Relevant bibliographies by topics / Media Art Exhibition

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

Academic literature on the topic 'Media Art Exhibition'

Author: Grafiati
Published: 5 June 2025
Last updated: 24 June 2025

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Journal articles on the topic "Media Art Exhibition"

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Lee, Soo-jin, and Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace." Leonardo 41, no. 5 (2008): 454–59. http://dx.doi.org/10.1162/leon.2008.41.5.454.

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TenYearsAfter is an annual media art exhibition based in Korea, begun in 2003, organized by Kwang-yun Wohn and curator Mira Kim to facilitate collaboration among engineers, scientists, artists and designers. Unlike other major media-art exhibitions, TenYearsAfter has included artworks by mainstream media artists, independent experiments, and products and research results by artists and non-artists alike. The fourth exhibition in this series, TenYearsAfter_v4.0_OuterSpace, organized by the authors, was held in 2006. This article elaborates on the process of organizing this event and contemplates the implications of annual media art events in the Korean media art context.
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Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho, and Chan Hee Lee. "Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror." Journal of Conservation Science 37, no. 4 (2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.

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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.
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Wang, Jiaxin. "Research on the dynamic design of art exhibitions based on digital media." Advances in Education, Humanities and Social Science Research 7, no. 1 (2023): 676. http://dx.doi.org/10.56028/aehssr.7.1.676.2023.

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In today's art exhibitions, art works are no longer the traditional static display exhibition, but have a more diversified space to create, communication channels, experience ways. Dynamic design has become an irresistible force in today's art exhibition, which greatly innovates the form of art display, improves the effect of art communication, and plays an important role in promoting the construction of public culture. Based on digital media, this paper mainly puts forward corresponding dynamic design strategies from four aspects of dynamic information chart, dynamic observation perspective and dynamic exhibition narrative, so as to enrich the exhibition form and promote the integration of art and technology.
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Widjono, Rani Aryani, and Shania Geraldine. "Modifikasi Interaksi Fisik dalam Pameran Virtual." Idealogy Journal 7, no. 2 (2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.

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The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in creating emotional connections with the various parties involved. Based on this, this study will discuss the efforts to implement gamification design that replicates the physical interactions that commonly occur in an exhibition. The purpose of implementing gamification design is to maximize user experience (UX) when visiting exhibitions virtually so that the experience value of virtual exhibitons can increase. The output of this research is the concept of gamification in a virtual exhibition.
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Li, Zejia. "Digital Media Intervenes in an Immersive Exhibition in Interactive ScenesMode of Perception and Interaction in the New Era." Applied and Computational Engineering 99, no. 1 (2024): 1–6. http://dx.doi.org/10.54254/2755-2721/99/20251756.

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Abstract: This paper will discuss how the combination of digital media and immersive art exhibition can bring new interaction and participation experience to the audience under the reform of art media, as well as the significance of this combination in artistic expression, exhibition design and audience perception.Using a case study of teamLab in Japan. This paper evaluates the immersive exhibition of digital media intervention from four aspects: transformation, integration, cases, and reflection. It is found that while the emergence of digital media technology provides a new way of display and creative means for art exhibitions, there is also a certain contradiction between artistry and technicality in such exhibitions. It is necessary to balance the relationship between art and technology in order to achieve mutual promotion and common development of the two.
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Yu, Deng, and Wang Yao. "Research on holographic display and technology application of art museum based on immersive design." Journal of Physics: Conference Series 2425, no. 1 (2023): 012048. http://dx.doi.org/10.1088/1742-6596/2425/1/012048.

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Abstract With the rapid development of science and technology, artificial intelligence digital technology has gradually entered human life and combined with art. It has become a major trend of future exhibitions to create immersive exhibitions through the intervention of digital technology and artificial intelligence in art museums. The immersive art exhibition is to change the sensory conditions of the audience through the intervention of digital media, from the original visual experience to the fusion of various senses such as “sight, hearing and touch”, so that the audience can enter a new world of works experience. the immersive exhibition composed of the combination of technology and art has become an important exhibition method to attract audiences. The creation of immersive exhibitions relies on the application of technologies such as Front-projected Holographic Display and Augmented Reality. At present, immersive exhibitions around the world are emerging in an endless stream. Under the general trend of information exhibition, how to combine works of art with digital media and endow them with connotation, and how digital technology is involved in the exhibition to form the final immersive effect, are issues worth considering at present.
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Zarobell, John. "Global Art Collectives and Exhibition Making." Arts 11, no. 2 (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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Dimas Setyo. "Digitalisasi Ruang Pameran: Potensi Media Sosial Sebagai Platform Pameran Karya Seni Rupa." Jurnal Pustaka Cendekia Hukum dan Ilmu Sosial 2, no. 3 (2025): 337–46. https://doi.org/10.70292/pchukumsosial.v2i3.87.

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This study aims to examine the role of social media in art exhibitions in Indonesia using a literature review method. Along with the development of digital technology, social media has become one of the main platforms for exhibiting works of art, providing opportunities for artists to interact directly with global audiences without the limitations of physical space. In the Indonesian context, social media plays an important role in introducing works of art to the wider community, both domestically and internationally. Based on an analysis of various relevant literature sources, the results of this study indicate that Instagram, WhatsApp, and Facebook are the most adaptive social media for art exhibitions in Indonesia. Instagram, with its strong visual features, provides an opportunity for artists to exhibit their artworks professionally, while WhatsApp offers more personal and direct interaction with the audience. Facebook, with its extensive users, allows art exhibitions to be more organized and reach a more diverse audience. These findings indicate the importance of choosing the right social media in optimizing the distribution and participation in art exhibitions in this digital era. This study contributes to the development of art exhibition management, especially in the digital context, which is increasingly becoming the main choice for many artists in Indonesia.
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Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (2019): 126. http://dx.doi.org/10.3390/arts8040126.

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Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
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Tunikhmah, Nadia. "INSTAGRAM SELFIE DI PAMERAN ARTJOG." Ars: Jurnal Seni Rupa dan Desain 21, no. 2 (2018): 116–32. http://dx.doi.org/10.24821/ars.v21i2.2887.

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Instagram Selfie in ArtJog exhibition is a research conducted with purpose to identify how selfie done with artwork in an art exhibition using social media as well as to determine the effect of social media on the art exhibitions visitor. The object of this study is limited to selfies with artworkthat uses social media instagram and conducted in 2016. The exhibits were selected in this study will be limited in ArtJog exhibition. Instagram data collection is done by using meta data search categories based on hashtag.The selection of selfies at the artjog exhibition was done after seeing the rampant selfie at the exhibition also saw the number of uploads with hastag ArtJjog reaching 25,883 and dominated by selfies. Most Selfie actions with artwork and publish on public pages done without mentioning the identity of the artwork and give a new "caption" on the artwork without the permission of the artist.
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Dissertations / Theses on the topic "Media Art Exhibition"

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Flannagan, Wickham Catesby. "Translation: A Journey Toward Ethnographic Art." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2233.

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This paper breaks down my process of transitioning to a new environment through ethnographic documentation. Through the progression of my creative work, I explore the various ways in which I express my own internal feelings through my art. By expressing an alienation within a foreign country in a multitude of filmic ways, these depictions help illustrate my mental and physical journey. My work is informed by psychoanalytic theory and I am most influenced by Jacques Lacan and Sigmund Freud. These theories help me understand the human condition and how I create media art to help me come to terms with my surroundings. Another part of my influence is the genre of ethnographic film, and in my use of this style, I attempt to portray the isolation that I’ve experienced as an American citizen while living in Ankara, Turkey. Many contemporary artists have influenced my approach to the post-production treatment of my ethnographic footage such as David Lynch and the Propeller Group. In addition to a summary of these influences, I discuss the thesis exhibition and my plans for the future.
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West, Kim. "The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977." Doctoral thesis, Södertörns högskola, Estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32143.

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This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence.<br>Space, Power, Ideology
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Khodabandeh, Bizhan. "Voice by Design: Experiments in Redistributing Media." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/980.

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In this project I conduct two experiments in redistributing media power and reflect upon how successful they were. The experiments include a poster campaign specific to Richmond and a project dealing with educating people about guerrilla media techniques.
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Francis, Andrew M. "belt melon grass." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3885.

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This essay was written largely after the completion of my thesis exhibition which shares its title. An integral aspect of the work was the after-­hours maintenance it required. Below I describe the unforeseen personal significance that labor came to hold and the way in which it functioned as a healing ritual. Through this work, and those leading up to it, I have a reinvigorated awareness of the importance of therapy as an aspect of my art­making, of which this thesis is a testament.
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Riede, Danielle Felice. "Paint Chip Dreams." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/35.

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This thesis summarizes Danielle Riede's current art practice by detailing her materials, processes and inspiration. It also contextualizes her "Room Paintings" within the context of art history and contemporary art-making.
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Juste, Carlijn. "Digital Materials in Physical Spaces : Strategies for Exhibiting Digital and Beyond-Digital Installations in Contemporary Art Institutions." Electronic Thesis or Diss., Université de Lille (2022-....), 2025. http://www.theses.fr/2025ULILH001.

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Cette recherche interroge les nouvelles stratégies curatoriales relatives aux expositions d'œuvres d'art numérique dans des espaces physiques d'exposition. Par art numérique, j'entende les projets artistiques qui font usage de manière créative et critique de technologies telles que la programmation algorithmique, la réalité virtuelle ou augmentée, la robotique, l'utilisation des datas et les nouvelles formes d'apparition de l'image. Dans un monde où les outils numériques sont une condition structurante de la vie en société et de toute production culturelle (Stalder 2016), l'art numérique est un moyen puissant pour comprendre notre temps présent et notre avenir (Ertan 2016). Il peut offrir des approches et des récits alternatifs aux utilisations dominantes de la technologie, hautement influencées par le capitalisme mondialisé. L'institution artistique peut être un lieu unique permettant de réfléchir à l'influence prédominante des dispositifs technologiques sur nos vies et nos processus de pensée. Malgré le fait que ces œuvres numériques occupent maintenant une place importante dans le monde de l'art contemporain et peuvent se prévaloir d'une certaine historicité (Paul 2016), rares sont les travaux de recherche portant sur des nouvelles modalités de mise en exposition expérimentées pour ces œuvres et la façon dont l'art numérique nous incite à re-penser l'exposition (Dekker 2021). Les bouleversements opérés par le numérique transforment les modalités de production et d'exposition des œuvres. Des nouvelles stratégies curatoriales ont été expérimentées, et des modalités existantes on été adapté. En montrant ces ruptures et continuations avec une théorie et pratique de l'exposition existante ce de travail de thèse entend examiner finement comment les œuvres d'art utilisant les technologies numériques ont transformé notre façon de penser et de réaliser des expositions. Quelles sont les nouvelles stratégies curatoriales qui ont émergé s'appuyant sur l'interactivité, la variabilité, la matérialité technique des œuvres ? Comment s'articulent précisément les liens entre artiste, espace d'exposition, œuvre et spectateur dans ce nouveaux paradigme de l'exposition ? Comment évoluent des œuvres d'art dans le temps et comment est-ce qu'ils s'adaptent à des espaces d'expositions différents ? Annet Dekker, Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-curation, Amsterdam, Valiz, 2021.Ekmel Ertan, « Introduction to Histories of the Post-DigitalHistories of the Post Digital », Histories of the Post-DigitalHistories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016, p. 4-5.Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Felix Stalder, The Digital Condition, Cambridge, Polity Press, 2016, trad. par Valentine A. Pakis, Die Kultur der Digitalität, berlin, Surkamp Verlag, 2016<br>This research investigates new curatorial strategies for exhibiting digital artworks in physical exhibition spaces, with the term “digital art” referring to artistic projects that make creative and critical use of technologies such as algorithmic programming, virtual or augmented reality, robotics, the use of data, and new forms of image creation and distribution. In a world where digital tools are a structuring condition of life in society and of all cultural production (Stalder 2016), digital art represents a powerful means of understanding our present time and our future (Ertan 2016). It can offer alternative approaches and narratives to the dominant uses of technology, highly influenced by globalized capitalism. The art institution can also be a unique place to reflect on the predominant influence of technological devices on our lives and thought processes. Despite the fact that these digital works now occupy an important place in the contemporary art world and can claim a certain historicity (Paul 2016), there is little research into the new exhibition modalities experimented with these works and the way in which digital art prompts us to rethink the exhibitions (Dekker 2021). The upheavals wrought by digital technology are transforming the way works are produced and exhibited. New curatorial strategies have been experimented with, and existing modalities adapted to these different forms of artistic practice. By illustrating how these exhibitions both diverge from and simultaneously build upon existing exhibition theory and practice, this thesis aims to intricately examine how artworks utilizing digital technologies are transforming the ways in which we think about and build exhibitions. What new curatorial strategies have emerged based on the interactivity, variability, and technical materiality of the works? How are the links between artist, exhibition space, work, and viewer articulated in these new exhibition paradigms? How do artworks evolve over time, and how do they adapt to different exhibition spaces?Annet Dekker, Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-curation, Amsterdam, Valiz, 2021. Ekmel Ertan, « Introduction to Histories of the Post-DigitalHistories of the Post Digital », Histories of the Post-DigitalHistories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016, p. 4-5. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Felix Stalder, The Digital Condition, Cambridge, Polity Press, 2016, trad. par Valentine A. Pakis, Die Kultur der Digitalität, berlin, Surkamp Verlag, 2016
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von, Essen Sabina. "Trust the Artist and the Painting : Factors that can enhance the Experience of Viewing Art in 3D Environments." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279490.

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Buying and viewing art has gone from being a traditionally physical experience to becoming digital. Due to limitations in today's two-dimensional e-commerce websites, 3D technology can be used to simulate the physical experience as much as possible. This thesis studies which factors can potentially play an important role in online art purchases, of which trust on the artist, familiarity to the artist and understanding more in depth the painting techniques were found to be the most influential on enhancing the viewers experience and engagement with a painting viewed online. These factors were later implemented in a 3D exhibition. Interaction, video, light, spatial perception and interior design contributed to a more holistic experience of art in a 3D environment. A conceptual model is then proposed to offer users as realistic and applied experience as possible that can also contribute to a greater willingness to buy art online.<br>Att köpa och uppleva på konst har gått från att vara en traditionellt fysisk upplevelse till att bli en digital. På grund av begränsningar i dagens tvådimensionella e-handelswebbplatser kan 3D-teknik användas för att simulera den fysiska upplevelsen så mycket som möjligt. Den här avhandlingen studerar vilka faktorer som potentiellt kan spela en viktig roll i onlineköp av konst, varav tillit till konstnären, kännedom om konstnären och en djupare förståelse av målartekniken visade sig vara de mest inflytelserika för att förbättra deltagarnas upplevelse och engagemang av konst som visas online. Dessa faktorer implementerades senare i en 3D-utställning. Resultaten visade att interaktion, video, ljus, rumslig uppfattning och interiördesign bidrog till en helhetsupplevelse av konst i en 3D-miljö. En konceptuell modell föreslås sedan för att erbjuda användare en så realistisk och tillämpad upplevelse som möjligt som också kan bidra till en större vilja att köpa konst online
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Vatsella, Christina. "La question de l'espace dans l'installation vidéo." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040269.

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Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècle<br>Having as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art
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Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.

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Petersson, Sonya. "Konst i omlopp : mening, medier och marknad i Stockholm under 1700-talets senare hälft." Doctoral thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100419.

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The aim of this doctoral thesis is to explore how art was mediated and given meaning in the environment of an urban media culture in Stockholm during the second part of the 18th century. It comprises studies of how art was distributed on the market, how it was discussed in the press and how it was exhibited in public. It also includes an analytical orientation toward mixing of concepts and values, rather than purifying them into categories such as elite and popular. Art is approached as an open concept of investigation. The thesis presents three studies. The first discusses art as concepts and subject matter in papers, pamphlets and encyclopaedias, with a critical stand against the historiography emphasizing the establishment of the 'fine arts'.  The second situates art in two parallel practises of showing art in public, exhibitions arranged by the Academy of Arts and the Auction Chamber's public sales. The third deals with prints on the market, a medium equally recognized as one of the fine arts and as a visual mass medium. All studies also consider notions of interaction, public, and social class. Two overarching arguments are developed. The first concerns media cultural functions as mechanisms of cultural transgression. This argument points to the mixing of international and local, regarding both themes in the press and prints on the market. It also stresses the mixing of art, commerce, and entertainment, in the dual character of both the academy's exhibitions and the auction's sales. The second argument consists in pointing to alternative cuts, by which I suggest discursive relations between art, luxury, entertainment, and knowledge. These are areas that, since the 18th century, have often been kept apart, but were nonetheless deeply interwoven. One overarchig pattern studied throughout the thesis is the 18th-century linking of the fine arts as well as luxury, entertainment, and knowledge to a perceptually defined subject.
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Books on the topic "Media Art Exhibition"

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Indonesia. Departemen Pariwisata, Seni dan Budaya., ed. ASEAN new media art competition & exhibition: Post-even catalogue. Ministry of Culture and Tourism of the Republic of Indonesia, 2007.

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1959-, Alexander Vikky, Collins Tricia, Milazzo Richard, and Scott Hanson Gallery, eds. Media post media: Vikky Alexander ... [et al.] : [exhibition] January 6-February 9, 1988. Scott Hanson Gallery, 1988.

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Tuttle, Susan. Exhibition 36: A gallery of mixed-media inspiration. North Light Books, 2009.

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(Exhibition), Genitals Are Beauty. The Genitals Are Beauty: A mixed media exhibition, 6 - 17 February 1995. House of William Blake Design & Advertising, 1995.

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Chiyoda, 3331 Arts. Tōkyō media geijutsu ofisharu gaido: "Bunkachō Media Geijutsusai 20-shūnen kikakuten--kaeru chikara" gaidobukku = Tokyo Media Arts official guide : "Japan Media Arts Festival 20th anniversary exhibition--power to change" guide book. Gendai Kikakushitsu, 2016.

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Christiane, Paul, ed. New media in the white cube and beyond: Curatorial models for digital art. University of California Press, 2008.

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H, Miller Marc, and Queens Museum, eds. Television's impact on contemporary art: [exhibition], September 13-October 26, 1986, the Queens Museum. Queens Museum, 1986.

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Gallery, Security Pacific, ed. Media talk: September 9-October 29, 1989 : [exhibition] Security Pacific Gallery, Costa Mesa, California. Security Pacific Corp., 1989.

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Karyn, Sandlos, Logue Deirdre 1964-, and Duran Franci, eds. Waiting-- and wanting: Curating, pedagogy and the media arts : works on film and video. K.E. Sandlos], 2005.

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Au-Yeung, Jennifer H., ed. The Pivotal Decade: Hong Kong Art 1997-2007. Grotto Fine Art Limited, 2007.

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Book chapters on the topic "Media Art Exhibition"

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Eğrikavuk, Işıl. "From a political protest to an art exhibition." In Collaboration in Media Studies. Routledge, 2024. http://dx.doi.org/10.4324/9781003389972-14.

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Pérez de Zafra Arrufat, María Asunción, and David Domínguez Escalona. "Contemporary Art and Audio Accessibility from Translation Studies: An Essential Binomial in Current Artistic Creations." In Transforming Media Accessibility in Europe. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60049-4_9.

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AbstractBioArt is an interdisciplinary research project that focuses on contemporary art. It aims to advance the field of universal accessibility in experimental artistic spaces, emphasizing multisensory experiences. Utilizing a phased methodology that includes a literature review and sensory element analysis, the project identifies innovative practices for creating accessible multisensory exhibitions. In collaboration with researchers and artists with and without disabilities, the exhibition aims to blur the boundaries of the conventional concert hall and exhibition room by creating experimental visual and sound works based on the analysis of movement patterns in individuals with permanent or temporary disabilities, such as Parkinson's disease tremors or spinal cord injuries. Bioart will offer accessible experiences targeting diverse groups, such as visitors with hearing impairments. This chapter explores the barriers present in contemporary exhibitions and addresses them by implementing alternative accessibility measures for the deaf and hard of hearing. These measures include vibrating backpacks to translate the music track played in the room's soundscape, sign language translation, easy-to-read displayed information, and multichannel information. Contemporary art can provide fully accessible experiences for deaf and hard-of-hearing visitors when considering them from the concept design, even if the sound is a key concept. For this purpose, new approaches and accessibility solutions have to be considered to translate the sound experience through other channels (haptic, visual, or the sense of smell). Expected benefits include empowering attendees with diverse abilities, fostering social inclusion, and inspiring future international endeavors in the realm of accessible contemporary arts.
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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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Langill, Caroline Seck, and Lizzie Muller. "Curating Lively Objects: Post-disciplinary Affordances for Media Art Exhibition." In Curating the Digital. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28722-5_4.

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Zhao, Shouli, and Lei Liu. "Exploring the Application of Digital Media Art in Virtual Exhibition Space." In Atlantis Highlights in Social Sciences, Education and Humanities. Atlantis Press International BV, 2023. http://dx.doi.org/10.2991/978-94-6463-192-0_44.

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Magrini, Boris. "Introduction to the Exhibition. STRATEGIES OF NEOGEOGRAPHY IN RECENT MEDIA ART." In Shifts in Mapping. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839460412-014.

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Hu, Lingli. "Interactive Media Design Method in Digital Exhibition of Art Museum Based on Big Data." In Lecture Notes in Electrical Engineering. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-2287-1_38.

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Santos, Jorge, and Mirian Tavares. "Gender Equality in Sports on Exhibition: Curating Digital Media-Art in the Parallel 3 - Cubed Activism Project." In Springer Series in Design and Innovation. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-73705-3_38.

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Hofmann, Yannick, and Cecilia Mareike Carolin Preiß. "Say the Image, Don't Make It." In Edition Museum. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-023.

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In this article, Yannick Hofmann and Cecilia Preiß discuss the use of AI technologies in art by means of the interactive installation 'Wishing Well'. 'Wishing Well' by media artist Yannick Hofmann uses generative AI to transform the dreams, wishes, and fantasies expressed by exhibition visitors into images. Central aspects addressed are the use of AI technologies in art and the challenged identity of art in the face of new technical tools. The text discusses how co-creativity between humans and machines can be facilitated, as well as conveying ethical dilemmas that are to be expected in any use of generative AI. In this way, 'Wishing Well' is representative of the 'intelligent.museum' project, within whose framework it was developed.
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Clough, Patricia Ticineto. "Trauma Expanded / Aesthetics Expanded." In And Another Thing. punctum books, 2016. https://doi.org/10.21983/p3.0144.1.19.

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In their curatorial statement, Katherine Behar and Emmy Mikelson propose that the exhibition And Another Thing was meant to critically engage the privilege of the human in relation to art, materialism, and the recent turn to ontology in the philosophical movements known as speculative realism and object-oriented ontologies. Here, I also want to engage the ontological turn, its reconception of materialism and the privilege of the human, while giving special attention to developments in media technology. After all, nearly all media technological developments have raised questions about the human in that they often trouble, if not transform, the relationship of time and space, memory and forgetting, embodiment and disembodiment, privacy and exposure, individual and collective, matter and life. In this sense, the development of a new media technology often is traumatic while providing a unique form of transmitting trauma. As Marshall McLuhan put it: “The emergence of a new media is too violent and superstimulated a social experience for the central nervous system simply to endure.”1 It is the usual relationship, or perhaps I should say the usual opposition of life and matter, that is central in this most recent ontological turn, a turn, I would propose, that is especially resonant with the traumatic changes wrought with the development of digital technologies.
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Conference papers on the topic "Media Art Exhibition"

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Reinhuber, Elke E. "Augmented Reality and how to access archived media art a counterfactual media art exhibition." In 2014 International Conference on Virtual Systems & Multimedia (VSMM). IEEE, 2014. http://dx.doi.org/10.1109/vsmm.2014.7136651.

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Irrgang, Daniel. "Thought Exhibition. On critical zones, cosmograms, and the impossible outside." In 28th International Symposium on Electronic Art. Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-66-full-irrgang-thought-exhibition.

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The paper discusses the curatorial concept of “thought exhibition” coined by Bruno Latour and Peter Weibel and developed in collaboration with curators, artists, and researchers during four exhibitions at the ZKM Centre for Art and Media, Karlsruhe (Germany). Thought exhibitions transgress the distinctions between philosophy, art, and science by testing ideas in an art museum, a space of discourse, representation, and participation. They engage visitors in a spatio-aesthetic thought experiment by bringing them into a position where preconceptions derived from epistemes of European Modernity are explicated and where alternatives are suggested. The analysis focusses on the most recent exhibition, in the preparation of which the author was involved: “Critical Zones. Observatories for Earthly Politics” (May 23, 2020 – January 9, 2022) mapped the symptoms and origins of the “New Climatic Regime” (Latour) of the late Anthropocene. In this paper, Critical Zones is framed within its theoretical context (Descola, Haraway, Margulis, Whithehead, among others) and discussed as relational spatio-aesthetic approach (Dikeç). The analysis concludes with Sarah Sze’s installation “Flash Point (Timekeeper)” (2018) as one of the exhibition’s central works – a representation, or “cosmogram” (Tresch), of a common planet that may provide an alternative to the globalized world of late capitalism.
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Moriyama, Tomoe. "Meta-Visual/Media/Space-Algorithmic "Intersection," the new aspect of media art exhibition." In ACM SIGGRAPH 2006 Art gallery. ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179119.

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Muthoharo, Shoqifatul. "Disability Art at the Exhibition “Seni Raba Menggambar Suara”." In The Kyoto Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2436-0503.2023.42.

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"Art installation / exhibition / artist talk & panel." In 2010 IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities (ISMAR-AMH). IEEE, 2010. http://dx.doi.org/10.1109/ismar-amh.2010.5643285.

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Nolan, Kieran. "Indie Game and Media Art Exhibition Spaces as Interface Layers." In CHI PLAY '17: The annual symposium on Computer-Human Interaction in Play. ACM, 2017. http://dx.doi.org/10.1145/3130859.3131430.

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Widjono, Rani Aryani. "Analysis of User Experience in Virtual Art Exhibition During Pandemic." In International Conference of Innovation in Media and Visual Design (IMDES 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201202.059.

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Gao, Jing. "The Transition of Art Exhibition in the Age of Immersive Media." In 2021 International Conference on Education, Language and Art (ICELA 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.002.

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

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Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.

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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
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Reports on the topic "Media Art Exhibition"

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Clausen, Jay, Samuel Beal, Thomas Georgian, Kevin Gardner, Thomas Douglas, and Ashley Mossell. Effects of milling on the metals analysis of soil samples containing metallic residues. Engineer Research and Development Center (U.S.), 2021. http://dx.doi.org/10.21079/11681/41241.

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Metallic residues are distributed heterogeneously onto small-arms range soils from projectile fragmentation upon impact with a target or berm backstop. Incremental Sampling Methodology (ISM) can address the spatially heterogeneous contamination of surface soils on small-arms ranges, but representative kilogram-sized ISM subsamples are affected by the range of metallic residue particle sizes in the sample. This study compares the precision and concentrations of metals in a small-arms range soil sample processed by a puck mill, ring and puck mill, ball mill, and mortar and pestle prior to analysis. The ball mill, puck mill, and puck and ring mill produced acceptable relative standard deviations of less than 15% for the anthropogenic metals of interest (Lead (Pb), Antimony (Sb), Copper (Cu), and Zinc (Zn)), with the ball mill exhibiting the greatest precision for Pb, Cu, and Zn. Precision by mortar and pestle, without milling, was considerably higher (40% to &gt;100%) for anthropogenic metals. Media anthropogenic metal concentrations varied by more than 40% between milling methods, with the greatest concentrations produced by the puck mill, followed by the puck and ring mill and then the ball mill. Metal concentrations were also dependent on milling time, with concentrations stabilizing for the puck mill by 300 s but still increasing for the ball mill over 20 h. Differences in metal concentrations were not directly related to the surface area of the milled sample. Overall, the tested milling methods were successful in producing reproducible data for soils containing metallic residues. However, the effects of milling type and time on concentrations require consideration in environmental investigations.
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First Latin American and Caribbean Video Art Competition and Exhibit. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0005915.

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An exhibition of video art from Latin America and the Caribbean, the first ever presented in Washington, featured 53 videos, under five minutes each, selected by an international jury from among 235 from 21 countries. Two award winners, four honorable mentions, and five People's Choice awards went to artists from Brazil, Colombia, Costa Rica, Mexico, Panama, Paraguay, Peru, and Venezuela. The objectives of the competition were to broaden the discussion of economic and social factors that affect Latin America and the Caribbean through the use of technology-based visual media. The competition and exhibit established a benchmark for the advancement of video art as a form of expression in the region. The contest and exhibition were organized by the IDB Cultural Center with the collaboration of the Information and Communication Technology for Development Division of the IDB.
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A Challenging Endeavor: The Arts in Trinidad and Tobago. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0006229.

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The exhibition traces the development of the visual arts in this Caribbean nation which celebrates its 40th anniversary as an independent Republic in 2002. 49 works in a variety of media cover nearly 150 years of art, including watercolors by Michel Jean Cazabon (19th century), oils by the pre-Independence and the post-Independence generations, and drawing and painting by the latest generation; also included are some masks used in Carnival, and folk figurines illustrating the evolution of the steel-pan, invented in the 20th century. This exhibition was organized with the collaboration of the National Museum of Trinidad and Tobago, the Central Bank of Trinidad and Tobago, and artists such as LeRoy Clarke, Christopher Cozier, Irénée Shaw, Ralph Baney, and Nina Squires.
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Parallel Realities: Five Pioneering Artists from Barbados. Inter-American Development Bank, 1999. http://dx.doi.org/10.18235/0006427.

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Sixty-four pieces executed in a variety of media: sculpture, painting, pastel and pencil drawing, watercolor, linoleum and metal engraving, monotype and stencil, by two generations of Barbadian artists considered pioneers in 20th century Barbadian art: Golde White, Aileen Hamilton, Katherine Hawkins, Karl Broodhagen, and Ivan Payne; from the collections of the Barbados Gallery of Art, the Barbados Museum and Historical Society, and private collectors. Upon the exhibition¿s return to Barbados, it was reenacted at the Barbados Gallery of Art and the Barbados Museum and Historical Society in Bridgetown.
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