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Journal articles on the topic 'Homosexuality in art – exhibitions'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Han, Luyi. "Analysis of the artwork Murder by Jared French in the context of Christianity, Masculinity and Homosexuality." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 2271–77. http://dx.doi.org/10.54097/ehss.v8i.4688.

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This paper aims to explore the dilemma society imposed on the queer community by analyzing the artwork Murder by Jared French and exploring the connection between Christianity, homosexuality, and masculinity. Murder is one of the paintings displayed in The Young and Evil, a collection of artworks created by artists during 1930-the 1940s. The analysis is based on a review of relative materials and literature. The purpose of the review is to give an insight into the dilemma that queer community faced in the context of the era, thereby promoting people with queer identities to pursue equal rights

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2

Van den Berg, Mariecke. "Zie de mens." Religie & Samenleving 11, no. 2 (2016): 249–70. http://dx.doi.org/10.54195/rs.12214.

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This article analyzes the photo-exhibition Ecce Homo (1998) by Swedish artist Elisabeth Ohlson Wallin. In Ecce Homo, which depicts twelve moments from the life of Jesus Christ, traditional church art is mixed with the themes and symbols of contemporary LGBT-culture. In the article it is investigated, through a queer focus, whether Ecce Homo has the potential to destabilize the rather strict oppositional pairing of religion and homosexuality in contemporary debates in post-secular societies like Sweden. Based on a discussion of three works (The Annunciation, Palm Sunday and Calvary) it is argue

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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Rea

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Simmel, Georg. "On Art Exhibitions." Theory, Culture & Society 32, no. 1 (2014): 87–92. http://dx.doi.org/10.1177/0263276414531052.

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Zhang, Juntong. "Research on Factors Influencing Online Art Exhibitions and the Role that Social Media Can Play during Online Exhibitions." Communications in Humanities Research 3, no. 1 (2023): 38–45. http://dx.doi.org/10.54254/2753-7064/3/20220131.

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During the epidemic, many art exhibitions and museums started online exhibitions actively or passively. How to make online art exhibitions accepted by more people and how to promote online art exhibitions more smoothly have become the main problems facing the society. This paper aims to explore the factors that affect people to watch online art exhibitions, and how to make the promotion of online art exhibitions successful.

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Tsang, Winnie. "Creating National Narrative: The Red Guard Art Exhibitions and the National Exhibitions in the Chinese Cultural Revolution 1966 - 1976." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 117–32. http://dx.doi.org/10.5195/contemp.2014.58.

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The artistic development in China experienced drastic changes during the Cultural Revolution from 1966 to 1976. Traditional Chinese art was denounced, whereas propaganda art became predominant in shaping the public’s loyalty towards the Communist Party and the country. Two major groups of art exhibitions emerged during the Revolution—the unofficial Red Guard art exhibitions organized by student activists in collaboration with local communes and art schools between 1966 and 1968, and the state-run national exhibitions from 1972 to 1975. These exhibitions were significant to this period because

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Senina, J. N. "«Blasphemy» in Contemporary Art Exhibitions in Russia, or Why Art Offends." State, Religion and Church in Russia and Worldwide 42, no. 4 (2025): 137–74. https://doi.org/10.22394/2073-7203-2024-42-4-137-174.

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The article examines the contemporary art exhibitions in twenty‑first‑century Russia that sparked accusations of “blasphemy” and extensive public debate and prompted law enforcement interventions. In the first part of the article, I retrospectively illustrate the history of the most prominent “blasphemous” contemporary art exhibitions in Russia, leading to the application of Article 282 of the Russian Criminal Code against the artists. These incidents, which followed the “Pussy Riot” case, resulted in the amendments to the Criminal Code that tightened the penalties for offending religious sent

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Jasny, B. "EXHIBITIONS: ART: Global Perspectives." Science 322, no. 5905 (2008): 1191a. http://dx.doi.org/10.1126/science.1167366.

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Lin, Jiajing. "Analysis of the Development and Direction of Contemporary Exhibitions." Communications in Humanities Research 9, no. 1 (2023): 238–45. http://dx.doi.org/10.54254/2753-7064/9/20231191.

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With the advancement of civilization and the passage of time, art has steadily merged into everyday life. The quantity and variety of art exhibitions held have significantly expanded, becoming a daily activity for the majority of the public as the social process and the pace of peoples lives continue to quicken. The public is given a strong sense of connection to the art institution and the exhibition space as a result of the modern exhibitions progressive evolution and subsequent innovation and improvement. This paper looks at the potential and direction of contemporary art exhibitions, analy

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Andreeva, E. Yu. "Soviet Art at Art Exhibitions and Expositions of Russian Museums and Galleries in the 1990s-2020s." Art & Culture Studies, no. 4 (December 2023): 390–421. http://dx.doi.org/10.51678/2226-0072-2023-4-390-421.

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The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginali

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Xu, Yanliang. "From Tradition to the Future: Exploring Artistic Presentation in Contemporary Interactive Exhibitions." Communications in Humanities Research 49, no. 1 (2024): 69–75. http://dx.doi.org/10.54254/2753-7064/2024.17694.

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Abstract: With the rise of digital technology and new media, art exhibitions have shifted from static displays to interactive experiences that enhance audience participation and immersion. Interactive exhibitions break the formality and distance of traditional displays, bringing art closer to everyday life. This paper explores the emergence of interactive exhibitions in contemporary art, focusing on how exhibition design and participation mechanisms improve audience engagement. Through field research on Cao Fei: Tidal Flux, this article examines how elements like chairs and sound transform vie

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Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.

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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purp

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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Ar

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CHETVERIKOVA, A. S. "TRAVELING EXHIBITIONS AS A LEADING EDUCATIONAL ACTIVITY OF THE OREL ART GALLERY (1950s – 2000s)." JOURNAL OF PUBLIC AND MUNICIPAL ADMINISTRATION 13, no. 1 (2024): 175–89. http://dx.doi.org/10.22394/2225-8272-2024-13-1-175-189.

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The main purpose of the article is to analyze traveling exhibitions as leading educational activity of the Orel Art Gallery. According to the organizers, the creation of the Orel Art Gallery and other similar open art museums was supposed to promote the aesthetic and public education. Therefore, summarizing the results of this multifaceted activity, the functioning and organization of exhibitions, the selection of expositions and authors are the subject of close attention. According to the Party ideology, museums and galleries had to be accessible. But not all forms of educational work were in

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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.

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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptua

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Gao, Yijia. "Technical Analysis and Development Advantages of Online Virtual Exhibition from the Digital Technology Perspective." Communications in Humanities Research 9, no. 1 (2023): 134–39. http://dx.doi.org/10.54254/2753-7064/9/20231158.

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Institutions and peoples lives have been impacted by public health initiatives to contain the COVID-19 virus. The outbreak may qualify as a mega event due to its potential for global impact and transformation. The contemporary art world has especially felt the impact of the epidemic, as the entire cultural activity has been suspended due to the outbreak, including exhibitions and museums of various themes. During this period, art institutions and collectives around the world have responded by providing alternative materials for artistic works through various technological technologies and onli

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Huang, Nanyan. "Immersive Exhibition: Its Theoretical Development, Its Audiences and the Re-discovery of Modern Art Exhibition." Communications in Humanities Research 3, no. 1 (2023): 318–24. http://dx.doi.org/10.54254/2753-7064/3/20220317.

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As an innovative form of art exhibition, immersive exhibitions have gained popularity all over the world in recent years. Such exhibitions are not only a departure from traditional gallery displays but also lead to different modalities of visiting cultural sites. One distinguishable tendency, one that could be detected in the curatorial strategies of most contemporary exhibitions, is the increasing emphasis put on the aesthetic effect that exhibitions could offer. Correspondingly, the relationship between the visitors and the artworks is changed through the ways visitors situate and perform th

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Bier, Carol. "Bridges 2017 mathematical art exhibitions." Journal of Mathematics and the Arts 12, no. 1 (2018): 44–50. http://dx.doi.org/10.1080/17513472.2017.1422357.

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Świtek, Gabriela. "Across Borders and Art Histories: Travelling Exhibitions." Artium Quaestiones, no. 35 (December 31, 2024): 55–82. https://doi.org/10.14746/aq.2024.35.3.

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The concept of art geography is undergoing a process of revision in light of recent research on exhibition histories. The analysis of major perennial art exhibitions is conducted in relation to the spatial, global structures of social and economic life, or as an aspect of tourism geographies. The geography of art exhibitions entails mapping circulation, analysing the spatial and temporal conditions under which art is presented, and the identifying cultural boundaries in the reception of travelling artworks. This article examines the circulation of international exhibitions that were presented

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Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the m

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Mengmeng, Ding, Syed Alwi Bin Syed Abu Bakar, and Aznan Bin Omar. "The Convergence of Art and Technology: Insights into the Intelligent Transformation of Chinese Art Exhibitions." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 3 (2025): e003225. https://doi.org/10.47405/mjssh.v10i3.3225.

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The application of high-tech elements in Chinese art exhibitions has become a transition from the conventional approach of art exhibition to intelligent exhibition. The purpose of this research is to examine how intelligent transformation to art exhibitions has been practiced in China through the application of the following technologies: Artificial Intelligence (AI), the Internet of Things (IoT), Radio Frequency Identification (RFID), and big data analytics. This intends to find out how these technologies improve the engagement of visitors, efficiency in the management of exhibitions, and the

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Widjono, Rani Aryani, and Shania Geraldine. "Modifikasi Interaksi Fisik dalam Pameran Virtual." Idealogy Journal 7, no. 2 (2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.

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The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in crea

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23

Jaquet, Daniel. "The art of fighting under glass." Acta Periodica Duellatorum 6, no. 1 (2018): 47–62. http://dx.doi.org/10.36950/apd-2018-002.

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A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were

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Yu, Shiyang. "The Research on the Characteristics and Forms of Immersive Experience in Art Exhibitions—Take “Van Gogh—the Immersive Experience” as an Example." Journal of Education, Humanities and Social Sciences 6 (December 31, 2022): 154–59. http://dx.doi.org/10.54097/ehss.v6i.4417.

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Immersive experience is a new type of interaction that integrates culture and technology, and it shows great promise for application by combining with multi-panel content. With the continuous development of virtual technology, immersive experience is also applied to art exhibitions and obtains surprising effects. People are not satisfied with the original way of art appreciation, and the increase of aesthetic demand also requires more diversified ways of exhibition, which has led to the prevalence of immersive exhibitions. In recent years, there have been few attempts at immersive art exhibiti

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Sun, Dan, and Xiaoyan Wang. "From the Inside to the Outside:Study on Exhibition Design and Communication of University Art Museum." Learning & Education 10, no. 5 (2022): 91. http://dx.doi.org/10.18282/l-e.v10i5.2683.

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With the continuous improvement of living standards,peoples aesthetic awareness and aesthetic level of continuous  improvement,a large part of art education in the way of exhibition to us. However, China's art industry is not fully mature, and art  exhibitions mainly focus on art education, lacking a strong sense of substitution,so the design requirements for exhibitions have  become higher.

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CHEN, Jiamiao. "The Interruption and Reverberation of the Video Art: An Overview of Video Art of the Annual of Contemporary Art of China (2023)." Advances in Art Science 1, no. 1 (2024): 72–78. https://doi.org/10.48014/aas.20241117001.

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By combing 329 video art exhibitions and documents in the archives of Chinese contemporary art in 2023, this paper reviews the development context and theme exploration of video art in this year, especially focusing on the diversity of video art in art creation and display. In multiple exhibitions, artists continue to explore the understanding of time and movement in video art, highlighting the difference and innovation between video works and traditional film and television language. More works explore the relationship between art censorship and social change, the vulnerability of individuals

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Jakubowska, Agata. "Meetings: Exhibitions of Women’s Art Curated by Izabella Gustowska." Ikonotheka 26 (June 26, 2017): 291–311. http://dx.doi.org/10.5604/01.3001.0010.1743.

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In February of 1978 the exhibition Trzy kobiety. Ania Bednarczuk, Iza Gustowska, Krynia Piotrowska opened at the Bureau of Art Exhibitions in Poznań. It became a starting point for two cycles of exhibitions that have been organised practically until today: Odbicia (Gustowska’s and Piotrowska’s joint exhibitions) and Spotkania. The essay focuses on Spotkania, i.e. exhibitions at which Gustowska (initially with Piotrowska) presented the works of invited women artists. These exhibitions were Trzy kobiety (1978, Poznań), Sztuka kobiet (1980, Poznań), Spotkania – Obecność I (1987, Poznań), Spotkani

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Nae, Cristian. "Constellational Modernisms: “Socialist Humanism” and “Contextual Art” in Ion Bitzan and Wanda Mihuleac's Graphic Art of the 1970s." ARTMargins 13, no. 2 (2024): 45–64. http://dx.doi.org/10.1162/artm_a_00383.

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Abstract Art exhibitions acted as facilitators of transnational encounters among artists during the Cold War. This article analyzes the emergence and local circulation of two art critical concepts which described adaptations of art practices and techniques associated with Pop art and conceptual art in Romanian graphic arts of the 1970s as an expanded artistic medium. Focusing on the way Romanian artists Ion Bitzan and Wanda Mihuleac adjusted their experimental art practices to suit different audiences in state-supported exhibitions such as the Romanian Pavilions in Venice or the Ljubljana Grap

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Yankovskaya, Galina A. "CONTEMPORARY ART EXHIBITIONS AS A COMPLEX HISTORICAL SOURCE: THE SPECIFICS OF DETECTION, ANALYSIS AND INTERPRETATION." Ural Historical Journal 84, no. 3 (2024): 107–13. http://dx.doi.org/10.30759/1728-9718-2024-3(84)-107-113.

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In source studies, the problems of visual sources, their classification, systematization, analysis, and interpretation are productively developed. The visual turn in historiography has demonstrated the productivity and heuristic potential of incorporating visual evidence into historical research. In this context, contemporary art exhibitions deserve special attention. They are focused on non-classical aesthetics, non-traditional art materials, social activism, multimedia and mixed media. The article argues the thesis that contemporary art exhibitions represent a complex historical source. Its

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Jørgensen, Anna Vestergaard. "Kunstkritik og institutionskritik i x-rummet." Periskop – Forum for kunsthistorisk debat, no. 21 (May 22, 2019): 70–87. http://dx.doi.org/10.7146/periskop.v2019i21.121797.

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In 2013, the SMK – National Gallery of Denmark initiated a series of exhibitions that was supposed to deal with the role of the museum in the 21st century. This article focuses on the two first exhibitions in this series: Haim Steinbach’s The Window and Henrik Olesen’s Abandon the Parents. The article claims that these exhibitions can be seen as working within the tradition of institutional critique, but also after it; through curating some of the museum’s own works and mimicking, respectively, the modernist “white cube” aesthetics and the Wunderkammer aesth

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Wasilewska, Diana. "INTERNATIONAL CRITICAL RECEPTION OF PROPAGANDIST EXHIBITIONS OF POLISH ART IN THE 1920S AND 1930S." Studia Humanistyczne AGH 18, no. 3 (2019): 45–53. http://dx.doi.org/10.7494/human.2019.18.3.45.

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The goal of this article is first of all to describe the reception of exhibitions of Polish interwar art in the foreign press. I pay closer attention to those of exhibitions that were most prestigious and acclaimed, such as the Venice Biennale, where representatives of Polish art were juxtaposed with other countries’ pavilions and judged in comparison to them. It was the time of the battle against the radical avant-garde, accused of bringing art to a state of impasse, stagnation, or even slow agony. Most exhibitions of Polish art abroad were organized by Mieczysław Treter (1883–1943) a philoso

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Echesony, Gibson. "Perception of Gender Roles in Modern Art Exhibitions in Nigeria." American Journal of Arts, Social and Humanity Studies 4, no. 1 (2024): 33–42. http://dx.doi.org/10.47672/ajashs.2066.

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Purpose: The aim of the study was to assess the perception of gender roles in modern art exhibitions in Nigeria. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study indicated that modern art exhibitions have increasing

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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.

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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibit

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Yuniana Cahyaningrum, Cahya Surya Harsakya, and Salsabila Putri Septianingrum. "Analysis of the Role of Augmented Reality in Bringing Works of Art to Digital Spaces." Journal of Intelligent Systems and Information Technology 1, no. 2 (2024): 66–73. http://dx.doi.org/10.61971/jisit.v1i2.77.

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Augmented Reality (AR) has become increasingly popular in the art world as a medium for bringing traditional works of art into the digital space. This research aims to analyze the role played by AR technology in the process of transforming works of art from the physical environment into the digital domain. This approach pays attention to the technical aspects, aesthetics and cultural impact of applying AR in digital art exhibitions. This research method involves literature analysis, case studies of various art exhibitions that use AR, and interviews with artists, curators, and exhibition visit

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DEPREZ, ELEEN M. "Installation Art and Exhibitions: Sharing Ground." Journal of Aesthetics and Art Criticism 78, no. 3 (2020): 345–50. http://dx.doi.org/10.1111/jaac.12739.

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Dunham, Douglas. "The Bridges 2018 mathematical art exhibitions." Journal of Mathematics and the Arts 14, no. 3 (2019): 268–82. http://dx.doi.org/10.1080/17513472.2019.1654330.

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Hassan, Ihab. "Art / Spirit: Pictures At Two Exhibitions." Religion and the Arts 1, no. 3 (1996): 96–110. http://dx.doi.org/10.1163/156852996x00685.

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Serjeant, Denis. "Conservation problems in international art exhibitions." International Journal of Museum Management and Curatorship 4, no. 1 (1985): 77–78. http://dx.doi.org/10.1080/09647778509514954.

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Danilowitz, Brenda. "Exhibitions of Contemporary South African Art." African Arts 24, no. 3 (1991): 12. http://dx.doi.org/10.2307/3336919.

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Morin, France, Apinan Poshyananda, Mari Carmen Ramirez, Caroline Turner, Igor Zabel, and Valerie Cassel. "Beyond Boundaries: Rethinking Contemporary Art Exhibitions." Art Journal 59, no. 1 (2000): 4. http://dx.doi.org/10.2307/778078.

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Rey, Una. "Australian Art Exhibitions: Opening Our Eyes." Australian and New Zealand Journal of Art 19, no. 2 (2019): 260–62. http://dx.doi.org/10.1080/14434318.2019.1675572.

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Axelsen, Megan, and Charles Arcodia. "Conceptualising Art Exhibitions as Special Events." Journal of Convention & Event Tourism 6, no. 3 (2004): 63–80. http://dx.doi.org/10.1300/j452v06n03_05.

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Ash, C. "EXHIBITIONS: NATURAL HISTORY ART: Paper Museums." Science 320, no. 5880 (2008): 1163. http://dx.doi.org/10.1126/science.1159434.

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Erić, Zoran. "Glocalisation, Art Exhibitions and the Balkans." Third Text 21, no. 2 (2007): 207–10. http://dx.doi.org/10.1080/09528820701273547.

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Cassel, Valerie. "Beyond Boundaries: Rethinking Contemporary Art Exhibitions." Art Journal 59, no. 1 (2000): 4–7. http://dx.doi.org/10.1080/00043249.2000.10791973.

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Serjeant, D. "Conservation problems in international art exhibitions." Museum Management and Curatorship 4, no. 1 (1985): 77–78. http://dx.doi.org/10.1016/0260-4779(85)90057-3.

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Härmä, Vuokko. "Experiencing Pervasive Computer Mediated Art Exhibitions." Suomen Antropologi: Journal of the Finnish Anthropological Society 35, no. 3 (2010): 90–93. http://dx.doi.org/10.30676/jfas.127502.

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Cultural institutions such as museums and galleries are going through a transformation driven by an increasingly competitive funding environment and a sense that they need to reconnect with their contemporary visitors. Audience-led design has been seen as one of the main ways to attract visitors to museums for some time (McLean 1993). Active participation during visits to cultural institutions has been reported to generate positive feedback from visitors (Bagnall 2007), and so contemporary museums and galleries have become increasingly concerned with promoting public engagement through offerin

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Albert, Samuel David. "The “Disappearing” of Croatian Art in Hungarian Art Exhibitions at the Turn of the 20th Century." Arts 14, no. 2 (2025): 33. https://doi.org/10.3390/arts14020033.

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This article examines the place of Croatian art within Hungarian art exhibitions around the turn of the century. Over close to a decade, from the 1896 Millennial Exhibition until the 1904 St. Louis World’s Fair, the way Croatian art was displayed within Hungarian exhibitions had changed. While it might seem that the ultimate absence of Croatian art in later Hungarian displays is an example of Hungarian chauvinism, the opposite is the case: Croatian art still continued to be displayed, but not as a subsidiary of Hungarian art.

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Harinam Singh. "Important role of Art Organizations in Indian Modern Painting." Knowledgeable Research: A Multidisciplinary Journal 2, no. 03 (2023): 47–52. http://dx.doi.org/10.57067/kr.v2i1.182.

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Art organizations play an important role in the development and dissemination of Indian modern painting. They provide a platform for artists to showcase their work, provide training and resources, and promote their art. Major organizations such as Gallery Art India and Lalit Kala Akademi have played an important role in the development of Indian modern painting. Established in 1947, Gallery Art India organizes exhibitions, competitions and workshops. The Lalit Kala Akademi, established in 1954, promotes Indian art through exhibitions, publications and awards. It aims to inspire young painters

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50

Harinam Singh. "Important role of Art Organizations in Indian Modern Painting." Knowledgeable Research A Multidisciplinary Journal 2, no. 03 (2025): 47–52. https://doi.org/10.57067/kr.v2i03.182.

Full text

Abstract:

Art organizations play an important role in the development and dissemination of Indian modern painting. They provide a platform for artists to showcase their work, provide training and resources, and promote their art. Major organizations such as Gallery Art India and Lalit Kala Akademi have played an important role in the development of Indian modern painting. Established in 1947, Gallery Art India organizes exhibitions, competitions and workshops. The Lalit Kala Akademi, established in 1954, promotes Indian art through exhibitions, publications and awards. It aims to inspire young painters

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