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Journal articles on the topic 'New World Galleries'
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1
Deloria, Philip J. "The New World of the Indigenous Museum." Daedalus 147, no. 2 (March 2018): 106–15. http://dx.doi.org/10.1162/daed_a_00494.
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Museums have long offered simplistic representations of American Indians, even as they served as repositories for Indigenous human remains and cultural patrimony. Two critical interventions–the founding of the National Museum of the American Indian (1989) and the passage of the Native American Graves Protection and Repatriation Act (1990)–helped transform museum practice. The decades following this legislation saw an explosion of excellent tribal museums and an increase in tribal capacity in both repatriation and cultural affairs. As the National Museum of the American Indian refreshes its permanent galleries over the next five years, it will explicitly argue for Native people's centrality in the American story, and insist not only on survival narratives, but also on Indigenous futurity.
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Molho, Jeremie. "Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong." Arts 10, no. 2 (April 27, 2021): 28. http://dx.doi.org/10.3390/arts10020028.
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The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.
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Atencia Conde-Pumpido, Belén. "The entry in scene of Léonce Rosenberg and the gallery L'Effort Moderne in the Paris of the Great War." Boletín de Arte, no. 30-31 (March 15, 2018): 427–34. http://dx.doi.org/10.24310/bolarte.2010.v0i30-31.4384.
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During the first half of the XX Century, the First World War constitutes the most unexpected and horrific episode in the history of Europe to date. Paris, at the time undisputed capital of the european avant-garde, slumps into cultural depression due to the closure of its galleries, salons and reviews, while trade in the art world also comes to an almost complete standstill. In a xenophobic atmosphere where certain artistic movements are viewed as being of predominantly German rather than French influence, a new Art dealer, prepared to champion the new cubist art, appears on the scene.
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Caldas, João Vieira. "Design with Climate in Africa. The World of Galleries, Brise–Soleil and Beta Windows." Modern and Sustainable, no. 44 (2011): 16–23. http://dx.doi.org/10.52200/44.a.8f2dxu59.
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In the twenty–five years after World War II, Angola and Mozambique were fertile territories for the inception of new urban and architectural projects, in keeping with the principles of the Modern Movement. In the earliest works designed by the architects who moved there in the late 1940s, one can already witness a serious concern with the adjustment to the particularities of the hot and humid climate of the tropics. The Modern architectural idiom was particularly well suited to the local climate building requirements such as solar control and provision of adequate ventilation. Moreover, these architectural solutions were underpinned by sustainable procedures that ought to be re–established in the restoration of Modern buildings of the type presented here.
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Graham, Stephen. "Ensemble Plus-Minus and Leafcutter John at Kammer Klang, Cafe Oto, London." Tempo 68, no. 268 (March 20, 2014): 84–85. http://dx.doi.org/10.1017/s0040298213001770.
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It would be simplistic to suggest that contemporary classical music exists solely within or around large institutions. For at least 50 years now, this music has also found a home in small galleries, loft spaces and basements, and other small, independent venues around the world, as seen for example in the Downtown New York scene. London venue Cafe Oto – operating out of a warehouse in Dalston since 2008 – runs on similar principles to specialist Downtown venues such as the Stone, in that it boasts a wide-ranging multi-genre programme focused on various experimental and avant-garde musics, such as noise, free jazz, and contemporary classical.
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Castellote, Jess, and Tobenna Okwuosa. "Lagos Art World: The Emergence of an Artistic Hub on the Global Art Periphery." African Studies Review 63, no. 1 (May 27, 2019): 170–96. http://dx.doi.org/10.1017/asr.2019.24.
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Abstract:The global geography of art has changed greatly in recent years. Whereas global art hubs were formerly found only in the West, they now exist in locations all over the world, including Africa. Though some art worlds in Asia and Latin America have been studied in recent times, there is insufficient empirical data on art worlds in Africa. This is a study of the Lagos art world, which shows how an “art system,” with all of its attendant structures and agents, has emerged in the city of Lagos, Nigeria, in the last few years. Lagos reflects the dynamics of globalization and is building up the art infrastructure and the critical mass needed for a sustainable art world: an ambitious and fast-growing group of young local collectors, an art fair, an international photography festival, regular art auctions, new art galleries, historical and critical publications, a university art museum, symposiums, art foundations, residencies, and competitions. Lagos is becoming not only a “global city,” but also a “global art hub.”
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Jokanović, Milena. "Perspectives on Virtual Museum Tours." INSAM Journal of Contemporary Music, Art and Technology, no. 5 (December 15, 2020): 46–57. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.46.
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As a number of world museums have closed their doors for the public due to pandemic of the new Corona virus, curators are thinking of alternative ways of audience outreach: 3D virtual galleries are increasingly created, video guided tours shared, digitized collections put online. The new circumstances unquestionably bring potentials for growth, but carry numerous risks and inconsideration, as well. Many theoreticians argue that the crisis of this scale will undoubtedly fasten the digital transformation in museum and arts sector and consequently, in a much more wide sense influence the identity rethinking. However, the research of audience interest to virtual museum tours show there was a peak of just 3 days visiting these, massively followed by a fast decrease even the social isolation was globally still present and museum buildings still locked. Turning back to the genesis of the virtual museums, in the following paper, we will question why there is no interest to virtual museum content. Do tours answer the needs of the contemporary digital-born audience? Do these represent just a copy of settings from physical galleries or use potentials and logic of the new spaces? Will museums finally transform and enter into so many times nowadays mentioned digital shift answering the need of the new, transmedia perception of audience?
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Becker, Karin. "Protest in the Photo Essay: Following Tradition or Breaking New Ground?" Protest, Vol. 4, no. 2 (2019): 62–67. http://dx.doi.org/10.47659/m7.062.art.
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The photo essay, a form of visual journalism that arose during the era of the picture magazines, has reemerged as a regular feature of global news channels, including CNN, BBC World, and, notably, Al Jazeera English, recognized for its live reporting of political unrest. In 2017, a year marked by protest around the world, AJE published over 200 photo-series, including 37 on public protest. An analysis based in a four-year study of protest on screen, revealed that these photo essays share characteristics that in turn distinguish them from video broadcasts of public protests. The photo-reportage on screen, like its classic forerunner in print, employs a variety of visual perspectives and focuses on participants who are often quoted and identified by name. Scenes of public protest are complemented by visual and textual reporting from the private/domestic sphere. This visual strategy, in contrast to the immediacy of video coverage from the streets, supports knowledge of the protest issue and engagement with its participants. Keywords: Al Jazeera English, global television news, news galleries, photo essay, photojournalism, public protest
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Wark, Jayne. "The event that got away and how to catch it (researching ephemeral art)." Art Libraries Journal 27, no. 2 (2002): 18–19. http://dx.doi.org/10.1017/s0307472200012645.
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As the underpinnings of High Modernism were everywhere being called into question in the 1950s and 1960s, the art world endeavoured to reinvent itself in new ways. For example, the view that meaning in art need not be embodied in static, timeless objects of supposedly universal significance was challenged by the idea of art as time-based, context-specific, or ephemeral. For artists, these changes offered a way to reformulate the art world system in accordance with their vision of what mattered, and thus to diminish the authority of big museums, commercial galleries, and glossy trade magazines, whose main function seemed to be the promotion of art not as a mode of critical inquiry, but as a luxury product for ‘Establishment’ elites.
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Ferraris, Maurizio. "From Fountain to Moleskine." Brill Research Perspectives in Art and Law 2, no. 4 (April 23, 2019): 1–87. http://dx.doi.org/10.1163/24684309-12340006.
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AbstractPhotography was invented in the mid-nineteenth century, and ever since that moment painters have been asking what they are there for. Everyone has their own strategy. Some say they do not paint what is there, but their impressions. Others paint things that are not seen in the world, and therefore cannot be photographed, because they are abstractions. Others yet exhibit urinals in art galleries. This may look like the end of art but, instead, it is the dawn of a new day, not only for painting but – this is the novelty – for every form of art, as well as for the social world in general and for industry, where repetitive tasks are left to machines and humans are required to behave like artists.
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Simmons, Mike. "Astronomers without borders." Proceedings of the International Astronomical Union 5, S260 (January 2009): 438–41. http://dx.doi.org/10.1017/s174392131100264x.
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Abstract“Astronomers Without Borders” is a new global organisational dedicated to furthering understanding and goodwill across national and cultural boundaries using the universal appeal of astronomy and space science. A growing network of affiliate organisations brings together clubs, magazines and other organizations involved in astronomy and space science. Forums, galleries, video conferences and other interactive technologies are used to connect participants around the world. Sharing of resources and direct connections through travel programs are also planned. One project, “The World at Night” (TWAN), has become an Special Project of IYA2009. TWAN creates wide-angle images of the night sky in important natural and historic settings around the world, dramatically demonstrating the universal nature and appeal of the night sky. “Astronomers Without Borders” is also a leader of the 100 Hours of Astronomy IYA2009 Global Cornerstone Project.
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D’Obyrn, Kajetan, and Antoni Tajduś. "Geomechanical Numerical Analysis as a Guidance for Preservation Works of the “Wieliczka” Salt Mine Site." Studia Geotechnica et Mechanica 39, no. 2 (June 27, 2017): 25–34. http://dx.doi.org/10.1515/sgem-2017-0013.
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Abstract Salt was excavated at the “Wieliczka” Salt Mine for over 700 years. Underground mining operations terminated in 1996, by which time almost 2,400 chambers and 245 km of galleries had been created underground, situated on 9 levels and a few interlevels. In 1978, the mine was included in the UNESCO World Heritage List, which stated that parts of the mine with historical value had to be preserved for future generations. In order to preserve the most valuable chambers and galleries, activities aimed at establishing a protection pillar for excavations were conducted in the conservation area on Levels I-V. The need of large scope preserving works created the necessity to conduct a new and truly comprehensive geomechanical analysis. Such an analysis could only be done by means of advanced numerical modelling codes. Three-dimensional calculations were performed by means of FLAC 3D finite difference code. Rock mass stability assessment in the vicinity of excavations was carried out on the basis of the distribution and range of the so called failure zones. This comprehensive geomechanical analysis allows for verification and give the directions for future preservation and closure works in the “Wieliczka” mine.
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Buszek, Maria Elena. "Ladies’ Auxiliary of the Lower East Side: Post-punk feminist art and New York’s Club 57." Punk & Post-Punk 9, no. 3 (November 1, 2020): 425–42. http://dx.doi.org/10.1386/punk_00037_1.
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This article analyses the feminist art that emerged from New York City’s short-lived, post-punk venue Club 57 (1978–83), where music mixed with visual art, experimental film, performance and politics. A hub of New York’s ‘downtown scene’, Club 57 exemplified ways in which artists’ increasingly promiscuous experiments across media led them to abandon galleries and museums in favour of nightclubs, discos and bars. This tendency dovetailed with the practices of an emergent generation of feminist artists eager to both break out of the sexist art world and engage with popular culture and audiences. A look at the work of Club 57’s manager Ann Magnuson, the performances and collectives she organized there and at other downtown clubs and other significant women whose work Club 57 supported provides a snapshot of the feminist artists in post-punk New York City, many of whose art and activism continue into the present.
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Liu, Fan. "The Analysis of Management Mechanism Innovation Research of China Art Museum in New Time." Advanced Materials Research 488-489 (March 2012): 1305–9. http://dx.doi.org/10.4028/www.scientific.net/amr.488-489.1305.
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The Art Museum, the city has become indispensable cultural facilities, one of their number and visibility has become a national measure of a city or even an important indicator of the level of cultural development, and represents a city or even a national historical heritage. In recent years, public arts and culture is thriving, local art galleries have expansion and reform. Art is a visual art works rely on a certain occasion displayed, to the role in people's thoughts, feelings and tastes, influence people's spiritual qualities. Art Museum of China and internationally active creative arts prosperous trends and patterns of view, there is a gap. And the Museum of Modern Art in today's world given the social attributes and functions of the embodiment of public cultural services than there is a gap. New time of global economic integration process and the development of knowledge economy, and the popularization of network technology. Museum management should be on how to change to adapt to this situation, the future will be how to develop innovation to meet environmental requirements are the contents of this study.
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Markov, Atanas. "Extention of Creative Approaches Visual Artists by Augmented Reality (AR)." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 232–39. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_018.
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There are currently over 3.8 billion smartphone users in the world (Reference from 01.2021). Mobile technologies are becoming an integral part of our lives and this undoubtedly provides a large and diverse environment for the expression of artists from all fields. Mobile technology is changing the way we encounter art. They do it mobile and the term "on demand" is extended to "on the go". The works are becoming more diverse and innovative and every person with a smartphone is a potential user of art. Most modern smart devices are now able to provide Augmented Reality (AR) experiences. AR is already used by innovative brands in trade and marketing, but AR can, and is used, and will be used more and more in the art world. We will no longer associate the visual arts with just visiting art galleries or theater and concert halls. Technologies such as augmented reality (AR), virtual reality (VR), mixed reality (MR) or generalize Extended Reality (XR) open up new creative possibilities for artists and new experiences for the audience. This not only gives new sensations to the audience, but also frees the art from the gallery, thus reaching a completely new audience. Keywords: Augmented Reality (AR), Interactive Art, Visual Art
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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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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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Jacobs, Luc. "Ukraine Shall Make Itself Known to the World." Diplomatic Ukraine, no. XIX (2018): 259–72. http://dx.doi.org/10.37837/2707-7683-2018-15.
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Abstract. The interview with Luc Jacobs, Ambassador Extraordinary and Plenipotentiary of the Kingdom of Belgium to Ukraine, familiarises us with his account of the modern state of bilateral relations between Ukraine and Belgium. The article runs about prospective areas of activity in the course of the Ambassador’s tenure, potentially attractive fields for Belgian investors who need development in Ukraine, and implementation of new initiatives. The article describes, inter alia, the cooperation between seaports of Belgium and Ukraine. Belgium is interested in further strengthening its cooperation with Ukraine in the mutually promising realm of sea transport. Success of Ukrainian exports depends on success of Belgian seaports, since Belgium is a bridge between Ukrainian goods and Europe. The signature of the Association Agreement between Ukraine and the EU gave impetus for strengthening such cooperation. The Ambassador paid attention to the fact that the Embassy of Belgium to Ukraine maintains contacts with the Ukrainian diaspora in Belgium. Though small, it has a significant influence on public opinion, protects interests of its fellow citizens, spreads patriotic concepts abroad, and collaborates with Belgian non-governmental organisations operating in Ukraine. The Ambassador of Belgium portrays Ukrainians in a sympathetic light. The Ukrainian nation cherishes ancient traditions and discovers modern art schools. Ukrainians are fond of art and ready for experiments. The number of art galleries and exhibitions in Ukraine impresses, the concert halls and theatres are always full, and the spectators always honour people of art. The Ambassador is astonished and glad how many facts Ukrainians know about Belgium and at their desire to find out more about the state and its capital. The Ambassador is proud to have been here and support Ukraine at a critical juncture of its national development that, however, came at a high price. Keywords: the Kingdom of Belgium, Ukraine, nation, Ukrainian diaspora, bilateral relations, Belgian investors.
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Modlinski, Artur, and Luis Moreira Pinto. "Managing substitutive and complementary technologies in cultural institutions." Management 25 (November 27, 2020): 1–10. http://dx.doi.org/10.30924/mjcmi.25.s.2.
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Digitalization and artificial intelligence are changing modern business organizations. New technologies help to analyze business environment, track customers, control work performance and improve prod-ucts. The aforementioned phenomenon has received considerably little attention in current literature on culture management. Our goal is to find (1) what types of technologies are used by cultural institutions (CIs) and (2) for what reason. The hypothesis of the article is that CIs use various technologies and tools. Websites, leaflets and audiovisual materials of 139 CIs around the world (theaters, art galleries, opera houses, museums) were analyzed. It was found that CIs use both complementary (CT) as well as substitutive technologies (ST) for managerial and mission-oriented purposes. In our article, the matrix of technologies used by CIs is proposed. Our findings suggest that CIs adapt to changing technological environment by implementing tools that support them in the mission’s fulfillment and management. Moreover, new technologies are used by CIs as both employees’ reinforcement as well as their replace-ment.
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ALENCAR, ISABEL D. C. C., and CELSO O. AZEVEDO. "Revision of the world Apenesia Westwood (Hymenoptera, Bethylidae)." Zootaxa 4724, no. 1 (January 20, 2020): 1–72. http://dx.doi.org/10.11646/zootaxa.4724.1.1.
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The world species of Apenesia are revised. Twenty-seven previously described species of Pristocerinae are addressed to Apenesia: A. amoena Evans, A. bicolor Vargas & Terayama, A. chontalica Westwood, A. conradti Kieffer, A. delicata Evans, A. dominica Evans, A. flavipes Cameron, A. formosa Vargas & Terayama, A. laevigata (Evans), A. levis Kieffer, A. leytensis (Terayama), A. makiharai (Sawada, Terayama & Mita), A. malaitensis Brues, A. miki (Terayama), A. modesta (Smith), A. nigra Kieffer, A. parasitica (Smith), A. perlonga Corrêa & Azevedo, A. proxima Kieffer, A. punctata Kieffer, A. sahyadrica Azevedo & Waichert, A. singularis Lanes & Azevedo, A. sjostedti (Tullgren), A. substriata Kieffer, A. unicolor Kieffer, and A. vaurieorum Evans. Additionally, 21 new species are described and illustrated: Apenesia amenula sp. nov.; A. aniela sp. nov.; A. azeda sp. nov.; A. beliella sp. nov.; A. berela sp. nov.; A. bifiela sp. nov.; A. celiela sp. nov.; A. chandela sp. nov.; A. cila sp. nov.; A. colombela sp. nov.; A. elela sp. nov.; A. esila sp. nov.; A. eura sp. nov.; A. farela sp. nov.; A. gabela sp. nov.; A. girena sp. nov.; A. goela sp. nov.; A. itoiela sp. nov.; A. joela sp. nov.; A. juliela sp. nov. and A. kelsiela sp. nov. The sexual association of A. celiela and A. azeda was possible due to biological data information. A key to species based on males is presented. The genus Apenesia is a parasitiod of beetles that live in galleries in dead wood or seeds.
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Klimov, Pavel B., and A. A. Khaustov. "A review of histiostomatid mites associated with scolytine bark beetles (Coleoptera: Curculionidae), with a description of Histiostoma shiramba sp. n. (Acari: Histiostomatidae) from galleries of the Sakhalin-fir bark beetle Polygraphus proximus." Systematic and Applied Acarology 23, no. 12 (December 31, 2018): 2373. http://dx.doi.org/10.11158/saa.23.12.9.
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Associations of scolytine bark beetles (Coleoptera: Curculionidae: Scolytinae) and histiostomatid mites (Acari: Histiostomatidae) are reviewed. Histiostomatids are associated with a total of 62 described species of bark beetles in 31 countries of the world, except for South America and Antarctica (262 non-redundant records). Non-accidental records include 21 mite species in the genus Histiostoma and 5 species in the Bonomoia/Probonomoia generic complex. The biological role of histiostomatids associated with bark beetles is largely unknown and needs further investigation. Available observations suggest that histiostomatids living in bark beetle galleries may feed on different fungi, including those pathogenic to the tree host and/or may serve as food supplement for developing bark beetle larvae (e.g., the fungal genus Ophiostoma). However, based on their mouthpart morphology, instead of feeding on fungi directly, histiostomatids may reduce fungal population sizes by releasing fungicides produced by their opisthonotal glands. Both feeding and phoretic stages of the mites commonly vector considerable numbers of fungal spores or conidia, including those of phloem-infesting, blue stain fungi (e.g., Ophiostoma, Ceratocystis, and Alternaria). Here we describe all developmental stages of a new species of the genus Histiostoma, belonging to the piceae-species group that includes many mite species associated with bark beetles. The new species, Histiostoma shiramba sp. n., was found in the galleries of the Sakhalin-fir bark beetle, Polygraphus proximus, an invasive pest that is quickly spreading outside of its native range in the Eastern Palaearctic, causing large-scale destruction of fir forests. We emend the following names (nom. emend.) to agree in gender with the generic name Histiostoma (gender neuter): Histiostoma capillatum, H. conjunctum, H. hungaricum, H. indetonsum, H. irinum, H. longisetum, H. margaritatum, H. medium, H. ovale, H. pannonicum, H. serratum, H. sordidum, H. spinosum, H. sylvestre, H. varium, H. virginianum. The name Histiostoma scheucheri is emended to Histiostoma scheucherae.
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Archer, Anita. "Materialising Markets: The Agency of Auctions in Emergent Art Genres in the Global South." Arts 9, no. 4 (October 18, 2020): 106. http://dx.doi.org/10.3390/arts9040106.
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For the last two decades, the international auction houses Sotheby’s and Christie’s have been at the forefront of global art market expansion. Their world-wide footprints have enabled auction house specialists to engage with emerging artists and aspiring collectors, most notably in the developing economies of the Global South. By establishing their sales infrastructure in new locales ahead of the traditional mechanisms of primary market commercial galleries, the international auction houses have played a foundational role in the notional construction of new genres of art. However, branding alone is not sufficient to establish these new markets; the auction houses require a network of willing supporters to facilitate and drive marketplace supply and demand, be that trans-locational art market intermediaries, local governments, and/or regional auction businesses. This paper examines emerging art auction markets in three Global South case studies. It elucidates the strategic mechanisms and networks of international and regional art auction houses in the development of specific genres of contemporary art: Hong Kong and ‘Chinese contemporary art’, Singapore and ‘Southeast Asian art’, and Australia and ‘Aboriginal art’. Through examination and comparison of these three markets, this paper draws on research conducted over the past decade to reveal an integral role played by art auctions in the expansion of broader contemporary art world infrastructure in the Global South.
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Long, Christopher. "The House as Path and Place: Spatial Planning in Josef Frank's Villa Beer, 1928-1930." Journal of the Society of Architectural Historians 59, no. 4 (December 1, 2000): 478–501. http://dx.doi.org/10.2307/991622.
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Josef Frank's Villa Beer, designed and built between 1928 and 1930, constitutes one of the most complete and sophisticated investigations of the possibilities of the new spatial planning ideas that emerged just prior to and after World War I. Like his Viennese contemporary Adolf Loos, Frank developed his own individual spatial planning strategy, which was based on differentiated room levels and heights, open circulation spaces and galleries, and open stairwells, terraces, and landings. This article examines the genesis and development of Frank's concept of "The House as Path and Place" and its expression in the Villa Beer, comparing Frank's approach with Loos's notion of the Raumplan and Le Corbusier's plan libre. By carefully establishing the linkages between the interlocking volumes in the house, Frank was able to produce a dynamic version of the Raumplan, one that fostered a powerful and affective experience of space.
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Hanus, Jozef, and Emília Hanusová. "Archival Buildings in Terms of Responding to the Emergencies." Atlanti 25, no. 2 (October 20, 2015): 155–59. http://dx.doi.org/10.33700/2670-451x.25.2.155-159(2015).
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Preservation of archival documents, library materials and other objects and materials of cultural heritage is one of the principal tasks of archives, libraries, museums, galleries and other cultural memory institutions all over the world. The key role in this mission is played by appropriate building or space facilities which are the basic condition and requirement for proper functioning of any of these memory cultural institutions. They must provide not only facilities for long-term storage of archival documents, library materials and other objects of cultural heritage, their preservation, processing, treatment in order to enable and ensure proper and safe access to them but also to respond possible emergencies resulting from various potential emergencies and even threats. Some of them can be predicted, however, the others - especially caused by human factor in the broadest sense - are very difficult to be foreseen. This is the reason why close co-operation is unavoidable between archivists, conservators, architects, engineers and all experienced experts who can help already in planning either new building or reconstruction of adapted premises for archives purposes. It seems that at the present also the participation of experts from the field of safety and security would be very desirable.
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Baldock, Janine. "Science is... at the Birmingham Museum of Science and Industry." Public Understanding of Science 4, no. 3 (July 1995): 285–98. http://dx.doi.org/10.1088/0963-6625/4/3/006.
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Science interpretation in museums has, until now, largely focused on the products of science—the technological artefacts of our scientific past and the scientific phenomena presented in hands-on galleries. Little, if anything, is said about the process of science—what it is, how it's done, who does it, and why. For this reason, the Birmingham Museum of Science and Industry is planning a new gallery based on science itself. Science is... will interpret science from a cultural perspective by looking at how culture affects science, and how changes in scientific thought have changed our own views of ourselves and the world around us. The objectives of the exhibition are: to raise awareness that science is a key part of our culture; to increase understanding of the method, history and philosophy of science and the scientific community; and to promote realistic images of science and scientists. Using the example of the Copernican Revolution, part of the gallery will focus on changing ideas in science, how change is affected by culture, and the consequences of accepting new scientific theories.
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Cobley, Joanna, David Gaimster, Stephanie So, Ken Gorbey, Ken Arnold, Dominique Poulot, Bruno Brulon Soares, et al. "Museums in the Pandemic." Museum Worlds 8, no. 1 (July 1, 2020): 111–34. http://dx.doi.org/10.3167/armw.2020.080109.
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Throughout human history, the spread of disease has closed borders, restricted civic movement, and fueled fear of the unknown; yet at the same time, it has helped build cultural resilience. On 11 March 2020 the World Health Organization (WHO) classified COVID-19 as a pandemic. The novel zoonotic disease, first reported to the WHO in December 2019, was no longer restricted to Wuhan or to China, as the highly contagious coronavirus had spread to more than 60 countries. The public health message to citizens everywhere was to save lives by staying home; the economic fallout stemming from this sudden rupture of services and the impact on people’s well-being was mindboggling. Around the globe museums, galleries, and popular world heritage sites closed (Associated Press 2020). The Smithsonian Magazine reported that all 19 institutes, including the National Zoo and the National Museum of the American Indian (NMAI), would be closed to the public on 14 March (Daher 2020). On the same day, New Zealand’s borders closed, and the tourism industry, so reliant on international visitors, choked. Museums previously deemed safe havens of society and culture became petri dishes to avoid; local museums first removed toys from their cafés and children’s spaces, then the museum doors closed and staff worked from home. In some cases, front-of-the-house staff were redeployed to support back-of-the-house staff with cataloguing and digitization projects. You could smell fear everywhere.
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Lee, Pamela L. "Lying in the Gallery." October, no. 176 (2021): 53–72. http://dx.doi.org/10.1162/octo_a_00426.
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Abstract This essay addresses a recent exhibition phenomenon associated with time-based art: the striking preponderance of beds, beanbag chairs, and other horizontal viewing platforms in the staging of such work. Indeed, in black-box galleries around the world, viewers have been increasingly solicited to go horizontal. What might these new modes of display tell us about contemporary cultures of work when compared to historical examples from the 1960s, particularly in regard to the mass phenomenon known as “burnout” in the present? Might such novel conditions of reception shed light on the shifting interactions between humans and computers in what the ethnographer Marcel Mauss called nearly one hundred years ago, the “civilization of latitude”? Departing from Niki de Saint Phalle's She (1966)—an immersive media environment presented as a recumbent female figure—the essay argues that lying in the gallery chimes with technologies of work post-Internet, our incorporation of its media platforms, and the generalization of the network as a ubiquitous and ambient resource.
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Gadian, David G. "Sir Rex Edward Richards. 28 October 1922—15 July 2019." Biographical Memoirs of Fellows of the Royal Society 70 (March 10, 2021): 387–407. http://dx.doi.org/10.1098/rsbm.2020.0039.
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Rex Richards was renowned for his research in the field of nuclear magnetic resonance (NMR). Very early on, in the late 1940s, when NMR was in the domain of physicists, he foresaw that the technique might play an important role in chemistry. He embarked on a highly successful research career in which he combined the design and development of new NMR spectrometers with novel applications, initially in chemistry and subsequently in the biological sciences. One major outcome was the establishment of the Oxford Enzyme Group's NMR research programme. Another was the development of 31 P NMR spectroscopy as a non-invasive method of probing the biochemistry of intact biological tissue. Rex was an outstanding teacher and mentor. He also had highly impressive administrative skills, as recognized through successive appointments at the University of Oxford as head of the Physical Chemistry Department, then warden of Merton College and finally vice-chancellor. He was subsequently appointed director of the Leverhulme Trust and became widely respected in the arts world, as reflected by his remarkable array of committee memberships at the National and Tate Galleries.
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Majhosev, Darko. "CHARACTERISTICS OF THE CITY TOURISM WITH ACCENT ТО ТHE CITY TOURISM IN THE REPUBLIC OF MACEDONIA." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 1 (March 20, 2019): 267–75. http://dx.doi.org/10.35120/kij3001267m.
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With their cultural and historical contents, cities have always attracted tourists, thus contributing to creating a new kind of tourism - city tourism. The potentials of cities have contributed to creating other types of tourism such as fair, cultural, congressional, sports, religious tourism, etc. City breaks have become a contemporary trend and a phenomenon in world tourism, which an increasing number of tourists is becoming more interested in, and these tourists want to spend their short breaks, holidays or weekends in them. Comprehensive and short visits to major cities offer an opportunity to discover their tourist values such as ambience, architecture, culture, art, people, customs, etc. Basically, urban tourism is an activity that takes place in urban areas. City break is the third most important type of tourism in international tourism and the third most important type of vacation and traveling in Europe after ―sun and beach‖ and ―tour‖. In the last three decades, tourism in the world has been witnessing a constant growth of city break. The growth of this type of tourism is associated with the growth of the urban population in the world. City break tourism gives an impetus to the revitalization of urban areas. Historic cores of cities and pedestrian zones are urban spaces that appeal to visitors and are always attractive places visited by most tourists in all seasons. One of the most common activities of city break is seeing the sights of a city, its attractions, museums, galleries and historical landmarks, most often with a special open-type bus with a tour guide.
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Berger, Gabriel, and Carolina Gowland. "Fundación arteBA: supporting visual artists by promoting the art market." Emerald Emerging Markets Case Studies 2, no. 6 (August 13, 2012): 1–19. http://dx.doi.org/10.1108/20450621211275165.
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Subject area Strategic management of nonprofit organizations. Study level/applicability This case is appropriate for graduate level program/executive education courses; advanced topics in nonprofit management or strategic management of nonprofit organizations. Case overview This case focuses on the central dilemma faced by arteBA Foundation in 2008. arteBA Foundation's chairman, Facundo Gómez Minujín, received an offer from a foreign company to purchase the art fair launched 17 years before – and by then acknowledged as the most prestigious fair in Latin America. Leading art fairs around the world were managed by for-profit companies that could view arteBA as a strategic asset to tap into new markets. Gómez Minujín called for an urgent board meeting. The young chairman had his qualms about selling the fair. In addition to corroborating arteBA's brand positioning in the region and rewarding the organization's efforts over the years, this purchasing offer afforded the possibility to undertake several projects to further develop and promote Argentine art – the true driver for most arteBA's members. The case describes the foundation's background and the fair's growth until the crossroads in November 2008. They include several accounts of instances in which the foundation took financial risks to enhance the fair's positioning, such as granting subsidized space to emerging galleries at its Young Neighborhood Program, expanding to include aesthetically risky offerings at its Open Space section, and financially supporting Brazilian galleries to attend the fair in order to enhance its Latin American scope and regional consolidation. Similarly, the case depicts how the foundation chose to uphold fair continuity in critical years (2001) amidst a dismal domestic setting. The dilemma presented by this case hinges on an organization's ability to build a market-based venture while preserving and pursuing its mission. To promote Argentine artists and art, arteBA Foundation had to help art galleries – for-profit businesses – to adopt more professional practices. Another challenge described in this case revolves around the need to “manage quality” in detriment of greater, immediate revenues. The last section revisits the central dilemma faced by arteBA Foundation. The mixed reactions of board members on the fair's purchase offer described in the introduction unfolded in a passionate debate at the board meeting. Two prevailing positions emerged in reference to the future of the organization. For some board members selling the fair afforded arteBA a chance to finally undertake new challenges, such as launching a grant program, offering financial support to artists, consolidating a new venture (South Limit), etc. Opposing board members contended that, without the fair, the foundation made no sense and that no other initiative could have such an impact on its field of choice. Finally, the board found it impossible to reach a decision on this matter in just one meeting and decided to resume its discussion after a recess. Expected learning outcomes This case has been designed to advance the following teaching objectives: gaining a better understanding of market-based ventures carried out by social organizations; discussing the alignment of market-based ventures to social missions at social organizations; adequately interpreting market trends to try to align them to a nonprofit's mission; identifying the primary capabilities needed by social organizations to manage profitable market-based ventures; developing a positive market orientation as a source of opportunities for a nonprofit; appreciating the significance of an active, committed board for market-based venture development; and highlighting the primary role of entrepreneurship and innovation when it comes to launching market-based ventures that add value to a nonprofit's brand. Supplementary materials Teaching notes are available.
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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.
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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.
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Bodolica, Virginia, and Bilal Kasih. "Reimagining the post-pandemic industry of arts in the Arab world: fast-tracked digital uplift or back to business as usual?" Emerald Emerging Markets Case Studies 11, no. 3 (August 30, 2021): 1–25. http://dx.doi.org/10.1108/eemcs-06-2020-0181.
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Learning outcomes The learning outcomes of this paper are as follows: to assess the extent to which a new business concept or entrepreneurial idea represents a commercial success or practical failure, to estimate the complexities associated with the management of a partnership-based venture in the context of emerging markets, to demonstrate understanding of entrepreneurial action and strategic adaptation under the condition of uncontrollable external shocks (e.g. COVID-19) and to evaluate the pros and cons of different strategic options and provide viable recommendations for the future. Case overview/synopsis Startup entrepreneurship constitutes the backbone of the socioeconomic activity of any nation and a driver of innovation, industrial diversification and wealth generation, particularly in emerging market settings. Drawing upon narrative storytelling techniques, this case study immerses the reader into the intricacies of entrepreneurial venture creation within the dynamic startup ecosystem in the Middle East. It follows the story of a young serial entrepreneur, Omar, who decided to launch a business in the creative industry of arts in the United Arab Emirates in partnership with his friend, Ahmed. Their common venture, Mont8, showcased and promoted the artwork of budding and well-known Arab talents and was on track to become a recognizable brand in the Middle Eastern business of arts until the COVID-19 crisis shook the world taking everyone by surprise. In an attempt to build a successful post-pandemic future, Omar was convinced that Mont8 needed to fast-track its digital transformation. He envisioned an e-commerce marketplace that would empower Arab artists, designers and photographers to create customized virtual galleries on their own web-stores through the Mont8’s digital platform. Yet, Omar’s vision diverged drastically from the very conservative mindset of Ahmed, who did not want to disrupt tradition and argued in favor of a back-to-business-as-usual approach. It remains unclear whose option would be selected and whether the two partners would stay in this makeover together or rather part ways. Complexity academic level Upper-level undergraduate courses. Supplementary materials Teaching notes are available for educators only. Subject Code CSS 3: Entrepreneurship.
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
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Grimshaw, Mike. "Believing in Colin: “A Question of Faith” from “Celestial Lavatory Graffiti” to “Derridean Religious Addict”." Pacifica: Australasian Theological Studies 18, no. 2 (June 2005): 175–97. http://dx.doi.org/10.1177/1030570x0501800205.
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This essay critically evaluates responses to Colin McCahon's religious paintings over the past fifty years, from A. R. D. Fairburn's dismissal to Laurence Simmons' deconstruction, and beyond to the reception of “A Question of Faith”. McCahon's religious paintings have evoked an ever-changing response that, it is argued, reflects the debate on the role and position of religion and Christianity in both New Zealand society and the wider modern-postmodern world. McCahon's religious paintings of the 1940s were attempts to locate in New Zealand the postwar Christian reconstruction of society, and yet they were rejected by a society not ready for the articulation of a modernist contextual theology. In the 1970s McCahon's return to contextual theology again provoked polarised responses, in part because of his appropriation of Maori spirituality. Likewise, his use of text, as the location of revelation in public space, proved discomforting to a culture more comfortable with a view of itself as secular and of religion as marginalised, privatised and sectarian. More recently the embracing of McCahon by overseas critics and galleries as a major modernist religious artist has forced a reappraisal whereby he has been relocated as a Pakeha prophet While the paintings themselves have often been critiqued, little if any work has been done that reads the critics as articulating wider cultural and societal responses to God, religion and Christianity. This essay discusses the various “McCahon's” that have been articulated by critics and argues that in both McCahon's art and the various critical responses, there is the groundwork for an emergent Antipodean contextual secular theology.
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Price, Sally, and Sally Price. "Artists in and out of the Caribbean." New West Indian Guide / Nieuwe West-Indische Gids 73, no. 3-4 (January 1, 1999): 101–9. http://dx.doi.org/10.1163/13822373-90002581.
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[First paragraph]Caribbean Art. VEERLE POUPEYE. London: Thames and Hudson, 1998. 224 pp. (Paper US$ 14.95)Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966-1996. MORA J. BEAUCHAMP-BYRD & M. FRANKLIN SIRMANS (eds.). New York: Caribbean Cultural Center, 1998. 177 pp. (Paper US$ 39.95,£31.95)"Caribbean" (like "Black British") culture is (as a Dutch colleague once said of postmodernism) a bit of a slippery fish. One of the books under review here presents the eclectic artistic productions of professional artists with Caribbean identities of varying sorts - some of them lifelong residents of the region (defined broadly to stretch from Belize and the Bahamas to Curacao and Cayenne), some born in the Caribbean but living elsewhere, and others from far-away parts of the world who have lingered or settled in the Caribbean. The other focuses on artists who trace their cultural heritage variously to Lebanon, France, Malaysia, Spain, China, England, Guyana, India, the Caribbean, the Netherlands, the Philippines, and the whole range of societies in West, East, and Central Africa, all of whom meet under a single ethnic label in galleries in New York and London. Clearly, the principles that vertebrate Caribbean Art and Transforming the Crown are built on the backs of ambiguities, misperceptions, ironies, and ethnocentric logics (not to mention their stronger variants, such as racism). Yet far from invalidating the enterprise, they offer an enlightening inroad to the social, cultural, economic, and political workings of artworlds that reflect globally orchestrated pasts of enormous complexity.
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Batt, Chris. "Long-term digital strategy: do it once, do it right." Information and Learning Science 118, no. 5/6 (May 8, 2017): 331–35. http://dx.doi.org/10.1108/ils-06-2017-0058.
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Purpose Collecting Institutions in the Network Society is a multidisciplinary PhD study examining present practices and policies of collecting institutions (museums, galleries, libraries and archives) in their use and development of digital technologies, within the context of wider socio-technical change. It investigates whether existing service paradigms are best suited to future digital delivery of services in the emergent network society. Design/methodology/approach It uses an interpretive methodological approach creating a body of phenomenological evidence enabling comparison between the organisational context, internal practices, histories and policies of collecting institutions, and the wider socio-technical impact of the internet. Literature reviews provide evidence from the “outer world” of internet developments and impact to establish four generic drivers of internet change. For the “inner world” of collecting institutions, organisational context and research and development on innovation are examined to analyse various perspectives on common approaches to service policy and practice. Additionally, textual analysis of institutional mission statements and policy documents is used to establish the degree of common purpose across collecting institutions and the preparedness of practitioners and policymakers to deal with rapid socio-technical change. Findings The evidence is synthesised to define an institutional paradigm describing the present operational processes and practices of collecting institutions. This is compared with the four generic drivers to define opportunities and challenges that collecting institutions face in exploiting the internet. This synthesis demonstrates that the siloised and fragmented nature of the institutional paradigm creates significant barriers to effective exploitation. Evidence from the textual analysis is used to develop a shared mission statement for all collecting institutions as the foundation of a strategic digital future. Originality/value The study proposes a radically new service paradigm (the digital knowledge ecology) enabling collecting institutions to achieve maximum user value in their delivery of digital services, and concludes with proposals for actions to build a collective strategy.
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Ahmed, Fatma, Abanoub Fayez, and Ahmad Haron. "Comparison Study for Art Centers in Greater Cairo To Achieve Heritage conservation." Resourceedings 2, no. 2 (October 5, 2020): 254. http://dx.doi.org/10.21625/resourceedings.v2i2.737.
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Art centers Art centers play an important role in building social connections and increasing the artistic sense of community in addition to enhancing peoples' creative skills and developing their analytical and intellectual abilities which lead to success. The vital role of art centers is developing the community traditional culture as well as calling for reviving the spirit of authenticity and preservation of cultural heritage.In Egypt Art Centers are worked asfunctional community centers that focus on supporting arts practice and facilities as art galleries act as museums that reflect many aspects of people’s lives.Educational facilities, workshops, a performing arts theatre, a fine arts library, music library, and dance and drawing studios supporting local communities and cover part of the gap between culture needs and available building and facilities in the city.Cairo’s role as the cultural capital of one of oldest civilizations in the world is reflected in the arts and architecture of all periods. Therefore, the art centers role in Greater Cairo varies to preserve and teach the traditional and new arts. Despite the emergence of museums in Egypt in the early nineteenth century, the establishment of art centers in Egypt in its current form began in the late fifties in the twentieth century. It appeared as new buildings or the reuse of heritage buildings. Its function is to revive and teach different types of art different periods, achieve conservation of identity, Cultural heritage and creating a new artistic value.This study will highlight the complex value of art centers buildings in Cairo with a comparison between its design, roles and methods of development. FromArchitects,Academicians, designers,andstudents point views toward sitting up a methodology for the design and development of arts centers in Greater Cairo.
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Kolbuszewska, Ewa. "„Sztuczne raje” — motywy i sposoby upiększania krajobrazu w literaturze i kulturze początków XIX wieku." Góry, Literatura, Kultura 13 (September 22, 2020): 127–47. http://dx.doi.org/10.19195/2084-4107.13.11.
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The present article focuses on a tendency to artificially beautify landscape, a tendency that was particularly strong in European culture of the eighteenth and early nineteenth century, having been anticipated in Renaissance and Baroque culture. This is associated with landscape being assigned a cultural character, transformed by humans on the basis of natural resources. This tendency became a fluid process partially documented by literature. The process ranged from the introduction of decorative elements into gardens (statues like the famous Apennine Colossus in the garden of the Villa di Pratolino), through unique garden designs to the creation of landscape parks adapting natural spaces for purposes dictated by aesthetic theories (English landscape parks). French landscape gardens, which brought to the fore anthropologically viewed human beings living in a world built with geometric precision and order, were contrasted with the English landscape parks designed completely differently. The transformations taking place in culture, literature and art at the turn of the nineteenth century (Romanticism) went hand in hand with actions aimed at aestheticising landscape on the basis of natural resources. This was accompanied by important changes in customs resulting from new concepts of viewing landscape. The resulting development of tourism, consisting in its gradual popularisation, led to the emergence in the way of viewing nature of a certain hierarchy of values of various topographic sites (famous mountains, valleys, waterfalls, lakes, springs etc.). The desire to increase their attractiveness assumed the form of artificial beautification through the addition of artificial elements to landscape (grottos, temples, ruins, cascades, bowers). Many technical novelties were used to increase the effectiveness of hydrological elements (galleries under waterfalls, displays of waterfalls through coloured glass, boat trips to waterfalls). This tendency evolved further with the development of tourism. The period saw a rise in the role and attractiveness of health resorts, with an increasing role being played in their spatial arrangement by parks with fountains, bowers, artificial waterfalls. Access to sites known for beautiful vistas in the mountains was facilitated (steps cut in rock and stairs built on mountain slopes, galleries, gloriettes, viewing decks or even viewing towers). In this process of artificial aestheticisation of landscape an increasingly important role was played by the railways enabling people to observe landscapes through the windows, which was impossible for those travelling by stagecoaches. Artificial sluices above waterfalls were used to bank up water, released upon a fee. Changes in their infrastructure were accompanied by a theatricalisation of the setting (Ossianesque imitation, artificial folklorisation, blind musicians, children offering flowers to tourists, special acoustic effects like echo).
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Kuzovenkova, Yulia. "The norm and deviation boundaries in the subcultural aspect." Socium i vlast 4 (2020): 47–55. http://dx.doi.org/10.22394/1996-0522-2020-4-47-55.
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Introduction. The article examines the role of youth culture (in particular, counterculture and subculture) in reformatting the modern sociocultural space. As long ago asin the 1970s. the researchers pointed out that young people, showing their active position, change the realities of the socio-cultural space in which their parents lived. The research is based on the materials of the graffiti and street art subculture, as an informal artistic practice. The graffiti subculture emerged among African American teenagers in the 1970s in New York City. The first label that this subculture has been endowed with by society and city authorities is vandalism. However, in the late 1970s early 1980s graffiti is involved in the sphere of the art world institutions activities (private galleries) and becomes in demand among collectors. Street art emerges under its influence. The aim of the study is to reveal due to what characteristics of the socio-cultural space the transition from deviation (vandal practice) to the asserting norm became possible. Methods. The methodological basis of the research is the theory of generations by K. Mannheim and his concept of «fresh contact», which indicates the rethinking of the previously assimilated sociocultural experience by the subjects of culture. Another methodological basis is the concept of rhizome, introduced into scientific circulation by the philosophers J. Deleuze and F. Guattari. Scientific novelty of the research. It is shown how the rhizomatic principle of organizing culture is realized during the transition of youth practice from the space of deviant, in accordance with social norms, actions into the institutionalized space of the art world. Results. Using the example of the metamorphosis that the youth subculture of graffiti underwent in the late 20th — early 21st centuries, the author shows how the boundaries between norm and deviation are shifting in modern society. Conclusions. The rhizom principle, clearly manifested in the organization of the space of postmodern culture, allows graffiti and street art to make the above transition. The fall of the great narrative in the art world leads to the loosening of hierarchies and creates an opportunity for the integration of once marginal phenomena into the space of official art. K. Mannheim’s concept of «fresh contact» is effective in the study of postmodern culture.
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Działek, Jarosław. "A Spatial History of Independent Art Spaces in Krakow from the 1970s to 2019." Arts 10, no. 3 (July 6, 2021): 45. http://dx.doi.org/10.3390/arts10030045.
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Independent art spaces not only play an important role in exploring frontiers in the visual arts but are often also pioneers discovering new artistic territories within cities. Due to their subordinate position in the field of art, they often occupy marginal spaces in terms of their location within the urban structure and/or in terms of their physical visibility within the built environment. Their location outside the established artistic cores reflects, at the same time, their weaker economic standing and wish to distinguish themselves from previous generations of cultural producers. Post-socialist cities offer the opportunity to study the spatial history of independent art spaces under different political and economic systems. In this paper, I have used a detailed database of private art galleries in the period from the 1970s to 2019 and content analysis of press and internet texts about them to uncover the stages of development of independent art venues in Krakow, Poland, an example of a post-socialist city with a rich cultural heritage. They included periods of dispersion within the wider inner-city followed by cycles of concentration in rather neglected quarters that were emerging as epicentres of alternative artistic life only to dissipate due to unfavourable economic conditions and the appearance of the next generations of artists who wanted to mark their distinctive presence both in the art world and in the urban space. I also discuss how independent art spaces were using their usually marginal, temporary and fluid sites in their artistic practices and the accumulation of symbolic capital in the field of art.
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Ruch, Hans-Jörg. "Die Zeitgenossenschaft des Alten im Engadin." Manipolazioni metasemiche del patrimonio 2 NS, Issue 2 Ns, July 2019 (June 15, 2019): 51–75. http://dx.doi.org/10.30682/aa1902d.
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The Engadinerhaus is a typical historic Engadine collective building that combines all the functions of a farm and a residence into a single housing system. It is characterized by a distribution and structural scheme organized according to certain principles that give the artifacts an imposing and severe external appearance. These are very old buildings whose matrix can be placed between the fourteenth and seventeenth centuries and which have undergone numerous transformations over time in order to adapt them to the changing needs of the agricultural world. The historical and documentary value of these important testimonies is already recognized at the beginning of the twentieth century and in 1905 the “Bündner Heimatschutz” is already promoting their protection in order to preserve their architectural and building features. The architect Hans-Jörg Ruch has recently worked on some projects for the re-functioning and restoration of these extraordinary buildings, which in some cases have kept their residential use, while in other cases they have been converted into exhibition spaces and art galleries. The buildings presented in this essay – such as the Chesa Andrea in Madulain, the Chesa Büsin in Silvaplana, the Chesa Madalena in Zuoz, the Chesa Merleda in La Punt, the Chesa Not in Tschlin and the Chesa Perini in S-Chanf – are just one selection of the works realized in Engadine by Ruch. New interior volumes, such as a “house in the house”, or even veils and walls with shapes and materials that strongly reveal their contemporaneity, are inserted in the original spaces of the old building left unaltered. These interventions show an unprecedented and original dialectic between the preservation of the materic character of the historical artifact and the unveiling of new meanings and spatiality, through architectural, constructive and material solutions affected by contemporary artistic procedure.
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HuiMin, Wang, Zheng Wang, Fu Liu, Cheng Xu Wu, Su Fang Zhang, Xiang Bo Kong, Cony Decock, Quan Lu, and Zhen Zhang. "Differential patterns of ophiostomatoid fungal communities associated with three sympatric Tomicus species infesting pines in south-western China, with a description of four new species." MycoKeys 50 (April 9, 2019): 93–133. http://dx.doi.org/10.3897/mycokeys.50.32653.
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Bark beetles and their associated fungi, which cause forest decline and sometimes high mortality in large areas around the world, are of increasing concern in terms of forest health. ThreeTomicusspp. (T.brevipilosus,T.minorandT.yunnanensis) infect branches and trunks ofPinusyunnanensisandP.kesiyain Yunnan Province, in south-western China.Tomicusspp. are well known as vectors of ophiostomatoid fungi and their co-occurrence could result in serious ecological and economic impact on local forest ecosystems. Nonetheless, knowledge about their diversity, ecology, including pathogenicity and potential economic importance is still quite rudimentary. Therefore, an extensive survey of ophiostomatoid fungi associated with theseTomicusspecies infestingP.yunnanensisandP.kesiyawas carried out in Yunnan. Seven hundred and seventy-two strains of ophiostomatoid fungi were isolated from the adult beetles and their galleries. The strains were identified based on comparisons of multiple DNA sequences, including the nuclear ribosomal large subunit (LSU) region, the internal transcribed spacer regions 1 and 2, together with the intervening 5.8S gene (ITS) and the partial genes of β-tubulin (TUB2), elongation factor 1α (TEF1-α) and calmodulin (CAL). Phylogenetic analyses were performed using maximum parsimony (MP) as well as maximum likelihood (ML). Combinations of culture features, morphological characters and temperature-dependent growth rates were also employed for species identification. Eleven species belonging to five genera were identified. These included six known species,Esteyavermicola,Leptographiumyunnanense,Ophiostomabrevipilosi,O.canum,O.minusandO.tingensand four novel taxa, described asGraphilbumanningense,O.aggregatum,SporothrixpseudoabietinaandS.macroconidia. A residual strain was left unidentified asOphiostomasp. 1. The overall ophiostomatoid community was by far dominated by three species, representing 87.3% of the total isolates; in decreasing order, these wereO.canum,O.brevipilosiandO.minus. Furthermore, the ophiostomatoid community of each beetle, although harbouring a diversity of ophiostomatoid species, was differentially dominated by a single fungal species;Ophiostomacanumwas preferentially associated with and dominated the ophiostomatoid community ofT.minor, whereasO.brevipilosiandO.minuswere exclusively associated with and dominated the ophiostomatoid communities ofT.brevipilosusandT.yunnanensis, respectively. Eight additional species, representing the remaining 12.7% of the total isolates, were marginal or sporadic. These results suggested that sympatricTomicuspopulations are dominated by distinct species showing some level of specificity or even exclusivity.
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AGAR, JON, WILLIAM J. ASHWORTH, and JEFF HUGHES. "BJHS special issue: On time: history, science and commemoration." British Journal for the History of Science 33, no. 4 (December 2000): 385. http://dx.doi.org/10.1017/s0007087400004234.
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Time is a fundamental concept that we typically take for granted in our everyday lives. Rarely do we look at our wristwatch and think how seconds, minutes and hours came to take on such importance. Even less do we reflect on all the work that goes into making seconds, minutes and hours appear as something as natural as the world around us.What is time? How is it we have come to order our lives in such regulated and precise ways? How has our conception of time changed throughout history? The idea to reflect upon such weighty questions emerged at a conference organized by the British Society for the History of Science on the subject of ‘space’ held at the University of Kent in 1994. It seemed to many participants that the topic of time would make an equally interesting subject for a meeting. In particular, one question came to the fore: did space dominate time or time dominate space? In the event it took the dawning of a new century to provide the impetus, excuse and opportunity to organize a meeting to discuss such matters. It also quickly became clear that other historical societies and institutions had similar aims. The result was a joint three-day meeting, co-organized by the BSHS, the Royal Historical Society and the National Museums and Galleries on Merseyside, held at the impressive Merseyside Maritime Museum, Liverpool, in September 1999.This unprecedented coalition demonstrated the importance and productivity of bringing together historians of different backgrounds and interests. The bridging of traditional boundaries was also symbolized by Ludmilla Jordanova's unique position as both president of the BSHS and vice-president of the Royal Historical Society. The whole event, not surprisingly, attracted significant media attention and was deemed by all concerned a great success. This special issue of the BJHS is a small sample of the diversity and richness that characterized the meeting.
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Patz, Gerd-Peter. "10 Jahre Graphotek in der Stadtbibliothek Bremen." Art Libraries Journal 11, no. 3 (1986): 31–34. http://dx.doi.org/10.1017/s0307472200004788.
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Although the idea of lending works of art originated in Germany in 1885, the first library to actually do so was that of Newark, U.S.A., through the initiative of John Cotton Dana in 1903-4. Other countries followed suit - Britain before the end of the Second World War, Scandinavia by the late 1950s, and France, where in recent years over 30 picture libraries have been established with state support under Mitterand’s Minister for Culture, Jack Lang.While in East Germany there are over 100 picture libraries lending mainly reproductions, in West Germany there are 61, lending exclusively original works. The Graphotek in Bremen Public Library is the third largest of these, and all citizens over 16 can borrow from its collection of over 2,200 works for eight weeks at a time, choosing either directly or, at any of the six branch libraries, from colour slides and catalogues.The Bremen Graphotek has set out to build up a representative collection of German and international art from all periods, with special emphasis on contemporary art; prints make up the greater part of the collection, and reproductions are excluded. 720 artists are represented; 50% of funding is reserved for Bremen artists. Over 33,000 loans have been made in the Graphotek’s first ten years, with 75%-80% of the collection being out on loan at any given time. There has been a gradual trend towards more borrowing by schools, hospitals, etc.The Graphotek has promoted 88 exhibitions. The last of these, on the occasion of the Graphotek’s 10th anniversary, displayed work by 70 artists illustrative of new directions in art since 1970.The Graphotek also functions as a centre for information on art, artists, art galleries, etc., with reference books and art journals available for consultation.
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Christensen, Jørgen Riber. "Four steps in the history of museum technologies and visitors' digital participation." MedieKultur: Journal of media and communication research 27, no. 50 (June 27, 2011): 23. http://dx.doi.org/10.7146/mediekultur.v27i50.2982.
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The hypothesis of this article is that the authentic and auratic exhibited objects in museums enter into a dialogue with surrounding paratexts. The paratexts anchor and change the meaning of the exhibited object in the museum context. Recent years have indicated a tendency for museum paratexts to grow increasingly allographic, i.e., visitors generate them both in situ and online as a part of Web 2.0 participation. The verification and documentation of this hypothesis are partly empirical, partly historical. The empirical research consists of an examination of the exhibition and display technologies used today in three different museums and galleries: the Bode Museum in Berlin, the Victoria and Albert Museum and Dr. Johnson's House in London.<br /> The historical verification and documentation in this article describe four steps in the development of exhibition technologies: the Boydell Shakespeare Gallery (1789-1805), the post-photographic museum (the 1850s), audio guides, as well as a special focus on how museum paratexts have become independent today in its digital and participatory form. In this way, the article sketches the historical development of curating towards the digital and paratextual participation of visitors and audience. Here the argumentation is based on how the displayed object creates signification in its position between its autonomy and its contexts. The following display technologies are described and analysed: stipple engraving, photography, the audio guide, and the interactive, digital Anota pen and its Internet server.<br /> In conclusion, the article asks where the place of signification or meaning of the exhibited object has moved to in the face of the increased degree of visitor participation. The tentative answer is that the signification generating process has moved away from the historical context of the object and towards the contemporary world of the visitor. The article connects this change in cultural discourse with Karin Sander's archaeological imagination and in a wider sense with the concept of negotiation from new historicism.<br /><br />
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Chemberzhi, Daria. "The importance of installation art for the development of contemporary art in the world and Ukraine." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 278–87. http://dx.doi.org/10.37131/2524-0943-2019-39-19.
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Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes
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Ijadi Maghsoodi, Abteen, Abbas Saghaei, and Ashkan Hafezalkotob. "ARTQUAL." International Journal of Quality & Reliability Management 36, no. 9 (October 7, 2019): 1490–521. http://dx.doi.org/10.1108/ijqrm-01-2019-0004.
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Purpose The purpose of this paper is to formulate and validate a measurement model to evaluate the service quality of cultural centers. This study aims to expand the domain of service quality measurement models by extending the SERVQUAL model to an alternative measurement tool called the ARTQUAL model based on three different preferences and scenarios including concert halls, theater halls and art galleries. Design/methodology/approach The data were collected from 15 cultural centers. Structural equation modeling (SEM) was utilized in the current research to study the association between aesthetic environments and service quality. An exploratory factor analysis took place to formulate the fundamentals of the measurement model. The validation process is based on a hybrid framework integrating the covariance-based SEM along with the partial least square technique to present a robust validity of the ARTQUAL model. Ultimately, an extensive managerial analysis has been established to show the practicality of the ARTQUAL model. Findings This study provides empirical evidence that the ARTQUAL instrument is proven to be valid, reliable and appropriate to evaluate the service quality of cultural centers. Based on the real-world managerial analysis, the ARTQUAL model showed a significant practicality in quality evaluation of aesthetic environments. Research limitations/implications One of the most important limitations of quantitative studies, based on aesthetic features, is the cultural preferences. This limitation is due to the nature of cultural preferences and partialities applied in different countries based on the definition of quality involving aesthetic aspects such as age, sex and culture. Meanwhile, the findings of this study can guide the service management experts to better understand and improve customers’ perceptions and orientations of service quality in aesthetic environments. Originality/value This paper presents a novel service quality measurement model in order to evaluate the service quality of cultural centers. The originality of the current study is not merely limited to the suggestion of a new quality measurement model, a hybrid statistical validation framework has been provided as well. Therefore, this study provides valuable guidelines to both practitioners and academics to enhance the quality of service measurements in cultural centers.
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Cuervas-Mon, J., L. Jordá-Bordehore, J. A. Nazareno, and K. F. Escobar. "Evaluación de la estabilidad de excavaciones mineras de pequeño diámetro mediante clasificaciones geomecánicas y análisis empíricos: el caso de la mina de San Juan, Ecuador." Trabajos de Geología 35, no. 35 (June 8, 2017): 19. http://dx.doi.org/10.17811/tdg.35.2015.19-28.
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Resumen: Desde los años setenta del pasado siglo se viene empleando con éxito en todo el mundo una metodología de análisis preliminar de estabilidad de huecos subterráneos basada en el uso de las clasificaciones geomecánicas, siendo las más empleadas el RMR de Bieniawski y el índice Q de Barton. Esta última es la que se empleará en este estudio. Se trata de una aproximación empírica que permite estimar, mediante la asignación de una puntuación, la calidad del macizo rocoso, con el objetivo de conocer su grado de estabilidad ante la ejecución de una excavación subterránea. En la presente investigación se aplica el índice Q al estudio de la estabilidad de galerías y filones de una pequeña mina de oro en el Cantón de Ponce Enríquez, Ecuador. En este trabajo se propone un nuevo gráfico empírico tomando para ello otros anteriores y los resultados de la evaluación de tal manera que pueda determinarse el factor de seguridad y el máximo vano estable que pueda abrirse en minas de este tipo. Una de las principales aportaciones del trabajo es la de validar el índice de Barton a huecos pequeños.Palabras clave: Índice Q, minería artesanal, mina subterránea, máximo vano, oro.Abstract: Rock mass classifications are used throughout the world since the 1970’s. It is a methodology for the prefeasibility assessment of the stability of underground openings. The most used are the Bieniawski’s RMR and the Barton’s Q index. The latter is the one we have used in this study. It is an empirical approach that gives a numerical score to the rock mass quality to determine the degree of stability or reinforcement required. In this research, the Q index is applied to assess the stability of galleries and veins in a small gold mine in Canton Ponce Enriquez, Ecuador. A new empirical chart has been established using previous ones and considering the results of the study. This chart can be used to determine the safety factor and stable maximum span that can be opened in vein-mines of this type. One of the main contributions of the work is to validate the Barton index to small holes.Keywords: Q index, artisanal mining, underground mine, maximum span, gold.
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Fuller, Martin G. "Less than Friends, More than Acquaintances: Artists, Markets and Gallery Openings in New York." International Review of Social Research 5, no. 2 (October 1, 2015): 120–29. http://dx.doi.org/10.1515/irsr-2015-0011.
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Abstract This article describes one way that unknown and ‘emerging’ artists with limited exhibition history or reputation take steps towards developing their careers. Artists cannot apply directly for exhibition opportunities, therefore they develop social associations with gallerists that are described as being ‘kind-of-friendly-with’. Using a descriptive ethnographic narrative drawn from a case study of artists as they navigate an evening of commercial gallery openings in New York’s Chelsea district, it is argued that establishing a career in contemporary visual art depends on the ability to render one’s self visible to other participants in an art world. Rather than viewing the symbolic value of artworks as antagonistic with the economic art market, artists seek to establish social associations in which different forms of value are interrelated. In conclusion it is suggested that this is an art world in which the ‘economic world reversed’ is inversed.
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Koroleva, A. Y. "Густав Хартлауб и «новая вещественность»: выставка, собирание коллекции, судьба." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 156–67. http://dx.doi.org/10.46748/arteuras.2020.04.013.
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The author of article views the curator activity of famous German art-historian and director of Mannheim Kunsthalle Gustav Friedrich Hartlaub in the context of the collecting and patronage. His interest to actual art has turned to most large-scaled project in the art of Weimar republic, that fixes the bone of new «neorealistic» art in the period between two world wars, that has got a name «New objectivity» after the Hartlaubs exhibition. The aim of article is the study of Hartlaubs role as a gallerist in the awareness of changing, which have took a place in the German art after expressionism and their fixation in the social consciousness by exhibition actual pieces of art and following acquiring of them for different museum collections. For the first time in Russian language tells this article about the rising of interest to the «New Objectivity», the history of the organization of famous exhibition in 1925 and her tourney about Germany, about the problem, that have took a place, also about the contradictions between the participants of two wings inside the movement. Special attention is given to the fate of collection, which was scattered by Nazi. В контексте рассмотрения проблемы коллекционирования и меценатства автор статьи рассматривает кураторскую деятельность известного немецкого искусствоведа Г.Ф. Хартлауба, чей интерес к актуальному искусству в период Веймарской республики обернулся широкомасштабным проектом, зафиксировавшим рождение нового «неореалистического» направления в искусстве между двумя мировыми войнами, получившего название с легкой руки куратора Мангеймского Кунстхалле «новая вещественность». Целью статьи является изучение роли Хартлауба как галериста в осознании перемен, произошедших в немецком искусстве после экспрессионизма, и фиксации их в общественном сознании путем экспонирования произведений остроактуального искусства и их последующего приобретения музеем в свою коллекцию. Статья впервые в русскоязычной литературе освещает предпосылки возникновения интереса к живописи «новой вещественности», историю организации и последующего турне знаменитой выставки 1925 года, рассматривает те проблемы, с которыми столкнулись организаторы, а также внутренние противоречия между участниками и течениями внутри движения. Отдельное внимание уделено судьбе коллекции, разрозненной нацистскими властями.