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1
Smith, Fred T., and Robin Poynor. "African Art at the Harn Museum: Spirit Eyes, Human Hands." African Arts 29, no. 4 (1996): 90. http://dx.doi.org/10.2307/3337408.
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Cooksey, Susan. "The African Art Collection at the Samuel P. Harn Museum of Art, University of Florida." African Arts 49, no. 3 (September 2016): 68–83. http://dx.doi.org/10.1162/afar_a_00301.
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Frantz, Sara L. "Preserving Art and the Environment through Sustainable Museum Buildings." Collections: A Journal for Museum and Archives Professionals 3, no. 3 (September 2007): 243–70. http://dx.doi.org/10.1177/155019060700300304.
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This project analyzes the intersection between two highly specialized fields, sustainable building practices and the environmental controls crucial to art conservation maintained in art museum buildings. Art museums often cite these highly specialized light and atmospheric controls as an impediment to sustainable building. My goal is to bring these fields more closely together so that art museums can build sustainable facilities that cause less harm to the environment while simultaneously meeting art conservation needs.
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Abbey, Heidi N. "Does a decade make a difference? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011." Art Libraries Journal 37, no. 3 (2012): 34–40. http://dx.doi.org/10.1017/s0307472200017582.
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The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programming, documentary history, and curatorial functions of museums in countless ways. In addition, especially for art historians and other scholars, museum libraries and archives have been and continue to be increasingly valuable for primary and secondary sources, including artists’ correspondence, diaries, sketches, hard-to-find monographs, exhibition records and sales catalogues. What is unclear, however, is the extent to which resources in art museum libraries and archives are being documented, preserved and made accessible online. This research is perhaps the first of its kind to evaluate, on a small scale and during a span of twelve years, the web presence of 22 North American art museum libraries and archives.
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Cooksey, Susan. "Two Works by Ghanaian Artists: The Harn Museum of Art University of Florida." African Arts 51, no. 3 (September 2018): 9. http://dx.doi.org/10.1162/afar_a_00412.
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Kehoe, Elisabeth. "Working hard at giving it away: Lord Duveen, the British Museum and the Elgin marbles." Historical Research 77, no. 198 (October 28, 2004): 503–19. http://dx.doi.org/10.1111/j.1468-2281.2004.00220.x.
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Abstract In September 1928, just after the publication of the report of the royal commission on National Museums and Galleries, the art dealer Sir Joseph Duveen wrote to his good friend Edgar Vincent, Viscount D'Abernon, who had chaired the commission, offering to pay for a new gallery at the British Museum to house the Parthenon, or Elgin, marbles. The new gallery cost over £100,000 and took ten years to complete, during which time Duveen worked hard to impose his vision of a new gallery – a vision often at odds with that of the Museum establishment, and one that generated controversy, including the unauthorized cleaning of the marbles.
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Gardi, Bernhard. "Africa Interweave—Textile Diasporas. Samuel P. Harn Museum of Art, University of Florida, Gainesville, February 8–May 8, 2011." African Arts 44, no. 4 (December 2011): 84–86. http://dx.doi.org/10.1162/afar.2011.44.4.84.
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Hoogwaerts, Leanne. "Museums, exchanges, and their contribution to Joseph Nye’s concept of ‘soft power’." Museum and Society 14, no. 2 (June 9, 2017): 313–22. http://dx.doi.org/10.29311/mas.v14i2.645.
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This paper discusses the role that museums and art institutions have in recent years played in international relations, and their contribution to the concept of soft power, coined by Joseph Nye; referring to a country’s ability to persuade rather than coerce through elements of ‘hard’ power such as the threat of a strong military (Nye 2004). Using as examples the exchanges of the Cyrus Cylinder between Iran and the British Museum, and the loan of Picasso’s Buste de Femme (1943) from the Dutch Van Abbemuseum to the International Academy of Art Palestine, the paper argues that through their role as ‘national expressions of identity’ and ‘memory institutions’, museums and art institutions are able to make a positive contribution to international relations by engendering mutual respect and understanding in ways that other forms of dialogue may be unable to. As soft power is an area that still requires significant research, this paper aims to contribute observations and case studies that may affirm its influence.Key Words: cultural diplomacy, museums, soft power, international relations, cultural exchange
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Cummins, Thomas B. F. "Pre-Columbia: Wherefore Art Thou Art?" Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 94–99. http://dx.doi.org/10.1525/lavc.2019.000007a.
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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Cao, Kai, Chunmei Wei, and Qiannan Liang. "Research on the "Shape" Design Method of Museum Exhibition Space under the Background of New Media Art." BCP Social Sciences & Humanities 14 (December 17, 2021): 56–71. http://dx.doi.org/10.54691/bcpssh.v14i.167.
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Traditional museum space design is generally limited to cost and engineering volume, and follows the conventional unified design process of large-scale space fixtures, isolating the design contents of space hard decoration and internal soft decoration and display, and even flood lighting intelligence, lacking unified overall consideration and response. The disjointed design in the early stage led to a large number of space contradictions in the exhibition placement and actual use and operation after the completion of the hard installation and delivery. The intervention of new media art changes the traditional exhibition form. At the same time, the traditional public space design process also begins to change because the exhibition activity of new media art forms has many requirements such as technology, process, material, sound and light, and even environmental psychological effect on the space form and scale. Based on case studies of different characteristics, this paper summarizes the systematic design methods of new media art's involvement in the hard installation of museum exhibition space from three dimensions of spatial layout, spatial form and spatial scope.
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Mo, Wu. "An unfinished task: Viewing the legitimization of contemporary Chinese art from the Third Shanghai Biennale." Journal of Contemporary Chinese Art 7, no. 1 (August 1, 2020): 27–45. http://dx.doi.org/10.1386/jcca_00018_1.
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The Shanghai Biennale, initiated in 1996, was launched by the Shanghai Art Museum under the background of the proliferation and expansion of the biennial/triennial exhibition system outside Europe and the United States in the last decade of the twentieth century. Based on the investigations of the themes and tasks of the First and Second Shanghai Biennales, this article focuses on the Third Shanghai Biennale opened in 2000, which has made remarkable breakthroughs in its curatorial strategy. By including international curators and artists in the exhibition, the Shanghai municipal government and the Shanghai Art Museum were committed to establishing an international profile of the Shanghai Biennale and further making it an integral part of its namesake city’s cultural branding in the era of globalization. Soon after the opening of the Shanghai Biennale, it was prevalently regarded as a significant landmark of legitimization in many discourses, which was hard fought for by Chinese practitioners after 1989. By analysing the background, curatorial concepts and impacts of the Third Shanghai Biennale and Fuck Off, this research deciphers the connotation of legitimization advocated by contemporary Chinese art circle, as well as the complex relationship with both conflict and cooperation between the official and unofficial arts. Did the task of legitimizing contemporary Chinese art fully accomplished? In this process, what sort of effects did China’s governmental manipulation have on the legitimization of contemporary Chinese art at home and its value output on the international arena? The above lines of inquiry offer a new perspective on contemporary Chinese art, especially with regard to further media experimentations, curatorial practice and value assessment in art practice after 2000.
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Prygov, V. I. "Первый и единственный в России частный музей флорентийской мозаики Б. и Л. Ошкуковых." Iskusstvo Evrazii [The Art of Eurasia], no. 2(21) (June 30, 2021): 104–17. http://dx.doi.org/10.46748/arteuras.2021.02.009.
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The article is devoted to the only private museum of Florentine mosaics in Russia by B. and L. Oshkukovs. The basis of its funds was the personal collection of the founders. It represents all the main forms of mosaics using: from easel decorative panels to inserts in jewelry. The museum's exposition reflects the achievements of all the major art centers of Florentine mosaics in Russia — the works of stone-cutting masters from Khabarovsk, Ufa, St. Petersburg, Moscow, etc. The greatest artistic value is represented by mosaic paintings made both according to well-known pictorial originals, and according to the authors’ sketches. The principal materials for such mosaics are jaspers and other types of hard stones. A separate group in the museum collection consists of mosaic panels made according to the projects of B.L. Oshkukov, inspired by the works of masters of the Russian Avant-garde. On the basis of an interdisciplinary approach, including an art history, cultural and mineralogical analysis of the works of stone-cutting art, the author identifies the features of the main regional centers and kinds of Florentine mosaics. Статья посвящена единственному в России частному музею флорентийской мозаики Б. и Л. Ошкуковых. В основу данного собрания была положена личная коллекция основателей, в которой представлены все основные формы использования мозаик: от станкового декоративного панно до вставок в ювелирные украшения. В экспозиции музея отражены достижения всех основных художественных центров флорентийской мозаики в России — работы мастеров-камнерезов Хабаровска, Уфы, Санкт-Петербурга, Москвы и других городов. Наибольшую художественную ценность представляют мозаичные картины, выполненные как по общеизвестным живописным оригиналам, так и по авторским эскизам из яшм и других видов твердых камней. Отдельную группу в музейном собрании составляют мозаичные панно, выполненные по проектам Б.Л. Ошкукова, вдохновленного работами мастеров русского авангарда. На основе междисциплинарного подхода, включающего искусствоведческий, культурологический и минералогический анализ произведений камнерезного искусства, автор выделяет особенности основных региональных центров и форм флорентийской мозаики.
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Trever, Lisa. "Pre-Columbian Art History in the Age of the Wall." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 100–104. http://dx.doi.org/10.1525/lavc.2019.000007b.
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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Sinitsyna, Olga. "Old and new problems of Russian art libraries." Art Libraries Journal 17, no. 4 (1992): 23–26. http://dx.doi.org/10.1017/s0307472200008063.
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As a result of the momentous changes taking place in Russia, people and institutions have acquired a new freedom which they have not been prepared for. Art libraries can offer opportunities for people to use their freedom well, but their collections are inadequate and they are desperately short of money. At the same time, prices of books have risen sharply, and the introduction of charges for inter-library lending is inhibiting smaller libraries from borrowing material for their users. Library collections are being depleted by theft, sometimes perpetrated by hard-up librarians. Cooperation between art libraries could help, but libraries accustomed to a rigid centralized system scarcely know how to begin to cooperate voluntarily; nonetheless, some first steps have been taken by a number of Moscow’s art libraries. Russian art libraries are of several kinds, notably museum libraries, serving their own institutions in the first instance, and art departments of large public libraries, but there is no national art library to serve as the focal point of a network; in the absence of cooperation and networking, collection development and stock-editing are guided only by the immediate needs of particular libraries. Russian libraries, not least the Library of Foreign Literature, desperately need not only to develop networking at home, but also to establish links with libraries abroad.
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Dierker, Urs A. Georg. "Every stain a story: The many dirty undershirts of John McClane in Die Hard." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 193–205. http://dx.doi.org/10.1386/scp_00004_1.
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Men’s upper body underwear and the depiction of grime, dirt and blood on costumes have a long tradition in Hollywood films. This article explores the 34 undershirts worn by Bruce Willis and his stuntman in the 1988 action film Die Hard from the points of view of the maker, designer, actor, curator and spectator. The image of McClane and the undershirt became iconic in their depiction of a white, working-class, heroic masculinity. One of the many undershirts used in the film was donated to the Smithsonian’s National Museum of American Culture costume collection. This one artefact and the 33 ‘lost’ doubles hold more clues to the undershirt’s past than the obvious connection to a major star; the exhibited object also brings the viewer into physical proximity with the art of Hollywood filmmaking. This article queries the different ‘authenticities’ of the garment, from its material believability as evidence of the character’s progression through the film, to its cultural signification legitimized by the perspectives of the makers and audiences, to its role as artefact authenticated by the museum and/or viewer. Analysis is correspondingly divided into costume in context, costume in production, costume as film image and costume as artefact.
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Hansen, Susan. "“Pleasure stolen from the poor”: Community discourse on the ‘theft’ of a Banksy." Crime, Media, Culture: An International Journal 12, no. 3 (June 22, 2016): 289–307. http://dx.doi.org/10.1177/1741659015612880.
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The removal of street art from community walls for private auction is a morally problematic yet legal action. This paper examines community reactions to the removal of Banksy’s No Ball Games for private auction. Five hundred unique reader comments on online newspaper articles reporting this controversial event were collected and analyzed. An emerging set of urban moral codes was used to position street art as a valuable community asset rather than as an index of crime and social decay. The latter discourse informed a repertoire that depicted No Ball Games as unlawful graffiti that was rightfully removed. Here, the operations of ‘the police’ (Rancière, 1998: 17) in the distribution of the sensible are evident in the assertions that validate and depoliticize the removal of No Ball Games. This repertoire was used to attribute responsibility for the work’s removal to deterministic external forces, while reducing the accountability attributable to those responsible for the removal of the work. A contrasting anti-removal repertoire depicted street art as a gift to the community, and its removal as a form of theft and a source of harm to the community. The pro-removal repertoire incorporates and depoliticizes elements of the anti-removal repertoire, by acknowledging the moral wrong of the removal, but yielding to the legal rights of the wall owners to sell the work; and by recognizing the status of street art as valuable, but asserting that the proper place for art is a museum. The anti-removal repertoire counters elements of the pro-removal repertoire, by acknowledging the illegality of street art, but containing this to the initial act of making unsanctioned marks on a wall, after which point the work becomes the property of the community it is located within. This analysis reveals an emergent set of urban moral codes that positions a currently legal action as a form of criminal activity.
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Velilla, Carlos. "Tal Vez no Sepa Vd. que yo también Pinto. Arnold Schönberg." Barcelona Investigación Arte Creación 6, no. 3 (October 3, 2018): 235. http://dx.doi.org/10.17583/brac.2018.3364.
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This article is about the work of Arnold Schönberg1 (1874-1951) as a painter, a little-known facet, but a skill which has shown in excellent art expositions, both in life and posthumously. The last Arnold Schönberg. Peintre l’âme in the MahJ Museum (le musée d’art et d’histoire du Judaïsme) in París in 2016. In Barcelona in 1992: Arnold SchönbergPaintings and drawings. The collection of art work, an exhibition that came from Vienna, Cologne, Manchester, Berlin and Milan. Schönberg answers the first letter from Wassily Kandinsky (1866-1944), and tells him he was apainter, too, and wanted to speak to him about art. These works reveal the relationships that he established in his life: painting and music, idea and style, art and life, tonality and atonality, the established and the new. The doubts faced during some hard years due to the fall of an empire and theapparent peace. Pain in the vanguards at the beginning of the twentieth century. The importance of their meetings and the extensive correspondence with Kandinsky and other artists. The quest for total art. The relationship between Kandinsky’s book “The Spiritual in Art” (1912), which hedelivered to the printer at the same time as Schönberg published his “Treaty on harmony” (1911); despite their conceptual differences both have a common intention: to create from inside the individual’s interior. At the same time, atonal music and abstract art were born. Schönberg was spoken of as a musician, teacher, writer, inventor, scenographer, designer and painter.
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Widjaya, Samuel Axel, and Nina Carina. "Wadah Seni Kolektif Senen." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 2, no. 2 (November 1, 2020): 1341. http://dx.doi.org/10.24912/stupa.v2i2.8511.
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A 3rd place acts as an vital place in our daily life, aside from home as the 1st place or workplace as the 2nd place. 3rd place is a neutral public space, often seen as an alternative for some people. Everyone is welcome to visit and to do lots of activities on it. A 3rd place doesn’t have a fixed form, it can be anything the community around it needs it to be.Kawasan Senen was known as the centre of trade and art since forever. It can be seen from its history that became the birthplace of some of the finest artists in Indonesia. When Taman Ismail Marzuki was built on November 10th, 1968, the value of art in Kawasan Senen began to fade. But as time goes by, the value of art in Kawasan Senen begins to rise again. This event can be seen by the rise of art activities around Kawasan Senen such as Wayang Orang Bharata Purwa show that runs every Saturday, the free traditional dance classes that were held by Museum Kebangkitan Nasional and the emergence of Komunitas Planet Senen (KOPS) that actively trying to reintroduce the value of art to the Senen community. Senen Collective Art Space project was built on the hope to become the 3rd place to the community as well as providing and strengthening the value of Kawasan Senen. Keyword: Art in Senen; Collective Art; Neutral Public Space; Third Place AbstrakThe 3rd place merupakan tempat penting yang dibutuhan masyarakat, selain dari rumah sebagai the 1st place maupun tempat kerjanya sebagai 2nd place. 3rd place adalah ruang publik yang netral, sebagai tempat alternatif. Setiap orang dapat berkunjung dan melakukan berbagai aktivitas. Sebuah 3rd place dapat memiliki bentuk yang beragam, namun nyaman untuk beraktivitas sesuai dengan kehidupan dan budaya masyarakatnya. Kawasan Senen sejak dahulu dikenal sebagai pusat perdagangan dan kesenian yang cukup ramai. Hal ini dapat dilihat dari sejarah kawasannya yang menjadi tempat lahir beberapa seniman terkenal tanah air. Dibangunnya Taman Ismail Marzuki (TIM) pada 10 November 1968 membuat nilai seni di Kawasan Senen ini sempat luntur. Namun seiring waktu, nilai seni dari Kawasan Senen mulai kembali naik. Hal ini ditandai dengan beberapa aktivitas berunsur seni yang mulai dilaksanakan kembali di Kawasan ini seperti pertunjukan Wayang Orang Bharata Purwa yang rutin diadakan setiap hari Sabtu sampai kursus menari tradisional yang diadakan secara gratis oleh Museum Kebangkitan Nasional dan juga munculnya Komunitas Planet Senen (KOPS) yang kerap berusaha memperkenalkan unsur seni kepada masyarakat Senen. Proyek Wadah Seni Kolektif Senen ini bertujuan untuk menjadi wadah 3rd place bagi warga serta memfasilitasi dan memperkuat kembali unsur seni di Kawasan Senen ini.
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Green, Rebecca L. Skinner. "Africa Interweave: Textile Diasporas. edited by Susan Cooksey, Gainesville, FL: Samuel P. Harn Museum of Art, University of Florida, 2011. 160 pp., 124 color ill., 15 b/w ill., 1 map. $29.95 paper." African Arts 46, no. 3 (September 2013): 95–96. http://dx.doi.org/10.1162/afar_r_00096.
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Marvella, Bianca, and Andi Surya Kurnia. "GALERI SENI INTERAKTIF." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 2 (January 26, 2020): 929. http://dx.doi.org/10.24912/stupa.v1i2.4421.
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Millennials are the generation that lives among advance technology. The use of digital technology is inseparable from the millennial generation. This claim are proven by how technology sink in a lot aspects of life, social aspect as one of them. Today, with digital technology, social media becomes a tool to communicate that can connect people without the limitation of time and place. Millennials, as a generation who use digital technology the most today, open themselves up by showing moments, experiences, and pleasures through art. As a form of expressing oneself, art is no longer limited to a collection of sculptures, or painting, but rather to an aesthetic moments that they can share on social media in the form of photos or videos. In Indonesia, most museums and art galleries only accommodate exhibition spaces that are limited to static object (immovable), even though they are supposedly accommodate dynamic art objects that can be used interactively with visitor galleries. Therefore, a space that can accommodate interactive art objects in the digital age is needed. By using design research methods, carried out on space through observation and exploration, the Interactive Art Gallery not only provides relevant expression space for millennial generations, but also supports direct conversion between communities through art. AbstrakGenerasi milenial merupakan generasi yang tumbuh di tengah perkembangan teknologi yang menjadikan mereka tech savvy (gemar teknologi). Pemakaian teknologi digital sudah sangat lekat dengan generasi milenial. Hal ini dibuktikannya dengan masuknya teknologi dalam aspek-aspek kehidupan, salah satunya adalah aspek sosial. Hari ini, dengan kecanggihan teknologi digital, sosial media menjadi sebuah perangkat interaksi yang dapat mengkoneksikan orang-orang tanpa batasan waktu dan tempat. Milenial, sebagai generasi pengguna teknologi digital terbanyak saat ini, mengekspresikan diri mereka dengan cara menunjukan momen, pengalaman, dan kesukaan, salah satunya lewat seni. Sebagai wujud ekspresi diri, seni tidak lagi terbatas pada koleksi patung, atau lukisan, tetapi lebih kepada momen-momen estetik yang dapat mereka bagikan di sosial media dalam bentuk foto maupun video. Di Indonesia sendiri, kebanyakan museum dan galeri seni hanya mewadahi ruang pamer yang terbatas pada objek-objek seni statis (tidak bergerak) padahal seharusnya mulai berkembang untuk mewadahi objek seni dinamis yang dapat berinteraksi langsung dengan pengunjung galeri. Oleh karena itu, dibutuhkannya sebuah ruang yang dapat mewadahi objek seni interaktif di era digital. Dengan menggunakan metode design research yang melakukan pendekatan terhadap ruang lewat observasi dan eksplorasi perilaku, Galeri Seni Interaktif dirancang dengan tujuan tidak hanya memberikan ruang ekspresi yang relevan untuk generasi milenial, tapi juga mendukung terjadinya interaksi langsung antar masyarakat sekitar melalui seni.
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Robb, Matthew H. "Lords of the Underworld—and of Sipán: Comments on the University Museum and the Study of Ancient American Art and Archaeology." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 115–20. http://dx.doi.org/10.1525/lavc.2019.000007e.
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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Börner, Katy, Adam Maltese, Russell Nelson Balliet, and Joe Heimlich. "Investigating aspects of data visualization literacy using 20 information visualizations and 273 science museum visitors." Information Visualization 15, no. 3 (August 6, 2015): 198–213. http://dx.doi.org/10.1177/1473871615594652.
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In the information age, a person’s ability to read and make data visualizations is nearly as important as being able to read and write text. This article reports the results of a multi-phase study conducted in informal learning environments in three US science museums. The goal of the study was to determine the familiarity of youth and adult museum visitors with different visualization types. To address this, a total of 273 visitors were shown 5 out of 20 different visualizations that included two charts, five maps, eight graphs, and five network layouts. They were asked to judge the familiarity of the visualization, provide information on how to read it, and provide a name and identify typical locations where they would encounter the data display and possible data sources that might be visualized in this way. The results show that while most participants have a strong interest in science, math, and art, many have a hard time naming and interpreting visualizations. Participants in this study commonly encounter visualizations in school, in books, at work, on the Internet, and in the news. Overall, they were more familiar with basic charts, maps, and graphs, but very few are familiar with network layouts and most have no ability in reading network visualizations. When asked how they would interpret the visualizations, most participants pointed to superficial features such as color, lines, or text as important to developing understanding. Overall, we found that participants were interested in the visualizations we presented to them, but had significant limitations in identifying and understanding them. The results substantiate intuitions shared by many regarding the rather low level of data visualization literacy of general audiences. We hope they will help catalyze novel research on the development of easy-to-use yet effective visualizations with standardized names and guaranteed properties that can be readily used by those interested to understand and solve real-world problems. The results also have implications for how information visualizations are taught and used in formal and informal education, the media, or in different professions.
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Skelly, Julia. "The Phantasmagoric World of Thierry Mugler." Fashion Studies 2, no. 1 (2019): 1–13. http://dx.doi.org/10.38055/fs020108.
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This review of Thierry Mugler: Couturissime approaches the exhibition through a feminist art-historical lens and attends to the various ways that both Mugler’s clothing and the Montreal Museum of Fine Arts’ curatorial team has framed and constructed the powerful, threatening woman as a complex figure who is hard, cold, sensual, strong, hard-working, and spectacular, among many other valences. The exhibition, which had its world premiere at the MMFA in March 2019, is organized as a fashion opera in six acts, and each room illuminates disparate yet interconnected parts of Mugler’s body of work: his costumes for a 1985 performance of Macbeth in Paris; the decadent and excessive clothing worn and worshipped by past and present celebrities; the black-and-white power dressing that Helmut Newton and others have canonized in fashion photography; the astounding creations inspired by insects and reptiles; and finally, the cyborgian fembots that have been presented in both Vogue and music videos. The inclusion of photographs and videos — not a new strategy in blockbuster fashion exhibitions — is essential to the success of Thierry Mugler: Couturissime, as they reveal that while these clothes are works of art, they were made to be worn and mobilized. Although not explicitly a feminist exhibition, for viewers who are looking for feminist, political inspiration wherever they can find it Mugler’s warrior women and formidable clothing — whether made of metal, latex or feathers — provide a powerful reminder that clothing is just one of the many weapons in our arsenal.
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Chodyński, Antoni Romuald. "WAR LOSSES: A THREE-VOLUME PUBLICATION OF THE MUSEUM OF GDAŃSK." Muzealnictwo 62 (June 16, 2021): 93–99. http://dx.doi.org/10.5604/01.3001.0014.9355.
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Released in three separate volumes, the publication continues the Polish museology series published for several years now and related to the losses incurred as a result of WW II within the borders of today’s Republic of Poland. The Preface to Volume I on the war losses of the Town Hall of the Main City of Gdańsk by the Director of the Museum in Gdańsk Waldemar Ossowski, contains reflections essential for the discussed issue. The three-volume series opens with the War Losses of the Town Hall of the Main City of Gdańsk (Vol. I). Briefly, the most essential facts have been highlighted in the story of its raising, and the functions of the major Town Hall interiors, both sumptuous and serving as offices, have been described: the Grand Hallway, the Grand Room called Red or Summer Room, the Small Room of the Council called Winter Room, the Grand Room of the City Council, the Treasury, and the Deposit Room. In the final months of WW II, Gdańsk lost about 80% of its most precious historic substance within the Main City. As early as in April 1945, the search for and the recovery of the dispersed cultural heritage began. War Losses of the Artus Manor and the Gdańsk Hallway in Gdańsk (Vol. 2) begins with a sepia photograph from 1879. As of October 1943 to January 1945, the following took place: dismantling together with signing and numbering of the objects, packing into wooden chests, and evacuation to several localities outside Gdańsk. It has already been ascertained that as early as in mid-June 1942, some dozen of the most precious historic monuments were evacuated from the Artus Manor, of which several items have not been recovered: late- -mediaeval paintings (Boat of the Church, Siege of Marienburg, Our Lady with Child, and Christ, Salvator Mundi), several elements from the four sets of tournament armours from the section of the Brotherhood of St Reinold, the sculpture Saturn with a Child, the sculpture group Diana’s Bath and Actaeon’s Metamorphosis, as well as some dozen elements of the décor of the Grand Hall. All these historic pieces were transferred to the village of Orle (Germ. Wordel) on the Sobieszewo Island on 16 June 1942. Only fragments of tournament armours have been recovered: they were found at various locations under the circumstances hard to clarify many years later. The most extensive war losses have been presented for the Uphagen House (Vol. 3). The majority of the gathered art works, the interior equipment and usable objects essential in the burgher’s tenement house transformed into a museum in the early 20th century have not been found, thus they have not returned to their original location.
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Smith, Adam, Al Jayson Songcuan, Nathan Cook, Rachelle Brown, Kailash Cook, and Reuben Richardson. "Engineering, Ecological and Social Monitoring of the Largest Underwater Sculpture in the World at John Brewer Reef, Australia." Journal of Marine Science and Engineering 10, no. 11 (November 1, 2022): 1617. http://dx.doi.org/10.3390/jmse10111617.
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The largest underwater sculpture in the world, the ‘Coral Greenhouse’ by artist Jason deCaires Taylor, was commissioned by the Museum of Underwater Art and installed at John Brewer Reef, Australia, in December 2019. The planning process required certified engineering design drawings associated with design life, durability and suitability of materials, and baseline ecological surveys. Following approval, the operational phase required annual monitoring of substrate, ecology, social values, and marine debris. We geo-referenced three permanent transects and designed a before/after rapid monitoring assessment of substrate, fish, and invertebrates. Substrate surveys indicated 11% concrete and 89% sand. Fish surveys indicated significant increases of diversity and abundance, with 12 species and 65 individuals recorded in 2018 compared to 46 species and 365 individuals recorded in 2022. Macroinvertebrate species maintained no significant trends in abundance, species richness, and diversity with respect to time between 2018 and 2022. We monitored coral restoration and natural recruitment at the site, measuring aesthetics, survivorship of planted corals, and coral recruitment. Of 131 corals transplanted in March 2020, survivorship was 100% at 1 month, 92% at 6 months, and 91.6% at 12 months. Hard and soft corals were recruited to the structure at a density of 8.35 hard corals/m2 and 10.9 soft corals/m2 over 26 months.
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Kudelska, Dorota. "What the Polish Mother Does Not Say. Zbylut Grzywacz Against the Myth." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 103–23. http://dx.doi.org/10.18290/rh.2019.68.4-5en.
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The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 4 (2014).
The article presents the art of Zbylut Grzywacz in the context of his post-mortem exhibition in the Kraków National Museum in 2009. The subjects of the analysis are his paintings from the 1970s and 1980s, presenting women through a simple rough treatment of human body form, without an academic idealization. The destruction of the form conforms to the deconstruction of the myth of a Polish Mother. It is due to the change of a social position of the figures whom Grzywacz gives the roles of guardians of tradition, as well as due to their mental and moral degradation. The artist uses an irony in showing his knowledge of the tradition of showing a human body in an academic nude (what he denies), in a Flemish art of showing torn animal meat (with the Rembrandt’s reflection) and Holbein’s tradition of the post-mortem decay (The Body of the Dead Christ in the Tomb). One of the main themes in Grzywacz’s paintings is the loneliness, especially distinct in a representation of symbolically naked persons among insensible pedestrians. The Polish Mother—here she doesn’t belong to any society.
The explicitness and the picturesque materiality covers a certain “crack” in the world presented inside the hard-to-comprehend present-day multitude of Grzywacz’s paintings. Behind the cover of the foreground tale, as one could think on the basis of the sketchbooks, there is a kind of an “unpresented world”, in which the author incessantly tells us about the pain of his existence with no anaesthetization by grotesque.
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Apollonio, Fabrizio Ivan, Riccardo Foschi, Marco Gaiani, and Simone Garagnani. "How to Analyze, Preserve, and Communicate Leonardo's Drawing? A Solution to Visualize in RTR Fine Art Graphics Established from “the Best Sense”." Journal on Computing and Cultural Heritage 14, no. 3 (July 2021): 1–30. http://dx.doi.org/10.1145/3433606.
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Original hand drawings by Leonardo are astonishing collections of knowledge, superb representations of the artist's way of working, which proves the technical and cultural peak of the Renaissance era. However, due to their delicate and fragile nature, they are hard to manipulate and compulsory to preserve. To overcome this problem we developed, in a 10-year-long research program, a complete workflow to produce a system able to replace, investigate, describe and communicate ancient fine drawings through what Leonardo calls “ the best sense ” (i.e., the view), the so-called ISLe ( InSightLeonardo ). The outcoming visualization app is targeted to a wide audience made of museum visitors and, most importantly, art historians, scholars, conservators, and restorers. This article describes a specific feature of the workflow: the appearance modeling with the aim of an accurate Real-Time Rendering (RTR) visualization. This development is based on the direct observation of five among the most known Leonardo da Vinci's drawings, spanning his entire activity as a draftsman, and it is the result of an accurate analysis of drawing materials used by Leonardo, in which peculiarities of materials are digitally reproduced at the various scales exploiting solutions that favor the accuracy of perceived reproduction instead of the fidelity to the physical model and their ability to be efficiently implemented over a standard GPU-accelerated RTR pipeline. Results of the development are exemplified on five of Leonardo's drawings and multiple evaluations of the results, subjective and objective, are illustrated, aiming to assess potential and critical issues of the application.
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Monita, Gustira. "TARI GUEL SEBAGAI IDENTITAS MASYARAKAT GAYO." Joged 17, no. 1 (July 26, 2021): 30–41. http://dx.doi.org/10.24821/joged.v17i1.5601.
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ABSTRAKTari Guel dipahami sebagai sebuah simbolis gerak yang memberikan interaksi dinamis pada penontonnya, yaitu tentang pembentukan makna dalam realitas kehidupan sehari-hari oleh-orang-orang Gayo. Dalam memahami bentuk keseluruhan ataupun makna yang terkandug di dalamnya Tari Guel lebih mengutamakan rasa. Tari Guel juga dipandang sebagai museum gerak tak benda yang menyimpan banyak sejarah masyarakat Gayo. Guel adalah identitas penting suku Gayo, menyimpan banyak simbol sejarah yang sudah sepatutnya dipecahkan dan diungkapkan. Agar suku Gayo dan keberadaannya tidak hilang terbawa arus modernisasi. Penelitian ini menggunakan pendekatan Antropologi, yang memandang seni sebagai bagian dari aktivitas budaya manusia. Pendekatan Antropologi digunakan untuk melihat konteks, yang akan membedah kehidupan sosial masyarakat dan adat istiadat Gayo, yang berkaitan dengan Tari Guel dan keberadaannya yang masih dijaga serta dilestarikan oleh masyarakat Gayo. Selain itu penelitian ini juga menggunakan pendekatan Koreografis. Pendekatan ini adalah sebagai teks yang digunakan untuk membedah bagaimana bentuk penyajian dan keseluruhan struktur yang terdapat pada Tari Guel.ABSTRACT Guel dance is understood as a symbolic movement that provides dynamic interaction to the audience, namely about the formation of meaning in the reality of daily life by the Gayo people. In understanding the overall form or meaning contained in it, Guel Dance prioritizes taste. The Guel dance is also seen as a museum of intangible objects that holds much of the history of the Gayo people. Guel is an important identity of the Gayo tribe, holding many historical symbols that should be solved and revealed. So that the Gayo tribe and its existence will not be lost in the current of modernization. This research uses the Anthropology approach, which views art as part of human cultural activities. Anthropology is defined as the science of humans, specifically about their origin, race, customs, beliefs in the past, society and culture. Anthropology used as a context, which will dissect the social life of the people and the customs of Gayo, relating to the Guel Dance and its existence which is still preserved and preserved by the Gayo people. Besides this research also uses a choreographic approach. This approach is a text used to dissect the form of presentation and overall structure contained in the Guel Dance.
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Walter, Philippe. "Chemical Analysis and Painted Colours: the Mystery of Leonardo's Sfumato." European Review 21, no. 2 (April 30, 2013): 175–89. http://dx.doi.org/10.1017/s1062798712000348.
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At the end of the 15th century, Italian painters explored the new effects made possible by the use of the oil medium. They created a sense of depth and relief by following the Flemish technique of glazes, which allowed the spreading of very thin and translucent layers, rich in medium and with low pigment content. A striking example is given by the realization of the shadows in the paintings of Leonardo da Vinci: the Master used the so-called ‘sfumato’ technique based on the use of glazes to obtain a ‘smoky’ aspect for the creation of flesh tones, with very subtle contours that seem to have no hard edges. Since the 16th century, his technique was famous due to the perfection of the works of art that glazes have allowed artists to reach. Analytical characterizations of painting materials have helped us to improve our knowledge about this technique. X-ray fluorescence measurements were carried out on seven paintings by Leonardo da Vinci preserved in the Louvre museum. This technique is widely used for qualitative determination of the pigments but it is very difficult to interpret the data quantitatively in the case of layered structures such as easel paintings. As well as the characterization of the palette, we obtain in-depth information on how Leonardo modelled his shadows. Comparisons between the different paintings of Leonardo highlight the specific features in the Leonardo technique.
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Blakesley, Rosalind P. "Exuberance of Meaning: The Art Patronage of Catherine the Great (17621796). By Asen Kirin, with contributions by Liana Paredes, Kristen Regina, and Scott Ruby. Athens: Georgia Museum of Art, University of Georgia, 2013. 230 pp. Notes. Bibliography. Chronology. Plates. $50.00, hard bound." Slavic Review 74, no. 2 (2015): 411–12. http://dx.doi.org/10.1017/s0037677900001807.
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Elya, Elya. "MEMBANGUN BUDAYA SEKOLAH MELALUI PENGEMBANGAN PENDIDIKAN AGAMA ISLAM DI SMA NEGERI 3 PALU." IBTIDAI'Y DATOKARAMA: JURNAL PENDIDIKAN DASAR 1, no. 2 (December 1, 2020): 15–28. http://dx.doi.org/10.24239/ibtidaiy.vol1.iss2.22.
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This study discusses how to build a school culture through the development of Islamic religious education in SMA Negeri 3 Palu. This study aims to develop and preserve the school culture (school culture) that is characterized and strong. The specific target achieved is how all school members can participate and apply religious culture, work team culture and leadership culture in interacting both in the classroom and outside the classroom with various programs that have been arranged by the school. The research method used is descriptive qualitative, data obtained through observations, interviews and documentation, location photos and behavior of all citizens of SMA Negeri 3 Palu. Data were analyzed with the Hubberman model which included data collection, data analysis, data verification and data reduction. The results showed that there were three components of school culture developed in SMA Negeri 3 Palu, namely: first, religious culture, namely culture instilling systematic behavior and manners in practicing their respective religions so as to form personalities and good attitudes (akhlaqul Karimah) and discipline in various matters, both in the classroom and outside the classroom. Second, the culture of team work is to instill a sense of togetherness and social sense through joint activities. Form of School Orientation (MOS) activities, industry visits, Parents Day, social service, foster friends, Sport and Art, Museum Visits, Performances of Art, Comparative Studies, Ekskul, Labs Channel, Labs TV, Labs Care, Student Release, School Uniforms, School Magazines, Potency Mapping. Third, the culture of leadership (Leadership), is to instill leadership and leadership from an early age. Form of Activity, Career Day; culture of hard work, smart and sincere, Creative culture; Independent and responsible, culture of discipline, cross-struggle student council, public lectures, flag ceremony, Friday Morning Sports, student leadership studies, LKMS, OSIS. With the motto agreed by the school for example being creative and achieving, it will make the school superior and quality. The implication of this research is that the school culture must remain strong and maintained, even the school is ready to share the experience of the achievements of the national high school achieved, to other schools in Central Sulawesi.
Keywords: Building School Culture, Islamic Education
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Sawczuk, Magdalena. "Stakeholder Salience Model in the Practices of Public Museum Management." Cultural Management: Science and Education 5, no. 2 (January 4, 2021): 95–110. http://dx.doi.org/10.30819/cmse.5-2.07.
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Stakeholder theory is extensively explored. On the one hand, previously pointed issues are deepened and reconsidered; on the second, new research contexts emerge. When it comes to museums, due to the changing environmental situation, they have to modify their way of functioning by combining tradi-tional museum duties with managerial perspective and necessity to be effective. Although discussions about museum management include stakeholders, yet such exploration is quite general. Hence, the aim of this article is to look at the stakeholder salience model in the context of the specificity and the prac-tice of public museums' functioning. Through qualitative research with in-depth interviews, content analysis, and observations, stakeholder attributes were specified, with reference to connected activities and associated entities. The findings present what attributes are characteristics of a particular stake-holders' group, including how their diversity and overlapping look like. Moreover, findings showed that perceived stakeholder salience depends on the particular project and that not always salient stakehold-ers have been identified with all three attributes. Although stakeholders are noticed as a crucial element for the effective museums' functioning, their analysis remains at the general level. Hence, by taking one of the theoretical perspectives for the analysis, the study aims to fill in the existing gap. It is also impor-tant to consider the challenges standing in front of the museums, including the difficult situations that arise from the pandemic restrictions. Although in practice it is hard to omit the unpredictability, the recognition of stakeholders' characteristics might minimize the risk and uncertainty, even if a new stakeholder is not considered.
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Nielsen, Jesper. "Crossing Borders? A Cross-Disciplinary Perspective on the Study of Mesoamerican Visual Culture." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 105–10. http://dx.doi.org/10.1525/lavc.2019.000007c.
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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Baquedano, Elizabeth. "Visual Culture: Ancient Mexico’s Heritage." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 111–14. http://dx.doi.org/10.1525/lavc.2019.000007d.
Full textAbstract:
Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Pillsbury, Joanne. "Pre-Columbian: Perspectives and Prospects." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 121–27. http://dx.doi.org/10.1525/lavc.2019.000007f.
Full textAbstract:
Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Ortíz Triviño, Jorge Eduardo, and Rodolfo Cipagauta. "A virtual art museum." Ingeniería e Investigación 26, no. 3 (September 1, 2006): 78–84. http://dx.doi.org/10.15446/ing.investig.v26n3.14754.
Full textAbstract:
This paper presents some indispensable technical aspects for designing an art museum based on virtual reality (VR) technology. A VR setting can be produced which is able to submerge users having a basic immersion level in a didactic, entertaining, cultural and artistic experience. Specialised tools, object-orientated programming language and low-cost peripheral equipment are suggested so that the VR experience can be developed and executed on reasonably-priced computers. The VR concept, characteristics, components, application and systems are analysed, as is the design for implementing it.
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Tollfree, Eleanor. "Art and the Museum." Art Book 8, no. 2 (March 2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.
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Carrier, David. "The Art Museum Today." Curator: The Museum Journal 54, no. 2 (April 2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.
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Guffey, Elizabeth. "The Disabling Art Museum." Journal of Visual Culture 14, no. 1 (April 2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.
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Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.
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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.
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Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (April 1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.
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van Deventer, Anriet. "The Pietersburg Art Museum." de arte 33, no. 57 (April 1998): 61–62. http://dx.doi.org/10.1080/00043389.1998.11761270.
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Stylianou-Lambert, Theopisti. "Perceiving the art museum." Museum Management and Curatorship 24, no. 2 (June 2009): 139–58. http://dx.doi.org/10.1080/09647770902731783.
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Hebb, Timothy Tore. "Kalmar Museum of Art." Architectural Design 78, no. 6 (November 2008): 134–35. http://dx.doi.org/10.1002/ad.791.
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Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (October 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.
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Kornetchuk, Elena. "Art of the Baltics: The Struggle for Freedom of Artistic Expression under the Soviets, 1945-1991. Ed. Alla Rosenfeld and Norton T. Dodge. Dodge Soviet Nonconformist Art Publication Series. New Brunswick: Rutgers University Press and The Jane Voorhees Zimmerli Art Museum, 2002. xi, 476 pp. Appendixes. Notes. Bibliography. Chronology. Glossary. Index. Illustrations. Plates. Photographs. Tables. $110.00, hard bound." Slavic Review 63, no. 1 (2004): 173–74. http://dx.doi.org/10.2307/1520299.
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Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.
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Miller, Jack, and Laurie B. Reese. "MUSEUM TOL: Confessions of an Art Museum Librarian." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 4 (December 1987): 168–69. http://dx.doi.org/10.1086/adx.6.4.27947827.
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Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (June 30, 2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.
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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.
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Carrier, David. "THE ART MUSEUM AS A WORK OF ART: THE J. PAUL GETTY MUSEUM." Source: Notes in the History of Art 22, no. 2 (January 2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.
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