Why do people go to exhibitions, and what do they hope to gain from the experience? What would happen if people were encouraged to move freely through exhibition spaces, take photographs and be ...playful? In this book, Inge Daniels explores what might happen if people and objects were freed from the regulations currently associated with going to an exhibition. Traditional understandings of exhibitions place the viewers in a one-way communication form, where the exhibition and those behind its creation inform their audiences. However, motivations behind exhibition-going are multiple and complex and frequently the intentions ofcurators do not match the expectations of their visitors. Based on an in-depth ethnographic examination of the processes involved in the making and reception of one particular exhibition-experiment as well as a study that follows 'freed' objects into their new homes, this publication will not only shed light on what exhibitions are, but also what they could become in the future.Featuring over 175 colour illustrations and using practical examples, this is an important contribution for students and scholars of anthropology, museum studies, photography, design and architecture.
Before the first purpose-designed exhibition spaces and painting exhibitions emerged, showing art was mainly related to the habit of dressing up spaces for political commemorations, religious ...festivals, and marketing strategies. Palaces, cloisters, façades, squares, and shops became temporary and privileged venues for art display, where sociability was performed, and the idea of exhibition developed. What were those places and events? What aesthetic, cultural, social and political discourses intersected with the early idea of exhibition space? How did displaying art shape a new vocabulary within these events, and conversely, how have these occasions conditioned exhibiting practices? This book traces the origins of the exhibition space by studying its visual and written imagery in the early modern period. It reconsiders events and habits that contributed to shaping the imagery of the exhibition space, and to defining exhibition-making practices, exploring micro-histories and long-term changes.
The present article is concerned with analysis of the current state and prospects for further development of international activity and its regions fostering the development of the beauty industry. ...It is emphasized that the beauty industry can become one of the priority areas of international activity of the regions. The authors propose solutions of issues of deficiently variable forms and types of international activity in the beauty industry. Special attention is paid to arrangement of exhibitions related to the beauty industry.
“The Spanish Element in Our Nationality” delves beneath the traditional “English-only” narrative of U.S. history, using Spain’s participation in a series of ...international exhibitions to illuminate more fully the close and contested relationship between these two countries.
Written histories invariably record the Spanish financing of Columbus’s historic voyage of 1492, but few consider Spain’s continuing influence on the development of U.S. national identity. In this book, M. Elizabeth Boone investigates the reasons for this problematic memory gap by chronicling a series of Spanish displays at international fairs. Studying the exhibition of paintings, the construction of ephemeral architectural space, and other manifestations of visual culture, Boone examines how Spain sought to position itself as a contributor to U.S. national identity, and how the United States—in comparison to other nations in North and South America—subverted and ignored Spain’s messages, making it possible to marginalize and ultimately obscure Spain’s relevance to the history of the United States.
Bringing attention to the rich and understudied history of Spanish artistic production in the United States, “The Spanish Element in Our Nationality” recovers the “Spanishness” of U.S. national identity and explores the means by which Americans from Santiago to San Diego used exhibitions of Spanish art and history to mold their own modern self-image.
The Chicago Architecture Biennial SABATINO, MICHELANGELO
Journal of the Society of Architectural Historians,
03/2019, Letnik:
78, Številka:
1
Journal Article
First peoples of Canada Pilon, J.-L; Prince, Nicholette L; Cardinal, Douglas ...
First peoples of Canada,
2013, 20131030, 2013, 2013-01-01
eBook
This beautifully designed, full-colour book presents a collection of 150 archaeological and ethnographic objects produced by Canada's First Peoples - including some that are roughly 12,000 years old ...- that represent spectacular expressions of creativity and ingenuity.
The upheavals of glasnost and perestroika followed by the collapse of the Soviet Union remarkably transformed the art scene in Kyiv, launching Ukrainian contemporary art as a global ...phenomenon. The previously calm waters of the culturally provincial capital of the Ukrainian Soviet Republic became radically stirred with new and daring art made publicly visible for the first time since the avant-garde period of the early twentieth century. As artists were freed from the dictates of the fading Communist ideology and the constraints of late socialist realism, an explosion of styles emerged, creating an effect of baroque excess. This exhibition catalogue traces and documents the diverse artistic manifestations of these transitional and exhilarating years in Kyiv while providing some historical artworks for context. Published in partnership with the Zimmerli Museum.
This book addresses the politics of borders in the era of global art by exploring the identification of Chinese artists by location and exhibition. Focusing on performative, body-oriented video works ...by the post-1989 generation, it tests the premise of genealogical inscription and the ways in which cultural objects are attributed to the artist's residency, homeland or citizenship rather than cultural tradition, style or practice. Acknowledging historical definitions of Chineseness, including the orientalist assumptions of the past and the cultural-mixing of the present, the book's case studies address the paradoxes and contradictions of representation. An analysis of the historical matrix of global expositions reveals the structural connections among art, culture, capital and nation.This book addresses the politics of borders in the era of global art by exploring the identification of Chinese artists by location and exhibition. Focusing on performative, body-oriented video works by the post-1989 generation, it tests the premise of genealogical inscription and the ways in which cultural objects are attributed to the artist's residency, homeland or citizenship rather than cultural tradition, style or practice. Acknowledging historical definitions of Chineseness, including the orientalist assumptions of the past and the cultural-mixing of the present, the book's case studies address the paradoxes and contradictions of representation. An analysis of the historical matrix of global expositions reveals the structural connections among art, culture, capital and nation.
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