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Relevant bibliographies by topics / Curatorial and Related Studies

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Journal articles

Academic literature on the topic 'Curatorial and Related Studies'

Author: Grafiati

Published: 10 January 2023

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Journal articles on the topic "Curatorial and Related Studies"

1

Simon, Roger I. "Idolatry and the Civil Covenant of Photography: On the Practice of Exhibiting Images of Suffering, Degradation, and Death." IMAGES 4, no. 1 (2010): 46–56. http://dx.doi.org/10.1163/187180010x547639.

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AbstractExhibiting perpetrator photographs of suffering and death presents a series of curatorial problems for museums and galleries. Unlike photojournalist images taken to inform a social conscience, the initial creation and circulation of such photographs have historically been implicated in the violence they depict. Beyond skepticism as to photography’s capacity to arouse a moral impulse, exhibitions of perpetrator photographs have been criticized for promoting voyeurism and extending suffering through the reiteration of images of human degradation. I consider how a problem central to Jewis

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2

Iuga, Anamaria. "“Coming into the World: From Spirits to the Spirit”. The First Childhood Museum in Romania." Folklore: Electronic Journal of Folklore 80 (December 2020): 215–30. http://dx.doi.org/10.7592/fejf2020.80.iuga.

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The present paper follows the National Museum of the Romanian Peasant (Romania) in its endeavour to display the Virtual Museum of Childhood. The context prior to exhibiting material and intangible heritage related to childhood is analysed, and the curatorial challenges of this project are mentioned. This article also refers to the museum’s activities dedicated to childbirth (exhibitions, cultural activities), from 1990 to the present day, but it especially focuses on the first exhibition of the Museum of Childhood, “Coming into the world: From spirits to the Spirit”, dedicated to birth.

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Kannike, Anu, and Ester Bardone. "Kitchen as a material and lived space." Ethnologia Fennica 44 (December 31, 2017): 5–22. http://dx.doi.org/10.23991/ef.v44i0.59702.

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Kitchen has been one of the most intensively lived spaces at home, yet, its furnishings have often vanished, especially in the 20th-21st centuries. Cooking tools and utensils have been part of museum displays dedicated to historical food culture but the complex materiality of the kitchen related to multiple practices going beyond food production and consumption has rarely attracted curatorial interest. This article examines comparatively how Estonian museums represent and interpret the materiality of kitchens and kitchen culture. Relying on ethnographic sources the analysis considers the aspec

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Opp, James. "Exhibiting the sacred: Material objects, religious history, and the Canadian Museum of Civilization." Studies in Religion/Sciences Religieuses 30, no. 3-4 (2001): 339–52. http://dx.doi.org/10.1177/000842980103000306.

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To commemorate the Christian bimillennium, the Canadian Museum of Civilization opened an exhibit entitled Under the Sign of the Cross: Creative Expressions of Christianity in Canada. Although one of the goals of the display was to illustrate the "impact" of Christianity on Canada, the exhibit was noticeably lacking historical context. This article explores the curatorial principles that guided the planning and execution of the exhibit. It argues that the lack of attention to an historical narrative was directly related to assumptions underlying the collection of material objects of religion an

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Aldrich, Elizabeth, Norton Owen, and Libby Smigel. "Using “Fair Use” to Free Archival Resources: Dance Heritage Coalition's Project to Increase Access to Dance Collections." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 8–14. http://dx.doi.org/10.1017/s2049125500000443.

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This interactive roundtable presented the findings of the Dance Heritage Coalition's (DHC) “fair use” project, whose outcomes will make dance-related materials at libraries, museums, and archives more readily accessible to researchers, students, and the public. Strict copyright observance affects the breadth of materials available for scholarly study, public programming, and classroom use. Thus, copyrights adversely skew the dialogue in historical and cultural studies of dance. The panelists from the archival and scholarly fields will illustrate the copyright problem and the “fair use” solutio

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Gerschultz, Jessica. "Mutable Form and Materiality: Toward a Critical History of New Tapestry Networks." ARTMargins 5, no. 1 (2016): 3–29. http://dx.doi.org/10.1162/artm_a_00130.

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This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry's deeper incong

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7

Harvey, Lawrence. "Improving models for urban soundscape systems." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 3 (2013): 113–37. http://dx.doi.org/10.7146/se.v3i3.18444.

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Large-scale urban soundscape systems offer novel environments for electroacoustic composers, sound artists and sound designers to extend their practice beyond concert halls, art galleries and screen-based digital media. One such system with 156 loudspeakers was installed in 1991 on the Southgate Arts and Leisure Precinct in central Melbourne. Over the next 15 years another three large multichannel soundscape systems were installed on other sites close to the first. A fifth system was established for a single work of art in 2006. Despite this private and public investment in sound art estimated

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8

Message, Kylie. "Museums and the Citizenship of Hate." Museum Worlds 10, no. 1 (2022): 1–13. http://dx.doi.org/10.3167/armw.2022.100102.

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This article asks if and how national museums today, which have in recent decades adopted a remit for social rights activism, have an obligation to engage with a broad spectrum of political participation and expression, including contemporary forms of far-right extremism and white grievance politics. How can museums engage with and respond meaningfully to the upsurge in acts of violence perpetrated in the name of structural, collective, and personal ideologies based on hate, xenophobia, and racism? Responding to these questions requires museums to move beyond acts of symbolic national commemor

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9

Kruglikova, E. V., E. A. Chanchaeva, and R. I. Aizman. "The structure of nutrition of Russian students as a risk factor for the development of nutritional diseases." Acta Biomedica Scientifica 6, no. 5 (2021): 68–80. http://dx.doi.org/10.29413/abs.2021-6.5.7.

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The paper analyzes the literature data on the peculiarities of nutrition of students studying in higher educational institutions of various regions of Russia, and the risks of developing food-related diseases. They are largely associated with the adaptation of students to study at a university, the lack of self-organization skills and a lack of knowledge in matters of rational nutrition. The actual nutrition of students, on the one hand, is characterized by a lack of macronutrients and micronutrients intake, on the other hand, by excessive consumption of substances that contribute to the devel

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Thomka, J. R. "Plant or animal, terrestrial or marine? Thoughts on specimen curation in university palaeontological teaching collections based on an example from Ohio, USA." Geological Curator 10, no. 9 (2018): 517–21. http://dx.doi.org/10.55468/gc304.

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Palaeontological teaching collections at universities are critical to accurately con- veying aspects of palaeobiology and palaeoecology to students who, in turn, may eventually disseminate that information to the general public via a variety of museum-related pathways. Unfortunately, curatorial rigor is often less strongly rein- forced in university teaching collections than in museum collections, leading to unlabeled or mislabeled specimens, or specimens grouped into collections with an excessive amount of missing data. Herein I describe one illustrative example of confounding specimen labeli

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