scholarly journals D-ark—a Shared Digital Performance Art Archive with a Modular Metadata Schema

Heritage ◽  
2019 ◽  
Vol 2 (1) ◽  
pp. 976-987
Author(s):  
Anni Saisto ◽  
T.E.H.D.A.S.
Keyword(s):  
Performance Art ◽  
Art Museum ◽  
Art Museums ◽  
Joint Effort ◽  
Digital Performance ◽  
Metadata Schema ◽  
Art Form ◽  
The Future ◽  
Digital Objects ◽  
Ephemeral Art

Digital objects and documentation of intangible cultural heritage pose new challenges for most museums, which have a long history in preserving tangible objects. Art museums, however, have been working with digital objects for some decades, as they have been collecting media art. Yet, performance art as an ephemeral art form has been a challenge for art museums’ collection work. This article presents a method for archiving digital and audiovisual performance documentation. D-ark (digital performance art archive) is based on a joint effort by the artist community T.E.H.D.A.S., which has created the archive, and Pori Art Museum, which is committed to preserving the archive for the future. The aim is to produce sufficient standardized metadata to support this objective. This article addresses the problems of documenting an ephemeral art form and copyright issues pertaining to both the artist and the videographer. The concept of D-ark includes a modular metadata schema that makes a distinction between descriptive, administrative, and technical metadata. The model is designed to be flexible—new modules of objects or technical metadata can be added in the future, if necessary. D-ark metadata schema deploys the FRBRoo, Premis, VideoMD, and AudioMD standards. Administrative and technical metadata modules abide by Finnish digital preservation specifications.

scholarly journals Collecting Pandemic Phenomena: Reflections on Rapid Response Collecting and the Art Museum

Collections ◽  
2021 ◽  
pp. 155019062098084
Author(s):  
Sandro Debono
Keyword(s):  
21St Century ◽  
Art Museum ◽  
Art Museums ◽  
Rapid Response ◽  
Early Years ◽  
Future Generations ◽  
Specific Context ◽  
Development Methodology ◽  
Works Of Art ◽  
Potential Use

Rapid Response Collecting has been a most apt methodology with which to document the COVID-19 pandemic for an increasing number of museums. As the phenomenon unfolded across the globe, museums searched for and head-hunted the truth-revealing objects that could tell the stories and histories of the present to current and future generations. Indeed, the COVID-19 pandemic took Rapid Response Collecting to a higher level. A methodology originally conceived for a sporadic phenomenon happening within a specific context during the early years of the 21st century gained much more traction almost overnight. This paper shall make a case for a better understanding of the potential use and application of Rapid Response Collecting by art museums. It shall look into the defining values of this collections development methodology and how these can be applied and adopted when acquiring works of art. In doing so, it shall seek to understand to what extent the mainstream version of Rapid Response Collecting can be adapted for the needs, purposes and requirements of the art museum.

The future of musical theatre: An animation of a video call between collaborators, 30 September 2020

2021 ◽  
Vol 15 (1) ◽  
pp. 25-40 ◽  
Author(s):  
Joy Brooke Fairfield ◽  
Krista Knight ◽  
Barry Brinegar
Keyword(s):  
Musical Theatre ◽  
First Century ◽  
Us South ◽  
Social Justice Movements ◽  
Art Form ◽  
Gender Minorities ◽  
The Us ◽  
The Future ◽  
Long Time ◽  
Justice Movements

In the first autumn of the COVID-19 pandemic, long-time theatre collaborators in two different cities in the US South discuss the future of an art form that has currently gone dark. Influenced by punk culture, twenty-first-century internet aesthetics, social justice movements and their pets, this decade-strong creative team reflects in a multimedia format on their past work and enumerates their priorities for the future of musical theatre: cheap, remote, inexperienced, local, radical and full of women and sexual/gender minorities.

scholarly journals A Study of Anecdotal Student Response to Virtual Art Museums in Online History Courses

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Adam Attwood
Keyword(s):  
United States ◽  
Community College ◽  
Student Engagement ◽  
Online Discussion ◽  
Art Museum ◽  
Art Museums ◽  
Student Response ◽  
Online Instructors ◽  
Course Content

This anecdotal pilot case study of practice addresses the question: How can technology be used to make online history courses more engaging with museums? Findings from this case study suggest that virtual art museums via the Google Cultural Institute (now Google Arts & Culture) were an effective way to encourage students to do more than the minimum required for the online forum response assignment in a survey (100-level) history course at a community college in the northwest United States. The instructor designed an assignment that was posted in the learning management system as a PDF. Implications for practice are that online instructors of history, as well as online instructors of humanities, can assign virtual art museum visits with an online discussion component to encourage student engagement centered on course content.

scholarly journals Performing with Plants in the Ob-scene Anthropocene

2020 ◽  
Vol 32 (1) ◽  
pp. 121-142
Author(s):  
Annette Arlander
Keyword(s):  
Performance Analysis ◽  
Performance Art ◽  
Performance Studies ◽  
Research Project ◽  
Performance Practices ◽  
Art Form ◽  
And Performance ◽  
Performance As Research ◽  
Artistic Research

Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.

scholarly journals Where flesh meets bone: dance in the modern art museum

2021 ◽  
Author(s):  
Erin Joelle McCurdy
Keyword(s):  
New York ◽  
Modern Art ◽  
Theoretical Framework ◽  
Art Museum ◽  
Art Museums ◽  
The Public ◽  
Liminal Spaces ◽  
High Profile ◽  
Tate Modern ◽  
Definition Of

Dance has recently taken up an increasing presence in major modern art museums as core curatorial programming, occupying galleries throughout exhibition hours. Although time figures prominently in emerging literature addressing this trend, spatial analyses remain fragmentary. Yet, dance is distinctive from other time-based media because of its heightened relationship with space. This raises an important question: how does dance’s newfound presence ‘re-choreograph’ the spaces of modern art museums? Extending the work of Henri Lefebvre, this dissertation adopts an expanded definition of museum space encompassing physical, social and conceptual domains. Dance, an art concerned with the shaping of space, is examined as a transformative force, productively intervening with the galleries, encounters, objects, and historical narratives comprising modern art museum space. In this study, purity and atemporality are identified as the preeminent principles organizing modern art museum space, and dance, an ‘impure’ and process-based art, is theorized as a productive contaminant, catalyzing change. Using this theoretical framework and Using this theoretical framework and evocative descriptions of Boris Charmatz’s 20 Dancers for the XX Century (Museum of Modern Art, New York, 18-20 October 2013), dance’s unique collaboration with modern art museum space is analyzed. Socially, dance’s multisensuality pollutes museum goers’ ocularcentric experiences with art. Conceptually, dance diversifies understandings of objects and the androcentric history they uphold. Physically, dance is carving out new spaces, with performance venues being incorporated into the ‘bones’ of high profile institutions. Interspersed between these analytical chapters, evocative descriptions of Spatial Confessions (On the Question of Instituting the Public) by Bojana Cvejić and collaborators (Tate Modern, London, 21-24 May 2014) introduce observations beyond the analytical scope, opening up the liminal spaces of this document to ongoing inquiry. This dissertation contributes a sustained analysis of dance’s spatial impact on modern art museums. By investigating how dance intervenes with the limitations of the white cube, it critiques this supposedly ‘blank’ space, questioning its continued supremacy within these institutions. Moreover, as dance is ushered into performance venues within the museum’s expanding domain, this dissertation interrogates the modern propensity for specialization and master narratives pervading the spaces of these institutions, despite decades of interventional artistic and curatorial practices.

scholarly journals The School Teacher and the Art Museum: A Multi- Case Study of Online Canadian Art Museum Teacher Resources | L’enseignant scolaire et le musée des beaux-arts : une étude de cas multiples des ressources en ligne des musées des beaux-arts pour les enseignants

2017 ◽  
Vol 44 (1) ◽  
pp. 36-46
Author(s):  
Julie Etheridge
Keyword(s):  
Online Teaching ◽  
School Teacher ◽  
High School Teacher ◽  
Art Museum ◽  
Art Museums ◽  
Online Resources ◽  
Teaching Resources ◽  
Teacher Resources ◽  
Canadian Art ◽  
Teacher Researcher

Abstract: This study seeks to better understand the online resources and lesson contents that Canadian art museums offer secondary school art teachers. The author conducted a content analysis of online teacher resources and lessons developed by four Canadian art museums during 2016. By looking at the various resources through the lens of a high school teacher/researcher, the author highlighted how these resources presented differences in curriculum and fostered self-reflection in students. The relationship between the art museum and the school teacher was examined. To better understand this relationship, further research on online resources developed by museums to increase pedagogical possibilities should be conducted.Key Words: Teacher; Museum; Online Teaching Resources; Art EducationRésumé : Cette étude vise une meilleure compréhension du contenu des leçons et des ressources en ligne mises à la disposition des éducateurs artistiques du secondaire par les musées des beaux-arts canadiens. L’auteur a analysé le contenu des ressources et des leçons en ligne offertes aux enseignants en 2016 par quatre musées des beaux-arts canadiens. En examinant les diverses ressources du point de vue d’un enseignant/chercheur au secondaire, l’auteur met en évidence les différences curriculaires de ces ressources et l’autoréflexion suscitée par ces ressources chez les étudiants. La relation entre le musée des beaux-arts et l’enseignant scolaire y est également étudiée. Il faudrait, pour mieux comprendre cette relation, mener d’autres recherches sur les ressources en ligne développées par les musées dans le but d’élargir l’éventail pédagogique.Mots-clés : enseignant; musée; ressources en ligne; éducation artistique

Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space

2021 ◽  
Vol 14 (4) ◽  
pp. 1-6
Author(s):  
Tatiana V. Portnova
Keyword(s):  
Art Museum ◽  
Art Museums ◽  
Contemporary Dance ◽  
Complex Inclusion ◽  
Exhibition Space ◽  
Interior Spaces ◽  
Modern Experience ◽  
Global Art ◽  
Regular Classes ◽  
Communicative Space

The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.

Decolonizing the Colony: Challenges to Systemic Change in the American Art Museum

2021 ◽  
Vol 10 (2) ◽  
pp. 202-229
Author(s):  
Andrew Mcclellan
Keyword(s):  
Social Justice ◽  
White Supremacy ◽  
Systemic Change ◽  
American Art ◽  
Art Museum ◽  
Art Museums ◽  
The Face ◽  
Physical Spaces

This article seeks to identify impediments to, as well as opportunities for, change in American art museums in the face of demands for social justice and greater inclusivity. Focusing specifically on the representation of American art in well-established encyclopaedic museums, I argue that inherited collections and taxonomies, mapped onto the physical spaces of museums, limit the speed and degree to which aesthetic priorities, values and narratives may adapt in order to meet shifting demographics and visitor expectations. In effect, the challenge for many museums is to confront and navigate an institutionalized form of white supremacy baked into their intellectual and material foundations. I end by analysing several recent strategies that have aimed at dismantling conventions and complicating the canon.

A Scholar’s Guide to Research, Collaboration, and Publication in NINES

2007 ◽  
Author(s):  
Bethany Nowviskie
Keyword(s):  
Nineteenth Century ◽  
Research Collaboration ◽  
Social Software ◽  
Digital Scholarship ◽  
The Social ◽  
Course Syllabi ◽  
The Future ◽  
Digital Objects ◽  
Faceted Browsing ◽  
Nineteenth Century Studies

Abstract This essay offers a rationale for the design of Collex, the social software and faceted browsing system that powers NINES, a “networked infrastructure for nineteenth-century electronic scholarship.” It describes how Collex serves as a clearinghouse and collaborative hub for NINES, allowing scholars to search, browse, collect, and annotate digital objects relevant to nineteenth-century studies from a variety of peer-reviewed sources. It also looks forward to the next version of Collex, which will include a sophisticated exhibits builder, through which scholars can “remix” or re-purpose collected objects into annotated bibliographies, course syllabi, illustrated essays, and chronologies – and contribute these resources back into the NINES collective. A detailed guide to using Collex, complete with screenshots, is included. This article frequently links directly into the NINES system (in which, by virtue of its publication in Romanticism and Victorianism on the Net, it is already included), thereby gesturing at the future of networked, “born-digital” scholarship.

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