Academic literature on the topic 'Denver Art Museum – Exhibitions'
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Journal articles on the topic "Denver Art Museum – Exhibitions"
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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.
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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm
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Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.
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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.
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Moomaw, Kate. "Collecting participatory art at the Denver Art Museum." Studies in Conservation 61, sup2 (2016): 130–36. http://dx.doi.org/10.1080/00393630.2016.1190904.
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Akhmetova, Dina I. "Kazan art exhibitions of the 19th – 20th centuries as sources of formation of the city’s museum collections." Historical Ethnology 5, no. 3 (2020): 373–87. http://dx.doi.org/10.22378/he.2020-5-3.373-387.
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The creation of an art school in 1895 under the patronage of the Academy of Arts is an important milestone in the life of the Kazan Province center. As a result, Kazan combines various vectors of cultural activities: getting an art education, organizing exhibitions, and uniting the local creative intelligentsia. For the first time, rare but already regular exhibitions are held in the city. Initially, these were exhibitions of the academic school masters of the capital. Later, united by the school, Kazan artists felt up to the task of organizing their own exhibitions. The result of these events is the formation of the school’s museum, as well as the development of the city’s private collections. The City Museum also acquired works of art for its own funds. Artist A. Kandaurov laid the foundation of the school museum and presented two of his paintings in 1896. Afterwards it became a tradition – artists donated their works to the school museum. As a result, in 1902, the school petitioned the Academy “to create a museum and a gallery in the new school building using the stock of the Academy of Arts”. Many of the works purchased at such exhibitions were included in the collection of the Republic of Tatarstan State Museum of Fine Arts. The organization of art exhibitions made Kazan a part of the all-Russian cultural space of those years.
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Hardin, Kris L. "Inaugural Exhibitions: National Museum of African Art." African Arts 21, no. 3 (1988): 72. http://dx.doi.org/10.2307/3336448.
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Jaquet, Daniel. "The art of fighting under glass." Acta Periodica Duellatorum 6, no. 1 (2018): 47–62. http://dx.doi.org/10.36950/apd-2018-002.
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A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were displayed from the perspective of the curators, based on a review of the exhibition catalogues.
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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.
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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
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Hill, Shannen. "Daniel Yohannes Family African Gallery: Denver Art museum." African Arts 40, no. 2 (2007): 88–91. http://dx.doi.org/10.1162/afar.2007.40.2.88.
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Melnychuk, Halyna. "Modern forms of handicraftsmanship preservation and promotion (taking Kosiv Museum of Hutsul Folk Art and Life as an example)." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, no. 50 (2019): 64–69. http://dx.doi.org/10.31861/hj2019.50.64-69.
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The author of the article expounds modalities of Kosiv Museum of Hutsul Folk Art and Life activities, cultural and educational, in particular. It is found out that the regional museum centres carry out an important mission to collect, house and learn about the handmade artefacts. The factual material is analysed, which indicates that the museum is highly ranked in terms of preservation of the traditional arts and crafts of Hutsul region. The museum staff has developed a certain concept, the goal of which is to coordinate activities of both the artists and educational institutions, in order to popularize the historical and cultural legacy of Hutsul region. The museum staff is the initiator and co-organizer of various exhibitions, fairs, master classes and displays of folk arts and crafts.
 Young people are involved in practical classes on traditional crafts during art events with folk artisans and interactive games. Interactive digital media, tours, lectures, theatre performances, folklore and musical performances are used in the museum expositions to achieve the educational goal. Displays of works by folk and amateur masters, artists of professional decorative and applied art are at the forefront of the museum activities. The main place, among various events, is occupied by exhibitions dedicated to the disappearing Hutsul traditions, clothing, in particular. The innovative elements, which are manifested in the support of the contemporary art and implementation of the original art projects, have become traditional. The museum holds unique exhibitions, in which all exhibits are accessible to people with severe visual impairments.
 The material analysed proves that the museum activities are an important part of the life of Hutsul region in the field of culture and art. The museum vernissages help increase the cultural level of the audience and their approximation for understanding of how important it is to preserve the material and spiritual legacy of Ukrainian people.
 Keywords. Kosiv Museum of Hutsul Folk Art and Life, arts and crafts, artisans, artists, preservation, popularization, handicraftsmanship, exhibitions, material and spiritual legacy.
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Weibel, Peter. "Music, Machines, Media and the Museum." Organised Sound 14, no. 3 (2009): 231–35. http://dx.doi.org/10.1017/s1355771809990197.
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The ZKM|Center for Art and Media in Karlsruhe is called Center because it is a museum and more than a museum. As a museum it has a classical museological function as a support and distribution system: Collection and archive, exhibitions and events. But in addition to it, the ZKM has two institutes for research, development and production (Institute for Music and Acoustics and Institute for Visual Media). The ZKM is a center for all media and for all art forms created in the 20th century. The machine based moving image has shifted the image from the classical position as space based art to time based art. Therefore the ZKM is the only museum of the world that integrated the mother of time based art, namely music, in his permanent collection and in its temporary exhibitions. This article describes the logic in the evolution of modern art, which is followed by the mission statement of the ZKM.
Dissertations / Theses on the topic "Denver Art Museum – Exhibitions"
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Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.
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Clinton, Sarah. "Denver Art Museum: Creating Interactive and Educational Experiences in the Museum Setting." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/151.
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The following report documents my internship at the Denver Art Museum from June to August 2013 in Denver, Colorado. This report is a result of my work with the multiple divisions in the Education Department. I worked in depth with a variety of programs, which facilitated and encouraged new and exciting methods of education to a wide range of audiences. This report will be an in depth examination of the effectiveness of interactive educational programing by first discussing the goals and purposes of each one. There will then be an explanation of the intern’s responsibilities and observations within the department. This will include the internal strengths and weakness of the education department as well as the external opportunities and threats. The report will conclude with best practices observed, recommendations for improvement and final thoughts regarding the Denver Art Museum’s education department.
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Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.
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Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.
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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Thorne, Jessica Louise. "The choreography of display : experiential exhibitions in the context of museum practice and theory." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/22063.
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Bibliography: pages 118-123.<br>In this project I examine curatorial processes and the experience of constructing and viewing museum exhibitions. Specifically I have been interested in the way in which certain exhibits facilitate powerful emotional responses from their viewers. I suggest that the curators of these kinds of exhibitions employ strategies which not only choreograph the displays but the viewers' bodies themselves as they move through them. As a case study of an experiential exhibition I focus on the District Six Museum where I have been part of its curatorial team since 1999. The work of curatorship that I have done at the Museum during the period of my registration for this degree constitutes part of this submission.
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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
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Orozco, Gabrielle Alexandra. "CARAVAGGIO: PERCEPTION SHIFTS THROUGH SELECTED TWENTIETH– and TWENTY-FIRST CENTURY MUSEUM EXHIBITIONS." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/500523.
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Art History<br>M.A.<br>The focus of this thesis will be the exploration of the narrative constructs around the life and work of Michelangelo Merisi da Caravaggio (1571–1610). This exploration will occur through the study of selected exhibitions curated on the Lombard artist from the twentieth- through twenty-first centuries. It will demonstrate how museums have played a significant role in the public’s understanding and perception of Caravaggio. In this thesis, I will argue that exhibitions on Caravaggio have supported and reshaped the general understanding and perception of the artist in crucial ways not done to the same effect in more nuanced academic scholarship. I will also argue that public exhibitions have functioned according to a different set of agendas from those addressed to academia. For example, exhibitions are conceived and function on guiding principles such as alignment with museum mission statements, audience draw and accessibility, educational outcomes, and the visitor experience. This thesis will seek to determine to what measure these principles have affected the framing of content and to clarify how in particular the selective use of Caravaggio’s biography has affected interpretation of his works within a museum context for a viewing public. The restored enthusiasm for Caravaggio in the second-half of the twentieth century also focused on his personal life due to the publication and translation by Walter Friedlaender of Lives written by his seventeenth-century biographers—Giorgio Mancini, Giovanni Baglione, and Giovanni Pietro Bellori—as well as the publication of documents and court records, which highlighted episodes of Caravaggio’s criminality, all impinging on our interpretation of his artistic merits. Although these findings support our understanding of Caravaggio as a complex individual, they also contribute to the sensationalization and romanticization of the artist as the quintessentially bohemian figure. Furthermore, doubtful attributions and disputes over execution dates problematize our understanding of the artist’s oeuvre and have at certain points reinforced a ‘Caravaggio narrative’ of the rebellious, indecorous artist. It is my intention to show how museum exhibitions have contributed to and exploited this narrative and to determine more precisely how and to what extent they have shaped it. With this exploration of Caravaggio’s narrative construction by museum exhibitions of the twentieth- to twenty-first centuries, I aim to approach and reconsider this subject, which has been dealt with heavily in scholarship, under a different lens. In the case of Caravaggio—whose persona and works have been posthumously manipulated, admired, and condemned at the hands of biographers and critics—it is necessary to approach this subject with renewed, unbiased, and objective vigor within a new frame of understanding: the museum exhibition frame. I will use a comparative method, studying three key exhibitions over time, to show how museums have presented the artist’s career development. I pay particular attention to the incorporation of biography and to the impact the inclusion of selected aspects of his Lives have had on the public view of his works. The influential format of Giorgio Vasari’s Lives of the Artists set the structure and codified the model of biographical determinism that would inform Caravaggio’s later biographers in the interpretation of his works; this has persisted through the twentieth- and twenty-first centuries with the application of psychoanalytic approaches to Caravaggio. The first of the three exhibitions I have selected is Longhi’s 1951 Milan exhibition, Mostra del Caravaggio e dei Caravaggeschi, which restored public consciousness of Caravaggio’s innovative and revolutionary style, reinserting him into the artistic canon. My second example will be The Age of Caravaggio, held at the Metropolitan Museum of Art in 1985. The Met exhibition is novel for its focus on Caravaggio’s relationship with his precursors and contemporaries (the organizing committee deliberately excluded works by Caravaggio’s followers) and for its interpretation of works within their historical context. Finally, I will examine Caravaggio: L’ultimo tempo 1606–1610, held first at the Museo di Capodimonte, Naples 2004–2005, then later as Caravaggio: The Final Years, at the National Gallery, London in 2005, which focused on the more enigmatic part of Caravaggio’s late career after his flight from Rome in 1606. The London 2005 exhibition provided new insight into the artist’s stylistic changes in the last years of his life. These three exhibitions will give insight about the perception shifts of the artist that have taken place in the twentieth and twenty-first centuries as a result of scholarly research spurred by museum exhibitions centered around Caravaggio.<br>Temple University--Theses
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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.
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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
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Sonter, Sharyn Louise. "The museum and the department store." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030911.113738/index.html.
Full textBooks on the topic "Denver Art Museum – Exhibitions"
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Marlene, Chambers, and Denver Art Museum, eds. Colorado, 1990: Denver Art Museum, April 28-June 24, 1990. The Museum, 1990.
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Museum, Denver Art, ed. Colorado collects: Denver Art Museum, August 17-October 6, 1985. The Museum, 1985.
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Art/Denver, Museum of Contemporary, ed. Decades of influence, 06-16-2006 - 08-27-2006: And Extended remix, 09-15-2006 - 10-29-2006. Museum of Contemporary Art, 2007.
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Museum, Denver Art, ed. Radar: Selections from the collection of Vicki and Kent Logan. Denver Art Museum, 2006.
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Lloyd, Rule, Chambers Marlene, Ritchie Margaret, and Denver Art Museum, eds. Early American modernism: The Lucile and Donald Graham Collection : Denver Art Museum, July 9-September 11, 1988. The Museum, 1988.
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Elsas, Ellen F. Well may they be made: Navajo textiles from the Coleman Cooper Collection of the Birmingham Museum of Art, with selections from the Denver Art Museum and private collections. Birmingham Museum of Art, 1987.
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1948-, Chanzit Gwen Finkel, Wells Jeff, and Denver Art Museum, eds. Embrace! Denver Art Museum, 2009.
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Museum, Denver Art, ed. Nature as muse: Inventing impressionist landscape : from the collection of Frederic C. Hamilton and the Denver Art Museum. Denver Art Museum, 2013.
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Nancy, Tieken, and Grinstead Steve, eds. Companion to Focus, the figure: Art from the Logan collection. Denver Art Museum, 2011.
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Baumann, Gustave. Gustave Baumann: Woodblock prints from the Holme Roberts & Owen Collection : Denver Art Museum, April 20-June 9, 1991. Edited by Daley Ann Scarlett, Chambers Marlene, Denver Art Museum, and Holme Roberts & Owen. Denver Art Museum, 1991.
Find full textBook chapters on the topic "Denver Art Museum – Exhibitions"
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Hein, Hilde. "The Art of Displaying Science: Museum Exhibitions." In The Elusive Synthesis: Aesthetics and Science. Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1786-6_13.
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Dudley, Laura. "“That's Why We Call It a Model” – Restaging Exhibitions and Participation." In Curating the Contemporary in the Art Museum. Routledge, 2023. http://dx.doi.org/10.4324/9781003177081-21.
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Sareen, Siddharth. "Just Low-Carbon Mobility Transitions: A Research-Based Art Exhibition." In Digitisation and Low-Carbon Energy Transitions. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16708-9_2.
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AbstractWhile research on just low-carbon energy transitions is advancing, its manifestation in the cultural domain remains limited. This chapter features analytical and aesthetic interplay by narrating the process and outcome of a co-production process at the intersection of future imaginaries of mobility, salvage frontiers, and energy systems in transformation. It mainframes a rich tapestry of co-produced art by the Rjukan Solarpunk Academy. This accompanied a book workshop convened by the Energy Anthropology Network at the Norwegian Petroleum Museum in Autumn 2021, with images from two exhibitions interspersed in thematic play with nine book chapters. Drawing on the experience of the Just Mobility Transitions Network in Norway, the chapter offers reflective insights on the process through which these research-based, socially engaged art interventions came about.
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"Museum of Contemporary Art Denver." In Museum Buildings. DETAIL, 2016. http://dx.doi.org/10.11129/9783955532963-025.
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"Museum of Contemporary Art Denver." In Museumsbauten. DETAIL, 2016. http://dx.doi.org/10.11129/9783955532932-025.
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Walker, Brian. "Exhibitions at the Museum of Cartoon Art:." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.2307/j.ctv128fpwk.17.
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Marino, Alessandra. "Orientalism and the Politics of Contemporary Art Exhibitions 1." In The Postcolonial Museum. Routledge, 2016. http://dx.doi.org/10.4324/9781315554105-15.
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"List of Exhibitions." In Montreal Museum of Fine Arts, formerly Art Association of Montreal. University of Toronto Press, 1988. http://dx.doi.org/10.3138/9781487576226-029.
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"2. Museum Exhibitions in the Era of Globalization." In Art and the Global Economy. University of California Press, 2019. http://dx.doi.org/10.1525/9780520965270-008.
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Jules-Rosette, Bennetta, and J. R. Osborn. "Museums Speak Out." In African Art Reframed. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0005.
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Based on extensive interviews with museum curators and directors, this chapter curates the curators. It identifies curatorial networks, strategies, and practices that shape the narratives used in assembling collections and mounting exhibitions. Curatorial networks demonstrate the relevance of a nodal theory of museums and the ways in which curators are able to organize exhibitions. Interviews include representatives of the Smithsonian National Museum of African Art, the Fowler Museum, the Musée de l’Homme, the Schomburg Center for Research in Black Culture, the African Museum Casa del Rey Moro, the Africa and Beyond Gallery, and independent curators. Museum narratives and curatorial networks coalesce to generate the bureaucratic and art worlds shared by museums at all nodes. The interviews demonstrate outcomes from dynamic museum environments in transition.
Conference papers on the topic "Denver Art Museum – Exhibitions"
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Clary, Renee M., and Amy Moe Hoffman. "SMALL MUSEUM, LARGE IMPACT: THE ROLE OF THE DUNN-SEILER MUSEUM'S UNIVERSITY EXHIBITIONS IN PROMOTING PUBLIC GEOLITERACY." In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-281420.
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Mukasheva, Rashila S. "Ecological education through arts." In The libraries and ecological education: Theory and practice. Russian National Public Library for Science and Technology, 2020. http://dx.doi.org/10.33186/978-5-85638-227-2-2020-204-209.
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The significance of ecological consciousness cannot be denied, and educating ecological culture and environmental friendliness makes foundation for safety for the future generations. Along with the day of ecological knowledge celebrated by many countries on April 15, Kazakhstan also celebrates the day of ecologist on June 5. The East Kazakhstan Arts Museum holds photo exhibitions, contests, role and situational games (at school vacation camps), demonstrates video films on nature and environmental protection, organizes tours, etc. These events are both of educational and pedagogical importance.
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Conti, Alessandro, Grazia Tucci, Valentina Bonora, and Lidia Fiorini. "HOW WERE THE TAPESTRIES IN THE SALA DI SATURNO OF PITTI PALACE ARRANGED? GEOMATICS AND VIRTUAL REALITY FOR ART CURATORS." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12175.
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Three-dimensional acquisition techniques, reality-based modelling and virtual reality are tools used in Digital Humanities prevalently for displaying the results of a study, but they can also suggest new methods of investigation to humanities scholars. In a case study regarding art history, these techniques made it possible to recreate the layout of the Sala di Saturno in Pitti Palace (Florence) in the 17th century, based on information obtained from archive documents on the tapestries designed for that hall and a 3D model expressly elaborated with geomatic techniques. The results were summarised in a video showed in 2019 during the exhibition on tapestries dedicated to Cosimo I de' Medici. A tool was also developed to assist exhibition and museum curators in their work. Through virtual reality, they can design temporary exhibitions or modify the display of the works of art in a museum in a realistic way, using visually and metrically accurate models of the pieces and exhibition rooms.
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Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025
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Rocaciuc, Victoria. "Book graphics in the creation of the plastic artist Liudmyla Kozhokar." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.11.
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The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.
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Lima, Cláudia, Susana Barreto, and Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.
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This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.
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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.
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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog & McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., & Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., & McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, & A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.
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Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.
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El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la postura de los museos mexicanos a este respecto es reservada, existe una apertura a prácticas con perspectiva de género, desde sus investigaciones, oferta cultural y exposiciones temporales. Con las medidas de confinamiento derivadas del COVID-19, quedó claro que las estrategias de los museos para continuar sus actividades, se centraron y volcaron en las Redes Sociales y sus páginas web. Asimismo, se lograron continuar no solo con las prácticas con perspectiva de género que incipientemente se realizaban en estos espacios, si no que se incrementaron los contenidos de corte feminista y de acción política cultural.Entre los ejemplos más notables estuvieron la apertura de nuevos espacios virtuales como lo hizo el Museo Universitario de Arte Contemporáneo, con su Instagram Brillantinas MUAC, en donde se publican diversos materiales feministas desde la cultura y se ínsita al diálogo y la profundización de varios temas con perspectiva de género.Por otro lado, la actividad digital y cultural a raíz de la Conmemoración del Día Internacional para la Eliminación de las Violencias contra las Mujeres, fue adoptada por una gran cantidad de museos desde privados hasta estatales, ya sea con una mención al tema o una actividad o serie de actividades al respecto. Fue un ejercicio que trascendió a los 10 días de activismo y que obtuvo una interesante respuesta tanto negativa como positiva dentro de los públicos.Finalmente, uno de los ejercicios más interesantes que se lograron a pesar de las dificultades por la situación sanitaria, fue la iniciativa “Laboratoria: Mujeres en el Museo” lanzada por el Observatorio Raquel Padilla del Instituto Nacional de Antropología e Historia, que por medio de diversas herramientas digitales, se pudo llevar a cabo un ejercicio feminista y de soberanía digital en la elaboración de prototipos con perspectiva de género y para la prevención de las violencias contra las mujeres.-------- The objective of this communication is to present some feminist practices that have made use of technologies in museums in Mexico, as well as to reflect on digital sovereignty, the cultural rights that are exercised in social networks and if they are registered in the "Feminist internet" from museums.In recent years, feminist movements in Mexico have taken on political relevance, in public spheres and social intervention. Many of them have been judged negatively for making use of cultural property, which has triggered polarized opinions.Although the position of Mexican museums in this regard is reserved, there is an openness to practices with a gender perspective, from their research, cultural offerings and temporary exhibitions. With the confinement measures derived from COVID-19, it was clear that the museums' strategies to continue their activities were focused and turned over to Social Networks and their web pages. Likewise, it was possible to continue not only with the practices with a gender perspective that were incipiently carried out in these spaces, but also the contents of a feminist nature and of cultural political action were increased.Among the most notable examples were the opening of new virtual spaces such as the University Museum of Contemporary Art, with its Instagram Brillantinas MUAC, where various feminist materials from culture are published and the dialogue and the deepening of various issues are encouraged. gender perspective.On the other hand, the digital and cultural activity as a result of the Commemoration of the International Day for the Elimination of Violence against Women, was adopted by a large number of museums from private to state, either with a mention of the subject or an activity or series of activities in this regard. It was an exercise that transcended 10 days of activism and that obtained an interesting negative and positive response from the public.Finally, one of the most interesting exercises that were achieved despite the difficulties due to the health situation, was the initiative "Laboratory: Women in the Museum" launched by the Raquel Padilla Observatory of the National Institute of Anthropology and History, which through various digital tools, it was possible to carry out a feminist exercise and digital sovereignty in the development of prototypes with a gender perspective and for the prevention of violence against women.
Reports on the topic "Denver Art Museum – Exhibitions"
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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.
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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.