scholarly journals In the spaces of exhibition history : a study of art exhibitions in Singapore from the 1970s to the 1990s

2020 ◽  
Author(s):  
◽  
Hera Hera
Keyword(s):  
Art Exhibitions ◽  
Exhibition History

ТРАНСФОРМАЦІЙНІ ПРОЦЕСИ В СФЕРІ КУЛЬТУРИ : НОВІ ПІДХОДИ ТА ТЕНДЕНЦІЇ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Fine Arts ◽  
Space Region ◽  
Cultural Environment ◽  
Art Exhibitions ◽  
National Union ◽  
Cultural Space ◽  
Artistic Activity ◽  
The World ◽  
Creative Experience

Аналізується важливість і проблемний ряд здійснення реформи місцевого самоврядування в регіонах країни і шляхи її розв’язання у галузі культури. Пропонуються найбільш ефективні кроки для управлінських структур різних рівнів щодо зміни ставлення як представників керівної ланки, так і місцевого населення щодо різноманітних культурних практик. Акцентується увага на ролі методичних служб галузі у процесі здійснення цієї реформ. Наголошено на використанні досвіду інших країн в активізації місцевого населення у цьому процесі. Здійснено спробу запропонувати ефективні, на думку авторів, рішення у питанні проведення зазначеної реформи. Акцент зроблено на освітній чинник. . Ключові слова: культурні практики, місцеве самоврядування, соціальна активність, заклад вищої освіти, організаційно-культурна діяльність.   On the example of organizational, cultural and artistic activity the practice of holding anniversary art exhibitions of regional artistsOleksandr Harvat (photo art) and the first Head (1991-1998) of the regional department of the National Union of Artists Kostiantyn Lytvyn (fine arts, graphics)is analyzed. The specificity of their creative experience, influence on the cultural environment is considered. The most striking pages of the creative biographiesof each of them and the influence of exhibition activity on the artistic environment of the region are revealed. The importance of continuing to preserve the culturalheritage of regional artists in order to position Ukraine in the cultural space of the world is emphasized. Keywords: creative biography, artistic activity, exhibit, cultural space, region.

The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches

2007 ◽  
Vol 5 (1) ◽  
pp. 12-32
Author(s):  
ShiPu Wang
Keyword(s):  
United States ◽  
Asian American ◽  
Financial Support ◽  
American Art ◽  
The United States ◽  
Community Leaders ◽  
Art Exhibitions ◽  
The Past ◽  
Critical Approaches ◽  
Racial Demographics

This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.

Colab Again

2015 ◽  
Vol 1 ◽  
Author(s):  
Francesco Spampinato
Keyword(s):  
New York ◽  
East Side ◽  
Art Exhibitions ◽  
Massage Parlor ◽  
Art Gallery ◽  
Times Square ◽  
The Real Estate ◽  
The Past ◽  
New Year’S Eve ◽  
The Times

During the past few years, New York has seen the restaging of two groundbreaking underground art exhibitions, originally organized in 1980 by Lower East Side-based collective Colab: The Real Estate Show and The Times Square Show. The former, which took place illegally on New Year’s Eve in a vacant, city-owned building at 125 Delancey Street—and was shut down by the police after few hours—was restaged in Spring 2014 at four Downtown venues: James Fuentes Gallery, Cuchifritos, The Lodge Gallery, and ABC No Rio. The latter was organized in a disused Times Square massage parlor and restaged in Fall 2012 at Hunter College’s Bertha and Karl Leubsdorf Art Gallery.

Cardography as a research method through writing and drawing in higher education workshops

2021 ◽  
Vol 14 (2) ◽  
pp. 193-207 ◽  
Author(s):  
Ana Isabel Serra de Magalhães Rocha
Keyword(s):  
Higher Education ◽  
Research Methodology ◽  
Collaborative Research ◽  
Research Method ◽  
Research Result ◽  
Art Exhibitions ◽  
Arts Based Research ◽  
Research Workshop ◽  
The University ◽  
Digital Or

This article is supported by the author’s experience through a methodology created during her Ph.D. thesis ‘The experience of book’s place at the university’, also during COVID-19 restrictions. The student transformed public presentations into collaborative research workshops, where new interrelations and concepts occurred rooted in arts-based research methodologies, exploring art and education, in its scope. Cardography is an invented designation based on a/r/tography, as a creative living research methodology that uses cards as a device for a visual inquiry, considering that each book’s page is a card to be written or drawn (digital or paper), documenting the dialogic process during each research workshop. The research result contemplates an artistic object, which is displayed afterwards in university and art exhibitions. The reader is invited to follow a fil rouge alignment, inspired by a book structure, reflecting upon concepts and research methods not yet implemented at the art education doctoral course.

REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE

2020 ◽  
pp. 116-132
Author(s):  
Tat'yana Yu. Mironova ◽  
Keyword(s):  
United States ◽  
Contemporary Art ◽  
Historical Memory ◽  
The United States ◽  
Art Exhibitions ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
Holocaust Memorial Museum ◽  
Changing Attitudes ◽  
Historical Issues

Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.

Quantifying reputation and success in art

Science ◽  
2018 ◽  
Vol 362 (6416) ◽  
pp. 825-829 ◽  
Author(s):  
Samuel P. Fraiberger ◽  
Roberta Sinatra ◽  
Magnus Resch ◽  
Christoph Riedl ◽  
Albert-László Barabási
Keyword(s):  
Dropout Rate ◽  
Career Trajectory ◽  
Exhibition History ◽  
Institutional Prestige ◽  
Early Access ◽  
High Dropout Rate ◽  
History Of ◽  
Long Access ◽  
Rate Limiting

In areas of human activity where performance is difficult to quantify in an objective fashion, reputation and networks of influence play a key role in determining access to resources and rewards. To understand the role of these factors, we reconstructed the exhibition history of half a million artists, mapping out the coexhibition network that captures the movement of art between institutions. Centrality within this network captured institutional prestige, allowing us to explore the career trajectory of individual artists in terms of access to coveted institutions. Early access to prestigious central institutions offered life-long access to high-prestige venues and reduced dropout rate. By contrast, starting at the network periphery resulted in a high dropout rate, limiting access to central institutions. A Markov model predicts the career trajectory of individual artists and documents the strong path and history dependence of valuation in art.

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