Academic literature on the topic 'Museum of Contemporary Native Arts'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Museum of Contemporary Native Arts.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Museum of Contemporary Native Arts"
1
John Paul Rangel. "Moving Beyond the Expected: Representation and Presence in a Contemporary Native Arts Museum." Wicazo Sa Review 27, no. 1 (2012): 31. http://dx.doi.org/10.5749/wicazosareview.27.1.0031.
Full text
2
Ernest, Marcella. "Making History: IAIA Museum of Contemporary Native Arts. Edited by Nancy Marie Mithlo." Western Historical Quarterly 53, no. 1 (2021): 84–86. http://dx.doi.org/10.1093/whq/whab123.
Full text
3
Ned Blackhawk. "Contradictions in Indian Art: Contemporary Native American Arts and the National Museum of the American Indian." American Quarterly 62, no. 2 (2010): 387–94. http://dx.doi.org/10.1353/aq.0.0136.
Full text
4
Stevens, Scott Manning. "Collecting Haudenosaunee Art from the Modern Era." Arts 9, no. 2 (2020): 55. http://dx.doi.org/10.3390/arts9020055.
Full textAbstract:
My essay considers the history of collecting the art of Haudenosaunee (Iroquois) artists in the twentieth century. For decades Native visual and material culture was viewed under the guise of ‘crafts.’ I look back to the work of Lewis Henry Morgan on Haudenosaunee material culture. His writings helped establish a specific notion of Haudenosaunee material culture within the scholarly field of anthropology in the nineteenth century. At that point two-dimensional arts did not play a substantial role in Haudenosaunee visual culture, even though both Tuscarora and Seneca artists had produced drawings and paintings then. I investigate the turn toward collecting two-dimensional Haudenosaunee representational art, where before there was only craft. I locate this turn at the beginning of Franklin Delano Roosevelt’s administration in the 1930s. It was at this point that Seneca anthropologist Arthur C. Parker recruited Native crafts people and painters working in two-dimensional art forms to participate in a Works Progress Administration-sponsored project known as the Seneca Arts Program. Thereafter, museum collectors began purchasing and displaying paintings by the artists: Jesse Cornplanter, Sanford Plummer, and Ernest Smith. I argue that their representation in museum collections opened the door for the contemporary Haudenosaunee to follow.
5
Ahtoneharjo-Growingthunder, Tahnee M. "Closing the Gap: Ethics and the Law in the Exhibition of Contemporary Native Art." American Indian Culture and Research Journal 43, no. 4 (2019): 115–22. http://dx.doi.org/10.17953/aicrj.43.4.growingthunder.
Full textAbstract:
The general lack of funding for arts and humanities has prompted museums to search for additional resources, especially geared to diversity. This financial need has resulted in many cultural institutions directing their efforts to an increased inclusion of American Indian communities and their cultural heritage. These efforts toward inclusion, however, often are often misguided in that the selection of artists, experts and consultants do not accurately reflect the constitution of our communities. In fact, the arts are particularly susceptible to individuals who have falsified their cultural credentials in an effort to be selected for coveted opportunities to perform, exhibit or guide American Indian arts. The incorporation of American Indian art into non-Native institutions, in particular those that do not have experience working with Native communities, must be grounded in ethical practices that are defined by source communities.
6
Weiner, Robert S. "SOCIOPOLITICAL, CEREMONIAL, AND ECONOMIC ASPECTS OF GAMBLING IN ANCIENT NORTH AMERICA: A CASE STUDY OF CHACO CANYON." American Antiquity 83, no. 1 (2017): 34–53. http://dx.doi.org/10.1017/aaq.2017.45.
Full textAbstract:
This paper builds upon DeBoer's (2001) assertion that models of ancient North American cultural systems can be enriched by incorporating gambling as a dynamic and productive social practice using the case study of the Ancient Puebloan center of Chaco Canyon (ca. AD 800–1180). A review of Native North American, Pueblo, and worldwide ethnography reveals gambling's multidimensionality as a social, economic, and ceremonial technology in contrast to its recreational associations in contemporary Western society. I propose that gambling was one mechanism through which leaders in precontact North America—and, specifically, at Chaco Canyon—integrated diverse communities, facilitated trade, accumulated material wealth, perpetuated religious ideology, and established social inequality. I present evidence of gambling at Chaco Canyon in the form of 471 gaming artifacts currently held in museum collections in addition to oral traditions of descendant Native cultures that describe extensive gambling in Chacoan society.
7
Rajguru, Megha. "The world in the garden: ethnobotany in the contemporary Horniman Museum Garden, London." Studies in the History of Gardens & Designed Landscapes 39, no. 1 (2019): 40–52. http://dx.doi.org/10.1080/14601176.2018.1511176.
Full text
8
Field, Norma. "The Cold War and Beyond in East Asian Studies." PMLA/Publications of the Modern Language Association of America 117, no. 5 (2002): 1261–66. http://dx.doi.org/10.1632/003081202x61151.
Full textAbstract:
Just before coming to the conference on the Relation between English and Foreign Languages in the Academy, I saw an exhibit at the Institute of American Indian Arts Museum in Santa Fe titled Who Stole the Teepee? Combining historic with contemporary objects, the exhibit probed not only the theft of tradition announced in its title but the possibility that “we” (Native Americans) or “our ancestors” had been more than willing to sell it. Such speculative reflection resonates with the way in which we who study East Asia have dealt with our relatively stable isolation: while complaining of language and literature colleagues' indifference, if not contempt, toward our endeavors, we have also prided ourselves on the difficulty of our languages and the ancientness of our civilizations, the source of an arcane body of knowledge requisite for even basic literacy. If all foreign language and literature scholars feel subordinate to the empire of English, East Asianists are not only beyond the pale but are often proud of it. Underlying this orientation is an important historical feature: even allowing for the mixed case of China, this region was not colonized by Great Britain. This has meant that it lacks a bourgeoisie that grew up speaking English. I shall return to colonial history below.
9
Malkova, O. P. "Вопросы эволюции образа Сталинграда-Волгограда в изобразительном искусстве 1940–2020 годов". Iskusstvo Evrazii [The Art of Eurasia], № 4(19) (30 грудня 2020): 84–101. http://dx.doi.org/10.46748/arteuras.2020.04.007.
Full textAbstract:
The article examines the features of artistic perception and representation of the geographical and cultural space of Stalingrad-Volgograd in evolutionary development in 1940–2020; interaction between architectural and artistic texts of the city, the specifics of the Volgograd Union of Artists; the issues of changes in the artistic life of the city that took place in the post-Soviet period. The architecture, history and daily life of post-war Stalingrad are now of great scientific interest. In this article, for the first time, the artistic reflection of the life of the city of this and subsequent periods becomes the subject of independent research. The active work of Stalingrad and Volgograd artists was reflected in numerous publications: newspaper and magazine articles, exhibition catalogues, and monographic publications. A number of publications are devoted to the history of the Volgograd Union of artists. At the same time, relations between artistic creativity and location were not specifically considered. Until now, the issues of transformations of artistic life and art in Volgograd have also remained without proper attention. The work has been done mainly on the basis of the collection of the Volgograd Museum of Fine Arts named after I.I. Mashkov with a review of works from artist's studios. This group of works attracts interest not only from an art criticism point of view, but also from a cultural, sociological, and historical point of view. City views in painting and graphics are considered in chronological order and in accordance with the thematic principle. The methods of comparative analysis have been applied when comparing works of the Soviet period with modern ones. Materials of the imaginative and stylistic of paintings and graphics are compared with the memories of old residents of the city and interviews with contemporary artists. Works of painting and graphics by Stalingrad and Volgograd artists of the second half of the XX – early XXI centuries are introduced into the scientific circulation. The author focuses on native Stalingrad painters and graphic artists who took an active part in the formation of the local branch of the Union of Artists: N. Chernikov, A. Chervonenko, F. Sukhanov, A. Legenchenko, G. Pechennikov and A. Pechennikov, N. Pirogov, B. Osikov, P. Grechkin, V. Strigin, etc. Their works are compared with the works of contemporary artists: N. Zotov, Yu. Sorokin, etc. В статье рассматриваются в эволюционном развитии особенности художественного восприятия и репрезентации географического и культурного пространства Сталинграда-Волгограда в 1940–2020 годы. Затрагиваются вопросы взаимодействия архитектурного и художественного текстов города, специфики Волгоградского союза художников, перемен художественной жизни города, которые произошли в постсоветский период. Архитектура, история и повседневность послевоенного Сталинграда сейчас вызывают большой научный интерес. В настоящей статье впервые становится предметом самостоятельного исследования художественное отражение жизни города этого и последующих периодов. Деятельность сталинградских и волгоградских художников нашла отражение в многочисленных публикациях: газетных и журнальных статьях, каталогах выставок, монографических изданиях. Ряд публикаций посвящен истории Волгоградского союза художников. При этом вопросы связей художественного творчества и территории специально не рассматривались. До сих пор оставались без внимания и вопросы трансформаций художественной жизни и искусства Волгограда. Работа проделана в основном на материале собрания Волгоградского музея изобразительных искусств им. И.И. Машкова с привлечением произведений из мастерских художников. Данный пласт работ представляет интерес не только с искусствоведческой, но и культурологической, социологической, исторической точек зрения. В научный оборот вводятся произведения живописи и графики сталинградских и волгоградских художников второй половины XX – начала XXI веков. Живописные и графические пейзажи, запечатлевшие город, рассмотрены в хронологической последовательности и в соответствии с тематическим принципом. Методы сравнительного анализа были применены при сопоставлении произведений советского периода и работ о городе, созданных сегодня. Материалы образно-стилистического анализа произведений живописи и графики сопоставлены с воспоминаниями старожилов города и интервью с современными художниками.
10
Copeland, Huey, Hal Foster, David Joselit, and Pamela M. Lee. "A Questionnaire on Decolonization." October 174 (December 2020): 3–125. http://dx.doi.org/10.1162/octo_a_00410.
Full textAbstract:
The term decolonize has gained a new life in recent art activism, as a radical challenge to the Eurocentrism of museums (in light of Native, Indigenous, and other epistemological perspectives) as well as in the museum's structural relation to violence (either in its ties to oligarchic trustees or to corporations engaged in the business of war or environmental depredation). In calling forth the mid-twentieth-century period of decolonization as its historical point of reference, the word's emphatic return is rhetorically powerful, and it corresponds to a parallel interest among scholars in a plural field of postcolonial or global modernisms. The exhortation to decolonize, however, is not uncontroversial-some believe it still carries a Eurocentric bias. Indeed, it has been proposed that, for the West, de-imperialization is perhaps even more urgent than decolonization. What does the term decolonize mean to you in your work in activism, criticism, art, and/or scholarship? Why has it come to play such an urgent role in the neoliberal West? How can we link it historically with the political history of decolonization, and how does it work to translate postcolonial theory into a critique of the neocolonial contemporary art world? Respondents include Nana Adusei-Poku, Brook Andrew, Sampada Aranke, Ian Bethell-Bennett, Kader Attia, Andrea Carlson, Elise Y. Chagas, ISUMA, Iftikhar Dadi, Janet Dees, Nitasha Dhillon, Hannah Feldman, Josh T. Franco, David Garneau, Renee Green, Iman Issa, Arnold J. Kemp, Thomas Lax, Nancy Luxon, Nelson Maldonado-Torres, Saloni Mathur, Tiona Nekkia McClodden, Alan Michelson, Partha Mitter, Isabela Muci Barradas, Steven Nelson, Ugochukwu-Smooth C. Nzewi, Alessandro Petti, Paulina Pineda, Christopher Pinney, Elizabeth Povinelli, Ryan Rice, Andrew Ross, Paul Chaat Smith, Nancy Spector, Francoise Verges, Rocio Zambrana, and Joseph R. Zordan.
Dissertations / Theses on the topic "Museum of Contemporary Native Arts"
1
Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.
Full text
2
Sharma, Arjun. "Contemporary Arts Museum in Roanoke: an Entrance to the City." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/35953.
Full textAbstract:
Roanoke, as a city, needs to redefine itself and to constantly respond to what new should come to the city. Society and culture become an important factors in design. The insertion into an existing fabric requires a careful dialogue between past, present and future. The proposed building sets in contrast to the existing structures in the neighborhood of the site, establishing its own response to time. Although contrasting the existing buildings the proposition is responsive to context in terms of scale and materials. The context is important to continue the harmony and rhythm of the urban fabric.
The site is located at one of the main entrances to downtown Roanoke and market square and hence the proposed building acts as a gateway to the future of the city. Due to its location the building will project the first image of the city. Therefore the proposed building should enhance and adapt to the social and cultural roots of the city. My thesis is a reaction to the existing conditions at the site for what I believe to be a lack of sensitivty to the context and the needs of the people of Roanoke. A museum is a public institution to provide insight into the attitudes and values of the local community. Through design the building is intended to symbolize the gateway to the future of the city.
The basic shape of the building is curved in response to the plan of the site while allowing for an urban plaza in front. Cantilevered masses which radiate from Market square are inserted into the primary building mass providing a connection to a larger context. The cantilevered masses(which hosts art galleries)hover over and project into the urban plaza providing Roanoke city with a public space downtown. Thus the two most important elements i) Cantilevered masses and ii) The Urban Plaza are means to weave the thesis project into the existing urban fabric of the Roanoke.<br>Master of Architecture
3
Hannon, Brian. "Arts Administration internship report : the New Museum of Contemporary Art : a report." ScholarWorks@UNO, 1992. http://scholarworks.uno.edu/aa_rpts/79.
Full textAbstract:
Stephen Weil writes in his collection of essays, Rethinking the Museum and Other Meditations," .. we must never forget that ideas--and not just things alone--also lie at the heart of the museum enterprise. Reality is neither objects alone nor simply ideas about objects (2). Weil's insight into the matter of museums prompted me to search out a particular type of organization in which to work for this internship. No doubt any number of respected and successful institutions in New York City could have offered me an extraordinary internship in arts administration, but I was drawn to The New Museum of Contemporary Art in SoHo for the way it sought to explore ideas about the nature of art, the way it defied standard institutional practice, and the way it brazenly undermined conventional expectations of the museum experience. The New Museum confronted the common assumptions about what art is and the way arts organizations relate to our culture. Here was a museum that took risks, that did not claim to know all the answers, but was willing to systematically open itself to criticism as part of its mission. The New Museum provided me the opportunity to explore the possibilities not described in the textbooks. I knew this organization would inevitably pose a new set of problems, but I was sure it was just as likely to set forth new solutions as well. As it turned out, my original semester-long internship became a year-long adventure that provided me the chance to work closely with the influential director of a major New York art museum, the responsibility of overseeing an installation in one of its smaller galleries, and, ultimately, the opportunity to assume the position of coordinator of an exhibition that encompassed the entire museum. Were it not for this museum's willingness to take a chance on an unproven quantity, to trust, to try the untried, I would not have gained so soon the experience and confidence that this institution so freely granted.
4
Andrews, Krista M. "Reduced Model Analysis of Performing Arts Programming at the Massachusetts Museum of Contemporary Art, 2002-2005." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1216910235.
Full text
5
Reilly-Brown, Elizabeth. "Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.
Full textAbstract:
This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.
6
McVeigh, Corinne. "The Stockbridge-Munsee Tote at the National Museum of the American Indian." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/152.
Full textAbstract:
This thesis constructs the cultural biography of the National Museum of the American Indian’s Stockbridge-Munsee tote, a twentieth-century souvenir craft, in order to examine the tote’s cultural and cross-cultural associated meanings and how these associated meanings shift from one context to another. It follows the tote’s history including its production, purchase, and transfer. This thesis briefly recounts the Stockbridge-Munsee Indians’ history and focuses on a few examples of craft objects produced prior to the 1960s, when the Stockbridge-Munsee tote was made. Wisconsin Indian Craft, a craft cooperative formed in the 1960s, produced objects such as the Stockbridge-Munsee tote. This tote, along with seventeen other Wisconsin Indian Craft souvenirs, was purchased by the Department of the Interior Indian Arts and Crafts Board in 1964 and transferred to the National Museum of the American Indian’s collection in 2000. This thesis analyzes the advantages and disadvantages of the inclusion of the Stockbridge-Munsee tote in the National Museum of the American Indian’s collection. From constructing the Stockbridge-Munsee tote’s cultural biography, this thesis concludes that the tote’s associated meanings do not merely shift from context to context. Rather, these associated meanings build upon one another to create layers of coexisting associated meanings.
7
Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.
Full text
8
Seiler, Jena M. "Sensing Security through Contemporary Art and Ethnographic Encounters." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou151022822064186.
Full text
9
Liegey, Edith. "Ecomorphisme(s), vers une culture du vivant : formes et évolution d'une symbolique de l'écologie dans l'art contemporain." Thesis, Paris, Muséum national d'histoire naturelle, 2018. http://www.theses.fr/2018MNHN0029.
Full textAbstract:
L’écomorphisme — oikos/habitat et morphé/forme — est le résultat d’une adaptation d’une espèce vivante suivant son environnement. Appliqué à l’art, récurrence d’œuvres, scénographies et récits d’expositions, l’écomorphisme est ce processus d’adaptation qui change nos perceptions et notre conscience écologique vers une culture du vivant. Comment des artistes réussissent-ils à créer une relation singulière au vivant qui perdure dans le temps ? Par delà un panorama de formes de nature en crise, des artistes fabriquent des points de vue et des liens singuliers en symbiose avec le vivant. Vu(e) des arbres et des nuages, postes d’observation symboliques de notre environnement —plus de 90 expositions expérimentées in situ— nous avons analysé les relations complexes entre création artistique, effets esthétiques expérimentés in situ, scénographies d’installation, récits d’exposition et prise de conscience écologique. Suivons la piste de l’écomorphisme, (r)évolution silencieuse, tel un envahissement artistique de formes de la nature sauvage au musée et autant de possibilités de rencontres du vivant capables de nous trans-former. Formes contemporaines de la nature, (éco)morphogénéalogie Notre premier corpus de formes s’est révélé à 70% européen —174 artistes internationaux—d’après une classification de 800 œuvres en lien avec les principes d’écologie diffusées —et légitimées— dans les musées en France de 2012 à 2016. Un second corpus est extrait sur la symbolique des arbres, figure statistique la plus fréquente, puis des nuages, objet-symbole émergent au 21e siècle. Une esthétique de la complexité confirme la nécessité d’ordonner ses formes. Ainsi, notre création d’(éco)morphogénéalogie en cinq branches principales est liée aux mouvements dans l’histoire de l’art et de l’écologie à partir de 1916. Nous avons classé les branches —et filiations— par ordre d’importance : 1. biomorphisme écologique (sculptures intra-muros) ; 2. l’art environnemental dans l’environnement extérieur ; 3. l’art écosystème technologique en mimèsis de milieux naturels et artificiels ; 4. l’arte povera et l’art du rebut ; 5. bioart lié à la génétique et l’hybridation du vivant. Vu(e) des arbres au musée-ville, « perchoirs » symboliquesLa singularité du musée « perchoir » réside dans sa capacité à conserver la beauté manifeste de la nature dans la ville. Avatar du monde humain de la ville, le musée cultive des forêts symboliques. Les formes de la nature en crise sont un signal visible symbolique de conscience écologique et de culture du vivant au musée. A posteriori, la singularité et l’efficacité d’œuvres et expositions tient d’un processus de création-observation d’un écosystème in vivo et d’une capacité à restituer des liens avec des êtres vivants. Nous qualifions ces voies de passage fécondes d’écologie artistique (éco)poétique cultivée à la fois dans les objets et la littérature des musées. Nous suggérons que les musées et leurs expositions sont devenus des « perchoirs » contemporains. Sorte d’appel de la forêt symbolique à vivre en lien avec le vivant, le musée-perchoir est un observatoire essentiel d’évolution de nos sociétés.Au-dessus des nuages de crise, théorie de l’écorphisme et prospectiveL’ambiguïté du nuage, objet-symbole, réside autant dans l’annonce du danger qu’il prévient que dans celui qu’il occasionne. Le nuage sert d’inducteur théorique à Aristote, Descartes, Howard ou Damisch. Nos analyses démontrent un Homme en recherche d’un renouvellement de positionnement vis-à-vis de la nature. La place de l’humain n’est plus au-dessus de la nature mais au milieu du vivant via un ADN symbolique commun. Des formes à l’écopoétique singulière et sur-réaliste révèlent une autre réalité que nous ne percevons plus. In fine, l’écomorphisme agit comme la conscience d’un patrimoine génétique où se mêlent formes naturelles et artificielles. N’est-il pas temps de reconsidérer ces formes tel un enjeu culturel d’évolution du vivant ?<br>Ecomorphism—from oikos as habitat and morphé as form—is the result of a species’ adaptation to its environment. Applied to the recurrence of artistic works, scenographies and exhibition narratives, ecomorphism is this process of adaptation that pushes our perceptions and ecological consciousness towards a culture of the living. How do artists manage to create over time a unique long term relationship with the living world? Beyond a panorama of forms of nature in crisis, artists create singular point of views and links in symbiosis with the living world. From the point of view of trees and clouds, symbolic observation posts of our environment—more than 90 experienced exhibitions in situ—we have analysed the complex relationships between artistic creation, aesthetic effects experienced in situ, installation scenographies, exhibition narratives and ecological awareness. Let us follow the path of ecomorphism that leads through a silent (r)evolution like an artistic invasion of wild nature forms in a museum and as many opportunities of transformative encounters with the living world.Contemporary forms of nature, (eco)morphogenealogyOur first corpus of forms was revealed to 70% European—174 international artists—according to a classification of 800 works related to the principles of ecology disseminated—and legitimised—in museums in France from 2012 to 2016. A second corpus is extracted on the symbolism of trees, the most common statistical figure, then clouds, object-symbol emerging in the 21st century. An aesthetic of complexity confirms the need to order its forms. Thus, our creation of (eco)morphogenealogy into five main branches is related to the movements in the history of art and ecology from 1916. We have classified the branches—and filiations—in order of importance: 1. ecological biomorphism (intra-muros sculptures); 2. environmental art in the external environment; 3. technological ecosystem art in mimèsis of natural and artificial environments; 4. arte povera and recycling art; 5. bioart related to genetics and hybridization of the living. From trees at city museum, symbolic “perches”The uniqueness of the “perch” museum lies in its ability to preserve the manifest beauty of nature in the city. Avatar of the human world of the city, the museum cultivates symbolic forests. The forms of nature in crisis are a symbolic visible signal of ecological awareness and culture of the living in a museum. Retrospectively, the singularity and effectiveness of works and exhibitions result from a process of creation-observation of in vivo ecosystem and an ability to restore links with living beings. We define these fertile pathways of passage as artistic (eco)poetic ecology cultivated both in objects and in the litterature of museums. We suggest that museums and their exhibitions have become contemporary “perches”. As a call of symbolic wild to live in relation with the living, the perch-museum is an essential observatory on evolution of our society. Above the clouds of crisis, ecomorphism theory and prospective analysisThe ambiguity of the cloud, object-symbol, resides as much in the announcement of the danger it prevents, as in the one it may cause. The cloud serves as a theoretical driver for Aristotle, Descartes, Howard or Damisch. Our analyses show a human in search of a renewal of positioning in relation to nature. The place of human beings is no longer above nature but in the middle of the livings, via a common symbolic DNA. Forms with unique and over-realistic ecopoetics reveal another reality that we no longer perceive. In the end, ecomorphism acts as the consciousness of a genetic heritage where natural and artificial forms mingle. Is it time to reconsider these forms as a cultural challenge of living evolution?
10
Chawaga, Mary. "The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1066.
Full textAbstract:
Museums are culturally constructed as places dedicated to tastemaking, preservation, historical record, and curation. Yet the contemporary isn’t yet absorbed by history, so as museums incorporate contemporary art these commonly accepted functions are disrupted. Through case studies, this thesis examines the successes and failures of three New York museums (MoMA, Dia:Beacon and New Museum) as they grapple with the challenging, perhaps irresolvable, tension between the contemporary and the very idea of the museum.
Books on the topic "Museum of Contemporary Native Arts"
1
1945-, Sandfield Norman L., ed. Native American bolo ties: Hand-crafted vintage and contemporary. Museum of New Mexico Press, 2011.
Find full text
2
Modern & contemporary art at the Virginia Museum of Fine Arts. Virginia Museum of Fine Arts, 2007.
Find full text
3
1946-, Varnedoe Kirk, Antonelli Paola, Siegel Joshua, and Museum of Modern Art (New York, N.Y.), eds. Modern contemporary: Art since 1980 at MoMA. 2nd ed. Museum of Modern Art, 2004.
Find full text
4
Celebrating difference: Fifty years of contemporary native arts education at IAIA, 1962-2012. Sunstone Press, 2012.
Find full text
5
The cinematic experience: Film, contemporary art, museum = film, arte contemporanea, museo. Campanotto, 2010.
Find full text
6
McBride, Delbert J. 100 years of native American arts: Six Washington cultures : November 19, 1988-January 15, 1989. Tacoma Art Museum, 1988.
Find full text
7
Peter, Weibel, Buddensieg Andrea, Araeen Rasheed, Internationales Forschungszentrum Kulturwissenschaften, and Zentrum für Kunst und Medientechnologie Karlsruhe., eds. Contemporary art and the museum: A global perspective. Hatje Cantz, 2007.
Find full text
8
Tada, Tomio, and Reiko Kokatsu. Noontime Meditation. Contemporary Japanese Art having Inner Sight: Tochigi Prefectural Museum of Fine Arts. Tochigi Prefectural Museum of Fine Arts, 1999.
Find full text
9
Bijutsukan, Kyōto Kokuritsu Kindai, and Tōkyō Kokuritsu Kindai Bijutsukan, eds. Contemporary British crafts: 18 October - 11 December 1988, National Museum of Modern Art, Kyoto, 5 January - 12 February 1989, Crafts Gallery, National Museum of Modern Art, Tokyo. National Museum of Modern Art, 1989.
Find full text
10
Roger Williams Park (Providence, R.I.). Museum of Natural History, ed. All things connected: Native American creations : selections from the Native American collection, the Museum of Natural History, Roger Williams Park, Providence, Rhode Island. The Museum, 1995.
Find full textBook chapters on the topic "Museum of Contemporary Native Arts"
1
Woodward, Wendy. "‘The Only Facts are Supernatural Ones’: Dreaming Animals and Trauma in Some Contemporary Southern African Texts." In Indigenous Creatures, Native Knowledges, and the Arts. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56874-4_12.
Full text
2
King, C. Richard. "Toward the Deconstructive Reconstruction of the Museum." In Colonial Discourses, Collective Memories, and the Exhibition of Native American Cultures and Histories in the Contemporary United States. Routledge, 2021. http://dx.doi.org/10.4324/9781003249115-6.
Full text
3
Tepora, Tuomas. "The Image of Marshal Mannerheim, Moral Panic, and the Refashioning of the Nation in the 1990s." In Palgrave Studies in the History of Experience. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69882-9_14.
Full textAbstract:
AbstractThis chapter shows how the social and political changes in Finnish society in the early 1990s were reflected in the images of C. G. E. Mannerheim (1867–1951), the Marshal of Finland. By looking at the debate concerning the construction of the Museum of Contemporary Art right next to the Mannerheim equestrian statue in Helsinki, Tepora analyzes the public dispute as a moral panic that sprang from the 1990s recession, the collapse of the Soviet Union, and joining the European Union. Arguing for the study of nontotalitarian personality cults, Tepora shows how the opposing sides in the debate either rose to defend the conservative Mannerheim image as an unchanging emotional figure or recoded the figure to reflect their liberal and cosmopolitan perspectives.
4
Herruzo, Ana, and Nikita Pashenkov. "Collection to Creation: Playfully Interpreting the Classics with Contemporary Tools." In Proceedings of the 2020 DigitalFUTURES. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4400-6_19.
Full textAbstract:
AbstractThis paper details an experimental project developed in an academic and pedagogical environment, aiming to bring together visual arts and computer science coursework in the creation of an interactive installation for a live event at The J. Paul Getty Museum. The result incorporates interactive visuals based on the user’s movements and facial expressions, accompanied by synthetic texts generated using machine learning algorithms trained on the museum’s art collection. Special focus is paid to how advances in computing such as Deep Learning and Natural Language Processing can contribute to deeper engagement with users and add new layers of interactivity.
5
Rockman, Deborah A. "Teaching Essential Drawing Principles in Relation to the Human Figure." In The Art of Teaching Art. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195130799.003.0007.
Full textAbstract:
There is perhaps no more significant experience in the study of drawing than the study of the human figure. One needs only to look to the ancient Greeks and to the Renaissance masters to recognize the historical importance of the human form in the study of the visual arts and the refinement of visual expression. Although the figure’s presence and significance during the period known as modernism and in contemporary art has ebbed and flowed, its influence is always felt to some degree, and no classical or traditional art education would be complete without a substantial focus on drawing and studying the human form. Much debate is currently taking place about the changing role and responsibility of foundation courses for students studying both the fine and applied arts. If we examine those aspects that the fine and applied arts have in common, we find that a concern for communication is paramount, whether it takes place in a gallery or museum, in a television or magazine ad, on a showroom floor, on a computer monitor, or in any number of other locales. The power of the human form to communicate cannot be overstated, primarily because it is what we are. We have things in common with other humans that we have in common with nothing else. Looking at a human form in any context has the potential to provide us with the experience of looking in the mirror, of seeing our own reflection, so to speak. It follows that any significant experience in visual communication must thoroughly examine the role of the figure, and for the visual artist this requires experience with drawing the figure. The fine and applied arts also have in common a concern for principles of design and aesthetics. If we acknowledge the presence of these principles in nature, then we may also recognize an element of universality. Quite simply, I can think of no finer example of the application of principles of design and aesthetics than the living, breathing human form, and the human form is universal.
6
Clary, Renee M. "The present is the key to the paleo-past: Charles R. Knight’s reconstruction of extinct beasts for the Field Museum, Chicago." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(18).
Full textAbstract:
ABSTRACT Although he was legally blind, Charles R. Knight (1874–1953) established himself as the premier paleontological artist in the early 1900s. When the Field Museum, Chicago, commissioned a series of large paintings to document the evolution of life, Knight was the obvious choice. Knight considered himself an artist guided by science; he researched and illustrated living animals and modern landscapes to better understand and represent extinct life forms within their paleoecosystems. Knight began the process by examining fossil skeletons; he then constructed small models to recreate the animals’ life anatomy and investigate lighting. Once details were finalized, Knight supervised assistants to transfer the study painting to the final mural. The Field Museum mural process, a monumental task of translating science into public art, was accompanied by a synergistic tension between Knight, who wanted full control over his artwork, and the museum’s scientific staff; the correct position of an Eocene whale’s tail—whether uplifted or not—documents a critical example. Although modern scientific understanding has rendered some of Knight’s representations obsolete, the majority of his 28 murals remain on display in the Field Museum’s Evolving Planet exhibit. Museum educators contrast these murals with contemporary paleontological knowledge, thereby demonstrating scientific progress for better public understanding of the nature of science.
7
Martin, Pauline, and Carole Sandrin. "Exhibiting Gabriel Lippmann: A Collaborative Challenge." In Gabriel Lippmann's Colour Photography. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463728553_ch10.
Full textAbstract:
This essay aims to show how the nature of cultural goods initiates specific collaborative approaches. Photo Elysée, Museum for Photography owns 138 Lippmann interferential plates, one of the largest collections in the world. Donated by descendants of Lippmann’s in-laws in the 1990s, these plates are among the wonders of the collection, which counts over one million photographic objects. This article aims to explain what such a collection brings to the institution in terms of opening up to external disciplines and collaborations which, in turn, nourish the museum’s work in a much broader way. At the intersection of the history of colour photography, science and contemporary art, Lippmann plates push the museum beyond its borders.
8
Berio, Janet Catherine, and Ruth B. Phillips. "Our (Museum) World Turned Upside Down: Re-presenting Native American Arts." In Grasping the World. Routledge, 2019. http://dx.doi.org/10.4324/9780429399671-46.
Full text
9
Machotka, Ewa. "Exhibiting the Return to terroir." In Ca’ Foscari Japanese Studies. Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-264-2/007.
Full textAbstract:
In his seminal work on landscape David Cosgrove observed that ‘nature’ as a socio-cultural construct has always functioned as one of the favorite focuses of cultures when humanity is in crisis. Taking this thesis as a theoretical point of departure, this study explores a contemporary art exhibition Sensing Nature: Yoshioka Tokujin, Shinoda Tarō, Kuribayashi Takashi. Rethinking the Japanese Perception of Nature, staged in 2010 at the Mori Art Museum in Tokyo. The study investigates the strategies used in contemporary exhibiting practices to establish alternative sources of collective identification, and the role of the notion of ‘nature’ in these processes. It explores the recent shift from the perception of the world as the globe into the national terroir as discussed by Bruno Latour and exposed in the conceptual design of Sensing Nature, which returns to the nation-specific notion of “the Japanese perception of nature”. This maneuver demonstrates both the role of art in building social and ecological resilience; and the ambivalent potential of culture in the politics of nature.
10
Schero, Jennifer. "Docents and Museum Education." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7426-3.ch012.
Full textAbstract:
Many art museums rely upon volunteers, often titled docents, to implement a range of educational offerings, including guided gallery experiences. As such, docents regularly engage visitors more than most museum staff members. A review of literature spanning over a century provides support for an examination of four reoccurring themes within museum education and docent history: uncertain definitions, professionalization, theoretical foundation, and embedded traditions. Subsequently, consideration of the past offers context for examining contemporary museum education programs that develop the capacity of docents as change agents, including offerings during the COVID-19 pandemic and developing inclusive practice through docent education. The chapter concludes with an envisioning of the future for docents within museum education.
Conference papers on the topic "Museum of Contemporary Native Arts"
1
Lima, Cláudia, Susana Barreto, and Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.
Full textAbstract:
This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.
2
Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.
Full textAbstract:
El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la postura de los museos mexicanos a este respecto es reservada, existe una apertura a prácticas con perspectiva de género, desde sus investigaciones, oferta cultural y exposiciones temporales. Con las medidas de confinamiento derivadas del COVID-19, quedó claro que las estrategias de los museos para continuar sus actividades, se centraron y volcaron en las Redes Sociales y sus páginas web. Asimismo, se lograron continuar no solo con las prácticas con perspectiva de género que incipientemente se realizaban en estos espacios, si no que se incrementaron los contenidos de corte feminista y de acción política cultural.Entre los ejemplos más notables estuvieron la apertura de nuevos espacios virtuales como lo hizo el Museo Universitario de Arte Contemporáneo, con su Instagram Brillantinas MUAC, en donde se publican diversos materiales feministas desde la cultura y se ínsita al diálogo y la profundización de varios temas con perspectiva de género.Por otro lado, la actividad digital y cultural a raíz de la Conmemoración del Día Internacional para la Eliminación de las Violencias contra las Mujeres, fue adoptada por una gran cantidad de museos desde privados hasta estatales, ya sea con una mención al tema o una actividad o serie de actividades al respecto. Fue un ejercicio que trascendió a los 10 días de activismo y que obtuvo una interesante respuesta tanto negativa como positiva dentro de los públicos.Finalmente, uno de los ejercicios más interesantes que se lograron a pesar de las dificultades por la situación sanitaria, fue la iniciativa “Laboratoria: Mujeres en el Museo” lanzada por el Observatorio Raquel Padilla del Instituto Nacional de Antropología e Historia, que por medio de diversas herramientas digitales, se pudo llevar a cabo un ejercicio feminista y de soberanía digital en la elaboración de prototipos con perspectiva de género y para la prevención de las violencias contra las mujeres.-------- The objective of this communication is to present some feminist practices that have made use of technologies in museums in Mexico, as well as to reflect on digital sovereignty, the cultural rights that are exercised in social networks and if they are registered in the "Feminist internet" from museums.In recent years, feminist movements in Mexico have taken on political relevance, in public spheres and social intervention. Many of them have been judged negatively for making use of cultural property, which has triggered polarized opinions.Although the position of Mexican museums in this regard is reserved, there is an openness to practices with a gender perspective, from their research, cultural offerings and temporary exhibitions. With the confinement measures derived from COVID-19, it was clear that the museums' strategies to continue their activities were focused and turned over to Social Networks and their web pages. Likewise, it was possible to continue not only with the practices with a gender perspective that were incipiently carried out in these spaces, but also the contents of a feminist nature and of cultural political action were increased.Among the most notable examples were the opening of new virtual spaces such as the University Museum of Contemporary Art, with its Instagram Brillantinas MUAC, where various feminist materials from culture are published and the dialogue and the deepening of various issues are encouraged. gender perspective.On the other hand, the digital and cultural activity as a result of the Commemoration of the International Day for the Elimination of Violence against Women, was adopted by a large number of museums from private to state, either with a mention of the subject or an activity or series of activities in this regard. It was an exercise that transcended 10 days of activism and that obtained an interesting negative and positive response from the public.Finally, one of the most interesting exercises that were achieved despite the difficulties due to the health situation, was the initiative "Laboratory: Women in the Museum" launched by the Raquel Padilla Observatory of the National Institute of Anthropology and History, which through various digital tools, it was possible to carry out a feminist exercise and digital sovereignty in the development of prototypes with a gender perspective and for the prevention of violence against women.
3
Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.
Full textAbstract:
Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog & McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., & Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., & McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, & A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.
4
Nie, Wenzhen. "Research on Visual Guidance Design of Ethnology Museum." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.084.
Full text
5
Mezzadri, Paola, Francesca Valentini, and Maria-Concetta Capua. "CRITICAL AND ANALYTICAL APPROACHES IN A CONTEMPORARY MURAL PAINTING' RETOUCHING PROCESS: THE KEY STUDY OF MURALS BY ANTONIO CARENA." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13580.
Full textAbstract:
This paper focuses on critical and analytical approaches behind the reintegration process in the conservation project of two contemporary mural paintings designed by Antonio Carena and located in the outdoor contemporary museum of Piscina in Italy. Moreover, there will be evaluated materials and techniques applied, in this selected case study, where contemporary criteria on chromatic reintegration, still connected to a case by case situation, confirm that the aesthetic presentation of a work of art is the phase of the restoration in which the exquisitely critical nature of the intervention is best expressed, since it implies a scientific plan at the basis and the objective critical judgment of the operator which is called to interpret some formal, visual and historical values of the work of art, acting on them. Finally, there will be analysed theoretical and technical methodologies to explain how scientific criteria, which are also objective and based on the visual perception of colour by the human psyche and its consequent aesthetic elaboration, passes through a scientific-critique interpretation of the constituent materials in the work of art.
6
Sun, Qian, and Haibin Dong. "Application of Xinjiang Native Culture in Modern Design." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.97.
Full text
7
Wang, Yiwen. "Research on the Application of IP Visual Presentation Design in Museum." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.076.
Full text
8
Ma, Jiaying. "Research on Dissemination and Translation of Contemporary Literature in Shaanxi Native Culture." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.158.
Full text
9
Wang, Chen. "Discussion on the Innovation of Museum Cultural Communication Mode in the Post-digital Era." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.044.
Full text
10
Cao, Xin. "The Design of Intangible Cultural Heritage Museum in Fujian Province Based on Situation Creation." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.097.
Full textReports on the topic "Museum of Contemporary Native Arts"
1
Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, 2018. http://dx.doi.org/10.18665/sr.308086.
Full text
2
Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, 2018. http://dx.doi.org/10.18665/sr.309177.
Full text
3
Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
Full textAbstract:
The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.