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1
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.
3
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.
10
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.
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Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.
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Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand? Design/methodology/approach – Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions. Findings – The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity. Practical implications – These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective. Social implications – Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature. Originality/value – The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.
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Helmreich, Anne. "Victorian Exhibition Culture: The Market Then and the Museum Today1." Articles, no. 55 (April 20, 2010): 0. http://dx.doi.org/10.7202/039556ar.
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Abstract This essay examines the dialectical relationship between the formation of the commercial art market in London over the course of the second half of the nineteenth century and the representation of Victorian art in museum displays of recent decades. With respect to the latter, the essay provides an overview of recent monographic and group exhibitions devoted to Victorian art. It reveals, through the examination of the twinned phenomena of the commercial art market and museological practice, the central role played by exhibition culture in our understanding of Victorian art. It closes by posing questions as to how we might improve our interpretation of Victorian art and culture as presented through museum exhibitions and displays.
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Wasielewski, Amanda. "The Museum in Quarantine: Architecture, Experience and the Virtual Museum." Journal of Curatorial Studies 11, no. 1 (2022): 4–24. http://dx.doi.org/10.1386/jcs_00053_1.
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The effects of the COVID-19 pandemic, beginning in early 2020, were felt across all industries and public institutions, including art museums. Shuttered art museums sought to maintain public interest in their collections and exhibitions by promoting existing online tools, such as the virtual art museum tours hosted by Google Arts & Culture. This article analyses these tours from the perspective of museology and architecture and argues that, rather than a form of virtual reality, these tours are a peculiar kind of image database. As such, they are part of Google’s growing efforts towards mass digitization and data accumulation.
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Stojanović Stošić, Milena М., and Marija М. Nešić. "Mogućnosti i značaj virtuelnih poseta muzejima na časovima likovne kulture." УЗДАНИЦА XIX, no. 1 (2022): 345–58. http://dx.doi.org/10.46793/uzdanica19.1.345ss.
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Museums, as keepers of tradition and culture, are ideal places for learning and enhancing children’s interest in art. However it is not always easy to take pupils to exhibi- tions, or organise an art class in a museum, which opens the possibility for virtual museum tours. Many renowned museums around the world provide this opportunity. As a result, pupils can see the greatest works of art and have the full museum experience, without having to leave their classrooms. This paper presents an online educational program of the National Museum in Belgrade, titled The National Museum in the Classroom, which comprises two types of activities: Museum in the classroom and Video workshops, thus indicating the significance of creating museum learning programs where students can get familiar with current exhibitions and art collections. The aim of the paper is to emphasize the importance of getting students familiar with museums and exhibitions in Arts Education classes through virtual tours offered by some of the most renowned museums. In order to do so, future teachers of Art Education need a more complex formal education in the field of art.
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Popper, Frank. "Art, Science, Technology: Six Exhibitions 1966–1998." Leonardo 52, no. 2 (2019): 194–95. http://dx.doi.org/10.1162/leon_a_01163.
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From the late 1960s until the end of the twentieth century, the author organized, or helped organize, six exhibitions throughout Europe that saw artists integrate and alter the collective destinies of science, art and technology. The works of art presented at these exhibitions: KunstLichtKunst at the Stedelijk Van Abbe Museum in Eindhoven; the Lumière et Mouvement exhibition at the Musée d’Art Moderne de la Ville de Paris; Cinétisme, Spectacle, Environnement, held at the Mobile theater of the Maison de la Culture in Grenoble; Interventions and Environments in the Streets of Paris and in Its Suburbs and Electra at the Museum of Modern Art of the City of Paris; and the Virtual Art show in Boulogne-Billancourt in 1998, did more than just lay a formal and theoretical foundation for new media art to follow—they challenged the perceptions of both the spectator of the art as well as other artists working in this area. This article chronicles the aesthetic and societal ramifications, particularly within the artistic community, that the works in these exhibitions created.
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Sun, Dan, and Xiaoyan Wang. "From the Inside to the Outside:Study on Exhibition Design and Communication of University Art Museum." Learning & Education 10, no. 5 (2022): 91. http://dx.doi.org/10.18282/l-e.v10i5.2683.
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With the continuous improvement of living standards,peoples aesthetic awareness and aesthetic level of continuous 
 improvement,a large part of art education in the way of exhibition to us. However, China's art industry is not fully mature, and art 
 exhibitions mainly focus on art education, lacking a strong sense of substitution,so the design requirements for exhibitions have 
 become higher.
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Matul, Katarzyna. "The Transition to Art: Poster Exhibitions at the Outset of the Poster’s Institutionalisation." Ikonotheka 26 (June 26, 2017): 239–51. http://dx.doi.org/10.5604/01.3001.0010.1680.
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What happened when the poster, originally an advertising medium, became an object of appreciation in the museums of Communist Poland? What criteria did it have to comply with in order to be accepted into a temple of art, a museum? The article analyses poster exhibitions organised at the Zachęta Central Bureau of Art Exhibitions in the 1950s. During this period, the interest of museum curators, critics and art historians in this medium must be envisioned as always being underpinned by political and propagandist interests; the transition of the poster to the status of a work of art is analysed here in this double, i.e. cultural and political, perspective.
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Nash, Stephen E., and Frances Alley Kruger. "Silent Legacy: The Story of Vasily Konovalenko's Gem-Carving Sculptures." Collections: A Journal for Museum and Archives Professionals 13, no. 1 (2017): 7–32. http://dx.doi.org/10.1177/155019061701300102.
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During a career that spanned four decades, Russian artist Vasily Konovalenko (1929–1989) produced more than 70 sculptures carved from gems, minerals, and other raw materials. As unorthodox, compelling, and masterful as Konovalenko's sculptures are, they had been poorly published and poorly known. They are on permanent display at only two museums in the world: the small and obscure State Gems Museum (Samotsvety) in Moscow, Russia, and the Denver Museum of Nature & Science (DMNS), a major natural history museum in Colorado, the United States. This article examines Konovalenko's life and work, as well as the unusual circumstances that led to the two exhibitions, their role in Konovalenko's relative obscurity, and a recent resurgence of interest.
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Petridis, Panagiotis, Ian Dunwell, Fotis Liarokapis, et al. "The Herbert Virtual Museum." Journal of Electrical and Computer Engineering 2013 (2013): 1–8. http://dx.doi.org/10.1155/2013/487970.
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In recent years, virtual reality and augmented reality have emerged as areas of extreme interest as unique methods for visualising and interacting with digital museum artefacts in a different context, for example, as a virtual museum or exhibition, particularly over the Internet. Modern cultural heritage exhibitions have evolved from static to dynamic exhibitions and challenging explorations. This paper presents two different applications developed for the Herbert Museum and Art Gallery that make the user’s experience more immersive, engaging, and interactive. The first application utilizes mobile phone devices in order to enrich the visitors experience in the museum, and the second application is a serious game for cultural heritage and in particular for museum environments focusing on the younger visitors.
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Yu, Deng, and Wang Yao. "Research on holographic display and technology application of art museum based on immersive design." Journal of Physics: Conference Series 2425, no. 1 (2023): 012048. http://dx.doi.org/10.1088/1742-6596/2425/1/012048.
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Abstract With the rapid development of science and technology, artificial intelligence digital technology has gradually entered human life and combined with art. It has become a major trend of future exhibitions to create immersive exhibitions through the intervention of digital technology and artificial intelligence in art museums. The immersive art exhibition is to change the sensory conditions of the audience through the intervention of digital media, from the original visual experience to the fusion of various senses such as “sight, hearing and touch”, so that the audience can enter a new world of works experience. the immersive exhibition composed of the combination of technology and art has become an important exhibition method to attract audiences. The creation of immersive exhibitions relies on the application of technologies such as Front-projected Holographic Display and Augmented Reality. At present, immersive exhibitions around the world are emerging in an endless stream. Under the general trend of information exhibition, how to combine works of art with digital media and endow them with connotation, and how digital technology is involved in the exhibition to form the final immersive effect, are issues worth considering at present.
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Jaquet, Daniel. "The art of fighting under glass: Review of museum exhibitions displaying fight books, 1968-2017." Acta Periodica Duellatorum 6, no. 1 (2018): 47–62. http://dx.doi.org/10.2478/apd-2018-0002.
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Abstract 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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Greenberg, Reesa. "Restitution Exhibitions: Issues of Ethnic Identity and Art." Intermédialités, no. 15 (October 13, 2010): 105–17. http://dx.doi.org/10.7202/044677ar.
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This essay looks at post 2005 restitution exhibitions of art believed or known to be owned by Jews stolen during National Socialist times in order to examine complex questions and layered relationships involving private property, public institutions and museum display.
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Wade, Sarah. "Ecological Exhibitions at the Musée Océanographique de Monaco." Journal of Curatorial Studies 9, no. 2 (2020): 162–81. http://dx.doi.org/10.1386/jcs_00019_1.
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In 2010, the Musée Océanographique de Monaco initiated a contemporary art programme to mark its centenary and reaffirm its commitment to its founding premise of displaying objects of both art and science. Ever since, the museum has regularly staged exhibitions promoting marine wildlife protection. I argue that as well as examining ecological concerns, these exhibitions have functioned in ecological ways, adopting curatorial approaches that traverse art and science to highlight interconnections between humans and ocean life. By revisiting historical modes of display, such as the Wunderkammer, and deploying anthropomorphism, the museum presents ecologies of display that aim to evoke solidarity with marine wildlife. Yet, ambiguity arises when considering these exhibitions in the context of this institution and its longer history, which I suggest requires an ongoing curatorial commitment to finding creative and thoughtful ways of responding to ecological issues in museums.
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Anděličová, Jana, and Ivana Kocichová. "Inspiration From a Museum. Exhibitions as Inspirations for Art Creation of Children." Muzeum Muzejní a vlastivedná práce 56, no. 1 (2018): 45–46. http://dx.doi.org/10.2478/mmvp-2018-0013.
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The National Museum and its buildings are annually visited by hundreds of school groups, whether they are pupils of kindergartens, primary schools and/or secondary schools. In the 2017/2018, school year, the teams from the Prague Primary Art Schools joined the project implemented by the Regional Art Council and the Section of Visual Arts of the Prague Art School and the National Museum and entitled “The National Museum through the eyes of children”.
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Jørgensen, Anna Vestergaard. "Kunstkritik og institutionskritik i x-rummet." Periskop – Forum for kunsthistorisk debat, no. 21 (May 22, 2019): 70–87. http://dx.doi.org/10.7146/periskop.v2019i21.121797.
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In 2013, the SMK – National Gallery of Denmark initiated a series of exhibitions that was
 supposed to deal with the role of the museum in the 21st century. This article focuses on
 the two first exhibitions in this series: Haim Steinbach’s The Window and Henrik Olesen’s
 Abandon the Parents. The article claims that these exhibitions can be seen as working
 within the tradition of institutional critique, but also after it; through curating some of
 the museum’s own works and mimicking, respectively, the modernist “white cube” aesthetics
 and the Wunderkammer aesthetics. As such, the exhibitions do not only present
 a critique but can also be seen as pragmatic suggestions for how to curate, how to think
 the collections and exhibitions. In the article, the institutional critique of Olesen’s and
 Steinbach’s exhibitions will be read through another critical position: the Danish art criticism.
 In other words, this article does not only focus on how the institutional critique was
 visualized and performed in the exhibitions, but how this critique was discussed and read
 in written art criticism. This is not to say that art criticism and institutional critique can
 be wholly separated, but to see how these two forms of critique can say something about
 museums today. And more specifically, what affects can be read out of the art criticism,
 when the exhibitions they criticize are so clearly contextualized (by the museum) as institutional
 critique?
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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.
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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.
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Palkovljević-Bugarski, Tijana, and Lolita Pejović. "Activities of the gallery of Matica Srpska in the service of cultural diplomacy." Kultura, no. 173 (2021): 113–24. http://dx.doi.org/10.5937/kultura2173113p.
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Within the framework of rich and diverse activities of museums, which include exhibitions, publishing, educational and conservation / restoration activities, a special place is given to international cooperation programs which, if well designed, can play an important role in the cultural diplomacy system of each country. In the process of transformation from a traditional to a modern museum of the 21st century, the Gallery of Matica Srpska has directed an important part of its activities towards international cooperation and thus cultural diplomacy. These activities are realized through hosting of exhibitions of foreign institutions, visiting exhibitions of the Gallery in European museums, organization of joint exhibitions with museums in the region, cooperation with foreign cultural centers and through protocol visits. Well-designed themes and programs that promote national art, connections with other cultures and the culture of other nations, museum activities - exhibitions and publications - become an important tool for better international relations and a foundation for active cooperation among museum institutions throughout Europe.
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Abdallah, Monia. "Back to the Future : art contemporain du Moyen-Orient et expositions temporaires au British Museum." Muséologies 9, no. 1 (2018): 45–58. http://dx.doi.org/10.7202/1052627ar.
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The confrontation between contemporary and ancient art, within the framework of temporary exhibitions or in the context of permanent collections, is not new, and examples are numerous. This article shows, through a description of a variety of temporary exhibitions organized by the British Museum, bringing together contemporary Middle Eastern and ancient Islamic art, the ideological consequences of such juxtapositions which consistently favour continuity over rift.
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.
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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.
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Vasinskaya, Maria V. "Exhibition Activities of the Pavlovsk Palace and Park Ensemble in the 1950s." Observatory of Culture 19, no. 2 (2022): 162–71. http://dx.doi.org/10.25281/2072-3156-2022-19-2-162-171.
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During the period of active post-war restoration of the palace and park ensembles of Leningrad, in the absence of permanent expositions, exhibitions were one of the few ways of museum communication. The article focuses on the exhibitions of the Pavlovsk Palace Museum and Park in the 1950s. As a research base, the author uses articles from the newspaper “Vperyod” issued in the city of Pushkin, and unpublished materials of the Central State Archive of Literature and Art of St. Petersburg: reports and plans of the directorate, programs of festive events, minutes of the scientific department employees’ meetings, financial reports of the 1950s, etc.On the example of Pavlovsk, the article reveals the essence of exhibitions as a typical phenomenon for a museum complex, as well as for a culture and recreation park, which allowed forming civic consciousness and implementing state cultural policy. The exhibitions helped to solve a set of political, educational, personality-developing, leisure, and cultural tasks of Soviet cultural institutions.The author conducts a comparative quantitative analysis of the total number of exhibitions by year. Based on the content of the exhibitions, there is provided a universal thematic classification. The article shows the connection of the disclosed topics and the number of exhibitions with the cultural and political situation in the country during that period. There is determined the organizational specifics of the process, within which the main sites, time and forms of exhibitions are identified.The article concludes that most of the exhibitions did not correspond to the museum’s essence, but those that related directly to the history of the museum and its collections were in tourist demand. Some of the exhibitions of the museum profile, over time, determined the content of the future permanent expositions of the State Museum-Reserve “Pavlovsk”. The emergence and growth of such exhibitions, covered in the media, contributed to the activation of visitor interest in Pavlovsk as a museum and the development of cultural tourism, primarily at the local and regional level.
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Gołubiew, Zofia. "THE POET OF ART – JANUSZ WAŁEK." Muzealnictwo 59 (October 5, 2018): 215–18. http://dx.doi.org/10.5604/01.3001.0012.6141.
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On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in the 1997 edition of the General Polish Poetry Competition. He was a student of Marek Rostworowski, they worked together on a number of publicly acclaimed exhibitions: “Romanticism and Romanticity in Polish Art of the 19th and 20th centuries”, “The Poles’ Own Portrait”, “Jews – Polish”. Many exhibitions and artistic shows were prepared by him alone, inter alia “The Vast Theatre of Stanisław Wyspiański”, presentations of artworks by great artists: Goya, Rafael, Titian, El Greco. He also created a few scenarios of permanent exhibitions from the Czartoryskis’ Collection – in Krakow and in Niepołomice – being a great expert on this collection. “Europeum” – European Culture Centre was organised according to the programme written by him. He specialised mostly, although not exclusively, in art and culture of the Renaissance. Janusz Wałek is presented herein as a museologist who was fully devoted to art, characterised by: creativity, broad perception of art and culture, unconventional approach to museum undertakings, unusual sensitivity and imagination. What the author of the article found worth emphasising is that J. Wałek talked and wrote about art not only as a scholar, but first of all as a poet, with beauty and zest of the language he used.
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Xiang, Yuning, and Bingzhe Xiang. "Chinese art in the Tang Dynasty and the forms of its presentation in museums of the People’s Republic of China at the beginning of the 21st century." Issues of Museology 12, no. 2 (2021): 257–67. http://dx.doi.org/10.21638/spbu27.2021.208.
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The topic of this study is a realistic due to the fact that in Chinese history, the Tang Dynasty (618–907) is considered as the peak of national strength. It is during this period that ancient China became the center of economic and cultural exchanges with a number of states in the medieval world. Thanks to stable social development and the steadily developing economy, Chinese art of this period flourished. To this day, it has a special meaning for both Chinese and Asian cultures. The article examines the presentational forms of the art of Tang Dynasty in historical and art museums of the People’s Republic of China at the beginning of the 21st century: an overview of the history of Tang Dynasty and its art is presented, the collections of museum objects — works of fine art of the Tang Dynasty in Chinese museums are considered, and specific forms of art presentation are analyzed, such as expositions, exhibitions, online exhibitions, educational programs and projects implemented in cooperation with the media. The research is based on original sources of museum origin (materials from museums’ official websites, interviews conducted with museum employees) and a body of regulatory and administrative documents covering museum policy developments in the People’s Republic of China.
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Doss, Erika. "Displaying Cultural Difference: The North American Art Collections at the Denver Art Museum." Museum Anthropology 20, no. 1 (1996): 21–36. http://dx.doi.org/10.1525/mua.1996.20.1.21.
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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.
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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.
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Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (2016): 915. http://dx.doi.org/10.21301/eap.v10i4.7.
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Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.
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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
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Carbon, Claus-Christian. "Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions." i-Perception 8, no. 1 (2017): 204166951769418. http://dx.doi.org/10.1177/2041669517694184.
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Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors ( N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26–3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s ( Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship ( r2 = .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m ( M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research ( M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.
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Perry, Lara, and Elke Krasny. "Against Sexual Violence in the Museum: Art, Curating, and Activism." Journal of Cultural Analysis and Social Change 7, no. 2 (2022): 11. http://dx.doi.org/10.20897/jcasc/12752.
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Depictions of sexual violence are frequently found in the collections and displays of art museums, and material that represents and affirms violence against women often is displayed unchallenged. This article poses questions about how the presence of this material has been addressed in the relations between feminist activism against sexual violence, art made by artists responding to and participating in feminist activism, and the curatorial activities that have arisen to address the challenges that these activities present to art museums. The chapter investigates the 2021 exhibition <i>Titian: Women, Myth and Power</i> at the Isabella Stewart Gardner Museum and its handling of themes of rape in the central exhibit, Titian’s <i>Rape of Europa</i>; the history of themes of rape in feminist art since the 1970s and in exhibitions of this art that have taken place in museums in the last two decades; and curatorial engagements with sexual violence and rape in recent art exhibitions in the US and in the UK. The article argues that new strategies for the presentation and interpretation of artworks dealing with sexual violence are needed for museums to redress the patriarchal and colonial presence of sexual violence in their collection.
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Herle, Anita. "Exhibitions as Research." Museum Worlds 1, no. 1 (2013): 113–35. http://dx.doi.org/10.3167/armw.2013.010108.
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Drawing on a recent exhibition, Assembling Bodies: Art, Science and Imagination, at the University of Cambridge Museum of Archaeology and Anthropology (MAA), this article argues that curatorial techniques, involving a sustained engagement with objects, can play a vital role in anthropological research. Processes involved in the creation and reception of the exhibition facilitated the investigation of how bodies are composed, known, and acted upon in different times, places, and disciplinary contexts. Assembling Bodies attempted to transcend the dualism of subject and object, people and things, by demonstrating how different technologies for making bodies visible bring new and oft en unexpected forms into focus. Processes of exploration and experimentation continued after the exhibition opened in the discussions and activities that the displays stimulated, and in the reflections and ideas that visitors took away.
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Merrill, Elizabeth M. "Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture." Architectural Research Quarterly 23, no. 3 (2019): 210–24. http://dx.doi.org/10.1017/s1359135519000204.
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As epitomised in the works of Renzo Piano, Frank Gehry, and Daniel Libeskind, the ‘new museum’ of art claims its own architectural typology. With asymmetrical silhouettes, gallery spaces that eschew the much derided ‘white cube’, and cleverly conceived circulation systems, the new museum has been heralded as revolutionising the display of art. Yet its function extends beyond the display and conservation of art. The new art museum is conceived as a multifaceted cultural centre – a public forum – where art and culture are democratised, and families, scholars, students, tourists, and teachers come together. At the same time, the new museum competes with other entertainment venues on a commercial level. As a cultural factory replete with an ambitious programme of temporary exhibitions, media facilities, restaurants, and shops, the new museum emphasises consumption as much as it does contemplation. In fact, the array of non-artrelated diversions contained in the new museum is often more important to the institution’s success than the art itself.
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Syska, Rafał. "Comics in museums. Paradoxes of the presence and absence of comics in museum exhibition practices." Kultura Popularna 60, no. 2 (2020): 148–61. http://dx.doi.org/10.5604/01.3001.0013.7341.
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The article analyzes the phenomenon of exhibitions dedicated to comic books, which are displayed in museum and gallery spaces. It presents the theory of contemporary narrative exhibitions. Using some tools of the latest research on the art of exhibition, the author analyzes the status of a comic book in a museum landscape. He reflects on the diversity of the comic book’s presence in everyday practices, the other nature of comic&#39;s experience by a visitor, and a link between comic books and other media, especially film. He describes the role of the viewer, who becomes the object in relations with a comic book transformed into a subject as a museum artifact.
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Lukavic, John P., and Chris Patrello. ""On behalf of the family"." Museum Anthropology Review 16, no. 1-2 (2022): 115–34. http://dx.doi.org/10.14434/mar.v16i1.31650.
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This article examines themes of collaboration and stewardship, the importance of cultural protocols, and the intergenerational transmission of knowledge in the context of a Haida totem pole raising ceremony held at the Denver Art Museum in November 2019. Collaborating with members of the Wallace family, direct descendants of the original owners of the house frontal and memorial poles in its collection, the Denver Art Museum organized the event to honor the family’s legacy and the history of the poles. In this article, we outline the planning process, events, and outcomes of the event, and situate this within the context of Haida cultural practices. Combined with an analysis of Haida oratory, song, and dance, we demonstrate the ways in which collaborations that honor Haida cultural protocols can engender meaningful relationships between institutions and originating communities.
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Fortunato, A. "Security I: AIR shield system developed with the Denver Art Museum." Museum Management and Curatorship 11, no. 2 (1992): 210–12. http://dx.doi.org/10.1016/0964-7775(92)90030-9.
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McCabe, Chris. "An ongoing human wish: exhibitions at the Saison Poetry Library, Southbank Centre." Art Libraries Journal 39, no. 3 (2014): 10–14. http://dx.doi.org/10.1017/s0307472200018381.
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This article illuminates the processes involved in curating exhibitions at the Saison Poetry Library at the Southbank Centre. The aim is to be of use to those exhibiting, or considering exhibiting artworks in public library or museum spaces. The article also considers the relationship between textual and visual art, drawing upon a number of exhibitions that have taken place at the Poetry Library since 2007.
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JOHN Ph.D, IDIBEKE AMOS, SUNDAY ETIM EKWERE Ph.D, and PROFESSOR EDEM ETIM PETERS. "VISUAL ART EXHIBITION: A CATALYST FOR SOCIAL UNIFICATION IN NIGERIA." International Journal of Applied Science and Research 05, no. 04 (2022): 01–04. http://dx.doi.org/10.56293/ijasr.2022.5401.
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This paper attempts a definition of the term exhibition with particular attention to Visual Art Exhibition, knowing that there are different forms of exhibitions that may not relate to visual arts. The paper equally highlighted on the various types of exhibitions pointing out the virtual exhibition as a new inclusion that has greatly changed the traditional format of visual art exhibition with its attendant impact on the outcome of the results of exhibitions. The highlighted focuses on the challenges of understanding the scope of the basic types of exhibition in contemporary times, as has been redefined by the concept of virtual exhibition. The relevance of exhibition to artists and the significance to the public is deeply discussed with the aim of positioning visual art exhibition in its rightful place as a catalyst for social change. This assertion could be seen in the significant effort of Kenneth C. Murray as a pioneer curator and organizer of visual art exhibition in Nigeria. Murray was a British Art Teacher in Nigeria who was instrumental to the establishment of Oron Museum in Akwa Ibom State, Nigeria, and he recognized Oron Carvings since 1938 and collected them for permanent art exhibition in the Oron Museum. The above therefore formed the conceptual framework of this paper. The opinions, positions and oppositions of other authorities in this matter are considered as they form the indices for postulating the idea of art exhibition as catalyst for social unification. However, the paper concludes that for the visual art exhibition to function as a catalyst for social unification, the elements of unity and integration must be factors the exhibitions composed of, for it to engender the expression of such feelings of social togetherness.
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Isselhardt, Tiffany Rhoades. "Sites of Girlhood." Girlhood Studies 14, no. 2 (2021): 114–27. http://dx.doi.org/10.3167/ghs.2021.140209.
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Where are the girls who made history? What evidence have they left behind? Are there places and spaces that bear witness to their memory? Girl Museum was founded in 2009 to address these questions, among many others. Established by art historian Ashley E. Remer, whose work revealed that most, if not all, museums never explicitly discuss or center girls and girlhood, Girl Museum was envisioned as a virtual space dedicated to researching, analyzing, and interpreting girl culture across time and space. Over its first ten years, we produced a wide range of art in historical and cultural exhibitions that explored conceptions of girlhood and the direct experiences of girls in the past and present. Led by an Advisory Board of scholars and entirely reliant on volunteers and donations, we grew from a small website into a complex virtual museum of exhibitions, projects, and programs that welcomes an average 50,000 visitors per year from around the world.
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Ratajczak, Mirosław. "MARIUSZ HERMANSDORFER (1940–2018)." Muzealnictwo 59 (October 7, 2018): 219–22. http://dx.doi.org/10.5604/01.3001.0012.6192.
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Mariusz Hermansdorfer (1940–2018) passed away in Wrocław on the 18th of August this year. He was a director of the National Museum in Wrocław in the years 1983–2013, custodian of the contemporary art department of this museum from 1972, critic, curator of exhibitions, one of the most significant figures in Polish Culture of the past half-century. Born in Lviv, he studied art history at the University of Wrocław. While still at university, he started working for the Silesian Museum (since 1970 named the National Museum). In 1967, he moved to the branch of the Municipal Museum of Wrocław – the Museum of Current Art, which at the time was getting ready for its opening. There he worked together with Jerzy Ludwiński, one of their achievements being the memorable Fine Arts Symposium Wrocław ’70, and was engaged in the activity of the Mona Lisa Gallery run by Ludwiński. He returned to the National Museum in 1972, and became a custodian of the contemporary art department up to his retirement in 2013. There he created, starting practically from scratch, one of the best collections of Polish contemporary art in the country, abundant in works of such artists as Magdalena Abakanowicz, Tadeusz Brzozowski, Edward Dwurnik, Józef Gielniak, Władysław Hasior, Józef Hałas, Maria Jarema, Jerzy Kalina, Tadeusz Kantor, Jan Lebenstein, Natalia LL, Jerzy Nowosielski, Jerzy Rosołowicz, Jonasz Stern, Jan Tarasin and many others. The predominant artists of this collection were those of metaphor and expression. From the mid-1970s he was a curator of Polish presentations at international art festivals – in Cagnessur- Mer, São Paulo and New Delhi. He used to organise exhibitions from museum collections in Germany, Great Britain, the United States and the Netherlands. As an art critic he was writing mainly for the monthly “Odra”; in 1990 he became a member of its Editorial Board. The writings of Mariusz Hermansdorfer can also be found in catalogues and scholarly publications of the National Museum in Wrocław.
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Hayes, Shannan L. "Wanting More." differences 31, no. 1 (2020): 64–97. http://dx.doi.org/10.1215/10407391-8218774.
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This essay interrogates the forms of feminist political desire and subject formation being reproduced under the heading of contemporary feminist art. The author considers two recent exhibitions, similarly organized around the theme of intersectionality, that took place over two consecutive summers in New York City: Simone Leigh’s The Waiting Room at the New Museum (2016), and the group exhibit We Wanted a Revolution at the Brooklyn Museum (2017). While both exhibitions promote the work of black women artists at the center of their institutional program-building initiatives, each exhibition forwards a notably distinct version of what counts as “revolutionary” feminist politics. Hayes argues ultimately for an interpretation of Leigh’s work as a prefigurative, utopian feminism that demands more—for example, than mere inclusion—from progressive institutions and feminist art.