Showing papers on "Exhibition published in 1983"
Book•
01 Jan 1983
23 citations
TL;DR: For instance, the authors presents an exhibition of William Blake: His Art and Times, the work of David Bindman, organized by the Yale Center for British Art and the Art Gallery of Ontario.
Abstract: William Blake as a poet and prophet has long attracted an enthusiastic coterie, but Blake as an artist has only recently received the same kind of scrupulous attention that has been accorded his writings. In America, it has in fact been professors of English literature who have written most incisively on his art, but in England two art historians—Martin Butlin and David Bindman—have made the greatest contributions. In recent years, there have been not only a number of landmark publications, such as Butlin's catalogue raisonne, but also several exhibitions that have introduced Blake to a wider audience. The most elaborate of these was held at the Tate Gallery in London in 1978, a show expertly compiled by Butlin that offered an incomparable view of the full extent of the artist's achievement. Fortunately for North American audiences, another ambitious exhibition, William Blake: His Art and Times, the work of David Bindman, has been organized by the Yale Center for British Art and the Art Gallery of Ontario.
21 citations
Book•
01 Jul 1983
TL;DR: The last Grant Wood exhibition in New York City was in 1936 as mentioned in this paper, and since then nearly half a century has passed with its attendant births and deaths, assessments and reassessments, of art movements.
Abstract: There can be no question as to the timeliness of the extensive reexamination of Grant Wood and the Regionalist vision organized by The Minneapolis Institute of Arts and curated by Wanda Corn. The last Grant Wood exhibition in New York City was in 1936. Since then nearly half a century has passed with its attendant births and deaths, assessments and reassessments, of art movements. There have been numerous exhibitions of other thirties' movements, such as Precisionism, Social Realism, New Deal art, in general and specific. Individual “American Scene” painters, such as Hopper, Burchfield, and Marsh, have been given their due. And, of course, Modernism's many sides have undergone extensive analyses by curators and scholars.
14 citations
01 Jan 1983
TL;DR: For a juried quilt exhibition, Siddall comments on transformations occurring in this traditional art form as mentioned in this paper, and the transformations occur in this art form in a variety of ways.
Abstract: For a juried quilt exhibition, Siddall comments on transformations occurring in this traditional art form.
13 citations
Book•
01 Jan 1983
12 citations
Journal Article•
9 citations
Book•
01 Jan 1983
TL;DR: The Triumph of Art for the Public, 1785-1848: The Emerging Role of Exhibitions and Critics as discussed by the authors is a book about the development of art for the public.
Abstract: The Description for this book, The Triumph of Art for the Public, 1785-1848: The Emerging Role of Exhibitions and Critics, will be forthcoming.
7 citations
Book•
01 Jan 1983
6 citations
Book•
01 Jan 1983
TL;DR: The Family of Man (FOMA) exhibition as mentioned in this paper was the most successful and inspiring exhibition of photography ever assembled, and was the permanent embodiment of Steichen's monumental exhibition, reproducing all of the 503 images that Steichen described as "a mirror of the essential oneness of mankind throughout the world".
Abstract: Hailed as the most successful and inspiring exhibition of photography ever assembled, the Family of Man opened at The Museum of Modern Art in January 1955. This book, the permanent embodiment of Steichen's monumental exhibition, reproduces all of the 503 images that Steichen described as "a mirror of the essential oneness of mankind throughout the world...Photographs, made in all parts of the world, of the gamut of life from birth to death...Photographs of lovers and marriage and child-bearing...Photographs concerned with man's dreams and aspirations and photographs of the flaming creative forces of love and truth and the corrosive evil inherent in the lie." This is a classic and inspiring work, in print for more than forty years.
5 citations
TL;DR: On April 13, 1902, Paul Klee noted in his diary that he saw a disappointing exhibition at the Galleria d'Arte Moderna in Rome: “The only good things are the drawings, etchings, and lithographs of the French as mentioned in this paper.
Abstract: On April 13, 1902, Paul Klee noted in his diary that he saw a disappointing exhibition at the Galleria d'Arte Moderna in Rome: “The only good things are the drawings, etchings, and lithographs of the French. First of all Rodin with his caricatures of nude figures.” This episode confirms our suspicion that when we inquire about the nature of caricature, we are dealing with a concept whose meaning is not obvious.
5 citations
TL;DR: The first half of the exhibition was devoted to tradi-fi-cial buildings as discussed by the authors, with a focus on earth and mud building. But the second half was dedicated to traditional buildings in this material.
Abstract: naire', it was organised by Jean Dethier with the aid of teams of designers, historians, draughtsmen, model-makers, display builders and producers of the 'Produits Culturels' designed to accompany the exhibition, whose names fill three pages of the lavishly produced catalogue. It is intended that the exhibition should be rehoused in prestigious locations in different countries for the next five years, and it is the fervent wish of Dethier and his organising team that it will promote a renaissance in earth building. Des Architectures de Terre placed great emphasis on the beauty of earth and mud building, with seductive photographs of examples from many parts of the world (Fig. 1). They were mounted on the backs of panels made somewhat incongruously from fibreglass which so strenuously emphasised the decorative nature of some buildings in this material as to create a gingerbread house, Noddy-land imagery. Fortunately, the moulded panels could not detract from the impressive quality of the examples illustrated though they did reflect the partiality of Jean Dethier for the aesthetic appeal of his subject in such sections as 'De L'Ornamentation...', 'De La Sensualite'...', 'Du Confort des Architectures de Terre'. The first half of the exhibition was devoted to tradi-
TL;DR: The New York Exhibition of the Industry of All Nations as discussed by the authors was the first attempt to pursue the aims and imitate the success of the great London exhibition of 1851, and early in 1852 the New York Board of Aldermen granted a concession on a tract just west of the Croton Reservoir (between 40th and 42nd).
Abstract: The New York Exhibition of the Industry of All Nations was the first attempt to pursue the aims and imitate the success of the great London exhibition of 1851. The most remarkable thing about that event had been its setting, dubbed by Punch the “Crystal Palace.” Though a number of visitors from the United States had aired the notion of staging an American Crystal Palace exhibition, the first tangible plans were devised by Edward Riddle, who has served as U.S. Commissioner to the London Crystal Palace. Riddle was a Bostonian, but New York was clearly the place for such a venture, and early in 1852 the New York Board of Aldermen granted a concession on a tract just west of the Croton Reservoir (at Sixth Avenue between 40th and 42nd). Soon afterward, however, Riddle had to relinquish control of the enterprise to a new group of backers, all New Yorkers with close ties to Wall Street, Washington, and London. Included among them were August Belmont, Alexander Hamilton, Jr., William Cullen Bryant, Edward K. Collins, and members of such families as the Schuylers and the Livingstons. Their leader was Theodore Sedgwick, a well-connected lawyer with a reputation as an eminent student of judicial and political reform, and with ties to the world of letters through his friend Bryant and his aunt, the novelist Catherine Maria Sedgwick.
Book•
01 Jan 1983
Book•
01 Jan 1983
TL;DR: Asher makes "accessible to readers and viewers the documents of an artistic practice that one could characterize as being both extremely ephemeral and [...] at the same time among the most concrete and materialist aesthetic productions of the 1960s and 1970s".
Abstract: Asher makes "accessible to readers and viewers the documents of an artistic practice that one could characterize as being both extremely ephemeral and [...] at the same time among the most concrete and materialist aesthetic productions of the 1960s and 1970s." Writings, photographs, and architectural drawings for 33 projects by Asher document ten years of work. List of exhibitions. Bibl. 4 p.
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01 Jan 1983
TL;DR: In this paper, an exhibition of works by Robert Blacklow et al. was mounted by the Fine Arts Committee, University of Tasmania and exhibited at the Museum of Art, Tasmania.
Abstract: Design in wood [an exhibition of works by Robert Blacklow ... et al]
Exhibition mounted by the Fine Arts Committee, University of Tasmania
7 leaves : ports. ; in cover, 29 cm.
TL;DR: New York's Metropolitan Museum of Art recently circulated "New Perspectives: Art Museums and the Vision Impaired", an exhibition that explored the potential for visually handicapped visitors to visit art museums as mentioned in this paper.
Abstract: New York's Metropolitan Museum of Art recently circulated “New Perspectives: Art Museums and the Vision Impaired,’ ’ an exhibition that explored the potential for visually handicapped visitors to b
TL;DR: The main feature of the issue of Architectural Association Journal as mentioned in this paper was a report on the Department of Tropical Studies at the University of Lagos, where 27 students had undertaken the First Term project for the ‘Design of School Building for Industrialised Production’, which presented problems in three contrasting climatic, technological and economic conditions.
Journal Article•
TL;DR: The last week of October 1982 was indeed historic: major surveys of the work of two of the founding fathers of American art, Charles Willson Peale and John Trumbull, opened almost simultaneously at the National Portrait Gallery and the Yale University Art Gallery, respectively as mentioned in this paper.
Abstract: For American art, the last week of October 1982 was indeed historic: major surveys of the work of two of the founding fathers of American art, Charles Willson Peale and John Trumbull, opened almost simultaneously at the National Portrait Gallery and the Yale University Art Gallery, respectively. Having gone directly from Washington to New Haven and viewing the Trumbull show with the memory of the Peale exhibition perfectly fresh, I had the impression that Peale was the more accurate observer but Trumbull the more ambitious artist. This difference is reflected in their careers: Peale was ever the scientist, analyzing a face or pouring his energies into his natural history museum; Trumbull, except for a period in the 1790s, was ever the artist, yearning to join the company of his avatars, the masters of Western art. The curator of the Trumbull exhibition, Helen A. Cooper, by electing (correctly, in my view) to show the artist's exceptionally broad range rather than only his best work, emphasized the aspect ...
Book•
01 Apr 1983
TL;DR: Reflections of Reality in Japanese Art as discussed by the authors explores the realistic approach taken by many Japanese artists over the centuries; the current exhibition comprises paintings and sculpture from approximately 3,000 B.C. to the end of the nineteenth century.
Abstract: Sherman Lee's final exhibition at the Cleveland Museum (March 16–May 1, 1983) is one of the few exhibitions of Oriental art to be conceptually based rather than representing a period, school, or medium. Reflections of Reality in Japanese Art explores that fascinating and theoretically dangerous question: What is real? In many ways, this show is the counterpart to Japanese Decorative Style, an influential exhibition organized by the Cleveland Museum in 1961. The notion that Japanese art has been primarily decorative has persisted since that time, despite considerable evidence to the contrary from the wide range of paintings, prints, sculpture, ceramics, lacquerware, and other mediums over the course of Japan's long artistic history. In contrast to the decorative, Lee here explores the realistic approach taken by many Japanese artists over the centuries; the current exhibition comprises paintings and sculpture from approximately 3,000 B.C. to the end of the nineteenth century. A smaller exhibition of Japane...
Journal Article•
TL;DR: The organized presentation of contemporary art to a wide public began in the Netherlands in the French period and after the French model, with the first public exhibition of work by living masters in 1808 Regular exhibitions of the same type followed, at first held biennially in Amsterdam and The Hague alternately and after 1820 in other towns as well as discussed by the authors.
Abstract: The organized presentation of contemporary art to a wide public began in the Netherlands in the French period and after the French model, with the first public exhibition of work by living masters in 1808 Regular exhibitions of the same type followed, at first held biennially in Amsterdam and The Hague alternately and after 1820 in other towns as well Art criticism began to be published around the same time, mostly in magazines of a literary character The bibliography given here covers the period from c 1800 to 1840, when the first specialized art periodicals began and the criticism thus becomes more accessible It includes reviews of exhibitions in the Southern Netherlands up to 1830- I Part I comprises a chronological list of catalogues and reviews of the exhibitions of works by living masters, plus any additional comments on them, Part II an alphabetical list of the periodicals covered The bibliography has been made as wide in scope as possible, but lays no claim to completeness It does not include announcements and programmes of exhibitions as these were invariably published in the Algemeene konst- en letterbode
TL;DR: In this paper, an analytical bibliography of pre-Islamic archaeology in Iran covers the years 2004 to 2010 and contains 1412 entries, which is based on the same concept as the previous five volumes.
Abstract: This analytical bibliography of pre-Islamic archaeology in Iran covers the years 2004 to 2010 and contains 1412 entries. It is based on the same concept as the previous five volumes. A first part covers general works, has chapters on methodology, architecture and iconography covering various periods, as well as a chapter on exhibitions and collections. A second part is devoted to the archaeological sites, listed along the principal regions. The third part lists the publications arranged in chronological sections. An index of authors is provided.
TL;DR: The Nuremberg: A Renaissance City, 1500-1618 exhibition as mentioned in this paper explores the history of sixteenth-century German art and its connections to modern art, and the fact that the city contained other important artists as well as a continuing vitality in virtually every art medium.
Abstract: Too many American students of sixteenth-century German art have the impression that Nuremberg is Durer and Durer Nuremberg, not to mention the notion that somehow everything in Nuremberg came rapidly to a halt after the advent of the Reformation in the middle 1520s. That the city contained a profusion of other important artists as well as a continuing vitality in virtually every art medium emerges as a central lesson of the major new exhibition Nuremberg: A Renaissance City, 1500–1618.
Journal Article•
TL;DR: In this article, the authors investigated the relationship between five aspects of clothing behavior and needs for exhibition and autonomy among high school girls. And they found that the need for exhibition was positively related to clothing exhibition and fashion interest.
Abstract: The purpose of this study was to investigate the relationship between five aspects of clothing behavior and needs for exhibition and autonomy among high schoolgirls. Five aspects of clothing behavior were studied: fashion interest, clothing exhibition, attitudes toward the abolition of the school uniform and control of school dress. A questionnaire of 20 items prepared by Kahng, Lee, and Creekmore was used to assess fashion interest and clothing exhibition. Assessment of attitudes toward the abolition of school uniform and control of school dress was made with questions devised for this study and included several modified items from Kim's questionnaire. Preferences for fashion style were determined by line drawings representing current fashion and outdated fashion. The questionnaires were administered to 341 second year senior high school girls from three types of schools. Statistical analysis was performed using the correlation coefficient, chi-square test, ANOVA, The results were: 1) The need for exhibition was positively related to clothing exhibition and fashion interest, that is, students who had a higher need for exhibition were more interested in clothing exhibition and fashion. 2) The need for autonomy was positively related to attitudes toward the abolition of school uniform and control of school dress that is, students who had a higher need for autonomy wanted the abolition of school uniform and less control of school dress. 3) Fashion interest was positively related to preference for fashion style, that is, students who a higher fashion interest prefered fashinable styles in the selection of new clothes. 4) Scores of clothing exhibition and attitudes toward loosening of control of school dress were significantly different among three types of school. The orders from highest to lowest are following: single-sex preparatory, coeducational preparatory, vocational high school.