The aim of the article is to develop a methodology for creating a multimedia online gallery based on the use of appropriate CMS and key ergonomic requirements. The practical result of the study is a ...set of recommendations to developers and designers to improve the quality and efficiency of creating a multimedia online gallery. The working hypothesis of the study was the statement that the structure of sections of a multimedia online gallery can be determined on the basis of the necessary functionality of the gallery. To test the working hypothesis of the study, such scientific tasks were achieved to achieve goals as algorithmization of the choice of the structure of a multimedia online gallery, coordination of the basic set of functions, classification of functions and sections by clustering. A tree of goals for the development of a multimedia online gallery has been created in the work. A set of general requirements for the online gallery site, describing conceptual, constructive and other requirements, is considered. The general structure of sections and subsections of the multimedia online gallery is given and substantiated. The software methods of creating an online gallery site are analyzed in detail. The article systematizes the main content management systems and online designers, which allow you to “assemble” the site of the electronic gallery and place it on the Internet from a ready-made standard set of modules and components. Particular attention in the work is paid to the stages of coordination of the technical task and structuring of information. Emphasis is placed on the issues of search engine optimization of the gallery site in order to increase indexing in the relevant systems. The paper presents a clear division of functions of the media gallery project manager and web designer in relation to the development of the gallery site and its promotion in search engines. The article describes the necessary initial data for the development of a multimedia online gallery, which includes the requirements for the developed system, a description of the subject area, resources and time for implementation. The study lists the key stages of creating a multimedia online gallery and analyzes the main components of these stages. The article recommends a description and visualization of the components of a multimedia online gallery involved in the software implementation of the development, in accordance with the proposed general structure of sections and subsections of the online gallery site. As a further direction of this study, it is proposed to consider the creation of a methodology for evaluating the effectiveness of the development of a multimedia online gallery.
The article presents a rhetorical analysis of online galleries. The author argues that the selection of photographs presented in a gallery serves the purpose of fulfilling a persuasive goal. That is ...proved by, as indicated in the analysis, the verbal and visual markers of coherence, and the narrativeness visible at the level of individual photographs, groups of photographs, and the entire gallery.
Contemporary artists are increasingly engaging in curatorial work and strategies while curators interpret the exhibition as an artistic medium in its own right. The teaching of art in schools and art ...education programmes in universities, however, does not often integrate curating as
an activity or field of study within more conventional studio classes or methodologies for teaching and learning art. After briefly outlining a history of key artist-curators, this article suggests that curating - particularly its collaborative, social qualities - can enrich art
pedagogies and curricula, and proposes four curatorial processes that could positively expand the remit of art education. These processes are understood as integral aspects of art-making and focus on the development of a pedagogy of dialogue, creating dialogues between different artworks and
objects, dialogues between curatorial positions, dialogues between works of art and various publics, and finally, facilitating the etymological notion of 'care' within the art class.
This work provides an exploration of the effects of sharing creative representations of life with chronic physical pain. Social media platforms (Facebook and WordPress) have been used to carry out ...the research, hosting two online galleries of creative works depicting life with chronic physical pain. Comments on the works, and discussions surrounding them, have been examined to show how different audiences respond to the works, according to whether or not they have pain. In keeping with the postmodern epistemology underpinning this research, issues of interpretation and multiple interpretations have been considered. In addition, responses have been assessed to consider how effective such works are in communicating the experience of living with this invisible and subjective condition. My role as a researcher with chronic physical pain is explored in relation to the use of reflexivity in carrying out the research. The conflict involved in seeking empathy and recognition of experiences living with pain, while balancing this with the desire to keep this personal experience private and the feeling that other people do not want to hear about the condition, is discussed in relation to the concept of public-private dualism. Issues regarding the elicitation of empathy and understanding with the creators’ experiences are considered in the light of the creative works. In addition, the benefits arising from sharing such works in online exhibitions are highlighted, demonstrating the potential for creative approaches to the expression of pain to facilitate the effective communication of the experience.
We present the results of a reflective, practice-based study with creative practitioners who contributed to the Art Track at Creativity & Cognition 2021. We investigate curating an interactive online ...gallery in the context of the COVID-19 pandemic, focusing on the opportunities afforded and design constraints imposed by the Gather.Town platform and the experiences of the participating practitioners. We present auto-ethnographic reflections from Author 1, who created the online gallery space. We draw on the experience of Author 2 in curatorial research to analyze the experience of emerging practice through interviews with participating artists and curators. Results show that many of the artists were positively surprised by the platform engagement opportunities and conference attendees’ engagement with the artworks at the gallery opening, and appreciated the equitable, global reach. Further analysis reveals a desire for future iterations, and an exploration of the platform in a hybrid context, alongside an in-person exhibition.
Decades before the communications revolution of the late twentieth century and early twenty-first century, the distinction of what carried the title of “Art” was made by almost exclusively by art ...critics and those who were considered experts in the field. Moreover, artists themselves had few opportunities to show work outside of the closed professional art-community circle (Robertson 2009, 1). With the emergence of online “art galleries” and online art communities at the turn of the 21st century, levels of access and opportunities for both critique and exhibition have shifted. The voice that was once held exclusively by the professional art critic for the anointed “artist” is now shared with a public domain of online artists, viewers, and subscribers. This new breed receives, disseminates, and critiques art in a very public multimedia environment, thus altering the role of the traditional art critic in profound ways. This new frontier allows people of varying backgrounds and art expertise, to determine what is Art along with sharing their opinions in an open forum. This blending of media, culture, and communication frames this study: the exploration of the boundaries between dissemination and critique, and asks whether the next capital of the art world will be within the online world that is governed by the masses, or a physical geographic location governed by the traditional art press.
The development of digital software has enabled increasingly sophisticated visualization strategies in the development of concepts across a wide range of creative disciplines. Three dimensional CAD ...software is increasingly becoming a viable tool for some sculptural work (both solid and involving Additive Layer Manufacture). In respect to sculptural form, digital software permits thorough, detailed and associative analysis of form. More recently, animation plug-ins have widened the interogability of form by virtue of animation and simulation capabilities along with moving camera path features. As a result, both development of three dimensional form and increasingly display can be achieved in the virtual environment. Traditional gallery and museum exhibitions are being augmented by virtual exhibitions, variously, non-interactive or partially interactive. Websites such as CanDo Interactive and Virtual Armada sell 'off the peg' virtual exhibition galleries or environments ranging from the modern minimalist through neo-classical and villagy to the gothic. Future developments will no doubt increase the interactivity of exhibits and probably involve hap tic sensory devices enabling the gallery goer to virtually feel of the shape and weight of an object from a remote location via the internet. While a virtual gallery will never be a substitute for the real thing, they may increasingly act as artist's CV's and/or advertising portals to encourage viewers to attend a particular exhibition as a professional practice vehicle for artists. They will also widen the reception mechanisms and enable remote critical analysis of the work of individual artists and group exhibitions. This paper presents a novel virtual gallery configuration that is held to be more consistent with the social and outdoor virtual life environment and as such would encourage a more relaxed viewing context.
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