Museums, art galleries and temporary exhibition spaces

2021 ◽  
pp. 28-1-28-9
Author(s):  
Geoffrey Matthews ◽  
Pamela Buxton
Keyword(s):  
Art Galleries

Conventions and temporal differences in painted faces: A study of posture and color distribution

2020 ◽  
Vol 2020 (11) ◽  
pp. 267-1-267-8
Author(s):  
Mitchell J.P. van Zuijlen ◽  
Sylvia C. Pont ◽  
Maarten W.A. Wijntjes
Keyword(s):  
Scientific Community ◽  
Human Face ◽  
Art Galleries ◽  
Art Collections ◽  
Color Distribution ◽  
Scientific Domain ◽  
The Face ◽  
And Gender ◽  
Changes Over Time ◽  
Over Time

The human face is a popular motif in art and depictions of faces can be found throughout history in nearly every culture. Artists have mastered the depiction of faces after employing careful experimentation using the relatively limited means of paints and oils. Many of the results of these experimentations are now available to the scientific domain due to the digitization of large art collections. In this paper we study the depiction of the face throughout history. We used an automated facial detection network to detect a set of 11,659 faces in 15,534 predominately western artworks, from 6 international, digitized art galleries. We analyzed the pose and color of these faces and related those to changes over time and gender differences. We find a number of previously known conventions, such as the convention of depicting the left cheek for females and vice versa for males, as well as unknown conventions, such as the convention of females to be depicted looking slightly down. Our set of faces will be released to the scientific community for further study.

50 Shades of Red: Recreational Communism in Post-Socialist Vietnam

2021 ◽  
pp. 146879762110358
Author(s):  
Emmanuelle Peyvel
Keyword(s):  
Spatial Analysis ◽  
Social Interactions ◽  
Art Galleries ◽  
Place And Space ◽  
Social Distinction ◽  
Flea Markets ◽  
The Way

Using a post-socialist framework, this article analyzes recreational communism, that is, the commodification of communism through commercial places that use Bao Cấp (subsidy period in Vietnam) for tourism and leisure. These places include cafés, restaurants, souvenir shops, art galleries, or flea markets. Why do places dedicated to pleasure make use of such a painful period? I propose to go beyond this paradox by focusing not only on the economic, but also the emotional, political, and memorial value of Bao Cấp, both in the way they are designed by their owners and practiced by customers. The visual descriptions and interviews I accumulated since 2006 allow me to address the dynamics of social interactions between people, place, and space. The spatial analysis of this material explores recreational communism as a practice of social distinction in the sense that it involves upper classes within the most globalized cities of the country.

scholarly journals External Shocks in the Art Markets: How Did the Portuguese, the Spanish and the Brazilian Art Markets React to COVID-19 Global Pandemic? Data Analysis and Strategies to Overcome the Crisis

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 47
Author(s):  
Adelaide Duarte ◽  
Ana Letícia Fialho ◽  
Marta Pérez-Ibáñez
Keyword(s):  
Art Market ◽  
External Shocks ◽  
Art Markets ◽  
Art Galleries ◽  
Academic Literature ◽  
Brazilian Art ◽  
Global Pandemic ◽  
The Social ◽  
The Impact

The spread of the COVID-19 pandemic worldwide, and the restrictions imposed by the social distance and the enforced confinement, are having an impact on the art markets globally. The aim of this article is to evaluate the impact of an external shock in the primary art market, using three countries as a case study: Portugal, Spain, and Brazil. These geographies have in common being at the margins in the art market’s main art hubs. It is intended to analyze how agents are responding to the new context, according to the data gathered within the gallery sector. The methods applied in the research are a combination of surveys carried out by the authors, field-based observation, along with an academic literature review, complemented by international and national reports analysis. The study’s main findings allow us to characterize the art market as a very resilient sector that energetically responded to the crisis, able to adapt and overcome challenges imposed by the new pandemic situation. Contemporary art galleries expanded digital activities, kept participating in art fairs hybrid models, continued to focus on internationalization, and pointed to the strengthening of public policies towards the sector and partnerships as key strategies to overcome the crisis.

scholarly journals Orthogonal art galleries with interior walls

2006 ◽  
Vol 154 (11) ◽  
pp. 1563-1569 ◽  
Author(s):  
Joan Hutchinson ◽  
André Kündgen
Keyword(s):  
Art Galleries ◽  
Interior Walls

scholarly journals Temporary events and spaces in the Swedish primary art market

2014 ◽  
Vol 58 (1) ◽  
Author(s):  
Johan Jansson
Keyword(s):  
New York ◽  
Economic Geography ◽  
Art Market ◽  
Economic Activities ◽  
Art Exhibition ◽  
Art Galleries ◽  
Economic Values ◽  
Theoretical Perspectives ◽  
Temporal Dimensions

AbstractTraditionally, the art market is associated with specific cities or art districts; typically there are internationally renowned locations like Paris, New York and Berlin. However, taking a closer look at the art markets, it is rather the temporal dimensions that are striking. Art market actors (e. g. artists, critics, gallerists, buyers, collectors, curators) are gathering in temporary locations and at temporary events such as art exhibition openings, art fairs, auctions, performances and vernissages. Within economic geography literature, the role of temporary spaces and events has been increasingly discussed in relation to economic activities and their performance, efficiency and creativity. An important insight gained in this literature is how temporary events, despite their short-lived existence, create microcosms of an industry or sector. Some temporary events even gather enough resources, skills and power to become field-configuring. In this paper, the primary art market will be discussed from the theoretical perspectives of value-making processes, temporary spaces and events, and field-configuring events. More specifically, the study focuses on temporary spaces important to galleries involved in selling and promoting primary art and artists. It focuses on how temporary spaces constitute both a characteristic feature of the art market and important spaces for creating both cultural and economic values. Empirically, this paper is based on a study of the Swedish primary art galleries and in particular it deals with primary art galleries located in Stockholm, and studies how they use temporary spaces and events in creating both cultural and economic values to themselves, the artists and their artworks. Three empirical examples characteristic to primary art galleries are examined; the opening, the art fair and the mobile art district.

So what's new? A survey of the education policies of orchestras and opera companies

1996 ◽  
Vol 13 (3) ◽  
pp. 259-270 ◽  
Author(s):  
Julia Winterson
Keyword(s):  
Large Scale ◽  
Full Scale ◽  
School Teachers ◽  
Education Policies ◽  
Art Galleries ◽  
High Profile ◽  
Creative Music ◽  
Direct Support

Originally, the creative music workshop involving professional players was intended to give direct support to school teachers and to enhance music in the classroom, but today's large-scale, high-profile projects mounted by orchestras and opera companies appear to be developing into a full-scale industry on their own. Their role in partnership with schools and colleges now requires clarification: a survey of education policies has revealed some confusion of aims with few bodies looking closely at objectives, outcomes and effects. Music companies could profit from the experience of museums and art galleries.

The Impact on Well-Being of Experiences at Cultural Events

2021 ◽  
Author(s):  
Valentina Gorchakova ◽  
Kenneth F. Hyde
Keyword(s):  
Social Interactions ◽  
Well Being ◽  
Emotional Engagement ◽  
Structured Interviews ◽  
Art Galleries ◽  
Special Events ◽  
Research Findings ◽  
Favourable Environment ◽  
The Impact

Major international cultural exhibitions, often referred to as touring ‘blockbuster’ exhibitions (TBEs), are arguably among the most stimulating and engaging event experiences. The role of orchestrating an experience that is meaningful and memorable has captured the attention of scholars in the events literature over recent decades. The aims of this paper are to re-conceptualise major international cultural exhibitions as special events, present a framework of the experiences these exhibitions generate for visitors, and explore the roles such experiences play in visitor well-being. The study draws on the findings of qualitative research conducted in Australia and New Zealand. Semi-structured interviews were conducted with representatives of art galleries and museums in Melbourne, Canberra, Auckland, and Wellington involved in hosting ‘blockbuster’ exhibitions, as well as representatives of regional cultural, tourism, and events organisations. This paper presents a ‘3Es’ experience realms framework, which comprises the key experiences that a major cultural and arts event generates for visitors: entertainment, enrichment, and emotional engagement. The first realm of the 3Es framework, entertainment, has encountered scepticism in the museum field; however, research findings here corroborate the arguments of those scholars who hold that entertainment may help to engage visitors and facilitate education. Enrichment comprises the creation of a favourable environment for new knowledge to be processed, and the enhancement of knowledge. The third realm is an emotionally engaging experience that results from social interactions, activities, and contemplation of and learning about unique exhibits. The framework demonstrates an interplay of these three major experiential dimensions and visitors’ hedonic and eudaemonic well-being. Exhibition and event organisers can utilise this framework to plan the delivery of memorable experiences for visitors and explore the ways in which their event can be made enjoyable, enriching, and emotionally engaging.

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