Relevant bibliographies by topics / Contemporary art exhibition

Contents

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

Academic literature on the topic 'Contemporary art exhibition'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Contemporary art exhibition.'

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.

Journal articles on the topic "Contemporary art exhibition"

1

Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.

Full text
Abstract:
Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.
APA, Harvard, Vancouver, ISO, and other styles
2

Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.

Full text
Abstract:
Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations
APA, Harvard, Vancouver, ISO, and other styles
3

KARAKAŞ TABAK, Dilara. "EXHIBITING EVERYTHING: A REVIEW ON DAMIEN HIRST’S “REAL” EXHIBITION." ATLAS JOURNAL 7, no. 44 (2021): 2178–94. http://dx.doi.org/10.31568/atlas.763.

Full text
Abstract:
In the development process of art, it is seen that many different artistic styles follow each other. Each movement has been linked to each other in a chain and the way of expression of the artists has been directly affected by the conditions of the period and the cultural background. Contemporary art is undoubtedly completely different from any movement that comes before it. The sharpest point of the break is that the perception of beauty has changed. As a result of this change, a new type of expression that is often difficult to understand, questioning, related to concepts and contexts has emerged. With the transformative power of contemporary art, every object can gain the ability to represent and become a work of art. In this respect, making iconographic analysis in order to better understand the nature of contemporary art requires evaluating the work together with the conditions of the period. In this study, Damien Hirst's new exhibition named "Fact Paintings and Fact Sculptures" has been examined together with the subject of the works, the explicit or hidden meanings of the objects, the past exhibitions of the artist and the similarities of his works with his past works, and the artistic conditions of the period. As a result of the examination, it is seen that the exhibition clearly reflects Hirst's artistic style.
APA, Harvard, Vancouver, ISO, and other styles
4

KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.

Full text
Abstract:
Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
APA, Harvard, Vancouver, ISO, and other styles
5

Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.

Full text
Abstract:
Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
APA, Harvard, Vancouver, ISO, and other styles
6

Mazurkiewicz, Michał. "Sport w sztuce. Sport in Art. 2012. Eds. M. KozioŁ, D. Piekarska, M. A. Potocka." Respectus Philologicus 24, no. 29 (2013): 237–39. http://dx.doi.org/10.15388/respectus.2013.24.29.22.

Full text
Abstract:
Sport w sztuce. Sport in Art. M. Kozioł, D. Piekarska, M. A. Potocka, eds. 2012. Kraków: Museum of Contemporary Art in Kraków. 200 pp. ISBN 978-83-62435-64-7.
 Sport in Art, published by the Museum of Contemporary Art in Kraków, presents the most recent contemporary art, both Polish and international. To be more precise, the Museum focuses on exhibiting contemporary art of the last two decades. It was opened quite recently—in 2011.
 Sport in Art was published to accompany an exhibition which took place between May and September 2012 in the Museum. It presents over forty artists and their unique perspectives and interpretations of sport. As Maria Anna Potocka stated, “The range and diversity of the artistic problems that arise under the influence of sporting inspiration are—even within the narrow scope of this exhibition—truly impressive.”
APA, Harvard, Vancouver, ISO, and other styles
7

Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

Full text
Abstract:
Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
APA, Harvard, Vancouver, ISO, and other styles
8

Waryanti, Dessy Rachma. "KLASIFIKASI PRIORITAS KETERTARIKAN PERILAKU PENGUNJUNG PAMERAN TERHADAP KARYA SENI RUPA KONTEMPORER." INVENSI 1, no. 2 (2017): 1–12. http://dx.doi.org/10.24821/invensi.v1i2.1611.

Full text
Abstract:
Many elements are presented to visitors during an exhibition of contemporary art. These elements include the overaching concept of the exhibit (Ko), issues raised in the exhibition (Is), the name of the artist whose popularity attracts patrons (Na), and visual forms of the art itself (Vi). Using these four elements I compiled questions and interviewed patrons with various backgrounds in the arts. The goal was to find out these patron’s interest priorities; in other words, which aspects of the exhibit were of most interest to them as an observer. Previous literature on visitor behavior and social response at contemporary art exhibitions has been used as a base for this research. This study aims to highlight the different interest priorities as a visitor behaviour and audiens reception due to exhibition. I My respondences in this research is the exhibition visitors who had a background in art, but not necessarily in the discipline being exhibited. The results of this study will serve to determine the interest of art exhibition patrons, so that artists and curators can be made more aware of the gaps that exist between exhibit creation and viewer interest, and how those gaps can be better closed.
APA, Harvard, Vancouver, ISO, and other styles
9

Biryukova, Marina V. "Modern and Contemporary Art in the Russian Museum Context." Muzeológia a kultúrne dedičstvo 8, no. 3 (2020): 63–74. http://dx.doi.org/10.46284/mkd.2020.8.3.3.

Full text
Abstract:
The article considers contemporary and modern art in Russia as reflected in museum curatorial projects. The concepts of large-scale museum exhibitions are based on certain categories that correspond to following qualities: the connection with the centuries-old tradition, myth-making, ludic aspects and internationality – openness to the perception of other cultures. The article analyses exhibition projects in the beginning of the twentieth century, in which contemporary art is demonstrated in the space of tradition, the media context, the everyday context and the context of cultural myths and symbols. The problem of determination of the aesthetic value of contemporary art is stressed in the space of the museum, and represented artworks receive a bigger expressiveness in the neighborhood of works of traditional art. Exhibition curators effectively use aesthetic and formal contrasts; sometimes classical artworks themselves suggest new ways of understanding meanings, hypothetically included in contemporary art – as seen in the projects at the Hermitage, the State Russian Museum and the State Tretyakov Gallery, where curators can unite or contrast tradition and modernity.
APA, Harvard, Vancouver, ISO, and other styles
10

Lønstrup, Ansa. "Facing sound – voicing art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (2013): 153–71. http://dx.doi.org/10.7146/se.v3i1-2.15646.

Full text
Abstract:
This article is based on examples of contemporary audiovisual art with a primary focus on the Tony Oursler solo exhibition Face to Face in Aarhus Art Museum ARoS, 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audience’s interactions with the exhibition and the artwork in the museum space, and short analyses of individual works of art based on reception aesthetics, phenomenology, and newer writings on sound, voice and listening. The focus of the investigation is the quality and possible perspectives of the interaction with audiovisual works of art, articulating and sounding out their own ‘voices’. This methodological combination has been chosen to transgress the dichotomy between the aesthetic or hermeneutic artwork ‘text’ analysis and cultural theory, which focuses on the context understood as the framing, the cultural acts and agendas around the aesthetic ‘text’. The article will include experiences with another exhibition, David Lynch: The Air is on Fire (Fondation Cartier pour l’art contemporain, Paris, 2007 and Kunstforeningen Gl. Strand, Copenhagen, 2010- 2011). The two exhibitions are fundamentally different in their integration of sound. My field of interest concerns the exploration of sound as artistic material in audiovisual combinations and those audiovisual works of art that might cause a change in the participatory strategy of the art museum towards the audience.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Contemporary art exhibition"

1

Chan, King Lun Kisslan. "IGolf : contemporary sculptures exhibition 2009 /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Parcollet, Remi. "La photographie de vue d'exposition." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040222.

Full text
Abstract:
L'Exposition a fait l'objet de nombreuses analyses et pourtant son rapport à la photographie est rarement évoqué. Considérée comme un procédé, elle développe de nombreux liens avec celui de la Photographie. Toutes les deux consistent à "montrer". Au-delà de leurs analogies, la Photographie et l'Exposition sont interdépendantes. L'étude de l'Exposition passe désormais inévitablement par la photographie. Les artistes et les commissaires utilisent aujourd'hui la photographie non pas comme une finalité mais comme un outil permettant de penser la mise en espace. Une photographie de vue d'exposition n'est jamais une reproduction, elle se détermine en fonction du temps et de l'espace. Elle est, avant, pendant et après l'exposition, à la fois un indicateur et un vérificateur. Les indices qu'elle fournit constituent des éléments de l'analyse critique de l'exposition. La mise en photographie dont l'exposition a toujours fait l'objet permet les "comparaisons", et "vérifications" qui influent, par voie de conséquence, sur sa conception.Car l’acte d’exposer, régulièrement remis en question, est en perpétuelle évolution. Parce qu'il s'est autonomisé, il est toujours plus difficile de l'appréhender. S’attacher à ses ambiguïtés, notamment celle de son "devenir-image", permet d'en mesurer toute la complexité. Ce qui ouvre certainement la voie à de nouvelles stratégies d’étude qui permettront progressivement une compréhension plus complète et mieux opératoire de son influence certainement décisive sur l’évolution à venir de l’art contemporain<br>The Exhibition as format has been the object of numerous analyses and nevertheless its relationship with photography is rarely evoked. Considered as a process, it develops numerous links with the process of Photography. Both consist in "showing". Beyond their analogies, Photography and Exhibition are interdependent. The study of Exhibitions is now inevitably related to photography. Today artists and curators use photography not as an end but as a tool allowing them to think about space.An exhibition view is a photograph but it is never a reproduction, it is determined according to time and space. It indicates and verifies at the same time, before, during and after the exhibition. The indications it supplies establish elements for the critical analysis of the exhibition. The process of photography, to which exhibitions have always been submitted allows "comparisons", and "verifications" which influence, consequently, its conception.Because the act of exhibiting, regularly questioned, is in perpetual evolution. Because it is autonomous, it is always more difficult to comprehend. Focusing on its ambiguities, in particular its capacity to become an image, allows to measure its complexity. This probably opens the way to new strategies of study which will gradually allow a more complete and effective understanding of its certainly decisive influence on the future evolution of contemporary art
APA, Harvard, Vancouver, ISO, and other styles
3

Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Shanks, Sarah M. "The Memory Yields: B.F.A. Thesis Exhibition." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1401583720.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Wawzonek, Donna. "Constructions of home, the interrelationship between gendered exhibition sites and contemporary Canadian installation art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0004/MQ32384.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Wawzonek, Donna (Donna Lee) Carleton University Dissertation Art History. "Constructions of home; the interrelationship between gendered exhibition sites and contemporary Canadian installation art." Ottawa, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Hyun, Jae Min. "A search for a new paradigm in Korean contemporary art : a proposal for an exhibition 'Beyond surface culture: the new grammar of Korean contemporary art'." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539878.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Torres, Anthony. "Exhibition reviews of contemporary Latino and Chicano art : a critical discourse of aesthetic and social issues." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1283274987.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Bianchi, Pamela. "Espaces de l'oeuvre, espaces de l'exposition." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080026.

Full text
Abstract:
Réfléchir sur le terme espace signifie, d’abord, être conscient des multiples usages sémantiques et des diversités linguistiques dont il est porteur. Son rapport avec les concepts d’œuvre et d’exposition a été modifié au fur et à mesure des changements statutaires respectifs. En ce sens, cette thèse vise à interroger le statut de l’espace d’exposition face aux propositions artistiques contemporaines. Elle se développe autour des concepts d’espace et de lieu de monstration dans leur relation avec les notions principales d’architecture muséale, d’œuvre et d’exposition, à partir des années 1960 et jusqu’à nos jours. Grâce à une étude évolutive et multidisciplinaire, et sans oublier la généalogie des concepts principaux, cette thèse se nourrit de cas concrets et contemporains pour offrir un panorama des espaces d’exposition, singuliers et alternatifs. Il s’agit d’un travail d’analyse qui a décomposé, étudié et restructuré la notion d’espace d’exposition à partir de ses paramètres fondamentaux et de périodes spécifiques ; cela a permis d’insister sur la présence d’un processus évolutif en chaine (sorte de syllogisme) où, d’abord, l’œuvre se fait exposition, ensuite, l’espace se fait œuvre et, enfin, l’espace se fait exposition. Ainsi, derrière un espace façonnable qui évolue par rapport à l’art qu’il accueille, apparait aussi un espace multifonctionnel (un « hyperespace ») qui réclame un art spécifique et de nouvelles exigences expographiques<br>First, reflect on the space term means be aware of its multiple semantic uses and of its linguistic diversity. His relationship with the concept of artwork and of exhibition has changed in relation to the respective statutory changes. In this sense, this thesis aims to examine the status of the exhibition space in relation to contemporary artistic proposals. In particular, this thesis is developed around the concepts of Space and Place of the exhibition, in their relationship with the main notions of museum architecture, artwork and exhibition, since 1960 until today. With an evolutionary and multidisciplinary study, and not forgetting the genealogy of main concepts, this thesis is also enriched with concrete and contemporary cases offering a particular view on the exhibition spaces, unique and alternative. It is an analysis that tried to decompose, to study and restructure the concept of exhibition space, from its basic parameters, and in relation to specific historical periods. This allowed to insist on the presence of an evolutionary process (type of syllogism), for which, in the first place, the artwork becomes an exhibition, secondly, the space becomes an artwork and, finally, the space becomes an exhibition. Thus, behind a modular space that evolves in relation to the artwork that contains, it appears also a multifunctional space (a "hyperspace") that claims a specific art and new display requirements
APA, Harvard, Vancouver, ISO, and other styles
10

Chawaga, Mary. "The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1066.

Full text
Abstract:
Museums are culturally constructed as places dedicated to tastemaking, preservation, historical record, and curation. Yet the contemporary isn’t yet absorbed by history, so as museums incorporate contemporary art these commonly accepted functions are disrupted. Through case studies, this thesis examines the successes and failures of three New York museums (MoMA, Dia:Beacon and New Museum) as they grapple with the challenging, perhaps irresolvable, tension between the contemporary and the very idea of the museum.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Contemporary art exhibition"

1

Jay, Pather, Jamal Ashraf, Africa Centre (Stellenbosch, South Africa), Cape Town City Hall, MuseuMAfricA (Johannesburg South Africa), and Durban Art Gallery, eds. Spier Contemporary, 2010: Exhibition. Africa Centre, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Spier, Contemporary (Exhibition) (2007-2008 Stellenbosch South Africa etc ). Spier Contemporary, 2007: Exhibition & awards. Africa Centre, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ned, Rifkin, and Corcoran Gallery of Art, eds. 40 biennial exhibition of contemporary American painting. Corcoran Gallery of Art, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Bangladesh), Gallery Chitrak (Dhaka. Contemporary art exhibition: Eminent artists of Bangladesh. Gallery Chitrak, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Balai Seni Lukis Negara (Malaysia). Gema: Resonance : a Malaysian exhibition of contemporary art. National Art Gallery, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

(Noida, India) Kiran Nadar Museum of Art. Time unfolded: An exhibition of modern & contemporary art. Kiran Nadar Museum of Art, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Harvest 2004 New Delhi, India). Harvest 2004: An exhibition of Indian contemporary art, 2004 : art & poetry. Arushi Arts, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Billeter, Dr Erika, and Pierre-André Lienhard, eds. Tokyo Biennal '88: The 17th International Art Exhibition, Japan; The Exhibition of Contemporary Swiss Art. Mainichi Newspapers, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Goedhuis, Michael, ed. China without borders : an exhibition of Chinese contemporary art. Goedhuis Contemporary, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bacardi Limited Biennial Exhibition of Contemporary Bermuda Art (8th 2008 Hamilton, Bermuda Islands). Bacardi Limited Biennial 2008 Exhibition of Contemporary Bermuda Art. Bermuda National Gallery, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Contemporary art exhibition"

1

Wang, Meiqin. "Art Criticism, Exhibition, and Citizen Politics." In Socially Engaged Art in Contemporary China. Routledge, 2019. http://dx.doi.org/10.4324/9780429457074-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Haag, Oliver. "Post-colonial Narratives of Australian Indigeneity in Austria: The Essl Exhibition on Contemporary Indigenous Australian Art." In German-Australian Encounters and Cultural Transfers. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6599-6_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kullmann, Clotilde. "Street Art Events and Their Impact on Urban Redevelopment. Case Study of Paris 13 Tower Exhibition in the Paris Rive Gauche Mixed Development Zone." In The Impact of Artists on Contemporary Urban Development in Europe. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53217-2_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"INSTALLATION AND EXHIBITION." In Inclusive Curating in Contemporary Art. Arc Humanities Press, 2020. http://dx.doi.org/10.2307/j.ctv15d7zjc.11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

"Chapter 1 – Architectures of Exhibition." In Exhibiting Cinema in Contemporary Art. Amsterdam University Press, 2013. http://dx.doi.org/10.1515/9789048517763-003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"Chapter 5: Installation and Exhibition." In Inclusive Curating in Contemporary Art. ARC, Amsterdam University Press, 2020. http://dx.doi.org/10.1515/9781641892650-009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"On the canon of exhibition history." In Re-envisioning the Contemporary Art Canon. Routledge, 2016. http://dx.doi.org/10.4324/9781315639772-20.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Chateau, Dominique. "Art, Otherwise Than Art." In Post-cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463727235_ch14.

Full text
Abstract:
Dominique Chateau posits that post-art can be characterized by the formula: art, otherwise than art. It means that in the institutional context presently governing art, the artworks or what serves as such, including objects or acts claiming non-art, are explicitly exhibited as art while different kinds of physical or mental attitudes are allowed toward them that have nothing to do with art in the first place. It is in this art, otherwise than art context that cinema and contemporary art are mutually challenging, as can be seen in the meeting of cinema with the dispositifs of exhibition spaces; the intrusion of cinema into art or post-art places. More generally, this possibility opens news paths for creation: new filmic form, changes in the creators’ status, and the advent of exhibitions of a new kind.
APA, Harvard, Vancouver, ISO, and other styles
9

Nannicelli, Ted. "Animals in Contemporary Art." In Artistic Creation and Ethical Criticism. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197507247.003.0005.

Full text
Abstract:
With reference to a number of contemporary cases, such as that surrounding the Guggenheim’s Art and China after 1989: Theater of the World exhibition, this chapter argues that some important controversies about the ethics of art can be explained in terms of a disconnect between people who tacitly adopt the perspectivist (or another interpretation-oriented) approach to ethical criticism and people who tacitly adopt a production-oriented approach to ethical criticism. The chapter argues that perspectivism tends to be favored not only in philosophical aesthetics, but also in art criticism and in many art world institutions. In contrast, non-specialists tend to tacitly adopt the production-oriented approach. In the case of the use of animals in contemporary art, current controversies are further explained by the fact that, given some fairly uncontroversial premises about the moral respect that we owe to non-human animals, people who evaluate such work from a production-oriented approach are likely to find much that is prima facie ethically blameworthy. Moreover, they are rationally warranted in doing so.
APA, Harvard, Vancouver, ISO, and other styles
10

Tali, Margaret. "Absencing and Presencing in Exhibition Narratives." In Absence and Difficult Knowledge in Contemporary Art Museums. Routledge, 2017. http://dx.doi.org/10.4324/9781315114118-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Contemporary art exhibition"

1

Long, Zhengyao. "Thoughts on the “Exhibition Hall Effect” of Contemporary Calligraphy Exhibition." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.035.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Li, Zhaoxia. "The Historical Context of National Art Exhibition." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

Full text
Abstract:
This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
APA, Harvard, Vancouver, ISO, and other styles
4

Harbie, Putri R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art In a Contemporary Art Exhibition (Case Study on ARTJOG)." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

HARBIE, PUTRI R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art In a Contemporary Art Exhibition (Case Study on ARTJOG)." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

Full text
Abstract:
This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
APA, Harvard, Vancouver, ISO, and other styles
7

Wee, C. J. "Coordinating Contemporary Asia in Art Exhibitions." In International Conference on Aesthetics and the Sciences of Art. Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338678.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Yuan, Xinping, and Jingru Liu. "Analysis on Interior Effect Creation of Natural Light and Shadow Taking Exhibition Hall as an Example." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.113.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Du, Yifeng. "Exploration on the School-enterprise Collaboration Model in Design Specialty from the Perspective of Employment Taking the Exhibition Design Specialty as an Example." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.221.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Xie, Qiong. "Research on Interactive Display Design Based on "Educational" Demand Taking the "Kizil Cave — Temple Complex" Exhibition Area of the Aksu Museum as an Example." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.108.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Contemporary art exhibition' for particular source types:
Journal articles Dissertations / Theses Books
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!

To the bibliography