The Display of the Work of Art: Exhibitions of African Art at the Brooklyn Museum, 1923, and the Museum of Modern Art, 1935

1996 ◽  
Vol 25 (4) ◽  
pp. 262-280
Author(s):  
B. Blake Koh
Author(s):  
E. Van Holsten ◽  
A. A. Koroleva ◽  
A. N. Nikiforova

The networking format becomes the most widespread form of international cooperation in the field of culture at the present stage. First, it attracts subjects of the international market of culture and art by reducing costs and the price of implementing projects. Both previously existing organizations and new partner projects have adopted this format and transformed themselves into networks, building their structure on the principle of horizontal communications. Along with representatives of state structures and international organizations, there are networks initiated by independentexperts interested in the development of international private partnership. In 2020, the 3rd panoramic exhibition of contemporary Italian art «Italiartkremlin» will be held in the State Museum of Modern Art of the Russian Academy of Sciences. Apart from the worksof Italian masters, the exhibition will present the works of Russian artists, winners of the annual contest «My Italy» and «Italy through the eyes of Russian artists». «Italiartkremlin» is one of the projects of the ITALIART cultural network that unites the efforts of representatives of the Italian art market, as well as amateurs and collectors of contemporary Italian art in order to promote it in Russia and Europe. The partner network RUART specializes in the promotion of Russian art in the world, and especially in Northern Europe, through the organization of thematic art events, including art exhibitions, contests and seminars. The idea of sharing a single exhibition space of works of art from different countries allows to compare and see the difference between national schools and modern art concepts.


2011 ◽  
Vol 36 (3) ◽  
pp. 25-30
Author(s):  
Stephen Bury

NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.


1962 ◽  
Vol 16 (2) ◽  
pp. 35-37
Author(s):  
Eileen Bowser

Author(s):  
Anselm Franke ◽  
Annett Busch ◽  
Katarzyna Bojarska

A conversation between Annett Busch, Anselm Franke, and Katarzyna Bojarska about the exhibition "After Year Zero. Universal Imaginaries - Geographies of Collaboration", shown at the Museum of Modern Art in Warsaw between June and August 2015.


1956 ◽  
Vol 9 (2) ◽  
pp. 73-83 ◽  
Author(s):  
Affonso Eduardo Reidy

2013 ◽  
Vol 56 ◽  
pp. 277-298 ◽  
Author(s):  
Alan Powers

Exhibition 58: Modern Architecture in England, held between 10 February and 7 March 1937 at the Museum of Modern Art in New York (MoMA), was a notable event. Amidst claims that ‘England leads the world in modern architectural activity’, the exhibition ‘amazed New Yorkers’ and equally surprised English commentators. However, it has not subsequently received any extended investigation. The present purpose is to look at it as a multiple sequence of events, involving other exhibitions, associated publications and the trajectories of individuals and institutions, through which tensions came to the surface about the definition and direction of Modernism in England and elsewhere. Such an analysis throws new light on issues such as the motives for staging the exhibition, the personnel involved and associated questions relating to the role of émigré architects in Britain and the USA, some of which have been misinterpreted in recent commentaries.Hitchcock's unequivocal claim for the importance of English Modernism at this point still arouses disbelief, and raises a question whether it can be accepted at face value or requires explaining in terms of some other hidden intention.


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