Fashionable Subjects: Exhibition Culture and the Limits of Sociability

2017 ◽  
pp. 122-140
Author(s):  
Paul Keen
Keyword(s):  
Exhibition Culture

scholarly journals What is an exhibition culture?

2010 ◽  
Vol 8 (4) ◽  
pp. 347-350
Author(s):  
Joe Kember ◽  
John Plunkett ◽  
Jill Sullivan
Keyword(s):  
Exhibition Culture

Conscripting Imagination: The National “Duty” of William Blake’s Art

2007 ◽  
Author(s):  
Jon Saklofske
Keyword(s):  
Eighteenth Century ◽  
New Media ◽  
Artistic Expression ◽  
Direct Link ◽  
Visual Displays ◽  
Late Eighteenth Century ◽  
Revolutionary Nationalism ◽  
Late Eighteenth ◽  
Exhibition Culture ◽  
Reproductive Processes

Abstract This paper explores William Blake’s creative and commercial positioning relative to late-eighteenth-century galleries, exhibition culture and artistic spectacle. Demonstrating a desire to reintroduce originality into reproductive processes while also embracing the exaggerated and politicised rhetoric often associated with the spectacular visual displays of exhibition societies and new media diversions, Blake confronts modern spectacle with corrective spectacles of his own, bringing clarity, detail and focus to bear on otherwise unmanageable sights. By combining the vocabulary of modern visual spectacles with a dutiful commitment to the maintenance of national strength and progress in the advertisements for and descriptions of his 1809 exhibition, Blake optimistically reconfigures his public as a homogeneously capable body of intellectual and consumer ability. Viewing his own artistic assertion as dramatic performance on national and political scales, he appeals to spectatorial intellect in an era of increasingly sensationalist visual displays, individually attempting to reconfigure the taste of his beloved “public” through a seductive hybridization of spectacular novelty and gallery traditions. However, his “failed” exhibition allows us to see the overall incompatibility between his intended functions for art on national and political fronts (the conceptual), the rhetoric of spectacle (the visual), the individualism at the heart of Blake’s revolutionary nationalism and the persistent economical/commercial foundations of this project. Blake’s vision of a direct link between the strength of artistic expression, the potential of the urban audience and the strength of a nation is complicated by the economic demands faced by the artist and the inherently commercial nature of spectacle.

Digital technologies and exhibition culture

2017 ◽  
pp. 84-91
Author(s):  
Chiara Di Stefano ◽  
Laura Moure Cecchini
Keyword(s):  
Digital Technologies ◽  
Exhibition Culture

Comic Opera

2017 ◽  
Author(s):  
Carolyn Williams
Keyword(s):  
Social Class ◽  
Everyday Life ◽  
Gender Relations ◽  
Musical Theatre ◽  
Comic Opera ◽  
Exhibition Culture ◽  
English Society ◽  
The Law ◽  
Gender And Nationalism ◽  
Arthur Sullivan

W. S. Gilbert (librettist) and Arthur Sullivan (composer) wrote fourteen works of musical theatre from 1871 to 1896, often called the ‘Savoy operas’ after 1881, when producer Richard D’Oyly Carte built the Savoy Theatre to house them. They crafted a distinctive genre of English comic opera through parodies of previous genres both high and low, both English and Continental. The operas are absurdist, parodic, and satirical, but are played in a deadpan style and are punctuated with resonantly affecting numbers. The comic operas by Gilbert and Sullivan are an essential precursor of the modern musical, and their depiction of English society is humorous yet critical, replete with satire of English institutions, the law, the professions, gender relations, and empire. They examine the theatricality of everyday life, the dynamics of socialization, accidents of birth and circumstance, the effects of tutelage and authority, Victorian exhibition culture, social class, gender, and nationalism.

scholarly journals The pilgrimage and illustrated journals of David Roberts in the southern Mediterranean Sea and the Near East (1838-39) and the marketing of his illustrated journals in the Shows of London

2021 ◽  
pp. 137-170
Author(s):  
Jeremy Brooker
Keyword(s):  
Religious Faith ◽  
The Body ◽  
Popular Media ◽  
Art Exhibitions ◽  
Professional Career ◽  
Exhibition Culture ◽  
The Status ◽  
Southern Mediterranean ◽  
Business Acumen

The body of drawings and sketches created by the Scottish painter David Roberts (1796-1864) during his expedition to the Holy Lands in 1838-9 marked the high point of his professional career. This paper will look at the period after his return to Britain in July 1839, particularly to 1842. It will suggest that although Roberts was no doubt influenced by his Scottish Presbyterian upbringing, religious faith was not as central to his trip as has often been supposed. It was instead through the business acumen of his publisher F.G. Moon that this body of work came to be regarded not merely as an aesthetic achievement but as a cause célèbre. A skilful and coordinated marketing campaign elevated these drawings to the status of a pilgrimage; a contemplative journey through the sites of biblical antiquity. Through detailed analysis of contemporaneous accounts it will show how one of the costliest publications of the era was disseminated, passing from prestigious galleries and the libraries of a wealthy elite through a continuum of public art exhibitions and popular media including panoramas, dioramas and the newly-emerging field of dissolving views. This will provide a rare case study into the interconnectedness of London’s exhibition culture in the 1840s.

scholarly journals Victorian Exhibition Culture: The Market Then and the Museum Today1

2010 ◽  
pp. 0
Author(s):  
Anne Helmreich
Keyword(s):  
Nineteenth Century ◽  
Art Market ◽  
Museum Displays ◽  
Commercial Art ◽  
Victorian Art ◽  
Exhibition Culture ◽  
Museum Exhibitions ◽  
Art And Culture ◽  
Dialectical Relationship

Abstract This essay examines the dialectical relationship between the formation of the commercial art market in London over the course of the second half of the nineteenth century and the representation of Victorian art in museum displays of recent decades. With respect to the latter, the essay provides an overview of recent monographic and group exhibitions devoted to Victorian art. It reveals, through the examination of the twinned phenomena of the commercial art market and museological practice, the central role played by exhibition culture in our understanding of Victorian art. It closes by posing questions as to how we might improve our interpretation of Victorian art and culture as presented through museum exhibitions and displays.

All of London's a stage: the 1943 County of London Plan Exhibition

Urban History ◽  
2015 ◽  
Vol 43 (4) ◽  
pp. 539-556 ◽  
Author(s):  
MARCO AMATI ◽  
ROBERT FREESTONE
Keyword(s):  
Central Government ◽  
High Water ◽  
County Council ◽  
Town Planning ◽  
Historical Significance ◽  
High Profile ◽  
Reconstruction Era ◽  
Exhibition Culture ◽  
Post War ◽  
Content Design

ABSTRACT:The post-war reconstruction era was marked by numerous planning exhibitions which provide a window on the contemporary nature of communication and consultation in planning practice. The 1943 Exhibition of the County of London Plan prepared by J.H. Forshaw and Patrick Abercrombie was a major event with the king and queen making a high-profile visit. This article describes the making of the exhibition, considers its content, design and historical significance and reflects on its importance as a high water mark in the culture of twentieth-century town planning promotion generally and exhibition culture specifically. Archival research reveals how the London County Council (LCC) negotiated for resources from the central government and the local boroughs in hosting and organizing the event and how crucial these negotiations were in its eventual staging, marketing and impact.

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