scholarly journals Kualanamu Art Gallery & Exhibition Center (Structure as Elements of Aesthetics)

2018 ◽  
Vol 2 (2) ◽  
pp. 115-121
Author(s):  
Samsul Bahri ◽  
Febby Khafilwara

Medan is the third largest city in Indonesia, so it has considerable potential in the field of Art. A lot of potential and human resources that could be developed in the city of Medan. The city characterized by the culture of various Ethnic this hope was able to preserve the culture of each ethnic group. Art galleries and exhibition is expected to become a new tourism venue in the city of Medan and the iconic place of the development of works of art in the city of Medan. With the approach of the structure as elements of aesthetic in architecture

1999 ◽  
Vol 24 (1) ◽  
pp. 48-51 ◽  
Author(s):  
Oliver Vicars-Harris

The Corporation of London (the local authority for the City) recently launched COLLAGE, a powerful custom-designed visual information system, whose aim is to transform public accessibility to the extensive visual collections held in its libraries and galleries. Over a period of eighteen months a dedicated team of staff photographed, digitised and indexed over 30,000 works of art as the result of an intensive data imaging project. So far the works are drawn from the Guildhall Library and Guildhall Art Gallery - collections particularly renowned for their strength in material relating to London, which is now widely and easily accessible on dedicated workstations in the City, as well as via the Internet.


space&FORM ◽  
2021 ◽  
Vol 2020 (46) ◽  
pp. 25-46
Author(s):  
Magdalena Gyurkovich ◽  

The city is an artwork in itself, as its urban and architectural structure creates unique spaces that offer emotions and experiences on various scales. Details and sculptures are used to build the city’s nature and recognisability. The paper presents an approach to the city as an exhibition, where the relationship between the environment and the displayed object is created. What is the contemporary role of these works of art, such as sculpture, in urban space? Do they only fill the space or commemorate historical facts, or were they consciously arranged in relationship with their surroundings to create unique values?


Author(s):  
James Moore

The opening of Liverpool’s Walker Art Gallery provided the city with one of the country’s most modern art galleries, complementing the impressive neoclassical architecture that had emerged around the famous St. George’s Hall. Yet a gallery aimed at promoting popular art education was decidedly unpopular with many of Liverpool’s population. The partisan nature of the gift by well-known brewer and Conservative A.B. Walker was flavoured with corruption and revealed the difficulties that municipal art institutions faced when accepting financial support from controversial local donors. It also revealed that although municipalisation promised a more democratic age, financial limitations on local authorities meant that elite influence in the local art world remained strong.


Author(s):  
Irina Kalinina ◽  
Polina Maksimova

Nowadays, due to the insufficiently developed theoretical background of gallery business, gallery owners mainly rely on their intuition, analysis of the art market, and numerous sketchy theoretical works and tips. The article presents a comparative analysis and characteristics of the art galleries of the city of Irkutsk, not mentioned previously in the literature. A list of resources necessary for the formation and promotion of attractiveness of art galleries for tourists has been developed. It was created on the basis of the analysis of the activities of Russian and foreign galleries in terms of their tourism attractiveness and cooperation with tourist companies. At the same time, it is mentioned that measures aimed at developing of the tourism attractiveness of the gallery, which are quite often commercial by their nature, should promote the brand of the territory where the gallery is located, preserving its uniqueness. They should in no way turn the art gallery into a gift shop selling art souvenirs.


Arsitektura ◽  
2017 ◽  
Vol 15 (1) ◽  
pp. 269
Author(s):  
Betyona Bioza ◽  
Titis Srimuda Pitana ◽  
Gunawan Gunawan

<p><strong><em>Abstract: </em></strong><em>Solo Craft Gallery Expo is an effort to accommodate the presence of creative industries joined in the craft subsector SMEs, and facilitating MICE activities in the city of Solo. The space is in the form of art galleries as well as a market for good packaging and expo space with diverse capacities. Combining the two functions of this building is a strategy for mutually supporting each other’s existences. Gallery space presented as cultural charms, while the expo space plays a role in bringing visitors. The government policies in synergy with the city’s potential efforts to support and facilitate the development of the city for more advances physical quality and human resources. This system if it is associated with the city of Solo as location, intersects with the image which is the city of culture. This last issue is associated with contemporary architecture, which is an effort to locate and revive the values of cultural and society, as a reflection of the city’s identity. In this case, the Javanese architecture which is the local architecture and result of the Javanese cultural community life, deserve to be appreciated to exist as a force of local architecture. The process of aligning the image of the building with the city image of the building of Solo Craft Gallery Expo, carried out through the application of contemporary Javanese Architecture.</em></p><p><em> </em></p><p><strong><em>Keywords</em></strong><em>: MSME craft’s sub-sector, craft galleries, MICE facilities, contemporary Javanese architecture.</em> <em></em></p>


2018 ◽  
Vol 7 (46) ◽  
Author(s):  
Elif Agatekin

South Street in Philadelphia, which once used to be a dynamic and vivid district with its cosmopolite structure, turned into an abandoned area in the late 1950s. Isaiah Zagar and his wife Julia had moved to this street following Zagar’s depression in 1969, when the street was full of wrecked houses. Mosaic art was a form of rehabilitation for Zagar during his hard days. He started to cover the walls of his house and even some areas on the street with mosaic, and the facades of many buildings on the street became living canvases for Zagar’s art. When the owner of the derelict house next to his studio, which was also applied mosaic art by Zagar, wanted to sell the house in 2002, Zagar strongly objected the idea. Thanks to the attempts of Zagar and a group of supportive local art lovers, the house was opened to the public visits as a museum by an organization called Philadelphia Magic Garden following the trials lasting over two years. After this development, Zagar felt more willing to continue to commit his art and energy to this museum and the city. He lived on the street for 50 years and created 200 mosaic works of art across the city, more than 70 of which are located on South Street. Today, Philadelphia is proud of this open air art gallery, and this exceptional public art environment is the symbol of the city. This paper aims to examine the original mosaic language created by Isaiah Zagar through material variety and methods used. It also presents Zagar’s story of moving to the Street and his unique expression shaped by his previous life experiences. Key Words: Mosaic, Philadelphia’s Magic Garden, Isaiah Zagar, Public Art, Outsider Art.


1970 ◽  
pp. 53
Author(s):  
John Millard

Many people will not visit art galleries because they think they are boring, and that art is not meant for them. In Britain, and I believe in Nordic countries as well, art has been made the preserve of an educated elite and the majority feel excluded from its mysteries. Distrust of art and lack of interest in art galleries has even been encouraged by art curators and art historians. It is as if we have conspired to ensure that art galleries are unpopular, and this is a situation which is of course wholly unacceptable to someone like me who is paid by a local council and who believes that art has an important role to play in peoples lives. As curator of the city art gallery, I do not work for an educated elite but for all the people of Newcastle. 


Author(s):  
Leonard Natanael

The development of a city has now developed rapidly, especially the City of Jakarta. The development of the shape of the building, industry and technology affect social life in urban areas. Urban communities tend to be individualistic creatures, so issues begin to emerge about a third place. The presence of a third place becomes one of the places that humans need amid routine activities. According to Ray Oldenburg, the third place is between the first place which is the residence area and the second place which is the work area, where the third place is a place to relax, relax, and socialize with a new atmosphere of routine. Third place exists as a place that can be accessed by everyone because it is open and neutral so that it does not see elements of class, ethnicity, position, etc. This open nature is needed to strengthen the spirit of socialization among individuals from the gap of society groups. Examples of existing third place in Jakarta are parks or RPTRA, which are facilities that are available in every environment which is not so much in number. To answer this problem the author designed the Bukit Duri Recreation and Arts Facility for the community of Bukit Duri Village. This facility provides a place for the community to present interesting activities and activities that can be enjoyed by all residents openly. The main facilities that are offered include recreational areas, art galleries and commercial areas. The facility aims to provide an green open area while reviving the spirit of art in the Bukit Duri Village. Keywords:  facilities; netral; socialization; third place AbstrakPerkembangan sebuah kota kini sudah berkembang secara cepat, khususnya Kota Jakarta. Perkembangan dari bentuk bangunan, industri maupun teknologi berpengaruh terhadap kehidupan sosial di perkotaan. Masyarakat kota cenderung menjadi makhluk individualis, oleh karena itu mulai muncul isu-isu mengenai sebuah third place. Kehadiran sebuah third place menjadi salah satu tempat yang dibutuhkan manusia ditengah kesibukan rutinitas. Menurut Ray Oldenburg, third place berada di antara first place yang merupakan area tempat tinggal dan second place yang merupakan area kerja, dimana third place merupakan tempat untuk bersantai, berelaksasi, dan bersosialisasi dengan suasana yang baru dari rutinitas yang dilakukan. Third place hadir sebagai tempat yang dapat diakses oleh semua orang oleh karena itu bersifat terbuka dan netral sehingga tidak melihat unsur golongan, suku, jabatan, dll. Sifat terbuka ini diperlukan untuk mempererat jiwa sosialisasi antar individu dari kesenjangan golongan masyarakat. Contoh eksisting third place di Jakarta yaitu berupa taman atau RPTRA, yang merupakan fasilitas yang tersedia di setiap lingkungan yang jumlahnya tidak begitu banyak. Untuk menjawab permasalahan ini penulis merancang Fasilitas Rekreasi dan Kesenian Bukit Duri untuk masyarakat Kelurahan Bukit Duri. Fasilitas ini menyediakan wadah bagi masyarakat untuk menghadirkan kegiatan dan aktivitas yang menarik yang dapat dinikmati semua warga secara terbuka. Fasilitas utama yang diharirkan berupa area rekreasi, sanggar seni, dan area komersil. Fasilitas tersebut bertujuan untuk menyediakan area terbuka hijau sekaligus membangkitkan kembali jiwa seni yang ada di Kelurahan Bukit Duri.


Author(s):  
O.I. Kober

Collecting works of art in the modern Russian provinces is still a poorly studied topic of art history. The relevance of the study is determined by considering the main activities of private art galleries in Orenburg, which is being done for the first time. The author points out the factors that led to the collection of works by Orenburg artists, who was influenced by the graduates of the Moscow State Academic Art Institute named after V.I. Surikov since the 1960s. Changes in the methodological work of art galleries with viewers and buyers at the present stage are noted. The object of the analysis is the art gallery “On Pushkinskaya” as an example of exhibition, information and educational activities. The study emphasizes the role of the personality of the gallery owner M. F. Konnov, a collector, philanthropist and artist, thanks to whom the art gallery has become a cultural center of the city. Коллекционирование произведений искусства в современной российской провинции остается малоизученной темой искусствоведения. Актуальность исследования обусловлена рассмотрением основных направлений деятельности частных художественных галерей Оренбурга, что делается впервые. Указываются факторы, предопределившие собирание картин коллектива оренбургских художников, сформировавшегося под влиянием выпускников Московского художественного института им. В.И. Сурикова, приехавших в степной город в 1960-е годы. Отмечаются изменения в методической работе арт-галерей со зрителями и покупателями на современном этапе. Объектом анализа является галерея искусств «На Пушкинской» как образец выставочной, информационной, образовательной и просветительской деятельности по приобщению зрителей к современному искусству. В исследовании подчеркивается роль личности владельца галереи М.Ф. Коннова, коллекционера, мецената и художника, благодаря которому галерея искусств превратилась в культурный центр города.


Author(s):  
Mudasetia Hamid ◽  
Evy Rosalina Widyayanti

Yogyakarta is a city and the capital of Yogyakarta Special Region in Java, Indonesia. It is renowned as a center of tourism, education and culture. Yogyakarta is one of the foremost cultural centers of Java. This region is located at the foot of the active merapi vulcano. Yogyakarta is often called the main gateway to the Central Java as where it is geographically located. It stretches from Mount Merapi to the Indian Ocean. This province is one of the most densely populated areas of Indonesia. Yogyakarta is popular tourist destination in indonesia after Bali. These have attracted large number of visitors from across Indonesia and abroad to the city. This status makes Yogyakarta is one of the most heterogeneus cities in Indonesia. In edition, Yogyakarta has attracted large number of people to reside in this city for business. One of these comers is small entrepreneurs with their market munchies enterprise (specially a traditional snack trader). This business is one of famous business in Yogyakarta, we will find rows of pavement vendors selling market munchies. The students and tourists are their main target customers. Market munchies enterprise is part of small and medium enterprises SMEs as livelihood activities. SMEs has an important role in economic growth of Indonesia. Therefore, it is very important to develop and strengthen the micro enterprise empowerment. Micro enterprise empowerment is one of strategy to reduce the poverty rate in Indonesia. Major challenger in implement this program are that micro entrepreneurs are conventional and have satisfied with their revenue. It is very important to develop a comprehensive and sustainable micro enterprise empowerment which consist of strengthen the quality of human resources, maximize the government’s roles, empower the enterprise capital and strengthen the partnership and autonomous. Micro enterprise autonomy will contribute to the economic and investment climate. This will lead to establish an accountable enterprise both for the micro enterprise and customers which at the end will strengthen the development of the micro enterprise in Yogyakarta.Keyword: micro entreprise, human resources, government roles, capital, partnership and autonomous.


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