The Creation of a Public Art Museum: Transforming the Museum Without Walls as an Agent for Celebrating Diversity, Inclusivity, and Accessibility

2008 ◽  
Vol 1 (2) ◽  
pp. 141-148
Author(s):  
Lisa Yoshihara
Keyword(s):  
Author(s):  
Emília Ferreira

After several failures in the artistic education in Portugal, throughout the 18th century, the 19th century was still to bring a few setbacks. Social and political upheavals marked the first years of the century, with the invasions of Napoleonic armies and the civil war. In this chapter I will tell the history of the birth of the first public art museum, created in Porto in 1833. The meeting of the future king D. Pedro IV and the artist Baptista Ribeiro was about to make history. Indeed, when Baptista Ribeiro delivered the prince a report on the need to create a public art museum in the city, the prince couldn't be happier. He then invited Baptista Ribeiro to organize it, giving all his support to the creation of the first public art museum in the nation. It would, in fact, take more than a 100 years to match the dream of its first director. But in the meantime, it surely achieved more than he could expect.


Author(s):  
Оксана Александровна Абальмасова

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.


2019 ◽  
Vol 12 (4) ◽  
pp. 13-22
Author(s):  
Deborah Riding ◽  
Catherine Talbot Landers ◽  
Nichola Grimshaw ◽  
Helen O'Keefe
Keyword(s):  

Art Journal ◽  
1970 ◽  
Vol 29 (4) ◽  
pp. 464-466
Keyword(s):  

2012 ◽  
Vol 34 (3) ◽  
pp. 40-67 ◽  
Author(s):  
Douglas R. Appler

Abstract This paper explores how the municipal archaeology programs found in Alexandria, Virginia; St. Augustine, Florida; and Phoenix, Arizona have played a prominent role in developing unique, place-based amenities that integrate local history with other community needs. These cities are unusual in that they maintain archaeologists on city staff and that those archaeologists have used their positions to develop local environments that are extremely supportive of public engagement with history. Using interviews as well as archival and documentary sources, this paper demonstrates how the public's resulting familiarity with archaeology has allowed the interpretation of local history to take a variety of unexpected forms, including public and private open spaces, urban walking and cycling trails, museums, and public art, among many others.


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