Relevant bibliographies by topics / Home exhibitions

Contents

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

Academic literature on the topic 'Home exhibitions'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Home exhibitions.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Home exhibitions"

1

TINGIR, Merve, and Serkan İLDEN. "EV MÜZECİLİĞİNDEN ÇEVRİMİÇİ SERGİLERE." Akademik Sanat Dergisi 2021, no. 12 (April 28, 2021): 12–22. http://dx.doi.org/10.34189/asd.2021.12.002.

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

Raharjo, Timbul. "INDONESIAN CRAFT IN THE WORLD TRADE." Ars: Jurnal Seni Rupa dan Desain 21, no. 3 (September 1, 2018): 177–82. http://dx.doi.org/10.24821/ars.v21i3.2899.

Full text
Abstract:
Some international craft exhibitions focus on home accessories, gifts, and furniture. The exhibition aim as craft product branding at the national and international market, for example 2016 JIFFINA exhibition. Indonesian craft commodity maintains market share in several export destination countries because Indonesian products offer special characteristics and moreover, Indonesian exporters are enthusiastic in promoting the products in international exhibitions. In Asia level, Canton Fair held in Guangzhou International Convention & Exhibition Center China is one of the biggest programs where a big number of buyers look for products they want to purchase. In Asia, exhibition series peak in Guangzhou in March and in Shanghai in October. These exhibitions are visited by importers from Europe, America, Africa, The Middle East, Australia, etc. They come to buy Asian furniture. Some exhibitions in several countries are intentionally organized within a short time in sequence to grab buyers coming to South East Asian area. It is when the commission products from Indonesian producers, in form of retails or projects. Indonesian stakeholders respond this opportunity by organizing two big exhibitions, namely Indonesia International Furniture Expo (IFEX) in Jakarta and Jogja International Furniture and Craft Fair (JIFFINA) in Yogyakarta
APA, Harvard, Vancouver, ISO, and other styles
3

Tali, Margaret. "The Son’s Coming Home: Narrative Economies of Joseph Beuys’ Art." Culture Unbound 10, no. 2 (August 15, 2018): 281–300. http://dx.doi.org/10.3384/cu.2000.1525.20180815.

Full text
Abstract:
This article deals with the narration of Joseph Beuys’ art in Germany. My focus is set on the ways that particular curatorial strategies have been applied to Beuys’ artistic practice in the Hamburger Bahnhof in Berlin. I contextualize the readings in the interests of different stakeholders involved in the rescaling of the artist’s heritage. Beuys’ framing in the two recent retrospective exhibitions in Berlin and Düsseldorf and the regular display of his works in the Hamburger Bahnhof leads me to argue that private collectors have become closely involved in the process of curating in novel ways, which in turn requires a new critical reading of exhibition practices. Narrative economy is a concept proposed for understanding these interests and their articulations in exhibition curation.
APA, Harvard, Vancouver, ISO, and other styles
4

HELLAND, JANICE. "Rural Women and Urban Extravagance in Late Nineteenth-Century Britain." Rural History 13, no. 2 (October 2002): 179–97. http://dx.doi.org/10.1017/s0956793302000109.

Full text
Abstract:
This essay discusses two exhibitions that romanticised the rural Celtic fringes of Britain for consumption in London, the ‘metropolis of the world’. Alice Hart's reconstructed Donegal Village at the Irish Exhibition (1888), organised under the auspices of the Donegal Industrial Fund, assuaged the reality of poverty in the Congested Districts; the Duchess of Sutherland's faux Highland cottage at the Victorian Era Exhibition (1897), organised by Scottish Home Industries, suggested hunting, fishing and scenic views rather than land reform and emigration. While the differences between the organisations inform the parts they played in exhibitions, they clearly and precisely converge in one respect: both advertised, glorified and sold the rural when existence in Donegal and in the Highlands was financially precarious and disappearing. They also share another characteristic: the female patrons, their associations and the female workers have ironically disappeared from historical writings while still visible are the colonised representations of exhibitions in which they participated. This essay seeks to recollect the historical moment at which the two associations flourished, examine how each group performed its self-appointed task and analyse their places as urban enthusiasts of the rural experience.
APA, Harvard, Vancouver, ISO, and other styles
5

Karm, Svetlana, and Art Leete. "Uurali kaja Eesti Rahva Muuseumis." Eesti Rahva Muuseumi aastaraamat, no. 61 (October 11, 2018): 14–43. http://dx.doi.org/10.33302/ermar-2018-001.

Full text
Abstract:
The Echo of the Urals exhibition at the Estonian National Museum Our objective was to analyse the process of preparing the Echo of the Urals permanent exhibition we produced for the Estonian National Museum. We focused on the historical background of the exhibition and the methodological and ideological positions that the exhibition committee relied on. In this article, we dealt with how the concept for the exhibition developed and the principles for the technical solutions used at the exhibition. We also tried to analyse the retrospective views taken by the exhibition’s content and design committees regarding their work. Many previous Finno-Ugric permanent exhibitions at the Estonian National Museum had focused on presenting folk art, and this aspiration was reflected even in the titles of the exhibitions. Moreover, the Finno-Ugric scholars at the National Museum also tried to use the exhibitions to gain an overview of the existing materials at the museum concerning a specific ethnic group. Such exhibitions also focused on the Finno-Ugric people and so as representative a set of artefacts as possible was placed on display, systematised in the spirit of scientific objectivity. From the second half of the 1990s on, the museum’s researchers started producing exhibitions on more experimental themes as well, testing the suitability of various ideas for an ethnographic exhibit. Some ideas are exciting on paper while artefacts can fail to express more abstract qualities. Our permanent exhibition was based on the historical legacy, and we tried to find a simple, relevant starting idea for the exhibition that made full use of the museum’s collections. After discussions, we chose Echo of the Urals as the title of the exhibition. In doing so, we tried to refer in a lyrical vein to the idea of an original home for the Finno-Ugrians and allow different peoples to be introduced in a single framework. The idea of linguistic kinship may be easy to understand for scholars and many Finno-Ugrians, but we also thought about visitors who did not know anything about the topic. We devoted the main part of the exhibit to the ethnographic representation of gender roles, trying to get viewers to think about everyday gender roles and cultural differences. We hoped that presenting the cultural roles of males and females would be a simple starting idea that would also be of interest to many. The exhibition design had to be state-of-the-art, a finely tuned machine, at the same time creating emotionally gripping, seemingly semi-natural ethnographic attractions. As a result of our research, we found that although we tried to create an emotionally captivating and conceptually balanced exhibition, we were criticised in the critical reception for allegedly haphazard choices (the gender theme was criticised) and having a romantic aim to find beauty (to the detriment of reflecting the situation faced by indigenous cultures today). Our analysis of the making of our ethnographic exhibition with ambitious and seemingly conflicting or even simultaneously unattainable goals is limited by the lack of a bystander’s perspective and the lack of temporal distance between the completion of the exhibition and the our meta-research. Our main conclusion regarding the process of creating the exhibition consists of thorough conceptualisation intertwined with intuitive aesthetic and intellectual prediction.
APA, Harvard, Vancouver, ISO, and other styles
6

Cubitt, Geoffrey. "Bringing it Home: Making Local Meaning in 2007 Bicentenary Exhibitions." Slavery & Abolition 30, no. 2 (June 2009): 259–75. http://dx.doi.org/10.1080/01440390902818971.

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

Pivovar, Efim I., and Elena A. Kosovan. "Documentary On-Line Exhibitions of the Central State Archives of Ukraine as a Way to Commemorate the Great Patriotic War of 1941–45." Herald of an archivist, no. 1 (2021): 118–29. http://dx.doi.org/10.28995/2073-0101-2021-1-118-129.

Full text
Abstract:
The article deals with virtual exhibition activities of the central state archival institutions of Ukraine associated with the anniversary of the Great Patriotic War of 1941–45. The authors acknowledge that archives are an important institute of memory for Ukraine, and therefore they attempt to assess the impact of the official Ukrainian historical and political policy on the exhibition activities in the central state archives, using on-line exhibitions dedicated to the anniversary of the Victory of 1945 as an example. The Great Patriotic War is one of the most contradictory elements of the Ukrainian national historical narrative and one of the most conflictogenic elements in the Ukrainian historical policy (in the so called “wars of memory”), hence the choice of the topic. The authors have studied the webpages of the archives’ official sites, their structure, design, and content. They focused on the digests of on-line exhibitions, i.e. texts located on the home page of the archive, which reveal theme, concept, purpose, and objectives of the exhibition. The authors have tried to identify the patterns in using the concepts of the 1941–45 events, assuming that vocabulary and definitions contain most important information on the influence of the official historical and political policy on the work of archival institutions. The authors have also studied the thematic design of on-line exhibitions, in particular, the military symbols used in web design. The research has showed that the concept of the Great Patriotic War was persistently changed to the concept of World War II in all five exhibitions, although some sections of the exhibitions featured both. The article notes that design of at least two exhibitions used the European symbol for victory over Nazism: red poppy instead of red carnation and St. George’s ribbon usually used in the USSR. Use of the poppy image and substitution of concept of the Great Patriotic War with non-synonymous concept of the World War II is a shining example of the influence of Ukrainian state historical and political policy on the work of archives. The researchers argue that it is impossible to deny the significant influence of the controversial official Ukrainian historical and political narrative on the nature of the expositions. However, in general, the exhibitions are characterised by moderate political engagement, demonstrating a certain scientific independence of the Ukrainian state archives.
APA, Harvard, Vancouver, ISO, and other styles
8

Trivedi, Lisa N. "Visually Mapping the “Nation”: Swadeshi Politics in Nationalist India, 1920–1930." Journal of Asian Studies 62, no. 1 (February 2003): 11–41. http://dx.doi.org/10.2307/3096134.

Full text
Abstract:
In the early years of mass nationalism in colonial South Asia, Mohandas Gandhi inaugurated a swadeshi (indigenous goods) movement, which aimed to achieve swaraj, or “home rule,” by establishing India's economic self-sufficiency from Britain. Invoking an earlier movement of the same name, Gandhi created a new form of swadeshi politics that encouraged the production and exclusive consumption of hand-spun, hand-woven cloth called khadi. The campaign to popularize this movement took many forms, including the organization of exhibitions that demonstrated cloth production and sold khadi goods. On the occasion of one such exhibition in 1927, Gandhi explained the significance of exhibitions for the movement:[The exhibition] is designed to be really a study for those who want to understand what this khadi movement stands for, and what it has been able to do. It is not a mere ocular demonstration to be dismissed out of our minds immediately. … It is not a cinema. It is actually a nursery where a student, a lover of humanity, a lover of his own country may come and see things for himself.(“The Exhibition,” Young India, 14 July 1927)
APA, Harvard, Vancouver, ISO, and other styles
9

Floré, Fredie. "Lessons in modern living: home design exhibitions in Belgium 1945–1958." Journal of Architecture 9, no. 4 (December 2004): 445–62. http://dx.doi.org/10.1080/1360236042000320314.

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

McGowan, Abigail. "Domestic Modern: Redecorating Homes in Bombay in the 1930s." Journal of the Society of Architectural Historians 75, no. 4 (December 1, 2016): 424–46. http://dx.doi.org/10.1525/jsah.2016.75.4.424.

Full text
Abstract:
In the 1930s, upper-class residents of Bombay were bombarded with ideas and products intended to make their homes modern. Showrooms, exhibitions, advertisements, and design books all addressed a consuming public newly interested in “the art and comfort of the home.” As Abigail McGowan demonstrates in Domestic Modern: Redecorating Homes in Bombay in the 1930s, attempts to remake Indian homes were hardly new; from the late nineteenth century on, sanitary reformers, girls’ educators, and urban planners introduced new principles of home management and hygiene into domestic space. In 1930s Bombay, attention shifted from household practices to style—a distinctively modern look expressed through new architectural spaces and the latest consumer goods. Recent scholarship has explored new building styles and practices in interwar India; McGowan argues that new kinds of furnishings and decor were equally important in defining what “the modern” meant in the city in this period.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Home exhibitions"

1

Ryan, Deborah S. "The Daily Mail Ideal Home Exhibition and suburban modernity, 1908-1951." Thesis, University of East London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283702.

Full text
Abstract:
This thesis examines the ways in which the Daily Mail Ideal Home Exhibition educated (, and entertained the public in the first half of the twentieth century by promoting a modern way of life, helping to establish a commercial culture of homemaking. By exploring the ways in which the Exhibition represented popular conceptions of the 'modern' within their social and historical contexts, the thesis challenges the dominance of Modernist aesthetics and values on writing on design, architecture and consumption. Chapter one explores the unease felt by a particular group of writers towards the Ideal Home Exhibition, which it locates in relation to a wider intellectual condemnation of modernity and suburbia. Chapter two looks at the founding of the Exhibition by the Daily Mail in 1908. Chapter three analyses how the Daily Mail and the Exhibition constructed an 'ideal audience' and why the idea of an 'ideal home' was so appealing. Chapter four looks at the ways in which ideas about 'labour-saving', which were part of a concern with national efficiency that drew on the doctrines of scientific management, have constructed the 'ideal home' as a site of change and experimentation. Chapter five explores how the 'Tudorbethan' semi and the popular appropriation of the Modern Movement in the Exhibition represented tensions between the longings for the past and aspirations for the future. Chapter six investigates the representation of non-English peoples and places and the display of Empire in the Exhibition. Chapter seven looks at how the Exhibition addressed the question of the 'house that women want', focusing on the actual participation of women in the Exhibition, as 'natural' experts and paid professionals. Chapter eight makes some conclusions on the ways in which the audience's experience of 'suburban modernity' in the Exhibition was dependent on the interaction of the themes outlined in the earlier chapters. The thesis ends with a review of the past, present and future of the Ideal Home Exhibition.
APA, Harvard, Vancouver, ISO, and other styles
2

Clarkson, Verity. "The organisation and reception of Eastern Bloc exhibitions on the British Cold War 'home front' c.1956-1979." Thesis, University of Brighton, 2010. https://research.brighton.ac.uk/en/studentTheses/99502e86-6691-4cc6-82a2-df6c575d6cc9.

Full text
Abstract:
This thesis investigates government-sponsored exhibitions originating in the USSR and Eastern Europe held in Britain between 1956-1979. These incoming manifestations of cultural diplomacy were a locus for cultural exchange during the ideological conflict of the Cold War, providing temporary public spaces in which cultural artefacts from the eastern bloc – perceived as an unfamiliar, isolated and rival territory – were displayed and responded to. This research scrutinises the organisation and reception of these usually reciprocal displays of art, historical artefacts, and commercial goods on the British Cold War ‘home front’.
APA, Harvard, Vancouver, ISO, and other styles
3

Thörn, Kerstin. "En bostad för hemmet : idéhistoriska studier i bostadsfrågan 1889-1929." Doctoral thesis, Umeå universitet, Historiska studier, 1997. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-79135.

Full text
Abstract:
The purpose of the present dissertation is to examine the placing of the housing question on the agenda of social policy, the implications of housing for society, and the possibilities for simple shelter to be transformed into real family homes. The debate emphasizing the dwelling as the smallest social component and the home as the most important place for the raising of citizens has been studied. The dissertation consists of four essays, each of which can be seen as a separate study yet at the same time as interrelated due to the overall theme of the dissertation, housing and the home. The period under investigation is 1889-1929 and the place is Stockholm. The first section deals with philanthropic building activities, described through four representative examples: Föreningen för Välgörenhetens Ordnande, Stockholms Arbetarehem, Govenii Minne and Ella Heckscher's home for tubercular female workers. This section opens with two introductory chapters treating the philanthropic attitude toward housing and the relation of the family to the housing question, respectively. The theme of the second section is the significance of aesthetics for the home. This section also opens with two introductory chapters, whereof the first describes the aesthetic ideals of the epoch and the second presents the so-called "aesthetic educators". A number of pamphlets written about the home are discussed, as well as a selection from the home exhibitions of the day. In a closing chapter, the entrance of the architects into the housing-question arena is presented. The third study deals with politics in the broad sense of the term. The interest of social reformers for the housing question is traced by examining organizations like Studenter och Arbetare and Centralförbundet för Socialt Arbete. The second chapter deals with the contributions of academics to the housing question. The social democratic women belonging to the Stockholm's Women's Club are heard from, and the engagement of women in this question is further delineated through studying periodicals like Morgonbris and Tidevarvet. In the closing chapter, the establishment and treatment of the housing question within the municipal council of Stockholm is discussed. The fourth and final section treats the HSB. First, the origins of the HSB in 1923 via the tenant's movement and guild socialism are discussed. Thereafter the organization and membership of the HSB is described. A brief biography of Sven Wallander, the leading figure of the HSB is provided, followed by a chapter on the periodical Vår Bostad. The final two chapters discuss the materialized ideas themselves: the buildings built by the HSB and the homes which were set up in them, stimulated by the actual physical buildings and discussions about the right way of living in them. The story of the home has solid empirical grounding. This study has been conducted from different perspectives in order that a more nuanced knowledge might be acquired. Vision and practice have proven to be so closely interwoven that it is not always possible to distinguish between them.
digitalisering@umu
APA, Harvard, Vancouver, ISO, and other styles
4

Warren, Geoffrey Richard. "The Daily Mail Ideal Home exhibition 1944-1962 : representations of the 'Ideal Home' and domestic consumption." Thesis, Middlesex University, 2001. http://eprints.mdx.ac.uk/6729/.

Full text
Abstract:
This thesis investigates the ideals of home, and their determination, promoted in the representations of the Daily Mail Ideal Home Exhibition during the period 1944 to 1962 in order to explore how, through their dissemination, the Exhibition intervened in the definitions and politics of home. The thesis discusses popular ideals of home that emerged from the circumstances created by the Second World War. It situates the Ideal Home Exhibition in the immediate postwar exhibition context in order to reveal the relationship of the Exhibition to issues of design and the commercial interests of its exhibitors. The Exhibition is discussed as a business, assessing the objectives of the organisers and the nature of the 'audience' it attracted. The representations made by the Exhibition, particularly those in the 'Village of Ideal Homes' are examined in order to identify historical shifts in ideals of home in relation to housing design and the issues and political objectives of postwar reconstruction. It is then discussed as an intervention in the development of postwar consumerism, and as an intervention in the rise in postwar owner-occupancy. Finally, the Exhibition's representations are discussed in relation to its ideological address of nationalism, class and gender, and their construction of the 'ideal family' as the occupants of the 'ideal home'. The thesis questions the notion that the Exhibition had an ideal of home, and suggest that instead it was constructed from ideologies of home. The Exhibition is seen as an ideological apparatus that promoted ideals of consumption and property ownership through an address of class hegemony.
APA, Harvard, Vancouver, ISO, and other styles
5

Bergeron, Édith. "Homme de papier /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1992. http://theses.uqac.ca.

Full text
Abstract:
Mémoire (M.A)-- Université du Québec à Chicoutimi, 1992.
Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Bibliogr.: f. 34-35. Document électronique également accessible en format PDF. CaQCU
APA, Harvard, Vancouver, ISO, and other styles
6

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

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

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

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

Parsai, Parvin. "A Case Study of Preschool Children Exhibiting Prosocial and Empathic Behaviors During Sociodramatic Play." University of Toledo / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1418299494.

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

Anderson, April. "DOUBLE DUTY: PROCESSING AND EXHIBITING THE CHILDREN'S HOME SOCIETY OF FLORIDA COLLECTION AS AN ARCHIVIST AND PUBLIC HISTORIA." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2922.

Full text
Abstract:
The Children's Home Society of Florida, often referred to as "Florida's Greatest Charity", is the state's oldest non profit welfare agency. Founded in 1902, the society was instrumental in creating and reforming child welfare laws as well as helping countless children in the state of Florida find loving homes. This paper focuses on the archival processing of the Children's Home Society of Florida Collection papers and the creation of a subsequent web exhibit. The role of archivist and public historian is examined to see how each profession works toward a common goal.
M.A.
Department of History
Arts and Humanities
History MA
APA, Harvard, Vancouver, ISO, and other styles
10

Veasey, Melanie. "'Reforming academicians' : sculptors of the Royal Academy of Arts, c. 1948-1959." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34791.

Full text
Abstract:
Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, The Post-war Expansion of State Patronage , investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, The Royal Academy Sculpture School , examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. Chapter Three, The Royal Academy as Community , traces the socialisation of London-based art societies whose memberships helped to identify sculptors for potential election to the Royal Academy; it then considers the gifting of elected Academicians Diploma Works. The empirical mapping of sponsorship for elected sculptors is investigated to determine how the organic profile of the Royal Academy s membership began to accommodate more modern sculptors and identifies a petition for change which may have influenced Munnings s speech (1949). Chapter Four, The Royal Academy Summer Exhibitions , explores the preparatory rituals of the Selection and Hanging Committees, processes for the selection of amateurs works, exhibit genres and critical reception. Moreover it contrasts the Summer Exhibitions with the Arts Council s Sculpture in the Home exhibition series to identify potential duplications. Chapter Five, Sculpture for the State , considers three diverse conduits facilitating the acquisition of sculpture for the state: The Chantrey Collection administered by the Royal Academy and exhibited at the Tate Gallery; the commissioning of Charles Wheeler s Earth and Water (1951 1953) for the new Ministry of Defence, London; and the selection of Siegfried Charoux s The Neighbours (1959) for London County Council s Patronage of the Arts Scheme . For these sculptures, complex expressions of Britishness are considered. In summary this thesis argues that unfettered by their allegiance to the Royal Academy of Arts its sculptors sought ways in which they might participate in the unprecedented opportunities that an expanded model of state patronage presented.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Home exhibitions"

1

Halm, Renée Van. Dream home. Vancouver: Contemporary Art Gallery, 2002.

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

Carson, William Wallace. Journey home. Boulder, CO: University Libraries, University of Colorado, 1991.

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

Zack, Badanna. Home, sweet home: Zack : [sculpture installation]. Oakville, Ont: Oakville Centennial Gallery, 1985.

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

Bien, Ania. Home. Amsterdam: A. Bien, 1993.

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

Thomas, Jude. Home improvements. London: Tablet, 1999.

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

Nasby, Judith. Moving home: Robert Mason. Edited by Mason Robert and Macdonald Stewart Art Centre. Guelph: Macdonald Stewart Art Centre, 2001.

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

Cruise, Stephen. Mae home: Stephen Cruise. Kingston, Ont: Agnes Etherington Art Centre, 1990.

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

1957-, Dalziel Matthew, Scullion Louise 1966-, Hartley Keith, Findlay Judith, Ward David, Fruit Market Gallery, Milton Keynes Exhibition Gallery, and Manchester City Art Gallery, eds. Home. Edinburgh: Fruitmarket Gallery, 2001.

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

Centre, Ruthin Craft, and Ruthin Craft Centre, eds. Julie Arkell: Home. Ruthin: The Gallery, 2004.

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

García-Alix, Alberto. Far from home. Paris]: Kamel Mennour, 2008.

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

Book chapters on the topic "Home exhibitions"

1

Chapman, Tony. "The Ideal Home Exhibition: an Analysis of Constraints and Conventions in Consumer Choice in British Homes." In Consuming Cultures, 69–90. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27431-4_4.

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

Yan, David P. "Investigation to Hole Surface Microstructure Evolution in Drilling of Aerospace Alloys: Ti-5553." In TMS 2021 150th Annual Meeting & Exhibition Supplemental Proceedings, 433–43. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65261-6_40.

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

Okamoto, Hiroaki. "Direkter Aligner für Kieferorthopädie, der eine hohe Zähigkeit aufweist und nicht gelb wird." In Rapid.Tech + FabCon 3.D International Hub for Additive Manufacturing: Exhibition + Conference + Networking, 10–21. München: Carl Hanser Verlag GmbH & Co. KG, 2019. http://dx.doi.org/10.3139/9783446462441.001.

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

McWilliam, Rohan. "Curiosity." In London's West End, 84–104. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.003.0006.

Full text
Abstract:
‘Curiosity’ explores the varied world of exhibitions in the West End. The district became home to a variety of popular exhibitions that stood side-by-side with sites of ‘official’ art and culture such as the new National Gallery in Trafalgar Square. The West End visitor could enjoy spectacular panoramas, which dazzled the eye, or poses plastiques where models made classical paintings come to life. There were also freak shows and events where non-white peoples were placed on exhibition. These included the Hottentot Venus and the Aztec Lilliputians. Exhibition-mania was particularly centred on Leicester Square but could also be found on Piccadilly, site of the Egyptian Hall, that offered curiosities, art works, popular lectures, dioramas, and automata. Pleasure districts abounded with what were seen as distorted bodies. This gave them the quality of what Michel Foucault terms ‘heterotopias’ which draw upon, but disturb, the culture at large.
APA, Harvard, Vancouver, ISO, and other styles
5

Joselit, Jenna Weissman. "Culture Mavens: Feeling at Home in America." In Jews at Home, 287–92. Liverpool University Press, 2010. http://dx.doi.org/10.3828/liverpool/9781904113461.003.0011.

Full text
Abstract:
This chapter reviews recent museum exhibitions and guides to cultural Jewishness to pose the question of whether a new emotional concept of Jews at home is apparent in American culture. Considering the status of American Jewry as the largest diaspora population in the world, one must wonder if it constitutes a decided rupture with the past, an entirely new calibration of matters Jewish, or simply an expression of tradition in a new register. It laments the difficulty of studying the American Jewry, especially when compared with the Jewish populations in other countries — to say nothing of contemporary Israeli society. The American Jews' fluid and simultaneous embrace of consumer culture and liturgical tradition, of ‘kosher cellphones’ and gay weddings, of Chinese food and ‘heirloom talitot’ (prayer shawls) that embed a photograph of a beloved ancestor in their folds — makes for a culture that defies easy description. Yet the chapter surmises that there is something about the modern American Jewish experience circa 2009 that seems downright revolutionary rather than evolutionary.
APA, Harvard, Vancouver, ISO, and other styles
6

Mantoan, Diego. "«All We Are Saying Is Give Pizza Chance»." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/016.

Full text
Abstract:
The chapter addresses the rise of the Young British Artists (YBA) in their home country and their subsequent international spread during the 1990s as seen in connection with the Venice Biennale occurring between 1993 and 2003. Particularly, the author argues that the Aperto ’93 section devoted to young artists at the Arsenale for the 45th Biennale was an unexpected starting point for the YBAs on the global stage and their first Venetian appraisal convinced home institutions such as the British Council to finance a large program of international exhibitions for this new artistic generation. Throughout the 1990s the Biennale thus became a major stage for the rising YBAs, which in turn deeply influenced the artistic language and installation practices shown at the Venetian exhibition. In conclusion, the chapter intends to present the 1990s at the Biennale as a decade of progressive struggle between different artistic generations – of both artists and curators – that climaxed with the 50th Biennale in 2003 and eventually shaped the new face of the Venetian exhibitions for the new millennium.
APA, Harvard, Vancouver, ISO, and other styles
7

Erb, Ulrike, Leonardo Moura de Araújo, Luise Klein, Anke Königschulte, and Nora Simonow. "Serious Games for Exhibition Contexts." In Handbook of Research on Serious Games as Educational, Business and Research Tools, 708–29. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0149-9.ch036.

Full text
Abstract:
In contrast to developing home versions of educational games, the development of games for museums and exhibitions is faced with specific limitations and requirements. Thus, the game designer has to consider restrictions concerning not only its content and learning objectives, which need to be related to the exhibition, but also the limited time available for playing and for understanding its mechanics, as well as restrictions due to the game’s location in the exhibition. Furthermore, typical problems related to serious games must be considered, such as creating both an educational and engaging experience for players. The authors’ recommendations presented in this chapter refer to experiences made in two case studies performed by Digital Media Master students of the University of Applied Sciences Bremerhaven, Germany. Relevant design decisions of these two projects are illustrated and discussed, especially with respect to the limitations of exhibition environments. The chapter concludes that if digital technologies are well-balanced with the physical environment, a profitable combination between an interactive game and a traditional exhibition can enrich the overall visitor experience.
APA, Harvard, Vancouver, ISO, and other styles
8

Ansell, Joseph P. "Valediction." In Arthur Szyk, 233–40. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781874774945.003.0016.

Full text
Abstract:
This chapter discusses Arthur Szyk's death as well as revivals and retrospectives regarding his work. He died at his home in New Canaan, Connecticut, in 1951. The death certificate listed the cause as acute myocardial failure. True to his lifelong habits, he had worked almost until the end of his life. At the time of his death he was planning new works of specifically Jewish and Israeli, as well as general humanistic, content. The continuing troubled state of the world elicited a constant dedication and service to social and political causes through his art. The chapter discusses the various obituary notices and appreciations, and several memorial exhibitions held in the early years following Szyk's death. In the wider world beyond these the exhibitions and sales, interest in Szyk's work was consigned to the margins for almost forty years after his death. In the early 1990s, however, a resurgence of interest in Szyk's work was fuelled by several exhibitions and by the founding of a group known as the Arthur Szyk Society.
APA, Harvard, Vancouver, ISO, and other styles
9

Lasc, Anca I. "Private home, artistic stage: the circulation and display of interior dreamscapes." In Interior decorating in nineteenth-century France, 106–51. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113382.003.0004.

Full text
Abstract:
Pierre-Luc Cicéri, chief decorator at the Paris Opéra, also established a career as interior decorator and educator of students that treated interior spaces as three-dimensional images and artworks in their own right. Cicéri’s followers helped push the art of fantasy architecture to a new level, creating a new form of art and popular entertainment around the “ideal home.” Exhibited at the Salon and at a variety of universal and decorative arts exhibitions as well as published in expensive, luxury folios and reprinted in cheaper, popular editions, the “interior dreamscapes” by Cicéri’s followers disseminated the interior for interior’s sake. The domestic interior could be admired, collected, hidden inside cabinets, or reappropriated as an object of contemplation for private walls. The same images functioned as two-dimensional blueprints for the construction of three-dimensional settings and as advertising schemes for the artists that produced and popularized them, furthering interest in and creating a common language about the appearance of the modern, private home. The chapter ultimately argues that wishful thinking and vicarious identification with the - often missing - owners of the model interiors made available through these means and furtively perused in private homes helped create a professional niche that would soon be occupied by the interior designer.
APA, Harvard, Vancouver, ISO, and other styles
10

Graff, Rebecca S. "Situating the Sites in Chicago." In Disposing of Modernity, 10–53. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066493.003.0002.

Full text
Abstract:
This chapter introduces the two Chicago-based archaeological sites that provide the material signature of this book: Jackson Park, the former site of the 1893 World’s Columbian Exposition; and the Charnley-Persky House, today the headquarters for the Society of Architectural Historians and an operating museum. After an introduction to Chicago’s natural and anthropogenic landscapes and an overview of the Chicago Fair’s predecessor exhibitions and its planning, the chapter provides historical background on Chicago’s Gold Coast, the Charnley family, and their home designed by Adler and Sullivan. Results from archaeological research in Jackson Park (2007, 2008) and at the Charnley-Persky House (2010, 2015) are framed with attention to the elite social networks of wealthy, white, Protestant Chicagoans in whose hands these projects were entangled. The archaeological results from the sites provide a powerful testament to the lasting ties of commerce and concomitant ideology that suffused the forms of both fairscape and home.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Home exhibitions"

1

Aydoğan, Derya. "Art Exhibitions During the Pandemic." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.

Full text
Abstract:
Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual reality exhibitions became a notable alternative to online exhibitions in a lot of respects such as allowing typical curatorial arrangements as well as adding digital methods, and making the audience feel like they are actually visiting an exhibition. However, it obviously causes overcrowding and loss of aura as a result of a phenomenon based on excessive display in structures open to the participation of everyone. In order to preserve the aura of art and exhibition and to maintain its compatibility with new technologies, it’s necessary to introduce new curatorial understandings, new aesthetic perceptions, and new quality elements. In this study, the existence of art exhibitions in online environments, especially during the pandemic, will be evaluated within the context of qualitative descriptive analysis.
APA, Harvard, Vancouver, ISO, and other styles
2

Zhang, Lu. "Evaluation for the Service Quality of Exhibitions - A Case Study of Tianjin Home Expo." In 2016 International Conference on Management Science and Innovative Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msie-16.2016.125.

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

Rayar, F. "Tangible interface for 3D object manipulation in public exhibitions." In IHM '17: 29ème conférence francophone sur l'Interaction Homme-Machine. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3132129.3132149.

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

Chen, Liyan, Xiaoyuan Peng, Junfeng Yao, Hong Qiguan, Chen Chen, and Yihan Ma. "Research on the augmented reality system without identification markers for home exhibition." In 2016 11th International Conference on Computer Science & Education (ICCSE). IEEE, 2016. http://dx.doi.org/10.1109/iccse.2016.7581635.

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

Knowles, Grace, Teresa M. Vente, and Jessica T. Fry. "Hospice Home Birth." In AAP National Conference & Exhibition Meeting Abstracts. American Academy of Pediatrics, 2021. http://dx.doi.org/10.1542/peds.147.3_meetingabstract.533.

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

Curfman, Alison, Andy Zuckerman, Ann Wilson, Kate Pearson, Cheryl Grave, Rachel Rice, and Bree Banaszynski. "vKids at Home: In-Home Virtual Care for Complex Pediatric Patients." In AAP National Conference & Exhibition Meeting Abstracts. American Academy of Pediatrics, 2021. http://dx.doi.org/10.1542/peds.147.3_meetingabstract.992.

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

Warren, Jonah, Gregory P. Garvey, and Bernard Francois. "Coming Home: Art and the Great Hunger: A Case Study in Game Development for an Exhibition." In 2018 IEEE Games, Entertainment, Media Conference (GEM). IEEE, 2018. http://dx.doi.org/10.1109/gem.2018.8516549.

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

Ng’oma, Anthony, Hejie Yang, and Rich Wagner. "THE FUTURE OF HOME NETWORKING." In European Conference and Exhibition on Optical Communication. Washington, D.C.: OSA, 2012. http://dx.doi.org/10.1364/eceoc.2012.mo.1.g.4.

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

Guignard, Ph, J. Guillory, Ph Chanclou, A. Pizzinat, O. Bouffant, N. Evanno, J. Etrillard, et al. "Multiformat Home Networks using Silica Fibres." In European Conference and Exhibition on Optical Communication. Washington, D.C.: OSA, 2012. http://dx.doi.org/10.1364/eceoc.2012.mo.1.g.5.

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

Koonen, A. M. J., and M. Popov. "State-of-the-Art of Home Networking." In European Conference and Exhibition on Optical Communication. Washington, D.C.: OSA, 2012. http://dx.doi.org/10.1364/eceoc.2012.mo.1.g.1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Home exhibitions' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography