Academic literature on the topic 'International Art Exhibition'
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Journal articles on the topic "International Art Exhibition"
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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 purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.
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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 at the Central Bureau of Art Exhibitions (CBAE) in Warsaw as part of cultural diplomacy i the 1970s. During this decade, the CBAE gallery hosted exhibitions of contemporary art from twenty-one countries. What kind of foreign art was seen at the state-organised exhibitions in Warsaw depended on global geopolitics. The primary case study is the exhibition Contemporary Indian Art from the Collection of the National Gallery of Modern Art in New Delhi, which was toured from New Delhi through the Middle East to Eastern Europe (including Warsaw and Prague) in 1978–79. The exhibition brought together 100 works by 80 artists, created between the 1920s and 1970s. It included paintings by pioneers of modern and contemporary Indian art, such as Jamini Roy, Amrita Sher-Gil, Rabindranath Tagore, Gaganendranath Tagore, and K.C.S. Paniker. The diplomatic circumstances of organising the exhibition in Warsaw are set in the broader context of the Polish-Indian art exchange since the 1950s. This encompasses Poland’s participation in the New Delhi Triennial (established in 1968) and the completion of the modernist building of the Polish Embassy in New Delhi (1978). Furthermore, the article examines the impact of travelling national exhibitions on fostering intercultural understanding. The Contemporary Indian Art exhibition provided a valuable opportunity to transcend the conventional boundaries of Indian and Polish art histories. While in the 1960s and 1970s Polish academic discourse typically concluded the history of Indian art in the 1910s, the exhibition’s catalogue served as the primary source of information on twentieth-century Indian art. Consequently, the reception of Contemporary Indian Art in Warsaw is contextualised within the broader discourse of global art history and postcolonial studies.
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Sabinina, Anastasia A. "Project of The All-Slavic Art and Industry Exhibition in St. Petersburg: 1902–1912." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 225–33. http://dx.doi.org/10.37816/2073-9567-2024-71-225-233.
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The paper examines the All-Slavic Art and Industry Exhibition. Preparations took 10 years: from 1902 to 1912. Using archival materials and early 20th century periodicals, the author analyses the exhibition as part of a global trend toward national and international art exhibitions and as a reflection of the St. Petersburg art scene at the turn of the 20th century, which welcomed contemporary art from various countries: from Germany to Japan. The exhibition was organized by the Petersburg Slavic Benevolent Society, which established a dedicated Exhibition Committee. The committee secured permission from the Tsar and funding from the Minister of Finance to carry out the project. The exhibition aimed to foster new trade contacts and showcase the unity and cohesion of the Slavic peoples in response to the perceived threat of cultural expansion by Hungary and Germany. As attendees showed increasing enthusiasm for the exhibition, the organizers expanded their plans, making them more ambitious and costly. However, the exhibition ultimately did not take place due to foreign policy issues. This study contextualizes the All-Slavic exhibition within the political climate of the time and explores the role of art in international diplomacy. Additionally, the research highlights other All-Slavic art exhibition projects, including those held abroad.
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Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.
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Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.
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Jankevičiūtė, Giedrė. "State Strategy of International Art Exhibitions in Interwar Lithuania 1918–1940." Arts 13, no. 1 (2024): 19. http://dx.doi.org/10.3390/arts13010019.
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The Republic of Lithuania was one of several young nation-states that re-established or proclaimed their statehood in the aftermath of the First World War, following the dissolution of empires in Europe. The quest for cultural identity and attempts at its representation within the country, in the region, and on the international stage was the crucial element in the nation-building process, where cultural diplomacy played a pivotal role. For Lithuania, as for most European countries of that era, exhibitions, especially art exhibitions or art sections in the case of world shows (for instance, the Expo 1937 in Paris or the New York World’s Fair in 1939), served as a prominent means of expressing its identity. An overview of the Lithuanian state art exhibition strategy, the dynamics of its organizational process, the exhibition content, and their geographical reach are discussed in the article. To comprehensively grasp Lithuania’s cultural strategy and to reconstruct the network of its artistic connections, foreign art exhibitions organized at the state level and the acquisition of artifacts from these exhibitions for Lithuania’s national art collection, the M. K. Čiurlionis Art Gallery, are briefly reviewed as well.
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Van Holsten, E., A. A. Koroleva, and A. N. Nikiforova. "Cultural Networks Italiart and Ruart: International Art Partnership." Concept: philosophy, religion, culture, no. 1 (July 7, 2020): 181–85. http://dx.doi.org/10.24833/2541-8831-2020-1-13-181-185.
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The networking format becomes the most widespread form of international cooperation in the field of culture at the present stage. First, it attracts subjects of the international market of culture and art by reducing costs and the price of implementing projects. Both previously existing organizations and new partner projects have adopted this format and transformed themselves into networks, building their structure on the principle of horizontal communications. Along with representatives of state structures and international organizations, there are networks initiated by independentexperts interested in the development of international private partnership. In 2020, the 3rd panoramic exhibition of contemporary Italian art «Italiartkremlin» will be held in the State Museum of Modern Art of the Russian Academy of Sciences. Apart from the worksof Italian masters, the exhibition will present the works of Russian artists, winners of the annual contest «My Italy» and «Italy through the eyes of Russian artists». «Italiartkremlin» is one of the projects of the ITALIART cultural network that unites the efforts of representatives of the Italian art market, as well as amateurs and collectors of contemporary Italian art in order to promote it in Russia and Europe. The partner network RUART specializes in the promotion of Russian art in the world, and especially in Northern Europe, through the organization of thematic art events, including art exhibitions, contests and seminars. The idea of sharing a single exhibition space of works of art from different countries allows to compare and see the difference between national schools and modern art concepts.
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Guseva, Anna V. "Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 287–302. http://dx.doi.org/10.15826/izv2.2022.24.2.040.
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The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.
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Spiridon (Ciocoiu), Ioana-Cristina. "„Efectul Picasso”. Expoziție desfășurată la Muzeul de Artă Recentă, București, 27 septembrie 2023-22 ianuarie 2024." Revista Muzeelor 1 (2024): 175–82. https://doi.org/10.61789/rm.2024.14.
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The exhibition “The Picasso Effect”, held at the private art museum MARe, is part of an international celebration of 50 years from Pablo Picasso’s death, along with exhibitions held at other 42 worldwide museums, such as “The Echo of Picasso” in Malaga, “Diego Velázquez invites Pablo Picasso... and Carmen Calvo” at the House of Velázquez, “Picasso Sculptor. Matter and Body” at Guggenheim Museum from Bilbao, “Picasso: drawing to infinity” at Centre Pompidou. The relevance of the exhibition held in Bucharest resides mainly in: mapping Bucharest for international, acclaimed artists, highlighting the influence of the Spanish painter on Romanian art and engaging Romanian artists as conscious and active participants in the international contemporary art.
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Kenigsberg, Ekaterina. "THE GENESIS OF THE DOCUMENTA INTERNATIONAL EXHIBITION OF CONTEMPORARY ART AS A DIALOGUE PLATFORM FOR ELITE ART AND MASS CULTURE." Herald of Culturology, no. 3 (2022): 158–75. http://dx.doi.org/10.31249/hoc/2022.03.10.
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The article examines the genesis of the documenta exhibition as the largest forum in the world of contemporary art, based on the dialogical character of elite art and mass culture. On the example of 14 exhibitions held from 1955 to 2017 documenta traced the long path of development from a single art event as part of the Federal Exhibition of Gardens to a regular global event, studied the role of its artistic directors - curators.
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Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
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Raumkunst by Teodor Axentowicz
 Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
Dissertations / Theses on the topic "International Art Exhibition"
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Smith, George Wilson. "Displaying Edinburgh in 1886 : the International Exhibition of Industry, Science and Art." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11771.
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The International Exhibition of Industry, Science and Art held in Edinburgh in 1886 was the first universal international exhibition to be staged in Scotland. This thesis examines the event as a reflection of the character and social structure of its host city and as an example of the voluntary organisation of an ambitious project. The background to the Exhibition is located in the progress of large-scale exhibitions in Victorian Britain, in competition between cities, and in Edinburgh’s distinction as an administrative and cultural centre and a national capital. The Exhibition’s organisers are situated within the city’s networks of power and influence and its circles of commerce, industry and municipal government. The space created to host the Exhibition is examined as an ideal depiction of Edinburgh as both a modern and a historic city. The origins of the exhibitors populating the Exhibition space are analysed, and their motivations and exhibiting strategies are scrutinised. The composition of the visitors to the Exhibition is considered and the development of the event as a venue for popular entertainment and spectacular display is discussed. In conclusion the chaotic aftermath of the project is examined, together with its influence on subsequent British exhibitions.
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Alberro, Alexander. "The turning of the screw : the Sixth Guggenheim International Exhibition, Daniel Buren, and the new cultural conservatism." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28913.
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In this study I have sought to explore the theoretical foundations of the French artist Daniel Buren's work and its subsequent resonance in a context of emergent cultural conservatism. The study also traces, the increasingly tenuous position of the avant-garde, the survival of which is contingent on the presence of certain liberal democratic institutions. For me these concerns led to a systematic investigation of the censorship of Buren's installation at the 1971 Guggenheim International Exhibition. This was the last in a series of exhibitions that was to promote international goodwill by bringing together the best of recently produced works by contemporary avant-garde artists from around the world, and awarding prizes to those considered outstanding. But the real ideological significance of this show was apparent in the aggressive attempt by the administrators of the Guggenheim to promote American cultural superiority.
Buren was invited to contribute a piece to the show in the belief that his work fit into the formalist mode around which the exhibition was organized. Yet the day before the show opened Museum officials suddenly decided to remove his work from the exhibition. The official explanation provided by the authorities of the Guggenheim cited the size and placement of Buren's work as being in direct conflict with the work of other artists in the exhibition. However, this explanation was clearly specious given that the Guggenheim officials knew months in advance exactly what this work would look like, and its intended place of installation. Moreover, Museum officials used the complaints of four participating artists as justification for their actions. Meanwhile, fifteen other artists in the show objected to the Museum's use of censorship. The issue of the Guggenheim Museum's sudden decision to withdraw Buren's installation from the Sixth Guggenheim International is thus more complex than the official explanation would indicate.
My thesis contends that the abrupt removal of Daniel Buren's work is traceable to efforts by Guggenheim officials to protect other works in the exhibition, and the International series as a whole, from floating into the avant-gardist-traditionalist polemic that had again flared up in the New York art world. Chapters One and Two examine the organization of the 1971 Guggenheim International and the rationale behind that organization. Chapter Three looks at the threefold controversy surrounding the 1971 International: the conflict that arose between participating artists, the questions of censorship that were raised by the actions of Museum officials, and the overwhelmingly hostile critical response to the exhibition. This study investigates a period of social and epistemological rupture in American art, the reverberations of which continue to be felt today.<br>Arts, Faculty of<br>Art History, Visual Art and Theory, Department of<br>Graduate
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Tabibi, Baharak. "Exhibitions As The Medium Of Architectural Reproduction "." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606077/index.pdf.
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This thesis studies the influential role of architectural exhibitions in shaping and directing architectural discourses. The study accepts architectural exhibitions and associated publications as the critical act of architecture, in which (the work of) architecture is interpreted, reproduced and publicized. The main focus of this thesis is Modern Architecture: International Exhibition, held in 1932 at the Museum of Modern Art (MoMA). This particular exhibition is a significant historical event, which officially announced architecture of the early 20th century as International Style. The thesis underlines the role of the 1932 exhibition and MoMA as an architectural media in reproducing the works of architecture and reformulating the agenda of 20th century modern architecture especially in U.S.A.
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Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.
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Girard, Max. ""La Grande Emotion". La mise en scène des missions chrétiennes dans les expositions coloniales et universelles : France - Belgique. 1897 - 1958." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3010.
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La France et la Belgique organisent plusieurs expositions coloniales internationales et universelles de la fin du XIXe siècle à 1958. Ces deux puissances coloniales y développent une propagande multiforme pour justifier leurs « missions civilisatrices ». Les missionnaires catholiques et protestants participent à ces grandes fêtes. La consultation d’archives des congrégations religieuses (Spiritains, Jésuites…), de l’œuvre de la Propagation de la Foi, de fonds publics français, belges, suédois et du Saint-Siège permet de comprendre comment s’organisent les missionnaires pour participer à ces expositions en France et en Belgique. De l’exposition de 1897 (Tervuren) à celles de 1935 et 1958 (Bruxelles), en passant par Paris 1900, 1931 et 1937, les missionnaires s’exposent dans des pavillons qui s’agrandissent pour devenir de véritables complexes architecturaux. Les vecteurs de la mise en scène changent et s’adaptent : les objets « indigènes » sont délaissés au profit de dioramas, de statistiques stylisées et de cartes lumineuses. L’architecture du pavillon est en elle-même un discours comme le prouve le pavillon des missions catholiques de 1931. A travers ces évolutions de la mise en scène, ce sont des changements dans les représentations missionnaires du monde qui s’observent : les colonisés et leurs cultures sont de plus en plus valorisés et le lien avec la colonisation moins affirmé<br>France and Belgium organised several international and colonial exhibitions, as well as universal exhibitions or World Fairs, from the end of the 20th century to 1958. Through these world exhibitions, these two great colonial powers developed various forms of propaganda to account for their “civilizing missions”. Protestant and catholic missionaries took part in those great celebrations. By reading and working on archives of religious congregations such as the congregation of the Holy Spirit, The Jesuit, and the oeuvre de la Propagation de la Foi, but also the French, Belgian and Swedish national archives and the Holy Sea archives, I was able to understand how the missionaries organized themselves to take part in those exhibitions in France and Belgium. The missionaries organised exhibitions in ever growing pavilions which would become huge architectural complexes, from the 1897 exhibition (taking place in Tervuren) to the 1935 and 1958 exhibitions (taking place in Brussels), not forgetting the 1900, 1931 and 1937 Paris exhibitions. The way missionaries staged their work changed and evolved. Indeed, “indigenous” artifacts were gradually less displayed and missionaries used dioramas, stylish statistics and lit-up maps instead. The architecture of the pavilion was in itself telling, a good example of this being the 1931 pavilion of the Catholic missions. The way missionaries staged their exhibitions reflected the changes in their worldview. The colonized populations and their cultures were more and more emphasized, while the link with the colonization was less and less asserted and straightforward
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Kazakova, Ekaterina. "La figure de la victime : un nouvel idéal artistique? : La (re) construction des imaginaires nationaux des états post-soviétiques à la Biennale de Venise (1993-2015)." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALH018.
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Les Etats post-soviétiques participent à la Biennale d’art contemporain de Venise depuis les années 1990. Ils ont montré, dans les pavillons nationaux, tout au long de leur participation et de manière récurrente, des images de souffrance physique, de catastrophe sociale et de traumatisme politique. Ce thèse vise à analyser les causes possibles d’une telle insistance sur la représentation de la catastrophe en les liant aux enjeux politiques, économiques et artistiques qui déterminent, pour ces Etats, leur participation aux foires artistiques internationales.Ces pays post-soviétiques vérifient, en premier lieu une transformation radicale de la culture politique moderne: en quelques décennies, l'idéal orienté vers un avenir de progrès et de liberté a été remplacé par la célébration douloureuse d’un passé décliné sous une forme victimaire. Une telle transformation s'est accompagnée d'un changement de certains idéaux sociaux caractéristiques de la mythologie communiste : "Au centre de la culture historique moderne n'est plus l'idéal du héros, mais l'idéal de la victime". Le statut privilégié de la victime dans les années 1990 a créé alors de nouvelles formes d'auto-représentation et de politique identitaire : l'Arménie, un pays avec une longue tradition de souffrances depuis le génocide du début de siècle, ou les pays baltes, après l'effondrement de l'Union soviétique, ont construit leur identité sur le rôle de victime, en transformant l'histoire traumatique de la répression stalinienne et de l'occupation soviétique en glorification collective du passé misérable de leur peuple... Des expositions pour la Biennale illustrent visuellement, et avec une ferveur presque religieuse, cette histoire sacrificielle, représentant la résistance à la violence et le catastrophe vécu par le peuple comme origine héroïque de la naissance des nations. La célébration des catastrophes fonde une nouvelle conception de l'identité nationale. L'histoire traumatique, encore activement présente dans la mémoire vivante des contemporains, est transformée en objet esthétique et incluse dans le système international des manifestations artistiques<br>The post-Soviet states have been participating in the Biennale of Contemporary Art in Venice since the late 1990s. They have constantly shown, in their national pavilions and throughout their participation, images of physical and social suffering and trauma. The PHD project analyse the possible causes of such an insistence on the representation of the suffering of people by linking them to the political, economic and artistic stakes that determine, for these states, their participation in international art fairs.These post-Soviet countries mainly deal with a general phenomenon which in political science has been called the conflict or the competition of victims. Victims compete for a bigger role in social memory. The historian Martin Sabrov asserts that a radical transformation of modern political culture took place: within a few decades, the ideal oriented towards a future of progress and freedom has been replaced by the painful celebration of a past haunted by victimhood. Such a transformation was accompanied by a change in certain social ideals characteristic of communist mythology: “At the center of modern historical culture is no longer the ideal of the hero, but the ideal of the victim.” The privileged status of the victim in the 1990s created new forms of self-representation and identity politics: Armenia, a country with a long tradition of suffering since the genocide of the turn of the century, and the Baltic countries, after the collapse of the Soviet Union built their identities on the role of the victim, transforming the traumatic history of Stalinist repression and the Soviet occupation into a collective glorification of the miserable past of their people. Exhibitions for the Biennale illustrate visually, and with almost religious fervour, this sacrificial history, representing the resistance to violence and the miserable destiny of the people as the heroic origin of the birth of nations. The celebration of heroic and miserable victims is the foundation of a new conception of national identity. Traumatic history, still actively present in the living memories of contemporaries, is transformed into an aesthetic object and included in the international system of artistic manifestations
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Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.
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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
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Cho, Sung Yeun. "Les expositions aux galeries nationales du Grand Palais : enjeux, pratique et développements 1966-2005." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H026.
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Cette thèse retrace l’histoire des expositions temporaires à caractère artistique organisées aux Galeries nationales du Grand Palais (GNGP) entre 1966 et 2005. Les analyses sur le contexte historique, politique et social et sur la politique artistique internationale en France révèlent que le pouvoir publique contribue à cette histoire des expositions dès l’origine : il soutient et institutionnalise des expositions temporaires en tant qu’action culturelle de l’État. La mise en oeuvre des expositions est coordonnée principalement par trois organismes publiques : la Réunion des Musées nationaux (RMN), l’Association française d’Action artistique, et les administrations pour l’art contemporain. Sous le titre de grande exposition prestigieuse, chacune de ces expositions a été un moyen pour illustrer une célébration commémorative, une belle relation diplomatique avec l’étranger et une présentation de recherches scientifiques et de politique de patrimoine. De la volonté d’échanges artistiques avec des musées étrangers a résulté l’internationalisation des expositions temporaires, la professionnalisation de la RMN en la matière. Le développement des recherches en histoire de l’art en collaboration avec ces musées étrangers est une conséquence évidente. Toutes ces orientations apparentent les Galeries nationales du Grand Palais à une institution culturelle phare au centre de la capitale en affirmant leur place parmi les grands musées parisiens. Ce travail se focalise également sur la gestion organisatrice, introduite dans la pratique de l’organisation d’expositions aux GNGP notamment pour : l’entretien et la muséographie des collections, le financement des expositions et l’accueil des publics. On constate aussi une professionnalisation des métiers concernant l’organisation d’expositions, pendant ces années. Cette thèse présente le développement de grandes expositions organisées dans un cadre institutionnel, le goût des grands publics pour des expositions artistiques. Elle nous permet également de comprendre l’évolution des expositions temporaires muséales dans la seconde moitié du XXème siècle<br>This thesis presents an investigation on the history of temporary art exhibitions at the Galeries nationales du Grand Palais (GNGP) between 1966 and 2005. The analysis of the historical, political and socialistic background and the international artistic policy of France show that the government has played a central role in the development of art exhibitions at the GNGP : the government has encouraged and institutionalized art exhibitions as one of its cultural policy. These exhibitions were mostly planned by three public institutions; Réunion des Musées Nationaux (RMN), Association française d’Action artistique, and the institution for contemporary arts. Each exhibition named as a major representation has been taken place for the commemoration and the presentation of friendly diplomatic relations with foreign countries. Some exhibitions announced academic achievements in art history and outcomes of museum and cultural heritage policies. The enhancement policy of the cultural exchange with foreign museums has led to the internationalization of artexhibitions, and the development of the RMN specialized for the planning of international art exhibitions. This policyalso contributes to the art history research development through the academic collaboration with foreign museums. These grand exhibitions that took place at the GNGP have contributed to make the GNGP as a major cultural institution in the centre of capital city, comparable to other main museums of Paris. This works also discusses the introduction of management for running exhibitions at the GNGP. First, this management included the systematic care and presentationof collections, then the funding of exhibitions and even more the reception of visitors. Moreover, during these years, there has arisen a professionalization of jobs related to art exhibition planning and operation. This thesis presents the development of grand art exhibitions organised in the frame of the public administrations, public audiences for fine arts exhibition, and also allows the understanding of the development of the temporary museum exhibitions held in thesecond half of the twentieth century
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Sutherland, Ann. "Art exhibitions in the national interest: Australian cultural diplomacy, 1918 to 1941." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.
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Australia’s relationship with the rest of the world was particularly complex in the two decades of acute economic, political, and social crises between World War One and Two. This thesis argues that Australia employed visual arts exhibitions in the national interest within its foreign policy stance to amplify and recruit allies for its response to this complexity and that it did so to both international and domestic audiences. Six visual arts exhibitions between 1918 and 1941 have been selected to illustrate this transactional Australian cultural diplomacy within the decline of the European empires, the establishment of the League of Nations in 1920 and the rise of American power after 1930. The thesis opens with the nation a member of the British War Office in 1918 and ends with Australia a member of the Pacific War Council which formed in Washington DC in 1942.
While post-WWII initiatives in cultural diplomacy have been studied, their antecedents have been rarely noted in either the literature on Australian diplomacy, or within the history of Australian art and its exhibition. This thesis seeks to address this oversight, necessarily doing so from a broad multidisciplinary perspective. The profiled exhibitions are detailed as to their origins and content within their historical backdrop, the politics and the people involved. The thesis argues that visual arts exhibitions established a distinguishing aspect of national projection in the interwar period, one which remains embedded in policy and the public cultural programs of government and the national, state, and regional art galleries.
I draw three principal findings from the presented research. The exhibitions discussed enrich our knowledge of the various ways the nation managed its strategic interests as an internationally aligned nation after 1918. Secondly, it addresses a gap which will continue while the many public actors captured by cultural diplomacy - the participants, their objectives and location, institutional arrangements, and foreign and strategic policy – are investigated in isolation from each other. Finally, my hope is that this thesis will make an original contribution to an understanding of the role of exhibitions within the modernisation and the cosmopolitanising of the nation, including the important contribution of artists and arts institutions, business, and public administrators to those exhibitions in the inter-war period.
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Muñoz, Torreblanca Marina. "La recepción de "lo primitivo" en las exposiciones celebradas en España hasta 1929." Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7450.
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En España, al igual que en el resto de países europeos a finales del siglo XIX y principios del XX, se hace exhibición de "lo primitivo": personas (indígenas procedentes de los nuevos territorios colonizados) y objetos (piezas de arte y artefactos de la cultura material de los indígenas procedentes de las colonias). Algunas de estas muestras coinciden con las primeras exposiciones organizadas en España: Exposición General de las Islas Filipinas en Madrid (1887), Exposición Universal de Barcelona (1888) y Exposición Internacional de Barcelona (1929). El presente trabajo analiza la presencia o ausencia de "lo primitivo" (personas y objetos) en los principales acontecimientos expositivos españoles, su relación con acontecimientos homónimos en otros países europeos y su posible recepción en colecciones museísticas (museos de antropología, etnología y misionales).<br>In Spain, as in the rest of European countries at the end of the nineteenth century and beginning of the twentieth, aboriginal from the new colonized territories and "primitive" objects (art and artefacts from the material culture of the colonies) were also exhibited. Some of these events coincide with the first organized Exhibitions in Spain: General Exhibition of the Philippines Islands in Madrid (1887), Barcelona World Exhibition (1888) and Barcelona International Exhibition (1929). This work analyzes the presence or absence of "the primitive" (people and objects) in the major Spanish exhibitions, the relationship with similar events in other European countries and the possible reception in museum collections (museums of anthropology, ethnology and missionary).
Books on the topic "International Art Exhibition"
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Yesul ŭi Chŏndang (Korea). Hanʼgaram Misulgwan. and Tōkyō Geijutsu Daigaku. Daigaku Bijutsukan., eds. International exchange exhibition: Deai. s.n.], 2005.
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Konka, Afrozaa Jamil. Cosmos international art exhibition 2016. Gallery Cosmos, 2016.
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Fla.) Miami meets Milano (2017 Miami. Miami meets Milano: International Art Exhibition. Editoriale Giorgio Mondadori, 2017.
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M, Joachimides Christos, Rosenthal Norman, and Martin-Gropius-Bau (Berlin Germany), eds. Metropolis: International Art Exhibition Berlin, 1991. Rizzoli, 1991.
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Fla.) Miami meets Milano (2019 Miami. Miami meets Milano: International Art Exhibition. Editoriale Giorgio Mondadori, 2020.
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Foundation, Jinro Cultural. 1997 Jinro international ceramic art exhibition. Hongik Ceramic Research Institute, 1997.
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Taideteollisuusmuseo, ed. Narratives: International jewellery art exhibition 1998. [Museum of Modern Art and Design], 1998.
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Beatrice, Merz, and Blanchard Paul, eds. Art year: The international exhibition guide. Hopefulmonster Editore, 1996.
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American Society of Marine Artists. 1st international online marine art exhibition. Sansom & Co, 2021.
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J, Chiego William, Barilleaux René Paul, McKeever Andrea 1980-, and McNay Art Museum, eds. Tom Slick: International art collector : an exhibition. McNay Art Museum, 2009.
Find full textBook chapters on the topic "International Art Exhibition"
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Hepdinçler, Tolga. "The Games on Exhibition: Videogames as Contemporary Art." In International Series on Computer Entertainment and Media Technology. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81538-7_9.
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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "International Exhibition 1862: Official Catalogue of the Fine Art Department." In Victorian Material Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-109.
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Doronchenkov, Ilia. "33 Epilogue: The International of Art as a Utopian Concept." In 100 Years On: Revisiting the First Russian Art Exhibition of 1922. Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525668.217.
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Braskén, Kasper. "6 Willi Münzenberg and the Workers’ International Relief." In 100 Years On: Revisiting the First Russian Art Exhibition of 1922. Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525668.54.
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Pérez de Zafra Arrufat, María Asunción, and David Domínguez Escalona. "Contemporary Art and Audio Accessibility from Translation Studies: An Essential Binomial in Current Artistic Creations." In Transforming Media Accessibility in Europe. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60049-4_9.
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AbstractBioArt is an interdisciplinary research project that focuses on contemporary art. It aims to advance the field of universal accessibility in experimental artistic spaces, emphasizing multisensory experiences. Utilizing a phased methodology that includes a literature review and sensory element analysis, the project identifies innovative practices for creating accessible multisensory exhibitions. In collaboration with researchers and artists with and without disabilities, the exhibition aims to blur the boundaries of the conventional concert hall and exhibition room by creating experimental visual and sound works based on the analysis of movement patterns in individuals with permanent or temporary disabilities, such as Parkinson's disease tremors or spinal cord injuries. Bioart will offer accessible experiences targeting diverse groups, such as visitors with hearing impairments. This chapter explores the barriers present in contemporary exhibitions and addresses them by implementing alternative accessibility measures for the deaf and hard of hearing. These measures include vibrating backpacks to translate the music track played in the room's soundscape, sign language translation, easy-to-read displayed information, and multichannel information. Contemporary art can provide fully accessible experiences for deaf and hard-of-hearing visitors when considering them from the concept design, even if the sound is a key concept. For this purpose, new approaches and accessibility solutions have to be considered to translate the sound experience through other channels (haptic, visual, or the sense of smell). Expected benefits include empowering attendees with diverse abilities, fostering social inclusion, and inspiring future international endeavors in the realm of accessible contemporary arts.
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Papoulias, Evangelos, and Theoklis-Petros Zounis. "Artists and the University Heritage: The Case of the Athens University History Museum and the Exhibition “Opy Zouni: In First Person”." In Strategic Innovative Marketing and Tourism. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_88.
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AbstractThe university museums protect, conserve and present the cultural heritage related to education. The paper presents the initiative of the Athens University History Museum of the National and Kapodistrian University of Athens (NKUA), a university museum that organizes for the first time in a university space a temporary exhibition dedicated to Opy Zouni, a painter with international recognition in the contemporary art of geometric abstraction. The exhibition “Opy Zouni: in first person” presented selected works by Opy Zouni with the main purpose of attributing the artistic dimension of the creator through the interpretation and analysis of her works by herself in the first person. The idea was conceived on the occasion of the tenth anniversary of the loss of the internationally renowned painter Opy Zouni with the consent of the family for a cultural event that would give the public a different perspective of her work. The paper presents a good example (useful for art curators and art managers) of a temporary exhibition of a university museum which connecting the contemporary art with the university heritage.
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Mallinson, Jonathan. "9. 1924–25: Recognition of the Artist Potter." In William Moorcroft, Potter. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.09.
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This chapter explores the development of Moorcroft’s work against the background of two major international exhibitions: the British Empire Exhibition at Wembley in 1924, and the Exposition des arts décoratifs et industriels in Paris the following year. His high-profile involvement in the Wembley exhibition, epitomised in his magnificent stand designed by Edward Maufe, was one of the landmarks of his career. His display enhanced his reputation as a ceramic artist, culminating in an article published in the Daily Graphic entitled ‘A Potter of Genius’. Surviving reports written to Moorcroft three or four times a week by his two assistants record the impact made by his ware on the many visitors to the stand, from celebrities to ordinary members of the public. Such was Moorcroft’s status as one of the country’s most innovative potters that he was put under considerable pressure by the Board of Trade to exhibit at the Paris Exhibition. This event would become a focus for extensive reflection about the need to modernise British industrial design. While some argued for the aesthetic and economic benefits of following more closely the European and Scandinavian styles in evidence at the Paris Exhibition, Moorcroft did not. He set out his position in a letter to The Times, arguing for design primarily as a mode of self-expression, not of commercial expediency. For all that his work did not follow the trends of ‘modern’ style, it was nevertheless awarded a Gold Medal at the Exhibition. These are the years of Moorcroft’s greatest commercial success, but this was not the basis of his reputation. He was admired for his distinctive, expressive art, described in one review as ‘cogent and articulate’.
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Braskén, Kasper. "5 International Communism and Transnational Solidarity in the Context of the First Russian Art Exhibition." In 100 Years On: Revisiting the First Russian Art Exhibition of 1922. Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525668.45.
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Yuan, Xuechun. "The Influence and Thinking of Online Exhibition on Audience Expansion of Art Institutions." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022). Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_43.
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Codell, Julie F. "International Exhibitions." In A Companion to British Art. Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch10.
Full textConference papers on the topic "International Art Exhibition"
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Tsuchiya, Yosuke, and Naoki Ishibashi. "Implementation Method of an Autonomous Art Exhibition System with Open-Source Hardware." In 2024 16th IIAI International Congress on Advanced Applied Informatics (IIAI-AAI). IEEE, 2024. http://dx.doi.org/10.1109/iiai-aai63651.2024.00084.
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Xun, Gao. "Research on System Architecture of Communication Network in Virtual Reality Art Exhibition." In 2024 IEEE 2nd International Conference on Electrical, Automation and Computer Engineering (ICEACE). IEEE, 2024. https://doi.org/10.1109/iceace63551.2024.10898967.
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Zhang, Zheng, Zheng Zhang, Mingquan Wei, et al. "Infinite: Immersive Space Art Exhibition - Exploration and Practice of Cross-disciplinary Immersive Experience." In 35th IAA Symposium on Space and Society, Held at the 75th International Astronautical Congress (IAC 2024). International Astronautical Federation (IAF), 2024. https://doi.org/10.52202/078382-0033.
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Barua, Subhrajit, Galina Muromtseva, and Tatyana Ivshina. "The BRICS Universe Exhibition - A Fusion of Space and Art in UNESCO's Creative Cities." In IAF Space Education and Outreach Symposium, Held at the 75th International Astronautical Congress (IAC 2024). International Astronautical Federation (IAF), 2024. https://doi.org/10.52202/078378-0102.
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Fowler, E. P., and L. K. Halme. "State of Art in Cable Screening Measurements." In 9th International Zurich Symposium and Technical Exhibition on Electromagnetic Compatibility. IEEE, 1991. https://doi.org/10.23919/emc.1991.10781164.
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Yang, Wenbin. "Design and Implementation of a Virtual Exhibition System for Beilin Calligraphy Art Using VR Technology." In 2024 4th International Conference on Digital Society and Intelligent Systems (DSInS). IEEE, 2024. https://doi.org/10.1109/dsins64146.2024.10992131.
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Gemeinboeck, Petra, and Mary Agnes Krell. "Art exhibition." In the 13th annual ACM international conference. ACM Press, 2005. http://dx.doi.org/10.1145/1101149.1101379.
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"Art exhibition committee." In 2011 IEEE International Symposium on Mixed and Augmented Reality. IEEE, 2011. http://dx.doi.org/10.1109/ismar.2011.6092343.
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"Art exhibition committee." In 2011 IEEE International Symposium on Mixed and Augmented Reality. IEEE, 2011. http://dx.doi.org/10.1109/ismar.2011.6162844.
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Irrgang, Daniel. "Thought Exhibition. On critical zones, cosmograms, and the impossible outside." In 28th International Symposium on Electronic Art. Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-66-full-irrgang-thought-exhibition.
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The paper discusses the curatorial concept of “thought exhibition” coined by Bruno Latour and Peter Weibel and developed in collaboration with curators, artists, and researchers during four exhibitions at the ZKM Centre for Art and Media, Karlsruhe (Germany). Thought exhibitions transgress the distinctions between philosophy, art, and science by testing ideas in an art museum, a space of discourse, representation, and participation. They engage visitors in a spatio-aesthetic thought experiment by bringing them into a position where preconceptions derived from epistemes of European Modernity are explicated and where alternatives are suggested. The analysis focusses on the most recent exhibition, in the preparation of which the author was involved: “Critical Zones. Observatories for Earthly Politics” (May 23, 2020 – January 9, 2022) mapped the symptoms and origins of the “New Climatic Regime” (Latour) of the late Anthropocene. In this paper, Critical Zones is framed within its theoretical context (Descola, Haraway, Margulis, Whithehead, among others) and discussed as relational spatio-aesthetic approach (Dikeç). The analysis concludes with Sarah Sze’s installation “Flash Point (Timekeeper)” (2018) as one of the exhibition’s central works – a representation, or “cosmogram” (Tresch), of a common planet that may provide an alternative to the globalized world of late capitalism.
Reports on the topic "International Art Exhibition"
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Hertrich, André. The Atomic Bomb Victims in Nagasaki and Hiroshima on Display: Differing Exhibition Strategies and International Trends in Musealization. Austrian Academy of Sciences, 2024. http://dx.doi.org/10.1553/0x003f56e7.
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The Japanese cities Hiroshima and Nagasaki represent the horrors of war as places of the hundred-thousandfold killing of humans with scientific and industrial means. And as such Hiroshima and Nagasaki (to a lesser degree) became dominant symbols within global memory culture. In my paper I will juxtapose this form of commemoration with what Jeffrey Alexander claimed was an ongoing universalization of the Holocaust as a symbol of radical evil. This universalization also supposedly led to the globalization of aesthetic standards in museum designs of memorial museums worldwide, deriving from Holocaust memorials such as Yad Vashem or the United States Holocaust Memorial Museum as role models. After taking a closer look at the focal points of the atomic bomb memorialization: Hiroshima Peace Memorial Museum and Nagasaki Atomic Bomb Museum, respectively, I will cite international trends of an increasing focus on the fate of individuals since the 2000s, and analyze the representation of victims of the atomic bombings. As there are significant differences in terms of individualization and emotionalization between both exhibitions, I will place a specific focus on pointing out the differences between the two museums, such as the finding that photos of individual victims play a far greater role in Hiroshima. Outlining the in-situ memoryscapes of the atomic bomb destruction, my eventual goal is to discern various influences on the exhibition and to ask whether elements of Holocaust musealization served as role model in aesthetics and design and how genuine "atomic" tropes and modes of display look like.
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Lindo-Ocampo, Gloria Inés, and Hilda Clarena Buitrago-García. English for Business Course. Thematic Unit: Business Events. Ediciones Universidad Cooperativa de Colombia, 2022. http://dx.doi.org/10.16925/gcnc.24.
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This didactic unit is aimed at the fifth semester students of the Business Administration, Marketing and International Business program, who have already completed the four basic levels of the Open Lingua program. This proposal seeks to develop skills and competencies that allow them to perform in different fields related to private, public and solidarity economy companies, and in various mediation and negotiation processes at national and international levels. The instructional design of this unit contains real-life situations, focused on the world of business, that allow students to interact in various types of business events. The grammatical and lexical concepts, necessary to interact successfully in these types of communicative situations, are introduced and applied. The educational activities are designed to offer opportunities to interact in business conferences, international exhibitions, and seminars, among others. The contents are framed in natural and meaningful contexts. This leads to a greater understanding of the type of language used in business and the way it is used to communicate. The contents are structured in three lessons in which the level of complexity of the topics, tasks, texts and transitions (4Ts) have been considered. Also, various types of activities that activate and reinforce previous knowledge and that, subsequently, evaluate the progress of the students, are included.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Araújo, Bianca, and Virgínia Araújo. XXX Meeting of the Brazilian Society of Acoustics. Sociedade Brasileira de Acústica, 2023. https://doi.org/10.55753/aev.v38e55.267.
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Between November 19 and 22, 2023, the XXX Meeting of the Brazilian Society of Acoustics (Sobrac) took place at the UFRN Engineering Technology Center in Natal, Brazil. This event, which marks Sobrac's 40th anniversary, is the largest and only technical-scientific meeting in Brazil focused on acoustics and vibrations. Bringing together 292 participants, the event featured the presentation of 68 papers in 18 thematic areas, as well as five lectures, six short courses, two round tables, and a workshop, with an outstanding international presence. There was also an exhibition fair with 22 exhibitors and two technical visits, which attracted around 250 professionals each day. The event ended with the awarding of seven prizes in a student competition. The final evaluation by the participants highlighted the high level of organization and technical-scientific level of the meeting.
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bin Ahsan, Wahid, Imran Hossain, Habibur Rahman, et al. Global Mobile App Accessibility: A Comparative Study of WCAG Compliance Across 12 Countries. Userhub, 2024. http://dx.doi.org/10.58947/mxrc-rzkh.
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This study assesses the accessibility of mobile applications across twelve countries, including the USA, Vietnam, Turkey, Ireland, and South Korea. Our evaluation of 60 popular apps reveals a widespread failure to meet the Web Content Accessibility Guidelines (WCAG), with Vietnam exhibiting the highest average of 41.2 violations per app. These violations were particularly prevalent in essential areas such as touch target size and color contrast, critical for users with visual and motor impairments. Despite robust accessibility laws such as the Americans with Disabilities Act (ADA) in the USA and the European Accessibility Act (EAA) in the EU, our findings indicate a significant gap between these legal frameworks and their practical application. Our study highlights the urgent need for a multifaceted approach that includes strict enforcement, enhanced developer education with a focus on cross-cultural accessibility, and international cooperation. This research underscores the importance of integrating accessibility as a core component of digital infrastructure development to ensure mobile applications are truly accessible to all users.
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Rinkevich, Baruch, and Cynthia Hunter. Inland mariculture of reef corals amenable for the ornamental trade. United States Department of Agriculture, 2006. http://dx.doi.org/10.32747/2006.7695880.bard.
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The worldwide market for ornamental saltwater invertebrates supplies the needs of millions of aquarium hobbyists, public exhibitions (i.e., zoos) universities and research institutions. With respect to reef building corals, it is estimated that more than half a million coral colonies/year from a total 93 genera, were exported globally during the period of 1985-1997. International value of retail sale of live coral trade alone is estimated as $78 million in 1997 (not including the illegally, widely smuggled material). The continuous, large-scale collection of marine organisms is responsible, in many places, for the destruction of coral reefs. The expected expansion of the trade further threatens these fragile habitats. While no true captive-bred corals are commercially available, our long-term goal is to develop ex situ inland farming of coral colonies that will circumvent the need for in situ collections and will provide domesticated specimens for the trade and for research. We simultaneously studied two model branching coral species, Stylophora pistillata (Pocilloporidae; in Israel) and Porites (Poritidae; in the US). The proposal included three specific aims: (a) To develop protocols for nubbins (small fragments, down to the size of a single polyp) usage in coral farming;(b) To address the significance of colony pattern formation to the coral trade; and (c) To develop the protocols of using nubbins in physiological and ecotoxicological assays (using oil dispersants, the expression of the stress protein HSP-70, household detergents, etc.). Ten scientific publications (published manuscripts, accepted for publications, submitted to scientific journals, in preparation), revealing results that were related to all three specific aims, originated from this BARD proposal. As a result of the work supported by the BARD, we have now, in hand, original and improved protocols for coral maintenance ex situ, proven expertise on manipulating coral colonies’ pattern formation and biological knowledge on island mariculture of reef corals (from Hawaii and from the Red Sea) amenable for the ornamental trade (for public and private aquaria use, for experimentation). At least one Israeli company (Red Sea Corals, Ltd., KibbutzSaar) is using our methodologies for further developing this new mariculture sector. We are now in the process of introducing the rationale and methodologies to Hawaiian private entities to expand dissemination of the research outcomes.
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Strasser, Fiona-Elaine. Recommendations on engaging with the next generation of stakeholders. EuroSea, 2023. http://dx.doi.org/10.3289/eurosea_d8.11.
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This report provides an overview of EuroSea's initiatives focused on engaging the next generation of ocean observing and forecasting stakeholders. Many activities took place, including delivering workshops, presenting the EuroSea itinerant exhibition, collaborating with the WASCAL Floating University and the SEA-EU inter-university initiative, supporting the international Ocean Observers Initiative, and much more. Engaging the next generation of stakeholders in meaningful discussions and innovative projects is essential to ensure future-oriented intergenerational collaboration. Yet, this is often an overlooked aspect of public engagement within the Horizon 2020 landscape as it requires engagement techniques specifically tailored to reach the young generation. Within the framework of Horizon 2020, the European Union's research and innovation funding program, public engagement traditionally targets a diverse range of stakeholders, including researchers, policymakers, industry representatives, civil society organizations, NGOs, and citizens. While these efforts are crucial for fostering inclusive and transparent dialogue, targeted initiatives directed towards the younger generation and early-career ocean professionals need to be expanded. It is important to recognize the concerns, unique perspectives, and aspirations of young individuals who will inherit the outcomes of today's research and innovation. Dedicating resources to engage with the next generation is vital to ensure their active involvement in shaping their future and addressing global challenges such as the sustainability of ocean observing, monitoring, and forecasting. EuroSea has recognized the importance of fostering a deeper understanding of ocean observing and forecasting among the younger generation. This deliverable and the many activities feeding into it are a testament to EuroSea's commitment to this cause. This report focuses on the lessons learnt from a diverse array of activities engaging the next generation of ocean observing and forecasting stakeholders, demonstrating the extensive range of possibilities for involving the younger generation. It underscores the importance of tailoring approaches to different age groups, from school children to university graduates and adapting engagement strategies to their varying interests and life stages. Every experience—even the ones that did not turn out as expected—has shown to be beneficial, and it is important to share lessons learnt and identify best practices while expanding these kinds of initiatives. EuroSea's dedication to engaging the next generation of stakeholders is a significant step in fostering inter-generational dialogue and promoting blue skills and knowledge sharing. Valuable lessons have been learnt from the EuroSea engagement activities and provide guidance for future initiatives aimed at fostering a deeper understanding of our ocean among the younger generation and engaging them in conversations that impact their future on this planet. (EuroSea Deliverable, D8.11)
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Jordan, Ramon L., Abed Gera, Hei-Ti Hsu, Andre Franck, and Gad Loebenstein. Detection and Diagnosis of Virus Diseases of Pelargonium. United States Department of Agriculture, 1994. http://dx.doi.org/10.32747/1994.7568793.bard.
Full textAbstract:
Pelargonium (Geranium) is the number one pot plant in many areas of the United States and Europe. Israel and the U.S. send to Europe rooted cuttings, foundation stocks and finished plants to supply a certain share of the market. Geraniums are propagated mainly vegetatively from cuttings. Consequently, viral diseases have been and remain a major threat to the production and quality of the crop. Among the viruses isolated from naturally infected geraniums, 11 are not specific to Pelargonium and occur in other crops while 6 other viruses seem to be limited to geranium. However, several of these viruses are not sufficiently characterized to conclude that they are distinct agents and their nomenclature and taxonomy are confusing. The ability to separate, distinguish and detect the different viruses in geranium will overcome obstacles te developing effective detection and certification schemes. Our focus was to further characterize some of these viruses and develop better methods for their detection and control. These viruses include: isolates of pelargonium line pattern virus (PLPV), pelargonium ringspot virus (PelRSV), pelargonium flower break virus (PFBV), pelargonium leaf curl (PLCV), and tomato ringspot virus (TomRSV). Twelve hybridoma cell lines secreting monoclonal antibodies specific to a geranium isolate of TomRSV were produced. These antibodies are currently being characterized and will be tested for the ability to detect TomRSV in infected geraniums. The biological, biochemical and serological properties of four isometric viruses - PLPV, PelRSV, and PFBV (and a PelRSV-like isolate from Italy called GR57) isolated from geraniums exhibiting line and ring pattern or flower break symptoms - and an isolate ol elderbeny latent virus (ELV; which the literature indicates is the same as PelRSV) have been determined Cloned cDNA copies of the genomic RNAs of these viruses were sequenced and the sizes and locations of predicted viral proteins deduced. A portion of the putative replicase genes was also sequenced from cloned RT-PCR fragments. We have shown that, when compared to the published biochemical and serological properties, and sequences and genome organizations of other small isometric plant viruses, all of these viruses should each be considered new, distinct members of the Carmovirus group of the family Tombusviridae. Hybridization assays using recombinant DNA probes also demonstrated that PLPV, PelRSV, and ELV produce only one subgenomic RNA in infected plants. This unusual property of the gene expression of these three viruses suggests that they are unique among the Carmoviruses. The development of new technologies for the detection of these viruses in geranium was also demonstrated. Hybridization probes developed to PFBV (radioactively-labeled cRNA riboprobes) and to PLPV (non-radioactive digoxigenin-labeled cDNAs) were generally shown to be no more sensitive for the detection of virus in infected plants than the standard ELISA serology-based assays. However, a reverse transcriptase-polymerase chain reaction assay was shown to be over 1000 times more sensitive in detecting PFBV in leaf extracts of infected geranium than was ELISA. This research has lead to a better understanding of the identity of the viruses infecting pelargonium and to the development of new tools that can be used in an improved scheme of providing virus-indexed pelargonium plants. The sequence information, and the serological and cloned DNA probes generated from this work, will allow the application of these new tools for virus detection, which will be useful in domestic and international indexing programs which are essential for the production of virus-free germplasm both for domestic markets and the international exchange of plant material.