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Artículos de revistas sobre el tema "Biology in art – Exhibitions"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.

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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue

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2

Spivey, Nigel. "Art and Archaeology." Greece and Rome 65, no. 2 (2018): 266–69. http://dx.doi.org/10.1017/s0017383518000219.

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Passion. Nowadays everything must be done with passion. No ‘personal statement’ for university admission is complete without some sentiment of passionate motivation; you purchase a sandwich and learn that it has been ‘made lovingly’. So is there anything wrong with studying classical archaeology passionately – with the engagement of emotions, or ‘intensity of feeling’ (OED)? The question arises from the very title of a festal volume devoted to a (some would say, the) historical pioneer of the discipline, J. J. Winckelmann: Die Kunst der Griechen mit der Seele suchend. Since it is conventional

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Allmon, Warren D., Robert M. Ross, Richard A. Kissel, and David C. Kendrick. "Using Museums to Teach Undergraduate Paleontology and Evolution." Paleontological Society Special Publications 12 (2012): 231–46. http://dx.doi.org/10.1017/s2475262200009345.

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Museum exhibitions possess a long history of serving as useful tools for teaching both paleontology and evolutionary biology to college undergraduates. Yet, they are frequently under-appreciated and underutilized. However, they remain potentially outstanding resources because they can be used to meet a spectrum of learning objectives related to nature of science, real-world relevance, and student interest. Specifically, even small museum displays can provide: 1) authentic specimens, which often are more diverse, of higher quality, and historically more significant than those in teaching collec

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4

Mathiasson, Sven. "Museums of natural history—do we need their collections in the time of molecular biology?" European Review 1, no. 4 (1993): 319–28. http://dx.doi.org/10.1017/s1062798700000727.

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All over the world natural history museums act as storehouses. Billions of creatures are preserved. Most museum visitors never see these collections; they only meet the limited specimens presented in public exhibitions. Most people seem to know little about the value of these collections and how they are used. This article presents some aspects of natural history collections and their value in scientific and other contexts.

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5

Welch, Lonnie, Bruno Gaeta, Diane E. Kovats, and Milana Frenkel Morgenstern. "Art in Science Competition invites artworks to the annual exhibition on ISMB 2018 in Chicago." F1000Research 7 (March 19, 2018): 337. http://dx.doi.org/10.12688/f1000research.14242.1.

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The International Society of Computational Biology and Bioinformatics (ISCB) brings together scientists from a wide range of disciplines, including biology, medicine, computer science, mathematics and statistics. Practitioners in these fields are constantly dealing with information in visual form: from microscope images and photographs of gels to scatter plots, network graphs and phylogenetic trees, structural formulae and protein models to flow diagrams, visual aids for problem-solving are omnipresent. The ISCB Art in Science Competition 2017 at the ISCB/ECCB 2017 conference in Prague offered

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6

Milkova, Liliana, Colette Crossman, Stephanie Wiles, and Taylor Allen. "Engagement and Skill Development in Biology Students through Analysis of Art." CBE—Life Sciences Education 12, no. 4 (2013): 687–700. http://dx.doi.org/10.1187/cbe.12-08-0114.

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An activity involving analysis of art in biology courses was designed with the goals of piquing undergraduates’ curiosity, broadening the ways in which college students meaningfully engage with course content and concepts, and developing aspects of students’ higher-level thinking skills, such as analysis, synthesis, and evaluation. To meet these learning outcomes, the activity had three key components: preparatory readings, firsthand visual analysis of art during a visit to an art museum, and communication of the analysis. Following a presentation on the methodology of visual analysis, student

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7

Paz Agras, Luz. "El espacio expositivo como laboratorio arquitectónico: la Endless House de Frederick Kiesler." ZARCH, no. 24 (June 30, 2025): 134–45. https://doi.org/10.26754/ojs_zarch/zarch.20252411135.

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The model of Frederick Kiesler’s Endless House was part of the MOMA’s exhibition Visionary Architecture, organised in New York, in 1960. This project, not built, developed the concept of endless in domestic space from ideas defined by the author in the Manifesto of Correalism, where architecture, biology and technology are together. Conceived as a second skin to human body, biomorph and continuous, creates in the interior a space that reject the premises of Modern Movement in favour to the consideration of architecture psychological influence in its inhabitants. This article proves how the Enl

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8

Kikut, Patrick. "University of Wyoming Outdoor Studio Art Class." UW National Parks Service Research Station Annual Reports 35 (January 1, 2012): 172–73. http://dx.doi.org/10.13001/uwnpsrc.2012.3961.

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Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to the Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Art students also appreciate the interaction with students from different disciplines in the sciences and of

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9

Kikut, Patrick. "University of Wyoming Outdoor Studio Art Class." UW National Parks Service Research Station Annual Reports 36 (January 1, 2013): 185–86. http://dx.doi.org/10.13001/uwnpsrc.2013.4023.

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Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive course. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to Grand Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Last year we scheduled a docent tour of the Wildlife museum and attended an informative lecture on

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10

Zelli, Veronica, Chiara Compagnoni, Roberta Capelli, et al. "Emerging Role of isomiRs in Cancer: State of the Art and Recent Advances." Genes 12, no. 9 (2021): 1447. http://dx.doi.org/10.3390/genes12091447.

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The advent of Next Generation Sequencing technologies brought with it the discovery of several microRNA (miRNA) variants of heterogeneous lengths and/or sequences. Initially ascribed to sequencing errors/artifacts, these isoforms, named isomiRs, are now considered non-canonical variants that originate from physiological processes affecting the canonical miRNA biogenesis. To date, accurate IsomiRs abundance, biological activity, and functions are not completely understood; however, the study of isomiR biology is an area of great interest due to their high frequency in the human miRNome, their p

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11

Catravas, P., K. Bubriski, M. D. Frey, et al. "NanoGrande: Electron Microscopy Education and Outreach Through a Collaboration of Scientists and Artists." Microscopy Today 21, no. 2 (2013): 42–46. http://dx.doi.org/10.1017/s1551929513000023.

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NanoGrande is the culmination of an art-science effort that brought undergraduate students and faculty from science, engineering, and the visual arts together with professional microscopists of the Capital District Microscopy and Microanalysis Society for electron microscopy education and outreach. Students from two independent undergraduate courses, an advanced photography course and a microscopy laboratory course, collaborated on the project. The participants represented a wide range of majors, including chemistry, biology, electrical engineering, computer engineering, mechanical engineering

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12

Idibeke Amos John, Sunday Etim Ekwere, and Edem Etim Peters. "Influence of traditional art exhibition of Nwommo on Ibibio society: A case study of exhibition of the rejected." GSC Advanced Engineering and Technology 4, no. 1 (2022): 032–38. http://dx.doi.org/10.30574/gscaet.2022.4.1.0048.

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Nwommo served as the traditional museum and documentation of traditional paraphernalia of Ibibio society. Presently, Nwommo is regarded as being fetish. In addition, contemporary society seem to see Nwommo as having no relevance to the culture and history of the Ibibio society thus resulting in its rejection. The aim of this paper is to highlight the influence of traditional art exhibition as seen in Nwommo on Ibibio society. This study brings to limelight the cultural relevance of Nwommo as a platform for exhibiting the rich culture of Ibibio society, thereby serving as a reservoir of knowled

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13

Ingram, D. S. "Towards an informed public." Proceedings of the Royal Society of Edinburgh. Section B. Biological Sciences 99, no. 3-4 (1992): 121–34. http://dx.doi.org/10.1017/s0269727000005546.

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SynopsisThe successful utilisation of recent advances in plant biotechnology for the benefit of mankind, with the avoidance of fundamental mistakes that could lead to environmental disaster, requires wise and balanced legislation. In addition, the conservation of the habitats and germplasm so essential to plant breeding requires carefully planned management of resources. These, however, depend upon an informed public with a sensitivity to, and knowledge and understanding of, the issues at stake. It is the people, after all, who influence decision making by governments, through the ballot box o

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14

Zhang, Huijie, Huan Yin, Jing Zhao, Xiaozui Wang, and Minghui Ran. "Evolving visual narratives: A decadal analysis of science–art integration in Chinese STM journals." Iberoamerican Journal of Science Measurement and Communication 5, no. 2 (2025): 1–14. https://doi.org/10.47909/ijsmc.203.

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Objective. The cover design of scientific, technological, and medical (STM) journals served as a critical interface between science and art, playing a pivotal role in attracting readers, conveying research themes, and enhancing the visual identity of journals. This study aimed to elucidate the characteristics of cover design in Chinese STM journals. Design. This study analyzed covers from 120 Chinese STM journals supported by Project for Enhancing International Impact of China STM Journals (PIIJ) and Excellence Action Plan for Chinese STM Journals (EAPJ) projects, spanning 17 essential science

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15

Burd, Gary. "Plastic fantastic!: Body Worlds." Biochemist 24, no. 3 (2002): 18–19. http://dx.doi.org/10.1042/bio02403018.

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Love him or loathe him, Professor Günther von Hagens has set the scientific and art worlds alight with his controversial exhibition of plastinated humans stripped of their skins. The exhibition has made it to the unglamourous Old Truman Brewery in London's East End, and was sending shockwaves through the media, and even Parliament, before it even opened. Set in thought-provoking positions, are the pieces there for education or are they an abomination?

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16

Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Rea

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17

Simmel, Georg. "On Art Exhibitions." Theory, Culture & Society 32, no. 1 (2014): 87–92. http://dx.doi.org/10.1177/0263276414531052.

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18

Zhang, Juntong. "Research on Factors Influencing Online Art Exhibitions and the Role that Social Media Can Play during Online Exhibitions." Communications in Humanities Research 3, no. 1 (2023): 38–45. http://dx.doi.org/10.54254/2753-7064/3/20220131.

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During the epidemic, many art exhibitions and museums started online exhibitions actively or passively. How to make online art exhibitions accepted by more people and how to promote online art exhibitions more smoothly have become the main problems facing the society. This paper aims to explore the factors that affect people to watch online art exhibitions, and how to make the promotion of online art exhibitions successful.

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19

Tsang, Winnie. "Creating National Narrative: The Red Guard Art Exhibitions and the National Exhibitions in the Chinese Cultural Revolution 1966 - 1976." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 117–32. http://dx.doi.org/10.5195/contemp.2014.58.

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The artistic development in China experienced drastic changes during the Cultural Revolution from 1966 to 1976. Traditional Chinese art was denounced, whereas propaganda art became predominant in shaping the public’s loyalty towards the Communist Party and the country. Two major groups of art exhibitions emerged during the Revolution—the unofficial Red Guard art exhibitions organized by student activists in collaboration with local communes and art schools between 1966 and 1968, and the state-run national exhibitions from 1972 to 1975. These exhibitions were significant to this period because

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20

Senina, J. N. "«Blasphemy» in Contemporary Art Exhibitions in Russia, or Why Art Offends." State, Religion and Church in Russia and Worldwide 42, no. 4 (2025): 137–74. https://doi.org/10.22394/2073-7203-2024-42-4-137-174.

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The article examines the contemporary art exhibitions in twenty‑first‑century Russia that sparked accusations of “blasphemy” and extensive public debate and prompted law enforcement interventions. In the first part of the article, I retrospectively illustrate the history of the most prominent “blasphemous” contemporary art exhibitions in Russia, leading to the application of Article 282 of the Russian Criminal Code against the artists. These incidents, which followed the “Pussy Riot” case, resulted in the amendments to the Criminal Code that tightened the penalties for offending religious sent

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21

Jasny, B. "EXHIBITIONS: ART: Global Perspectives." Science 322, no. 5905 (2008): 1191a. http://dx.doi.org/10.1126/science.1167366.

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22

Kang, Taehwan, and Jeongyoon Kang. "A Study on Heterotopia and Private Space in Contemporary Art." Korean Society of Culture and Convergence 45, no. 1 (2023): 523–34. http://dx.doi.org/10.33645/cnc.2023.01.45.01.523.

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The purpose of this study is to discuss the important spatiality in contemporary art. Contemporary spaces show a variety of shapes and scopes, from independent private spaces to wide open public spaces. This aspect of space also appears in the art exhibition hall. Therefore, the purpose of this thesis is to examine the form of space and the viewer's visual perception in installation art among contemporary art fields. Chapter 2 examines the spatiality of installation art and discusses the visual and perceptual experiences felt in space. Chapter 3 examines private space and private space, which

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23

Lin, Jiajing. "Analysis of the Development and Direction of Contemporary Exhibitions." Communications in Humanities Research 9, no. 1 (2023): 238–45. http://dx.doi.org/10.54254/2753-7064/9/20231191.

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With the advancement of civilization and the passage of time, art has steadily merged into everyday life. The quantity and variety of art exhibitions held have significantly expanded, becoming a daily activity for the majority of the public as the social process and the pace of peoples lives continue to quicken. The public is given a strong sense of connection to the art institution and the exhibition space as a result of the modern exhibitions progressive evolution and subsequent innovation and improvement. This paper looks at the potential and direction of contemporary art exhibitions, analy

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Andreeva, E. Yu. "Soviet Art at Art Exhibitions and Expositions of Russian Museums and Galleries in the 1990s-2020s." Art & Culture Studies, no. 4 (December 2023): 390–421. http://dx.doi.org/10.51678/2226-0072-2023-4-390-421.

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The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginali

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Xu, Yanliang. "From Tradition to the Future: Exploring Artistic Presentation in Contemporary Interactive Exhibitions." Communications in Humanities Research 49, no. 1 (2024): 69–75. http://dx.doi.org/10.54254/2753-7064/2024.17694.

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Abstract: With the rise of digital technology and new media, art exhibitions have shifted from static displays to interactive experiences that enhance audience participation and immersion. Interactive exhibitions break the formality and distance of traditional displays, bringing art closer to everyday life. This paper explores the emergence of interactive exhibitions in contemporary art, focusing on how exhibition design and participation mechanisms improve audience engagement. Through field research on Cao Fei: Tidal Flux, this article examines how elements like chairs and sound transform vie

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Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.

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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purp

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27

Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Ar

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CHETVERIKOVA, A. S. "TRAVELING EXHIBITIONS AS A LEADING EDUCATIONAL ACTIVITY OF THE OREL ART GALLERY (1950s – 2000s)." JOURNAL OF PUBLIC AND MUNICIPAL ADMINISTRATION 13, no. 1 (2024): 175–89. http://dx.doi.org/10.22394/2225-8272-2024-13-1-175-189.

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The main purpose of the article is to analyze traveling exhibitions as leading educational activity of the Orel Art Gallery. According to the organizers, the creation of the Orel Art Gallery and other similar open art museums was supposed to promote the aesthetic and public education. Therefore, summarizing the results of this multifaceted activity, the functioning and organization of exhibitions, the selection of expositions and authors are the subject of close attention. According to the Party ideology, museums and galleries had to be accessible. But not all forms of educational work were in

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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.

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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptua

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Gao, Yijia. "Technical Analysis and Development Advantages of Online Virtual Exhibition from the Digital Technology Perspective." Communications in Humanities Research 9, no. 1 (2023): 134–39. http://dx.doi.org/10.54254/2753-7064/9/20231158.

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Institutions and peoples lives have been impacted by public health initiatives to contain the COVID-19 virus. The outbreak may qualify as a mega event due to its potential for global impact and transformation. The contemporary art world has especially felt the impact of the epidemic, as the entire cultural activity has been suspended due to the outbreak, including exhibitions and museums of various themes. During this period, art institutions and collectives around the world have responded by providing alternative materials for artistic works through various technological technologies and onli

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Huang, Nanyan. "Immersive Exhibition: Its Theoretical Development, Its Audiences and the Re-discovery of Modern Art Exhibition." Communications in Humanities Research 3, no. 1 (2023): 318–24. http://dx.doi.org/10.54254/2753-7064/3/20220317.

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As an innovative form of art exhibition, immersive exhibitions have gained popularity all over the world in recent years. Such exhibitions are not only a departure from traditional gallery displays but also lead to different modalities of visiting cultural sites. One distinguishable tendency, one that could be detected in the curatorial strategies of most contemporary exhibitions, is the increasing emphasis put on the aesthetic effect that exhibitions could offer. Correspondingly, the relationship between the visitors and the artworks is changed through the ways visitors situate and perform th

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Bier, Carol. "Bridges 2017 mathematical art exhibitions." Journal of Mathematics and the Arts 12, no. 1 (2018): 44–50. http://dx.doi.org/10.1080/17513472.2017.1422357.

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Pizzimenti, Cristina, Vincenzo Fiorentino, Chiara Ruggeri, et al. "Autophagy Involvement in Non-Neoplastic and Neoplastic Endometrial Pathology: The State of the Art with a Focus on Carcinoma." International Journal of Molecular Sciences 25, no. 22 (2024): 12118. http://dx.doi.org/10.3390/ijms252212118.

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Autophagy is a cellular process crucial for maintaining homeostasis by degrading damaged proteins and organelles. It is stimulated in response to stress, recycling nutrients and generating energy for cell survival. In normal endometrium, it suppresses tumorigenesis by preventing toxic accumulation and maintaining cellular homeostasis. It is involved in the cyclic remodelling of the endometrium during the menstrual cycle and contributes to decidualisation for successful pregnancy. Such a process is regulated by various signalling pathways, including PI3K/AKT/mTOR, AMPK/mTOR, and p53. Dysregulat

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Świtek, Gabriela. "Across Borders and Art Histories: Travelling Exhibitions." Artium Quaestiones, no. 35 (December 31, 2024): 55–82. https://doi.org/10.14746/aq.2024.35.3.

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The concept of art geography is undergoing a process of revision in light of recent research on exhibition histories. The analysis of major perennial art exhibitions is conducted in relation to the spatial, global structures of social and economic life, or as an aspect of tourism geographies. The geography of art exhibitions entails mapping circulation, analysing the spatial and temporal conditions under which art is presented, and the identifying cultural boundaries in the reception of travelling artworks. This article examines the circulation of international exhibitions that were presented

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Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the m

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36

Mengmeng, Ding, Syed Alwi Bin Syed Abu Bakar, and Aznan Bin Omar. "The Convergence of Art and Technology: Insights into the Intelligent Transformation of Chinese Art Exhibitions." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 3 (2025): e003225. https://doi.org/10.47405/mjssh.v10i3.3225.

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The application of high-tech elements in Chinese art exhibitions has become a transition from the conventional approach of art exhibition to intelligent exhibition. The purpose of this research is to examine how intelligent transformation to art exhibitions has been practiced in China through the application of the following technologies: Artificial Intelligence (AI), the Internet of Things (IoT), Radio Frequency Identification (RFID), and big data analytics. This intends to find out how these technologies improve the engagement of visitors, efficiency in the management of exhibitions, and the

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Datfar, Toofan, Michael Doulberis, Apostolis Papaefthymiou, Ian N. Hines, and Giulia Manzini. "Viral Hepatitis and Hepatocellular Carcinoma: State of the Art." Pathogens 10, no. 11 (2021): 1366. http://dx.doi.org/10.3390/pathogens10111366.

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Viral hepatitis is one of the main causes leading to hepatocellular carcinoma (HCC). The continued rise in incidence of HCC suggests additional factors following infection may be involved. This review examines recent studies investigating the molecular mechanisms of chronic hepatitis and its association with hepatocarcinogenesis. Hepatitis B virus patients with genotype C display an aggressive disease course leading to HCC more than other genotypes. Furthermore, hepatitis B excretory antigen (HBeAg) seems to be a more sensitive predictive tumor marker exhibiting a six-fold higher relative risk

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Widjono, Rani Aryani, and Shania Geraldine. "Modifikasi Interaksi Fisik dalam Pameran Virtual." Idealogy Journal 7, no. 2 (2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.

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The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in crea

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Jaquet, Daniel. "The art of fighting under glass." Acta Periodica Duellatorum 6, no. 1 (2018): 47–62. http://dx.doi.org/10.36950/apd-2018-002.

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A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were

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Yu, Shiyang. "The Research on the Characteristics and Forms of Immersive Experience in Art Exhibitions—Take “Van Gogh—the Immersive Experience” as an Example." Journal of Education, Humanities and Social Sciences 6 (December 31, 2022): 154–59. http://dx.doi.org/10.54097/ehss.v6i.4417.

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Immersive experience is a new type of interaction that integrates culture and technology, and it shows great promise for application by combining with multi-panel content. With the continuous development of virtual technology, immersive experience is also applied to art exhibitions and obtains surprising effects. People are not satisfied with the original way of art appreciation, and the increase of aesthetic demand also requires more diversified ways of exhibition, which has led to the prevalence of immersive exhibitions. In recent years, there have been few attempts at immersive art exhibiti

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Barba, Marta, Claudia Cicione, Camilla Bernardini, Fabrizio Michetti, and Wanda Lattanzi. "Adipose-Derived Mesenchymal Cells for Bone Regereneration: State of the Art." BioMed Research International 2013 (2013): 1–11. http://dx.doi.org/10.1155/2013/416391.

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Adipose tissue represents a hot topic in regenerative medicine because of the tissue source abundance, the relatively easy retrieval, and the inherent biological properties of mesenchymal stem cells residing in its stroma. Adipose-derived mesenchymal stem cells (ASCs) are indeed multipotent somatic stem cells exhibiting growth kinetics and plasticity, proved to induce efficient tissue regeneration in several biomedical applications. A defined consensus for their isolation, classification, and characterization has been very recently achieved. In particular, bone tissue reconstruction and regene

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Sun, Dan, and Xiaoyan Wang. "From the Inside to the Outside:Study on Exhibition Design and Communication of University Art Museum." Learning & Education 10, no. 5 (2022): 91. http://dx.doi.org/10.18282/l-e.v10i5.2683.

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With the continuous improvement of living standards,peoples aesthetic awareness and aesthetic level of continuous  improvement,a large part of art education in the way of exhibition to us. However, China's art industry is not fully mature, and art  exhibitions mainly focus on art education, lacking a strong sense of substitution,so the design requirements for exhibitions have  become higher.

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CHEN, Jiamiao. "The Interruption and Reverberation of the Video Art: An Overview of Video Art of the Annual of Contemporary Art of China (2023)." Advances in Art Science 1, no. 1 (2024): 72–78. https://doi.org/10.48014/aas.20241117001.

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By combing 329 video art exhibitions and documents in the archives of Chinese contemporary art in 2023, this paper reviews the development context and theme exploration of video art in this year, especially focusing on the diversity of video art in art creation and display. In multiple exhibitions, artists continue to explore the understanding of time and movement in video art, highlighting the difference and innovation between video works and traditional film and television language. More works explore the relationship between art censorship and social change, the vulnerability of individuals

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Jakubowska, Agata. "Meetings: Exhibitions of Women’s Art Curated by Izabella Gustowska." Ikonotheka 26 (June 26, 2017): 291–311. http://dx.doi.org/10.5604/01.3001.0010.1743.

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In February of 1978 the exhibition Trzy kobiety. Ania Bednarczuk, Iza Gustowska, Krynia Piotrowska opened at the Bureau of Art Exhibitions in Poznań. It became a starting point for two cycles of exhibitions that have been organised practically until today: Odbicia (Gustowska’s and Piotrowska’s joint exhibitions) and Spotkania. The essay focuses on Spotkania, i.e. exhibitions at which Gustowska (initially with Piotrowska) presented the works of invited women artists. These exhibitions were Trzy kobiety (1978, Poznań), Sztuka kobiet (1980, Poznań), Spotkania – Obecność I (1987, Poznań), Spotkani

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Nae, Cristian. "Constellational Modernisms: “Socialist Humanism” and “Contextual Art” in Ion Bitzan and Wanda Mihuleac's Graphic Art of the 1970s." ARTMargins 13, no. 2 (2024): 45–64. http://dx.doi.org/10.1162/artm_a_00383.

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Abstract Art exhibitions acted as facilitators of transnational encounters among artists during the Cold War. This article analyzes the emergence and local circulation of two art critical concepts which described adaptations of art practices and techniques associated with Pop art and conceptual art in Romanian graphic arts of the 1970s as an expanded artistic medium. Focusing on the way Romanian artists Ion Bitzan and Wanda Mihuleac adjusted their experimental art practices to suit different audiences in state-supported exhibitions such as the Romanian Pavilions in Venice or the Ljubljana Grap

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Yankovskaya, Galina A. "CONTEMPORARY ART EXHIBITIONS AS A COMPLEX HISTORICAL SOURCE: THE SPECIFICS OF DETECTION, ANALYSIS AND INTERPRETATION." Ural Historical Journal 84, no. 3 (2024): 107–13. http://dx.doi.org/10.30759/1728-9718-2024-3(84)-107-113.

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In source studies, the problems of visual sources, their classification, systematization, analysis, and interpretation are productively developed. The visual turn in historiography has demonstrated the productivity and heuristic potential of incorporating visual evidence into historical research. In this context, contemporary art exhibitions deserve special attention. They are focused on non-classical aesthetics, non-traditional art materials, social activism, multimedia and mixed media. The article argues the thesis that contemporary art exhibitions represent a complex historical source. Its

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Jørgensen, Anna Vestergaard. "Kunstkritik og institutionskritik i x-rummet." Periskop – Forum for kunsthistorisk debat, no. 21 (May 22, 2019): 70–87. http://dx.doi.org/10.7146/periskop.v2019i21.121797.

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In 2013, the SMK – National Gallery of Denmark initiated a series of exhibitions that was supposed to deal with the role of the museum in the 21st century. This article focuses on the two first exhibitions in this series: Haim Steinbach’s The Window and Henrik Olesen’s Abandon the Parents. The article claims that these exhibitions can be seen as working within the tradition of institutional critique, but also after it; through curating some of the museum’s own works and mimicking, respectively, the modernist “white cube” aesthetics and the Wunderkammer aesth

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Wasilewska, Diana. "INTERNATIONAL CRITICAL RECEPTION OF PROPAGANDIST EXHIBITIONS OF POLISH ART IN THE 1920S AND 1930S." Studia Humanistyczne AGH 18, no. 3 (2019): 45–53. http://dx.doi.org/10.7494/human.2019.18.3.45.

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The goal of this article is first of all to describe the reception of exhibitions of Polish interwar art in the foreign press. I pay closer attention to those of exhibitions that were most prestigious and acclaimed, such as the Venice Biennale, where representatives of Polish art were juxtaposed with other countries’ pavilions and judged in comparison to them. It was the time of the battle against the radical avant-garde, accused of bringing art to a state of impasse, stagnation, or even slow agony. Most exhibitions of Polish art abroad were organized by Mieczysław Treter (1883–1943) a philoso

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Echesony, Gibson. "Perception of Gender Roles in Modern Art Exhibitions in Nigeria." American Journal of Arts, Social and Humanity Studies 4, no. 1 (2024): 33–42. http://dx.doi.org/10.47672/ajashs.2066.

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Purpose: The aim of the study was to assess the perception of gender roles in modern art exhibitions in Nigeria. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study indicated that modern art exhibitions have increasing

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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.

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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibit

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