Literatura académica sobre el tema "New World Galleries"
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Artículos de revistas sobre el tema "New World Galleries"
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Deloria, Philip J. "The New World of the Indigenous Museum". Daedalus 147, n.º 2 (marzo de 2018): 106–15. http://dx.doi.org/10.1162/daed_a_00494.
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Museums have long offered simplistic representations of American Indians, even as they served as repositories for Indigenous human remains and cultural patrimony. Two critical interventions–the founding of the National Museum of the American Indian (1989) and the passage of the Native American Graves Protection and Repatriation Act (1990)–helped transform museum practice. The decades following this legislation saw an explosion of excellent tribal museums and an increase in tribal capacity in both repatriation and cultural affairs. As the National Museum of the American Indian refreshes its permanent galleries over the next five years, it will explicitly argue for Native people's centrality in the American story, and insist not only on survival narratives, but also on Indigenous futurity.
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Molho, Jeremie. "Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong". Arts 10, n.º 2 (27 de abril de 2021): 28. http://dx.doi.org/10.3390/arts10020028.
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The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.
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Atencia Conde-Pumpido, Belén. "The entry in scene of Léonce Rosenberg and the gallery L'Effort Moderne in the Paris of the Great War". Boletín de Arte, n.º 30-31 (15 de marzo de 2018): 427–34. http://dx.doi.org/10.24310/bolarte.2010.v0i30-31.4384.
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During the first half of the XX Century, the First World War constitutes the most unexpected and horrific episode in the history of Europe to date. Paris, at the time undisputed capital of the european avant-garde, slumps into cultural depression due to the closure of its galleries, salons and reviews, while trade in the art world also comes to an almost complete standstill. In a xenophobic atmosphere where certain artistic movements are viewed as being of predominantly German rather than French influence, a new Art dealer, prepared to champion the new cubist art, appears on the scene.
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Caldas, João Vieira. "Design with Climate in Africa. The World of Galleries, Brise–Soleil and Beta Windows". Modern and Sustainable, n.º 44 (2011): 16–23. http://dx.doi.org/10.52200/44.a.8f2dxu59.
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In the twenty–five years after World War II, Angola and Mozambique were fertile territories for the inception of new urban and architectural projects, in keeping with the principles of the Modern Movement. In the earliest works designed by the architects who moved there in the late 1940s, one can already witness a serious concern with the adjustment to the particularities of the hot and humid climate of the tropics. The Modern architectural idiom was particularly well suited to the local climate building requirements such as solar control and provision of adequate ventilation. Moreover, these architectural solutions were underpinned by sustainable procedures that ought to be re–established in the restoration of Modern buildings of the type presented here.
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Graham, Stephen. "Ensemble Plus-Minus and Leafcutter John at Kammer Klang, Cafe Oto, London". Tempo 68, n.º 268 (20 de marzo de 2014): 84–85. http://dx.doi.org/10.1017/s0040298213001770.
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It would be simplistic to suggest that contemporary classical music exists solely within or around large institutions. For at least 50 years now, this music has also found a home in small galleries, loft spaces and basements, and other small, independent venues around the world, as seen for example in the Downtown New York scene. London venue Cafe Oto – operating out of a warehouse in Dalston since 2008 – runs on similar principles to specialist Downtown venues such as the Stone, in that it boasts a wide-ranging multi-genre programme focused on various experimental and avant-garde musics, such as noise, free jazz, and contemporary classical.
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Castellote, Jess y Tobenna Okwuosa. "Lagos Art World: The Emergence of an Artistic Hub on the Global Art Periphery". African Studies Review 63, n.º 1 (27 de mayo de 2019): 170–96. http://dx.doi.org/10.1017/asr.2019.24.
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Abstract:The global geography of art has changed greatly in recent years. Whereas global art hubs were formerly found only in the West, they now exist in locations all over the world, including Africa. Though some art worlds in Asia and Latin America have been studied in recent times, there is insufficient empirical data on art worlds in Africa. This is a study of the Lagos art world, which shows how an “art system,” with all of its attendant structures and agents, has emerged in the city of Lagos, Nigeria, in the last few years. Lagos reflects the dynamics of globalization and is building up the art infrastructure and the critical mass needed for a sustainable art world: an ambitious and fast-growing group of young local collectors, an art fair, an international photography festival, regular art auctions, new art galleries, historical and critical publications, a university art museum, symposiums, art foundations, residencies, and competitions. Lagos is becoming not only a “global city,” but also a “global art hub.”
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Jokanović, Milena. "Perspectives on Virtual Museum Tours". INSAM Journal of Contemporary Music, Art and Technology, n.º 5 (15 de diciembre de 2020): 46–57. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.46.
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As a number of world museums have closed their doors for the public due to pandemic of the new Corona virus, curators are thinking of alternative ways of audience outreach: 3D virtual galleries are increasingly created, video guided tours shared, digitized collections put online. The new circumstances unquestionably bring potentials for growth, but carry numerous risks and inconsideration, as well. Many theoreticians argue that the crisis of this scale will undoubtedly fasten the digital transformation in museum and arts sector and consequently, in a much more wide sense influence the identity rethinking. However, the research of audience interest to virtual museum tours show there was a peak of just 3 days visiting these, massively followed by a fast decrease even the social isolation was globally still present and museum buildings still locked. Turning back to the genesis of the virtual museums, in the following paper, we will question why there is no interest to virtual museum content. Do tours answer the needs of the contemporary digital-born audience? Do these represent just a copy of settings from physical galleries or use potentials and logic of the new spaces? Will museums finally transform and enter into so many times nowadays mentioned digital shift answering the need of the new, transmedia perception of audience?
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Becker, Karin. "Protest in the Photo Essay: Following Tradition or Breaking New Ground?" Protest, Vol. 4, no. 2 (2019): 62–67. http://dx.doi.org/10.47659/m7.062.art.
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The photo essay, a form of visual journalism that arose during the era of the picture magazines, has reemerged as a regular feature of global news channels, including CNN, BBC World, and, notably, Al Jazeera English, recognized for its live reporting of political unrest. In 2017, a year marked by protest around the world, AJE published over 200 photo-series, including 37 on public protest. An analysis based in a four-year study of protest on screen, revealed that these photo essays share characteristics that in turn distinguish them from video broadcasts of public protests. The photo-reportage on screen, like its classic forerunner in print, employs a variety of visual perspectives and focuses on participants who are often quoted and identified by name. Scenes of public protest are complemented by visual and textual reporting from the private/domestic sphere. This visual strategy, in contrast to the immediacy of video coverage from the streets, supports knowledge of the protest issue and engagement with its participants. Keywords: Al Jazeera English, global television news, news galleries, photo essay, photojournalism, public protest
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Wark, Jayne. "The event that got away and how to catch it (researching ephemeral art)". Art Libraries Journal 27, n.º 2 (2002): 18–19. http://dx.doi.org/10.1017/s0307472200012645.
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As the underpinnings of High Modernism were everywhere being called into question in the 1950s and 1960s, the art world endeavoured to reinvent itself in new ways. For example, the view that meaning in art need not be embodied in static, timeless objects of supposedly universal significance was challenged by the idea of art as time-based, context-specific, or ephemeral. For artists, these changes offered a way to reformulate the art world system in accordance with their vision of what mattered, and thus to diminish the authority of big museums, commercial galleries, and glossy trade magazines, whose main function seemed to be the promotion of art not as a mode of critical inquiry, but as a luxury product for ‘Establishment’ elites.
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Ferraris, Maurizio. "From Fountain to Moleskine". Brill Research Perspectives in Art and Law 2, n.º 4 (23 de abril de 2019): 1–87. http://dx.doi.org/10.1163/24684309-12340006.
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AbstractPhotography was invented in the mid-nineteenth century, and ever since that moment painters have been asking what they are there for. Everyone has their own strategy. Some say they do not paint what is there, but their impressions. Others paint things that are not seen in the world, and therefore cannot be photographed, because they are abstractions. Others yet exhibit urinals in art galleries. This may look like the end of art but, instead, it is the dawn of a new day, not only for painting but – this is the novelty – for every form of art, as well as for the social world in general and for industry, where repetitive tasks are left to machines and humans are required to behave like artists.
Tesis sobre el tema "New World Galleries"
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Jafari, Parastoo [Verfasser] y Burcu [Akademischer Betreuer] Dogramaci. "New world, other value : artistic modernism and private patronage: associations and galleries in Pre-Islamic Revolution Iran / Parastoo Jafari ; Betreuer: Burcu Dogramaci". München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2019. http://d-nb.info/1223849708/34.
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"New world of visual space: Hong Kong Photographic Center". 2000. http://library.cuhk.edu.hk/record=b5890582.
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Chow Wai Keung Barry."Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1999-2000, design report."
Includes bibliographical references (leaf 54).
Chapter 1. --- Introduction and Background
Chapter 1.1 --- Prologue --- p.P.1
Chapter 1.2 --- Project Issues & Goals --- p.P.2
Chapter 1.3 --- Research and Programming (Symmary) --- p.P.3
Chapter 1.4 --- Site Analysis --- p.P.9
Chapter 2. --- The Project Brief
Chapter 2.1 --- Opportunities and Constraints --- p.P.16
Chapter 2.2 --- Space Program --- p.P.17
Chapter 2.3 --- Design Guidelines --- p.P.18
Chapter 3. --- The Design
Chapter 3.1 --- Schematic Proposal --- p.P.20
Chapter 3.2 --- Design Development --- p.P.22
Chapter 3 3 --- Final Scheme --- p.P.27
Chapter 3.4 --- Special Study --- p.P.38
Chapter 4. --- Appendices
Chapter 4.1 --- Precedents --- p.P.43
Chapter 4.2 --- Schedule of Accommodations --- p.P.49
Chapter 4.3 --- Site Photos --- p.P.50
Chapter 4.4 --- Code Comp1iance --- p.P.52
Chapter 4.5 --- Bibliography --- p.P.54
Libros sobre el tema "New World Galleries"
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Carey, Brainard. Making it in the art world: New approaches to galleries, shows, and raising money. New York: Allworth Press, 2011.
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Carey, Brainard. Making It in the Art World: New Approaches to Galleries, Shows, and Raising Money. Skyhorse Publishing Company, Incorporated, 2011.
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Carey, Brainard. Making It in the Art World: New Approaches to Galleries, Shows, and Raising Money. Skyhorse Publishing Company, Incorporated, 2011.
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Schorch, Philipp y Conal McCarthy, eds. Curatopia. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.001.0001.
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What is the future of curatorial practice? How can the relationships between Indigenous people in the Pacific, collections in Euro-American institutions, and curatorial knowledge in museums globally be (re)conceptualised in reciprocal and symmetrical ways? Is there an ideal model, a ‘curatopia,’ whether in the form of a utopia or dystopia, which can enable the reinvention of ethnographic museums and address their difficult colonial legacies? This volume addresses these questions by considering the current state of the play in curatorial practice, reviewing the different models and approaches operating in different museums, galleries and cultural organisations around the world, and debating the emerging concerns, challenges, and opportunities. The subject areas range over native and tribal cultures, anthropology, art, history, migration and settler culture, among others. Topics covered include: contemporary curatorial theory, new museum trends, models and paradigms, the state of research and scholarship, the impact of new media, and current issues such as curatorial leadership, collecting and collection access and use, exhibition development, and community engagement. The volume is international in scope and covers three broad regions—Europe, North America and the Pacific. The contributors are leading and emerging scholars and practitioners in their respective fields, all of whom have worked in and with universities and museums, and are therefore perfectly placed to reshape the dialogue between academia and the professional museum world.
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Munson, Kim A., ed. Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.001.0001.
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Over the last twenty years, the growing diversity in content and artistic innovation in graphic novels, comic books, and web comics combined with the popularity of films based on comics material have made comic art newly attractive to curators, museums, and university galleries. More artists identified with comics are getting big budget retrospectives, collecting institutions are mounting rich historical shows, and exhibits capitalizing on the popularity of all types of comics are popping up around the world. This book is an introduction to the history and controversies that have shaped comics exhibitions, who the pioneers were, different ideas about comic art exhibits around the world, how the best practices for displaying comics have developed and why, and how artists and curators have found ways to display comics that break away from the “framed pages on the wall” format. Using long out-of-print reviews and new material from experts such as Art Spiegelman, Denis Kitchen, and Andrei Molotiu, Comic Art in Museums maps out the history of influential shows of original comic art from newly rediscovered shows of the 1930’s to contemporary blockbusters like High and Low: Modern Art, Popular Culture and Masters of American Comics, as well as the critical dialogue surrounding these shows. To borrow a phrase from Theirry Groensteen, it’s the story of one way that comics have finally achieved “cultural legitimization.”
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Zukin, Sharon. Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.001.0001.
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As cities have gentrified, educated urbanites have come to prize what they regard as "authentic" urban life: aging buildings, art galleries, small boutiques, upscale food markets, neighborhood old-timers, funky ethnic restaurants, and old, family-owned shops. These signify a place's authenticity, in contrast to the bland standardization of the suburbs and exurbs. But as Sharon Zukin shows in Naked City, the rapid and pervasive demand for authenticity--evident in escalating real estate prices, expensive stores, and closely monitored urban streetscapes--has helped drive out the very people who first lent a neighborhood its authentic aura: immigrants, the working class, and artists. Zukin traces this economic and social evolution in six archetypal New York areas--Williamsburg, Harlem, the East Village, Union Square, Red Hook, and the city's community gardens--and travels to both the city's first IKEA store and the World Trade Center site. She shows that for followers of Jane Jacobs, this transformation is a perversion of what was supposed to happen. Indeed, Naked City is a sobering update of Jacobs' legendary 1961 book, The Death and Life of Great American Cities. Like Jacobs, Zukin looks at what gives neighborhoods a sense of place, but argues that over time, the emphasis on neighborhood distinctiveness has become a tool of economic elites to drive up real estate values and effectively force out the neighborhood "characters" that Jacobs so evocatively idealized.
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Dimendberg, Edward, ed. The Moving Eye. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.001.0001.
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Once the province of film and media scholars, today the moving image concerns historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations that no longer presuppose a fixed viewer, urban space becomes envisioned and planned through “fly-throughs,” and technologies such as GPS add data to the experience of travel, images in motion have captured the attention of geographers and scholars across the humanities and social sciences. Mobility studies is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952–2009) was among the first practitioners of visual studies to theorize the experience of mobile vision. Her books Window Shopping and The Virtual Window have become key points of reference in the discussion of the windows that frame images and the viewers in motion who perceive them. Although widely influential beyond her own discipline, Friedberg’s work has never been the subject of an extended study. The Moving Eye gathers together essays by a renowned international group of thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. These nine essays advance the lines of inquiry begun by Friedberg.
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Alexander, Gavin, Emma Gilby y Alexander Marr, eds. The Places of Early Modern Criticism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198834687.001.0001.
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What is criticism? And where is it to be found? Tracing the history of the development of early modern thinking about literature and the visual arts requires that one think about various kinds of place—material, textual, geographical—and the practices particular to those places. It also requires that those different places be brought into dialogue with each other. The essays in this volume place criticism in Britain, France, the Low Countries, Italy, and the New World; in letters, sermons, pictures, poems, plays, treatises, manuals, discourses, defences, and manuscript miscellanies; in philosophy, theology, grammar, rhetoric, logic, and poetics; in workshops, theatres, studios, galleries, private houses, city halls, salons, and bedchambers. They explore the hybrid genres, disciplines, modes of thought, lexicons, identities, and practices that emerge when criticism connects or moves between different places. They examine the operations of imagination, empathy, and analogy by which artists might imagine themselves in their characters’ places, or poets and painters, readers, viewers, or audience members might critically and creatively swap places. They interrogate, in various ways, the relationship between the places of learned humanist excavation, the passing of individual judgement, and the gaining of social experience. Often taking polemic as its subject matter, The Places of Early Modern Criticism also argues polemically for the necessity of looking afresh at the scope of criticism, and at what happens on its margins; and for interrogating our own critical practices and disciplinary methods by investigating their history.
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Gochberg, Reed. Useful Objects. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197553480.001.0001.
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Useful Objects: Museums, Science, and Literature in Nineteenth-Century America explores the debates that surrounded the development of American museums during the nineteenth century. Throughout this period, museums included a wide range of objects, from botanical and zoological specimens to antiquarian artifacts and technological models. Intended to promote “useful knowledge,” these collections generated broader discussions about how objects were selected, preserved, and classified. In guidebooks and periodicals, visitors described their experiences within museum galleries and marveled at the objects they encountered. And in fiction, essays, and poems, writers embraced the imaginative possibilities represented by collections and proposed alternative systems of arrangement. These conversations spanned spheres of American culture, raising deeper questions about how objects are valued—and who gets to decide. Combining literary criticism, the history of science, and museum studies, Useful Objects examines the dynamic and often fraught debates that emerged during a crucial period in the history of museums. As museums gradually transformed from encyclopedic cabinets to more specialized public institutions, many writers questioned who would have access to collections and the authority to interpret them. Throughout this period, they reflected on loss and preservation, raised concerns about the place of new ideas, and resisted increasingly fixed categories. These conversations extended beyond individual institutions, shaping broader debates about the scope and purpose of museums in American culture that continue to resonate today.
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Kennedy, Thomas C. Quakers. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199683710.003.0004.
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Unitarianism and Presbyterian Dissent had a complex relationship in the nineteenth century. Neither English Unitarians nor their Presbyterian cousins grew much if at all in the nineteenth century, but elsewhere in the United Kingdom the picture was different. While Unitarians failed to prosper, Presbyterian Dissenting numbers held up in Wales and Ireland and increased in Scotland thanks to the Disruption of the Church of Scotland. Unitarians were never sure whether they would benefit from demarcating themselves from Presbyterians as a denomination. Though they formed the British and Foreign Unitarian Association, its critics preferred to style themselves ‘English Presbyterians’ and Presbyterian identities could be just as confused. In later nineteenth-century Scotland and Ireland, splinter Presbyterian churches eventually came together; in England, it took time before Presbyterians disentangled themselves from Scots to call themselves the Presbyterian Church of England. While Unitarians were tepid about foreign missions, preferring to seek allies in other confessions and religions rather than converts, Presbyterians eagerly spread their church structures in India and China and also felt called to convert Jews. Missions offered Presbyterian women a route to ministry which might otherwise have been denied them. Unitarians liked to think that what was distinctive in their theology was championship of a purified Bible, even though other Christians attacked them as a heterodox bunch of sceptics. Yet their openness to the German higher criticism of the New Testament caused them problems. Some Unitarians exposed to it, such as James Martineau, drifted into reverent scepticism about the historical Jesus, but they were checkmated by inveterate conservatives such as Robert Spears. Presbyterians saw their adherence to the Westminster Confession as a preservative against such disputes, yet the Confession was increasingly interpreted in ways that left latitude for higher criticism. Unitarians started the nineteenth century as radical subversives of a Trinitarian and Tory establishment and were also political leaders of Dissent. They forfeited that leadership over time, but also developed a sophisticated, interventionist attitude to the state, with leaders such as H.W. Crosskey and Joseph Chamberlain championing municipal socialism, while William Shaen and others were staunch defenders of women’s rights and advocates of female emancipation. Their covenanting roots meant that many Presbyterians were at best ‘quasi-Dissenters’, who were slower to embrace religious voluntaryism than many other evangelical Dissenters. Both Unitarians and Presbyterians anguished about how to reconcile industrial, urban capital with the gospel. Wealthy Unitarians from William Roscoe to Henry Tate invested heavily in art galleries and mechanics institutes for the people but were disappointed by the results. By the later nineteenth century they turned to more direct forms of social reform, such as domestic missions and temperance. Scottish Presbyterians also realized the importance of remoulding the urban fabric, with James Begg urging the need to tackle poor housing. Yet neither these initiatives nor the countervailing embrace of revivalism banished fears that Presbyterians were losing their grip on urban Britain. Only in Ireland, where Home Rule partially united the Protestant community in fears for its survival, did divisions of space and class seem a less pressing concern.
Capítulos de libros sobre el tema "New World Galleries"
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Soltanifar, Mariusz y Edin Smailhodžić. "Developing a Digital Entrepreneurial Mindset for Data-Driven, Cloud-Enabled, and Platform-Centric Business Activities: Practical Implications and the Impact on Society". En Digital Entrepreneurship, 3–21. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53914-6_1.
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AbstractThe term ‘digital’ concerns not only technology but also people. This chapter emphasises the necessity of adopting a digital entrepreneurial mindset when operating in a digitised world. The chapter proposes a definition of a digital entrepreneurial mindset that is rooted in cognitive psychology, organisation theory and entrepreneurship literature. We also focus on the five trends that are shaping the digital future: mobile computing, cloud computing, social media, the Internet of Things and Big Data. The chapter discusses the challenges and opportunities that pervasive digitalisation offers for designing new digital business models and changing interactions with customers. Discussing the success stories of Domino’s Tesco and Tate Art Galleries helps to examine data-driven, cloud-enabled, platform-centric business activities, for which developing a digital entrepreneurial mindset is the first step towards success in the digital age. Collectively, the aforementioned cases suggest that businesses that rely on a digital entrepreneurial mindset enjoy better financial performance. Both managers and employees in these companies have shown the inclination and ability to discover, evaluate and exploit opportunities emerging from digital technologies. This chapter also provides a practical guide for entrepreneurs on the steps they can take to encourage a digital entrepreneurial mindset throughout their entire organisations. Finally, we elaborate on the practical implications of adopting a digital entrepreneurial mindset and its impact on society.
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Teukolsky, Rachel. "Character". En Picture World, 21–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859734.003.0002.
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“Character” is often studied as the deep psychological self crafted by the nineteenth-century realist novel. Yet Chapter 1 proposes an alternative history of character by looking to caricature, in some of the earliest comics (“Galleries of Comicalities”) appearing in sporting newspapers in the 1830s. Early caricatures portrayed an idea of character that was grotesque, masculinist, and brilliantly exteriorized, especially in depictions of “the cockney,” the urban mischief-man whose subversive masculinity reflected the economic pressures of the new urban economy. Cartoons featuring the cockney were anti-authoritarian, carnivalesque, and often laced with crude racism and misogyny. Their mock-violent energy gave voice to some of the explosive frustration felt by working- and lower-middle-class men after the failures of the Reform Bill of 1832. The young Charles Dickens borrowed many of his earliest subjects from extant caricature motifs, reflecting some of the fundamental instabilities of social class and economic precarity defining the Reform Era.
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Dolgoy, Rebecca Clare. "‘An act of wilful defiance’: Objection, Protest and Rebellion in the Imperial War Museum’s First World War Galleries". En Mediating War and Identity, 37–53. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474446266.003.0003.
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In spite of its purveyance of British stalwart tropes such as “the Tommies and the Officers”, the Imperial War Museum’s (IWM) new First World War Galleries feature stories of conscientious objectors and Irish Republicans, whose resistance to the war transgressed prevailing norms. They also highlight poet/soldier Siegfried Sassoon’s Soldier’s Declaration, a widely-circulated critical letter he intended as “an act of wilful defiance”. However, though these stories are displayed, this chapter argues that both the curatorial apparatus surrounding them (e.g. texts, objects), and the IWM’s historicizing of the past by claiming to present the events as they unfolded at that time subsume transgression in normative orders. This chapter contextualizes close readings of these three portrayals of transgression within broader Museum and Memory Studies discourses. It also situates the IWM’s narratives of mythic togetherness and tacit imperialism as an expression of what Paul Gilroy has defined as “postcolonial melancholia” as it is found in wider conceptions of British identity throughout the WWI Centenary commemorations – a period that loosely corresponded with the Brexit campaign and its consequences.
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Moore, James. "A problem of scale and leadership? Manchester’s municipal ambitions and the ‘failure’ of public spirit". En High culture and tall chimneys, 190–220. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784991470.003.0007.
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The 1870s and 1880s saw the Manchester art world arguably reach its cultural zenith. The rise of the proto-Impressionist ‘Manchester school’, the municipalisation of the Royal Manchester Institution building and the plans for a new city gallery produced an art community and institutional infrastructure second to nowhere in England, except London. However such progress concealed a growing disagreement about the purpose of municipal art institutions. As attendance at exhibitions fell, critics questioned the ability of large galleries to engage the public and called for more community-based art initiatives. The crisis point was reached when proposals for a new city art gallery in Piccadilly Square fell foul of Conservative and Labour opposition. At a time of economic slump, had art become an expensive luxury?
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McWilliam, Rohan. "Capital of Culture". En London's West End, 137–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.003.0009.
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This chapter examines the West End as a place for the formation of cultural and intellectual capital. This dimension to the West End was associated with the construction of high art and culture. The chapter looks at painting, music, and the literary and journalistic worlds. Each in their different way was a flourishing creative industry, demonstrating how the West End could employ art and intellectual work to propel the economy. The art world developed an extensive network of galleries particularly around Bond Street. The concert world was boosted by the creation of the St James’s Hall which made classical music more widely available while the Royal Opera House in Covent Garden increasingly displaced Her Majesty’s Theatre as the centre of the operatic world. The emergence of Gilbert and Sullivan showed how the district could be the site of new musical forms. The Strand area in turn became a major site for the construction of networks among the literary intelligentsia. The overlays, contrasts, and juxtapositions between art, music, and journalism was what gave the West End its character.
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Mandelli, Elisa. "Moving Images in Museums, World’s Fairs and Avant-garde Exhibition Design". En The Museum as a Cinematic Space, 46–60. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474416795.003.0004.
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This chapter considers the reciprocal influences between the presentations of museums and commercial and industrial fairs, from which curators have sometimes admitted having drawn inspiration. These close-knit exchanges between apparently distant worlds show that museums, far from being isolated and timeless institutions, were able to intercept the latest developments in display techniques. Museums used audio-visuals not only for educational purposes and to preserve memory, but also to attract a wider public and to keep up with the dynamic nature of modernity. This issue is discussed with specific reference to two case studies: the 1920s European Avant-Garde exhibition design, and the use of educational films in the galleries of the New York Museum of Science and Industry.
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Exell, Karen. "Covering the Mummies at the Manchester Museum: A Discussion of Authority, Authorship, and Agendas in the Human Remains Debate". En Archaeologists and the Dead. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198753537.003.0019.
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From 2006 to 2009, Manchester Museum, University of Manchester, UK, was one of the leading institutions promoting the debate surrounding the ethics of preserving and displaying the dead in museums. The discussion in this chapter analyses the activities of Manchester Museum in relation to human remains within the context of a critical assessment of recent developments in museum practice and the continuing cultural significance of the museum. In particular, the discussion will pay particular attention to the omission of any acknowledgement of the individuals responsible for exhibitions and related events, i.e. the authors of its public discourse. Two case studies will be used to illustrate the discussion: the exhibition, Lindow Man: A Bog Body Mystery (2008–9), and the incident of the ‘covering the mummies’ in April 2008 where three of the twelve Egyptian embalmed bodies on display were fully covered, resulting in a public outcry (Jenkins 2011a; Exell 2013a). Both the exhibition and the ‘covering the mummies’ formed part of a series of high-profile activities related to human remains that took place at Manchester Museum at this time. At the time, I was in post as Curator of Egyptology, and this discussion also illustrates the changing role of subject-specialist curators in relation to exhibition production and other aspects of a museum’s public communications (see Farrar 2004). … ‘There are, as far as we know, no a priori reasons for supposing that scientists’ scientific practice is any more rational than that of outsiders.’ (Latour and Woolgar 1986: 29) ‘Another word for “local knowledges” is prejudice.’ (Sokal 2008: 108)… Working on the public consultation process during the period 2008–10 for the new archaeology and ancient Egypt galleries at Manchester Museum, opened as the Ancient Worlds galleries in October 2012, the general lack of understanding of the exhibition and gallery development process amongst museum visitors became evident. From discussions with participants in the various consultation events (Exell and Lord 2008; Exell 2013a,b), it emerged that people in the institution either regarded the decision-making process as being the sole responsibility of the most relevant subject-specialist curator, or somehow the result of a monolithic and neutral institutional mind (Arnold 1998: 191).
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Gochberg, Reed. "Novel Inventions". En Useful Objects, 120–50. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197553480.003.0005.
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Chapter 4 examines the distinctive history of the U.S. Patent Office gallery, which combined national repository, bureaucratic office, and public museum. Its collections included the models submitted by inventors with their patent applications, which offered tangible examples of new legal standards for novelty and utility. Tourists marveled at the model machines on display, connecting them to ideals of national progress and ingenuity, and the gallery’s collections sparked wider discussions of the relationship between nation, invention, and spectacle. Ralph Waldo Emerson drew on an imagined collection of machines to contemplate the relationship between technological novelty and literary originality, while Walt Whitman’s description of the gallery as a temporary Civil War hospital examined the social and human implications of such a strange spectacle. These accounts highlight broader debates about the place of new ideas in a national museum and how such contributions would be defined.
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Zukin, Sharon. "How Brooklyn Became Cool". En Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.003.0007.
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It’s one o’clock in the morning on a warm October night, and the streets of northern Brooklyn are eerily deserted. The hulks of warehouses and the chimney of the old Domino sugar refinery stand guard along the waterfront, while grim industrial buildings hunker down in the shadow of the Brooklyn-Queens Expressway. Steel gates hide the windows of small plastics and metalworking shops. Nearby tenements are silent and dark. You’re wide awake, though, driving through the darkness on Kent Avenue, bumping over warped asphalt and steering around potholes. You’re circling Williamsburg, looking for the neighborhood that made Brooklyn cool. First you pass the Northside, the original center of Brooklyn’s hipster culture, a cluster of art galleries, cafés, bars, and boutiques around the subway station at North Seventh Street and Bedford Avenue. Then you pass the Southside, where French bistros and Japanese hair salons have recently joined yeshivas and bodegas, and artists and graduate students are a noticeable presence on the streets. Ahead of you stretch neighborhoods that have been predominantly black since after World War II but are now rapidly gentrifying and becoming socially and ethnically more diverse—that is, richer and whiter: Bedford-Stuyvesant, Fort Greene, Clinton Hill. The old Brooklyn Navy Yard sits vast and uninhabited just one block to the west. A few blocks beyond that, brownstone townhouses sell for a million dollars and up. Navigating solo through this dark landscape, you don’t see any sign of life. But when you turn onto the wider roadway of Flushing Avenue, you meet up with men and women walking in couples and groups of four. They are Hasidic Jews, women with heads covered in wigs and scarves, skirts below their knees, and black-hatted men wearing long black overcoats. Sabbath began at sundown. Because driving is prohibited then, any believers who are out on the street at this hour must find their way home on foot. After you pass the Hasidim, you find a few more people walking on the street; these men are wearing tight jeans and the women are in short skirts.
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Willetts, David. "Robbins and After". En A University Education. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198767268.003.0007.
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The early 1960s saw the biggest transformation of English higher education of the past hundred years. It is only matched by the break-up of the Oxbridge monopoly and the early Victorian reforms. It will be forever associated with the name of Lionel Robbins, whose great report came out in November 1963: he is for universities what Beveridge is for social security. His report exuded such authority and was associated with such a surge in the number of universities and of students that Robbins has given his name to key decisions which had already been taken even before he put pen to paper. In the 1950s Britain’s twenty-five universities received their funding from fees, endowments (invested in Government bonds which had largely lost their value because of inflation since the First World War), and ‘deficit funding’ from the University Grants Committee, which was a polite name for subsidies covering their losses. The UGC had been established in 1919 and was the responsibility not of the Education Department but the Treasury, which was proud to fund these great national institutions directly. Like museums and art galleries, higher education was rarefied cultural preservation for a small elite. Public spending on higher education was less than the subsidy for the price of eggs. By 1962 there were 118,000 full-time university students together with 55,000 in teacher training and 43,000 in further education colleges. This total of 216,000 full-time higher education students broadly matches the number of academics now. Young men did not go off to university—they were conscripted into the army. The annual university intake of around 50,000 young people a year was substantially less than the 150,000 a year doing National Service. The last conscript left the army in the year Robbins was published. Reversing the balance between those two very different routes to adulthood was to change Britain. It is one of the many profound differences between the baby boomers and the generation that came before them. Just over half of students were ‘county scholars’ receiving scholarships for fees and living costs from their own local authority on terms decided by each council.
Actas de conferencias sobre el tema "New World Galleries"
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MacDougall, Robert. "Information, Interactivity and the Prospects of a Global Citizenry: An Inquiry into the Nature and Function of Online News". En 2003 Informing Science + IT Education Conference. Informing Science Institute, 2003. http://dx.doi.org/10.28945/2689.
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The United States has one of the most technically advanced, most expansive, most evenly distributed, and most freely accessed communication system on the planet. Yet Americans are simultaneously one of the most poorly informed populations (in terms of diversity of opinions/sources, depth and breadth of knowledge, etc.). The proliferation of personalized information services, photo news galleries, computer simulations, and a host of interactive media links on commercial Internet news sites have been hailed recently as one remedy for this troubling statistic. By 2005 the nations comprising Western Europe will represent the largest concentration of netizens in the world with more than 300,000,000 people connected to the Net, many seeking the same conveniences enjoyed by their American counterparts. This paper examines the relationship between technical features and usage patterns on several of the leading Internet news sites. I argue that as the Internet becomes more technically sophisticated, a proportionate, though inverse trend in the epistemological sophistication of its user base will be inevitable. Finally, I discuss the implications this trend holds for the future of a “global citizenry.”