Showing papers on "Exhibition published in 1993"

On the museum's ruins

Abstract: On the Museum's Ruins presents Douglas Crimp's criticism of contemporary art, its institutions, and its politics alongside photographic works by the artist Louise Lawler to create a collaborative project that is itself an example of postmodern practice at its most provocative Crimp elaborates the new paradigm of postmodernism through analyses of art practices broadly conceived, not only the practices of artists -- Robert Rauschenberg, Cindy Sherman, Marcel Broodthaers, Richard Serra, Sherrie Levine, and Robert Mapplethorpe -- but those of critics and curators, of international exhibitions, and of new or refurbished museums such as the Staatsgalerie in Stuttgart and the Martin-Gropius-Bau in Berlin The essays: - Photographs at the End of Modernism - On the Museum's Ruins - The Museum's Old, the Library's New Subject - The End of Painting - The Photographic Activity of Postmodernism - Appropriating Appropriation - Redefining Site Specificity - This is Not a Museum of Art - The Art of Exhibition - The Postmodern Museum

Ethnographic showcases, 1870-1930

Abstract: "To see is to know"-this motto was attached to the anthropological exhibits of the World's Columbian Exposition of 1893, one of the many world fairs during the era of imperialism and colonialism (Rydell 1984:44). At these gigantic exhibitions, staged by the principal colonial powers, the world was collected and displayed. Natives from a wide range of colonized cultures quickly became a standard part of most manifestations of this kind. Together with their artifacts, houses, and even complete villages, so-called savages or primitives were made available for visual inspection by millions of strolling and staring Western citizens. Comparable places of spectacle such as zoos, botanical gardens, circuses, temporary or permanent exhibitions staged by missionary societies and museums of natural history, all exhibited other races and/or other species and testified to the imperialism of 19th-century nation-states. In this article I will put these ethnographic exhibits into the wider context of the collecting, measuring, classifying, picturing, filing, and narrating of colonial Others during the heyday of colonialism. All these modes of dealing with the exotic, with colonial otherness, functioned in a context of European hegemony, testifying to the successful imperialist expansion of 19th-century nation-states and to the intricate connections that developed between scientific and political practices. Of course, I cannot bypass the historical changes and national differences in exhibitionary practices in the period under study-the last decades of the 19th and the first decades of the 20th century-but I will concentrate on the similarities, which in my view are predominant, arguing that it is possible to have a wide range of seemingly divergent modes of dealing with the Other within one single analytic field.

History and Its Images: Art and the Interpretation of the Past

Abstract: Over the last four centuries, historians have increasingly turned to images in their attempts to understand and visualize the past. In this wide-ranging and engrossing book, a distinguished art historian surveys the various ways that they have adopted for making use of this material, and he examines the specific objects that became available to them through excavation, the creation of private collections and public museums, easier means of travel, and the startling displacements brought about by vandalism and art exhibitions. Francis Haskell begins by discussing the antiquarians of the sixteenth and seventeenth centuries who brought to light and interpreted as historical evidence coins, sculptures, paintings discovered in the catacombs beneath Rome and other relics surviving from earlier ages. He explains that, in the eighteenth century, historians gradually began to acknowledge the significance of such visual sources and to draw on them in order to validate and give colour to their narratives or to utilize them as foundation stones for a new branch of learning - the history of culture. Later writers followed the example of Michelet in making inferences from the visual arts to indicate the whole mentality of an age, while (more erratically) others saw in them the harbingers of political, religious or social upheavals. Haskell concludes by discussing those cultural historians of the nineteenth and early twentieth centuries, Burckhardt and Huizinga above all, who did not merely give the visual arts a prominent and necessary place in their interpretations of the past, but in some ways actually interpreted the past through the visual arts.

Sculpture in the Expanded Field

Abstract: Conceived as an educational publication to complement exhibitions by artists producing site-specific public art, the catalogue introduces viewers to the concepts of site works and land art. The works of 15 international artists who pioneered these forms are discussed. 6 bibl. ref.

World of Fairs: The Century-of-Progress Expositions

Abstract: In the depths of the Great Depression, when America's future seemed bleak, nearly 100 million people visited expositions celebrating the "century of progress." These fairs fired the national imagination and served as cultural icons on which Americans fixed their hopes for prosperity and power. In "All the World's a Fair", Robert W. Rydell described how Victorian-era world's fairs helped create a blueprint for modern America. Now, with "World of Fairs", he shows how the interwar exhibitions heralded the arrival of modern America - a new empire of abundance built on old foundations of inequality. Rydell demonstrates how the fairs reached their height of popularity following the crash of 1929 by offering a vision of recovery from the Depression through the united powers of science and industry. Beneath the surface, however, lay persistent themes of imperialism and racism as government officials, industrial leaders, and intellectuals alike used the fairs to reinforce their own authority and the established social order. Rydell revisits several fairs, highlighting the 1926 Philadelphia Sesquicentennial Exposition, the 1931 Paris Colonial Exposition, the 1933-34 Chicago Century of Progress Exposition, the 1935-36 San Diego California Pacific Exposition, the 1936 Dallas Texas Centennial Exposition, the 1937 Cleveland Great Lakes and International Exposition, the 1939-40 San Francisco Golden Gate International Exposition, the 1939-40 New York World's Fair, and the 1958 Brussels Universal Exposition.

EXPLODING CANONS: The Anthropology of Museums

Abstract: over the treatment of non-Western art and material culture in museums. I have chosen to bypass the steady flow of solid ethnographic studies of traditional arts and popular arts, and the emergence of new theoretical concerns in these studies for two reasons. 1 First, academic anthropologists rarely consider mu­ seum anthropology as an important area for the employment of anthropolo­ gists, and thus for the training of students. The situation for anthropologists in museums is rapidly changing and aspiring curators should be advised of the directions of change. Second, museum anthropologists

A Foreshadowing of 21st Century Art: The Color and Geometry of Very Early Turkish Carpets

Abstract: Christopher Alexander owns one of the finest collections of early Turkish carpets in the world outside the Istanbul Museums. In this lavishly illustrated book, which coincided with a major exhibition of his collection at the San Francisco Museum of Fine Arts, Alexander discusses the provenance of each carpet and elaborates his theory that these carpets teach structure to artists and architects through the beauty of their form.

The aesthetics of power : essays in critical art history

Abstract: Acknowledgements Preface Illustrations Part I Mothers, Fathers and Monarchs: 1 Happy mothers and other new ideas in eighteenth-century French art 2 Fallen fathers: images of authority in pre-revolutionary French art 3 Ingres and the politics of the restoration Part II Modern Art and the Social Relations Between the Sexes: 4 Virility and domination in early twentieth-century vanguard painting 5 The esthetics of power 6 When greatness is a box of wheaties Part III Teaching, Talking aand Exhibition Art: Institutional Settings: 7 Teaching the rich 8 Neutralising the age of revolution 9 Making an art of work 10 In the eye of the soldier 11 Who rules the art world? 12 The momas hot momas Part IV The Life and Works of Cheryl Bernstein: 13 Introduction by Carol Duncan 14 The fake as more by Cheryl Bernstein 15 Performance as news: notes on an intermedia guerilla art group by Cheryl Bernstein

The Origins of French Art Criticism: From the Ancien Régime to the Restoration

Abstract: List of Plates. List of Figures. Photographic Credits. Abbreviations. Introduction. 1: The Salon in Context. 2: The Salon. 3: In Search of an Art Public. 4: Between the Studio and the Salon. 5: Censorshop and Diffusion of Criticism during the Ancient Regime. 6: The Status of Criticism. 7: The Language of Art Criticism. 8: The Hierarchy of the Genres. Conclusion. Appendix I: Independent Exhibitions, Lotteries, and Subscrption Schemes. Appendix II: Some Extensions to Salon Exhibitions. Appendix III: Production of Salon Pamphlets and Press Reviews. Appendix IV. Bibliography. Index

Landscapes for tomorrow

Abstract: Seven different landscapes that might realistically represent the Yorkshire Dales National Park in the lifetime of the present generation were created out of detailed interviews with policy managers, landowners and farmers. These landscapes were imaged in the form of water colour paintings, then incorporated with appropriate explanatory commentary into a large graphic display, a video sequence, a floor game and a leaflet. The interpretive material was taken to the public as a touring exhibition, travelling around the National Park over two consecutive summers. The exhibition was designed to be participatory: its purpose to discover how far people could grasp the processes leading to landscape change, become aware of why these forces were happening and become sufficiently concerned for the future to participate in the creation of landscape design of their choice. The results revealed that the approach experimented with was successful in meeting its aims, that those less conversant with the issues ...

Canvases and careers : institutional change in the French painting world : with a new foreword and a new afterword

Abstract: In the nineteenth century, the Academie des Beaux Arts, and institution of central importance to the artistic life of France for over two hundred years, yielded much of its power to the present system of art distribution, which is dependent upon critics, dealers, and small exhibitions. In "Canvases and Careers," Harrison and Cynthia White examine in scrupulous and fascinating detail how and why this shift occurred. Assimilating a wide range of historical and sociological data, the authors argue convincingly that the Academy, by neglecting to address the social and economic conditions of its time, undermined its own ability to maintain authority and control. Originally published in 1965, this ground-breaking work is a classic piece of empirical research in the sociology of art. In this edition, Harrison C. White's new Foreword compares the marketing approaches of two contemporary painters, while Cynthia A. White's new Afterword reviews recent scholarship in the field."

Jacob Lawrence: The Migration Series

Abstract: In 1941, Jacob Lawrence, then just twenty-three years old, completed a series of sixty small tempera paintings with text captions about the Great Migration. Within months of its making, Lawrences Migration series was divided between The Museum of Modern Art (even numbered panels) and the Phillips Memorial Gallery (odd numbered panels). The work has since become a landmark in the history of African-American art, a monument in the collections of both institutions, and a crucial example of the way in which history painting was radically reimagined in the modern era. In 2015 and 2016, marking the centenary of the Great Migrations start (191516), the panels will be reunited in exhibitions at The Museum of Modern Art and then The Phillips Collection. Published to accompany the exhibition, this publication both grounds Lawrences Migration series in the cultural and political debates that shaped the young artist's work and highlights the series continued resonance for artists and writers working today. An essay by Leah Dickerman situates the series in relation to heady contemporary discussions of the artists role as a social agent; a growing imperative to write and give image to black history in the late 1930s and early 1940s; and an emergent sense of activist politics. Elsa Smithgall traces the exhibition history of the Migration panels from their display at the Downtown Gallery in New York in 1941 to their acquisition by MoMA and the Phillips Collection a year later. Short commentaries on each panel explore Lawrences career and painting technique and aspects of the social history of the Migration portrayed in his images. The catalogue also debuts ten poems newly commissioned from acclaimed poets written in response to the Migration series. Elizabeth Alexander (honoured as the poet at President Obamas first inauguration) introduces the poetry project with a discussion of the poetic quality of Lawrences work, as well as the impact and legacy of the poets in his orbit including Claude McKay and Langston Hughes.

Ideas and images : developing interpretive history exhibits

Abstract: Ideas and Images presents eleven case studies, walking you through the process of developing interpretive history exhibits. Learn how to identify and build new audiences, work with consultants and experts, cope with institutional change, present temporary and permanent exhibitions, and experiment with new subjects, design techniques and media.

"An Amusing Lack of Logic": Surrealism and Popular Entertainment

Abstract: Photographer unknown, Salvador Dali sketching Harpo Marx in Hollywood, ca. 1939 During the latter half of the 1930s, Surrealism spilled out onto the American scene like fluid from a Meret Oppenheim's fur-lined cup. In 1936, more than fifty thousand people attended the Museum of Modern Art's "Fantastic Art, Dada, Surrealism" exhibition in New York (fig. 1). The show then moved on to Philadelphia, Boston, Milwaukee, San Francisco, and other cities. Soon socialites were

Three Pictures of an Exhibition: Warm, Cool, and Hard.

Abstract: Mr. McDonald takes a close look at alternative assessment as practiced in a large-city high school and draws some instructive tips from what he sees. Mary McLeod Bethune High School,(1) situated in a large American city, is a partner in the high school reform effort that was launched by the Coalition of Essential Schools in 1984. The Coalition advocates simple goals that apply to all students and that are focused on intellectual achievement. It also advocates a pedagogy that combines a personalized and caring environment with a focus on student production - on the "student as worker." It argues for "graduation by exhibition" rather than graduation as the consequence of time served in class. This phrase - "graduation by exhibition" - leads a double life in Coalition discourse. It refers to a method of assessment: one that measures valued knowledge directly rather than indirectly; that demands performance, the application of knowledge, and the use of metacognitive strategies; that happens in some public setting; and that guards a gate to graduation. At the same time, the phrase also refers to the Coalition's own version of outcomes-based education, an ideal of schoolkeeping in which all systems are oriented toward producing graduates in the image of the school's collective vision of competent intellectual performance. The faculty at Bethune High School seeks to produce graduates who demonstrate imagination, power, confidence, and compassion in intellectual matters; who communicate skillfully; who have not just textbook knowledge of the major subjects they have studied but also can apply "content' to investigations of the important issues of their time. "Planning backward" from this compelling image, the school's faculty members have taught themselves to teach in interdisciplinary teams, and they have given their students responsibility, gotten to know them well, asked them to find and solve problems, taught them how to present themselves, trusted them to work on their own, offered them time and freedom to work outside the walls of the school, and believed in them. I visited Bethune on its first Exhibition Day, a month before graduation. I was there to witness alternative assessment in practice. I was also there to see this high school's standards in operation and, along with the rest of the school, to test for a match between its graduating seniors and the image, crafted four years earlier, of what they might be. My visit gave me three pictures that I carry with me when I evaluate other schools that follow Bethune's lead - pictures I characterize as warm, cool, and hard. Each picture conveys a key dimension of Bethune's achievements as well as some important lessons for followers. WARM Meeting some seniors on the morning of the school's first Exhibition Day, I can feel the energy they feel. Though Bethune High School is new to me, I am certain from its air alone that it is different today - crazier, but more focused too, like backstage just before the curtain rises. Perhaps the teachers are also more forgiving of interruptions: one exhibitor's search for a missing poster, another's panicky recruitment of substitute models for her fashion show, even my late arrival. The first of the senior exhibitions will begin in 20 minutes, culminating a process that began formally a year ago. Each senior has defined an interdisciplinary question and pursued it through library research and field work. Each has met the deadlines for a series of submissions: a list of research sources, an outline, note cards, an introduction, a whole draft, a finished paper. This is routine stuff for high school students - though not usually required of every one of them. But now they are facing something beyond routine: each senior has been allotted a half hour in one of the series of exhibition sessions starting today. During this time, the senior presents highlights from his or her inquiry and then stands for questions. …

The Earliest Generation of Missionary Photographers in West Africa and the Portrayal of Indigenous People and Culture

Abstract: That photographs have been neglected in the study of African history has become, in recent years, a well-established truism. To take one point of entry into the literature which has set out to correct this deficiency: a Seminar held in SOAS in 1988 on “Photographs as Sources for African History” amply confirmed this point (Roberts 1988). The papers and discussions indicated the scope—and the problems—of some of the well-known and less well-known, holdings in this field. They also showed, however, that a number of scholars had already devoted considerable thought to the implications of historic photographic holdings for the pursuit of historical and anthropological studies not only in colonial history but also in African history per se . A similar point of entry for the German-speaking world is provided by the literature accompanying an important exhibition which toured a number of West German museums in 1989. “Der geraubte Schatten” concerned itself with the history of photography in the whole non-European world (Theye 1989; Ueber die Wichtigkeit 1990; see especially the essays by Wagner and Corbey for reflections on missionary photography).

Visualizing Ireland : national identity and the pictorial tradition

Abstract: An exhibition of watercolours and drawings at the National Gallery of Ireland and the Art Museum at Boston College inspired this collection of essays. This volume is the first to incorporate the visual arts into modern Irish cultural studies, focusing on the nation's visual arts, from the 17th to 20th centuries as a means of accessing the country's social and political past.

Edward Steichen's 1936 exhibition of delphinium blooms

Abstract: ‘The President and the Trustees of the Museum of Modern Art invite you to an exhibition of Steichen Delphiniums.’ So began the announcement of one of the most unusual and least understood exhibitions of MoMA's history. MoMA's press release described a one-man, one-week show ‘of remarkable new varieties of delphinium developed through twenty-six years of cross breeding and selection by Edward Steichen … his purpose is to develop the ultimate aesthetic possibilities of the delphinium’.1

Ausstellungen als Mittel der Öffentlichkeitsarbeit wissenschaftlicher Bibliotheken

Abstract: The paper compares the public relations, especially in form of exhibitions, of research libraries with this of public libraries, archives, and museums. THe starting points forms a general explanation of the sense and the function of public relations. Along with this goes a chronological description : it shows comparatively the development of public relations in the cultural institutions mentioned above. Certain attention is paid to the question whether public relations is a necessary or superfluous task. The motives and goals which are pursued by research libraries and the other cultural institutions by making exhibitions are described in detail

Museum Exhibition Lighting: Visitor Needs and Perceptions of Quality

Abstract: (1993). Museum Exhibition Lighting: Visitor Needs and Perceptions of Quality. Journal of the Illuminating Engineering Society: Vol. 22, No. 1, pp. 45-54.

The Place of High-Technology Art in the Contemporary Art Scene

Abstract: In trying to determine the exact place of high-technology art in the contemporary scene, the author attempts to establish that there exists a certain coherence both on a technical and an aesthetic level between such different art forms as Light Art (lumino-kinetic and neon Light Art), laser and holographic art, video and computer art. Highlighting significant exhibitions and manifestations rather than individual research work by artists, the author assesses the role of technological art. Other contemporary art developments, such as modernism and postmodernism, and areas situated on the borderline of art are considered as valid expressions of our times.

Apollinaire, Visual Poetry, and Art Criticism

Abstract: This work examines a seties of visual poems that Guillaume Apollinaire composed in 1917 for an exhibition of paintings by Leopold Survage and Irene Lagut. Depicting horses, flowers, landscapes, and clocks, they represent the culmination of Apollinaire's visual experiments and contain some of his most pleasing forms. Illustrated.