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Journal articles on the topic 'Museum exhibition practices'
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1
Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (2016): 915. http://dx.doi.org/10.21301/eap.v10i4.7.
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Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.
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Szeląg, Marcin. "EDUCATIONAL ASSUMPTIONS OF THE PERMANENT EXHIBITION IN THE PAN TADEUSZ MUSEUM IN WROCŁAW AND THEIR IMPLEMENTATION." Muzealnictwo 59 (September 21, 2018): 185–97. http://dx.doi.org/10.5604/01.3001.0012.5065.
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Since 2016 the Pan Tadeusz Museum of the Ossoliński National Institute in Wrocław has been opened to the public. It is dedicated to the national epic poem – the most acknowledged piece of literature by Adam Mickiewicz, titled Pan Tadeusz, published for the first time in 1834. It also presents the reception of the poem, longevity of ideas started in Romanticism and the legacy of freedom in the history of Poland in the 19th and 20th centuries. The investment was co-financed from the European budget within the project named The Pan Tadeusz Museum – an innovative space – education through culture. The project was based on the idea to create a museum of educational character, with the use of museum exhibits, multimedia presentations, and infrastructure necessary for a modern arrangement of the exhibition. Given these assumptions, the team of educators, mostly with long-term practice as museum professionals, prepared the permanent exhibition. Their practical experience, plus theoretical bases for educational goals they referred to, together with a subject of the exhibition that focuses on an exceptional masterpiece in the history of Polish culture, i.e. the Manuscript of Pan Tadeusz, determined decisions pertaining to selection of exhibits, content of multimedia applications, inscriptions under the exhibits and titles of individual rooms, the range of themes for audio guides as well as materials and facilities for visitors with disabilities. In the article the permanent exhibition “The Manuscript of Pan Tadeusz” is described from the perspective of narration applied and educational assumptions it was based upon. It is then referred to a museological reflection which analyses an educational potential of museum exhibitions, interpretation practices and strategies of narration carried out by museums through exhibitions and educational activities.
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Syska, Rafał. "Comics in museums. Paradoxes of the presence and absence of comics in museum exhibition practices." Kultura Popularna 60, no. 2 (2020): 148–61. http://dx.doi.org/10.5604/01.3001.0013.7341.
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The article analyzes the phenomenon of exhibitions dedicated to comic books, which are displayed in museum and gallery spaces. It presents the theory of contemporary narrative exhibitions. Using some tools of the latest research on the art of exhibition, the author analyzes the status of a comic book in a museum landscape. He reflects on the diversity of the comic book’s presence in everyday practices, the other nature of comic's experience by a visitor, and a link between comic books and other media, especially film. He describes the role of the viewer, who becomes the object in relations with a comic book transformed into a subject as a museum artifact.
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Nicolescu, Gabriela. "The museum’s lexis: Driving objects into ideas." Journal of Material Culture 21, no. 4 (2016): 465–89. http://dx.doi.org/10.1177/1359183516664207.
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This article discusses how exhibition making can be seen as a creative method for building anthropological knowledge. Situations of conflict between social classes, curatorial practices and disciplines remind us of the existence of a very subtle and enduring museum lexis which governs how political ideas are put on display. Research was conducted in tandem with an exhibition the author curated in the National Museum of the Romanian Peasant 21 years after the collapse of the communist regime in South-Eastern Europe. Reflecting upon this process, the author shows how museums use a specific lexis that is based not only on existing practices but also on contingency. These facets each engage two different notions of temporality: while practice involves repetitiveness, predictability and continuity over different historical periods, contingency creates unexpected groupings of things, settings and meanings. It is the balance of the interplay between practice and contingency that dictates how the audience engages with museum discourse.
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Lien, Sigrid, and Hilde Wallem Nielssen. "‘Permanent Displays’ as Unsettling Layers of Epistemologies, Politics and Aesthetics." Museum and Society 17, no. 3 (2019): 453–71. http://dx.doi.org/10.29311/mas.v17i3.2802.
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This article argues that museum exhibitions often are formed through multiple layers. It presents readings of two contrasting exhibition narratives, the ethnographic display at the Museum of Cultural History in Oslo and the national history exhibition at Lillehammer Museum. While the latter speaks about the national self, the museum in Oslo addresses the nation’s radical other. In spite of this contrasting thematic focus, they have much in common. As centres for research and dissemination of knowledge, they are connected to the development of the academic disciplines history and anthropology. This evolution with its shifts and ruptures are visible as traces, or layers, in the exhibitions. We argue that such multi-layered museum stories may be understood as intersections of shifting disciplinary knowledge regimes, curatorial practices, and concrete political agendas. Such layers may appear as unintended subtexts that often create a sense of ‘unsettlement’ within museum exhibitions.
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Reidla, Jana. "Who Is Leading the Project? A Comparative Study of Exhibition Production Practices at National Museums in Finland and the Baltic States." Museum and Society 18, no. 4 (2020): 368–85. http://dx.doi.org/10.29311/mas.v18i4.3456.
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This paper presents research into exhibition-production practices at five national museums of four Baltic Sea region countries. The focus is the changes wrought by the expansion of exhibition teams, and how researchers in the curatorial role perceive their position, especially in relation to designers and project leaders. The analysis of semi-structured interviews with museum professionals showed exhibition production at museums comprise two models: A) curator-driven, and B) manager-driven. In Model A, the curator’s knowledge of museum collections is dominant. The curator creates the concept, and subsequently leads the exhibition project. The curator is the decision maker. In Model B, the field of communication is dominant. Managers are in charge of the design concept and fulfilling the exhibition. Managers are the decision makers. Curators feel their credibility as experts suffers and their competencies are underexploited, as they no longer have either authorship or leadership responsibilities.
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Malygina, Yuliya I. "Costume of the second half of the XX – beginning of the XXI century in Russian museum practice." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 60–66. http://dx.doi.org/10.30725/2619-0303-2021-2-60-66.
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The article considers the main stages in developing museum attitudes to the costume of the second half of the XX – beginning of the XXI century, collecting and exhibiting costume in foreign and Russian museums. There is examined the theory of Danish researcher M. R. Melchior separating the history of collecting and exhibiting costume in museums into «dress» and «fashion» museology. While the «dress» museology is largely based on the study of garments and their classification, «fashion» museology focuses on organizing events that could be considered fashionable themselves, creating spectacular exhibitions that attract the attention of the public and ensure the museum’s recognition, organizing communications around the museum. The limitations and contradictions of the theory are noted and the issue of the applicability of the theory to the national museum practice is brought up. In the view of the fluidity of terms that comprehend vestmental practices in the human sciences, there is given the analysis of the use of the term «fashion» in relation to stylistic changes in the costume of the Soviet period. There is given a view at the costume collections of the State Historical Museum and the All-Russian Museum of Decorative Art including the main sources of acquisition of the collections and the prospects for their further formation. In both cases, the most representative part of the collection belongs to the 1960s–1980s. And while in the State Historical Museum the costume was gathered mostly as background material for illustrating historical events the All-Russian Museum of Decorative Arts’ acquisition was purposefully based on the artistic quality of the items, which helped to form up the collection of the author’s costume. In the concluding part of the article there is given a view upon the exhibition practice of the State Historical Museum and the All-Russian Museum of Decorative Art representing the costume of the second half of the XX and early XXI centuries
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Villeneuve, Pat. "Building Museum Sustainability through Visitor-Centered Exhibition Practices." International Journal of the Inclusive Museum 5, no. 4 (2013): 37–50. http://dx.doi.org/10.18848/1835-2014/cgp/v05i04/44413.
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Waller, Laurie. "Curating actor-network theory: testing object-oriented sociology in the Science Museum." Museum and Society 14, no. 1 (2017): 193–206. http://dx.doi.org/10.29311/mas.v14i1.634.
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Across different traditions of social research, the study of science exhibitions has often taken the form of an ‘object-oriented’ inquiry. In this tradition, actor-network theory (ANT) has focused on how the processes of exhibiting objects mediate relations between science and society. Although ANT has not developed as a theory of curating, it nonetheless contributes to revaluing the work performed by curators in relation to the practice of science. This article describes an ethnographic engagement with a curatorial experiment in a science museum which staged a ‘multi-viewpoint’ exhibition of an object. A display of an object ‘in process’, I take the opportunity of this curatorial experiment to explore analogies drawn in ANT studies between museums and laboratories in attending to the ways that curatorial practices mediate science. I ask whether, and to what extent, ANT can account for curating as a material practice that not only participates in domesticating objects for science but also in problematizing, multiplying and redistributing relations between objects and the social.Key words: actor-network theory, sociology, science studies, curating, objects.
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Baker, Sarah, Lauren Istvandity, and Raphaël Nowak. "Curatorial practice in popular music museums: An emerging typology of structuring concepts." European Journal of Cultural Studies 23, no. 3 (2018): 434–53. http://dx.doi.org/10.1177/1367549418761796.
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Museums have been central to the institutionalisation of popular music as heritage; yet, there has been little scholarly focus on the curatorial strategies behind the exhibition of popular music’s past. This article outlines an emerging typological framework of structuring concepts in curatorial practice in popular music museums. The typology brings into conversation concepts previously identified by a number of popular music museum scholars. These concepts are critically assessed and built upon substantively by drawing on the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographical locations. Eight concepts are discussed: dominant (and hidden) histories, projected visitor numbers, place, art and material culture, narrative, curator subjectivity, nostalgia and sound. We argue that such a framework acts as a useful tool for comparing institutional practices internationally and to more fully understand the ways in which popular music history is presented to museum visitors.
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Dvorkin, Ihor. "MUSEUMS IN THE UKRAINIAN NATIONAL MOVEMENT IN RUSSIAN-RULED UKRAINE IN THE LATE XIX AND EARLY XX CENTURY." City History, Culture, Society, no. 3 (October 30, 2017): 83–91. http://dx.doi.org/10.15407/mics2019.03.083.
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The article examines the place and role of museum institutions in the legal, cultural activities of representatives of the Ukrainian national movement of the Russian Empire in the late nineteenth and early twentieth centuries. The author considers that in the absence of Ukrainian state and Russian imperial policy, which denied the existence of a separate Ukrainian people, the official, authorized institutions enabled the representatives of the Ukrainian creative intelligentsia a legitimate way to spread the idea of a "Ukrainian project" of nation-building. The author agrees that in promoting this project, Ukrainophiles actively used "invention of traditions" (by Eric Hobsbaum) - cultural practices of a ritual or symbolic nature that were intended to express community belonging and impart specific values and behaviours. In particular: life, traditional Ukrainian clothing, a celebration of anniversaries of outstanding events or anniversaries significant for the Ukrainian movement of personalities, as well as the conscious application of Ukrainian architectural modernity (Ukrainian style) in the architecture and development of Ukrainian professional theatre. Museums as sources of information about the past of Ukrainians also fit into these practices. They were accessible to the general public and had great potential to influence the society of that time. Museum exhibitions provided ample opportunities to represent Ukrainian history and culture, and by their explicit or hidden intention, their founders had the potential to become Ukrainian national. The attempt to implement such museum projects is described in the article on the example of the activity of the Kyiv Art, Industrial and Scientific Museum and the Museum of Ukrainian Antiquities V.V. Tarnovsky at the Chernihiv Provincial Zemstvo. Analyzing both the permanent exhibitions and the exhibitions held (the First South Russian Exhibition of Handicrafts in 1906, the exhibition dedicated to the fiftieth anniversary of the death of Taras Shevchenko in 1911), the author proves that there were literally "hiding places" behind the facade of the imperial museums. National ones that could well serve to shape Ukrainian identity.
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Kordiš, Meta. "The 1980s and Present in Maribor -- Creativity and Déjà Vu." Anthropological Journal of European Cultures 24, no. 2 (2015): 55–75. http://dx.doi.org/10.3167/ajec.2015.240205.
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The article discusses the process of setting up an exhibition presenting the fragments of alternative creative practices in 1980s Maribor (Slovenia) in an art museum. Within an interdisciplinary approach – art historical, museological and anthropological, which is in focus here – I try to understand how such a heritage of alternative creative practices is constructed and produced. Furthermore, the question of the anthropological potentiality of exhibition-making as a method for researching certain aspects of urban practices and development is considered. During the exhibition the art museum became a collaborative place for negotiating, mediating and constructing a heritage between an imagined community of (once) alternative individuals and collectives who participated in the exhibition, the museum staff, visitors and the media. The exhibition was echoed in some other events in the city as it also addressed contemporary artistic, cultural and social issues in Maribor.
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Jones-Edman, Genevieve, Jessica C. Lewis, and Bernadette Worrell-Johnson. "Keeping up with best practices: Library exhibitions at a university library in a small island developing state." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (2019): 59–76. http://dx.doi.org/10.1177/0955749019876118.
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Libraries over the years have developed best practices for planning, organising, promoting and evaluating exhibitions. Many are based on practices in museums. These best practices have been written into policies and shared with libraries worldwide. However, just as there has been an acknowledgement that some museum practices must be modified to suit the needs of libraries, the same applies to exhibition best practices across countries and libraries with different budgets. Small island developing states are particularly challenged by, among other things, limited resources, high cost of transportation and energy and vulnerability to natural disasters, which can have a direct or indirect impact on libraries and their ability to carry out functions like curating exhibitions. The University of the West Indies (UWI), Mona Library, located on the island of Jamaica and founded in 1948, has a long tradition of curating exhibitions. Planning and executing physical exhibitions at The UWI are guided by Library-adapted policies and guides, recently formalised in an exhibition policy. A review of some of the exhibitions curated by The UWI Mona show that the physical exhibits are, for the most part, executed in keeping with international best practices, but the Library has had to make adjustments primarily because of financial challenges. These financial challenges affect the availability of resources for exhibits, exhibition space, dedicated exhibition staff, how special collections items are used and the magnitude of exhibitions mounted. Exhibition reports, annual reports, photographs and visitor comments books reveal that the Library attempts to follow best practices with regards to planning, designing, executing and evaluating physical exhibitions. On the other hand, the Library is in the early stages of converting its physical exhibitions to digital formats but may have to establish more formal guidelines to ensure that online exhibitions are planned, designed and evaluated in keeping with international best practices to be successful. Successful exhibitions not only satisfy Library organisers and ‘edutain’ users but also build a good reputation for the Library and lead to further collaboration with faculty and benefit students, administrators and sometimes the general public. These practices at The UWI that are guided by policies can serve as an example to other institutions with small budgets on how to successfully plan and deliver physical exhibitions and build relationships with faculty and the wider community. The Library would need to ensure that formal guidelines and practices are followed for online exhibitions to be as effective and successful.
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Fonneland, Trude. "The Samekulturen exhibition. A social actor at the Tromsø University Museum." Nordisk Museologi 27, no. 3 (2020): 118–33. http://dx.doi.org/10.5617/nm.7731.
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In 1973, the exhibition entitled Samekulturen (The Sámi Culture) opened its doors to the public for the first time, and for over forty years this exhibition has served as an important arena for the dissemination of Sámi culture to tourists, students and other visitors. Exhibitions have social and political consequences. Samekulturen as a social actor that contributes to the production of knowledge is the point of departure for this paper. In the view of the museological and ethno-political contexts in which Samekulturen was produced, the exhibition will be analysed as a historical document revealing how museological practices related to the representation of the Sámi have evolved over time.
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Fairchild, Charles. "Understanding the Exhibitionary Characteristics of Popular Music Museums." Museum and Society 15, no. 1 (2017): 87–99. http://dx.doi.org/10.29311/mas.v15i1.664.
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The literature on the popular music museum has primarily focused on the study of heritage and cultural memory with a secondary focus on tourism. Given the unprecedented expansion of the museum sector worldwide in recent decades, which has produced an increasing number of major museums dedicated to popular music, it is an opportune time to expand this range of analytical concerns. Specifically, the development of popular music museums has not yet been closely examined within the broader historical trajectory of the so-called ‘new museum.’ This article seeks to outline the range of exhibitionary types commonly used in a range of high-profile popular music museums in pursuit of this line of inquiry. The goal is not simply to produce a generic survey or typology of displays, but to place the use of different forms of museum display within the specific historical trajectory that has produced steadily larger numbers of these kinds of museums in recent years. I organize these exhibitionary types into two broad streams of museum exhibition practice implied in the historical survey presented here: a populist-vernacular stream of museum display and an institutional-educational one. I seek to place the exhibitionary practices of contemporary popular music museums in a broader and longer trajectory of similar practices in order to get a more grounded sense of the more important characteristics of these kinds of museums.
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Portnova, Tatiana V. "Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space." Journal on Computing and Cultural Heritage 14, no. 4 (2021): 1–6. http://dx.doi.org/10.1145/3460456.
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The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.
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Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications." Journal of Visual Culture 17, no. 1 (2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.
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The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment have changed over time. In particular, the article examines the different meanings and practices inferred by the concepts of the exhibition and the experiment in the first decades of the 20th century and in the present. It outlines how correspondences between cultural and scientific paradigms can be deployed to tease unacknowledged synergies between two modes of knowledge production (i.e. the art exhibition and the experiment) and address questions of presentness, authority and legitimacy that they imply.
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Sauge, Birgitte. "Arkitektur og utstillinger som berører. En studie av nyere basisutstillinger i norske kunst- og kunstindustrimuseer." Nordlit, no. 36 (December 10, 2015): 293. http://dx.doi.org/10.7557/13.3695.
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<p>The intention with this article is to describe current exhibition practices at some Norwegian fine art- and design museums and to relate these practices to the visitors and their experiences, by comparing data concerning the plans and interior designs of gallery rooms and the organization of the displays.</p><p>This investigation is based on data from a survey of 19 permanent exhibitions in 12 fine arts and design museums, conducted in 2011–12; the Norwegian museum architecture and museum displays with its more than 100 year old traditions; and Charlotte Klonk’s book <em>Spaces of Experience: Art Gallery Spaces from 1800–2000</em>.</p><p>The survey shows that the purpose built museums to a large extent have kept their original layout and the organization of rooms. The non-purpose built museums tend to imitate the museums from the 1800s, within the limits of their given architecture. Different types of specially designed rooms are found in all buildings, regardless of age and purposes. Regarding the organization of displays, the most frequent principle is a combination of historically chronological types and themes. Almost as frequent are strictly historical chronological displays and thematic displays without any historical narrative.</p><p>Hence, the comparisons reveal that there are no fixed patterns regarding the historical types and the conventions concerning the relationship between the museum architecture and organization of the displays, which lead to the conclusion that today there is no general curatorial strategy in Norwegian fine art- and design museums with regard to the visitors’ experiences.</p>
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Vedel, Karen. "Theatricalization in the Cultural History Museum." Nordic Theatre Studies 31, no. 2 (2020): 23–36. http://dx.doi.org/10.7146/nts.v31i2.120118.
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The article examines theatricalization and visitor participation as curatorial strategies in new museological practices. It asks: How are theatrical and participatory elements put into use and what is their effect on the visitor experience in terms of meaning-making. Based on a first-person phenomenological description, the analysis centres on the exhibition An Army of Concrete in The Tirpitz Museum on the west coast of Denmark. Looking at the processes of theatricality in the exhibition, it is argued that meaning-making ultimately relies on visitor participation and is produced self-reflexively in the engagement with the immersive environments, theaudio-narratives and the displayed objects.
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Mladenović, Milorad. "Strategy of exhibiting and presentation of architecture as an exhibition form: With a retrospect of exhibitionary practices in Serbia following 2000." SAJ - Serbian Architectural Journal 5, no. 3 (2013): 244–81. http://dx.doi.org/10.5937/saj1303244m.
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This paper deals with the existing and possible modalities and strategies of exhibiting and presentation of contemporary architecture in specific exhibition conditions (gallery or museum spaces or in the context of public space), not aiming at perceiving the issue of presentation in all its aspects with regards to the complexity and all the circumstances of this theme expanse. This paper is focused on the level of research of the relations between the real model and its presentation or on the diverse ways of interpretation of the designed model in the context of its possible realization or some of its special program or utopian social function. Also, the focus of the paper is based on the analysis of the media practices of presentation of ideas and concepts in architecture, as well as on the possibility of architecture be presented as professional, artistic and social practice through those media. In separate part of this paper the practice of exhibition and presentation of the Serbian architecture following 2000 will be presented through analysis of the systems and forms of exhibition in the existing social and cultural conditions of significance for architecture and based on previously provided analyses.
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Harrison, Victoria S., Anna Bergqvist, and Gary Kemp. "Introduction." Royal Institute of Philosophy Supplement 79 (October 2016): 1–12. http://dx.doi.org/10.1017/s1358246116000047.
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Museums have traditionally been understood as places where carefully selected objects are categorized and put on display so that they can be known through observation. So-called ‘world-museums’, such as the British Museum, were designed to provide the public with access to the wider world through the knowledge they could acquire simply by observing the objects put forward for their inspection. This understanding of what museums do has been increasingly called into question due to changing views of knowledge-acquisition. New understandings of museums are emerging that seek to be responsive to more complex epistemological theories, and philosophers, as evidenced by the essays in this volume, are taking a lively interest in this development. As the essays in this volume further show, specific aspects of museum practices—especially concerning collection and curation, as well as exhibition—also invite philosophical scrutiny.
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Simine, Silke Arnold-de. "The "Moving" Image." Journal of Educational Media, Memory, and Society 4, no. 2 (2012): 23–40. http://dx.doi.org/10.3167/jemms.2012.040203.
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The moving image has become ubiquitous in museums that deal with traumatic, violent, and difficult histories and could be described as "memorial museums." This article investigates exhibition practices in the International Slavery Museum, Liverpool, in which large-scale video installations provide evocative recreations of traumatic experiences that are designed to unsettle and disturb visitors, providing them with a visceral and vicarious experience that calls for witnessing and "empathic unsettlement." It also queries the assumption that the capacity for empathy forms the basis for responsible moral agency, and whether museums aiming to encourage social responsibility should rely on such technologies.
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Караманов, Алексей. "Museum exhibit in the system of multiple interpretations: pedagogical aspects of narratives." Pedagogika. Studia i Rozprawy 29 (2020): 301–9. http://dx.doi.org/10.16926/p.2020.29.20.
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The article analyzes the problems of interpreting objects in a museum space from different contexts and perspectives. Particular attention is paid to the pedagogical aspects of the use of narrative in the museum. The author emphasizes that museum narrative is a form of museum work that a priori attracts the attention of museum educators, animators, mediators, gallery managers, exhibition curators and examines the museum object from the point of view of cultural heritage, active education of the young generation, development of general cultural competences, interdisciplinary, civic education system. The author focuses on the importance of the appearance of various intermediaries in the museum, which indicates important changes that have taken place in modern museum practice and in cultural and educational work with visitors. The author concludes that education and narrative practices at the museum take place in a special, aesthetic and informative environment in which man feels his commitment to culture and the possibility of dialogue with it.
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Martin, Marcella, and Federica Vacca. "Heritage narratives in the digital era." Research Journal of Textile and Apparel 22, no. 4 (2018): 335–51. http://dx.doi.org/10.1108/rjta-02-2018-0015.
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Purpose By considering the role of technology in museum archives and exhibitions, as well as company archives and production, this paper aims to present that digital technologies offer new approaches and tools to consider fashion know-how, traditions and memories. Design/methodology/approach Through an extensive literature review and a close consideration of multiple sources, this paper analyzes fashion, tradition and knowledge creation through the lens of museum and company archives. A section on museum archives analyzes the role of fashion in the museum and the use of technology in cataloging, online resources and exhibitions for knowledge transfer of fashion history. The second half of the paper considers the relationship between heritage, company archives and technology in branding and consumer engagement. Findings The paper summarizes recent scholarship in the fields of fashion archives and demonstrates the still current importance of heritage in generating new design and exhibition practices. Despite having its roots in the past, heritage demonstrates continuity with the present and looks to the future with the same devotion and commitment, thus guaranteeing quality and authenticity for both museum collections and company productions. Originality/value Through a case study methodology, this paper presents how digital technologies can offer new approaches and tools in museum archives and exhibitions, as well as in company archives and collection development, to reconsider and translate fashion know-how, traditions and memories in the digital era.
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Silva Neto, Alceu Paulo, and Priscila Almeida Cunha Arantes. "Design gráfico na exposição Renato Russo: reflexões sobre a comunicação visual | Graphic design at Renato Russo exhibition: reflections regarding visual communication." InfoDesign - Revista Brasileira de Design da Informação 17, no. 2 (2020): 14–28. http://dx.doi.org/10.51358/id.v17i2.794.
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Renato Manfredini Júnior ou Renato Russo, cantor e compositor, teve uma exposição inteiramente dedicada a sua vida e produção, no ano de 2017, no Museu de Imagem e do Som - MIS, na cidade de São Paulo. A exposição contou com um design de cenografia e expografia desenvolvidos exclusivamente para o evento que somados a um projeto de design gráfico dividiram uma linguagem relacionada ao artista. A partir de textos de Herreman (2004), Screven (1992) e Dean (1996) onde o tema sobre exposições e linguagem gráfica são discutidos pretende-se uma aplicação dos conceitos enquanto confrontados com os itens presentes na exposição e comentados à luz de Lupton e Phillips (2008).*****The achievement of singer and composer Renato Manfredini Júnior, or Renato Russo, was the theme of an exhibition at the Museum of Image and Sound - MIS-SP, in 2017, in the city of São Paulo.The exhibition featured the design of scenography and expography developed exclusively for the event. Both, added to the graphic design project applied to the ambience, share a single stylistic language related to the artist. Thus, the objective of this article is to discuss how graphic creations are inserted in environmental design and their relationship with the exhibition and expography, in view of the scarcity of descriptive material regarding the field of temporary exhibitions. Therefore, contributing to bring information design closer to ephemeral practices, something already adjacent to the museal sector. For this purpose, references developed by authors like Herreman (2015), Screven (1992), Lupton and Phillips (2008) and Dean (1996) are mentioned.
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Rodionova, Daria, Sergei Ivanovich Gusev, and Yana Igorevna Tolkalova. "Actualization of cultural heritage by museum means for the visitors with hearing impairment." Человек и культура, no. 2 (February 2021): 72–81. http://dx.doi.org/10.25136/2409-8744.2021.2.35540.
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The subject of this research is the actualization of cultural heritage by museum means. The object of this research is the adaptation of persons with hearing impairment, namely the experience of Russian museums. Museum plays a significant role in the processes of sociocultural adaptation, self-identification and social inclusion of the people with disabilities, possessing a unique set of criteria, ability to accumulate and transmit cultural potential. The active participation of museums in solution of sociocultural problems in many ways determines the vector of further development of museology, implementing modern cultural practices. The authors believe that working with the hearing-impaired visitors requires reconsideration of the traditional ways of presenting museum information and development of the new forms of interpretation of exhibition material. The conclusion is made that museum personnel should orient towards the individual peculiarities of each visitor, taking into account their capabilities in selecting the channel of museum communication, forms, methods and approaches. Museum personnel should plan their work jointly with the pedagogues, rehabilitation specialists, social workers, psychologists, and persons with disabilities directly. Each museum should be provided with the necessary conditions for working with children of each disability category. Namely this underlied the development of the concept of museum tour &ldquo;We Can Hear You Through The Eyes&rdquo; on the premises of Kuzbass State Museum of Local Lore.
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Ladas, Nancy. "Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria." Heritage 2, no. 1 (2019): 858–67. http://dx.doi.org/10.3390/heritage2010057.
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With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to administer the Commonwealth Protection of Cultural Objects on Loan Act 2013 (PCOL Act). The PCOL Scheme provides (with some limits) legal protection—immunity from seizure—for Australian and foreign cultural items on loan from overseas lenders for temporary public exhibition in Australia. The Ministry for the Arts also released the Australian Best Practice Guide to Collecting Cultural Material in 2015. The Guide is not a mandatory code. It recommends principles and standards to apply when acquiring collection items and in part for inward and outward loans. In 2016–2017 Museums Victoria staff used the Act and its Regulation along with the Guide to substantially update and formalise previous formal and informal policies and practices, in order to demonstrate its commitment to due diligence endeavours to verify the accuracy of information before acquiring, deaccessioning, borrowing, or lending items. This paper outlines the steps we took and what we have learned since receiving approval as a registered borrower under the PCOL Scheme.
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Borsotti, Marco, and Letizia Bollini. "Reshaping exhibition and museum design through digital technologies: a multimodal approach." International Journal of Virtual Reality 8, no. 3 (2009): 25–31. http://dx.doi.org/10.20870/ijvr.2009.8.3.2738.
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Exhibition design as preferential research framework in redefining interior spaces value-ratio in contemporary architecture debate: the merging end integration approach introduced by communication and performative exhibition practices is redesigning culturally and physically the pre-existing spaces. Exhibition design research innovative carrying out planning approach for changing strategies simultaneity knowledge spreading. In this way it became the most interesting and topical interior design project act, able to translate performing spaces into crossing experience built also with meanings dissemination and "surfing" knowledge method. The exhibition design direction is a different tool to control and develop multimodal approach to interior territories whose outcome fit to new social landscapes The Installation of an exhibition space meaning is now coming into sight as work-in-progress multi-disciplinary range, increasingly complex. The experiential element (whom exponential use of digital solution is just an exterior consequence) will increasing more and more and will bring to ostensive solutions development looking to new classifying parameters capable in enclosing several simultaneous organizing relationships. These parameters represents many super-structural rationalization process aptitudes that draw close true courses and imaginary tours, into complex changeable landscapes where raise to the surface place, objects and viewers sense and myths, made by production act, supervising to thoughts and actions as independent and symbiotic designer and visitor condition.
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Tepest, Eva-Maria. "‘Temporary Until Further Notice’: The Museum of Islamic Art and the Discursive Endeavour of Displaying Islamic Art in Qatar." Museum and Society 17, no. 2 (2019): 157–72. http://dx.doi.org/10.29311/mas.v17i2.3043.
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Taking the case of curatorial practices at the Museum of Islamic Art (MIA) in Doha, this study analyses practices of exhibiting Islamic art in Qatar. Drawing on interviews, observations and visual material collected during a stay in Doha in November and December 2015, it sheds light on MIA’s conditions, history, and present. Against the backdrop of Michel Foucault’s writings on power/knowledge, I argue that MIA cannot be understood on the basis of a dominant liberal cultural policy paradigm. Rather, it needs to be understood as ‘a dynamic and contingent multiplicity’ (Barad 2007, 147). Notwithstanding, this multiplicity meaningfully relates to Qatar’s shifting political priorities as well as discourses on Islamic art and the exhibition.
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Lang, Sabine, and Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods." Arts 7, no. 4 (2018): 64. http://dx.doi.org/10.3390/arts7040064.
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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases, available to public audiences and scholars. While a manual analysis has proved to be insufficient, because of the sheer number of available data, computational approaches and tools allowed for a greater access. The following article describes how digital images of exhibitions, as released by the New York Museum of Modern Art in the fall of 2016, are studied with a retrieval system to analyze in which artistic contexts selected artworks were presented in exhibits.
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Teryukova, Ekaterina A. "Central Anti-Religious Museum in Moscow: Historical Landmarks (1929–1947)." Study of Religion, no. 4 (2019): 121–27. http://dx.doi.org/10.22250/2072-8662.2019.4.121-127.
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The study focuses on the activities of the Central Anti-Religious Museum (CAM) in Moscow – an issue previously overlooked by historians. The article considers different aspects of its work during the brief period from 1929 to 1947 relating to the establishment and closure of the museum as well as provides an overview of the key areas of its collection, expedition, research and exhibition work. The article also follows the development of the CAM’s highly skilled research team that investigated rudimentary religious practices of ethnicities inhabiting the USSR and the gradual disappearance of these practices. The growing research potential of the CAM and the museum’s evolution from a propagandist institution into a history museum led to the renaming of the CAM to the Central Museum of the History of Religion and Atheism in 1942, upon which the museum passed from the auspices of the League of Militant Atheists into the charge of the USSR Academy of Sciences.
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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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Draper, Susana. "Making the Past Perceptible." Journal of Educational Media, Memory, and Society 4, no. 2 (2012): 94–111. http://dx.doi.org/10.3167/jemms.2012.040206.
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The "museums of memory" (museos de la memoria) have become ambiguous and con ictive sites that articulate the demand for remembrance and oblivion as regards the recent past of state authoritarianism and dictatorships in Latin America. This article seeks to disentangle ways of reading one of these spaces of memory, the Museo de la Memoria in Montevideo, Uruguay, paying special attention to a particular exhibition wing entitled The Prisons and to a temporary art installation by Daniel Jorysz, entitled Ver … dad, exhibited in an open space adjacent to the museum from September to November 2010. Analyzing the museum collection and establishing a counterpoint with the art installation, the article searches for the ways in which (hi)stories are made perceptible within these practices both on the inside and outside, and expose the conflicts that arise in the process.
35
Hildebrandt, Megan, and Megan Voeller. "Thinking with Art, or What Happens When a Critic Sees You Lose Your Hair." Departures in Critical Qualitative Research 3, no. 2 (2013): 117–43. http://dx.doi.org/10.1525/dcqr.2014.3.2.117.
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This essay explores a collaboration between a visual artist (Hildebrandt) and her museum-educator–art-critic colleague (Voeller) that led to a series of public events and an exhibition of drawings made by the artist in response to her experience with Hodgkin’s lymphoma. The artist’s narrative vignettes about her cancer experience and images of her drawings are interwoven with the educator–critic’s account of how the collaboration motivated her to reflect critically on the professional museum practices that frame how viewers should relate to art through formal, historical, and conceptual appreciation. Drawing inspiration from Arthur W. Frank’s call to “think with” illness narratives as a practice of empathic and self-reflexive engagement, the essay asks how museum education practices might facilitate empathic relationships and self-and-other awareness through and around art. A pair of public conversations among the artist, oncologists, and other participants is presented as a case study. Finally, the essay asks how the specific situation described relates to larger questions about the significance of empathy to the clinical practice of healthcare, and to conversations within the field of contemporary art about the relational dimensions of art.
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Christensen, Line Hjorth. "Curating the Poster: An Environmental Approach." Design Issues 35, no. 2 (2019): 28–45. http://dx.doi.org/10.1162/desi_a_00533.
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The article examines curatorial practices in regard to graphic design and posters—a subject only sparsely covered by poster research. It investigates how urban, environmental structures can work as guidelines for curating posters and ephemerals in museums. By applying an ecological view to design, it stresses the reciprocal relationship of humans with their built and product-designed environments and suggests this approach to be viable for curatorial work. It further demonstrates the point in regard to a recent event, the exhibition Spot on! British Posters from the Interwar Years, which was exhibited at the Danish Poster Museum in 2015–2016 and initiated by author and graphic designer Michael Jensen.
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Thiemeyer, Thomas. "Work, specimen, witness: How different perspectives on museum objects alter the way they are perceived and the values attributed to them." Museum and Society 13, no. 3 (2015): 396–412. http://dx.doi.org/10.29311/mas.v13i3.338.
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The generic term ‘museum objects’ suggests that a uniform category is involved. But museums in various disciplines have exhibited objects according to quite different rules and have assigned values to them that depend on the standards of the field of inquiry concerned: aesthetic quality, value as a historical source, as a relic or as a representative item. Over time, various display conventions have become established, which appear to us today to be natural and that assign the objects to specific stimulus values. The aim of this essay is to achieve a better understanding of these exhibition practices and discipline-specific value standards. The study aims to discover why we have become accustomed to using objects in exhibitions in different ways, and it distinguishes between three types of object: work, specimen and witness. The hypothesis here is that each of these follows its own display conventions, forms of perception and standards of value. The present essay aims to situate these three types of object – work, specimen and witness – historically and in this way to articulate the differences in status that exist between them.
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Toniak, Ewa. "CURATORSHIP PRAXISES TOWARDS ‘DISPLACED ASSETS’ IN POST-1989 MUSEUM PROJECTS: TWO EXHIBITIONS AT WARSAW’S XAWERY DUNIKOWSKI MUSEUM." Muzealnictwo 61 (August 26, 2020): 208–18. http://dx.doi.org/10.5604/01.3001.0014.3644.
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Two exhibitions at the Xawery Dunikowski Museum of Sculpture at the Królikarnia Palace, branch of the National Museum in Warsaw: the ‘Inventorying’ Display-Research Project, which was a kind of a public inventory of the sculpture collection (2012) and the Exhibition ‘The Estate. Sculptures from the collection of the Von Rose family and films and photographs from the archive of Zofia Chomętowska’ (2015) are case studies serving the Author to analyse curatorship practices with respect to the collections whose major part is composed of ‘displaced assets’, first of all from the so-called ‘Regained Territories’. In the words of the Chief Curator at the Królikarnia Museum since 2011 and the Exhibitions’ Curator Agnieszka Tarasiuk: it is a troublesome collection testifying to a difficult heritage and not yielding to conservation. The paper’s methodological basis is the museum exhibits’ provenance research conducted by R. Olkowski, L.M. Kamińska, and M. Romanowska-Zadrożna, while its context is found in the programme assumptions of the Strategy for the Operations and Development of the National Museum in Warsaw 2010–2020 worked out by the former National Museum’s Director Piotr Piotrowski. One of its priorities is to clarify the origins of the collections of unknown provenance, and settling accounts with their former owners. Furthermore, the question related to constructing museum’s genealogy and the memory of history of the period immediately following WWII in the new socio-political situation in Poland after 1989 is posed. The position for dealing with collections’ provenance research introduced by P. Piotrowski was liquidated following the Director’s dismissal in 2012. The paper forms part of a bigger whole.
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Cruz-Malavé, Arnaldo Manuel. "Memorialization and Presence: Capturing the Legacies of the Young Lords in New York." ARTMargins 6, no. 2 (2017): 72–90. http://dx.doi.org/10.1162/artm_a_00177.
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This essay reviews the three-venue exhibition ¡Presente! The Young Lords in New York, which opened in July of 2015 at the Bronx Museum of the Arts, El Museo del Barrio and the Loisaida Center in the Lower East Side. It assesses the three significantly different approaches of these institutions to capturing the visual and performative legacy of the Young Lords, a radical decolonial Nuyorican group of the early 1970s whose political activism engaged communities to transform space through artistic practices. In critically surveying these three approaches, this essay means to explore the cultural, art-historical, and political stakes of exhibitions like ¡Presente!, in which different kinds of loyalty and conceptions of legacy come into contact.
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Hegenbart, Sarah. "The Participatory Art Museum: Approached from a Philosophical Perspective." Royal Institute of Philosophy Supplement 79 (October 2016): 319–39. http://dx.doi.org/10.1017/s1358246116000400.
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AbstractThis chapter introduces the participatory art museum and discusses some of the challenges it raises for philosophical aesthetics. Although participatory art is now an essential part of museological programming, an aesthetic account of participatory art is still missing. The chapter argues that much could be gained from exploring participatory art, as it raises fundamental challenges to our understanding of issues in aesthetics, such as the nature of aesthetic experience, the value of art, and the role of the spectator. Moreover, participatory art fundamentally questions the status of the museum as an exhibition space for contemporary art practices.
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Tymkiw, Michael, and Tom Foulsham. "Eye Tracking, Spatial Biases and Normative Spectatorship in Museums." Leonardo 53, no. 5 (2020): 542–46. http://dx.doi.org/10.1162/leon_a_01746.
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This study examines the viewing behavior of museum spectators during three eye-tracking experiments, the participants in which included wheelchair and non–chair users. The study pays particular attention to the spatial biases of spectators, such as the tendency to scan artworks from left to right or top to bottom. These spatial biases, the authors suggest, enhance our understanding of “normative spectatorship,” both by demonstrating how normative ideas about spectators' bodies shape exhibition display practices and by revealing how display practices contribute to fostering normative viewing behavior.
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Brower, Matthew. "Photography, Curation, Affect." Journal of Visual Culture 17, no. 2 (2018): 177–97. http://dx.doi.org/10.1177/1470412918782354.
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This article explores the implications of photographic affect for curatorial practice by examining the exhibition Through The Body: Lens-Based Work by Contemporary Chinese Women Artists (Art Museum at University of Toronto, 2014). The author focuses on the curatorial task of situating the work of three of the artists, Chen Zhe, Fan Xi and Chun Hua Catherine Dong that employs affect in related but potentially incompatible ways. Chen’s visceral series The Bearable documents her practices of cutting as an attempt to overcome shame and begin healing. Fan’s portraits of topless Chinese lesbians use affect to assert the human dignity of her subjects and make their presence visible in a culture that erases them. Dong’s photographic and video documentations of her mail-order bride performances use affect to disrupt and complicate the power relations her performances expose. By situating their works in the exhibition, the article investigates the issues raised by photographic affect for curatorial practice.
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Selejan, Ileana L. "Incident Transgressions: A Review of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MOMA." ARTMargins 5, no. 2 (2016): 87–104. http://dx.doi.org/10.1162/artm_r_00149.
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By placing on view a large selection of objects recently acquired by the New York Museum of Modern Art, the exhibition Incident Transgressions: Report on “Transmissions: Art in Eastern Europe and Latin America 1960–1980” (September 5, 2015 to January 3, 2016) sought to situate artistic practices from Latin America and Eastern Europe within a discursive model of cross-cultural and aesthetic transmission. However, the exhibition marginalized an account of the specific relations between these objects in favor of a more encompassing global curatorial narrative. While seeking to outline the parameters of the exhibition, and its implications in regard to contemporary trends in art history and museology, the text aims to highlight some of the instances of transmission and contact, both real and imagined, between the objects displayed.
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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
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Ghee, Britney D. "The Invaluable Institutional History: Ghana’s National Museum from a Obroni Perspective." Public History Review 22 (December 24, 2015): 38–55. http://dx.doi.org/10.5130/phrj.v22i0.4781.
Full textAbstract:
Understanding an institution’s historical conception and its subsequent role on collecting practices and museum narrative is essential when entering into an international internship. Understanding the history of a collection, the initial conception of an actual permanent exhibition and the limitations of available resources can lead to a deeper appreciation and cultural exchange by explaining otherwise confusing or odd differences. Of course not every cultural difference can be explained by an institutional history. But larger questions of interpretation can be explored through the lens of understanding the international partner’s history.
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Колісник, О. В., та К. І. Подобєд. "Спадщина Василя Єрмилова в культурному контексті незалежної України". Art and Design, № 4 (15 лютого 2021): 114–22. http://dx.doi.org/10.30857/2617-0272.2020.4.9.
Full textAbstract:
To examine Ukrainian art projects and studies of the period of independence, dedicated to the legacy of the outstanding artist and designer Vasyl Yermilov, and to actualize the significance of the artist's work for the contemporary art and design process. Methods of systematization and actualization of the analytical information gained by studying specialized professional literature and websites of cultural institutions. The main tendencies of work with the legacy of Vasyl Yermilov in the context of the problems of the Ukrainian avant-garde are determined and characterized. The issue of the importance of differentiating the Ukrainian and Russian avant-garde on the international art scene for the formation of a positive image of Ukraine has been actualized. Key projects were analyzed, including museum and contemporary art exhibitions, and the difficulty of working with the artist’s legacy due to the lack of iconic works in Ukrainian collections and the loss of some of the works of the 1920s was raised. Systematized Ukrainian art projects and studies of the period of independence, dedicated to Vasyl Yermilov, which cover various areas of culture: art history works, museum exhibition projects, contemporary art practices. The study shows current trends in working with the heritage of the Ukrainian avant-garde and can be used to develop further cultural projects and create exhibitions.
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Yang, Jing, and Jiang Li. "Smart Home: Chicago`s Greenest House and Green Architecture Popularity." Advanced Materials Research 598 (November 2012): 87–91. http://dx.doi.org/10.4028/www.scientific.net/amr.598.87.
Full textAbstract:
In keeping with the new era of information and ecology, the urgent mission of the architect is how to provide the latest green house information and some of the practices and relevant hands-on experiences for the public. In 2012, the Museum of Science and Industry of Chicago built a green house in its yard. The green house exhibition-Smart Home: Green + Wired highlights the importance of environmentally friendly effort. The exhibition intents to present for residents and visitors on how green house could help improve the environment as well as save money. The exhibition also focuses on the purpose of working together: the academia of architecture, the industrial companies and the public, trying to conserve and protect Chicago for future generations. Furthermore, with the introduction of Smart Home, this essay aims to inspire the deeper thinking about popularity of green architecture in China.
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Ikeda, Asato. "Curating A Third Gender: Beautiful Youths in Japanese Prints." TSQ: Transgender Studies Quarterly 5, no. 4 (2018): 638–47. http://dx.doi.org/10.1215/23289252-7090101.
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Abstract Should we discuss practices around sex and sexuality in early modern Japan as a distinct, foreign phenomenon entirely unique to the period and culture, or can we somehow draw a genealogy and create a trans-historical narrative that ends with today's LGBTQ+ culture? These questions were central to the process of organizing the exhibition A Third Gender: Beautiful Youths in Japanese Prints at the Royal Ontario Museum (ROM) in Toronto in 2016. The exhibition focused on visual representations of male youths, called wakashu in Japanese, who were the object of sexual desire for both women and adult men in Edo-era Japan. Presented in the form of an exhibition, the project necessitated engaging the past with the present and the general public with scholarship. In this short reflection essay, the author and curator explains how the Third Gender project approached the question of Edo-era Japan's trans-historicity.
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Opdahl Mathisen, Silje. "A record of ethnographic objects procured for the Crystal Palace exhibition in Sydenham." Nordisk Museologi 27, no. 3 (2020): 8–24. http://dx.doi.org/10.5617/nm.7719.
Full textAbstract:
This article investigates the events surrounding the discovery of a double set of Sámi artefacts collected in Norway in the 1850s. While the collecting had received government funding and was initiated by a Norwegian scholar, the commission for it came from London. One set of artefacts was to be exhibited at Crystal Palace in Sydenham, a commercial venue reaching a tremendously large audience. The other set became part of the Ethnographic Museum in Oslo, a much smaller scientific institution established in 1857. By turning the spotlight on the historical context and agencies of these two sets of artefacts, this chapter examines the notions of early ethnographic practices.
50
JARDINE, BORIS. "The museum in the lab: historical practice in the experimental sciences at Cambridge, 1874–1936." BJHS Themes 4 (2019): 245–71. http://dx.doi.org/10.1017/bjt.2019.6.
Full textAbstract:
AbstractThis paper explores the hoarding, collecting and occasional display of old apparatus in new laboratories. The first section uses a 1936 exhibition of Cambridge's scientific relics as a jumping-off point to survey the range of historical practices in the various Cambridge laboratories. This panoramic approach is intended to show the variety and complexity of pasts that scientists had used material to conjure in the years prior to the exhibition. Commerce and commemoration emerge as two key themes. The second part turns to the Cavendish Laboratory (experimental physics) to explore the highly specific senses of time and memorialization at play in the early years of the laboratory (c.1874–1910), and the way these were transformed over the subsequent generations leading up to the 1936 moment. The key figure here is James Clerk Maxwell, whose turn to history involved a mix of antiquarianism and modernism. The paper concludes with an attempt to characterize the meanings and significances of ‘the museum in the lab’. This phenomenon ought to be understood in terms of the wide range of ‘collections’ present in laboratory spaces.