Academic literature on the topic 'Japan International Art Exhibition'
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Journal articles on the topic "Japan International Art Exhibition"
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Terada, Yuma. "Artist of Liminality: Miwa Yanagi’s Myth Machines as Heterotopia." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (2021): 211–25. http://dx.doi.org/10.5206/tba.v3i1.13907.
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In February 2020, Miwa Yanagi: Myth Machines (2019-2020), a traveling exhibition of works by the Japanese contemporary artist Miwa Yanagi (1967-), concluded its tour across Japan after failing to incite meaningful critical response from art historians and critics. The year-long, five-museum itinerary of the solo show reflected the public’s keen interest in Yanagi’s first major exhibition in a decade, but the enthusiasm was betrayed by the paucity of scholarly attention; beyond the four essays included in the catalogue, hardly any scholar or critic seriously engaged with the artist who previously represented Japan at the Venice Biennale and whose work continues to be exhibited internationally. The few texts that appeared display a noticeable anxiety toward Myth Machines—in particular its unapologetic juxtaposition of photography and theater—which suggests a failure of the prevailing art historical language to speak and write about Yanagi’s career. In response to this laconic condition, this paper identifies the concept of heterotopia, delineated by Michel Foucault on three occasions between 1966 and 1967, as a useful device to activate a discourse on Yanagi’s exhibition. A reading of Myth Machines as a heterotopia reveals an exhibition that astutely comments on the ongoing global political moment defined by divisions along racial, gender and national boundaries, visually symbolized by former American president Donald Trump’s divisive border wall.
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Rudenko, Oleh. "The importance of «interprint» in the development of Ukrainian graphics." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 60–65. http://dx.doi.org/10.33838/naoma.29.2020.60-65.
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The article studies Ukrainian graphic art of the late twentieth century, undergoing changes caused by political events in Eastern Europe. Two iconic exhibitions became the turning point for native art as they revealed the Ukrainian graphic arts, and broke through the "iron" curtain of the totalitarian regime. The ideological seclusion of the USSR focused solely on the themes celebrating the life of a happy worker, peasant, or intellectual, did not let the works of another content to be displayed in public. Moreover, all areas of art creativity were controlled by the Union of Artists of Ukraine, headed by people with party membership cards. This prohibition referred especially to works of national-patriotic, conceptual, abstract, or surrealistic nature. The idea to hold an international exhibition that would present Ukrainian graphics to the world arose in the heads of a few independent politicians. At the state level, that idea certainly did not gain any support, but some people contributed to its implementation. Interestingly, the first exhibition of graphics "Interdruk'90" took place just before the collapse of the USSR, and the second, "Interdruk'92", in an already independent Ukraine. The exhibitions showed a high level of Ukrainian graphics, which equaled and sometimes surpassed the works of foreign masters. Among the exhibited art were works by such masters of national graphics as Valeriy Demya- nyshyn, Oleg Denysenko, Mykhaylo Alexandrov, Volodymyr Gumenny, Konstantin Kalinovich, Ivan Kravetz, Pavlo Makov, Mychaylo Moskal, Volodymyr Pinigin, Igor Podolchak, Yuriy Pshenychny, Roman Romanyshyn, Yevgen Ravsky, Alexander Aksinin et al. Their works reflected the whole spectrum of current life themes, which were seen and interpreted in new ways, imaginative technical and formal solutions. Most of those national artists had been exhibited abroad and won the most prestigious graphic contests, yet they were little known in their Motherland. On the other hand, the Ukrainian audience got a chance to learn about the works and achievements of graphic artists from France, Great Britain, Argentina, Korea, Israel, Spain, Holland, Poland, Canada, Russia, Japan, Italy and other countries. We may state that those two exhibitions of printmaking art opened the way to the development of graphics in independent Ukraine.
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Blackman, Cally. "The Colour of Fashion at the Salon du Goût Français: A Virtual Exhibition of French Luxury Commodities, 1921–1923." Costume 56, no. 1 (2022): 51–73. http://dx.doi.org/10.3366/cost.2022.0218.
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This article investigates the use of the Autochrome, an important photographic process invented by the Lumière brothers that produced the most accurate representation of colour between 1907 and the early 1930s, in a government-backed exhibition of French luxury commodities, the Salon du Goût Français. Between 1921 and 1923 the exhibition showed in Paris and undertook two international tours, first to North America and then to Australasia, China, Vietnam, Japan and India. Thousands of objects were displayed, from automobiles to umbrellas, including couture, ready to wear, lingerie, menswear, children's wear and accessories. By reducing the objects to two dimensions on the glass Autochrome plates, the exhibition could be shown in a relatively small venue in Paris, transported to America in a trunk and voyage on a decommissioned battle cruiser to the Far East. Using the trope of Western fashion as a form of soft power mediated by the global reach afforded by the Autochromes, the article proposes that the Salon du Goût Français offered a kind of roving virtual art gallery, a vividly colourful encyclopaedic display of over 2,000 images of luxury manufacturing deployed to restore France's imperial and cultural hegemony as supreme arbiter of taste after the trauma of the First World War.
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Baird, Christina, and Helen Backx-Palsgraaf. "Viewing Japan and China through Dirk Boer’s Panorama, 1835–1838." Journal of the History of Collections 32, no. 1 (2018): 119–28. http://dx.doi.org/10.1093/jhc/fhy052.
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Abstract Dirk Boer (1803–1877) contributed to the popularization of Japanese and Chinese art in The Netherlands. He is best remembered for his ‘Groote Koninklijke Bazar’ or Grand Royal Bazaar which, during the nineteenth century, had an international reputation for exhibiting and selling Japanese and Chinese products, alongside a much wider and more diverse selection of goods. In this study, some of Dirk Boer’s earlier achievements and activities pre-dating the Groote Koninklijke Bazar will be discussed and Boer’s Chinese and Japanese Panorama will be highlighted as an illustration of the interest in China and Japan in The Netherlands during the 1830s. Contemporary reports are discussed with a view to establishing something of Boer’s Panorama’s physical appearance and popularity. Analogies will be drawn to similar exhibitions, cosmoramas and panoramas, both in Britain and The Netherlands.
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Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Thakur, Meenakshi. "MITHILA- A GLOBALIZED ART FORM." International Journal of Research -GRANTHAALAYAH 5, no. 2 (2017): 208–12. http://dx.doi.org/10.29121/granthaalayah.v5.i2.2017.1725.
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India has long been a focal point of art. From the traditional to the contemporary, India is fast developing itself as a key destination for those who love art. India is marked by its rich traditional heritage of Tribal/Folk Arts and Culture. Since the days of remote past, the diversified art and cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, crystallizing social solidarity, fortifying communal harmony, intensifying value-system and promoting the elements of humanism among the people of the country. Folk and tribal arts are relatively less exposed forms of narrative Indian art and contain within them a gamut of styles originating from various geographical regions in India.
 Women in the Mithila region of Bihar in north India have painted colorful auspicious images on the interior walls of their homes on the occasion of domestic rituals since at least the 14th century. This ancient tradition, especially elaborated for marriages, continues today. Madhubani painting or Mithila is a style of Indian painting, practiced in the Mithila region of Bihar state, India, and the adjoining parts of Terai in Nepal. Painting on paper for sale has changed this dramatically. Aside from generating important new family income, individual women have gained local, national, and even international recognition. Artists are being invited to exhibitions across India, and to Europe, the United States, and Japan - no longer as "folk artists," but now as "contemporary artists." Mithila's contemporary arts offer astonishingly vital -- and long overlooked -- depth and diversity, ranging from wondrous elaborations of traditional themes and styles to more experimental depictions of new, topical subject matter.
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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.
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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Grzybkowska, Teresa. "PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)." Muzealnictwo 58, no. 1 (2017): 2–13. http://dx.doi.org/10.5604/01.3001.0009.5602.
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Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.
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Hoffman, Sheila K., Aya Tanaka, Bai Xue, et al. "Exhibition Reviews." Museum Worlds 9, no. 1 (2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.
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Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim
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Sato, Yoshinobu, and Mark E. Parry. "The influence of the Japanese tea ceremony on Japanese restaurant hospitality." Journal of Consumer Marketing 32, no. 7 (2015): 520–29. http://dx.doi.org/10.1108/jcm-09-2014-1142.
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Purpose – Recent discussions of value-in-use from the perspective of service dominant logic have focused on the customer’s determination of value and control of the value creation process. The purpose of this paper is to extend these discussions by exploring the value creation process in the Japanese tea ceremony and in the kaiseki ryori style of Japanese cuisine, which is based on the Japanese tea ceremony. Design/methodology/approach – A historical analysis is used to describe the history of the Japanese tea ceremony in Japan and its influence on Japanese culture. key principles underlying the Japanese tea ceremony and their relationship to Zen Buddhism are summarized and the ways in which these principles are reflected in the service provided by Japanese restaurants are explored. Findings – The two elite restaurants examined in this analysis have designed their service experience to reflect four principles of the tea ceremony: the expression of seasonal feelings, the use of everyday items, ritualized social interactions, and the equality of host and guest. Given these principles, we argue that the tea ceremony and restaurants based on this ceremony imply a co-creation process that is different in three important ways from the process discussed in the co-creation literature. First, the tea ceremony involves dual experiential-value-creation processes. Both the master and the customer experience value-in-use during the delivery of kaiseki cuisine, and the value-in-use each receives is critically dependent on that received by the other. Second, the degree to which value-in-use is created for both parties (the customer and the master) depends on the master’s customization of the service experience based on his knowledge of the customer and that customer’s with the tea ceremony, kaiseki ryori cuisine and Japanese culture. Research limitations/implications – We hypothesize that the dual experiential-value-creation model is potentially relevant whenever the service process contains an element of artistic creation. Potential examples include concerts, recitals, theatre performances and art exhibitions, as well as more mundane situations in which the service provider derives value-in-use from aesthetic appreciations of the service provider’s art. Originality/value – Recent discussions of value co-creation argue that the customer controls the value creation process and the determination of value. The authors argue that the tea ceremony can serve as a metaphor for value co-creation in service contexts where the customer’s value creation process depends on the creation of value-in-use by the service provider.
Dissertations / Theses on the topic "Japan 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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Ricci, Giada. "L’espace muséographique au Japon : concepts et spécificités de la mise en exposition des œuvres dans les musées d’art." Electronic Thesis or Diss., Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP003.
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Au croisement de disciplines telles que l’architecture, la muséologie, la muséographie-scénographie, l’histoire des musées et de l’architecture, et avec l’objectif de dépasser l’approche historique et la simple description, cette recherche étudie l’espace muséographique dans les musées d’art au Japon. Depuis la première apparition dans le vocabulaire japonais du mot « musée d’art », bijutsukan, à l’occasion de la participation du Japon à l’Exposition universelle de Vienne en 1873, les musées du XXIe siècle portent des valeurs esthétiques et culturelles spécifiquement japonaises. Cette recherche s’interroge sur l’évolution des musées dans le temps, à travers l’étude des typologies de musées et d’expositions, entre lieux d’expérience esthétique et espaces de sociabilité. L’architecture japonaise prémoderne a développé des modalités particulières de création et de construction, notamment une spatialité ouverte sur le paysage, que l’on retrouve dans les réalisations contemporaines. À cet égard la recherche s’appuie sur les traditions pré-Meiji dans l’architecture, religieuse et domestique, et sur les codes de présentation des œuvres. L’approche du statut de l’œuvre d’art muséifiée et la notion de trésor national, kokuhō, ainsi que l’espace muséographique et le rapport à l’œuvre dans les musées d’art, sont considérés en parallèle à certains aspects de l’habitat traditionnel, comme les placements codifiés des peintures et des objets d’art dans le tokonoma. Les pratiques architecturales et muséographiques actuelles sont étudiées à travers les différents aspects de la conception et de l’aménagement de l’espace : de l’architecture du musée à la mise en exposition, jusqu’à la perception des œuvres. L’exposition est entendue comme communication de sens, l’espace muséographique comme espace culturel et physique, empreint de symboles, depuis l’approche classique de présentation, purement esthétique, à l’évolution contemporaine vers un espace conceptuel d’interprétation. La lecture de l’espace muséographique comme communicateur de sens et du parcours d’exposition comme espace-temps passe par la définition des termes et des notions spatiales, en tant qu’expression d’une forme de pensée de l’espace. Dans le but de cerner le lien entre les œuvres et l’espace muséographique, perçu comme support de contenu, cette recherche considère le dispositif spatial et les modes d’exposer dans leurs spécificités. Le musée est un espace public où une intimité doit pouvoir se créer avec l’œuvre exposée. Ainsi les espaces d’exposition se chargent pour le visiteur d’une émotion et d’une valeur presque affective. La littérature japonaise contribue à éclairer cet aspect de la perception du musée dans la société et dans l’imaginaire japonais. Par un travail de simplification et de synthèse dans la conception des espaces, en reprenant certaines pratiques spatiales de l’architecture prémoderne, les musées au Japon ont développé des modalités propres de création et de construction de l’espace. Construire en revisitant la tradition est la manière spécifiquement japonaise de faire revivre le patrimoine dans l’architecture et l’espace du musée, qui s’exprime notamment par l’attention à la nature, l’emplacement dans le site et le choix des matériaux, l’intimité du rapport intérieur-extérieur, le parcours et l’articulation des espaces. Alliant esthétique et fonctionnalité, qualité architecturale et environnementale, qualité muséographique et conservation des œuvres, les musées et les aménagements muséographiques contemporains, souvent l’œuvre d’architectes japonais reconnus internationalement, se révèlent ainsi des réalisations exemplaires et cohérentes, qui expérimentent avec succès une architecture d’interrelations complexes dans une vision du musée ouvert aux visiteurs, aux sensations et au monde<br>At the crossroads of disciplines such as architecture, museology, museum-scenography, history of museums and architecture, aiming to go beyond the historical approach and the simple description, this research studies the museum space in art museums in Japan. Since the appearance in the Japanese vocabulary of the word "art museum", bijutsukan, on the occasion of Japan’s first participation in the World Exposition in Vienna, 1873, the 21st century museums have evolved towards the expression of Japan’s very own aesthetic and cultural values. This research examines the museums evolution over time, between aesthetic experience and sociability, through the study of museums, exhibitions typologies, and models of spatial distribution. The premodern Japanese architecture developed particular forms of creation and construction, including a spatiality open to the landscape, which can also be found in contemporary achievements. In this respect, research is based on pre-Meiji traditions in religious and domestic architecture, as well as the display of artworks and objects. The approach to the status of museum exhibit and the notion of national treasure, kokuhō, as well as the museum space and its relation to the art museum collections, are considered in parallel with certain aspects of traditional housing, such as the codified placement of paintings and art objects in the tokonoma. Current architectural and museum practices are studied through different aspects of the museums layout and exhibition design: from the museum’s architecture to the exhibition space, up to the perception of the artworks. The exhibition is understood as a communication of meaning, the museum space as a cultural and physical space, imbued with symbols, from the classical approach to display, purely aesthetic, to contemporary evolution towards a conceptual space of interpretation. The reading of the museum space as a communicator of meaning and of the exhibition route as space-time passes by the definition of terms and spatial notions, as an expression of a way of thinking the space. In order to understand the link between the artworks and the museographic space, perceived as a medium of content, this research considers the spatial device and the modes of display in their specificities. The museum is a public space where intimacy must be created with the work on display. Thus the exhibition spaces are charged to the visitor with an almost emotional value. Japanese literature helps to shed light on this aspect of museum perception in Japanese society and imagination. Through a work of simplification and synthesis in the design of spaces, by resuming certain spatial practices of premodern architecture, museums in Japan have developed specific modalities for the creation and construction of space. Building by revisiting tradition is the Japanese way to revive heritage in the architecture and space of the museum, which is expressed in particular by the attention to nature, the location in the site and the choice of materials, the intimacy of the inner-outer relationship, the path and the articulation of spaces. Combining aesthetics and functionality, architectural and environmental quality, museographic quality and conservation of works, museums and contemporary museum installations, often the work of internationally renowned Japanese architects, are thus exemplary and coherent achievements, successfully experimenting an architecture of complex interrelations, in a museum vision open to visitors, sensations and the world
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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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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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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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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).
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Peng, Jing Wan, and 彭晶婉. "The research of children’s Painting works’forms. (Examples from the works of 2008 international children’s art exhibition in Taiwan and Japan.)." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/28916683636349277053.
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碩士<br>國立臺灣藝術大學<br>視覺傳達設計學系碩士班<br>99<br>Children’s drawing revealed the most ingenious psychology and thinking of children, and is also a form of behavioral and language expression of children. Children’s drawing had its own connotation and took on various picture expression forms and different types and styles. In recent years, children’s drawing had gained more and more attention. Some researchers began to carry out different studies on it, and art teaching had become more interested in competitions. However, few studies investigated the forms of the prize winning works in children’s drawing competitions.
In order to understand the drawing styles of prize winning works from the World School Children’s Painting Exhibitions, the study chose, as research subjects, part of the prize winning works of the Exhibition in Taiwan and Japan that have over 40 years of experience with the Exhibition. A total of 144 works created by kindergarten, low grade, intermediate grade and high grade students in the 2008 World School Children’s Painting Exhibition were selected as the study samples. Literature analysis and Delphi method were adopted to investigate and generalize the expressive forms of children’s drawing, which included: subject matter, composition, media and drawing frame, in order for the study to obtain further understanding on the influence and enlightenment of the prize winning works’ expressive forms on the future.
The study found that the expressive forms of the Taiwanese and Japanese prize winning works in the 2008 World School Children’s Painting Exhibition were mostly dominated by the theme of children’s life. The composition styles showed significant differences among high grade students, with obvious adoption of vertical line composition and triangle composition. The paper materials used also showed significant differences between the low grade students of the two countries, among which the works in Taiwan all used only one kind of paper; and for the tools, oil-based markers and water-based paints were mostly used. Most of the works showed drawing of black frames. In terms of the three classifications of the item, the ratio in Taiwan was quite different from that in Japan.
Based on the statistics performed according to expert classifications, the study analyzed the distribution of the prize winning works in Taiwan and Japan in terms of the students’ group (kindergarten, low grade, intermediate grade and high grade) and their expressive forms (subject matter, composition, media and drawing frame), and then further explored the art selection and educational issues derived from the Exhibition, in hope of providing reference and consideration for educators, children’s drawing competition organizers, researchers and parents towards the manifestation of children’s drawing.
Keywords: Children’s art, children’s drawing, World School Children’s Painting Exhibition, Delphi method
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林青樺. "Tour Exhibitions and Expansion Strategy of International Art Museums – Taking Taiwan’s International Art Exhibition for Example." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/b8mg59.
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碩士<br>國立彰化師範大學<br>美術學系<br>102<br>Abstract
As the course of history changes, art museums worldwide are facing decreasing funds as well as diverse cultural competitions. As the result they have to embrace new changes in their operation policies. This paper discusses the development trend for art museums in Europe and America by examining the changes in their operation. From art museums’ commercialization, this paper explores art museums’ marketing strategies, expansions, franchising and exhibit rental and loan exhibition. Next it discusses, under the influence of the systematic changes in western art museums, how holding major international exhibitions becomes a trend among art museums in Taiwan in order to understand the current and future development of Taiwan’s art museums in holding special exhibitions.
This study has discovered that art museums have incorporated marketing into their operation. Among art museums that seek franchising and alliances, the name Thomas Krens stands out. He was responsible for a series of expansion for Guggenheim Museum and planning on opening Guggenheim museums globally. His vision is to build Guggenheim into a globally renowned brand. For instance, Guggenheim Museum Bilbao is the classic example of how culture, when built as a brand, can stimulate the local tourism. Following the footsteps of Guggenheim, Louvre Museum’s Louvre Abu Dhabi pushes art museum expansion to another climax.
As for marketing, art museums now rent their collections to increase revenues. They also have a more diversified operation strategy, such as including a gift shop, boutique shop, bookstore or restaurant to increase its revenue. Products in the stores are also more diversified than before. Such strategy will help bring in more revenue and visitors for the art museums. Large special exhibitions do create more business opportunities and attract more visitors for art museums, while making the organizing art museum’s exhibitions more diversified.
Introducing major international exhibitions is also beneficial to the development of Taiwan’s art museums, since such exhibitions can promote the art museum’s awareness and attract more visitors while help people in Taiwan develop appreciation for art. While planning major international exhibitions, the local cultural context and environmental development should be the top priorities instead of revenue and visitor count. This paper uses the exhibition “Modigliani and His Circle” at Kaohsiung Museum of Fine Arts as an example and explains how this exhibition’s main theme corresponds to the local community. This allows visitors to be connected to the exhibition and be inspired, which is the main mission of art museums –educate the public. It will also continue to attract returning visitors, which is the only way for art museums to achieve sustainability.
Books on the topic "Japan International Art Exhibition"
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Billeter, Dr Erika, and Pierre-André Lienhard, eds. Tokyo Biennal '88: The 17th International Art Exhibition, Japan; The Exhibition of Contemporary Swiss Art. Mainichi Newspapers, 1988.
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Yamashita, Kōhei. Nihon Kokusai Bijutsuten to sengo bijutsushi: Sono hensen to "bijutsu" seido o yomitoku. Sōgensha, 2017.
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International Symposium on Therapeutic Ultrasound (4th 2004 Kyoto, Japan). 4th International Symposium on Therapeutic Ultrasound: Kyoto, Japan, 18-20 September 2004. Edited by Haar G. ter, Rivens Ian, and International Society for Therapeutic Ultrasound. American Institute of Physics, 2005.
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Japan) Expo (International Exhibitions Bureau) (2005 Aichi-ken. Padiglione Italia: L'arte del vivere = Italian pavilion : the art of living. Skira, 2005.
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Slovenia) International Biennial of Graphic (17th 1989 Ljubljana. Ryuburiana Kokusai Hanga Biennāre, Nihon ten: 1989.4.29--6.11, Kawasaki-shi Shimin Myūjiamu = International Biennial of Graphic Art Ljubljana in Japan. Kawasaki-shi Kyōiku Iinkai, 1989.
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Scott, Pate Alan, Knoke Christine, and Sidner Rob, eds. Maneki neko, Japan's beckoning cats: From talisman to pop icon : Mingei International Museum's Billie Moffitt collection. Mingei International Museum, 2011.
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Okamoto Tarō to Taiyō no tō: Taro Okamoto Tower of the Sun. Shōgakkan Kurieitibu, 2018.
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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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juror, Swartz Anne, Buszek Maria Elena juror, Gutfreund, Karen, catalog designer exhibition director, and Gallery Nine5, eds. Identity: International Juried Exhibition. Women's Caucus for Art/Gallery Nine⁵, 2014.
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Konka, Afrozaa Jamil. Cosmos international art exhibition 2016. Gallery Cosmos, 2016.
Find full textBook chapters on the topic "Japan 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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Toshiharu, Omuka. "25 The Impact of Russian Art in early 1920s Japan." In 100 Years On: Revisiting the First Russian Art Exhibition of 1922. Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525668.157.
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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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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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Zou, Yang. "The Formation and Evolution of Yan FU’s View of Japan." In Proceedings of the 2022 International Conference on Science Education and Art Appreciation (SEAA 2022). Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-05-3_102.
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Otani, J. "State of the art report on steel sheet pile method in geotechnical engineering -development of PFS method." In Proceedings of the Second International Conference on Press-in Engineering 2021, Kochi, Japan. CRC Press, 2021. http://dx.doi.org/10.1201/9781003215226-2.
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Evans, Dorinda. "5. A Challenge to International Neoclassicism." In William Rimmer. Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.05.
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Rimmer's major sculptural works, such as St. Stephen, Falling Gladiator, Dying Centaur, and Osirus (destroyed), were created for exhibition and in response to the international neoclassical movement. In different ways, they are actually critiques of the rage for neoclassicism. Much of what Rimmer was trying to do is conveyed in his teaching, and he used his exhibited art as an extension of this. He wanted an art based not on copying from antique casts or from life but, rather, on the artist's own imagination so that the work is self-expressive. The fact that the man in Falling Gladiator assumes an impossible position is an instance of his insistence on the imaginative. The St. Stephen and a cast of the Falling Gladiator were exhibited in Paris at the Salon des Refusés, where the Gladiator created a stir as it seemed, wrongly, to be a cast of a live person. Rimmer broke new ground in producing fragmented human figures with an antique reference, such as his Osiris, a classical-Greek-looking nude male without parts of his arms. They resembled the broken ancient sculpture of the present rather than of the revered past. Originally Osiris had the head of a hawk. As with his pictures, Rimmer also was unusual in frankly accepting and portraying abnormalities as in his Seated Man (Despair). The late Fighting Lions, showing a male and female in vicious combat is arguably an allegory of male dominance. As an original thinker, Rimmer, more than once, explored the problem of expressing the spiritual in the material, most effectively in his relatively abstract Torso, which is an attempt to show the divine awakening or creation of a human soul. Following the Bible, the plaster cast retains the effect of a man’s torso having been crudely fashioned from clay. Perhaps just as unexpected was his plan for a colossal sculpture, Tri Mountain (never executed), which amalgamated the effect of three men and three hills as a symbol of the city of Boston. His one major public statue is the over-life-size Alexander Hamilton on Commonwealth Mall in Boston.
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Shahab, Palvasha. "The Land of Mourning: A Conversation with Adeela Suleman." In Interdisciplinary Studies in Human Rights. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73835-8_7.
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AbstractAdeela Suleman is a globally celebrated artist and sculptor. She was front and centre of the artists’ response to the Ali Enterprises Factory Fire of 2012. Under her leadership, the Vasl Artists’ Association sent out a call for submissions to artists across Pakistan and the overwhelming response was curated in the form of the exhibition titled: ‘Awaaz Baldia Factory Inferno: Artists Respond’ which was hosted by the Arts Council of Pakistan in February 2013. Her monument dedicated to those who lost their lives in the fire was also part of the one year anniversary of the fire has been placed at the Pakistan Institute of Labour Education and Research (PILER). She also facilitated several international collaborations and artists intending to engage with the fire. Palvasha Shahab sat down with her to explore her thoughts about the role that art and artists play in the face of calamities and social injustices, her relationship to Karachi and her own response to the fire.
Conference papers on the topic "Japan International Art Exhibition"
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Konovalova, Nina. "The Latest Concepts of Contemporary Museums in Japan: Architecture, Design and Experimental Exhibition Projects." In 8th International Conference on Arts, Design and Contemporary Education (ICADCE 2022). Athena International Publishing B.V., 2022. http://dx.doi.org/10.55060/s.atssh.221107.004.
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Arakawa, Hironori, Takayuki Suzuki, Kazufumi Saito, Shigeru Tamura, and Shinsuke Kishi. "Research and Development of 300kW Class Ceramic Gas Turbine Project in Japan." In ASME 1997 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/97-gt-087.
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The ceramic gas turbine (CGT) engine can achieve higher thermal efficiency, lower pollutant emissions, and has a wider fuel tolerance compared to conventional gasoline and diesel engines. Accordingly, research and development of a 300kW class ceramic gas turbine has been performed in Japan as a national project since FY 1988, under the Agency of Industrial Science and Technology (AIST), which is an agency of the Ministry of International Trade and Industry (MITI). The final target of the project is to achieve 42% thermal efficiency at a Turbine Inlet Temperature (TIT) of 1350°C. At present, two different types of ceramic gas turbines (CGT 301 and CGT 302) are under development and operating tests of prototype engines are being carried out. The CGT 301 features removable ceramic blades joined to a metal rotor disk. This 37 blade hybrid rotor of the high pressure stage was hot spin tested at a TIT of 1350°C and the burst of the blades did not occur at the rated speed. A thermal efficiency of 26.4% was achieved at a TIT 1200°C during the first year of prototype operation. Improvement in component parts is ongoing and as a result, improvements in thermal efficiency are forthcoming. The CGT 302 features a lean premixed low-NOx combustor having a primary diffusion burner, a set of main pre-mixed burners, single fuel injector, and air bypass to control combustion. This combustor showed a lower pressure loss and NOx emissions of 5ppm (O2 = 16%), which is less than the allowable value of 70ppm. Recent operating tests of this engine showed a maximum output power and thermal efficiency of 228kW and 36%, respectively, as of November 1996. For both the CGT 301 and CGT 302, more focused research on CGT materials and components, as well as operating tests at 1350°C TIT, are being carried out in order to reach the final target values.
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Yamamoto, Shinji, and Toshiro Kitamura. "Best Practices in Japan of Human Resource Development for NPP O&M: Roles and Lessons From Training Centers." In 16th International Conference on Nuclear Engineering. ASMEDC, 2008. http://dx.doi.org/10.1115/icone16-48137.
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The use of best practices and their lateral expansion as a benchmark is one of effective methods of “knowledge management (NK)”. Best practices of human resources development were collected (selected examples are listed below) from all 11 training centers annexed to the nuclear power plants in Japan and lessons were learned for possible lateral development for improving other stakeholders’ NK. Such best practices will provide productive information for designing their own human resources development strategies. Examples of collected good practices: • Exhibition of troubles and negative legacies: The actual machineries, equipment or components, explanatory documents or news articles of the past troubles experienced by themselves are effective to maintain and refresh the awareness and preparedness of trainees and other employees for recurrence prevention. The exhibitions are open to the visitors, too. • Experience-type training facilities: Off-normal conditions of components and systems are simulated for the staff practical training by the use of the facilities which provide an off-normal environment. Examples are: water hammers, abnormal vibrations and noises of rotating machineries, pump cavitations, pinholes, plumbing airs, etc. • Advanced simulators for operators training: Each electric company has its own simulators for training their own operating staff. These simulators are annexed to the nuclear power plants and used to train the operation staff by the experienced shift managers. The operation staff use the simulator for continually confirming the operation procedures and the plant behavior, etc. specific to their plants. Training for generic plant behavior and operators’ responses are mainly outsourced to the dedicated training centers run by the Owners’ Groups (BWR, PWR). • The SAT methods: The IAEA proposed SAT (Systematic Approach to Training) approach is applied to the training of the operating staff and the maintenance staff. It is structured in a flow of Job analysis ← Training program design ← Training material development ← Training ← Evaluation. • Training in real situations: An example is a trainee actually hung with a lifeline on a harness to learn a method of putting on the lifeline. On the other hand, the efficiency (availability) of the training facilities for maintenance work is very limited, because each electric company installs the training facilities individually. Experiences of ICONE-16 participants from other countries in improving the availability are of our interest.
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Watanabe, Ryuzo, Wataru Nakayama, Masaru Ishizuka, Shigenao Maruyama, and Masud Behnia. "Electronic Packaging Education Through Internet: A Plan at Tohoku University and Some Challenges in Sight." In ASME 2003 International Electronic Packaging Technical Conference and Exhibition. ASMEDC, 2003. http://dx.doi.org/10.1115/ipack2003-35333.
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In April 2002, Tohoku University, Sendai, Japan, started offering educational programs from the cross-department Internet School of Tohoku University (ISTU). Electronic packaging is one of the pillar subjects of ISTU. The present paper summarizes its curriculum of internet-based electronic packaging education. Following the overall description, the curriculum concerning thermal management of electronic equipment is explained in some detail. The ISTU program is still under development, and some challenges are foreseen. The most visible among them is the need to lower the cost of wide bandwidth communications. The future of internet schooling is discussed.
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Nisiyama, Tsubura, Norio Nakazawa, Masafumi Sasaki, Masumi Iwai, Haruo Katagiri, and Noritoshi Handa. "Status of the Automotive Ceramic Gas Turbine Development Program: Year Five Progress." In ASME 1996 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-gt-036.
Full textAbstract:
Petroleum Energy Center of Japan has been carrying out a 7-year development program to prove the potential of an automotive ceramic gas turbine for five years with the support of the Ministry of International Trade and Industry. The ceramic gas turbine now under development is a regenerative single shaft engine. The output is 100kW, and the turbine inlet temperature (TIT) is 1350°C. All the ceramic components are now entering the 1350°C TIT test phase after completing 1200°C TIT evaluation tests, including durability tests, in various types of test rigs. The compressor-turbine combined test rig and the full assembly test rig which is the same as an actual engine and incorporates all the components are now going through 1200°C TIT function and performance evaluation tests. In the near future, we are planning to increase the TIT to 1350°C. In consideration of the current level of high-temperature, long-term strength available from the ceramic materials, we decided to change the rated speed to 100,000 rpm because the initial rated speed of 110,000 rpm, if unchanged, involves considerable risks. Then we reviewed mainly the designs of the compressor and turbine and revised the target values of the individual components to match the specifications that satisfy the target performance of the engine.
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Okuto, A., T. Kimura, I. Takehara, T. Nakashima, Y. Ichikawa, and T. Tatsumi. "Development of a Low NOx Combustor for 300kW-Class Ceramic Gas Turbine (CGT302)." In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-272.
Full textAbstract:
Research and development project of ceramic gas turbines (CGT) was started in 1988 promoted by the Ministry of International Trade and Industry (MITI) in Japan. The target of the CGT project is development of a 300kW-class ceramic gas turbine with a 42 % thermal efficiency and a turbine inlet temperature (TIT) of 1350°C. Three types of CGT engines are developed in this project. One of the CGT engines, which is called CGT302, is a recuperated two-shaft gas turbine for co-generation use. In this paper, we describe the research and development of a combustor for the CGT302. The project requires a combustor to exhaust lower pollutant emissions than the Japanese regulation level. In order to reduce NOx emissions and achieve high combustion efficiency, lean premixed combustion technology is adopted. Combustion rig tests were carried out using this combustor. In these tests we measured the combustor performance such as pollutant emissions, combustion efficiency, combustor inlet/outlet temperature, combustor inlet pressure and pressure loss through combustor. Of course air flow rate and fuel flow rate are controlled and measured, respectively. The targets for the combustor such as NOx emissions and combustion efficiency were accomplished with sufficient margin in these combustion rig tests. In addition, we report the results of the tests which were carried out to examine effects of inlet air pressure on NOx emissions here.
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Yamada, Satoru, Keiichiro Watanabe, and Massaki Masuda. "Development of Ceramic Turbine Rotors and Nozzles for the 100kW Automotive Ceramic Gas Turbine Program." In ASME 1996 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-gt-295.
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NGK Insulators, Ltd. (NGK) fabricates ceramic turbine rotors and nozzle components for the Automotive Ceramic Gas Turbine development program (CGT program), conducted by the Petroleum Energy Center (PEC) of Japan. Both the rotor and nozzle components are made of silicon nitride. The turbine rotor is a radial type having a 127 mm tip diameter, and the segment type nozzle is formed integrally with either three or four vanes and shrouds. This paper discusses various processes of fabricating the ceramic components, dependence of the fabrication processes on dimensional accuracy, and the performance of each of the processes.
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Nakazawa, Norio, Masafumi Sasaki, Tsubura Nishiyama, Masumi Iwai, Haruo Katagiri, and Noritoshi Handa. "Status of the Automotive Ceramic Gas Turbine Development Program — Seven Years’ Progress." In ASME 1997 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/97-gt-383.
Full textAbstract:
The Petroleum Energy Center (PEC) in Japan is overseeing a seven year development program with the purpose of determining the potential of an automotive ceramic gas turbine (CGT), utilizing funding from the Ministry of International Trade and Industry. This program is scheduled to be completed in fiscal year 1996. A Regenerative-Type Single-Shaft Engine was developed, having a target turbine inlet temperature (TIT) of 1350°C and output power of 100kW. Each component has achieved or nearly met the respective design target level and the output performance tests of the engine have reached their final stage. Durability tests of some components have been completed, and others are ongoing. A 100hr durability test of the engine has also started. This development project started in FY 1990 after a two year feasibility study and preliminary design effort. After deciding on the engine specifications and completing the structural design, development and testing of individual and multiple components was carried out. Then the developmental progress of each component technology was reviewed and quantified, the results summarized, and corrective measures were applied during the latter half of the CGT development project. Anticipated difficulties, problem areas, and other obstacles which arose during the development were given extra emphasis during the individual component tests and full assembly tests. Many advanced technologies in component performance improvement, application of ceramic materials, engine structures and so forth were accumulated throughout the seven year development period.
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McDonald, Colin F. "The Indirect Cycle: A Logical and Practical Nuclear Gas Turbine Power Plant Concept." In ASME 1996 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-gt-431.
Full textAbstract:
Many variants of the nuclear closed Brayton cycle (NCBC) power plant have been studied over the last five decades, the ultimate goal being the introduction of a high efficiency and environmentally acceptable plant for electrical power generation. With an indirect cycle (IDC) plant the thermal energy from a high temperature reactor (HTR) is transferred to the helium gas turbine power conversion system via an intermediate heat exchanger. Compared with previous direct cycle variants the decoupling of the prime-mover from the reactor has the following advantages, 1) configuration flexibility (eased congestion), 2) good component access, 3) non radioactive power conversion system, 4) ease of maintenance, 5) use of conventional equipment, 6) reduced development effort, and 7) eased adaptability to a fossil-fired source. In addition to being a more practical configuration, a major attribute for the IDC is that it is compatible with long-term plans for development of a high temperature nuclear heat source (NHS) currently underway in Japan. With a NHS in place a logical progression of the HTR would be to deploy a power generation version using an IDC helium gas turbine. This paper sheds new light on the nuclear gas turbine in that it is no longer at the forefront of gas cooled reactor application studies, but rather could be a beneficiary of work currently underway in Japan to develop a nuclear heat source for high temperature process heat. The performance and major features of a future NCBC plant concept are highlighted in this paper. Depending on the market forces prevailing in Asia for small nuclear plants, the NCBC with an indirect cycle helium gas turbine could be available for service around the year 2020.
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Nomoto, H., A. Koga, S. Ito, et al. "The Advanced Cooling Technology for the 1500 °C Class Gas Turbines: The Steam Cooled Vanes and the Air Cooled Blades." In ASME 1996 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-gt-016.
Full textAbstract:
It is very essential to raise the thermal efficiency of combined cycle plants from the viewpoint of energy saving and environmental protection. Tohoku Electric Power Co., Inc. and Toshiba Corporation in Japan have jointly studied the next generation of combined cycle system using 1500 °C class gas turbine. A promising cooling technology for the vanes using steam was developed. The blades are cooled by air, adopting the impingement cooling, the film cooling and so on. The cooling effectiveness was confirmed both for the vanes and the blades using hot wind tunnel. This paper describes the design features of the vanes and the blades, and the results of the verification tests using hot wind tunnel.
Reports on the topic "Japan International Art Exhibition"
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LeClair, Steven R. Japan International SAMPE Symposium and Exhibition. Multimedia Information Highway 'Commerce at Light Speed' Program. Opto-Electronic Technology Research Laboratory (4th) Held in Tokyo, Japan on 24-28 September 1995. Defense Technical Information Center, 1995. http://dx.doi.org/10.21236/ada303333.
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