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1
Terada, Yuma. "Artist of Liminality: Miwa Yanagi’s Myth Machines as Heterotopia." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (November 30, 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 (March 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 (November 28, 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 (February 28, 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 (November 12, 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 (February 13, 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, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim. "Exhibition Reviews." Museum Worlds 9, no. 1 (July 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 (November 9, 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.
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Nakagawa, Katsushi, and Tomotaro Kaneko. "A Documentation of Sound Art in Japan: Sound Garden (1987–1994) and the Sound Art Exhibitions of 1980s Japan." Leonardo Music Journal 27 (December 2017): 82–86. http://dx.doi.org/10.1162/lmj_a_01024.
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This article examines the exhibition series Sound Garden (1987–1994) as a first step toward analyzing the sound-based artwork exhibitions of late-1980s Japan. The article begins with an outline of the series and the types of artworks exhibited therein, followed by an examination of the context in which Sound Garden was created by considering prototypes that predate the exhibition series. Finally, the authors discuss related exhibitions and highlight the educational context that inspired these presentations.
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Kago, Keitaro. "17th Japan International SAMPE Symposium & Exhibition." Seikei-Kakou 34, no. 6 (May 20, 2022): 221–22. http://dx.doi.org/10.4325/seikeikakou.34.221.
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Garduño, Ana. "Tokio descubre México." Latin American and Latinx Visual Culture 5, no. 1 (January 1, 2023): 48–64. http://dx.doi.org/10.1525/lavc.2023.5.1.48.
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This is a case study that analyzes the cold-war era policies of the Mexican government with respect to art exhibitions. In Washington, DC, in 1953, an exhibition of ancient Japanese art opened and thus ended the artistic invisibility of Japan that stemmed from the Second World War. Following this sign of “official rehabilitation,” Mexico presented a compendium of much of the history of Mexican art in Japan in 1955. The exhibition, Mekishiko Bijutsu-ten, reproduced an exhibition archetype that had been formalized decades earlier, by building itself around three large nuclei: ancient, modern, and popular art. There were in fact three exhibitions—each coordinated by the Instituto Nacional de Bellas Artes (INBA, Mexico’s national institute of fine arts)—with pavilions at the Venice Biennale of 1950 and at Paris’s Museum of Modern Art in 1952. Together, they demonstrate the power of the INBA over ideas about Mexican art. The adjustments in the selection of works sought to reveal aesthetic parallels with Japan and generate cultural empathy. At the time, Mexico was triumphantly promoting its art as a product of an artistic renaissance that had occurred after the 1910 Revolution, an avant-garde that was seen as a possibility for the future of Japan. The Mekishiko Bijutsu-ten, too, was received as a novel proposal to activate old artistic forms for contemporary aesthetic production. This practice contrasted with the Japanese view of the issue, which had generally experienced as disruptive attempts to modernize the past. Thus, the exhibition fostered the transfer of cultural strategies.
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Hánová, Markéta. "Emil Orlik: From Japan." Journal of Japonisme 3, no. 1 (December 4, 2018): 84–105. http://dx.doi.org/10.1163/24054992-00031p03.
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Prague-born painter and graphic artist Emil Orlik (1870-1932) made his first visit to Japan in 1900 to get acquainted with the woodblock printing technique as well as everyday life there. During his stay, he not only created ink drawings, watercolors, pastels, and gouaches, but also took the opportunity to collect Japanese art, including ukiyo-e prints. These were eventually included in an exhibition in 1902, which traveled to Brno and Prague after its premiere in Dresden and Berlin. Besides promoting a broader awareness of Japan and its traditional culture to Prague and its artistic milieu, the exhibition also testified to Orlik´s discernment as a collector.1
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Arai, S. "First International SAMPE Japan Chapter Symposium and Exhibition." Composites 21, no. 4 (July 1990): 351–52. http://dx.doi.org/10.1016/0010-4361(90)90351-v.
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Trapnell, Dorset W. "11th International Exhibition of Botanical Art & Illustration." Journal of the Torrey Botanical Society 132, no. 3 (July 2005): 533. http://dx.doi.org/10.3159/1095-5674(2005)132[533a:tieoba]2.0.co;2.
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Cai, Gangwei, Lei Xu, Weijun Gao, Yan Hong, Xiaoyu Ying, Yan Wang, and Fanyue Qian. "The Positive Impacts of Exhibition-Driven Tourism on Sustainable Tourism, Economics, and Population: The Case of the Echigo–Tsumari Art Triennale in Japan." International Journal of Environmental Research and Public Health 17, no. 5 (February 26, 2020): 1489. http://dx.doi.org/10.3390/ijerph17051489.
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After the recession in Japan in the 1990s, Japanese art exhibitions began to appear. The purpose of these exhibitions was to revitalize these areas through the presentation of art (attracting visitors and tourists). Correspondingly, this study explores the significance of exhibition-driven tourism in Japan. The Echigo–Tsumari Art Triennial (ETAT) was used as a case to study how exhibition-driven tourism has impacted sustainable tourism, economics, and the population. The current paper collected panel data from 1900 to 2018. These panel data were analyzed by descriptive statistics and a correlation analysis (a one-way ANOVA and a Pearson correlation analysis in SPSS26). The empirical analysis showed that the Echigo–Tsumari Art Triennial (exhibition-driven tourism) had positive impacts on sustainable tourism, economics, and the population; its correlations with Niigata were also clear. This study generated results that are valuable from both academic and industry perspectives (exhibition-driven tourism), as this field has not been extensively researched. The current paper also presents the theoretical and practical implications of the statistical results.
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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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Angell, Bobbi, James J. White, and Donald E. Wendell. "6th International Exhibition of Botanical Art & Illustration: Catalog." Bulletin of the Torrey Botanical Club 115, no. 3 (July 1988): 233. http://dx.doi.org/10.2307/2995966.
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Hussein Ahmed Ahmed Jahin, Walid. "(International Exhibition of Contemporary Art - Egypt and South Korea)." International Journal of Multidisciplinary Studies in Art and Technology 3, no. 2 (December 1, 2020): 60–70. http://dx.doi.org/10.21608/ijmsat.2020.187847.
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Montana, Andrew. "Art for trade's sake: Japan at the 1875 Melbourne Intercolonial Exhibition." Australian and New Zealand Journal of Art 1, no. 2 (January 2000): 9–30. http://dx.doi.org/10.1080/14434318.2000.11432666.
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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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Katsnelson, Galina Sergeevna. "Japanese collection of V.V. Vereshchagin: questions, answers, secrets." Samara Journal of Science 8, no. 1 (February 28, 2019): 213–19. http://dx.doi.org/10.17816/snv201981215.
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The paper is dedicated to the collection of Japanese art objects, which were bought by the famous Russian artist V.V. Vereshchagin during his travelling to Japan in 1903. The paper represents the main information about the travel and excerpts from Vereshchagins memories about the country and art objects he bought. The description of the Vereshchagins collection was made on the base of the memories of Vereshchagins son and the catalogue of the collection which was published for the trade-exhibition in Moscow in 1910. Japanese collections part of the catalogue consists of the objects № 76-355. Some groups were distinguished among those artifacts: interior items, textile, clothes, accessories, enamel, bronze, turtle, porcelain, faience and different trivia. The description of the collection was made in connection with those groups. Some thoughts are represented about the main reasons of the collections trade-exhibition and its fate after the trade-exhibition. Analyzing the art objects, which were brought by Vereshchagin from Japan could help to understand what artists interest was in Japanese life.
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Chung, Tan. "Dunhuang Art Exhibition in New Delhi." China Report 28, no. 1 (February 1992): 63–64. http://dx.doi.org/10.1177/000944559202800107.
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Haese, Richard. "The art of the overseas exhibition." Thesis Eleven 132, no. 1 (January 26, 2016): 102–14. http://dx.doi.org/10.1177/0725513615625241.
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GLUCKMAN, DALE CAROLYN, and SHARON SADAKO TAKEDA. "When Art Became Fashion: The Making of an International Exhibition." Curator: The Museum Journal 36, no. 4 (December 1993): 272–85. http://dx.doi.org/10.1111/j.2151-6952.1993.tb00802.x.
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Zarobell, John. "Global Art Collectives and Exhibition Making." Arts 11, no. 2 (March 1, 2022): 38. http://dx.doi.org/10.3390/arts11020038.
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Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored. Some of the collectives included in these exhibitions have also been very involved in exhibition making themselves. The Indonesian art collective ruangrupa was selected to curate the 2022 edition of documenta. This selection emerges not only from their participation in international biennials and their own exhibition practice in Jakarta—including the organization of regular exhibitions, workshops and film screenings at their compound—but also more ambitions events such as Jakarta 32 °C, a festival of contemporary art and media (2004–2014), or O.K. Video (2006–2018). Another group, the Raqs Media Collective, based in Delhi, curated the Shanghai Bienniale in 2016 and the Yokohama Trienniale in 2020. This paper will connect the local and the global through an examination of art collectives’ community-based work in their own cities, and the way it translates into global art events.
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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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Ragazzi, Rossella. "Disaster, traces of displacement, and mizuaoi seeds." Nordisk Museologi 33, no. 1 (October 13, 2022): 5–24. http://dx.doi.org/10.5617/nm.9887.
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Curated by socio-cultural anthropologist Fuyubi Nakamura, the exhibition entitled A Future for Memory: Art and Life after the Great Japan Earthquake at the Museum of Anthropology at UBC in British Columbia addresses the sociocultural role of art produced in situ in the aftermath of the triple disaster which occurred in the Tōhoku region of northeast Japan in 2011. The exhibition’s curatorial project was born in the affected regions through anthropological research, and the selections of works brought to British Columbia are by The center for remembering 3.11; Lost & Found Project; Lost Homes Scale Model Restoration Project; Chihiro Minato; Atsunobu Katagiri; Masao Okabe; Rias Ark Museum of Art; Tsunami Ladies film project team. This article engages with the conversations that the curator, artists, and collaborators wove through the exhibition. The construction of social memory building on the experiences of a drastically changing environment is its main theme.
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Bol, Marsha. "Ramblings in Search of an Exhibition: Beadwork Adorns the World." Museum Anthropology Review 13, no. 1 (February 19, 2019): 69–95. http://dx.doi.org/10.14434/mar.v13i1.25397.
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In this project report, exhibition curator Marsha Bol discusses the origins and scope of the 2018-2019 Museum of International Folk Art exhibition Beadwork Adorns the World. The exhibition presented a worldwide survey of beadwork arts in their cultural and social contexts.
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MIZUTANI, Takeshi. "How MLA Collaboration is Changing Exhibition Spaces of Art Museums in Japan..." Joho Chishiki Gakkaishi 30, no. 1 (February 29, 2020): 62–67. http://dx.doi.org/10.2964/jsik_2020_005.
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Gough, Maria. "Model Exhibition." October 150 (October 2014): 9–26. http://dx.doi.org/10.1162/octo_a_00198.
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Despite the fact that it was never realized at full scale, Vladimir Tatlin's long-lost model for his Monument to the Third International (1920) remains to this day the most widely known work of the Soviet avant-garde. A visionary proposal for a four-hundred-meter tower in iron and glass conceived at the height of the Russian Civil War, the monument was to house the headquarters of the Third International, or Comintern, the international organization of Communist, socialist, and other left-wing parties and workers' organizations founded in Moscow in the wake of the October Revolution with the objective of fomenting revolutionary agitation abroad. Constructed in his spacious Petrograd studio, which was once the mosaics workshop of the imperial Academy of Art, Tatlin's approximately 1:80 scale model comprises a skeletal wooden armature of two upward-moving spirals and a massive diagonal girder, within which are stacked four revolving geometrical volumes made out of paper, these last set in motion by means of a rotary crank located underneath the display platform. In the proposed monument-building, these volumes were to contain the Comintern's legislature, executive branch, press bureau, and radio station. According to the later recollection of Tevel' Schapiro, who assisted Tatlin in his construction of the model, two large arch spans at ground level were designed so that the tower could straddle the banks of the river Neva in Petrograd, the birthplace of the 1917 revolutions.
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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.
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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.
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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.
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Garnelo-Díez, Isabel, and Ana Sedeño Valdellós. "Más allá de los espacios alternativos situados más allá del cubo blanco / Beyond the Alternative Spaces Situated beyond the White Cube." Revista Internacional de Cultura Visual 6, no. 1 (January 2, 2019): 1–13. http://dx.doi.org/10.37467/gka-revvisual.v6.1838.
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ABSTRACTThe present work is an approach to the study of the production and exhibition of net.art and digital art on the Internet, to make a comparison between the exposure budgets proposed by these new modes of art production in relation to those propoused by traditional exhibition spaces such as museums and art galleries. As an example of digital art exhibition, we will focus on the spanish context, and more specifically on the International Biennial of Digital Art that is known as The Wrong. RESUMENEl presente trabajo es una aproximación al estudio de la producción y la exposición de net.art y arte digital en Internet, para hacer una comparación entre los presupuestos de exposición que proponen estos modos de hacer en relación con los propuestos por los espacios tradicionales de exhibición como museos y galerías de arte. Como ejemplo de exposición de arte digital nos centraremos en el contexto español, y más concretamente en la Bienal Internacional de Arte Digital conocida por el nombre de The Wrong.
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Cai, Gangwei, Baoping Zou, Xiaoting Chi, Xincheng He, Yuang Guo, Wen Jiang, Qian Wu, Yujin Zhang, and Yanna Zhou. "Neighborhood Spatio-Temporal Impacts of SDG 8.9: The Case of Urban and Rural Exhibition-Driven Tourism by Multiple Methods." Land 12, no. 2 (January 29, 2023): 368. http://dx.doi.org/10.3390/land12020368.
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Rural arts events (triennials/festivals) are mainly aimed at local and regional revitalization. This exhibition-driven tourism (unlike traditional festivals, conferences, and exhibitions) has existed for more than 20 years in Japan. The curators of exhibition-driven tourism hope that these events can promote the economy and stop population decline as a result of the aging population. Therefore, this paper attempts to evaluate the effects of urban and rural arts event tourism in local and neighborhood areas in Niigata, Japan from the perspective of SDG 8.9. The Echigo-Tsumari Art Triennial and Water and Land Niigata Art Festival were chosen as case studies. Panel data (1997–2019) concerning tourists, income, and population in Niigata were evaluated using multiple empirical methods with descriptive correlation statistics (simple linear regression (SLR) and one-way ANOVA) and spatial analysis (Moran’s I). Through multiple-method analysis, the positive impacts of urban and rural arts event tourism in local and neighborhood areas in relation to Sustainable Development Goal 8.9 were evaluated. The findings presented herein have meaningful implications for tourism academia and the industry in general.
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Erickson, Kirstin C. "Pottery of the U.S. South: A Living Tradition." Museum Anthropology Review 9, no. 1-2 (February 20, 2015): 106–8. http://dx.doi.org/10.14434/mar.v9i1-2.13719.
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Mazurkiewicz, Michał. "Sport w sztuce. Sport in Art. 2012. Eds. M. KozioŁ, D. Piekarska, M. A. Potocka." Respectus Philologicus 24, no. 29 (October 25, 2013): 237–39. http://dx.doi.org/10.15388/respectus.2013.24.29.22.
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Sport w sztuce. Sport in Art. M. Kozioł, D. Piekarska, M. A. Potocka, eds. 2012. Kraków: Museum of Contemporary Art in Kraków. 200 pp. ISBN 978-83-62435-64-7.
Sport in Art, published by the Museum of Contemporary Art in Kraków, presents the most recent contemporary art, both Polish and international. To be more precise, the Museum focuses on exhibiting contemporary art of the last two decades. It was opened quite recently—in 2011.
Sport in Art was published to accompany an exhibition which took place between May and September 2012 in the Museum. It presents over forty artists and their unique perspectives and interpretations of sport. As Maria Anna Potocka stated, “The range and diversity of the artistic problems that arise under the influence of sporting inspiration are—even within the narrow scope of this exhibition—truly impressive.”
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Silva, Luciana Bosco e. "A MUSEOGRAFIA CONTEMPORÂNEA E A EXIBIÇÃO DE INSTALAÇÕES." Pensar Acadêmico 4, no. 1 (April 16, 2019): 4–8. http://dx.doi.org/10.21576/rpa.2011v7i1.1052.
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The spectacularity of museography appears in the contemporary as an antagonÃsm of the white cube of modern age, creating special/space worlds for the exhibition of art. From that point, the curator puts himself, in a way, as co-author of the piece of art, regarding the presentation of the work of art, specially on contemporary art, being on many cases the essence of the work itself. The exhibition put itself on the categoty of an event, as the International Expos on 20th century. The exhibition as event/show appears on the end of 20th century, in special in the 90, bringing with it a severa! numbers of adepts and critics."lt's bom a new esthetics of exhibition, in witch assemble the curator take cver the rol! that is beyond the assemble of canvas, sculptures, objects or installation art. The curator conceives the exhibition as a criticai project that is shared with the artist himself (if he is still alive)". (GONÇALVES, L., 2004, p. 41). The curator puts himself on a very important roll in the way of how the visitor will interact with the art piece, he becomes responsible for this relationship, creating with this a new reality in witch the work of art will be, in a way, rediscover allowing news forms of reading of the same work of art, depending on the look or the intention of the curator.Besides the manner of the theatricality and the others effects proponent by the curator, Ãn the specific case of Installation Art, there is still the question of how the piece is assemble, in witch case it could actually change its expression, own essence depending on how it is exhibit.Â
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Sutton, Denys. "Japan and Western art." Asian Affairs 19, no. 3 (October 1988): 289–97. http://dx.doi.org/10.1080/03068378808730317.
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Tirado, Ana. "La exposición de arte desde la transferencia del conocimiento artístico." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 168. http://dx.doi.org/10.7203/eari.10.13979.
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Resumen: Este trabajo aborda la exposición de arte en clave de transferencia del conocimiento artístico. La hipótesis se refiere a si es posible un carácter científico para la exposición de arte y, en tal caso, cómo se articularía. Para ello, se adopta un método de estudio comparado de casos, de acuerdo a una muestra de dos casos internacionales de exposición de arte. Se realiza un análisis cualitativo de los contenidos de ambas exposiciones, según las variables de los dispositivos de información interna en sala y los contenidos de estos. Los casos de la muestra son: la exposición Itinerarios del vértigo de Sandra Silva, en el Museo de Arte de Pereira, en Pereira (Colombia), en 2015, y la exposición La invención concreta.Colección Patricia Phelps de Cisneros en el Museo Nacional Centro de Arte “Reina Sofía”, en Madrid (España), en 2013. En los resultados se encuentran tres tipos de contenidos con carácter científico (crítica artística, metodología de investigación y fuentes primarias), respecto de un total de seis dispositivos de información interna en sala. Las conclusiones arrojan aportaciones para dos tipos de transferencia de conocimiento artístico en la exposición de arte, según la transferencia del proyecto artístico y la transferencia del contexto histórico-artístico.
Palabras clave: artes, museología, exposición, transferencia del conocimiento, investigación artística.
Abstract: This work addresses the exhibition of art in the key of transfer of artistic knowledge. The hypothesis refers to whether a scientific character is possible for the art exhibition, where the main purpose is to know how this transfer would be articulated in an art exhibition. For this, a method of comparative study of cases is adopted, with a sample of two international cases of art exhibition, in which a qualitative analysis of contents of the exhibition is carried out, according to the variable of the internal information devices in the room and the contents of these. The cases of the sample are: the exhibition Itinerarios del vertigo by Sandra Silva, at the Art Museum of Pereira, in Pereira (Colombia), in 2015, and the exhibition of Concrete Invention.Collection of Patricia Phelps de Cisneros, at the National Museum Center of Art "Reina Sofía", in Madrid (Spain), in 2013. In the results, three different types of content are found (artistic criticism, research methodology and primary sources), according to a total of six internal information devices in room. The conclusions provide contributions for two types of transfer of artistic knowledge in art exhibition, according to the transfer of the artistic project and the transfer of the historical-artistic context.
Keywords: art, museology, exhibition, transfer of knowledge, art research.
DOI: http://dx.doi.org/10.7203/eari.10.13979
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Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (March 5, 2019): 158. http://dx.doi.org/10.3390/rel10030158.
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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the university students who took my interview on this issue. I will also discuss the treatment of artwork with religious connotations in light of education in Japan. These exhibitions of Christian artwork provide important evidence on the contemporary reception of Christianity in Japan and, more broadly, on Japanese attitudes toward religious minorities.
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Burbano, Andres. "Imagination, Indigeneity, and Computation: The SIGGRAPH 2018 Art Gallery." Arts 9, no. 1 (February 10, 2020): 18. http://dx.doi.org/10.3390/arts9010018.
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This report addresses the SIGGRAPH 2018 Art Gallery (Vancouver, 2018), its curatorial process, the conceptual guidelines, the methodological approaches, and the sources behind it. The gallery has emphasized a transdisciplinary perspective combining creative and critical projects coming from art, science, and technology. The exhibition was one component of the SIGGRAPH conference, and it was built upon five conceptual nodes, in this text, particular attention is paid to the historical node. The SIGGRAPH Art Gallery is an international show that in 2018 included the work of artists, engineers, and scientists from more than twelve countries participating in the exhibition in situ and from other ten countries participating in the online exhibition. In general terms, the dialog between a diverse set of projects is one of the most compelling aspects of the exposition, the participation of Indigenous artists working with digital media represented one of the most challenging and positive elements of the gallery. The theoretical reflections of Friedrich Kittler about the museums and their relationship with computation and information were a permanent source of inspiration. This text is located halfway between a report and a paper. Therefore, some sections are written in the first person.
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Serexhe, Bernhard. "Total Control: Recoding Humanity?" New Global Studies 13, no. 2 (August 27, 2019): 243–59. http://dx.doi.org/10.1515/ngs-2019-0011.
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AbstractThe following article relates to the exhibition, “Global Control and Censorship,” curated by Bernhard Serexhe and Livia Nolasco-Rozas, which was shown, from October 2015 until July 2016, at the ZKM | Center for Art and Media Karlsruhe (DE) and continued in 2017-18 as a traveling exhibition through seven Eastern-European countries, Tallinn (EST), Zilina (SK), Bialystok (PL), Vilnius (LT), Prag (CZ), Riga (LV), and Debrecen (H). Due to the urgency of its theme this exhibition attracted considerable audience and received international media coverage. The inserted images by photographer Anatole Serexhe document a selection out of more than 80 artworks shown in this exhibition.
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Chmelyk, Iryna. "Loving Vincent: Online Exhibition as an Innovative Form of Presenting Visual Art in Ukraine." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 145–52. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235242.
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The article considers the online exhibition and art events Loving Vincent as the relevant forms of exhibition of art works, the main idea of which is to promote the work of Vincent van Gogh and the art of the animated films in Ukraine. The aim of the paper isto highlight the importance of the latest forms of visual art representation in Ukraine on the example of the online exhibition Loving Vincent and a number ofrelated events dedicated to the world’s first full-length eponymous animated feature film about the life of Vincent van Gogh. The role of Ukrainian artists in the process of working on the film is also highlighted. The methodology of work includes a set of culturological and art research methods and approaches. In particular, empirical observations, analysis of the source base and video materials contribute to the comprehensive coverage of the process of organization and realization of the Loving Vincent exhibition. The interviews with the organizers, screenwriters, and artists helped to get a deep insight into the specifics of working on the film. Descriptive and analytical methods contributed to the formation of a comprehensive view regarding the innovative forms of representation of visual artworks in Ukraine. On the basis of factual material, a synthetic comprehension of problems and prospects of development ofsuch newest exposition forms as virtual excursions and online exhibitions were formed. Emphasis is also made on the participation of Ukrainian artists in the largescale international art projects that leads to the creation and development of new opportunities of the representation of contemporary art
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Fei, Yan. "Xu Beihong and his activities in the field of popularization of Chinese painting abroad." Культура и искусство, no. 5 (May 2022): 10–18. http://dx.doi.org/10.7256/2454-0625.2022.5.37942.
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The article analyzes the international activities of the outstanding representative of the Chinese art world Xu Beihong. The subject of consideration is the artist's trips to the countries of Europe, Southeast Asia and the USSR in the 30s - early 40s of the XX century. Special attention is paid to how the painter organized the participation of Chinese artists in international exhibition projects. A detailed description of the most significant of them is given. The emphasis is on how Xu Beihong selected works for exhibition projects that could be called "pure and representative Chinese art." The role of Xu Beihong in the popularization of Chinese art is also revealed. The article reveals for the first time the stages and features of the activities of the outstanding Chinese artist Xu Beihong, focused on the popularization of Chinese fine art and culture outside China. As a conclusion, it is argued and argued that Xu Beihong's activities abroad, which included a variety of forms of representation of Chinese painting – exhibitions, lectures, master classes, scientific reports, information platforms, etc., was the first serious step that allowed showing the heritage of Chinese art culture to the general public outside China, to bring Chinese painting to the international arena.
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de Arteni, Myriam Sanchez-Posada. "‘Tales of Japan’: a travelling exhibition of Japanese art from the New York Public Library." Studies in Conservation 33, no. 1 (January 1988): 95–97. http://dx.doi.org/10.1179/sic.1988.33.1.95.
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Sanchez-Posada de Arteni, Myriam. "‘TALES OF JAPAN’: A TRAVELLING EXHIBITION OF JAPANESE ART FROM THE NEW YORK PUBLIC LIBRARY." Studies in Conservation 33, sup1 (January 1988): 95–97. http://dx.doi.org/10.1179/sic.1988.33.s1.022.
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Falconer, Vicky. "Printed exhibition ephemera: here to stay? A survey of UK and international art galleries and organisations undertaken at Chelsea College of Arts Library." Art Libraries Journal 41, no. 2 (April 2016): 97–105. http://dx.doi.org/10.1017/alj.2016.8.
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A survey was carried out at Chelsea College of Arts Library in 2015 to investigate the currency of printed art ephemera, and to inform the development of its collection. The questions were: 1. Does your institution produce printed exhibition ephemera (i.e. exhibition announcements, private view cards, posters, etc.)?; 2. If yes, does your institution distribute these items by post?; 3. Is your policy on the above likely to change in the foreseeable future? Do you have any comments about this or about anything else to do with exhibition ephemera? Distributed to 250 organisations, this article analyses the data gathered from the replies received.
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Krasnoslobodtsev, Constantine V. "EXHIBITION OF MODERN FRENCH ART IN MOSCOW (1928) ON THE MATERIALS OF RGALI AND THE ARCHIVE OF THE PUSHKIN STATE MUSEUM OF FINE ARTS." History and Archives, no. 3 (2022): 52–62. http://dx.doi.org/10.28995/2658-6541-2022-3-52-62.
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The cooperation of the new Soviet art and the artists of Russian emigration is a subject of particular interest. The period of the 1920s became a unique in the history of art when the new Soviet avant-garde artists, as well as artists who remained at home and those who decided to leave and not return, got along at international exhibitions within the Russian section. Russian art was still perceived as a single whole, geographical boundaries did not play a role, and the abyss of “non-return” had not yet opened between the creators themselves. The last chords in that still general composition were some art exhibitions that have become iconic. One of them was the exhibition of modern French art in Moscow (September – November 1928), which is the focus of the article. The organization of the exhibition brought together efforts of highranking officials of the USSR and France (A.V. Lunacharsky, E. Herriot), major cultural institutions (State Museum of New Western Art, Tretyakov Gallery, State Academy of Art Sciences), private French galleries and art dealers, as well as individual artists. On the basis of archival documents from the funds of the RGALI and the Archive of the Pushkin State Museum of Fine Arts, the author restores the events associated with the preparation, organization, negotiations and participation in the exhibition of emigrant artists.