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Journal articles on the topic 'The Degenerate Art Exhibition'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

McEvansoneya, Philip. "The Twentieth Century German Art Exhibition: Answering degenerate art in 1930s London." Journal of the History of Collections 32, no. 2 (November 22, 2019): 401–2. http://dx.doi.org/10.1093/jhc/fhz037.

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2

Levi, Neil. ""Judge for Yourselves!"-The "Degenerate Art" Exhibition as Political Spectacle." October 85 (1998): 41. http://dx.doi.org/10.2307/779182.

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3

Buchloh, Benjamin H. D. "The Dialectics of Design and Destruction: The Degenerate Art Exhibition (1937) and the Exhibition internationale du Surréalisme (1938)." October 150 (October 2014): 49–62. http://dx.doi.org/10.1162/octo_a_00200.

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As a genre of cultural production, where iconic (painterly or photographic), sculptural, and architectural conventions intersect to represent the uniquely specific and current conditions of experience in public social space, exhibition design by artists has only recently emerged as a category of art-historical study. While earlier discussions of El Lissitzky's design of the Pressa exhibition in Cologne in 1928, an exhibition that likely had the widest-ranging impact and is the central example of such an emerging genre in the twentieth century, might have served as a point of departure,1 Romy Golan's important, relatively recent book Muralnomad2—primarily concerned with the history of mural painting and its various transitions into exhibition design—has to be considered for the time being the most cohesive account of the development of these heretofore overlooked practices. Yet, paradoxically, two of the most notorious cases of the historical development of exhibition design after Lissitzky are absent from her study: the infamous Degenerate Art exhibition that opened in Munich on July 19, 1937 (two days after the opening of Nazi Fascism's first major propaganda building, Paul Ludwig Troost's Haus der Deutschen Kunst, and its presentation of German Fascist art in the Grosse Deutsche Kunstausstellung),3 and the Exposition internationale du Surréalisme in Paris, which was installed by André Breton and Marcel Duchamp six months later and 427 miles to the west, on January 17, 1938, at Georges Wildenstein's Beaux Arts Galleries in Paris.4

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4

Bolt, Mikkel. "Nazismens kamp mod forfaldskunsten." K&K - Kultur og Klasse 36, no. 105 (August 22, 2008): 52–81. http://dx.doi.org/10.7146/kok.v36i105.22039.

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Nazism’s Fight against the Art of Decay:The article presents a reading of the exhibition »Entartete Kunst« that took place in Munich in 1937. The exhibition was staged by the Nazi regime as an attempt to prove the dangerous nature of modern art. According to Nazi ideology, modern art was not just a reflection of unhealthy interests or degenerate racial mixings but was in itself a threat to the purity of the soul of the German people. Therefore modern art had to be excluded in order to make room for the appearance of the German people and its eternal art. Contrary to the idea of Nazism as being somehow not modern, the article stresses the modernist aspects of the Nazi ideology through a detailed account of Nazism’s racist ideology.

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5

Doering, Zahava D., Andrew J. Pekarik, and Audrey E. Kindlon. "Exhibitions and Expectations: The Case of “Degenerate Art”." Curator: The Museum Journal 40, no. 2 (June 1997): 127–42. http://dx.doi.org/10.1111/j.2151-6952.1997.tb01294.x.

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6

Kacprzak, Dariusz. "FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)." Muzealnictwo 60 (July 11, 2019): 126–42. http://dx.doi.org/10.5604/01.3001.0013.2857.

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On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the late Belle Époque, WWI, German Revolution of 1918–1919, or from Weimer Republic Modernism of the 1920s and 30s. The infamous Munich ‘Entartete Kunst’ Exhibition turned into a travelling propaganda display, presented in different variants at different venues. A three-week show (11 Jan.–5 Feb. 1939) was also held in Stettin, in the Landeshaus building (today housing the Municipality of Szczecin). Provenance studies: biographies of the existing works, often relocated, destroyed, or considered to have been lost, constitute an interesting input into the challenging chapter on German and European Avant-garde, Szczecin museology, and on Pomerania art collections. Side by side with the artists, it was museologists and art dealers who cocreated this Pomeranian history of art. The Szczecin State Archive contains a set of files related to ‘degenerate art’, revealing the mechanisms and the course of the ‘museum purge’ at the Stettin Stadtmuseum. The archival records of the National Museum in Szczecin feature fragments of inventory ledgers as well as books of acquisitions, which provide a particularly precious source of knowledge. The published catalogue of the works of ‘degenerate art’ from the Museum’s collections covering 1081 items has been created on the grounds of the above-mentioned archival records, for the first time juxtaposed, and cross-checked. The mutually matching traces of information from Polish and German archives constitute a good departure point for further more thorough studies.

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7

MATTL, SIEGFRIED. "THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA." Modern Intellectual History 6, no. 1 (April 2009): 223–34. http://dx.doi.org/10.1017/s1479244308002011.

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Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich (1974), which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to political tendencies and reflected the traditional divide between conservatism and progressivism. But those boundaries have become blurred in the wake of more recent research, which has demonstrated the involvement of modernist artists in Nazi art (e.g. members of the Bauhaus involved in National Socialist architecture or avant-garde filmmakers such as Walter Ruttmann in National Socialist propaganda films) and, conversely, the continual performance of popular jazz music in the Third Reich (e.g. in radio programmes). Seen against such instances of modernist collaboration and its own occasional mimicry of modernism, National Socialism acquires a more ambivalent profile, characterized by the ongoing conflict between reactionary factions and those who favoured modernization for various reasons.

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8

Barnett, David. "Joseph Goebbels: Expressionist Dramatist as Nazi Minister of Culture." New Theatre Quarterly 17, no. 2 (May 2001): 161–69. http://dx.doi.org/10.1017/s0266464x00014561.

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The young Joseph Goebbels, caught up in the heady mix of ideas and ideals permeating German artistic circles during and after the First World War, expressed both his convictions and his confusions through writing plays. None of these deserve much attention as serious drama: but all shed light on the ideological development of the future Nazi Minister of Culture. While also developing an argument on the wider relationship between Expressionism and modernism, David Barnett here traces that relationship in Goebbels' plays, as also the evolution of an ideology that remained equivocal in its aesthetics – the necessary condemnation of ‘degenerate’ art tinged with a lingering admiration, epitomized in the infamous exhibition of 1937. David Barnett has been Lecturer in Theatre Studies at the University of Huddersfield since 1998, and was previously Lecturer in German Language and Literature at Keble College, Oxford. His Literature versus Theatre: Textual Problems and Theatrical Realization in the Later Plays of Heiner Müller was published by Peter Lang in 1998, and other publications include articles on Heiner Müller, Franz Xaver Kroetz, Rolf Hochhuth, Heinar Kipphardt, Werner Schwab, Rainer Werner Fassbinder, and Peter Handke.

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9

Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia." Epidemiologia e Psichiatria Sociale 16, no. 2 (June 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.

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SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Results - Earlier practices with regardto the artworks of captive patients of psychiatrists, psychotherapists, art therapists, occupational and diversional therapists, often emphasised diagnostic or interpretive purposes, or were used to gauge progress or exemplify particular syndromes. As artists and art historians began to take an interest in such artworks, they emphasised their expressive, communicative and aesthetic aspects, sometimes in relation to primitive art. These efforts to ascribe value to these works, while well-meaning, were sometimes patronising and vulnerable to perversion by totalitarian regimes, which portrayed them as degenerate art, often alongside the works of mainstream modernist artists. This has culminated in revelations that the most prominent European collection of psychiatric art still contains, and appears to have only started to acknowledge since these revelations, unattributed works by hospital patients who were exterminated in the so-called “euthanasia” program in the Nazi era. Conclusions - Terms like Psychiatric Art, Art Therapy, Art Brut and Outsider Art may be vulnerable to abuse and are a poor fit with the aspirations of artists living with severe mental illnesses, who are increasingly exercising their rights to live and work freely, without being captive, or having others controlling their lives, or mediating and interpreting their works. They sometimes do not mind living voluntarily marginal lives as artists, but they prefer to live as citizens, without being involuntarily marginalised by stigma. They also prefer to live with culturally valued roles which are recognised as legitimate in the community, where they are also more likely to heal and recover.Declaration of Interest: This paper was completed during a Visiting Fellowship, Department of Social Medicine, School of Public Health, & Department of Medical Anthropology, Faculty of Arts & Sciences, Harvard University, Cambridge, Mass, USA. A condensed version of this paper is published in “For Matthew & Others: Journeys with Schizophrenia”, Dysart, D, Fenner, F, Loxley, A, eds. Sydney, University of New South Wales Press in conjunction with Campbelltown Arts Centre & Joan Sutherland Performing Arts Centre, Penrith, 2006, to accompany with a large exhibition of the same name, with symposia & performances, atseveral public art galleries in Sydney & Melbourne, Australia. The author is also a printmaker, partly trained at Ruskin School, Oxford, Central St. Martin's School, London, and College of Fine Arts, University of New South Wales, Sydney.

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10

Readshaw, Grahame. "Art Exhibition." Medical Journal of Australia 158, no. 5 (March 1993): 364. http://dx.doi.org/10.5694/j.1326-5377.1993.tb121824.x.

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11

Veerapen, Nadarajen. "Art exhibition." ACM SIGEVOlution 10, no. 4 (June 5, 2018): 6–7. http://dx.doi.org/10.1145/3231555.3231557.

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12

Martin, Colin. "Exhibition Corporeal art." Lancet 376, no. 9749 (October 2010): 1292. http://dx.doi.org/10.1016/s0140-6736(10)61902-2.

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13

Critical Resistance, Oakland. "Prisoners' Art Exhibition." Journal of Prisoners on Prisons 16, no. 2 (December 1, 2007): 140–41. http://dx.doi.org/10.18192/jpp.v16i2.5414.

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14

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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15

Verling, Luke. "Exhibition Curation: Art Unlimited." Circa, no. 71 (1995): 30. http://dx.doi.org/10.2307/25562772.

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16

Su, Stephanie. "Exhibition as Art Historical Space: The 1933 Chinese Art Exhibition in Paris." Art Bulletin 103, no. 3 (July 3, 2021): 125–48. http://dx.doi.org/10.1080/00043079.2021.1882808.

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17

Goggin, Mary-Margaret. "“Decent” vs. “Degenerate” Art." Art Journal 50, no. 4 (December 1991): 84–92. http://dx.doi.org/10.1080/00043249.1991.10791484.

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18

Selwood, Sara, and Lillia McEnaney. "Exhibition Reviews." Museum Worlds 8, no. 1 (July 1, 2020): 216–28. http://dx.doi.org/10.3167/armw.2020.080116.

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Hogarth: Place and Progress, Sir John Soane’s Museum, London, 9 October 2019 – 5 January 2020.Place, Nations, Generations, Beings: 200 Years of Indigenous North American Art, Yale University Art Gallery, New Haven, Connecticut, 1 November 2019–28 February 2021.

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19

du Plessis, Rory. "Unisa ‘Staff/Stuff’ Art Exhibition." de arte 48, no. 87 (January 2013): 61–67. http://dx.doi.org/10.1080/00043389.2013.11877182.

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20

Bier, Carol. "Bridges Coimbra 2011: Art Exhibition." Journal of Mathematics and the Arts 6, no. 1 (March 2012): 43–52. http://dx.doi.org/10.1080/17513472.2011.628616.

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21

Calter, Paul. "Bridges Towson 2012 Art Exhibition." Journal of Mathematics and the Arts 7, no. 1 (March 2013): 40–49. http://dx.doi.org/10.1080/17513472.2013.765327.

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22

Lee, Soo-jin, and Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace." Leonardo 41, no. 5 (October 2008): 454–59. http://dx.doi.org/10.1162/leon.2008.41.5.454.

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TenYearsAfter is an annual media art exhibition based in Korea, begun in 2003, organized by Kwang-yun Wohn and curator Mira Kim to facilitate collaboration among engineers, scientists, artists and designers. Unlike other major media-art exhibitions, TenYearsAfter has included artworks by mainstream media artists, independent experiments, and products and research results by artists and non-artists alike. The fourth exhibition in this series, TenYearsAfter_v4.0_OuterSpace, organized by the authors, was held in 2006. This article elaborates on the process of organizing this event and contemplates the implications of annual media art events in the Korean media art context.

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23

Cameron, Gordon. "Envisioning the future art exhibition." ACM SIGGRAPH Computer Graphics 33, no. 4 (November 4, 1999): 69–74. http://dx.doi.org/10.1145/345370.345419.

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24

Robinson, Andrew. "Exhibition Art of the elements." Lancet 386, no. 10005 (October 2015): 1730. http://dx.doi.org/10.1016/s0140-6736(15)00685-6.

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25

Berlo, Janet Catherine. "Australian Art Exhibition Catalog:Dreamings; The Art of Aboriginal Australia." Museum Anthropology 14, no. 2 (May 1990): 31. http://dx.doi.org/10.1525/mua.1990.14.2.31.

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26

Nguyen, Anh. "Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017." Migration, Mobility, & Displacement 4, no. 1 (June 7, 2019): 133–39. http://dx.doi.org/10.18357/mmd41201918976.

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Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.

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27

Balash, A. N. "Modern art exhibition as interdisciplinary project." Vestnik of Saint Petersburg State University of Culture, no. 2 (2019): 16–21. http://dx.doi.org/10.30725/2619-0303-2019-2-16-21.

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28

González Solas, Javier. "Invisible exhibition: between art and design." Questiones Publicitarias 3, no. 25 (January 15, 2020): 17. http://dx.doi.org/10.5565/rev/qp.340.

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29

Kreamer, Christine Mullen, Mary Nooter Roberts, Susan Vogel, Chris Müller, and Chris Muller. "Exhibition-Ism: Museums and African Art." African Arts 29, no. 4 (1996): 15. http://dx.doi.org/10.2307/3337391.

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30

Grabar, Oleg. "An Exhibition of High Ottoman Art." Muqarnas 6 (1989): 1. http://dx.doi.org/10.2307/1602275.

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31

Goodrum, Alison L. "Exhibition Review: Flaunt: Art/Fashion/Culture." Fashion Theory 9, no. 1 (March 2005): 89–94. http://dx.doi.org/10.2752/136270405778051482.

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32

Séquin, C. H. "Art Exhibition at Bridges Donostia, 2007." Journal of Mathematics and the Arts 1, no. 4 (December 2007): 247–61. http://dx.doi.org/10.1080/17513470701792490.

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33

Grosholz, Emily. "Bridges Linz 2019: Mathematical Art Exhibition." Journal of Mathematics and the Arts 14, no. 4 (December 9, 2019): 360–69. http://dx.doi.org/10.1080/17513472.2019.1691430.

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34

Culver, Joanne P. "Traveling the newest computer art exhibition." ACM SIGGRAPH Computer Graphics 20, no. 2 (May 1986): 73. http://dx.doi.org/10.1145/378186.378190.

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35

Macdonald, Murdo. "Towards an Exhibition of Highland Art." International Journal of Heritage Studies 15, no. 2-3 (March 2009): 163–74. http://dx.doi.org/10.1080/13527250902890647.

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36

Ferriman, A. "New exhibition combines art and science." BMJ 325, no. 7372 (November 9, 2002): 1056b—1056. http://dx.doi.org/10.1136/bmj.325.7372.1056/b.

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37

Wahab, Mohamad Hanif Abdul, and Alia Fatin Ahmad Zuhardi. "Human Visual Quality: Art Gallery Exhibition." Procedia - Social and Behavioral Sciences 101 (November 2013): 476–87. http://dx.doi.org/10.1016/j.sbspro.2013.07.221.

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38

Haese, Richard. "The art of the overseas exhibition." Thesis Eleven 132, no. 1 (January 26, 2016): 102–14. http://dx.doi.org/10.1177/0725513615625241.

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39

Coronel, Michael A. "African art: An Exhibition of Traditions." African Arts 18, no. 3 (May 1985): 95. http://dx.doi.org/10.2307/3336367.

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40

Chung, Tan. "Dunhuang Art Exhibition in New Delhi." China Report 28, no. 1 (February 1992): 63–64. http://dx.doi.org/10.1177/000944559202800107.

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41

Grabar, Oleg. "AN EXHIBITION OF HIGH OTTOMAN ART." Muqarnas Online 6, no. 1 (1988): 1–11. http://dx.doi.org/10.1163/22118993-90000229.

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42

Holmes, Brian. "The Art Exhibition as Political Theater." Art Journal 59, no. 4 (December 2000): 59–67. http://dx.doi.org/10.1080/00043249.2000.10792032.

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43

Dimitrakaki, Angela. "Art, Globalisation and the Exhibition Form." Third Text 26, no. 3 (May 2012): 305–19. http://dx.doi.org/10.1080/09528822.2012.679039.

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44

Brown, Carol. "FNB Vita Art Prize Exhibition 2001." African Arts 35, no. 2 (July 1, 2002): 83–84. http://dx.doi.org/10.1162/afar.2002.35.2.83.

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45

Garg, Ruchi. "THEME DISPLAY IN NATIONAL ART EXHIBITION." ShodhKosh: Journal of Visual and Performing Arts 2, no. 1 (April 11, 2021): 13–20. http://dx.doi.org/10.29121/shodhkosh.v2.i1.2021.23.

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English : The Lalit Kala Academy established for the purpose of greater publicity of visual arts across the country, has been organising the National Art Exhibition since its inception. This prestigious exhibition brings together the best selected works of visual arts under one roof and that of art reflect the the latest trends. These exhibition are a showcase of the achievements of artist working in the field of painting of ceremic sculpture graphic or photographic painting in the country. The Academy has organised 61 National Art Exhibition so far. These exhibitions represents the vivid and representative specimens of the latest trends in contemporary art. I am presenting some evidence related to the painting related to the National Art Exhibition from 1990 to 2000 A.D. Hindi : पूरे देश में दृश्य कला के वृहत् प्रचार.प्रसार के उद्देश्य को लेकर स्थापित ललित कला अकादमी आरंभ से ही राष्ट्रीय कला प्रदर्शनी का आयोजन करती आ रही है।यह प्रतिष्ठित प्रदर्शनी विभिन्न कला के श्रेष्ठ चयनित कार्यों को एक छत के नीचे लाती है और कला की नवीनतम प्रवृत्तियों को प्रतिबिंबित करती है। यह प्रदर्शनियाँ देश में पेंटिंग सिरेमिक मूर्ति शिल्प ग्राफिक अथवा छायाचित्र के क्षेत्र में कार्यरत कलाकारों की उपलब्धियों की प्रदर्शन मंजूषा है। यह अकादेमी अब तक 61 राष्ट्रीय कला प्रदर्शनी का आयोजन कर चुकी है। यह प्रदर्शनियाँ समकालीन कला की नवीनतम प्रवृत्तियों के व्रहत् और प्रतिनिधि नमूनों को दर्शाती है। आज मैं 1990 से लेकर 2000 ई॰ तक की राष्ट्रीय कला प्रदर्शनी से संबंधित चित्रों के विषय में कुछ साक्ष्य प्रस्तुत कर रही हूँ।

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46

Berryman, Jim. "Art as document: on conceptual art and documentation." Journal of Documentation 74, no. 6 (October 8, 2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.

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Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books. Findings Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies. Originality/value To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.

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47

Krairiksh, Piriya. "Re-visioning Buddhist art in Thailand." Journal of Southeast Asian Studies 45, no. 1 (January 10, 2014): 113–18. http://dx.doi.org/10.1017/s0022463413000635.

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The Asian Civilisations Museum, Singapore, is to be congratulated for organising a splendid exhibition of Thai Buddhist art entitled ‘Enlightened ways: The many streams of Buddhist art in Thailand’, which ran from 30 November 2012 to 17 April 2013, and for publishing the exhibition catalogue as well as a separate monograph, Buddhist storytelling in Thailand and Laos, which elucidates the long cloth scroll depicting the story of Prince Vessantara on display at the exhibition.

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48

Sanfuentes, Olaya. "Latin American Popular Art in a Museum: How Things Become Art." Artium Quaestiones, no. 29 (May 7, 2019): 63–89. http://dx.doi.org/10.14746/aq.2018.29.3.

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In 1943 when Universidad de Chile celebrated its centennial all Latin American nations were invited to participate in the commemorative events. One of the most interesting was the Exhibition of American Popular Art at the Museo Nacional de Bellas Artes(National Museum of Fine Arts) which brought together the objects from participating countries. The Universidad de Chile´s invitation asked countries to send functional objects that were part of the people´s daily lives. The exhibition was very successful, critically acclaimed, and highly attended. But above all, it planted the seed for what was to become the Museo de Artes Populares Americanas(American Popular Art Museum) functioning to this day.In this essay I would like to highlight a series of contexts, actors and institutions behind the phenomena: specific incarnations of Pan Americanism during the Second World War; the Latin American perspective in general and in particular, the Chilean perspective of the university´s role in society; the new value of Latin American arts since the 20thcentury. These contexts and events are useful to shed light on the “social life” of the objects that were part of the exhibition and they also help us to understand a dynamic definition of art which emerged from the recognition of craft in use as worthy of exhibition in a National Fine Arts Museum and then to remain at the permanent collection of a popular art museum.The radical importance of this essay is that it constitutes an example of a thing which represents not just art but also other values. In a midst of the World War II, Latin American Popular Art represented peace. The objects of the exhibition were seen as incarnations of Latin American cultural identity and historiography has gone on to view Latin American culture as a specific contribution to peace effort.

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Beattie, James, and Louise Stevenson. ""[W]hat Beauty in Oriental Art Means"." Museum Worlds 7, no. 1 (July 1, 2019): 58–70. http://dx.doi.org/10.3167/armw.2019.070105.

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This article presents new historical research on Asian art—particularly Chinese art—in New Zealand through the examination of the content and reception of the Loan Exhibition of Oriental Art, which was held in Christchurch from May to June 1935. It situates the exhibition within the context of Depression-era New Zealand, examines the place of Chinese art, in particular, in the developing cultural nationalism of New Zealand of this period, and highlights the role of one local connoisseur in the making of the exhibition. Moreover, the article’s focus on the southern hemisphere fills a gap in global histories of Chinese art exhibition in this period.

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Françozo, Mariana. "Exhibition Review." Museum Worlds 6, no. 1 (July 1, 2018): 158–59. http://dx.doi.org/10.3167/armw.2018.060111.

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The Musée des Confluences in Lyon, France, recently organized a remarkable exhibition: Venenum, un Monde Empoisonné. It ran from April 2017 to April 2018 and was located in one of the museum’s five large temporary exhibition spaces. Venenum did justice to the multidisciplinary and multi-thematic nature of this newly founded museum, bringing together objects otherwise classified separately as natural history, art, ethnography, or history.

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