scholarly journals Paladsrevolutioner

1970 ◽  
pp. 25
Author(s):  
Lars Morell
Keyword(s):  
21St Century ◽  
Modern Art ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Processes Of Change ◽  
The World ◽  
The Creation

Palace-revolutions When a collection is established, one must find, in the process of collecting, a balance between the uniqueness of objects and being able to demonstrate their mutual connection. When old pictures of the world break down, new connections between the objects emerge and the exhibitions must be re-edited. The essay examines three processes of change: the creation of the historically ordered museum, the formation of the museum of modern art and the change of the art museum on the eve of the 21st century. 

Exhibition 58: Modern Architecture in England, Museum of Modern Art, 1937

2013 ◽  
Vol 56 ◽  
pp. 277-298 ◽  
Author(s):  
Alan Powers
Keyword(s):  
New York ◽  
Modern Art ◽  
Modern Architecture ◽  
Museum Of Modern Art ◽  
Multiple Sequence ◽  
Sequence Of Events ◽  
The World ◽  
The Usa ◽  
New Yorkers

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.

Re-defining Modernism (1946–1953)

2016 ◽  
Author(s):  
James King
Keyword(s):  
Modern Art ◽  
Museum Of Modern Art ◽  
The Creation

This chapter details events in Roland Penrose's life from 1946 to 1953. Before the war, there had been a great deal of discussion about the establishment of a museum of modern art in London. Herbert Read had attempted to start one in co-operation with Peggy Guggenheim. Roland and Mesens had made counter-moves. However, nothing had happened, largely because of the approaching war. By 22 January 1946, the differences between Read and Mesens had been sufficiently mended for them — together with Roland — to send a letter inviting ‘interested parties’ to attend a meeting on the creation in London of a centre from which a Museum of Modern Art could ultimately be planned.

scholarly journals Reforming Police: Opportunities, Drivers and Challenges

2005 ◽  
Vol 38 (2) ◽  
pp. 167-180 ◽  
Author(s):  
Philip C. Stenning ◽  
Clifford D. Shearing
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
21St Century ◽  
Special Issue ◽  
Quiet Revolution ◽  
The World ◽  
The Creation ◽  
The 19Th Century ◽  
Different Parts

A few years ago, David Bayley and Clifford Shearing (1996) argued that at the end of the 20th century we were witnessing a ‘watershed’ in policing, when transformations were occurring in the practices and sponsorship of policing on a scale unprecedented since the developments that heralded the creation of the ‘New Police’ in the 19th century. In this special issue of the journal, we and our fellow contributors turn our attention to a somewhat neglected aspect of this ‘quiet revolution’ in policing (Stenning & Shearing, 1980), namely the nature of the opportunities for, and challenges posed by, the reform of policing in different parts of the world at the beginning of the 21st century. Our attention in this issue is particularly focused on the opportunities, drivers and challenges in reforming public (state-sponsored) police institutions.

Claims to Fame

2020 ◽  
pp. 159-172
Author(s):  
Özpinar
Keyword(s):  
Women Artists ◽  
Modern Art ◽  
Art Museum ◽  
Important Case ◽  
Pivotal Role ◽  
Museum Of Modern Art ◽  
History Writing ◽  
History Of ◽  
The Media

Since the day it was inaugurated in 2004, the Istanbul Museum of Modern Art has assumed a pivotal role in re–establishing the history of modern and contemporary artistic practices in Turkey. The major all–woman exhibition titled ‘Dream and Reality: Modern and Contemporary Women Artists from Turkey’, which was opened in late 2011 at Istanbul Modern, constitutes an important case study to prompt deeper exploration into the narrative frameworks within which the art museum reproduces differences. This chapter revisits the institutional and the curatorial discourse of ‘Dream and Reality’ by examining the statements released in the media and in catalogue essays with a view to comprehending the allegedly conflicting notions of gender and feminism on which the exhibition was premised and how differences were articulated against the politics of the state and art history writing. With this reconsideration, the chapter addresses the reverberations of these framings in the art histories of Turkey but also relocates them within the debates of art’s new transnational landscape.

Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936–1943)

2021 ◽  
Vol 10 (1) ◽  
pp. 2-25
Author(s):  
Dieter De Vlieghere
Keyword(s):  
New York ◽  
Modern Art ◽  
Fine Arts ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Art World ◽  
Outsider Art ◽  
Creative Agency ◽  
Changing Role

Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

scholarly journals INTERVIEW WITH THE EXECUTIVE DIRECTOR OF THE MOSCOW MUSEUM OF MODERN ART, VICE PRESIDENT OF THE RUSSIAN ACADEMY OF ARTS, VASILY TSERETELI

2020 ◽  
Vol 16 (3) ◽  
pp. 10-20
Author(s):  
Maria Burganova ◽  
Vasili Tsereteli
Keyword(s):  
Russian Federation ◽  
Executive Director ◽  
Modern Art ◽  
Vice President ◽  
Museum Of Modern Art ◽  
Cultural Space ◽  
International Council ◽  
International Exhibitions ◽  
The World ◽  
The Russian Federation

The journal traditionally opens with an academic interview.In this issue, we present Vasily Tsereteli - Executive Director of the Moscow Museum of Modern Art, a Commissioner of the Ministry of Culture of the Russian Federation at International Exhibitions in Venice, Vice President of the Russian Academy of Arts, member of the Presidium of International Council of Museums, artist, photographer, who kindly agreed to answer questions from Maria Burganova, the Editor in chief of The Burganov House. The Space of Culture journal. Spring and summer of 2020 were not easy all over the world due to the COVID-19 pandemic, which has affected the cultural space, the museum community, and artists. In these challenging conditions, the Moscow Museum of Modern Art has managed to find new forms of interaction between art and the viewer

scholarly journals Alter-activismo global: una mirada sugerente

2020 ◽  
pp. 206
Author(s):  
Armando Chaguaceda Noriega
Keyword(s):  
Social Movements ◽  
21St Century ◽  
Buenos Aires ◽  
Global Scale ◽  
Processes Of Change ◽  
Free Electrons ◽  
The World ◽  
Processus De Changement ◽  
Movimientos Sociales

En su libro (Movimientos sociales en el siglo XXI. Buenos Aires: clacso), el sociólogo Geoffrey Pleyers (2018) identifica rasgos esenciales de los nuevos actores y procesos de cambio a escala global. Con una reflexión que nace del acompañamiento de luchas en todo el orbe, el autor habla de alteractivismo y espacios de experiencia, de gramáticas de acción basadas en la razón y en la subjetividad. Los alteractivistas son, para Pleyers (2018: 67) una suerte de electrones libres, “individuos que guardan su distancia respecto de cualquier organización, pero que interactúan según les parece mejor con grupos, redes u organizaciones que más coinciden con sus ideas y con el tipo de organización que quieren llevar a cabo.Global alter-activism: a suggestive lookAbstractIn his book (Social movements in the 21st century. Buenos Aires: CLACSO), the sociologist Geoffrey Pleyers (2018) identifies essential features of new actors and processes of change on a global scale. With a reflection that is born from the accompaniment of struggles throughout the world, the author speaks of alteractivism and spaces of experience, of grammars of action based on reason and subjectivity. The alteractivists are, for Pleyers (2018: 67) a kind of free electrons, "individuals who keep their distance from any organization, but who interact as they think best with groups, networks or organizations that most coincide with their ideas and with the type of organization they want to carry out.Alter-activisme global: un regard suggestifRésuméDans son livre (Movimientos sociales en el siglo XXI. Buenos Aires: clacso), le sociologue Geoffrey Pleyers (2018) identifie des traits essentiels des nouveaux acteurs et processus de changement à échelle globale. Avec une réflexion qui naît de l’accompagnement des luttes par tout dans le monde, l’auteur parle d’alter activisme et d’espaces d’expérience, de grammaires d’action basées sur la raison et la subjectivité. Les alter activistes sont, pour Pleyers (2018: 67), une sorte d’électrons libres, des “individus qui gardent leur distance en vers n’importe quelle organisation, mais qui interagissent selon leur convenance avec des groupes, des réseaux ou des organisations qui coïncident le plus avec leurs idées et avec le type d’organisation qu’ils veulent créer.

scholarly journals PEDESTRIAN BRIDGES AS ELEMENTS OF THE NEW URBAN IDENTITY OF CITIES

2021 ◽  
Vol 12 (22) ◽  
pp. 14-28
Author(s):  
Željka Jurković ◽  
◽  
Željko Koški ◽  
Danijela Lovoković ◽  
◽  
...  
Keyword(s):  
21St Century ◽  
Infrastructure Projects ◽  
Original Design ◽  
Urban Identity ◽  
Pedestrian Bridge ◽  
Pedestrian Bridges ◽  
The World ◽  
The Creation ◽  
The City

By the start of the 21st century, the majority of the world’s population was living in cities. Therefore, a top priority has been solving the problem of connecting parts of the city divided by traffic infrastructure in the shortest possible manner by using pedestrian paths. The aim of this study was to analyze, systematize, and typologically define the specific types of structures that make this possible, specifically pedestrian bridges located above roads and railway corridors. The primary and secondary requirements that must be met when designing a pedestrian bridge were identified, and an analysis and comparison of examples of constructed pedestrian bridges in Croatia and the world are herein presented. The results of this study enable the conclusion that, in recent times, in the age of the spectacle society and spectacle architecture, pedestrian bridges are simultaneously deemed architecture, engineering, and infrastructure projects. They are becoming new elements in a city’s image and contribute to the creation of a new urban identity. The original design of pedestrian bridges fosters the use of different construction systems and materials in accordance with technical and technological advancements in construction.

Re/membering Pedagogical Spaces

2013 ◽  
pp. 1-13
Author(s):  
Erica McWilliam ◽  
Charlie Sweet ◽  
Hal Blythe
Keyword(s):  
21St Century ◽  
Academic Environment ◽  
Pedagogical Model ◽  
21St Century Classroom ◽  
Educational Spaces ◽  
The World ◽  
Open Debate ◽  
The Creation ◽  
Use Of Knowledge

Educational spaces across the world largely continue to be designed with little variance from the traditional industrial classroom model, and pedagogies seem stuck somewhere between the Sage-on-the-Stage, lecture-dominated paradigm, and the Guide-on-the-Side, in which the instructor acts primarily as an aide watching, encouraging, and monitoring students working on projects individually or in groups. Rather than “reinventing the wheel,” the authors argue for an academic environment based on the British coffee house or French café of the 18th and 19th centuries. Not only should this 21st-century classroom offer an innovative melding of space and technology but also introduce a new pedagogical model. The Meddler-in-the-Middle model repositions the teacher and students as co-facilitators in the creation and use of knowledge in an environment where bodies move seamlessly in and out of collegial collaborations filled with free-to-fail open debate.

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