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Articoli di riviste sul tema "Humanities -> art -> museum studies"

Autore: Grafiati

Pubblicato: 25 luglio 2024

Ultima modifica: 31 luglio 2025

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1

Santos, Raquel, Ana Claro, Ana Serrano, Maria João Ferreira, and Jessica Hallett. "Textiles, Trade & Taste—Portugal and the World: A Project on the Global Circulation of Textiles and Dyes." Textile Museum Journal 47, no. 1 (2020): 187–95. http://dx.doi.org/10.1353/tmj.2020.a932820.

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Abstract: Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network’s artistic and historical research has ranged from collating archival

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2

Putcha, Rumya S. "Yoga and White Public Space." Religions 11, no. 12 (2020): 669. http://dx.doi.org/10.3390/rel11120669.

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This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I e

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Federici, Angelica, and Joseph Chandler Williams. "Digital Humanities for Academic and Curatorial Practice." Studies in Digital Heritage 3, no. 2 (2020): 117–21. http://dx.doi.org/10.14434/sdh.v3i2.27718.

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The Digital Humanities have challenged all disciplines of Art History to engage with new interdisciplinary methodologies, learn new tools, and reevaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital Humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites that cease to exist or

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Blakesley, Rosalind P. "Art, Nationhood, and Display: Zinaida Volkonskaia and Russia's Quest for a National Museum of Art." Slavic Review 67, no. 4 (2008): 912–33. http://dx.doi.org/10.2307/27653031.

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In 1831, the journal Teleskop published Princess Zinaida Volkonskaia's proposal for a national art museum in Moscow. Volkonskaia's project was progressive to a degree (Russia had no such museum at the time), yet the model she proposed was highly traditional. She excluded Russian art entirely, despite her support of modern Russian artists. Instead, Volkonskaia privileged classical and more recent western European art, underlining the deference to western practice that influenced cultural politics even as Russia moved toward a stronger national sense of self. Volkonskaia's project marks an impor

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Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.

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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes invol

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Tamimi Arab, Pooyan. "Islamic heritage versus orthodoxy: Figural painting, musical instruments and wine bowls at the Dutch National Museum of World Cultures." Journal of Material Culture 26, no. 2 (2021): 178–200. http://dx.doi.org/10.1177/1359183521997503.

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Shahab Ahmed’s What Is Islam? The Importance of Being Islamic (2016) challenges anthropologists, Islamic Studies scholars, art historians and museum practitioners to question the theological assumptions underlying conceptions of Islamic art and material culture. This article analyses three object types key to Ahmed’s analysis – Islamic figural painting, musical instruments and wine bowls – from the vantage point of the collection of the Dutch National Museum of World Cultures. Based on the author’s experience as Assistant Curator for West Asia and North Africa in 2015–2016 and on exhibition de

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Pandi, Tina, Marina Markellou, Esther Solomon, and Thomas Valianatos. "From public debates to institutional establishment: Exploring the mission of the National Museum of Contemporary Art in Greece." Journal of Greek Media & Culture 9, no. 1 (2023): 3–20. http://dx.doi.org/10.1386/jgmc_00065_1.

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In December 1997, the National Museum of Contemporary Art (Ethniko Mouseio Synchronis Technis – EMST) was established by law in Athens under the auspices of the Hellenic Ministry of Culture, compensating for the long-term absence of a state museum of contemporary art in Greece. Following the restitution of democracy in 1974, the question ‘what kind of museum do we need for contemporary art in Greece?’ was raised by artists and other professionals (critics, curators, gallerists, researchers) and explored through a series of public debates and events. However, only in the 1990s was this demand s

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Susanto, Mikke. "Mountains and Rice Fields: Curating Painting and Environmental Issues through the “Landscape of Nation” Exhibition." Environment-Behaviour Proceedings Journal 9, SI23 (2024): 217–23. https://doi.org/10.21834/e-bpj.v9isi23.6151.

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History has recorded many natural disasters caused by mountains in Indonesia. “Landscape of Nation” exhibition at the Basoeki Abdullah Museum explores the issue of mountains and rice fields. This research explains the curatorial exhibition. The research employs a descriptive qualitative method. Sixteen paintings in the exhibition were used to cultivate public appreciation for environmental issues. Research on the theme of mountains and rice fields greatly impacts Indonesian art society. This research significantly contributes to education, particularly in the humanities, art studies, natural s

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González Fraile, Eduardo Miguel. "WHITNEY MUSEUM OF AMERICAN ART (MET BREUER)." Proyecto, Progreso, Arquitectura 23 (November 19, 2020): 28–45. http://dx.doi.org/10.12795/ppa.2020.i23.02.

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El museo de arte Whitney de Breuer se ubica en la isla de Manhattan, en Nueva York, próximo a varios museos muy importantes: al Museo Americano de Historia Natural, al Museo Metropolitano de Arte y al Museo Guggenheim, la obra más conocida de Franz Lloyd Wright. En la génesis del proyecto influirán las características del lugar, la geometría de la parcelación, las metáforas concomitantes con la fachada del anterior Museo Whitney, la emulación de la aérea volatilidad del Museo Guggenheim y la bien engrasada disposición del programa funcional, condensadas en una sección principal que se hunde ba

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Starodubtseva, Marina V. "Alexander Sedov: “We Tell People about Their Culture”." Oriental Courier, no. 3-4 (2021): 21. http://dx.doi.org/10.18254/s268684310017997-4.

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An interview with Alexander V. Sedov, the Director-General of The State Museum of Oriental Art devoted to the launch of the new master’s program of the Faculty of Oriental Studies of the State Academic University for the Humanities (GAUGN) and the Department of Oriental History of the Institute of Oriental Studies Russian Academy of Sciences “Socio-Cultural Development of East Asian Countries”, which is headed by Alexander Sedov as an academic curator (Dinara V. Dubrovskaya, the head of the Department of Oriental History of the Institute of Oriental Studies RAS, is the supervisor of the progra

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Baker, Sarah, Lauren Istvandity, and Raphaël Nowak. "Curatorial practice in popular music museums: An emerging typology of structuring concepts." European Journal of Cultural Studies 23, no. 3 (2018): 434–53. http://dx.doi.org/10.1177/1367549418761796.

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Museums have been central to the institutionalisation of popular music as heritage; yet, there has been little scholarly focus on the curatorial strategies behind the exhibition of popular music’s past. This article outlines an emerging typological framework of structuring concepts in curatorial practice in popular music museums. The typology brings into conversation concepts previously identified by a number of popular music museum scholars. These concepts are critically assessed and built upon substantively by drawing on the subjective experiences of curators involved in the exhibition of po

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G., E., Barbara Lipton, and Nima Dorjee Ragnubs. "Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art." Journal of the American Oriental Society 120, no. 3 (2000): 497. http://dx.doi.org/10.2307/606056.

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Sabadash, Juliia, and Yuzef Nikolchenko. "50 years of chronicle discourse of the department of event-industries, culturology and museum studies of Rivne state humanitarian university." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 23 (2022): 120–31. http://dx.doi.org/10.34079/2226-2849-2022-12-23-120-131.

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Peer-reviewed monograph "Higher Cultural Education in Ukraine: Regional Discourse (through the prism of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities)", prepared for publication by Doctor of Cultural Studies, Professor, Professor of the Department of Event Industry and Culture Vytkalov, is the first attempt in domestic historiography to comprehensively study the system of higher cultural education in Ukraine, based on 50 years of experience of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne

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Mihailova, Mihaela. "To Dally with Dalí: Deepfake (Inter)faces in the Art Museum." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (2021): 882–98. http://dx.doi.org/10.1177/13548565211029401.

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This essay focuses on the nascent symbiotic relationship between deepfakes and art museums and galleries, as demonstrated by three case studies. The first one, housed at the Dalí Museum in St Petersburg, Florida, is a life-size talking avatar of the artist generated from archival footage. The second one, Warriors by James Coupe, revisits Walter Hill’s 1979 film of the same name using deepfake algorithms to insert visitors’ faces into key scenes, sorting them into gangs based on data-driven analysis of their demographic and economic markers. Finally, Gillian Wearing’s fake ad, Wearing Gillian,

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Parker, Eryn, and Michael Saker. "Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms." Convergence: The International Journal of Research into New Media Technologies 26, no. 5-6 (2020): 1159–73. http://dx.doi.org/10.1177/1354856519897251.

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Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This a

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Whittington, Vanessa. "Decolonising the museum?" Culture Unbound 13, no. 2 (2022): 245–69. http://dx.doi.org/10.3384/cu.3296.

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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015:

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Bahia, Ana Beatriz. "GAME DESIGN AT THE ART MUSEUM: THE NUBLA CASE OF EDUCATHYSSEN." Herança 6, no. 1 (2023): 53–68. http://dx.doi.org/10.52152/heranca.v6i1.681.

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The article discusses one of the main projects of the Education Department of the Thyssen-Bornemisza National Museum (Madrid/ES). Nubla: Laboratorio de Arte, Educación y Videojuegos is a project designed in 2013, which took shape between 2015-2017, and is still active to this day. In this paper, I sought to understand what defines Nubla and how the project differs from the video games previously created by EducaThyssen (2001-). The methods used were: exploratory research (in the institution's online platforms),, and bibliographic review. First, the article contextualizes and briefly describes

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18

Lee, Yubin, and Jae Yeon Park. "Domestic Research Trends on the Utilization of the Metaverse Museums." Korean Arts Association of Arts Management 74 (May 31, 2025): 43–70. https://doi.org/10.52564/jamp.2025.74.43.

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This study focuses on the changes in content of museums and art galleries following the social distancing measures due to COVID-19, analyzing the trends of domestic research on the utilization of metaverse museums. To achieve this, 25 KCI-indexed papers published in domestic academic journals were selected for analysis, and a total of five analytical categories were presented. Specifically, these categories include the publication status by year, academic fields, the status of museum functions, research topics, and research methods. Due to the absence of prior research on trends in metaverse m

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Mithlo, Nancy Marie. "The Artist Knows Best: The De-Professionalism of a Profession." American Indian Culture and Research Journal 43, no. 4 (2019): 65–76. http://dx.doi.org/10.17953/aicrj.43.4.mithlo.

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The traveling art exhibit Jimmie Durham: At the Center of the World (2017–2018) demonstrated three powerful art world tendencies: the use of fraud as an artistic register, the assertion of the artist as authority, and the decontextualization of the arts as an object-centered analysis. These three approaches are congruent with capitalism and the private market, while simultaneously negating Indigenous values of community-based knowledges that operate largely outside the commercial sphere. An analysis of these competing art world values reveals the complicity of public museums with private gain

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Perini, Giovanna. "Sir Joshua Reynolds and Italian Art and Art Literature. A Study of the Sketchbooks in the British Museum and in Sir John Soane's Museum." Journal of the Warburg and Courtauld Institutes 51 (1988): 141. http://dx.doi.org/10.2307/751267.

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Wan Mohd Zohdi, Wan Najwa, and Nasibah Azme. "Integrating Humanities into Medical Education." International Journal of Social Science Research 13, no. 1 (2025): 111. https://doi.org/10.5296/ijssr.v13i1.22545.

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Humanities are essential to medical training as they enhance scientific understanding with compassion, ethical decision-making and cultural sensitivity, promoting holistic health care providers. Integrating humanities into medical curricula emphasizes their impact on emotional intelligence, narrative medicine, communication skills, and ethical judgment. Based on diverse methodologies and theoretical frameworks such as narrative medicine and emotional intelligence, this review demonstrates how humanities enhance observational skills, empathy, and professionalism. Innovative strategies that blen

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Lorente, Jesús-Pedro. "Galleries of modern art in nineteenth-century Paris and London: their location and urban influence." Urban History 22, no. 2 (1995): 187–204. http://dx.doi.org/10.1017/s0963926800000468.

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Museums of contemporary art tend to be exclusive landmarks of great capitals. We are used to finding art galleries in the most prominent of locations, either in old palaces, or in purpose-built museum buildings. For the special case of galleries of contemporary art, however, it is also a common policy to provide space at the middle of an out-of-town park, or else into the heart of an urban renewal area, using modern arts as ‘flagships’ of city regeneration. This article strives to show that today's dilemmas and choices about the siting of galleries of art are a legacy of the nineteenth century

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Harte, Tim. "A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal." Slavic Review 64, no. 1 (2005): 43–58. http://dx.doi.org/10.2307/3650066.

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In this close analysis of Aleksandr Sokurov's 2002 film Russkii kovcheg (Russian ark), Tim Harte explores the interplay between the medium of painting and cinema in this unprecedented ninety-minute single-shot film set in the grand halls and galleries of the Hermitage Museum. As Harte argues, the film's unique premise and setting allow Sokurov to convey how the museum, its art and history, and subsequently cinema can affirm a nation's culture, transporting die past ever so evocatively into the present in order to sustain culture's vitality. Throughout Sokurov's ninety-minute single-shot fusion

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Phillips, Ruth B. "The issue is moot: Decolonizing art/artifact." Journal of Material Culture 27, no. 1 (2021): 48–70. http://dx.doi.org/10.1177/13591835211069603.

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This article seeks to step back from the long-standing debate between art and artifact—aesthetics and science-- understood as terms that reference central concerns of the quintessentially modern Western disciplines of art history and anthropology. In their landmark edited volume The Traffic in Culture: Refiguring Art and Anthropology, George Marcus and Fred Myers explored the growing convergences exhibited by the concerns and methods of practitioners of the two disciplines, both in the academy and the museum. By training our attention on contemporary artworlds—understood as systems—they illumi

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Kuzeeva, Zuhra Z., та Ritsa Sh Zelnitskaya (Shlarba). "K.A. INOSTRANTZEV СOLLECTION ON TRADITIONAL NOGAI CULTURE IN THE COLLECTIONS OF THE RUSSIAN ETHNOGRAPHIC MUSEUM". History, Archeology and Ethnography of the Caucasus 16, № 1 (2020): 185–209. http://dx.doi.org/10.32653/ch161185-209.

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The article discusses a small, but rather rich in content, collection of objects from the Department of Ethnography of the Peoples of the Caucasus, Central Asia and Kazakhstan of the Russian Ethnographic Museum for Nogai Culture of the North-East Caucasus (Karanogais), which was collected at the beginning of the last century by K.A. Inostrantzev. This collection under stock number 333 is the very first museum collection on traditional Nogai culture. The collection fully demonstrates the features of the traditional culture and art of the people. It contains unique materials that have long been

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Starn, Randolph. "Three Ages of ''Patina'' in Painting." Representations 78, no. 1 (2002): 86–115. http://dx.doi.org/10.1525/rep.2002.78.1.86.

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THIS ARTICLE TRACES THE HISTORY of a byword for the look of age since the early seventeenth century in art writing, the museum, the restorer's studio, and the art market. The seemingly material fact of patina has a career in the history of taste in Old Master painting through its old regime in the seventeenth and eighteenth centuries, when it was much prized as an effect of time and as an artifice; in its modern age beginning with the formation of national museums, patina becomes an object of contention in the ''cleaning controversies'' that revolve around the obligations of the present toward

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Horner, Alice E., Brooklyn Museum, Diana Fane, Ira Jacknis, Lise M. Breen, and Diana Fane. "Objects of Myth and Memory: American Indian Art from the Brooklyn Museum." Journal of American Folklore 105, no. 418 (1992): 471. http://dx.doi.org/10.2307/541623.

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Klassen, Teri. "Representations of African American Quiltmaking: From Omission to High Art." Journal of American Folklore 122, no. 485 (2009): 297–334. http://dx.doi.org/10.2307/40390070.

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Abstract African American quiltmaking began to gain recognition as an expressive form distinct from European American quiltmaking in the countercultural climate of the 1970s. Representations of it since then have served to update the Eurocentric, patriotic image of quiltmaking in the United States with components ofmulticulturalism and cultural critique. These representations in turn caused tensions along the lines of class, race, gender, and scholarly discipline. This study shows the power of words and things when used together, as in museum exhibits, to affirm or challenge the existing socia

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Leontiev, Alexey P. "ABOUT CHUVASH COLLECTIONS OF PROFESSOR I.N. SMIRNOV IN THE RUSSIAN MUSEUM OF ETHNOGRAPHY." Historical Search 5, no. 4 (2024): 127–43. https://doi.org/10.47026/2712-9454-2024-5-4-127-143.

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I.N. Smirnov’s outstanding contribution to the collection of cultural, household and religious faiths items of the Chuvash people was not subjected to in-depth analysis, nor yet covered by professional researchers. Meanwhile, in the history of collecting Chuvash ethnographic collections in the pre-revolutionary period, there was no figure equal to Ivan Nikolaevich. He was at the origin of forming the funds of the ethnographic department of the Russian Museum of Emperor Alexander III. In the year of its opening, he donated a rich «Chuvash collection» to the museum – 92 items, mostly antique emb

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Христина, Бойко, та Бойко Марта. "Презентування, поширення та популяризація єврейської історико-культурної спадщини у просторі сучасного музею (на прикладі польського досвіду)". ВІСНИК Львівської національної академії мистецтв, № 35 (16 липня 2018): 257–372. https://doi.org/10.5281/zenodo.1313224.

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In the article, the authors discussed the activities of Jewish museums in Ukraine and in the world. In each country, museums are created based on local traits and characteristics. The first Jewish museums in Europe are opened at the turn of the 19th and 20th centuries – in Vienna in 1893, in Prague in 1906, in Budapest and in Warsaw in 1910. In Ukraine, Judaic collections appear in the middle of the XIX century. In 1934, a Jewish Community Museum opened in Lviv, and one of the largest collections of Maximilian Goldstein's Jewish art in Poland was also accessible to visitors. After th

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Prior, Nick. "Edinburgh, Romanticism and the National Gallery of Scotland." Urban History 22, no. 2 (1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.

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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope inde

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Prianti, Desi Dwi, and I. Wayan Suyadnya. "Decolonising Museum Practice in a Postcolonial Nation: Museum’s Visual Order as the Work of Representation in Constructing Colonial Memory." Open Cultural Studies 6, no. 1 (2022): 228–42. http://dx.doi.org/10.1515/culture-2022-0157.

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Abstract The study of colonialism and its legacies have mostly left the category of memory studies. However, for the colonised subject, what they experienced in the past inevitably forms their present and future discourse. This study focuses on how the museum’s visual order articulates colonial memory. By looking at the work of representation, in this context museum’s visual order, this study investigates how memory lives on through the circulation of colonial memory that the museum simulates. Museum’s visual order translates how colonial memory should be remembered and celebrated as public kn

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Topsfield, Andrew. "Indian miniature paintings and drawings: The Cleveland Museum of Art catalogue of orient art. Part one. By Linda York Leach. (The Cleveland Museum of Art Catalogue Series.) pp. xvi, 324, 24 col. pl., illus. in b. and w. 2 maps. Ohio, The Cleveland Museum of Art, distrib. by Indiana University Press, 1986. US$65.00." Journal of the Royal Asiatic Society of Great Britain & Ireland 120, no. 1 (1988): 230–31. http://dx.doi.org/10.1017/s0035869x00164755.

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Winter, Irene J., and Oscar White Muscarella. "Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art." Journal of the American Oriental Society 113, no. 3 (1993): 492. http://dx.doi.org/10.2307/605413.

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Swallow, D. A. "Oriental art and the popular fancy: Otto Samson, ethnographer, collector and museum director." Journal of the Royal Asiatic Society of Great Britain & Ireland 121, no. 1 (1989): 5–31. http://dx.doi.org/10.1017/s0035869x0016784x.

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I would like to thank the Royal Asiatic Society warmly for allowing me the privilege of giving today's lecture on Dr Otto Samson. It is both an honour and a responsibility to speak of a person whom one has never known and whom others knew so much better, and I should perhaps explain why I of all people should be standing here today.

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Pereda, Felipe. "Goya, Portraiture, and the (Impossible) Art of Deciphering Faces." Journal of Medieval and Early Modern Studies 54, no. 1 (2024): 165–201. http://dx.doi.org/10.1215/10829636-10948531.

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Francisco de Goya's extraordinary portrait The Family of Charles IV (1800) was received with bewilderment by some of its first viewers. French visitors to the Prado Museum thought it was a disrespectful, if not humorous, depiction of the members of the royal family, and the portrait has since then challenged art historians’ interpretation of Goya's true intentions. Discussions have delved into whether the painting was meant to be a “caricature” of its subjects. This article revisits this problem by historicizing the debate on caricature in relation to the revival of physiognomy at the end of t

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Riznychok, Irina A. "“The Man Who Clashed with Khrushchev”: Ernst Neizvestny in the American Press in the 1960s–1980s." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 1 (2023): 58–79. http://dx.doi.org/10.15826/izv2.2023.25.1.004.

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This article is devoted to the reception of Ernst Neizvestny’s art by the American daily and specialised press between the 1960s and 1980s. The research focuses on constructing the heroic image of Ernst Neizvestny based on several clichйs that are well-established in American culture: a fighter for freedom in art and an oppressed artist, “an artist in exile” after emigration. This article aims to fix the changes in the reception of Ernst Neizvestny’s oeuvre by American critics and journalists at different stages of the Cold War. The interdisciplinary approach contains the social, historical, a

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Morrison, Chandra. "Public Art Replacement on the Mapocho River: Erasure, Renewal, and a Conflict of Cultural Value in Santiago de Chile." Space and Culture 23, no. 2 (2018): 149–63. http://dx.doi.org/10.1177/1206331218770782.

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On January 18, 2011, the Museo Arte de Luz opened along Santiago’s Mapocho River. Developed by artist Catalina Rojas and the Santiago municipal government to mark Chile’s 2010 bicentenary, the light-art museum proposed to revitalize the river as a public space by converging heritage, contemporary art, and citizenship. Yet controversy lurked behind the newly gleaming lights: museum preparations included the erasure of several large graffiti murals painted along the canal walls. This article examines how the installation of the Museo Arte de Luz systematically removed graffiti muralism from the

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Stuart, Carolyn. "ReviewWACK! Art and the Feminist Revolution. Curated by Cornelia H. Butler. The Geffen Contemporary at the Museum of Contemporary Art, Los Angeles, March 4–July 16, 2007.WACK! Art and the Feminist Revolution. Exhibition catalog. Edited by Lisa Gabrielle Mark. Los Angeles: Museum of Contemporary Art, 2007." Signs: Journal of Women in Culture and Society 33, no. 2 (2008): 475–78. http://dx.doi.org/10.1086/521561.

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Gąsior, Mariusz. "Transforming Photographs into a Digital Catalogue." Culture Unbound 14, no. 2 (2022): 11–37. http://dx.doi.org/10.3384/cu.3971.

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In this article I focus on three aspects of the digitisation of photographic collections which I have had the opportunity to deal with professionally in two museums, in the UK and Poland. In 2014, the Imperial War Museum in London (IMW) implemented an online project of the portal/monument, Lives of the First World War, commemorating all citizens of the British Commonwealth who took part in the First World War (WWI), both in uniform and in civil services. Users registered on the portal could attach documents, photographs, reports to each commemorated soldier-keyword, thus expanding the database

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Simon, Janice. "Lessons in History: The Reinstallation of the American Wing of the Metropolitan Museum of Art." Nineteenth Century Studies 25, no. 1 (2011): 279–89. http://dx.doi.org/10.5325/ninecentstud.25.2011.0279.

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Krasuska, Karolina. "Gendering the Holocaust gallery in POLIN Museum of the History of Polish Jews." European Journal of Women's Studies 26, no. 3 (2019): 247–60. http://dx.doi.org/10.1177/1350506819857220.

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Abstract (sommario):

Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and using a cultural studies framework to the study of representation, this article as

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Haubenreich, Jacob. "The Trail, the Archive, the Museum, and the Book: Confronting Materiality in Literary Studies." New German Critique 47, no. 3 (2020): 141–78. http://dx.doi.org/10.1215/0094033x-8607647.

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Abstract This article examines the persistence of the notion of the immaterial text in literary studies, now decades into the so-called material turn. Digitization of manuscripts increasingly confronts us with the facts of textual materiality and material authorship, yet many scholars remain ill-equipped to engage these traces in order to expand the possibilities of textual interpretation. The journeys of Peter Handke’s notebooks serve as a case study on how to interrogate various definitions of text and methodological approaches that reinforce an understanding of texts as immaterial. This art

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Gajewska-Prorok, Elżbieta. "WOJCIECH ANTONI JANUSZ GLUZIŃSKI (1922–2017)." Muzealnictwo 58 (September 22, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.4748.

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Abstract (sommario):

Wojciech A.J. Gluziński, a philosopher and an outstanding Polish theoretician of museology, passed away on 26 March 2017. He was born on 31 March 1922 into an intellectual family in Lviv. He commenced studying philosophy in 1945 at the Jagiellonian University in Cracow, and continued at the Faculty of Humanities at the University & Polytechnic in Wrocław. He got an MA in philosophy in 1952, but even in 1949 he had already started working in the Old Townhouse (later the Historical Museum of the City of Wrocław), a branch of the Silesian Museum (since 1970 the National Museum) in Wrocław. He

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Rivera-Carlisle, Joanna. "CONTEXTUALISING THE CONTESTED: XR AS EXPERIMENTAL MUSEOLOGY." Herança 6, no. 1 (2023): 15–31. http://dx.doi.org/10.52152/heranca.v6i1.676.

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Abstract (sommario):

Museums are becoming increasingly multi-medial experiences and with the emergence of the metaverse (Coates, 2021), immersive technologies (XR) are projected to form an important part of future museum experiences. With options to provide a multiplicity of non-hierarchical information, support individualised paths through exhibitions, and experiential visits, XR has the potential to help keep visitors engaged around complex and nuanced information (Mulcahy, 2017). Working on devices that most museum visitors already own, XR technologies present a promising move towards more inclusivity, accessib

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Rivera-Carlisle, Joanna. "CONTEXTUALISING THE CONTESTED: XR AS EXPERIMENTAL MUSEOLOGY." Herança 6, no. 1 (2023): 53–68. http://dx.doi.org/10.29073/heranca.v6i1.676.

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Abstract (sommario):

Museums are becoming increasingly multi-medial experiences and with the emergence of the metaverse (Coates, 2021), immersive technologies (XR) are projected to form an important part of future museum experiences. With options to provide a multiplicity of non-hierarchical information, support individualised paths through exhibitions, and experiential visits, XR has the potential to help keep visitors engaged around complex and nuanced information (Mulcahy, 2017). Working on devices that most museum visitors already own, XR technologies present a promising move towards more inclusivity, accessib

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Paulson, Ronald, and Richard Dorment. "British Painting in the Philadelphia Museum of Art: From the Seventeenth Through the Nineteenth Century." Eighteenth-Century Studies 21, no. 4 (1988): 527. http://dx.doi.org/10.2307/2738914.

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Albrezzi, Francesca. "Expanding Understandings of Curatorial Practice Through Virtual Exhibition Building." Arts 13, no. 5 (2024): 162. http://dx.doi.org/10.3390/arts13050162.

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This article reflects on the translation of gallery space into a virtually immersive experience in an era of remote access. Curators and scholars such as Mary Nooter Roberts, Susan Vogel, Carol Duncan, Tony Bennet, Stephen Greenblatt, Judith Mastai, and Barbara Kirshenblatt-Gimblett have discussed the myriad of ways in which the experience of culturally significant objects and sites in person has been critical to the study of art and its history. Focusing on theories of curation and display, I utilize practice-based examples from six virtual reality (VR) exhibitions produced in three different

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Root, Dolores. ": Museum Studies in Material Culture . Susan M. Pearce." American Anthropologist 93, no. 4 (1991): 983–84. http://dx.doi.org/10.1525/aa.1991.93.4.02a00460.

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Gilligan, Sarah. "Fashioning Masculinities: Critical reflections on curation and future directions in masculinity studies." Critical Studies in Fashion & Beauty 14, no. 1 (2023): 87–104. http://dx.doi.org/10.1386/csfb_00056_3.

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Abstract (sommario):

Fashioning Masculinities: The Art of Menswear at the V&A Museum in London (19 March–6 November 2022) marked a significant curatorial and cultural moment. Curated by Claire Wilcox, Rosalind McKever and Marta Franceschini, the exhibition explored the shifting landscape of menswear by focusing on the intersections among fashion, art, time and gender. This review essay critically reflects on the curation of the Fashioning Masculinities exhibition and the accompanying two-day symposium (13–14 October 2022) co-convened by the V&A and the Masculinities Research Hub at London College of Fashio

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