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Artykuły w czasopismach na temat „Art exhibition”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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Magdalena, Agustina. "Human Resource Planning In The Art Exhibition Committee (Case Study: SODALIS Art Exhibition of 2023 Arts Management Students)." Jurnal Indonesia Sosial Sains 6, no. 3 (2025): 956–68. https://doi.org/10.59141/jiss.v6i3.1652.

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Human Resource (HR) planning is essential in organizing events, including art exhibitions, to ensure smooth operations and alignment with organizational goals. It is crucial for both logistical tasks and fostering creativity and collaboration within the committee for a successful exhibition. This research aims to explore how HR planning is applied in the committee of the SODALIS Art Exhibition, organized by the 2023 Arts Management students. The research specifically examines how HR planning supports the exhibition's success in managing human resources effectively and achieving the exhibition'

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

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

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Machal�kov�, Pavla. "Flowers and windows : the first art exhibitions in Prague in the nineteenth century and the shaping of modern exhibition spaces." Art East Central, no. 3 (2023): 111–39. http://dx.doi.org/10.5817/aec2023-3-6.

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The staging of art exhibitions has been a decisive factor in the formation of the modern art scene since the beginning of the 19th century at the latest. The art exhibition served as a space that facilitated regular viewing and discussions of contemporary artistic production. In the Spring of 1832 an art exhibition opened in Prague that provided an alternative to the official academic exhibition held annually since 1821. The show attracted critical opinions both inland and abroad. For this reason, its analysis can provide an insight into early concepts and ideas of an art exhibiting, which can

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Ivana, Jessica, I. Ketut Mustika, and Ni Made Purnami Utami. "ISI Denpasar Fine Arts Study Program MBKM 2023 Artwork Exhibition Display at Living World Denpasar." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 2 (2023): 148–53. http://dx.doi.org/10.59997/ctkr.v3i2.2864.

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Display is a system of arranging objects in a room which aims to display or show off these items. Display in the exhibition space is an important element that needs to be implemented to create an exhibition space that is comfortable for viewing works of art. This becomes a challenge for the exhibiton designer/gallerist to design the best possible exhibition space. The design of the artwork display will affect the visuals and atmosphere of the displayed artwork. In designing exhibition space displays, various concepts, approaches to methods of presenting works can be used. It is this variation

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JOHN Ph.D, IDIBEKE AMOS, SUNDAY ETIM EKWERE Ph.D, and PROFESSOR EDEM ETIM PETERS. "VISUAL ART EXHIBITION: A CATALYST FOR SOCIAL UNIFICATION IN NIGERIA." International Journal of Applied Science and Research 05, no. 04 (2022): 01–04. http://dx.doi.org/10.56293/ijasr.2022.5401.

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This paper attempts a definition of the term exhibition with particular attention to Visual Art Exhibition, knowing that there are different forms of exhibitions that may not relate to visual arts. The paper equally highlighted on the various types of exhibitions pointing out the virtual exhibition as a new inclusion that has greatly changed the traditional format of visual art exhibition with its attendant impact on the outcome of the results of exhibitions. The highlighted focuses on the challenges of understanding the scope of the basic types of exhibition in contemporary times, as has been

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Cui, Dalong. "EXHIBITION ART DESIGN AND PRACTICE OF "XINJIANG CULTURAL RELICS EXHIBITION"." Advances in Culture and Arts 3, no. 1 (2023): 05–07. http://dx.doi.org/10.26480/aca.01.2023.05.07.

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Exhibition art design is a significant procedure that cannot be ignored when a museum organizes exhibitions. Any movement to weaken exhibition art design is to lower the museum’s exhibition level. Exploring and researching it broadly and deeply has positive practical significance. This essay takes “Xinjiang Cultural Relics Exhibition” as an example, analyzes and summarize its thinking conception and practical methods of exhibition art design, as well as summarizes the internal aesthetic principles of the exhibition, to provide a highly referential approach for the exhibition art design of muse

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Işıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat." Global Journal of Arts Education 6, no. 1 (2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.

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The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its begin

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Ciric, Biljana. "Building archives through curatorial practice." Art Libraries Journal 39, no. 2 (2014): 10–13. http://dx.doi.org/10.1017/s0307472200018253.

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An understanding of the museum as an exhibiting space, rather than as a research-based organisation, has led to the current lack in China of institutions tasked with archiving and making art documentation public. A number of projects organised by the author in Shanghai and elsewhere, including History in the Making: Shanghai 1979-2009 and From a History of Exhibitions towards a Future of Exhibition-Making, have addressed the role of archives in exhibition making, while developing new documentary resources for curatorial and art historical research.

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Khiatthong, Thongchue, Chakrit Ketruangroch, and Samutcha Apisitsuksonti. "DIGITAL EXHIBITION DESIGN OF THONBURI ART." Journal of Southwest Jiaotong University 56, no. 6 (2021): 588–98. http://dx.doi.org/10.35741/issn.0258-2724.56.6.51.

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This research article presented the digital exhibition design of Thonburi Art. This research is to: 1) learn knowledge of art and design ideas in the digital exhibition of Thonburi Art; 2) study the design model for the digital exhibition of Thonburi Art; 3) study the satisfaction of visitors. Activities on the website of exhibitions, participants, workshops about the content and quality of the exhibition design. However, this research method uses qualitative and quantitative analysis principles. The results showed that the provider for many exhibitions, the average age of 63 years, 37% of the

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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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Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho, and Chan Hee Lee. "Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror." Journal of Conservation Science 37, no. 4 (2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.

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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 1

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Yu, Deng, and Wang Yao. "Research on holographic display and technology application of art museum based on immersive design." Journal of Physics: Conference Series 2425, no. 1 (2023): 012048. http://dx.doi.org/10.1088/1742-6596/2425/1/012048.

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Abstract With the rapid development of science and technology, artificial intelligence digital technology has gradually entered human life and combined with art. It has become a major trend of future exhibitions to create immersive exhibitions through the intervention of digital technology and artificial intelligence in art museums. The immersive art exhibition is to change the sensory conditions of the audience through the intervention of digital media, from the original visual experience to the fusion of various senses such as “sight, hearing and touch”, so that the audience can enter a new

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Lichagina, Anastasia P. "NARRATOLOGICAL ALGORITHM IN EXHIBITION NARRATIVE ANALYSIS SCHEMES." Articult, no. 4 (December 2024): 5–18. https://doi.org/10.28995/2227-6165-2024-4-5-18.

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The existence of numerous interpretations of the term “narrative”, including in the context of exhibition activities, restricts the possibilities of understanding and comparing narrative aspects of various visual art exhibitions. One possible approach to the analysis of exhibition narratives is the use of narratological tools, originally developed for the study of literary works. The article examines a visual art exhibition as a conventional narrative text, forms an idea of narratological categories adapted to the exhibition context (such as minimal history, events and characters), and, taking

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

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Mantas, Kathy, and Carole Roy. "Virtual Art Exhibition." Canadian Journal for the Study of Adult Education 32, no. 2 (2020): 165–90. http://dx.doi.org/10.56105/cjsae.v32i2.5622.

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This virtual art exhibition showcases artwork from twenty two artists/artist scholars, and is featured in this special issue entitled, Learning and Teaching Artful Narratives of Transformation of the Canadian Journal for the Study of Adult Education ( a first for this journal This exhibit is meant to complement and further discussions on the textured, colourful multi layered and complex theme of learning, teaching and transformation, defined broadly. We would like to thank everyone who submitted artwork for consideration and our external jurors for their time and expertise As well, we are grat

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

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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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Wang, Jiaxin. "Research on the dynamic design of art exhibitions based on digital media." Advances in Education, Humanities and Social Science Research 7, no. 1 (2023): 676. http://dx.doi.org/10.56028/aehssr.7.1.676.2023.

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In today's art exhibitions, art works are no longer the traditional static display exhibition, but have a more diversified space to create, communication channels, experience ways. Dynamic design has become an irresistible force in today's art exhibition, which greatly innovates the form of art display, improves the effect of art communication, and plays an important role in promoting the construction of public culture. Based on digital media, this paper mainly puts forward corresponding dynamic design strategies from four aspects of dynamic information chart, dynamic observation perspective a

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Song, Jiaxuan. "Theory and Application of Interaction in Exhibitions - Take the "Good Things and Stylings" Exhibition of the Hong Kong Museum of Art as an Example." Lecture Notes in Education Psychology and Public Media 80, no. 1 (2025): 61–65. https://doi.org/10.54254/2753-7048/2024.20357.

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As society develops, people are gradually shifting from necessities to pleasure consumption. More and more people have enough time and money to improve their self-cultivation and aesthetic taste, so the number of art exhibitions has increased significantly. However, many of these exhibitions have problems, such as being unable to guarantee quality and losing the value of the exhibition itself. In typical museums, interaction with exhibits and blending with exhibitions has become a way that can determine the exhibition to stand out, which also represents the indispensable importance of interact

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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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Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, G

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Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)." Ikonotheka 26 (June 26, 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.

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From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January

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Kozhura, Olga. "Dramatic Scenes and Monstrous Animals: On the First Exhibition of Chinese Art in the USSR." Arts 13, no. 5 (2024): 160. http://dx.doi.org/10.3390/arts13050160.

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This article reconstructs the story of the “Chinese Painting Exhibition” in the USSR, brought to Moscow and Leningrad in 1934 by the prominent Chinese artist Xu Beihong. The exhibition covered a period from the Han dynasty up to the 1930s, and, for the first time, presented Chinese art to the Soviet audience. Before arriving in the USSR, the show toured Europe, where it was extremely popular and considered the first successful attempt to present Chinese art in the West. In contrast, the exhibition’s perception in the Soviet Union was rather contradictory. The reasons for that could be found in

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Mahendra, I. Komang Aditya, I. Wayan Sujana, and I. Made Jodog. "Spatial Arrangement of Cross-border Art Exhibitions." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 1 (2023): 1–7. http://dx.doi.org/10.59997/citakara.v3i1.2329.

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The arrangement of an exhibition space is the main focus raised in the writing of this thesis with the title "Spatial Arrangement of Cross-border Art Exhibitions" from an observation of spatial arrangement in the previous exhibition "Makna Murni; Two Sides” in terms of spatial planning, display, lighting and circulation which is carried out without being organized. From these problems the author finally wrote an article which contained procedures for designing exhibition space arrangements, room and work lighting, work display, and circulation of exhibition visitors and also discusses making s

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Stefańska, Joanna, Agata A. Gawlak, and Paulina Kowalczyk. "ALTERNATIVE EXHIBITION SPACES. MULTI-CRITERIA METHOD OF COMPARATIVE ANALYSIS." Space&FORM 2024, no. 57 (2024): 145–67. http://dx.doi.org/10.21005/pif.2024.57.b-08.

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The aim of this article is to make a multi-criteria analysis of various exhibition spaces of an originally non-exhibition character and to determine how these spaces affect the selection of works and the exhibition concept. The analysis is based on the exhibitions of art objects at collective exhibitions in unconventional architectural spaces: commercial, post-industrial and in the historic interior. The multi-criteria comparative analysis shows a variety of features of the studied spaces as well as the relationship between architecture and art and their mutual interaction, and the participato

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Zarobell, John. "Global Art Collectives and Exhibition Making." Arts 11, no. 2 (2022): 38. http://dx.doi.org/10.3390/arts11020038.

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Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored.

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Saragih, Agus Mariani, Jumjuma ., Juni Anggraini, and Anggiat Parlindungan. "Learning Model of Virtual Exhibition Using 3D Animation (Case Study: Exhibition Implementation Course in the Medan State Polytechnic Mice Study Program)." International Journal of Religion 5, no. 8 (2024): 362–70. http://dx.doi.org/10.61707/tpg87f67.

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This study aims to determine the process of implementing virtual exhibitions using digital 3D animation technology, and to find out whether there are differences in students' understanding of exhibition learning before and after learning about virtual exhibitions. Research data obtained from questionnaires and tested descriptively and different test (t-test). The process of creating a virtual exhibition uses the Art steps website. The results of the study show that the process of making virtual exhibitions with Art steps is very helpful and there are differences in students' understanding befo

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

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

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Sabinina, Anastasia A. "Project of The All-Slavic Art and Industry Exhibition in St. Petersburg: 1902–1912." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 225–33. http://dx.doi.org/10.37816/2073-9567-2024-71-225-233.

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The paper examines the All-Slavic Art and Industry Exhibition. Preparations took 10 years: from 1902 to 1912. Using archival materials and early 20th century periodicals, the author analyses the exhibition as part of a global trend toward national and international art exhibitions and as a reflection of the St. Petersburg art scene at the turn of the 20th century, which welcomed contemporary art from various countries: from Germany to Japan. The exhibition was organized by the Petersburg Slavic Benevolent Society, which established a dedicated Exhibition Committee. The committee secured permis

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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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Nakagawa, Katsushi, and Tomotaro Kaneko. "A Documentation of Sound Art in Japan: Sound Garden (1987–1994) and the Sound Art Exhibitions of 1980s Japan." Leonardo Music Journal 27 (December 2017): 82–86. http://dx.doi.org/10.1162/lmj_a_01024.

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This article examines the exhibition series Sound Garden (1987–1994) as a first step toward analyzing the sound-based artwork exhibitions of late-1980s Japan. The article begins with an outline of the series and the types of artworks exhibited therein, followed by an examination of the context in which Sound Garden was created by considering prototypes that predate the exhibition series. Finally, the authors discuss related exhibitions and highlight the educational context that inspired these presentations.

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Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.

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Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single

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Murashova, N. S. "Book as an Artistic Artifact." Bibliosphere, no. 2 (May 29, 2023): 64–72. http://dx.doi.org/10.20913/1815-3186-2023-2-64-72.

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A book is not only a carrier of information, but also the way of its aesthetic visualization. This actualizes the problem of understanding a book as an artistic artifact. The study of the book in this context implies the identification of several aspects: the art of the book; the existence of the book as an exhibit of museum and exhibition art space; the use of the book as a compositional and meaningful element of works of fine art, as a component of library design, living and working spaces; alterbooking and architectural structures in the form of a book. The article is devoted to the art of

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Ye, Tong. "Installation art challenges traditional concepts of art and exhibition space—taking "Infinity Mirror Room" as an example." Journal of Education, Humanities and Social Sciences 42 (December 9, 2024): 18–23. https://doi.org/10.54097/0rrxsq03.

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Yayoi Kusama's exhibition Infinity Mirror Rooms as the main case study, the paper starts from the two aspects of artistic creation and spatial expression to analyse how installation art challenges the traditional concept of art exhibition space, and then explores the transformation of audience participation and dissemination under this influence. It also combines with other exhibitions of installation art to further explore the expression and spatial significance of installation art.

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Sinaga, Osberth, Daulat Saragi, and Ibrahim Anam. "The Improvement of Art Exhibition Quality Through Teaching Materials Development for the Management of Art Exhibition." Gondang: Jurnal Seni dan Budaya 7, no. 2 (2023): 499. http://dx.doi.org/10.24114/gondang.v7i2.54844.

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This research is aimed to create teaching materials for art exhibition management in order to improve the implementation and management of art exhibitions. This is a research and development using the 4D model: define, design, develop, and disseminate. The instrument of this research used is a questionnaire that consists of validator questionnaire, design material and language as well as the college students’ response questionnaire as input in revising the developed teaching materials. The results of this study indicate that the teaching materials developed by the researchers are in the very g

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KARAKAŞ TABAK, Dilara. "EXHIBITING EVERYTHING: A REVIEW ON DAMIEN HIRST’S “REAL” EXHIBITION." ATLAS JOURNAL 7, no. 44 (2021): 2178–94. http://dx.doi.org/10.31568/atlas.763.

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In the development process of art, it is seen that many different artistic styles follow each other. Each movement has been linked to each other in a chain and the way of expression of the artists has been directly affected by the conditions of the period and the cultural background. Contemporary art is undoubtedly completely different from any movement that comes before it. The sharpest point of the break is that the perception of beauty has changed. As a result of this change, a new type of expression that is often difficult to understand, questioning, related to concepts and contexts has em

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Li, Zejia. "Digital Media Intervenes in an Immersive Exhibition in Interactive ScenesMode of Perception and Interaction in the New Era." Applied and Computational Engineering 99, no. 1 (2024): 1–6. http://dx.doi.org/10.54254/2755-2721/99/20251756.

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Abstract: This paper will discuss how the combination of digital media and immersive art exhibition can bring new interaction and participation experience to the audience under the reform of art media, as well as the significance of this combination in artistic expression, exhibition design and audience perception.Using a case study of teamLab in Japan. This paper evaluates the immersive exhibition of digital media intervention from four aspects: transformation, integration, cases, and reflection. It is found that while the emergence of digital media technology provides a new way of display an

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Žukienė, Rasutė. "Unveiling the Interconnections Between Art, Politics, and Society in the Soviet System Through Art: A Case Study of the Exhibition “1972. Breaking Through the Wall”." Art History & Criticism 20, no. 1 (2024): 148–71. http://dx.doi.org/10.2478/mik-2024-0009.

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Summary This article is dedicated to analysing the exhibition “1972. Breaking Through the Wall” from several perspectives: the curator, the viewers, and the exhibition architect tasked with creating an environment for the art exhibition in an unconventional setting. The article examines the curators’ choices, discusses the work of the exhibition architect within the context of heritage conservation requirements, and presents the results of a viewer survey. This exhibition raised the issue of the significance of alternative creativity, opposed to the official narrative, in a non-free society. I

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Saputri, Deta Anggara Wahyu, I. Made Ruta, and I. Made Jodog. "The Role of Catalogs in the Makna Murni Art Exhibition: Cross Borders 19." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 1 (2023): 62–68. http://dx.doi.org/10.59997/citakara.v3i1.2337.

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Starting from the author's ignorance of exhibition cataloging. However, when I visited art exhibitions, I always found a catalog, so I became curious about the role of catalogs in art exhibitions. This prompted the author to examine more deeply the role of an art catalog and try to . The problem is how the catalog plays an important role in an exhibition. In the process of making it, the writer uses the method obtained from the MBKM process. The purpose and benefits are to show how a catalog plays a role in an art exhibition and to develop the creativity of writers in using digital media. In t

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Gwoździewicz-Matan, Paulina. "MUSEUM EXHIBITION VERSUS COPYRIGHT." Muzealnictwo 60 (September 2, 2019): 225–32. http://dx.doi.org/10.5604/01.3001.0013.4132.

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Organisation of exhibitions from the point of view of copyright (Act on Copyright and Related Rights of 4 Feb. 1994, further copyright) is a multifaceted issue. The analysis conducted in the paper boils down to some selected aspects: beginning with the right to display, through exhibition as a separate copyrighted work, up to the exhibition author, namely curator. When purchasing items for collections or acquiring them on the ground of a loan contract, museums should make sure the work can be exploited through public display. Such agreement can be either expressed in the contract (rights or li

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Świtek, Gabriela. "The Borderlines of the Thaw: Graphic Art from the Federal Republic of Germany in Warsaw’s “Exhibition Factory” (1956–1957)." Biuletyn Historii Sztuki 82, no. 1 (2020): 127–58. http://dx.doi.org/10.36744/bhs.638.

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The aim of the essay is to delineate the political and artistic contexts of two exhibitions of graphic art from the Federal Republic of Germany held in the Central Bureau of Art Exhibitions, the main state art gallery in Warsaw (1956–1957). The historians consider the year 1956 – similarly to the years 1968 or 1989 – to be an important caesura in the political and social history on the global scale. In the history of modern art in Poland, the year 1956 is also perceived as a period crucial to changes in artistic life (Polish thaw). As the first show of West German artists in post-war Poland, t

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Htwe, Diana Nway. "/ Shi : A Signpost on the Blurry Map of Myanmar Art History." Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, no. 1 (2024): 91–116. http://dx.doi.org/10.56159/sen.2024.a924617.

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Abstract: /Shi was a citywide satellite exhibition I co-curated in Yangon, Myanmar, held from 12 November 2022 to 12 January 2023. The exhibition was chiefly sponsored by the Goethe Institute of Yangon and comprised seven venues and over fifty artists. Art exhibitions are not rare in Myanmar and there have been other large-scale exhibitions prior to /Shi in the recent decade. However, the lack of critique and documentation on these activities in the Myanmar art world have rendered these art projects and cultural endeavours generationally unable to build upon their predecessors and always havin

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

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Poinsot, Jean-Marc. "The Art of Exhibition." Critique d’art, no. 8 (September 1, 1996): 72–74. http://dx.doi.org/10.4000/critiquedart.105087.

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

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Kapoor, Punita. "The Punjab Exhibition of 1881 and Politics of the British Raj." Past and Present: Representation, Heritage and Spirituality in Modern India 4, Special Issue (2021): 40–48. http://dx.doi.org/10.12944/crjssh.4.special-issue.05.

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In 1849, Punjab was annexed by the English East India Company. This paper deals with the Punjab Exhibition of 1881, where along with textiles, arts and other local handicrafts of India were put on display. Claiming to revive the indigenous Indian arts, crafts and textiles, the exhibition represents the politics of selected exhibits that catered to the taste1 and choice of the British. The exhibition helps in understanding the objective and importance of conducting imperial exhibitions, as exhibitions were also redefining the European homes. A detailed analysis of the exhibition foregrounds how

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