhibitions"

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Yaşdağ, Meltem. "Orientalist Museum Exhibitions in UK as a New Media at the Turn of the 21st Century." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch017.

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In this chapter, the author examined the orientalist themed museum exhibitions totally held in Britain after 2000 to understand the real intention behind their thematic artifact selection and their effect on people as becoming media tool. These were “Turks: A Journey of a Thousand Years, 600-1600” in 2005, “The Lure of the East: British Orientalist Painting” in 2008, and recent “Inspired by the East: How the Islamic World Influenced Western Art” in 2019, respectively. The author analyzed the criticisms in newspapers and magazines as well as curators' interviews and catalogs for the museum exhibitions organized in United Kingdom. In this way, the author also discussed the effects of the exhibition created with the media.
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Kitchen, Denis. "Comic Art in Museums: An Overview." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0003.

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This 2017 essay by cartoonist, publisher, and curator Denis Kitchen touches on many of the business and practical aspects of comic art exhibitions, as well as providing us with a first-person view of the rapid evolution of comics from early strips to today’s diverse range of award-winning graphic novels. He discusses the importance of exhibit catalogs, particularly Masters of American Comics, the increasing valuation of comic art drawings, importance of collectors, Al Capp (Li’l Abner), R. Crumb, Harvey Kurtzman, Will Eisner, underground comix, having the “eye,” and the importance of narrative. Images: Will Eisner (P’Gel), catalog covers Underground Classics and Masters of American Comics
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"Iconographies and exhibition catalogs." In Gioachino Rossini. Routledge, 2012. http://dx.doi.org/10.4324/9780203890486-7.

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Molotiu, Andrei. "Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0005.

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Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, explores the formal characteristics of comic art and the fragmentation caused by showing framed pages that were originally created for publication and separated from their indigenous context, wondering if this separation is ultimately an act of creativity or an act of violence. This chapter explains white-out, margin notations, and how the eye is drawn to different things in an image when it’s isolated on the wall. In this 2006 essay, he focuses on the art of Jack Kirby, Ivan Brunetti’s Schizo 4, Metamorpho, Joe Palooka, Archie, Josie, Tom and Jerry, and "Sooper Hippie.” In this 2018 update to his 2006 essay, Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, returns to his analysis of the formal characteristics of original comic art as seen in exhibitions, exhibit catalogs, and high-end artist’s editions that faithfully reproduce full size comics originals, such as the IDW Artist’s edition of David Mazzucchelli’s and Frank Miller’s Daredevil: Born Again (images). Molotiu briefly discusses the proliferation of comic art exhibits and contrasts the experience of reading a full issue of Jack Kirby’s Kamandi on the wall at the Comic Book Apocalypse show at CSU Northridge and in print in an artist’s edition.
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"Appendix—Exhibition Catalogue." In Puzzling Out the Past. BRILL, 2012. http://dx.doi.org/10.1163/9789004227163_021.

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"The Exhibition Catalogue." In Refresh the Book. BRILL, 2021. http://dx.doi.org/10.1163/9789004443556_024.

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"Catalogs." In Catalog of Catalogs: A Bibliography of Temporary Exhibition Catalogs Since 1876 that Contain Items of Judaica. BRILL, 2019. http://dx.doi.org/10.1163/9789004406988_002.

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"Catalogue of the Exhibition." In Dialogues. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9781978814950-010.

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"Catalogue of the Exhibition." In Byzantine Women and Their World. Harvard Art Museums, 2003. http://dx.doi.org/10.37862/aaeportal.00029.010.

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"Catalogue of the Exhibition." In Hero, Hawk, and Open Hand: American Indian Art of the Ancient Midwest and South. Art Institute of Chicago, 2004. http://dx.doi.org/10.37862/aaeportal.00064.025.

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Conference papers on the topic "Catalogs and exhibitions"

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Mihaylov, Pelo. "TOURIST RESOURCES FOR BUSINESS TOURISM IN SOFIA AND PLOVDIV." In TOURISM AND CONNECTIVITY 2020. University publishing house "Science and Economics", University of Economics - Varna, 2020. http://dx.doi.org/10.36997/tc2020.172.

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The article presents the resources for business tourism in Sofiya and Plovdiv. These events are described in the "Catalogue of fairs and exhibitions in Bulgaria". In Sofia, such events are held at the Inter Expo Center, the Central Department Store, the National Palace of Culture, the Universiade Hall and Sofia Tech Park, while in Plovdiv they are organized only at the International Fair. The article uses the terms exhibition day, when a fair or exhibition is held and calendar day when one or more exhibitions are held in the city. Intensity interval is the ratio between the exhibition days and the calendar days by rounding to the second decimal place and it can be explained as the number of exhibitions that residents (visitors, tourists) of (in) a city can visit in one day.
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Prince, P. "A brief history of SIGGRAPH art exhibitions." In SIGGRAPH 89 Art show catalog - Computer art in context. ACM Press, 1989. http://dx.doi.org/10.1145/73877.73878.

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Zheng, Xinquan, Yuan Liu, Yongjie Huang, and Philippe Enkababian. "Optimizing Completion Parameters via a Synthetic Catalog." In Abu Dhabi International Petroleum Exhibition & Conference. Society of Petroleum Engineers, 2019. http://dx.doi.org/10.2118/197848-ms.

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Jafarizadeh, B., and R. B. Bratvold. "An Uncertainty Catalog for Oil and Gas Decision Making." In 1st International Petroleum Conference and Exhibition Shiraz 2009. EAGE Publications BV, 2009. http://dx.doi.org/10.3997/2214-4609.20145978.

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Moeck, I. "Recognizing Geothermal Resources as Unconventionals by the New Geothermal Play Type Catalog." In 76th EAGE Conference and Exhibition 2014. EAGE Publications BV, 2014. http://dx.doi.org/10.3997/2214-4609.20140823.

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Alsop, D. B., C. Pentland, W. Hamed, et al. "The Gharif Development Catalogue: From Geoscience to Development Decisions." In Abu Dhabi International Petroleum Exhibition & Conference. Society of Petroleum Engineers, 2016. http://dx.doi.org/10.2118/183499-ms.

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Schlabbach, J. "Catalogue of harmonic voltages in power systems." In 20th International Conference and Exhibition on Electricity Distribution (CIRED 2009). IET, 2009. http://dx.doi.org/10.1049/cp.2009.0636.

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Reynen, A., S. Karimi, D. Baturan, and B. Witten. "Performance Review of a Real-Time Machine Learning Based Seismic Catalog Generator in Production." In 81st EAGE Conference and Exhibition 2019. European Association of Geoscientists & Engineers, 2019. http://dx.doi.org/10.3997/2214-4609.201901241.

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Corbett, P. W. M., Y. Ellabad, J. I. K. Egbert, and S. Zheng. "The Geochoke Well Test Response in a Catalogue of Systematic Geotype Curves (SPE93992)." In 67th EAGE Conference & Exhibition. European Association of Geoscientists & Engineers, 2005. http://dx.doi.org/10.3997/2214-4609-pdb.1.c004.

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Walsh, J. L., and A. C. Gringarten. "Catalogue of Well Test Responses in a Fluvial Reservoir System." In SPE Europec featured at 78th EAGE Conference and Exhibition. Society of Petroleum Engineers, 2016. http://dx.doi.org/10.2118/180181-ms.

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