Showing papers on "Exhibition published in 1974"

Chinese Maps: An Exhibition at the British Library

Abstract: The Map Room and the Department of Oriental Manuscripts and Printed Books of the British Library (formerly part of the British Museum) have recently mounted a special exhibition of Chinese and Japanese maps.1 The opportunity has been provided by a most generous loan from a private collector, by the availability of the new oriental gallery at the Museum, and by the interest of several members of the staff. Intended originally to redress the balance of a series of exhibitions devoted primarily to the cartographic and astronomical achievements of the western world, this exhibition has been a revelation of the wealth of Far Eastern cartographic material available in this country (a wealth that is paralleled by the valuable collections recently explored in the Bibliothbque Nationale 2), and it has demonstrated the importance for other disciplines, as well as the intrinsic interest, of the history of map-making in China and Japan. The exhibition began on 1 February with two separate displays; in the middle of March, the Chinese section in the oriental gallery was dismantled, and certain selected items added to the Japanese section at the North Entrance, where the combined (though reduced) exhibition will continue until the end of 1974. What follows is devoted

"The World's New Art Center": Modern Art Exhibitions in New York City, 1913-1918

Abstract: In the American art world, the years from 1913 to 1918 were much more colorful than retrospective interpretations of the Armory Show's aftermath would indicate. Historical evidence shows that a great deal was happening in New York City during those five years. The now legendary Intemrnational Exhibition of 1913, organized by the Association of American Painters and Sculptors at the Sixty-Ninth Regiment Armory in New York City, has been considered the only exhibition of the early 20th century whose scope and significance equaled avant-garde activity in Europe. Historians have maintained that the American artists and public were unequal to the challenge of European modem art, but the number of modem art exhibitions from 1913 to 1918 alone indicates that the contrary is true. 1 A reexamination of surviving documents catalogs, critical reviews, records of dealers and collectors-reveals that the quantity and variety of exhibitions of progressive native and foreign art increased after the Armory Show, especially in New York City where numerous smaller avant-garde shows were held. Will Hutchins, writing for The Trend, remarked that the first anniversary of that historic exhibition marked a growing confrontation \"with the demon of revolt, or the angel of resurrection, according to the personal point of view . . .\" 2 Between 1913 and 1918, thirty-four New York galleries, organizations, and private clubs sponsored approximately 250 exhibitions of American and European painting and sculpture regarded by the public as \"modem\" or \"progressive.\"3 For Americans during that five-year period, the meaning of the term \"modem\" was more inclusive than it is now. The vanguard shows covered a spectrum from Arthur Davies to Arthur Dove. The art of the former was accepted as stylishly contemporary; that of the latter aroused controversy as a form of \"extremism.\" Similar diversity characterized the definition of European modem art. The sensitive, ethereal work of Odilon Redon

History of Mormon Exhibits in World Expositions

Abstract: the history of mormon exhibits in world expositions is an important chapter in the overall er accounting of the church of jesus christ of latterday saints day total missionary program r dp in ra n seeking more proficient means for accomplishing this task involvement in world expositions offered a fresh opportunity to which the church quickly responded finances inexperience acceptance nonacceptanc n by the world religious community and struggle for rity fairs eventually as the church strengthened it became less the national spectacle and significantly was given its first real world rlds s fair opportunity in an exhibit sponsored by the smithsonian institute at the 1909 exposition the first totally religious mormon exhibit was at chicago in 1933 d the first mormon pavilion was built for the 1935 san diego exposition the church has since sponsored five pavilions and has noted that from the standpoint of number of people influenced compared to missionary manhours an expended there has been no greater success experienced by the church than in recent world fair involvements COMMITTEE APPROVAL U 4fejla richard chairman ya 7 y y r J T y leon R hartshorncommittee member A & lmar cherrett b CB department errett chairman 11

Research and Prediction: The inaugural Hartley Lecture delivered at the Royal Society, 21 May 1974

Abstract: I think it must have been Harold Hartley’s sense of history which first marked me down for his attention. In 1950 he had been President of the British Association for the Advancement of Science. 1951 was the centenary year of the Great Exhibition, inspired and largely managed by Prince Albert. Harold apparently made up his mind that it would be appropriate for me to succeed him as President of the British Association for that anniversary year. Furthermore, he hoped thereby to enlist my interest in all things scientific in the expectation that this connexion would give encouragement to scientists. In this way, at the age of 30, I was ‘Hartled’ into a position for which I had absolutely no qualifications whatever and which is usually reserved for the most distinguished scientists of the day. What is more, I was a serving Naval Officer with the Mediterranean Fleet and therefore not entirely unoccupied. It was Sir David Martin who first publicly referred to the verb ‘to Hartle’ which is declined like this: ‘I think’, ‘You do’, ‘It is successfully accomplished.’ Sir David Martin explained the process this way: ‘If Harold, in his persuasive way, says he thinks something or other should be done and convinces you that you can help, you don’t gripe about it, you put off other things to do what he suggests and do it much better than you thought you were capable of doing it.’

A Design for a Mobile, Audio-Tactile Exhibition for Blind and Sighted School-Age Children:

Abstract: The exhibition consists of four modules, each of the first three devoted to a simple geometrical shape (square, circle, triangle); the fourth illustrates the combination of these forms in everyday ...

The New Smith College Museum of Art

Abstract: In February, 1973, Smith College opened the doors of Tryon Hall, the newest and fourth home of the Smith College Museum of Art. The Museum occupies one building in a large Fine Arts Center. The art department is housed in the adjacent Hillyer Hall which contains offices, library and studio spaces, and lecture halls. Because of the complexities of the buildings and because the Museum is the entity for which this writer has the primary responsibility, this article will deal only with the Museum.Although the art department moved into its portion of the newly completed structure in September, 1972, the Museum did not open to the public until its collections had returned from the diaspora. Objects had been sent in several directions. Fifty-eight paintings had traveled to mid- and southwestern museums in an exhibition entitled 19th and 20th-century Paintings from the Collection of the Smith College Museum of Art. In addition, many works of art were individually lent to museums. The bulk of the collection remain...