Showing papers on "Exhibition published in 1978"

Science, Technology and Education: England in 1870

Abstract: My lecture is about the diffusion of science and technology, through education, into the culture and economy of a society. As the journal Nature wrote early in I870, "Education and science so naturally associate themselves in the mind that it is hardly possible to discuss the latter as independent of the former" [I]. Here historians of science find common territory with economic and social historians, political historians, historians of education [2] and with some eminent scientists; Lord Ashby has been a notable pioneer in the subject [3]. Why I870? Because it is one of the dates which form natural breaks in history books. Momentous upheavals were occurring in the power structure of the world. The FrancoPrussian War in I870, so short, yet so far-reaching in its consequences, was followed by the unification of Germany. Italy too was unified in I870. Japan had thrown off feudalism. The United States had just emerged from the Civil War, its unity symbolised by the opening of the first railway line linking the Pacific and Atlantic Oceans. Simultaneously a new stage of industrialisation was beginning, dependent upon mass production and science-based technology [4]. Innovations in steel, electricity and chemicals, based on the scientific advances of the previous o00 years, heralded vast economic potentialities. Through these key industries science began to affect the whole economy. From about 1870 science, previously peripheral to technology and industry, became central to them. What of Britain in I870? Still the leading industrial nation, she produced nearly a third of the world's manufactures while the United States produced less than a quarter and Germany I3%. Moreover, 1870 seemed a creative period of reform with votes for the industrial working classes; legalisation of trade unions; open competition for the Civil Service and the first Act for publicly provided elementary schools. Yet at this moment British self-confidence wavered. The immediate occasion was the Paris International Exhibition of 1867, which aroused British fears of vanishing supremacy rather as the first Sputnik aroused United States fears ninety years later. Out of ninety classes at the Exhibition Britain was prominent in scarcely a dozen. Two reasons were advanced: inadequate scientific and technical education and that old favourite, the trade unions. The Paris Exhibition was the alarm bell which first awoke the British Government's interest in Science, with a capital S, but it was not the first warning. Babbage had led a 'decline of science' movement in the I83os [5] and while the London Great Exhibition of I85I had confirmed British industrial supremacy, it also showed the growing dependence of industry on scientific and technical competence.

China's World's Fair of 1910: Lessons from a Forgotten Event

Abstract: From before the turn of the century, the great powers held large commercial, industrial and technological exhibitions to show off the fruits of progress and to give their citizens a glimpse of where civilization was headed World fairs thus provided one window into the future But it must be remembered that such events also constructed monuments to their own era—an age when jingoism and a paradoxical recognition of the shrinking nature of the globe coexisted before the road to war In the final analysis, the grand exposition, with its curiosity about other peoples and nations and its faith nonetheless that mechanical invention would soon make everyone much the same, was a place where imperialists met in thinly disguised competition How strange it must seem, then, to learn that the last Chinese dynasty, having just discovered the power of nationalism, attempted an international exposition of its own in the summer of 1910 at the same time that the ‘Festival of Empire Exhibition’ was booked into London's famed Crystal Palace

The Life of Knut Wicksell and Some Characteristics of His Work

Abstract: Knut Wicksell was born in Stockholm in 1851. This was the year of the Great Exhibition in London, to which millions of people from the British Empire and the Western world came to admire the products of a rapidly expanding industrial system. In 1851 John Stuart Mill had married Mrs Taylor and with her begun to work on the radical pamphlets which were to be of a far greater general influence than the Principles of Political Economy he had recently published. 1851 was also the year of birth of two other members of the rising profession of economists—Bohm-Bawerk and von Wieser—and several of their colleagues-to-be were born only a few years earlier: Wicksteed, Edgeworth, Clark and Pareto.

Seventy-Five Years of Art in Dallas: The History of the Dallas Art Association and the Dallas Museum of Fine Arts

Abstract: Catalog from the exhibition, "Seventy–Five Years of Art in Dallas: The History of the Dallas Art Association and the Dallas Museum of Fine Arts," January 25–March 12, 1978, held at the Dallas Museum of Fine Arts. Includes: essay, images, trustee list.

Frederic Bazille and early impressionism

Abstract: This exhibition is the first one entirely devoted to this artist in the United States. It enlarges upon the scope of past exhibitions at the Art Institute in being more than a retrospective of one artist. Bazille met Renoir, Sisley and Monet in the studio of the Academic painter Gleyre. All artists worked together, sharing studios and models. Together with Bazille's work paintings by these other artists will be shown, as well as paintings by lesser known artists, such as the German painter Otto Scholderer who appears next to Bazille in Fantin-Latour's Atelier des Batignolles. Also included will be painters of the South of France (Bazille was born in Montpellier) such as Eugene Castelnau, a personal friend of Bazille and Paul Guigou. The catalogue will include an essay on Bazille and early Impressionism, and another on Bazille and Edmond Maitre, a dilettante friend of his whose influence on the group of young painters was tremendous. The catalogue will also present for the first time in English the correspondence of Bazille with his parents. All works will be reproduced, fully catalogued and commented on. The exhibition was made possible through the generosity of many private and public collections, including the Musde Fabre, Montpellier, the Louvre, the Metropolitan Museum of Art and the National Museum of Western Art, Tokyo. It will be shown in Chicago only. A short film on Bazille, realized by Roger Leenhardt, will be shown in connection with the exhibition.

Art and the National Image: The Conflict over Germany's Participation in the St. Louis Exposition

Abstract: IN 1902 Germany agreed to take part in the international exposition to be held in St. Louis two years later. She accepted the invitation without much enthusiasm. Her finances were strained, and there had been far too many international fairs, congresses, and trade shows recently; industrialists and government officials spoke ofa general Ausstellungsmudigkeit in the country.1 Nevertheless, like most powers Ger? many eventually gave in to the apparent requirements of international competition and to persistent American pressure. Ofthe many parts of the German exhibition, the art sector proved the most troublesome to organize. German artists, unlike manufacturers or academics, belonged to competing associations, whose differences had become nearly irreconcilable because the emperor favored one side over the other. Wil? liam II had originally proposed that to save money German representa? tion in St. Louis be limited to a show of painting and sculpture instead ofa general exhibition of cultural and material achievement. Even after it was decided to expand the Reich's participation to keep pace with that of the other major powers, the emperor continued to be particu-

Whitney Museum of American Art: Independent Study Program

Abstract: Graduate and undergraduate students from around the country study studio art or art history-museum practices in this museum program designed to give them the best the New York art scene has to offer: experience in exhibition and administration in a museum; seminars and individual study with famous artists, art critics, and art historians; their own studio space with instructors who guide rather than teach; visits to other museums and galleries.

Selected New Books: The Decorative Arts. Part 1

Abstract: The literature of art traditionally concentrates on the fine arts and, to a lesser extent, the applied and decorative arts. There is a vast amount of spadework to be done in researching the history of design (especially 20th century design). Often, periodical articles or exhibition catalogues are the only source of published documentation. Since exhibitions are dealt with in another section of the journal, here I shall look at some recent books. I have further limited this selection to exclude architecture and the graphic arts. I have chosen books which are visually stimulating and of use to the practical designer as well as works of a more academic approach.

Young American Artists : 1978 Exxon National Exhibition

Abstract: Shearer briefly introduces 13 American artists. Includes interviews with the artists. Biographical notes. 19 bibl. ref.

Overview 1972-1977 : An Exhibition in Two Parts

Abstract: Robin provides a short history of this women's gallery in New York during the 1970s. Includes samples of members' work, biographical notes, and some artist's statements. List of exhibitions and publications by A.I.R.

Independent Curators Incorporated

Abstract: A new concept—at once “museum without walls,” educational institution, and avant-garde artists' representative—ICI places the combined resources of the curatorial and educational departments of a contemporary art museum at the service of other institutions. A non-profit organization with offices in Washington and New York, ICI offers traveling exhibitions designed for smaller museums, university art galleries, and art centers, specialized educational programs, workshops for guides, docents, teachers and students, and short term curatorial assistance.Now in the midst of its third season, ICI was founded by its current co-Directors, Susan Sollins and Nina Sundell. While the services of ICI are available to any client organization, both Ms. Sollins and Ms. Sundell agree that they are most interested in solving the interrelated problems faced by small arts institutions.

Archaeological News from Cyprus, 1976

Abstract: The following report summarizes the principal archaeological activities in Cyprus for the year 1976. Despite the present anomalous situation in the island and the inaccessibility of many museums, archaeological sites and ancient and historic monuments as a result of the Turkish occupation of the northern part of the island, the archaeological services of the Republic of Cyprus continued activities in the unoccupied part. This was made possible with the moral and material support of the Government of the Republic of Cyprus, the Cyprus Church authorities, the Ministry of Culture and Science of Greece and the Archaeologike Etaireia Athinon. Generous grants were also received from the Academy of Athens, from the Psychas Foundation, and from other countries. The Cyprus Museum, closed since 1974, was partly reopened to the public. Principal publications include the Report of the Department of Antiquities 1976. The archaeological Survey Branch and the Monuments Branch, including the restoration services, had another busy year. International interest in the archaeology of Cyprus continued. Members of the Department of Antiquities were invited to lecture in various universities and before learned bodies in Europe and America and, as will be seen below, a number of foreign expeditions resumed excavations. An exhibition of ancient Cypriote art, which is touring the United States, was inaugurated in Washington in collaboration with the Smithsonian Institution Travelling Exhibition Service in commemoration of the Bicentennial Anniversary of the American Revolution.