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1
Lovell, Vivien. "Artists and the Public Spaces of the City." Built Environment 46, no. 2 (May 14, 2020): 54–68. http://dx.doi.org/10.2148/benv.46.2.214.
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The paper presents the variety of ways in which contemporary artists and curators are engaging with the city today. Public art, in its many manifestations, from monument to ephemeral sculpture, forms our mental image and memory of a city. Artists are contributing to the vibrancy of the city right across the public realm, from development, transport, health, sport, education and faith, and finding ways of engaging the public meaningfully in the creative process. Focusing on London, a sample of formal and informal commissioning practices in 'public art' is presented, from its procurement through the planning process to non-commissioned 'guerilla' street art. The role of artists on design teams and the value of one-off installations and temporary programmes of sculpture and light will be explored, alongside the range of patronage of public art today. Aff ordable studio spaces for artists are a continual issue in a city with rising property values: the paper cites models for retaining artists' homes and studios as well as problems encountered by creatives being forced ever further from now peripheral areas. Many contemporary art galleries are also finding themselves 'priced out' of the centre, bar the more established international galleries. Since artists and galleries have been responsible for regenerating entire districts, can their presence be safeguarded through planning regulations?
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Kalinina, Irina, and Polina Maksimova. "Analysis of the Modern Gallery Activities as an Element of the Tourism Infrastructure of the City." Bulletin of Baikal State University 29, no. 4 (December 20, 2019): 552–59. http://dx.doi.org/10.17150/2500-2759.2019.29(4).552-559.
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Nowadays, due to the insufficiently developed theoretical background of gallery business, gallery owners mainly rely on their intuition, analysis of the art market, and numerous sketchy theoretical works and tips. The article presents a comparative analysis and characteristics of the art galleries of the city of Irkutsk, not mentioned previously in the literature. A list of resources necessary for the formation and promotion of attractiveness of art galleries for tourists has been developed. It was created on the basis of the analysis of the activities of Russian and foreign galleries in terms of their tourism attractiveness and cooperation with tourist companies. At the same time, it is mentioned that measures aimed at developing of the tourism attractiveness of the gallery, which are quite often commercial by their nature, should promote the brand of the territory where the gallery is located, preserving its uniqueness. They should in no way turn the art gallery into a gift shop selling art souvenirs.
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Meiklejohn, Heather M. "Dress in History: Studies and Approaches." Costume 32, no. 1 (January 1, 1998): 102–3. http://dx.doi.org/10.1179/cos.1998.32.1.102.
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Lorente, Jesús-Pedro. "Galleries of modern art in nineteenth-century Paris and London: their location and urban influence." Urban History 22, no. 2 (August 1995): 187–204. http://dx.doi.org/10.1017/s0963926800000468.
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Museums of contemporary art tend to be exclusive landmarks of great capitals. We are used to finding art galleries in the most prominent of locations, either in old palaces, or in purpose-built museum buildings. For the special case of galleries of contemporary art, however, it is also a common policy to provide space at the middle of an out-of-town park, or else into the heart of an urban renewal area, using modern arts as ‘flagships’ of city regeneration. This article strives to show that today's dilemmas and choices about the siting of galleries of art are a legacy of the nineteenth century, recalling the lively controversies concerning the urban setting of the Parisian Musée des Artistes Vivants and its London equivalents. The different national cases are explored, to reveal several distinct models of gallery formation.
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Williams, Lorraine. "Russian art in a British public library." Art Libraries Journal 17, no. 2 (1992): 37–40. http://dx.doi.org/10.1017/s0307472200007823.
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The City of Westminster Libraries provide library services in a unique area of central London which includes a number of art galleries and most of London’s theatres. Users of the Library, among them many with professional or other interests in the arts, are served by collections which include a wide range of material on Russian art.
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Bahri, Samsul, and Febby Khafilwara. "Kualanamu Art Gallery & Exhibition Center (Structure as Elements of Aesthetics)." International Journal of Architecture and Urbanism 2, no. 2 (August 20, 2018): 115–21. http://dx.doi.org/10.32734/ijau.v2i2.395.
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Medan is the third largest city in Indonesia, so it has considerable potential in the field of Art. A lot of potential and human resources that could be developed in the city of Medan. The city characterized by the culture of various Ethnic this hope was able to preserve the culture of each ethnic group. Art galleries and exhibition is expected to become a new tourism venue in the city of Medan and the iconic place of the development of works of art in the city of Medan. With the approach of the structure as elements of aesthetic in architecture
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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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Vicars-Harris, Oliver. "COLLAGE “the Corporation of London Library & Art Gallery Electronic”." Art Libraries Journal 24, no. 1 (1999): 48–51. http://dx.doi.org/10.1017/s0307472200019349.
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The Corporation of London (the local authority for the City) recently launched COLLAGE, a powerful custom-designed visual information system, whose aim is to transform public accessibility to the extensive visual collections held in its libraries and galleries. Over a period of eighteen months a dedicated team of staff photographed, digitised and indexed over 30,000 works of art as the result of an intensive data imaging project. So far the works are drawn from the Guildhall Library and Guildhall Art Gallery - collections particularly renowned for their strength in material relating to London, which is now widely and easily accessible on dedicated workstations in the City, as well as via the Internet.
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Taylor, Nora A. "Vietnamese Anti-art and Anti-Vietnamese Artists: Experimental Performance Culture in Hà Nội’s Alternative Exhibition Spaces." Journal of Vietnamese Studies 2, no. 2 (2007): 108–28. http://dx.doi.org/10.1525/vs.2007.2.2.108.
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Since 1995, artists in Vietnam have been staging performance art events in alternative art spaces around Hàà Nôôi and Hôô Chíí Minh City, often defying government restrictions on public gatherings. That they take place outside of the ordinary venues for art, such as galleries and museums, gives these performances an illicit flavor that both attracts and deflects attention. This paper will argue that these art forms originate in a local culture of ritualized displays of emotion and are freeing artists from the constraints of the mainstream art world.
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MOLOTCH, HARVEY, and MARK TRESKON. "Changing Art: SoHo, Chelsea and the Dynamic Geography of Galleries in New York City." International Journal of Urban and Regional Research 33, no. 2 (June 2009): 517–41. http://dx.doi.org/10.1111/j.1468-2427.2009.00866.x.
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Tzortzi, Kali. "The art museum as a city or a machine for showing art?" Architectural Research Quarterly 14, no. 2 (June 2010): 129–38. http://dx.doi.org/10.1017/s1359135510000746.
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This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–b]. Their ground floors are conceived as a space you walk through, as a ‘piazza’; their spatial organisation is modular and flexible; their visual construction, punctuated by powerful views to the city. Moreover, they are guided by similar spatial ideas and share common fundamental morphological properties. Interestingly, their affinities extend to their collections – both begin with the turn of the twentieth century and extend to the twenty-first century; and their curatorial practices – as, for instance, the practice of reprogramming the galleries on a regular basis. But the experience of visiting the two museums is entirely different and each appears to have its own idiosyncratic spatial character, quite distinct from the other (described metaphorically by the museum designers as the museum as a city in the case of the Pompidou and as a machine for showing art in the case of Tate Modern). So, could these obvious similarities hide critical differences between the two museums?
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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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Andron, Sabina. "Selling streetness as experience: The role of street art tours in branding the creative city." Sociological Review 66, no. 5 (May 1, 2018): 1036–57. http://dx.doi.org/10.1177/0038026118771293.
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This article looks at the street art tours industry in London, and its function in constructing the geographic, economic and symbolic value of street art. The street art world of the capital has reached a substantial level of institutional endorsement as a proper urban creative practice, through backing such as by local councils and private developers, art galleries and book publishers. This article examines the role of walking tours in holding up street art as a cultural product of the creative city. It argues that London’s street art scene is constructed and legitimated by these tours through the strategic deployment of an authoritative discourse. Street art tours’ routes and locations are then integrated into a longer lineage of endorsements for the cultural field of street art, and interpreted as branding strategies for the creative city. In the conclusion, the role of walking tours in gentrification and urban change is discussed, with a focus on how street art works and murals contribute to performing Shoreditch as a hub of vibrancy and urban creativity.
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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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Jażdżewska, Iwona. "Murals as a tourist attraction in a post-industrial city – a case study of Łódź (Poland)." Turyzm/Tourism 27, no. 2 (December 30, 2017): 45–56. http://dx.doi.org/10.1515/tour-2017-0012.
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The article presents the development of Łódź murals in the 21st c. and the opinions of the participants of tours organized in 2014 by the Urban Forms Gallery. Their objectives include saturating the urban fabric with street art and promoting this form of artistic expression. Having analysed memories registered and shared on YouTube, information published by local, national and foreign media, opinions posted by tourists and street-art lovers in online blogs and galleries, as well as the information about some artists on their websites, the author studied the opinions of tour participants as well and established the significance of Łódź murals. The analysis enabled her to look for the answer to the question whether murals can be a tourist attraction in a post-industrial city like Łódź.
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Kober, O. I. "Меценатство и коллекционирование в провинции: на примере галереи искусств М.Ф. Коннова в Оренбурге." Iskusstvo Evrazii [The Art of Eurasia], no. 2(21) (June 30, 2021): 76–91. http://dx.doi.org/10.46748/arteuras.2021.02.007.
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Collecting works of art in the modern Russian provinces is still a poorly studied topic of art history. The relevance of the study is determined by considering the main activities of private art galleries in Orenburg, which is being done for the first time. The author points out the factors that led to the collection of works by Orenburg artists, who was influenced by the graduates of the Moscow State Academic Art Institute named after V.I. Surikov since the 1960s. Changes in the methodological work of art galleries with viewers and buyers at the present stage are noted. The object of the analysis is the art gallery “On Pushkinskaya” as an example of exhibition, information and educational activities. The study emphasizes the role of the personality of the gallery owner M. F. Konnov, a collector, philanthropist and artist, thanks to whom the art gallery has become a cultural center of the city. Коллекционирование произведений искусства в современной российской провинции остается малоизученной темой искусствоведения. Актуальность исследования обусловлена рассмотрением основных направлений деятельности частных художественных галерей Оренбурга, что делается впервые. Указываются факторы, предопределившие собирание картин коллектива оренбургских художников, сформировавшегося под влиянием выпускников Московского художественного института им. В.И. Сурикова, приехавших в степной город в 1960-е годы. Отмечаются изменения в методической работе арт-галерей со зрителями и покупателями на современном этапе. Объектом анализа является галерея искусств «На Пушкинской» как образец выставочной, информационной, образовательной и просветительской деятельности по приобщению зрителей к современному искусству. В исследовании подчеркивается роль личности владельца галереи М.Ф. Коннова, коллекционера, мецената и художника, благодаря которому галерея искусств превратилась в культурный центр города.
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Jarvis, Anthea. "An Agreeable Change from Ordinary Medical Diagnosis." Costume 33, no. 1 (January 1, 1999): 1–11. http://dx.doi.org/10.1179/cos.1999.33.1.1.
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This paper was prepared for and given at the conference ‘Dress in History’ held at Manchester Metropolitan University in July 1997 to celebrate the 50th Anniversary of the opening of the Gallery of English Costume at Platt Hall. Its intention was to give the history of the Cunnington Collection and its acquisition by Manchester City Art Galleries, which was the catalyst for the establishment of the Gallery, rather than to be a re-evaluation, in the light of present-day scholarship, of the Cunningtons' collecting and writing.
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Antchak, Vladimir, and Eleanor Adams. "Unusual venues for business events: key quality attributes of museums and art galleries." International Journal of Tourism Cities 6, no. 4 (May 14, 2020): 847–62. http://dx.doi.org/10.1108/ijtc-09-2019-0156.
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Purpose This paper aims to identify the key quality attributes a museum or art gallery should possess and enhance to become an attractive business event venue. Design/methodology/approach The research adopted a two-stage case-study methodology. Firstly, three museums were selected in Manchester, UK, to explore the venues’ approaches to hosting business events. These were the Lowry Art Centre, Salford Museum and Manchester Art Gallery. Secondly, a business event at another museum in the city, Science and Industry Museum, was accessed to explore the audiences’ perceptions and industry requirements regarding the organisation of events in museums. In total, 21 qualitative semi-structured and structured interviews were conducted with the event delegates, event planners and museums’ management. Findings Thematic analysis was applied to identify three key attributes: venue character, memorability and functionality and feasibility. Venue character refers to the overall appeal of a venue, including its history, status and interior design. Memorability refers to the authenticity and uniqueness of the attendee experience at a corporate event organised in a museum. Finally, functionality and feasibility deals with the availability of functional facilities, space flexibility and diverse venue regulations. Originality/value The findings of the research provide valuable insights to both museums and event companies. The research reveals the main benefits and drawbacks of using a museum or an art gallery as a venue for business events and suggests key aspects to consider while staging a business event in a cultural institution. Museums could apply the findings in marketing to emphasise their uniqueness, authenticity and flexibility.
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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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Duganne, Erina. "From the Memory Books of Josely Carvalho." Arts 8, no. 3 (August 28, 2019): 109. http://dx.doi.org/10.3390/arts8030109.
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In this interview, Brazilian-born multi-media artist Josely Carvalho (b. 1942) reflects back on her art making practice in the 1980s. Among the subjects that she addresses are her bi-nationalism, her use of the silkscreen process, and her association with the 1984 activist campaign Artists Call Against U.S. Intervention in Central America. She also speaks about working as a Latin American artist in New York City during this period, as well as her involvement with galleries and arts organizations such as St. Mark’s Church-in-the-Bowery, Central Hall Cooperative Gallery, and Franklin Furnace.
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Suto, Koya, Yunyue Elita Li, and Arthur Cheng. "Workshop Review." Leading Edge 39, no. 10 (October 2020): 751–52. http://dx.doi.org/10.1190/tle39100751.1.
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The development of large cities presents unique social, political, and technical challenges. As a city grows in population, the limited area must accommodate people and infrastructure. Additionally, economic development attracts even more people to large cities. With limited surface land area, these cities must create space in the third dimension: upward and downward. Larger cities are already full of skyscrapers, and the underground is typically used for utility infrastructure, subways, road tunnels, car parks, warehouses, and sometimes for activities of human life such as shopping centers, meeting places, and art galleries. Some cities are exploring the use of the underground space for offices, schools, and even residential buildings.
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Bioza, Betyona, Titis Srimuda Pitana, and Gunawan Gunawan. "SOLO CRAFT GALLERY EXPO DENGAN PENDEKATAN ARSITEKTUR JAWA KONTEMPORER." Arsitektura 15, no. 1 (July 14, 2017): 269. http://dx.doi.org/10.20961/arst.v15i1.12182.
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<p><strong><em>Abstract: </em></strong><em>Solo Craft Gallery Expo is an effort to accommodate the presence of creative industries joined in the craft subsector SMEs, and facilitating MICE activities in the city of Solo. The space is in the form of art galleries as well as a market for good packaging and expo space with diverse capacities. Combining the two functions of this building is a strategy for mutually supporting each other’s existences. Gallery space presented as cultural charms, while the expo space plays a role in bringing visitors. The government policies in synergy with the city’s potential efforts to support and facilitate the development of the city for more advances physical quality and human resources. This system if it is associated with the city of Solo as location, intersects with the image which is the city of culture. This last issue is associated with contemporary architecture, which is an effort to locate and revive the values of cultural and society, as a reflection of the city’s identity. In this case, the Javanese architecture which is the local architecture and result of the Javanese cultural community life, deserve to be appreciated to exist as a force of local architecture. The process of aligning the image of the building with the city image of the building of Solo Craft Gallery Expo, carried out through the application of contemporary Javanese Architecture.</em></p><p><em> </em></p><p><strong><em>Keywords</em></strong><em>: MSME craft’s sub-sector, craft galleries, MICE facilities, contemporary Javanese architecture.</em> <em></em></p>
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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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Livingston, Tamara E. "Paul Conway and Martha O’Hara Conway. Flood in Florence, 1966: A Fifty-Year Retrospective: Proceedings of Symposium, November 3 and 4, 2016, University of Michigan, Ann Arbor, Michigan." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 20, no. 1 (May 23, 2019): 52. http://dx.doi.org/10.5860/rbm.20.1.52.
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The year 2016 marked the fifty-year anniversary of the tragic and destructive flood in Florence, Italy. The floodwaters shook the world with their indiscriminate destruction of human life, property, and priceless Florentine cultural heritage. Early in November of 1966, days of heavy rains transformed the Arno River into a raging beast, overflowing its retaining walls and submerging much of the city and the area around it in foul, murky water filled with sediment, vegetation, sewage, motor oil, and the flotsam of human civilization. The floodwaters either destroyed or badly damaged historic collections of art, sculpture, architecture, books, manuscripts, and documents stored in low-level galleries or basements of institutes, libraries, museums, and private residences.
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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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Stevenson, Deborah, and Liam Magee. "Art and space: Creative infrastructure and cultural capital in Sydney, Australia." Journal of Sociology 53, no. 4 (December 2017): 839–61. http://dx.doi.org/10.1177/1440783317744105.
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Creative activity and cultural facilities are routinely touted as markers and facilitators of successful cities and societies. This view is underpinned by the assumption that they contribute to local economic growth, foster a positive city image, and enhance urban quality of life. Creativity and the consumption of art are also well established as markers of social and cultural status, while access to, and the physical distribution of, cultural resources are also embedded in, and reinforce, forms of social difference. Understanding the intersection of the social and the spatial in the consumption and distribution of culture is important to both cultural and urban sociology. Using Sydney, Australia, as a case study and drawing on the findings of a major national study of cultural consumption, the article engages with the influential work of Pierre Bourdieu on the reception of art and the differential propensity of various social classes to go to art galleries and to appreciate art, to highlight social and spatial concentrations and fault-lines in arts participation. It also points to important theoretical and empirical nuances, including a weakening of the nexus between socio-economic class and cultural consumption that is occurring at the same time as the links between forms of cultural capital – education and art consumption – appear to be strengthening.
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Sari, Marchelia Gupita, and Imaniar Sofia Asharhani. "IDENTIFIKASI PENDEKATAN WHITE CUBE DAN REGIONALISME KRITIS PADA ARSITEKTUR GALERI SENI DI YOGYAKARTA." LANGKAU BETANG: JURNAL ARSITEKTUR 7, no. 2 (October 14, 2020): 163. http://dx.doi.org/10.26418/lantang.v7i2.39678.
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Regionalisme dalam arsitektur kerap dibahas sebagai respon terhadap arsitektur modern yang bersifat univalen dan melunturkan nilai-nilai kesetempatan. Estetika galeri seni dengan pendekatan white cube yang berakar pada modernisme telah mengglobal atau melanda dunia, seperti halnya international style dalam arsitektur. Yogyakarta kini tengah menghadapi isu lokalitas dalam arsitektur yang dapat mencerminkan identitasnya sebagai kota seni dan budaya. Galeri seni memiliki peranan penting untuk menyebarkan kesenian kontemporer yang dinamis. Penelitian ini bertujuan untuk mengidentifikasi penerapan pendekatan white cube pada arsitektur galeri seni dan penerapan regionalisme kritis sebagai respon terhadap modernitas. Penelitian ini menggunakan metode penelitian deskriptif kualitatif. Analisis data dilakukan dengan komparasi antarkasus berdasarkan indikator dari regionalisme kritis dalam arsitektur. Penarikan kesimpulan berdasarkan kecenderungan penerapan white cube dengan indikator regionalisme pada kasus. Hasil penelitian menunjukkan bahwa pendekatan regionalisme ditemukan pada kasus yang menekankan tektonika, respon terhadap iklim, dan respon terhadap konteks sekitar. Karya seni di galeri seni Yogyakarta ternyata tidak serta merta dibebaskan dari konteks sekitar seperti halnya konsep white cube gallery.IDENTIFICATION OF WHITE CUBE APPROACH AND REGIONALISM IN ART GALLERY ARCHITECTURE IN YOGYAKARTA Regionalism in architecture is often discussed as a response to modern architecture, which contains a univalent value and attenuates the values of context. The aesthetics of art galleries with the concept of white cube rooted in modernism have become trend in the world and international style in architecture. Yogyakarta is currently facing locality in architecture that can reflect its identity as a city of arts and culture. Art galleries have an essential role in spreading dynamic contemporary art. This study aims to identify the white cube approach to art gallery architecture and critical regionalism to respond to modernity. This research uses descriptive qualitative research methods. Data analysis was conducted by comparisons between cases based on indicators of crucial regionalism in architecture. The conclusion is based on the tendency of applying white cube with indicators of regionalism in cases. The results showed that the regionalism approach was found in cases that emphasized tectonic aspects, responses to climate, and responses to the surrounding context. Artwork in the Yogyakarta art gallery is not necessarily freed from the surrounding context, such as the concept of the white cube gallery.
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Smith, Briana J. "Grassroots Glasnost: Experimental Art, Participation, and Civic Life in 1980s East Berlin." American Historical Review 126, no. 2 (June 1, 2021): 623–54. http://dx.doi.org/10.1093/ahr/rhab201.
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Abstract This article examines how experimental art staged in East Berlin galleries and city streets from the mid-1970s through the 1980s was used to rethink the relationship between art, social life, and citizenship under socialism. Experimental artists took advantage of the gaps in party control in order to access a second public sphere in which open communication, imagination, and critique were possible—and encouraged. The article situates East Berlin’s experimental practitioners as part of a broader pattern in East-Central Europe in which unconventional art incited a localized grassroots glasnost parallel to top-down reforms emanating from the USSR. These conceptual installations, performances, and actions challenged viewers’ traditional forms of perceiving reality and, thus, the status quo. Moreover, general audiences were often invited to participate in the process of artistic production as a form of collective action. These practices contributed to a spirit of political ferment across East-Central Europe in which more expansive and participatory forms of socialist citizenship were tested, and later contributed to the possibility for revolution. They retained their relevance in the aftermath of revolutionary change and during the postsocialist transformation as artists continued to insist on art fulfilling a social, critical, and public purpose.
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Toong, Yong Seng, and Nangkula Utaberta. "Kuala Lumpur Chinatown Pre-War Shophouses (Adaptive Re-Use) and City Image." Applied Mechanics and Materials 747 (March 2015): 40–43. http://dx.doi.org/10.4028/www.scientific.net/amm.747.40.
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The terminology and concept of city image is very much related to good city planning and reflects strong image which, defined by Kelvin Andrew Lynch, a town-planner. He elaborates such terminology with regarding to people perception on urban space in term of city legibility and image-ability. Elizur who has classified city image as “rich” and “poor” in his study reminds of prototype and stereotype city place respectively. City image generally refers to the characteristic of a true urban image such as skylines, landmarks and panoramas. Architects, urban designers and town-planners play a crucial role in carrying out the task of shaping the city image. However, when discussion on city image which regards to economics point of view, city image could be interpreted as active use and passive use in accordance to a paper presented by some scholars. Active use means usage of the old buildings restoration and preservation which generates incomes to cover their building’s maintenance and expenses. Examples such as cafés, boutique hotels, art galleries. Conversely, passive use does not generate substantial income but contribute to and beneficial of the community. Examples such as community library, museums and other social activity buildings. Both active and passive use are portraying adaptive re-use of the old buildings. This paper unfolds the common ground which integrates adaptive re-use of pre-war shophouse buildings as architecture concept in Kuala Lumpur Chinatown (KLC) and contributing the city image under the term of conservation. The study is conducted with photographic records, on site study, observation (visual survey technique) and analysis.
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Saint-Raymond, Léa. "Bordeaux vs. Paris: An Alternative Market for Local and Independent Artists?" Arts 9, no. 4 (November 4, 2020): 114. http://dx.doi.org/10.3390/arts9040114.
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In 1928, some young artists living in Bordeaux decided to create a local market for contemporary art, as an alternative to the Salon des Amis des Arts of their own city, on the one hand, which they considered retrograde and conservative, and to the centralized and centripetal Parisian world on the other. They joined forces to create the group of the “Artistes indépendants bordelais” (AIB) and they organized an annual exhibition in which they could sell their works, in Bordeaux. This article aims to understand the functioning of this so-called “provincial” alternative to Paris and to measure its potential success, both as a market and as an arbiter of taste. The analysis proves that the AIB exhibitions happened to be a semi-failure, since this local initiative could not detach itself from Paris. In order to gain legitimacy, the AIB invited avant-garde painters and sculptors and they left the door open to Parisian dealers and art critics but all these actors, in turn, overshadowed the artists from Bordeaux. This economic and symbolic domination stemmed from the lack of a strong artistic identity for this group, the absence of domestic galleries specializing in contemporary art and the low demographics of Bordeaux collectors.
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Senyk, Yaroslav. "«Highly respected master!»: correspondence of Jacques Hnizdovsky and Roman Ferencevych. 1977–1985 (in the Manuscript Division of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv)." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 387–457. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-18.
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The article describes correspondence of the world-known artist Jacques Hnizdovsky and the editor Roman Ferencevych, kept in the Manuscript Division of Stefanyk National Scientific Library of Ukraine in Lviv. Thirty three letters of Jacques Hnizdovsky that reveal his creative workshop during the heyday of his artistic talent, as well as twelve letters of Roman Ferencevych are presented to the scholar public for the first time. The Appendix contains six letters of R. Ferentsevych’s correspondence concerning Jacques Hnizdovsky, and also the letter of Stefanie Hnizdovsky. Roman Ferencevych, a printer and then a broadcaster in the Voice of America (Ukrainian service), first met Jacques Hnizdovsky in Svoboda printing plant in Jersey City, N. J. where he made impressions of larger-sized woodcuts. Hnizdovsky made a bookplate woodcut for the book collection of R. Ferencevych in 1979. The artist used the ink roller as a symbol of the noble profession of printing. In 1985 Jacques Hnizdovsky made the second bookplate using the Cyrillic initials «РФ». The following issues were reflected in the correspondence: creativity, directions of activity and various professional interests of the artist, ways of popularizing his art in the USA, Great Britain, Canada, China; his cooperation with art and professional organizations, academic institutions, as well as art galleries in the USA, Canada, and Western Europe; application of the Ukrainian alphabet letters in printing art; activities of Ukrainian art institutions in the US and Canada. Keywords: Jacques Hnizdovsky, Roman Ferencevych, Correspondence, Bookplate (Ex Libris), Woodcut.
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Вальковский, Антон, and Anton Valkovskiy. "«AVANGRAD»: VOLGOGRAD PERESTROIKA AND POST-SOVIET PERFORMANCE (1986–2005)." Servis Plus 10, no. 3 (August 31, 2016): 93–106. http://dx.doi.org/10.12737/21396.
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The article aims to reconstruct systematically the history of the Volgograd performance, trace the lineage and interferences, the role of the major art-festivals in the emergence of new generations of artists, as well as to disclose variability of procedural art-practices in Volgograd from 1986 to 2005. Summing up the performance review of the Volgograd two decades (mid-1980s to mid-2000s), the author notes that it was not a coher- ent movement or systematic process, and was not institutionalized due to the lack of a system of commercial galleries, inspiring artistic process in Moscow and St. Petersburg. A gradual attenuation of the Square as a social and cultural education and place of attraction for artists, localized in the heart of the city, caused a gradual centrifugal movement towards the outlying, uninhabited, abandoned spaces and places of pilgrimage (the graveyard of ships, Krasnoslobodskaya kosa, Moratnike), which was associated with their romanticize, aestheticization, by a certain opacity. However, throughout the period under review we can identify several General trends: the desire of artists to theatrical, carnival, spectacularity, as well as spontaneous and impro- vised action.
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Rubin, Joshua D. "Assembling emergence: making art and selling gas in Bulawayo." Africa 89, no. 3 (July 16, 2019): 479–98. http://dx.doi.org/10.1017/s0001972019000482.
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AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape them into emergent assemblages. In adopting this term ‘assemblage’, which has been elaborated theoretically by Gilles Deleuze, Félix Guattari and their many interlocutors, this article emphasizes both the mutability and the unpredictability of these formations. The artists who work in the gallery, for their part, make their art by assembling their chosen media. The processes by which they choose their media constitute assemblages as well, in that artists have to adapt their artistic visions to the materials that Zimbabwe's market can provide. Street dealers in gas also produce emergent assemblages against the backdrop of unpredictability. If they want to make natural gas available to consumers, dealers must shepherd their medium through an always emergent process of distribution. They participate in transnational networks of trade, but they also theorize innovative strategies of procurement, develop circuits of trust and loyalty, and conjure up visions of a predatory state. Like artists, they use their work to construct dynamic representations of the world around them. Artists may produce images, and dealers circulate gas, but this article shows that conceptualizing these practices in terms of ‘assemblages’ calls their commonalities into view. In doing so, it also demonstrates that these practices complicate easy distinctions between aesthetics, economics and politics.
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Cresswell, T. "The Crucial ‘Where’ of Graffiti: A Geographical Analysis of Reactions to Graffiti in New York." Environment and Planning D: Society and Space 10, no. 3 (June 1992): 329–44. http://dx.doi.org/10.1068/d100329.
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This paper is an examination of the reactions to graffiti in New York during the early 1970s. It is argued that the reactions of the media and government present a discourse of disorder, a discourse in which graffiti is presented as a symptom of disorder and thus a threat to the image of New York City and civilization itself. Simultaneously the art establishment reacts to graffiti by (dis)placing it in Manhattan galleries and describing it as creative, ‘primitive’, and valuable. These discourses play an important role in the formation and maintenance of the meaning of a place. Simultaneously the place—New York, the subway, the gallery—plays a role in affecting the nature of the discourses and judgements of the value of graffiti. This case study is framed in the context of a wider discussion of the relation between place and ideology in which it is suggested that each plays a role in structuring the other.
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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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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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Malinina, I. "The Use of Augmented Reality in Contemporary Art." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 1 (February 2021): 20–29. http://dx.doi.org/10.33625/visnik2021.01.020.
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The article analyzes the use of augmented reality (AR) in creative projects of contemporary art. Features of application of augmented reality technologies are investigated. The author reviews the possibilities and options for using augmented reality technology to support museums and galleries. This article will help contemporary artists to better understand these technologies, understand the role of AR in modern society and assess its prospects. Analysis of scientific research has shown that the use of augmented reality in art is increasingly of interest to artists and scientists. There are also articles dedicated to improving the learning experience of art gallery visitors using augmented reality. The present study reveals the chronology of research on this phenomenon. An analysis of the experience of Ukrainian, European and American artists and designers in the implementation of AR‑technologies in the field of culture has also been conducted, on the basis of which a system of thematic areas of augmented reality in contemporary art has been presented. There are five areas where augmented reality in the field of art is used. These are museums of history and art and exhibition halls, art city tourism, film industry, concerts and television. But it turns out that the number of these areas is not final. Eventually, AR will be used in other art venues. The materials of this article provide recommendations for the spread of augmented reality technologies in art. With the help of these technologies, the image of an innovative progressive museum and exhibition hall, open to new opportunities, can be created, which gives the opportunity to attract new visitors, generating a unique complex interactive experience. So far, augmented reality is used exclusively in art, but more and more artists and designers are beginning to move towards interactive implementations in their work. Many of these authorial experiments grow into unique creative projects and provide enormous advantages in the system of culture and art.
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Cinefra, Jennifer, Urbi Garay, Claudia Mibelli, and Eduardo Pérez. "The determinants of art prices: an analysis of Joan Miró." Academia Revista Latinoamericana de Administración 32, no. 3 (August 5, 2019): 373–91. http://dx.doi.org/10.1108/arla-06-2018-0121.
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Purpose Relatively little is known about the determinants of the prices of paintings. The purpose of this paper is to analyse the price determinants of the art of Joan Miró, one of the great masters of Modern Art. Design/methodology/approach The authors analysed 255 artworks by Miró sold at Sotheby’s and Christie’s between 2003 and 2017, and performed a hedonic price regression to measure the impact of a series of variables on the prices of this artist’s works. Findings Miró’s works command higher prices, ceteris paribus, when they were painted on canvas, were sold at Sotheby’s and in New York City or London, were traded during the evening session and depending on the period in which they had been painted, the size of their surface area, the number of words used to describe the respective lot and whether they had appeared in an art book. The prices of Miró’s paintings increased substantially between 2003 and 2008 and then declined, coinciding with the global financial crisis of 2009. Research limitations/implications The results were obtained from prices established in art auctions, which represent only one portion of the market. Originality/value This is the first exhaustive study carried out on the determinants of the prices of Joan Miró’s works. The artist represents an ideal case due to the large number of his works that have been sold at auctions. As yet, only studies of Pablo Picasso and Andy Warhol have been conducted. Joan Miró has well-defined artistic periods, which also allows us to determine the impact on the price of the works of the period in which it was created. This paper also offers a methodological contribution to parties involved in the art sector (artists, galleries, collectors, investors, museums, etc.).
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Oliveira, Ana, and Fernando Paulino. "European Creativity and Urban Regeneration." Journal of Public Space 2, no. 2 (October 11, 2017): 127. http://dx.doi.org/10.5204/jps.v2i2.98.
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<p class="Corpo">Since the end of the 1980s, in the light of research conducted by Charles Landry that theorized and formalized the concept of the Creative City, Creativity, along with other economic activities, has been considered as something that marks the life of cities.<br />Under its sign, a large part of post-industrial societies found the necessary momentum for urban and economic revitalisation, responding to the stagnation resulting from the collapse of industrial society (Albuquerque, 2006). Through the production of art and the strengthening of its cultural fabric, through the support of artists and infrastructures, Creative Industries grew and developed. Cities like Manchester, London and Liverpool saw their economy grow, the latter becoming a major cultural hub in the UK, incorporating music, performing arts, museums and art galleries, as well as an active and attractive nightlife.<br />Through a literature review focused on the key concepts and studies relating to the economic potential of Creativity, we seek to understand Creativity’s state, its impact and economic impulse and the importance of cultural policies, with the ultimate objective of understanding Creative and Cultural Industries as a secure source of sustainability for the future.</p>
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Tissières, Hélène. "Beyond Political Tensions." Nka Journal of Contemporary African Art 2020, no. 47 (November 1, 2020): 94–113. http://dx.doi.org/10.1215/10757163-8719680.
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In 2019, the second edition of Segou’Art, a contemporary art event taking place in Mali, was combined with the country’s popular Festival on the Niger, launched in 2005 by cultural entrepreneur Mamou Daffé. The combined festival, held February 1–9, included concerts, workshops, conferences, exhibitions, and performances, uniting people and art forms and working beyond barriers. For two full weekends the event hosted numerous concerts by renowned stars such as Vieux Farka Touré, Sékouba Bambino, Abdoulaye Diabaté, Amadou and Mariam, Fousco and Djènèba, Master Soumy, Tab B., Calibre 27, King KJ, and Kader Tarhanine. The art program was composed of an In at the Foundation and nineteen Offs held throughout the city, showcasing, among others, the work of Abdoulaye Konaté, Barthélémy Toguo, Cheick Diallo, Philippe Dodard, Siriki Ky, and Amehiguéré Dolo, as well as sixteen young artists who were selected from the continent and given the opportunity to attend workshops by leading artists. Galleries and collectives were present as well. This article discusses this amazing event that, through musical and artistic works, promotes peace and stability in a country that has been facing intense political difficulties, fully illustrating this year’s theme of Ségou Yelen (Light). The project demonstrates that culture is the best way to bring about hope, unite people beyond their differences, dissuade youth from migrating, elevate the public’s spirit, and promote the Malian concept of Maaya—a lifestyle, an attitude, and a way of being based on humanism, civility, and respect of others.
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Wijayasa, I. Wayan. "Komponen Sebuah Perjalanan Wisata (Tour)." PARIWISATA BUDAYA: JURNAL ILMIAH AGAMA DAN BUDAYA 2, no. 2 (June 18, 2019): 77. http://dx.doi.org/10.25078/pba.v2i2.845.
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<p><em>A Tour consists of six important elements. Those are (1) transportation which can be land, sea, or air transportation. (2) Acommodation that can be an expensive resort or a small and simple motor inn. (3) Dining can be a qick-service food, buffet dinner, or table service dining. (4) Sightseeing; which can be a city tour, rural or village tour to historical sites, traditional architecture, or (5) Attraction is actually the most important pulling factor motivation of the tourists’ visit to a destination which can be a performance, an adventure activities, etc. (6) Shopping which can be a big super-market, traditional art market, or galleries. A tour plan is made in the form of 3 different itineraries. Those are (1) summary itinerary, (2) Detail Passenger Itinerary or DPI, and (3) Escort itinerary which is also welknown as Manual. A tour itinerary must consider all six elements in accordance with the clients’ interests, budget, number, and time alocation for a tour.</em></p>
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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (December 28, 2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.
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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.
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Navarrete Escobedo, David. "Foreigners as gentrifiers and tourists in a Mexican historic district." Urban Studies 57, no. 15 (January 29, 2020): 3151–68. http://dx.doi.org/10.1177/0042098019896532.
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Transnational gentrification has become a key element of urban and sociocultural transformations in several Latin American countries. New urban policies and transnational real estate markets adapt the city in order to respond to the expectations of transnational middle classes. This paper explores the case of San Miguel de Allende in Mexico. Methodologically, it adopts a qualitative approach and analyses two of the most important manifestations of transnational gentrification: lifestyle migration and luxury tourism. Historical files on protected buildings in San Miguel de Allende’s historic centre were used to observe functional alterations. This is supplemented with other statistical data (including the spatial pattern of Airbnb rentals) and direct observations of public spaces. I propose that transnational gentrification leads to a heritage-led transnationalisation of real estate, evidenced by luxury housing, boutique hotels, art galleries and other high culture spaces that cater to higher-income lifestyle migrants and tourists. As a result, the new class of owners and users changes the place’s identity, which has implications for lower-income groups’ right to the city. The process in San Miguel de Allende is analogous to processes in cities such as London, New York or Paris, where notions of heritage urbanism have also helped transnationalise local real estate markets. However, it also evinces other processes that are more difficult to appreciate in the Global North (growing rent gaps, real estate companies’ aggressive pursuit of gentrification and deep historical inequalities that are exacerbated by heritage-led gentrification).
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Cayer, Aaron, and Catherine Tsukasa Bender. "Beyond public: architects, activists, and the design of akichi at Tokyo’s Miyashita Park." Architectural Research Quarterly 23, no. 2 (June 2019): 167–78. http://dx.doi.org/10.1017/s1359135519000174.
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Peppered with galleries, ateliers, and upscale designer boutiques, Tokyo’s Shibuya ward is often described as a commercial haven for Japan’s urban fashionistas and style-conscious visitors. Within it, a narrow park sits atop a 1960s parking structure that was once a refuge for nearly one hundred homeless city residents until most were forcibly removed in 2010 by city officials. Dozens of blue tarp tents, umbrellas, weathered shoes, and cherished belongings were discarded, and the people who had lived there were fenced out indefinitely. Although this striking contrast of urban socioeconomic disparity is one that characterises many cities across the globe, the juxtapositions in Shibuya have been made increasingly visible by strong cohorts of unrelenting activists who have ignited decades of discourse and scholarly debate about individual rights to cities, as well as the role and agency of architects in the designing of public spaces. This article combines participant observations of art activists, semi-structured and oral history interviews of homeless residents in Tokyo, as well as historical analysis, to examine these tensions as they have played out at Miyashita Park in Shibuya, including how perpetual redesigns of the park by architects and urban planners tasked with ‘re-activating’ the park in the 1960s, 2000s, and again in the late 2010s, have been vehemently opposed. More specifically, the article examines how a vocal group of art activists organised in opposition to the park’s most recent redesign efforts sponsored by Nike and the idea that such a public-private partnership could produce an inclusive public space. Instead, the activists worked to problematise the appropriateness of terms such as ‘public’ altogether. Through art installations, writing, impromptu concerts, sporting events, and protests that engaged with the politics of their own bodies, the activists turned to alternative genealogies and definitions of ‘public’ as a way to connect more particularly to Japanese urban form and to resist hegemonic and imported concepts of ‘public’ as reproduced and reinforced by architects often without challenge. By drawing on alternative terms, such as akichi, meaning ‘open land’, the activists argue for a different sense of spatial inclusivity than the supposedly universal democratic ideals associated with designs for public spaces in Tokyo.
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Brown, Sidney G. "Scrimshaw: The Art of the Whaler. Janet West and Arthur G. Credland (Editors). 1995. Cherry Burton: Hull City Museums and Art Galleries and Hutton Press. 96 p, illustrated, soft cover. ISBN 1-872167-72-1. £8.95." Polar Record 32, no. 182 (July 1996): 254–55. http://dx.doi.org/10.1017/s0032247400025171.
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Montazeri, Ali Akbar, Hardiyanto Wibowo, and Lailatul Husniah. "Game Android “The Game Of Topeng Malangan” Sebagai Media Pengenalan Seni Rupa Topeng Malangan." Jurnal Repositor 2, no. 2 (February 1, 2020): 249. http://dx.doi.org/10.22219/repositor.v2i2.146.
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AbstrakSeni rupa Topeng Malangan merupakan salah seni rupa topeng yang berasal dari Kota Malang. Pengaruh global semakin menenggelamkan kesenian tradisional seperti Topeng Malangan ini. Saat ini lebih banyak muncul pentas-pentas seni selain tari Topeng Malangan. Salah satu cara pemertahanan budaya topeng Malangan adalah dengan cara mewariskan karakter, tarian Topeng pada masyarakat sekitar, serta membuat sanggar seni. Menurut hasil survey yang telah peneliti lakukan, dari 34 responden terdapat 22 responden yang belum mengenal Topeng Malangan sehingga dapat disimpulkan bahwa di kota Malang masih banyak yang belum mengenal Topeng Malangan. Dalam penelitian ini dilakukan pengembangan game berbasis android yang mengangkat unsur seni rupa Topeng Malangan. Topeng yang dikenalkan berupa 4 macam jenis berdasarkan klasifikasi topeng, yaitu : 1) Peran protagonis, 2) Peran antagonis, 3) Peran pembantu, dan 4) Peran binatang. Genre pada permainan ini adalah RPG dan terdiri dari 4 stage yang memiliki tingkat kesulitan berbeda. Pengujian dilakukan dengan menggunakan metode Playtesting dengan mencari player untuk memainkan game tersebut serta mempersilahkan pemain untuk mengisi kuesioner dengan kriteria pertanyaan Gameflow Test setelah bermain. Hasil yang didapatkan yaitu pemain setuju bahwa seni rupa Topeng Malangan bisa dikenalkan melalui game. Namun pemain masih mengalami masalah dalam mengingat nama topeng terutama pada tahap stage yang sudah mulai sulit seperti stage 3 dan stage 4.AbstractFine art Malangan Mask is one of the mask’s fine art that comes from Malang City. Global influence makes traditional art like Mask Malangan become unpopular. Currently more arts appear other than dance Mask Malangan. One way of preserving Mask Malangan culture is by inheriting characters, Mask dances to the surrounding community, and creating art galleries. According to the results of the survey that researchers have done, from 34 respondents there are 22 respondents who have not known Mask Malangan so it can be concluded that in the city of Malang are still many who do not know Mask Malangan. In this research is done based on the development of android game that takes the element of the art of Mask Malangan. The masks are introduced in the form of 4 types based on mask classification, namely: 1) The role of protagonist, 2) The role of antagonist, 3) Assist role, and 4) The role of animals. The game genre is RPG and consists of 4 stages that have different difficulty levels. Testing is done by using Playtesting method by finding player to play the game and invite players to fill questioner based on Gameflow Test criteria after it. The results obtained that the player agrees that the art of Mask Malangan can be introduced through the game. However, players are still having problems remembering mask names especially in the stage stages that have started difficult like stage 3 and stage 4.
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Santos, Adilson Mariano de Jesus, and Patricia Falco Genovez. "A Multiterritorialidade da Manifestação da Arte nas Ruas do Centro de Ipatinga/MG." Revista de Ciências Gerenciais 22, no. 36 (December 30, 2018): 154. http://dx.doi.org/10.17921/1415-6571.2018v22n36p154-163.
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A manifestação da obra de arte nos espaços preestabelecidos e de certa forma privados como museus e galerias indicam temáticas e público-alvo definido por uma territorialidade. Porém, o que ocorre com a manifestação da arte nas ruas? Como se estabelece a questão de territorialidade? Seria uma forma de multiterritorialidade? Como se configuraria a multiterritorialidade da manifestação da arte nas ruas do Centro da cidade de Ipatinga no Estado de Minas Gerais? Em busca de uma possível resposta se trata o objetivo do presente artigo, que é identificar a multiterritorialidade da manifestação da arte nas ruas do centro de Ipatinga, principalmente na Praça da Bíblia. Trata-se de uma pesquisa qualitativa, cujo método foi observacional, não participante, realizada no período de 2016-2017. Como instrumental teórico para análise qualitativa se utilizou a pentade burkeana. A bibliografia utilizada apresenta breves conceitos interdisciplinares, que tangem sobre arte, monumento, contramonumento, território, multiterritorialidade e o processo de formação territorial como um todo. A contextualização do território em que ocorre a manifestação permitiu que se identificasse a multiterritorialidade, que ocorre no processo de adaptação da manifestação da arte nas ruas e da apropriação deste território pelas manifestações da arte pública de forma cumulativa de diversas territorialidades. Palavras-chave: Multiterritorialidade. Manifestação. Arte e Rua Abstract: The art manifestation in the pre-established and somewhat private spaces such as museums and galleries indicate thematic and public target defined by a territoriality. But what happens with the art manifestation on the streets? How is the question of territoriality established? Is it a form of multiterritoriality? How would the multiterritoriality of the art manifestation be configured on the streets of Ipatinga's downtown area in the State of Minas Gerais? In search of a possible answer, the purpose of this article is to identify the multiterritoriality of the art manifestation in the streets of the downtown area of Ipatinga city, especially in Praça da Biblia. It is a qualitative research whose method was observational, non-participant, carried out in the period 2016-2017. As a theoretical instrument for qualitative analysis, the Burkean pentade was used. The bibliography used presents brief interdisciplinary concepts that deal with art, monument, countermument, territory, multiterritoriality and the territorial formation process as a whole. The territory contextualisation in which the manifestation occurs allowed the multiterritoriality identification that occurs in the adaptation process of the art manifestation in the streets and the appropriation of this territory by the manifestations of public art in a cumulative form of diverse territorialities. Keywords: Multiterritoriality. Manifestation. Art and Street.
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Stanhope, Zara. "Photographing Moments to be Seen. Edith Amituanai’s Little Publics." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 177–92. http://dx.doi.org/10.32891/jps.v5i4.1424.
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The photographic work of Aotearoa New Zealand artist Edith Amituanai generates the confident self-assertion of publics that potentially shifts misperceptions of people and place for both subjects and their audiences. A belief in service, a characteristic legacy of Amituanai’s Sāmoan family background has led her to document people, particularly diverse diaspora communities, in the western suburbs of Auckland city where she also lives, and to documenting people more broadly in their neighbourhoods or personal environments. Her images have enabled largely unnoticed and hence provisional publics associated with disregarded public spaces to see themselves presented in mainstream society in art galleries, publications and social media, thereby potentially shifting the stereotypes of people and local places to aid a more complete depiction of a society beyond the dominant European settler demographic. Amituanai’s images of youth, family, cultural and interest group communities and those connected with educational institutions convey the multiple associations that connect individuals. While these associations can be aligned with Grant Kester’s concept of politically coherent communities’ or Michael Warner’s ‘counterpublics’ I argue that the people visible in Amituanai’s work or who take agency to respond to her photos are making themselves publics on their own terms, creating publics that are equal to any other public. The activation of public identity that claims shared space has occurred during the institutional exhibition of Amituanai’s images where subjects and visitors respond to photographs in demonstrations of their own agency.
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Pawlikowska-Piechotka, Anna. "Industrial Heritage Tourism: a Regional Perspective (Warsaw)." Physical Culture and Sport. Studies and Research 46, no. 1 (December 1, 2009): 276–87. http://dx.doi.org/10.2478/v10141-009-0025-x.
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Industrial Heritage Tourism: a Regional Perspective (Warsaw)When touring a region, one of the things previous generations certainly overlooked were the industrial areas. With the exception of the old saltmine "Wieliczka" in the south of Poland, industrial heritage was mainly unknown. Industrial landscape (mills, factories with chimneys emitting all-blackening smoke, poverty-stricken workers' houses) have been regarded with dislike and considered grim.Using the example of Warsaw's industrial heritage revitalization projects, we examined already modernized historic buildings, which sought to respond to tourist and leisure needs (museums, art galleries, cultural centres). We were interested in their new functions and meanings for urban space quality. We wanted to consider how much revitalized architecture help to change (socially, culturally, economically) declining areas and their painful "inner-city" image (Thorns 2001). Our research (carried out in 2005-2006) covered nine historic industrial compounds, already converted and having new functions. Results of our inquiry polls (taken in 2005-2006) confirmed the thesis, that revitalized historic industrial architecture might enrich urban space with values visible in many dimensions: social, historical, aesthetical and economic (Evans 2005). Although selected and studied cases in Warsaw were not completed equally successfully, due to the objective barriers or carelessness in the planning process, all show good results in space quality and cultural services improvement, appreciated by the local community members and visitors relevantly.Once neglected run-down Warsaw districts (Wola, Praga) now draw benefits from new identities, attracting tourists and enhancing the local community's sense of belonging and well-being. Similar cases were described by scholars after studies in other European cities (Jones 2006).
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Puspitasari, Ardiana Yuli, and Eppy Yuliani. "Konsep Pemanfaatan Bangunan Cagar Budaya Di Kawasan Kota Lama Semarang." Jurnal Planologi 16, no. 1 (April 30, 2019): 121. http://dx.doi.org/10.30659/jpsa.v16i1.4385.
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ABSTRACTThe Old City area of Semarang is one of the areas designated as part of the heritage city of Semarang. Historically and the position of this region is very important role for the development of the city of Semarang and has important value for the science of urban planning, where the history of the formation of the city of Semarang and its development can not be separated from the existence of the Old City Area Semarang. Along with the development of the increasingly widespread city of Semarang, the old city of Semarang has long been abandoned and experienced environmental degradation. This of course has an effect on the area that is getting increasingly slum and left unchecked, whereas on the other hand the old city area has important values that must be maintained and maintained. The omission of important buildings that have historical value also continues to occur and causes the area to be slum and unhealthy. Through this research, there are goals to be achieved, namely important buildings identified as cultural heritage buildings are utilized by various conservation measures, so that the buildings can be functioned through adaptation of more present and complementary functions so that the old city area becomes alive and more productive. The method used to achieve these objectives is descriptive empirical which begins with extracting strategic issues in the field through interviews with building owners, the surrounding community and the Semarang City Government (Bappeda), as well as the old city area management body (BPK2L). The results of this study are that the concept of building utilizatio /function is carried out on buildings that are included in the first priority of handling, which are then categorized into 8 (eight) in accordance with the conditions and problems that occur in cultural heritage buildings. The concept of using cultural heritage buildings is directed as: museums, offices, art galleries, cafes/restaurants, souvenir shops, meeting rooms, homestays / guest houses, and places to sell antiques.Keywords: concepts, utilization, buildings, cultural heritage ABSTRAKKawasan Kota Lama Semarang merupakan salah satu kawasan yang ditetapkan sebagai bagian dari kota pusaka Semarang. Secara historis dan posisi kawasan ini sangat penting perannya terhadap perkembangan Kota Semarang dan memiliki nilai penting bagi ilmu perencanaan wilayah kota, dimana sejarah terbentuknya Kota Semarang dan perkembangannya tidak terlepas dari keberadaan Kawasan Kota Lama Semarang. Seiring dengan perkembangan Kota Semarang yang semakin meluas, maka telah lama kawasan kota lama Semarang ditinggalkan dan mengalami degradasi lingkungan. Hal ini tentu saja berpengaruh terhadap kawasan yang semakin lama semakin kumuh dan dibiarkan, padahal disisi lain kawasan kota lama memiliki nilai penting yang harus dipertahankan dan terus dijaga. Pembiaran terhadap bangunan-bangunan penting yang memiliki nilai sejarah juga terus terjadi dan menyebabkan kawasan menjadi kumuh dan tidak sehat. Melalui penelitian ini, maka ada tujuan yang ingin dicapai yaitu bangunan-bangunan penting yang teridentifikasi sebagai bangunan cagar budaya termanfaatkan dengan berbagai tindakan pelestarian, sehingga bangunan-bangunan tersebut dapat difungsikan melalui adaptasi fungsi yang lebih kekinian dan saling mengisi sehingga kawasan kota lama menjadi hidup dan semakin produktif. Metode yang digunakan untuk mencapai tujuan tersebut adalah deskriptif empirik yang diawali dengan penggalian isu-isu strategis di lapangan melalui wawancara dengan pemilik bangunan, masyarakat sekitar dan Pemerintah Kota Semarang (Bappeda), serta badan pengelola kawasan kota lama (BPK2L). Hasil dari penelitian ini adalah konsep pemanfaatan/fungsi bangunan dilakukan pada bangunan yang masuk dalam prioritas I penanganan yang kemudian dikategorikan menjadi 8 (delapan) sesuai dengan kondisi dan permasalahan yang terjadi pada bangunan cagar budaya. Konsep pemanfataan bangunan cagar budaya diarahkan sebagai: museum, kantor, galeri seni, cafe/restoran, souvenir shop, meeting room, homestay/guest house, dan tempat penjualan barang antik. Kata kunci: konsep, pemanfataan, bangunan, cagar budaya