Showing papers on "Exhibition published in 1991"

Schedule management method

Abstract: A method of managing information used and generated in the scheduling and exhibition of performances is disclosed. A video network includes a video server that operates several video recorders to simultaneously exhibit video performances or programs on a plurality of channels. The video server is controlled in real time in accordance with data presented to it in an exhibition plan. The exhibition plan is generated through the performance of an exhibition manager process which operates on a computer. The exhibition manager manages information related to the performances to be exhibited, schedules the performances in accordance with user-supplied timing data, prints reports, and maintains a personal information manager having a database describing studios, contacts, and other information related to licensing the performances for exhibition on the network. The information related to performances includes repeat factors and short titles which the exhibition manager calculates. The scheduling activities of the exhibition manager automatically schedule repeated exhibitions of a performance in accordance with the performance's repeat factor. An inventory manager takes the exhibition manager's schedule and automatically expands it to schedule individual media copies of performances. The inventory manager automatically prints purchase orders and tracks media copies after they are received. Unique codes are affixed to the media copies and to the places where the media copies might possibly reside. Portable scanners are used to associate an employee id, a media copy code, a location code, and a date and time stamp together to track inventory and to provide accountability for the media copies.

Inventory management method

Abstract: A method of managing information used and generated in the scheduling and exhibition of performances is disclosed. A video network includes a video server that operates several video recorders to simultaneously exhibit video performances or programs on a plurality of channels. The video server is controlled in real time in accordance with data presented to it in an exhibition plan. The exhibition plan is generated through the performance of an exhibition manager process which operates on a computer. The exhibition manager manages information related to the performances to be exhibited, schedules the performances in accordance with user-supplied timing data, prints reports, and maintains a personal information manager having a database describing studios, contacts, and other information related to licensing the performances for exhibition on the network. The information related to performances includes repeat factors and short titles which the exhibition manager calculates. The scheduling activities of the exhibition manager automatically schedule repeated exhibitions of a performance in accordance with the performance's repeat factor. An inventory manager takes the exhibition manager's schedule and automatically expands it to schedule individual media copies of performances. The inventory manager automatically prints purchase orders and tracks media copies after they are received. Unique codes are affixed to the media copies and to the places where the media copies might possibly reside. Portable scanners are used to associate an employee id, a media copy code, a location code, and a date and time stamp together to track inventory and to provide accountability for the media copies.

Museum languages : objects and texts

Abstract: Part 1 Objects and people: making sense of exhibits, Paulette McManus perceptions of objects - museum artefacts in a world of goods, Alan Radley how objects become meaningful, Eileen Hooper-Greenhill. Part 2 Images and meanings: is the spark plug mightier than the pen? - text and object in the museum, Ghislaine Lawrence partial truths - representations of women in museums, Gaby Porter museum images of a multicultural society, Nima Smith. Part 3 The language of exhibitions: objects and meanings - a post structuralist approach, Susan Pearce museum semiotics, Maria Baretto how language means an alternative view of museum text, Helen Coxall.

Art After Philosophy and After: Collected Writings, 1966-1990

Abstract: Text notes on conceptual art and models editorial in 27 parts notes on specific and general art after philosophy statement for Whitney Annual Exhibition, 1969 footnote to poetry introductory note to art-language by the American editor introduction to function a short note - art, education and linguistic change art as idea as idea - an interview with Jeanne Siegel information 2 statement from information statement from software notes on Crane influences - the difference between "How" and "Why" context text painting versus art versus culture (or why you can paint if you want to, but it probably won't matter) statement for the congress of conceptual art (notes) on an "Anthropologized" art a notice to the public the artist as anthropologist 1975 work within the context - modernism and critical practice comments on the second frame a long night at the movies text/context - seven remarks for you to consider while viewing/reading this exhibition 1979 on Ad Reinhardt on Picasso notes on Cathexis necrophilia mon amour art and its public on Yves Klein a note to readers fort! da! on masterpieces a preliminary map for zero and not qua-qua-qua no exit "Philosophia Medii Maris Atlantici", or, re-map, de-map (speak in the gaps) history for the play of the unsayable - a preface and ten remarks on art and Wittgenstein statement for ex libris, Frankfurt (for W.B.) teaching to learn (a conversation about "How" and "Why") Joseph Kosuth - a bibliography.

Movie History : A Survey

Abstract: Contents Acknowledgements Illustrations Preface SECTION 1: The Silent Cinema 1895-1927 Chapter 1: The Invention and Innovation of the Motion Pictures Case Study 1: Who Went to See Early Movies in the USA? Chapter 2: The Triumph of Hollywood Case Study 2: Government Control of What Audiences Saw - The Battle on Film Censorship in Germany and the USA Chapter 3: Hollywood Establishes the Classic Narrative Style Case Study 3: The Acceptance of the Classical Hollywood Filmmaking Style Chapter 4: Influential Alternatives to Hollywood: European Cinema Case Study 4: Carl Dreyer - A Danish Individualist Chapter 5: Experiments in Filmmaking: The USSR Case Study 5: Evaluation in Movie History - The Case of Odessa Steps SECTION 2: The Hollywood Studio Era 1928-1950 Chapter 6: The Coming of Sound & the Studio System Case Study 6: The Coming of Sound to Europe - The Triumph of National Film Production in Holland Chapter 7: The First Golden Age of Hollywood Movie Making Case Study 7: How was the Moviegoer Affected by the Movies? - Reconstructing the Meaning of Movies and Movie Going with the Help of Oral History. Chapter 8: European Alternatives to Hollywood: France, Britain, Germany and Italy Case Study 8: What Did the European Moviegoer Really Like? - Reconstructing the taste of the Moviegoer with the Help of Film Programming and Statistics. SECTION 3: The Television Era 1951-1975 Chapter 9: Television, Wide-Screen and Colour Case Study 9: Film Societies as Alternative Spaces for Movie Exhibition Chapter 10: A Transformation of Hollywood Movie-Making Case Study 10: A Critic who Changed the Status of Hollywood Movies Chapter 11: The European Art Cinema Alternative Case Study 11: Art Movie Theaters in the USA Chapter 12: Alternative Film Industries - The Soviet Union, Eastern Europe, South America, Australia and Japan Case Study 12: The Importance of Film Festivals SECTION 4: The Video to Digital Era 1975-2010 Chapter 13: Contemporary World Cinema History - 1975 and Beyond Case Study 13: Film Historical Research in the Digital Age Chapter 14: Hollywood Thrives Case Study 14: The Reception of James Cameron's Avatar Bibliography Glossary Index

Impressionist Installations and Private Exhibitions

Abstract: This article situates the changing installation practices of the Impressionist exhibitions in relation to a variety of late nineteenth-century Paris art venues, including the Salon, art circles such as the Mirlitons, the dealers Georges Petit and Durand-Ruel, and the Societe des Independents. Relying principally on documentation from critical reviews and contemporary illustrations, the author correlates display practices with understandings of contemporary art that revolved around the issues of the decorative and the autonomous tableau, the private and the public space.

Africa Explores: 20th Century African Art

Abstract: Africa Explores: 20th Century African Art, at the Center for African Art, New York, NY, through January 5, 1992; Dallas Museum of Art (February 9-April 5, 1992); St. Louis Art Museum (May 15- July 5, 1992); Mint Museum of Art, Charlotte, NC (August 8-October 11, 1992); Carnegie Museum of Art, Pittsburgh, PA (November 7-January 10, 1993); Corcoran Gallery of Art, Washington, DC (February 6-April 4, 1993). catalogue of the exhibition, published by the Center for African Art and Prestel-Verlag, is available for $39 (softcover) and $70 (hardcover).

Impact of research on the approach to the visiting public at the Natural History Museum, London

Abstract: The Natural History Museum's new‐style educational exhibitions were initially based on the principles of programmed learning. Research on the first of these exhibitions, by Alt and Shaw and Griggs, looked at how visitors perceive the exhibits and what criteria they use to judge them. The results of this research, coupled with those from a variety of sources on how visitors use museums, have led to a change in approach. The most recent exhibitions, while still employing sound principles of communication and upholding the original educative purpose, are more visitor oriented. They are designed on the basis of detailed knowledge of the audience, pay attention to the entire gallery as an experience rather than concentrating on the individual exhibits, and take affective as well as cognitive objectives into account.

Max Ernst Collages: The Invention of the Surrealist Universe

Abstract: Twentieth-century art can be understood fully only from a perspective that ignores boundaries between countries and continents. Werner Spies has always had on open eye and mind for developments on both sides of the Atlantic, and his critical appraisals of trends in both Europe and the USA continue to be a stimulating feature of writing on art at an international level. He has followed events in the international art world for over 40 years, as a close friend of artists, as a teacher, as a critic, and as a curator of major international exhibitions. Spies's collected writings first appeared in German in 2008. That enormously successful edition is already out of print, but it is now being made available to an international audience in English for the first time. The 10 volumes, beautifully printed with over 1,400 full-colour illustrations, and presented in a slipcase designed by Andreas Gursky, is destined to be a collector's item The significance of these writings lies in the author's varied approach to his subjects and especially to his intense engagement with actual works of art, derived from his long friendship with many artists and countless visits to their studios. In their wealth of detail, and in their refl ection of personal encounters and impressions, Spies's writings constitute an important resource on the art of the twentieth century.

If You Lived Here : The City in Art, Theory, and Social Activism : A Project by Martha Rosler

Abstract: Documenting and extending the work of the exhibition, a series of critical essays address the city as socially, economically and politically produced, the causes of homelessness, and the relation of art to the city. Includes discussions of urban planning and housing projects and of tenants' fight to defend their neighborhoods. Circa 180 bibl. ref.

Museum economics and the community.

Abstract: Part 1 Museums - an economic perspective performance indicators - promises and pitfalls sight, disability and the museum planning for visitors cultural imperialism? reflections on the social and economic impact of the fortress of Louisbourg, Canada. Part 2 Augustus Pitt rivers and the typological museum idea the elepe's beadwork - a question of legitimacy. Part 3 Reviews - the video "Building New Audiences for Museums" "Children's Clothes" "Picturing Power" Taiwan, its natural history and its new natural science museum the crisis of representation in museums - the exhibition, "The Spirit Sings" the GREM conference, Montreal 1990 call for papers for forthcoming volumes.

Home Movies of the Avant-Garde: Jonas Mekas and the New York Art World

Abstract: The Art World of Avant-Garde Film. Jonas Mekas is a central figure in the consolidation of the postwar avant-garde film community. His life and work are dedicated to the establishment of film as an art form. In this endeavor, he has collaborated in the construction-of an art world, as defined by sociologist Howard Becker. In Art Worlds, Becker develops his institutional theory of art: "Art worlds consist of all the people whose activities are necessary to the production of the characteristic works which that world, and perhaps others as well, define as art. Members of art worlds coordinate the activities by which work is produced by referring to a body of conventional understandings embodied in common practice and in frequently used artifacts. The same people often cooperate repeatedly, even routinely, in similar ways to produce similar works, so that we can think of an art world as an established network of cooperative links among participants."2 The avant-garde film community may be thought of as an art world, a subset of the larger contemporary art world in the United States. As a critic, journal editor, distributor, filmmaker, exhibitor, fundraiser, archivist, and teacher, Mekas has fought to place film on equal footing with the other arts of modernism. Through his writings, lectures, and films, Mekas has worked to build a community of filmmakers and a sophisticated audience receptive to their art. I will explore Mekas's contribution to the construction of an art world of avant-garde film in the institutional frameworks of production, distribution, exhibition, and criticism. Through these various avenues, Mekas has cultivated the appreciation of film as a fine art form. As editor-in-chief of Film Culture in the 1950s, Mekas promoted the "politique des auteurs," or auteurism, advanced by the critics of the French journal Cahiers du cinema. Auteurism, as a theory of film criticism, prizes films, and especially Hollywood productions, to the extent that they may be seen as manifestations of an individual controlling sensibility, embodying the worldview of an author. Auteurism provides a framework for appreciating as art the products of the commercial film industry. As in the more traditional art forms

'Egypt at the Exhibition': Reflections on the Optics of Colonialism: A review of Timothy Mitchell's Colonizing Egypt (1988)

Abstract: Colonizing Egypt (1988) is far more ambitious than either its title or slender size (179 pp.) suggest: its aim is nothing less than the description of a distinct form of power-one originating in Western capitalist societies and extending over much of the globe during the period of European colonial expansion-upon which the ’modern political method’ depends. Nineteenth century Egypt, in this context, appears cast in the role of a test-case-one illustration of a widespread if not universal phenomenon-and, as a result, the book exhibits a certain paucity of historical detail. Indeed, as Mitchell is primarily interested in European systems of representation and domination, as well as their spread beyond the national borders of Europe, he elides much of the particularity of the Egyptian experience in favor of these broader concerns; or rather, he addresses specifics insomuch as they involve the importation and imposition of Western forms of power, while neglecting other (possibly relevant) details of the period. I make this point here simply to clarify the goals of Mitchell’s inquiry, and not to indicate a flaw in the analysis. The originality and importance of Mitchell’s book lies in two related

Modernization and urban beautification: The 1888 Barcelona world's fair*

Abstract: The study of an urban planning event such as the World's Fair held in Barcelona in 1888 is a good opportunity to raise some issues of an historical and planning nature. One of them is the Exhibition's impact on the urban structure of Barcelona. The fact that this event coincided with some urban planning changes of relative importance — and with the conversion of Barcelona into a ‘modern’ city — has sometimes been interpreted as proof of this type of event's structuring capacity. To understand the nature and the urban dimension of the Exhibition, it is essential to place it within the urban sequence, to avoid showing an overly simplified urban context. Thus, this article's point of departure is a fairly extensive consideration of the historical period and an examination of the changes in the urban spatial structure in order to understand the relationship between the affected sector and the entire city. The Exhibition can be seen as a symptom rather than a cause of the aforementioned transformations. Also a...

Description in Professional Art Criticism.

Abstract: This study is a metacritical examination of published essays by three professional critics of Richard Avedon's exhibition, “In the American West.” Its purpose is to determine if, how, and for what ...

The Scene of the Crime

Abstract: This article was originally delivered as the keynote address at the seventy-ninth annual convocation of the College Art Association, February 22,1991, in Washington, D.C. The author, director of the Contemporary Arts Center, Cincinnati, was indicted in 1990 and subsequently acquitted on charges of pandering to obscenity and the illegal use of a minor in nudity-oriented materials in an exhibition of photographs by the late Robert Mapplethorpe, titled “The Perfect Moment? (See pp. 14–28 for some of the images from that exhibition.)

Before freedom came : African-American life in the antebellum South : to accompany an exhibition organized by the Museum of the Confederacy

Abstract: Gathered in this book are the most recent insights into lives of African-Americans - slave and free - in the antebellum South from leading scholars in the fields of history, folklore, anthropology, material culture, and archaeology. "Before Freedom Came" is the companion volume for a landmark exhibition which brings together the largest collection of materials ever assembled interpreting the lives of antebellum African-Americans. The text is enhanced by more than 150 black-and-white and 25 colour photographs. The exhibition, sponsored by the Museum of the Confederacy, one of the oldest museums in the South, will be shown in three sites in the United States. In 6 original essays the contributors convey to the general reader and student alike a thorough, multi-dimensional picture of the lives of African-Americans in the South before the Civil War. Drew Gilpin Faust surveys the historiography of American slavery and race relations and the problems they have posed for American values. John Michael Vlach describes the physical setting - the natural and built environments - of the antebellum South and how the plantation landscape shaped the daily routines of plantation slaves. Building on this, Charles Joyner offers a wide-ranging view of "The World of the Plantation Slaves", analyzing the entire slave South as he did the South Carolina low country in his acclaimed book "Down by the Riverside", while Deborah Gray White summarizes her pathbreaking work on the lives of slave women "Ar'n't I a Woman?". In contrast, David R.Goldfield analyzes the lives of slaves and free blacks in urban settings and focuses on the changing relationships between blacks and whites in southern cities during the 1850s. The book concludes with a pioneering essay by Theresa A.Singleton that presents the significant findings of a decade of archaeological investigation of slave sites across the South. This project is made possible with the support of the National Endowment for the Humanities.

East Asian Lacquer The Florence and Herbert Irving Collection

Abstract: Compiled to document the exhibition of some 180 treasures representing an extremely fragile medium, the study of which has lagged behind other aspects of Asian art, this catalog is at once an introduction, a comprehensive scholarly treatment, and an immersion in the pleasures of the art. Each objec

The Interrupted Life

Abstract: This catalogue is a significant compendium of materials related to a thematic exhibition on "the politics and poetry surrounding issues of mortality." Work by 41 international artists is represented; also includes texts by 11 writers and interviews with 14 people of various backgrounds on the subject of death. 49 bibl. ref.

Geology and the public at the Natural History Museum

Abstract: The number of visitors to the geological galleries at the Natural History Museum is disappointingly low. A detailed survey of the museum-going public suggests that this is because geology is seen as an academic topic which has little to do with everyday life. We are therefore planning a series of new exhibitions designed to catch the public's attention and to persuade them to spend time learning about the Earth sciences. The range of exhibits will give a broad coverage of the topic and will concentrate on the principles and processes of geology rather than on detailed descriptions. Exhibitions will be backed up by a range of educational material related to schools' requirements in the National Curriculum. The series of field trips in Britain and abroad and the evening lecture courses will continue to be expanded.

Beyond the Books: Programs for Exhibitions

Abstract: Exhibitions of rare books and manuscripts are increasingly seen as an important medium through which curators can make special collections more accessible to both the scholarly and nonspecialist public. However, the installation itself should be viewed as only one mechanism which the curator can and should use to communicate through an exhibition—and it may not always be the most effective one. Publications such as the exhibition catalog provide an alternative avenue of approach; as do exhibition programs in which the visitor can participate, the subject of this article. As might be expected, there is a spectrum of opinion on . . .