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1
Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.
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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017
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Hughes, Sarah Anne. "Contemporary publishing by national museums and art galleries in the UK and its future." Art Libraries Journal 39, no. 3 (2014): 34–41. http://dx.doi.org/10.1017/s0307472200018423.
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Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.
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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.
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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
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Lindgren, Liisa. "The monitoring and documenting of contemporary art at the Central Archives in Helsinki." Art Libraries Journal 27, no. 2 (2002): 28–31. http://dx.doi.org/10.1017/s0307472200012670.
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The Central Art Archives, founded in 1990 as a documentation and research institution within the Finnish National Gallery, have attempted to accept the challenges that contemporary art presents to archiving by realising extensive documentation projects covering conceptual, performance, land and environmental art in Finland. The corpus of documentary material includes photographs, slides, videos, interview transcripts, exhibition catalogues, etc. Currently the Central Art Archives is working together with the Museum of Contemporary Art Kiasma on a media art project.
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Karlinsky, Amy. "Art exhibition catalogues. BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages." Études/Inuit/Studies 28, no. 1 (2004): 161. http://dx.doi.org/10.7202/012645ar.
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Isomäki, Irmeli. "Documenting art in Finland." Art Libraries Journal 13, no. 1 (1988): 20–22. http://dx.doi.org/10.1017/s0307472200005514.
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Literature on Finnish art can be sought via the national bibliography and periodicals indexes and a bibliography of Finnish history; these bibliographies are available as databases as well as in printed form and on microfiche. A working party on art libraries is looking into ways of widening bibliographical control of art literature. The publications themselves, and unpublished information, can be found in libraries and archives of several kinds, from the Library of Helsinki University to the libraries and archives of colleges of art and architecture, museums, and artists’ associations. Many of these organisations are active in gathering and publishing information. The Fine Arts Academy of Finland administers the Art Musum of the Ateneum, Finland’s national gallery, and maintains extensive collections of visual resources, exhibition catalogues, periodicals, and press clippings.
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der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.
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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art, especially the fine and decorative arts, in the major European languages. Some sources for obtaining new publications from India are noted.
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Arnadottir, Arndis S. "Art and libraries in Iceland." Art Libraries Journal 12, no. 2 (1987): 18–20. http://dx.doi.org/10.1017/s0307472200005149.
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Iceland’s cultural heritage dates back to the Vikings. While crafts have always been important to the Icelandic way of life, the country has become much more art and design conscious with the development of educational and cultural institutions in the last hundred years. The National Library receives copies of all Icelandic publications and publishes the Icelandic national bibliography (which includes art but omits some exhibition catalogues); in addition the Library of the National Gallery collects all published literature on Icelandic art. There is a major art collection in the University Library and a specialist art library at the Icelandic College of Arts and Crafts. The Nordic House at Reykjavίk accommodates an artotek. Because of its isolation, Iceland is unusually dependent on libraries for knowledge of world art, and much work remains to be done on the bibliography of Icelandic art. However, art librarianship has made substantial progress since the 1970s, and training in art librarianship is available.
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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.
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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.
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Lewis-Jones, Huw W. G. "‘Heroism displayed’: revisiting the Franklin Gallery at the Royal Naval Exhibition, 1891." Polar Record 41, no. 3 (July 2005): 185–203. http://dx.doi.org/10.1017/s0032247405004432.
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The Royal Naval Exhibition (RNE) of 1891 offers an important entry point for the study of naval mythmaking. Scrutinising one part of the RNE showcase, ‘The Franklin Gallery,’ highlights the imaginative potential of the polar regions as a resource for imperial visions. This paper provides a review of the RNE and, more closely, considers the ideology of polar exploration in the context of political debate and naval reforms. The utility of images of the Arctic presented at the RNE is discussed, in particular, its role in displaying the ‘heroic martyrdom’ of Sir John Franklin (1786–1847). The paper draws upon an extensive study of late nineteenth-century newspapers, illustrated weeklies, periodical reviews, popular adult and juvenile literature, art, poetry, pamphlets, exhibition catalogues and handbooks, and associated ephemera. It argues that the RNE played a central part in the construction and enshrining of narratives of naval and national achievement in the late-Victorian period and in reviving a British commitment to the exploration of the polar regions.
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Romanowska-Zadrożna, Maria. "A KNIGHT IN THE SERVICE OF ART. HANNA BENESZ IN MEMORIAM (1947–2019)." Muzealnictwo 62 (March 17, 2021): 13–22. http://dx.doi.org/10.5604/01.3001.0014.8096.
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Hanna Benesz graduated from the Institutes: of Art History and of Applied Linguistics at the University of Warsaw. Her whole career launched in 1975 remained inseparably connected with the National Museum in Warsaw, where she worked at the Gallery of European Art curating the Flemish and Dutch collections. She followed all the promotion steps: from assistant to curator. Benesz strongly believed that museum curator’s job was grounded in a perfect knowledge of the collection. Thanks to her research conducted into the paintings amassed in National Museum’s storerooms, she successfully attributed a substantial number of works and identified provenance of many. She studied iconography applying research methods worked out by iconology. Moreover, she focused on the paintings’ technical condition, this occasionally leading to spectacular ‘restorations’, e.g. the identification of a genuine work by Abraham Janssens (ca 1575–1632) the Lamentation of Christ in a forgotten work, previously considered to be a copy. Author and co-author of many exhibitions, she cooperated with museum curators around the world. Her exhibition on Baroque art reached as far as Japan. Benesz’s intention was not only to present the paintings from the National Museum’s collections through a direct contact of visitors with the works, but also in publications, mainly in English and online. As soon as she became curator, together with Maria Kluk she focused on working out the reasoned catalogue Early Netherlandish, Dutch, Flemish and Belgian Paintings 1494–1983 in the Collections of the National Museum in Warsaw and the Palace at Nieborów. Complete Illustrated Summary Catalogue, published in 2016. A year later, the Catalogue was honoured with the main prize in the Sybilla Competition in the category for publications, while the King of the Netherlands awarded Hanna Benesz with the chivalric Order of Orange-Nassau (Oranje-Nassau) of the 5th grade; she was decorated with it by the Ambassador of the Kingdom of the Netherlands during the 20th CODART Congress held at the Warsaw Łazienki Palace. Not only was Hanna Benesz an outstanding museum curator and scholar, but also a trusted friend and a warm empathetic person, sensitive to other people’s misfortunes.
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MILLER, J. ALISON. "The Life of Animals in Japanese Art. Exhibition. National Gallery of Art, Washington D.C. June 2, 2019–August 18, 2019. / Robert T. Singer and Kawai Masatomo, eds., with essays by Barbara R. Ambros, Tom Hare, and Federico Marcon. The Life of Animals in Japanese Art. Exhibition catalogue. Washington, D.C.: National Gallery of Art, 2019." Journal of Asian Humanities at Kyushu University 5 (March 2020): 97–102. http://dx.doi.org/10.5109/2794927.
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Reist, Inge Jackson. "William R. Rearick. The Art of Paolo Veronese, 1528-1588 (Exhibition Catalogue). Intro. Terisio Pignatti. Cambridge-New York: Cambridge University Press [for the] National Gallery of Art, 1988. ix + 212 pp. 181 illus.; 82 color." Renaissance Quarterly 43, no. 2 (1990): 422–25. http://dx.doi.org/10.2307/2862389.
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Terry, Andrea. "The Currency of Alex Colville. Alex Colville, AGO, 23 August 2014 to 4 January 2015, National Gallery of Canada 23 April to 7 September 2015, curated by Andrew Hunter; and Andrew Hunter, ed., Colville, exhibition catalogue Art Gallery of Ontario and National Gallery, Goose Lane Editions, 2014, hardcover, 168 pp., $45.00. ISBN: 9780864920171." RACAR : Revue d'art canadienne 40, no. 1 (2015): 108. http://dx.doi.org/10.7202/1032762ar.
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György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (March 30, 2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.
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In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Workers’ Party, Hun. MDP) cared less for “providing guidance for the arts”, as they were preoccupied with other, more troublesome problems. In the winter/spring after the revolution started on 23 October and crushed on 4 November the echelon of the HSWP (Hungarian Socialist Workers’ Party, Hun. MSzMP) had not decided yet whether to strike a league with extreme leftist artistic groups or to pay heed to Memos Makris (Hun. Makrisz Agamemnon), the ministerial commissioner designing the reform of the artists’ association and organizing the Spring Exhibition and to leave the artists – so-far forced into the strait-jacket of socialist realism – alone. I found some documents which shed bright light on the narrow-mindedness of the dogmatic artistic policy trying to bend the artists toward its goals now with the whip, now with milk cake.I start the series of recovered documents with a ministerial file dated summer 1956 on the decision to purchase Kondor’s diploma work (the Dózsa cycle). The next piece of good news is a record of the committee meeting in February 1957 awarding Kondor a Derkovits scholarship. This is followed by ministerial letters – mirrors of the new artistic policy – by a changed, truly partyist scholarship committee which apparently revel in lecturing talented Kondor who was not willing to give up his sovereignty, so his works were often refused to be bought on state funds for museums.In addition to whip-lashing documents, I also present a few which offered some milk cake: a letter inviting him to a book illustrating competition called by the Petőfi Literary Museum and one commissioning him to make the sheets on the Heves county part of a “liberation album”.Next, I put forth a group of illumining documents – long known but never published in details: the files revealing the story of the large panels designed for the walls of the “Uranium city” kindergarten in Pécs and those revealing the preparations for the exhibition in Fényes Adolf gallery in 1960 and the causes of the concurrent tensions – including texts on decisions to hinder the publication of Lajos Németh’s catalogue introduction.The last group includes futile efforts by architects to get Kondor commissions for murals. They give information on three possible works. Another for Pécs again (this time with Tibor Csernus), for works for a “men’s hostel” and on the failure of the possibility. The other is about works for Kecskemét’s Aranyhomok Hotel, another failure. The third is about a glass window competition for a new modern hotel to be built in Salgótarján, to which Kondor was also invited, but the jury did not find his work satisfactory in spite of the fact that the officials representing the city’s “party and council” organs, and the powerful head of the county and town, the president of the county committee of the HSWP all were in favour of commissioning him.Mind you, the architects’ efforts to provide the handful of modern artists with orders for “abstract” works caused headache for the masterminds of controlled art policy, too. On the one hand, they also tried to get rid of the rigidity of the ideologically dogmatic period in line with “who is not against us, is with us”, the motto spreading with political détente, and to give room to these genres qualified as “decoration”. On the other hand, they did not want to give up the figurative works of socialist contents, which the architects wanted to keep away from their modern buildings. A compromise was born: Cultural Affairs and the Art Fund remained supporters of figurative works, and the “decorative” modern murals, mosaics and sculptures were allowed inside the buildings at the cost of the builders.Apart from architects, naturally there were other spokesmen in favour of Kondor (and Csernus and the rest of the shelved artists). In an essay in Új Irás in summer 1961 Lajos Németh simply branded it a waste to deprive Kondor of all channels except book illustration, while anonymous colleagues of the National Gallery guided an American curator to him who organized an exhibition of Kondor’s graphic works he had packed into his suitcase in the Museum of Modern Art in Miami.From the early 1963 – as the rest of the explored documents reveal – better times began in Hungarian internal and cultural politics, hence in Béla Kondor’s life, too. The beginning is marked by a – still “exclusive” – exhibition he could hold in the Young Artists’ Studio in January, followed by a long propitiatory article urging for publicity for Kondor by a young journalist of Magyar Nemzet, Attila Kristóf. Then, in December Kondor became the Grand Prix winner of the second Graphic Biennial of Miskolc.From then on, the documents are no longer about incomprehensible prohibitions or at time self-satisfying wickedness, but about exhibitions (the first in King Stephen Museum, Székesfehérvár), prizes (including the Munkácsy Prize in April 1965), purchases, the marvellous panel for the Grand Hotel on Margaret Island, the preparations for the Venice Biennale of 1968, the exhibition in Art Hall/Műcsarnok in 1970 and its success, and Kondor’s second Munkácsy Prize.Finally, I chanced upon a group of startling and sofar wholly unknown notes which reveals that Béla Kondor was being among the nominees for the 1973 Kossuth Prize. News of his death on 12 December 1972, documents about the museum deposition of his posthumous works and the above group of files close the account of his life.I wrote a detailed study to accompany the documents. My intention was not to explain them – as they speak for themselves – but to insert them in the life-story of Kondor, trying to find out which and how, to what extent contributed to the veering of his life-course and to possibilities of publicity for his works. I obviously included several further facts, partly in the main body of the text, and partly in footnotes. Without presenting them here, let me just pick one or two.Events around the 1960 exhibition kindled the attention not only of the deputy minister of culture György Aczél, but also of the Ministry of the Interior: as Anikó B. Nagy dug out, they asked for an agent’s report on who Kondor was, what role he was playing among young writers, architects, artists, the circle around Vigilia and the intellectuals in general. Also: what role did human cowardice play in banning the panels for the Pécs kindergarten, and how wicked it was – with regulations cited – to ask back the advance money from an artist already hardly making a living with the termination of the Der ko vits scholarship. Again: what turn did modern Hungarian architecture undergo in the early sixties to dare and challenge the still prevalent culture political red tape? It was also a special experience to track down and describe the preparations for the Hungarian exhibition of the Venice Biennial of 1968 and to see how much caution and manoeuvring was needed even in those milder years to get permission for Béla Kondor (in the company of Tibor Vilt and Ignác Kokas) to feature in the pavilion. Finally, it was informative to follow the routes of Kondor’s estate as state acquisitions and museum deposits after his death which foiled his Kossuth Prize.
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Hoffman, Sheila K., Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim. "Exhibition Reviews." Museum Worlds 9, no. 1 (July 1, 2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.
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Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim
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Simon, Sherry. "Reflections on Translation Studies: Past and Present." TTR 30, no. 1-2 (May 31, 2019): 61–78. http://dx.doi.org/10.7202/1060018ar.
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This article is a reflection on translation studies and a suggestion for new directions in further research. The case study is that of the new labelling in the National Gallery of Canada which includes labelling in Indigenous languages.In June of 2017, the National Gallery opened newly renovated galleries with a special exhibition of Canadian and Indigenous Art. The translations which are part of this exhibition are important in redefining the identity of Canadian art.
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Lang, Sabine, and Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods." Arts 7, no. 4 (October 9, 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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Binkowski, Kraig. "Index to nineteenth-century Canadian catalogues of art; Index des catalogues d’art parus au Canada au xixe siècle. Jonathan Franklin. Library and Archives occasional papers 6; Bibliothèque et Archives, document hors série 6. Ottawa: National Gallery of Canada, 2004. 2 vols. ISBN 0888847866; 9780888847867. $175.00 (paper) - Index of National Gallery of Canada exhibition catalogues and checklists 1880-1930; Index des catalogues et des listes d’exposition du Musée des Beaux-arts du Canada 1880-1930. Philip Dombowsky. Library and Archives occasional papers 7; Bibliothèque et Archives, document hors série 7. Ottawa: National Gallery of Canada, 2007. 513 p.: ill. ISBN 0888848358; 9780888848352. $115.00 (paper)." Art Libraries Journal 33, no. 4 (2008): 43–44. http://dx.doi.org/10.1017/s0307472200015637.
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Smith, Tyler Jo. "Power and Pathos: Bronze Sculpture of the Hellenistic World." Museum Anthropology Review 10, no. 2 (December 31, 2016): 120–21. http://dx.doi.org/10.14434/v10i2.23066.
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Pageot, Edith-Anne. "L’art autochtone à l’aune du discours critique dans les revues spécialisées en arts visuels au Canada. Les cas de Sakahàn et de Beat Nation." Article quatre 9, no. 1 (October 17, 2018): 81–94. http://dx.doi.org/10.7202/1052629ar.
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This article offers a qualitative and quantitive analysis of the critical reception of two exhibitions, Sakahàn:International Indigenous Art (National Gallery of Canada, Ottawa 2013) and Beat Nation: Art, Hip-Hop and Aboriginial Culture (organised and circulated by the Vancouver Art Gallery, 2013-2014). The study treats articles which appeared between 2012 and 2015 in English and French visual-arts publications. The comparative analysis intends to highlight general trends, in order to identify challenges that contemporary Indigenous arts pose for art criticism. A review of the texts shows that all commentators, whether francophone or anglophone, indigenous or non-Indigenous, have welcomed these two exhibitions warmly. The discrepancy between the number of essays in French and those in English reflects the demographic weight of these two linguistic communities and the geographic distribution of First Nations in Canada. This will qualify, without denying, the hypothesis of Quebec's tardiness on the indigenous question. The authors largely recognize the necessity of initiating indigenization of the museum and emphasize the movement to internationalize contemporary indigenous art. Yet many commentators, particulary Indigenous people, dispute the efficacity of the concept of "strategic essentialism" put forward by the commissioners of the Sakahàn catalog. Despite both a real interest in these two major exhibitions and the quality of the commentary, in the end, for events of such a scale few texts have been published on the subject. The criteria for appreciation rooted in the institutional sociology of art endeavour to fully take into account the challenges posed by certain central aspects of the approach of several Indigenous creators, such as the intangible dimensions of their civic engagement, the dissolution of particular outside venues and the sisterhood of certain projects.
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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (December 28, 2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.
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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.
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Hilton-Smith, Simon, M. Elizabeth Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nalani Wilson-Hokowhitu, Fei Chen, Yi Zheng, and Xiaorui Guan. "Exhibition Reviews." Museum Worlds 10, no. 1 (July 1, 2022): 257–89. http://dx.doi.org/10.3167/armw.2022.100121.
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[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)
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Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (April 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.
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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however, was feeling less light-hearted about the demise of what Smith describes as a “useful bit of art-world indicator…[and] an indispensable constant creatively deployed by artists, avidly cherished by the ephemera-obsessed and devotedly archived by museums.”
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Soreanu, Cătălin, and Lavinia German. "5. From an Exhibition Gallery to a Space for Contemporary Art Projects. Aparte Gallery of Unage Iași." Review of Artistic Education 1, no. 24 (April 1, 2022): 204–14. http://dx.doi.org/10.2478/rae-2022-0025.
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Abstract This research aims to analyze the exhibitions activity of the Aparte Gallery of “George Enescu” National University of the Arts in Iași, from 2005 to 2020, respectively artistic projects created by students, teachers or guest artists of the Faculty of Visual Arts and Design. The multitude of artistic events formats includes exhibitions, workshops, conferences, book launches, residencies, bachelor and dissertation exams, and highlights the versatility of the gallery that has evolved, over time, into a real space of contemporary artistic projects, which encourages the artistic research and experiment in all FAVD’s specializations. The aim of the research is to relate the diversity of the artistic event formats, their thematics and mediatic variety, within the institutional context of university art education.
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Horgan, Joanne C. "Kohia Ko Taikaka Anake: An Exhibition at the National Art Gallery of New Zealand." Museum Anthropology 15, no. 4 (November 1991): 22–25. http://dx.doi.org/10.1525/mua.1991.15.4.22.
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Wijayanto, Heri. "Seniman sebagai Pemilik Galeri Studi Komparasi antara Tiga Manajemen Galeri Swasta di Yogyakarta." JURNAL TATA KELOLA SENI 2, no. 2 (December 21, 2017): 97–111. http://dx.doi.org/10.24821/jtks.v2i2.1854.
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Penelitian ini bertujuan untuk mengetahui perbedaan manajemen galeri swasta di Yogyakarta dan peran pemilik galeri yang berprofesi sebagai seniman, masing-masing galeri memiliki ciri khas yang membedakan dengan galeri lainnya. Manfaat penelitan ini menjelaskan tentang manajemen dalam galeri swasta, antara lain: “Museum Dan Tanah Liat”, “Kersan Art Studio” dan “Sangkring Art Space”. Seniman yang ingin berpameran setidaknya mengerti akan pentingnya jaringan pertemanan dan lebih memahami akan karakter galeri yang menjadi tujuan pameran. Metode yang digunakan dalam penelitian ini menggunakan metode kualitatif deskriptif dengan menggunakan data primer sebagaimana peneliti lakukan melalui wawancara kepada pemilik galeri dan manajemen galeri, sedangkan data sekunder digunakan untuk mendukung penelitian dengan mengumpulkan dokumen seperti katalog, poster dan media promosi yang digunakan dalam internet. Membandingkan hasil peneltian yang didapat dengan mencari perbedaan pada peran pemilik dan manajemen dalam galeri. Hasil penelitian ini menunjukkan bahwa setiap pemilik galeri memiliki peran masing-masing terhadap manajemen. Kurator dalam sebuah manajemen memiliki peran yang sangat penting untuk menafsirkan karya seni rupa dan mematangkan sebuah konsep kegiatan pameran. Jaringan pertemanan menjadi paling penting dalam sebuah galeri, karena setiap galeri yang memamerkan karya seni tidak jauh dari pertemanan tersebut. Direktur atau General Manager sebagai pengendali utama dalam manajemen, galeri rata-rata tidak memiliki latar belakang pendidikan manajemen, meski demikian, manajemen galeri menerapkan teori fungsi manajemen mengenai; 1) Perencanaan dan penyusunan strategi, 2) Pengorganisasian, 3) Pengendalian, 4) Memimpin dan mengembangkan karyawan. This study aims to determine the differences between private gallery management in Yogyakarta and the role of gallery owners who work as artists. Each gallery has distinctive characteristics that differentiate it from others. The benefit of this research explains about the management of private galleries: "Museum dan Tanah Liat", "Kersan Art Studio" and "Sangkring Art Space". Artists who want to exhibit their artworks should at least understand the importance of friendship networking and better understand the character of the gallery in which the exhibition is held. The method used in this study is descriptive qualitative in which primary data was obtained by interviewing gallery owners and gallery management, while secondary data was used to support research by collecting documents such as catalogs, posters and promotional media in the internet. Then, the data was processed by coding the indicator that became the result of the interview and analysis. The result of the analysis is to compare the three galleries with the differences in each of the galleries. There is a difference in the role of gallery owners to the management, program activities and criteria of the artworks exhibited in each gallery. The results of this study indicate that each gallery owner has their own respective roles toward management. The curator in a management has a very important role to interpret the artworks and finalize a concept of exhibition activity. Friendships are the most important in a gallery because every gallery exhibit artworks which are not far from that friendship. Evenly, directors or general managers as the main controller in management does not have management education background, however, the gallery management implements the management function theory regarding; 1) strategic planning and preparation, 2) organizing, 3) controlling, 4) leading and developing employees.
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Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (June 2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.
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Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations
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Ratajczak, Mirosław. "MARIUSZ HERMANSDORFER (1940–2018)." Muzealnictwo 59 (October 7, 2018): 219–22. http://dx.doi.org/10.5604/01.3001.0012.6192.
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Mariusz Hermansdorfer (1940–2018) passed away in Wrocław on the 18th of August this year. He was a director of the National Museum in Wrocław in the years 1983–2013, custodian of the contemporary art department of this museum from 1972, critic, curator of exhibitions, one of the most significant figures in Polish Culture of the past half-century. Born in Lviv, he studied art history at the University of Wrocław. While still at university, he started working for the Silesian Museum (since 1970 named the National Museum). In 1967, he moved to the branch of the Municipal Museum of Wrocław – the Museum of Current Art, which at the time was getting ready for its opening. There he worked together with Jerzy Ludwiński, one of their achievements being the memorable Fine Arts Symposium Wrocław ’70, and was engaged in the activity of the Mona Lisa Gallery run by Ludwiński. He returned to the National Museum in 1972, and became a custodian of the contemporary art department up to his retirement in 2013. There he created, starting practically from scratch, one of the best collections of Polish contemporary art in the country, abundant in works of such artists as Magdalena Abakanowicz, Tadeusz Brzozowski, Edward Dwurnik, Józef Gielniak, Władysław Hasior, Józef Hałas, Maria Jarema, Jerzy Kalina, Tadeusz Kantor, Jan Lebenstein, Natalia LL, Jerzy Nowosielski, Jerzy Rosołowicz, Jonasz Stern, Jan Tarasin and many others. The predominant artists of this collection were those of metaphor and expression. From the mid-1970s he was a curator of Polish presentations at international art festivals – in Cagnessur- Mer, São Paulo and New Delhi. He used to organise exhibitions from museum collections in Germany, Great Britain, the United States and the Netherlands. As an art critic he was writing mainly for the monthly “Odra”; in 1990 he became a member of its Editorial Board. The writings of Mariusz Hermansdorfer can also be found in catalogues and scholarly publications of the National Museum in Wrocław.
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Sedova, Irina N., and Alexandr Burganov. "INTERVIEW BETWEEN IRINA N. SEDOVA — HEAD OF SCULPTURE DEPARTMENT AT THE STATE TRETYAKOV GALLERY, AND ALEXANDER N. BURGANOV — AN OUTSTANDING RUSSIAN SCULPTOR, NATIONAL ARTIST OF RUSSIA, THE ACADEMICIAN OF THE RUSSIAN ACADEMY OF ARTS, DOCTOR OF ART HISTORY, PROFESSOR, DIRECTOR OF THE MOSCOW STATE MUSEUM BURGANOV HOUSE." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 10–34. http://dx.doi.org/10.36340/2071-6818-2021-17-5-10-34.
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The journal traditionally opens with an academic interview. In this issue, we present an interview between Irina N. Sedova — head of Sculpture department at The State Tretyakov Gallery, and Alexander N. Burganov — an outstanding Russian sculptor, National Artist of Russia, the academician of the Russian Academy of Arts, doctor of art history, professor, director of the Moscow State Museum Burganov House. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which combined a personal exhibition, a screening of an author’s film and a dialogue with the audience in the format of an interactive interview.
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Skarupsky, Petra. "“The War Brought Us Close and the Peace Will Not Divide Us”: Exhibitions of Art from Czechoslovakia in Warsaw in the Late 1940s." Ikonotheka 26 (June 26, 2017): 95–110. http://dx.doi.org/10.5604/01.3001.0010.1674.
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In his book Awangarda w cieniu Jałty (In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989), Piotr Piotrowski mentioned that Polish and Czechoslovakian artists were not working in mutual isolation and that they had opportunities to meet, for instance at the Arguments 1962 exhibition in Warsaw in 1962. The extent, nature and intensity of artistic contacts between Poland and Czechoslovakia during their coexistence within the Eastern bloc still remain valid research problems. The archives of the National Museum in Warsaw and the Zachęta – National Gallery of Art which I have investigated yield information on thirty-fi ve exhibitions of art produced in Czechoslovakia that took place in Warsaw in the period of the People’s Republic of Poland. The current essay focuses on exhibitions organised in the late 1940s. The issue of offi cial cultural cooperation between Poland and Czechoslovakia was regulated as early as in the fi rst years after the war. Institutions intended to promote the culture of one country in the other one and associations for international cooperation were established soon after. As early as in 1946, the National Museum in Warsaw hosted an exhibition entitled Czechoslovakia 1939–1945. In 1947 the same museum showed Contemporary Czechoslovakian Graphic Art. A few months after “Victorious February”, i.e. the coup d’état carried out by the Communists in Czechoslovakia in early 1948, the Young Czechoslovakian Art exhibition opened at the Young Artists and Scientists’ Club, a Warsaw gallery supervised by Marian Bogusz. It showed the works of leading artists of the post-war avant-garde, and their authors were invited to the vernissage. Nine artists participated in both exhibitions, i.e. at the National Museum and at the Young Artists and Scientists’ Club. A critical analysis of art produced in one country of the Eastern bloc as exhibited in another country of that bloc enables an art historian to outline a section of the complex history of artistic life. Archival research yields new valuable materials that make it impossible to reduce the narration to a simple opposition contrasting the avant-garde with offi cial institutions.
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Holdsworth, Amy, Rachel Moseley, and Helen Wheatley. "Memory, Nostalgia and the Material Heritage of Children’s Television in the Museum." VIEW Journal of European Television History and Culture 8, no. 15 (October 27, 2019): 111. http://dx.doi.org/10.18146/2213-0969.2019.jethc168.
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‘The Story of Children’s Television, from 1946 to Now’ was an exhibition co-conceived by the authors and colleagues from the Herbert Art Gallery and Museum in Coventry, UK, running from 2015 to 2017 through a national tour. At the exhibition, objects from children’s television history sat alongside screens showing the programmes to visitors. Our research explores how children’s television culture operates as a site of memory and nostalgia, through which we can investigate forms of (inter)generational cultural memory. This paper explores the reconnections and disconnections that emerge in encounters with the material heritage of children’s television in Britain.
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Pluszyńska, Anna. "Copyright Management by Contemporary Art Exhibition Institutions in Poland: Case Study of the Zachęta National Gallery of Art." Sustainability 12, no. 11 (June 2, 2020): 4498. http://dx.doi.org/10.3390/su12114498.
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The mission of cultural institutions is the expression of sustainable development, which assumes a specific social order based on respect for the right of access to culture and care for the common good which is cultural heritage, in order to preserve it for future generations. To best implement its social mission, the essence of museum activities is not only collecting resources but also promoting the collection. In addition, promotion in accordance with the principle of openness and the conviction that cultural heritage is a common good, which is why it should be available to the widest possible public. Copyright in artworks often stands in the way of implementing an open approach to the dissemination of collections. Contemporary museums and galleries of art are in a special situation; their collections are not yet in the public domain, and so they cannot be freely distributed. The undertaken research problem explores how cultural institutions in Poland manage the copyright of collections in order to carry out their mission in a sustainable way. In this context, copyright is treated as an important intangible resource of a cultural institution. The case study was used as the research strategy in order to understand the subject. Activities implemented at the Zachęta National Gallery of Art in Warsaw were described.
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Williamson, Christina. "Inuit Art in Canadian and Indigenous Art: From Time Immemorial to 1967, National Gallery of Canada, Permanent exhibition, Ottawa." RACAR : Revue d'art canadienne 42, no. 2 (2017): 126. http://dx.doi.org/10.7202/1042954ar.
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Pane, J. B., J. Rilatupa, and S. Simatupang. "The development of an arts centre with the application of futuristic architecture." IOP Conference Series: Earth and Environmental Science 878, no. 1 (October 1, 2021): 012029. http://dx.doi.org/10.1088/1755-1315/878/1/012029.
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Abstract Art is a culture that was born from human freedom of expression. One type is contemporary art, which is the development of art that is affected by the impact of modernization, but contemporary and modern are two different things, because contemporary continues to keep up with the times. Appreciation for art in Indonesia has recently been appreciated both at the national and international levels, art appreciation is shown by the many art activities held, this has resulted in many artists being required to hold their work so they need a place such as an art gallery building so that the public can understand the activities contained therein. and can enjoy the art exhibition. The Contemporary Art Gallery was built to help artists show their work. This building was built with a futuristic architectural design, namely a building style whose planning does not look to the past but to the future, this can be seen from the shape and materials used which have high hi-tech. The appearance of the building is made expressive as the hearts of the artists can be seen from the spatial processing, forms and games of building facades.
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Alt, Gordon. "Andrea Verrocchio and His Followers: An Exhibition." Sculpture Review 68, no. 4 (December 2019): 8–15. http://dx.doi.org/10.1177/0747528420901913.
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Fifty exceptional works of Andrea del Verrocchio (1435-1488) are on exhibit at the National Gallery of Art in Washington DC. This important exhibit has sculpture, paintings and drawings of one of the most important Renaissance Masters of the fourteenth century. While considered foremost a master sculptor along with Donatello and Michelangelo, he was also noted for his important innovations in painting. As teacher, his workshop was the most important in Florence, and included the young Leonardo da Vinci, Pietro Perugino and Sandro Botticelli. His David and Boy with Dolphin are just of few of the masterpieces included in this important exhibition, which covers a full range of his contributions and will remain on view until January 12, 2020. This is the only opportunity to see this powerful collection in this country as it returns immediately to Italy.
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Lopez, Donald S. "“Lamaism” and the Disappearance of Tibet." Comparative Studies in Society and History 38, no. 1 (January 1996): 3–25. http://dx.doi.org/10.1017/s0010417500020107.
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At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.
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Bukauskaitė, Evelina. "Gatherings of Jewish Artists in Interwar Lithuania." Art History & Criticism 17, no. 1 (November 15, 2021): 17–30. http://dx.doi.org/10.2478/mik-2021-0002.
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Summary The main subject of this paper is the Jewish artists of interwar Lithuania and their efforts to unite. It analyses the aspirations of Jewish artists to unite into groups, to represent and present their art, and to maintain their national identity. The article introduces the main organisers, participants, circumstances and goals of the artists’ gatherings. It discusses three cases: the cultural policy pursued by National Jewish Council’s Section of Culture at the institutional level; Jewish artists who gathered on a social basis; and the Art Gallery of Neemiya Arbit Blatas as a unique exhibition space in inter-war Lithuania, which mainly exhibited the works of Jewish artists. The paper focuses not on the artistic legacy or its value, but rather on the processes of cultural life of Jewish artists in interwar Lithuania.
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Richardson, Sarah Harvey. "The Art Gallery and its Audience: Reflecting on Scale and Spatiality in Practice and Theory." Museum and Society 16, no. 2 (July 30, 2018): 201–19. http://dx.doi.org/10.29311/mas.v16i2.2769.
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This paper explores scale and spatiality in the practice and theory of the art gallery. Through the example of Des Hughes: Stretch Out and Wait, an exhibition at The Hepworth Wakefield, I unpick the construction of scaled notions such as ‘local’, ‘(inter)national’ and ‘community’, in particular, a ‘local’ versus‘(inter)national’ binary; and explore how we may seek alternatives to such hierarchized thinking and practice. By testing and developing Kevin Hetherington’s approach of analyzing the topological character of the spaces of the museum (1997), I treat the space of Des Hughesas one which is complex, contingent and folded around certain objects on display. In so doing, this paper argues that scale and spatiality should not only be attended to as a subject of study for museums, galleries and heritage; but that they can also form a useful methodological lens through which productive alternatives for the knowledge and practice of these organizations may be explored.
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Świtek, Gabriela. "Architecture as politics." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 63–74. http://dx.doi.org/10.5937/saj1401063q.
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The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main concern of The Politics of Aesthetics; most translators and (Polish) commentators of Rancière's philosophical writings draw our attention to the importance of his aesthetics for the relational aspects of contemporary art in public spaces. The article aims at emphasizing the architectural moments in Rancière's project of aesthetics as politics; it also elaborates a couple of notions poiēsis/mimēsis - as discussed by Rancière - in relation to architectural theory and history of architectural exhibitions.
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Lavrentiev, Alexander. "Vyacheslav Koleichuk as the Engine of the Russian Kinetic Art. Imaginary dialogue at the exhibition." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 95–117. http://dx.doi.org/10.36340/2071-6818-2021-17-1-95-117.
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The State Tretyakov Gallery hosts a significant exhibition “Laboratory of the Future. Kinetic Art in Russia”. Its significance, the influence of the artistic phenomenon of kinetic art itself on domestic art of the 20th and 21st centuries has not yet been fully determined. The exhibition emphasizes kinetic art as one of the central national trends in experimental artistic creativity of the 20th century, even as some kind of a tradition. On the one hand, the exhibition would have been impossible without the participation of the creators of the Russian avant-garde, the founders of abstract art, the creators of the first abstract sculptures and dynamic structures: V. V. Kandinsky, K.S. Malevich, El Lissitzky, V. E. Tatlin, A. M. .Rodchenko. On the other hand, recognized masters, inventors of kinetic art in the USSR in the 1960s and 1970s, creators of the synthetic works of art combining the sound, color, form, images and motion are also important: Lev Nusberg’s “Group Movement” in Moscow and “KB Prometheus” under the leadership of Bulat Galeev in Kazan, the first kinetic construction at the USSR Exhibition of Economic Achievements Francisco Infante and the dynamic installation “Atom” by Vyacheslav Koleichuk, experiments with electronic sound and acoustics of the Experimental Studio of Electronic Music of Evgeny Murzin, the Theremen Center, created by Andrei Smirnov, space projects by Vyacheslav Loktev installations with light and sound in Leningrad by August Lanin 1. One of the key figures in this artistic process was the architect, designer, researcher, inventor, constructor and teacher Vyacheslav Fomich Koleichuk (1941–2018). This imaginary dialogue is covering some of the inventions of the artist, developing the traditions of Russian kinetic art, expanding the artistic space of modern design and architecture 2.
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Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (March 5, 2019): 158. http://dx.doi.org/10.3390/rel10030158.
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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the university students who took my interview on this issue. I will also discuss the treatment of artwork with religious connotations in light of education in Japan. These exhibitions of Christian artwork provide important evidence on the contemporary reception of Christianity in Japan and, more broadly, on Japanese attitudes toward religious minorities.
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von Poser, Alexis Th. "Craig, Barry (ed.): Living Spirits with Fixed Abodes. The Masterpieces Exhibition Papua New Guinea National Museum and Art Gallery." Anthropos 107, no. 2 (2012): 605–6. http://dx.doi.org/10.5771/0257-9774-2012-2-605.
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Indorewala, Hussain. "The State of Ambivalence: Reflections on the State of Architecture Exhibition at the National Gallery of Modern Art, Mumbai." Urbanisation 1, no. 2 (November 2016): 195–98. http://dx.doi.org/10.1177/2455747116677388.
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Payne, Susan, David Wilcox, Tuula Pardoe, and Ninya Mikhaila. "A Seventeenth-Century Doublet from Scotland." Costume 45, no. 1 (March 1, 2011): 39–62. http://dx.doi.org/10.1179/174963011x12978768537537.
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In December 2004, a local family donated a cream silk slashed doublet to Perth Museum and Art Gallery. 1 Stylistically, the doublet is given a date between 1620 and 1630, but the family story is that it was a gift to one of their ancestors about the time of the Battle of Killiecrankie in 1689. The donation stimulated a programme of investigation centred on the doublet’s conservation, curatorial research, the production of two replica suits and the mounting of an exhibition. This project won the United Kingdom Award for Conservation 2007. The Institute of Conservation, the Museums, Archives & Libraries Council and the National Preservation Office support this nationwide award. This essay reflects four different specialists’ engagement with the doublet: historical context, tailoring, conservation and reconstruction.
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Coiffier, Christian. "Living Spirits with Fixed Abodes. The Masterpièces Exhibition Papua New Guinea National Museum and Art Gallery de Barry Craig (ed.)." Journal de la société des océanistes, no. 136-137 (October 15, 2013): 265–66. http://dx.doi.org/10.4000/jso.6874.
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Adamska, Katarzyna. "An Apartment as a National Issue: On the Exhibitions of the Polish Applied Art Society at the Zachęta Gallery in 1902 and 1908." Ikonotheka 26 (June 26, 2017): 7–29. http://dx.doi.org/10.5604/01.3001.0010.1671.
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Towarzystwo Polska Sztuka Stosowana (TPSS) organised two exhibitions at the Zachęta Gallery. Their aim was to shape the national culture of living and to propagate ornamental design inspired by indigenous motifs. The 1902 exposition was arranged in accordance with the traditional perception of arts and crafts, which disregarded their function and construction in favour of the external form. New critical categories, borrowed from the language of functionalism and from ideas regarding living space as developed by the German Kunstgewerbe circles, induced the members of the TPSS to arrange their 1908 exhibition differently – as fully designed interiors rather than groups of independent items. Similar changes were then observed in the of shop-window design and in commercial expositions. The fact that they were explicated in terms of ethics reveals a combination of consumerism, aesthetics and morality characteristic of the early 20th century.
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Milligan, Barry. "LUKE FILDES'STHE DOCTOR, NARRATIVE PAINTING, AND THE SELFLESS PROFESSIONAL IDEAL." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 641–68. http://dx.doi.org/10.1017/s1060150316000097.
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Since its introductionat the Royal Academy exhibition of 1891, Luke Fildes's paintingThe Doctorhas earned that often hyperbolic adjective “iconic.” Immediately hailed as “the picture of the year” (“The Royal Academy,” “The Doctor,” “Fine Arts”), it soon toured the nation as part of a travelling exhibition, in which it “attracted most attention” (“Liverpool Autumn Exhibition”) and so affected spectators that one was even struck dead on the spot (“Sudden Death”). Over the following decades it spawned a school of imitations, supposed companion pictures, poems, parodies, tableaux vivants, an early Edison film, and a mass-produced engraving that graced middle-class homes and doctors' offices in Britain and abroad for generations to come and was reputedly the highest-grossing issue ever for the prominent printmaking firm of Agnew & Sons (Dakers 265–66). When Fildes died in 1927 after a career spanning seven decades and marked by many commercial successes and even several royal portraits, hisTimesobituary nonetheless bore “The Doctor” as its sub-headline (“Sir Luke Fildes”) and sparked a lively discussion of the painting in the letters column for several issues thereafter (“Points From Letters” 2, 4, 5 Mar. 1927). Although the animus against things Victorian in the early twentieth century shadowedThe Doctorit never eclipsed it; by the middle of the century the painting was still being held up as the quasi-Platonic ideal of medical practice (“Bedside Manner,” “98.4”), gracing postage stamps, and serving ironically as the logo for both a celebration of Britain's National Health Service and a campaign against its equivalent in the United States. Appreciation of the painting in mid-century art historical circles was echoed in the popular press (“Victorian Art”), andThe Doctorwas singled out as a highlight of the reorganized Tate Gallery in 1957 (“Tate Gallery”), after which it settled into a sort of dowager status as a cornerstone of that eminent collection, where it is still in the regular rotation for public display. Since the mid-1990s it has been a recurring focus of discussion in both Medical Humanities journals and prominent medical professional organs such as theLancetand theBritish Medical Journal, where a steady stream of articles still cite it as a sort of prelapsarian benchmark for the role and demeanor of the ideal medical practitioner.
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Ibrahim, Md Nasir, Hazlin Anita Zainal Abidin, Mohd Zahuri Khairani, Eng Tek Ong, and Che Aleha Ladin. "Pameran Ini Saya Punya Kerja: Manifestasi Dua Seni." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 79–85. http://dx.doi.org/10.21315/ws2020.19.7.
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“Ini Saya Punya Kerja: Manifestasi Dua Seni” is a collaborative exhibition organised by Universiti Pendidikan Sultan Idris, University of Malaya, and Yayasan Usman Awang. The exhibition combines academics, painters, and poets to manifest the merger of two arts, the visual arts and the literary arts. The exhibition was officiated by Tan Sri Johan Jaaffar at the University of Malaya Art Gallery on Sunday, 13 February 2020, at 10.00 am. A total of 37 painters with 74 artworks consisting of paintings, installations, sculptures, and photographs were exhibited. All works were translations of the poems written by National Laureate Usman Awang. The most dominant style was abstract expressionism characterised by free spontaneous lines accompanied by bright colours and spontaneous brush strokes. Among the painters with this style were Suzlee Ibrahim (Pahlawan, 2009), Lily Noguchi (Jentayu, 2019), Liu Cheng Hua (Anak Jiran Tionghua, 2019), Sabri Salleh (Duri dan Api, 2019), and Mustafa Salleh (Pahlawan, 2019). There were also semi-abstract works. Among the painters who adopted this style were Haron Mokhtar (Balada Terbunuhnya Beringin Tua di Pinggir Sebuah Bandaraya, 2019), Aizat Amir (Jiwa Hamba, 2019), and Abdul Raoof Ali (Keranda 152, 2019). There were also painters that produced realistic works. Among them were Md Nasir Ibrahim (Bunga Popi 1, 2019 and Bunga Popi II, 2020), and Mohamad Hassan (Tulang-tulang Berserakan: Saksi-saksi Bisu, 2019). The exhibition has achieved the goal of translating Usman Awang’s poems into visual form. Painters were able to play with the semiotic visuals that were a priority in this study.
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Pushenkova, Sofia A., and Dmitriy E. Lavrov. "Avant-garde heritage of the regions: Use and development prospects in a museum context (on the example of the museums of Saratov and Smolensk)." Issues of Museology 13, no. 1 (2022): 110–20. http://dx.doi.org/10.21638/spbu27.2022.108.
Full textAbstract:
In the wake of the growing interest in the history of the Russian avant-garde, leading Russian museums become initiators, organizers and partners of large-scale exhibition projects dedicated to both individual personalities of the avant-garde era and iconic cultural institutions. In this regard, it is also important to understand how the museum community in Russia reacts to the given trend of turning to the heritage of the avant-garde era, and how regional museums are involved in this process. The artistic avant-garde was never limited to capitals, new trends penetrated all cities of the country, one way or another leaving a mark on the appearance of the city, its history and, of course, in museum collections. This is why researchers need to see the fullest possible picture of how regions are using their avant-garde heritage. The article is devoted to the study of the experience of using the avant-garde heritage in Russian regions on the example of the Saratov State Art Museum named after A.N.Radishchev and the Art Gallery of the Smolensk State Museum-Reserve. Based on sources of museum origin, electronic catalogs of museums, texts by regional authors, Internet sources (in particular, the State Catalog of the Museum Fund of the Russian Federation, and the Constructivist Project portal), as well as local news sources the article reviews the avant-garde collections of these museums, considers cultural and educational activity of urban cultural institutions and independent curatorial projects on this topic. An important part of this study is the assessment of the development prospects in the actualization of the avant-garde heritage of the regions, as well as the role of independent cultural institutions of cities in the actualization and use of the avant-garde heritage of these regions.