Showing papers on "Exhibition published in 2008"

On the constitutional and local effects of disease of the supra-renal capsules. London : Samuel Highley, 1855.

Abstract: This item was featured in the Rare Book exhibition "From Hippocrates to Harrison". The exhibition commemorated 150 years of the Faculty of Medicine.

EMDialog: Bringing Information Visualization into the Museum

Abstract: Digital information displays are becoming more common in public spaces such as museums, galleries, and libraries. However, the public nature of these locations requires special considerations concerning the design of information visualization in terms of visual representations and interaction techniques. We discuss the potential for, and challenges of, information visualization in the museum context based on our practical experience with EMDialog, an interactive information presentation that was part of the Emily Carr exhibition at the Glenbow Museum in Calgary. EMDialog visualizes the diverse and multi-faceted discourse about this Canadian artist with the goal to both inform and provoke discussion. It provides a visual exploration environment that offers interplay between two integrated visualizations, one for information access along temporal, and the other along contextual dimensions. We describe the results of an observational study we conducted at the museum that revealed the different ways visitors approached and interacted with EMDialog, as well as how they perceived this form of information presentation in the museum context. Our results include the need to present information in a manner sufficiently attractive to draw attention and the importance of rewarding passive observation as well as both short- and longer term information exploration.

Mechanical Sound: Technology, Culture, and Public Problems of Noise in theTwentieth Century

Abstract: Since the late nineteenth century, the sounds of technology have been the subject of complaints, regulation, and legislation. By the early 1900s, antinoise leagues in Western Europe and North America had formed to fight noise from factories, steam trains, automobiles, and gramophones, with campaigns featuring conferences, exhibitions, and "silence weeks." And, as Karin Bijsterveld points out in Mechanical Sound, public discussion of noise has never died down and continues today. In this book, Bijsterveld examines the persistence of noise on the public agenda, looking at four episodes of noise and the public response to it in Europe and the United States between 1875 and 1975: industrial noise, traffic noise, noise from neighborhood radios and gramophones, and aircraft noise. She also looks at a twentieth-century counterpoint to complaints about noise: the celebration of mechanical sound in avant-garde music composed between the two world wars. Bijsterveld argues that the rise of noise from new technology combined with overlapping noise regulations created what she calls a "paradox of control." Experts and politicians promised to control some noise, but left other noise problems up to citizens. Aircraft noise, for example, measured in formulas understandable only by specialists, was subject to public regulation; the sounds of noisy neighborhoods were the responsibility of residents themselves. In addition, Bijsterveld notes, the spatial character of anti-noise interventions that impose zones and draw maps, despite the ability of sound to cross borders and boundaries, has helped keep noise a public problem. We have tried to create islands of silence, she writes, yet we have left a sea of sounds to be fiercely discussed.

Configuring 'Interactivity' Enhancing Engagement in Science Centres and Museums

Abstract: There is a growing commitment within science centres and museums to develop exhibitions that engender new forms of participation that contribute to the public's understanding of science. Informatio...

LISTEN: a user-adaptive audio-augmented museum guide

Abstract: Modern personalized information systems have been proven to support the user with information at the appropriate level and in the appropriate form. In specific environments like museums and exhibitions, focusing on the control of such a system is contradictory to establishing a relationship with the artifacts and exhibits. Preferably, the technology becomes invisible to the user and the physical reality becomes the interface to an additional virtual layer: by naturally moving in the space and/or manipulating physical objects in our surroundings the user will access information and operate the virtual layer. The LISTEN project is an attempt to make use of the inherent "everyday" integration of aural and visual perception, developing a tailored, immersive audio-augmented environment for the visitors of art exhibitions. The challenge of the LISTEN project is to provide a personalized immersive augmented environment, an aim which goes beyond the guiding purpose. The visitors of the museum implicitly interact with the system because the audio presentation is adapted to the users' contexts (e.g. interests, preferences, motion, etc.), providing an intelligent audio-based environment. This article describes the realization and user evaluation of the LISTEN system focusing on the personalization component. As this system has been installed at the Kunstmuseum Bonn in the context of an exhibition comprising artworks of the painter August Macke, a detailed evaluation could be conducted.

Garden of Eden

Abstract: The long tradition of botanical illustration finds its tribute in this new book, whose publication coincides with the exhibition of botanical illustration at the National Library of Vienna. TASCHEN has chosen 100 works from the library's extensive archives to be reproduced in this masterpiece of botanical book illustration.Beginning with 6th-century Byzantine manuscripts, it traces the tradition right up through recent publications of the 20th century. With positively exquisite color reproductions, this is truly a divine book.

The CAT (casino tourism) and the MICE (meetings, incentives, conventions, exhibitions): key development considerations for the convention and exhibition industry in Macao.

Abstract: In 2006, Macao became the world's leading gaming destination in terms of gaming revenue and by mid 2008 had surpassed the gaming revenues of Las Vegas and Atlantic City combined. Casino tourism (CAT) in Macao continues to grow, but with the opening of The Venetian, the first integrated resort on the Cotai Strip, 1 convention and exhibition-based tourism is beginning to emerge. Due to its lure of being a high-yield tourism sector, MICE (meetings, incentives, conventions, exhibitions) tourism has been increasingly introduced at destinations, including gaming jurisdictions such as Las Vegas. Yet, Macao's gaming industry for the greater part remains divorced from the need for a convention product in terms of revenue creation at present, with two models of gaming development emerging. It is a key aim of the Macao Government to develop Macao into a major leisure and entertainment center, widening and expanding its tourism market segment beyond gaming. The MICE sector has therefore become an increasingl...

Linguistic landscaping and the seed of the public sphere

Abstract: Linguistic landscaping is as old as writing. For all we know, writing was communicative rather than private from its inception (Harris 1986; Coulmas 2003), and some of its earliest functions are bound to public display. Property marks, brands and border stones, for example, speak to all members of a relevant community. Monumental inscriptions, too, appear early in all literate cultures. In the modern sense of the word, ancient civilizations were not (fully) literate, because in antiquity the art of writing was confined to a scholarly elite rather than being a basic qualification for full participation in society (Goody 1987). Yet, even when writing was a specialized skill and literacy restricted, the exhibition of visible language marked a fundamental change in the human habitat. It changed the way people saw the world, it changed their worldview, it changed their attitude towards and awareness of language, and in many ways it changed the organization of society.

Museum Quality: The Rise of the Fashion Exhibition

Abstract: This article surveys the history of museum fashion exhibitions, and explores some of the reasons why they have so often been controversial. Issues such as corporate sponsorship, curatorial independence, and historical accuracy are analyzed in connection with a range of exhibitions. In particular, the article considers the influence of Diana Vreeland's exhibitions at the Costume Institute and the issues that are raised when an exhibition is devoted to a single famous designer, such as Armani, Versace, or Vivienne Westwood.

Beyond Babylon: Art, Trade, and Diplomacy in the Second Millennium B.C.

Abstract: This important volume describes the extraordinary art created in the second millennium BC for royal palaces, temples, and tombs from Mesopotamia, Syria, and Anatolia to Cyprus, Egypt, and the Aegean Objects of the highest artistry reflect the development of a sophisticated trade network throughout the eastern Mediterranean region and the resulting fusion of Near Eastern, Aegean, and Egyptian cultural stylesThe impact of these far-flung connections is documented in the precious materials sent to royal and temple treasuries and, most dramatically, in objects discovered on merchant shipwrecks off the shores of southern Anatolia The history of the period and the artistic creativity fostered by interaction among the powers of the ancient Near East, both great and small, are discussed by an international group of scholars in essays and entries on the more than 350 objects included in the exhibition, continuing the fascinating story begun in the landmark catalogue "Art of the First Cities" (2003)

"Indecent and demoralising representations": public anatomy museums in mid-Victorian England.

Abstract: On 18 December 1873, at Marlborough Street magistrates’ court in London, Messrs Roumanielle, Davidson, and Dennison pleaded guilty to offences under the Obscene Publications Act 1857, and the magistrate Mr Knox ordered that their property, which had been held by the court since February, be destroyed. The prosecuting solicitor, Mr Collette, asked for the “privilege” of beginning the destruction himself, which was immediately granted, and, accompanied by Police Inspector Harnett and Sergeant Butcher, he proceeded to smash with a hammer a collection of wax anatomical models, the fragments of which were then handed back to the defendants. The destroyed models “which were of the most elaborate character, and said to cost a considerable sum of money” had formed part of Kahn's Anatomical Museum, which for more than twenty years had been the best-known popular medical exhibition in Britain.1 Jonathan Reinarz recently suggested that the museum was to nineteenth-century medical education what the clinic was to its practice: “museum medicine” focused students’ attention on particular anatomical sites of disease, dissected out from the rest of the body.2 Museums were particularly important to anatomy teaching, as they allowed more prolonged and careful study than the dissecting room, and availability of specimens could be guaranteed. In 1836, the anatomist Frederick Knox wrote that “[w]ithout museums the profession [of anatomy] would be in the state of man without a language”.3 Unlike the dissecting room, museums were open to the non-medical public. Only the well connected had an entree to the Royal College of Surgeons’ Museum, but there were smaller anatomy exhibitions in London and the provinces, open to anyone with the price of admission, in which models produced in Italy and France as aids to medical teaching were displayed to the public. The popularity of these museums suggests that, despite the concerns aired around the time of the 1832 Anatomy Act over the provision of cadavers for anatomists, the public regarded anatomy as an interesting and acceptable activity. Public anatomy museums were tolerated, or even recommended, by medical men, until the mid-1850s, when museums at which treatments for venereal disease were sold became targets for anti-quackery campaigns, in the course of which the medical profession made much of the “obscene” content of anatomy shows. The Obscene Publications Act was first employed against an anatomy museum in 1860 in Leeds, but London police and magistrates remained indifferent until the medical profession funded private prosecutions in the 1870s, when the last of the public anatomy museums was closed down. At the same time, anatomy assumed increasing prominence in medical training and by 1875 the General Medical Council required all medical students to undertake dissection. In the twentieth century, public anatomy museums received little attention from historians, and those who did discuss them tended to accept the medical profession's characterization of them as disreputable places, catering for those seeking eroticism and coarse humour. In 1924, a description of Antonio Sarti's exhibition, whose proprietor had been “so gentle, so quiet and patient in his explanations” of models that contemporary journalists and medical men had found unobjectionable, was included in an account of the Judge and Jury show, poses plastiques, and other “questionable” West End entertainments of the mid-nineteenth century.4 Later accounts of nineteenth-century public anatomy museums considered them primarily as popular entertainments or quack medicine shows.5 Rene Burmeister, however, re-evaluated them, accepting some of the educational claims made by their proprietors and noting that medical opposition arose after they had become linked with unorthodox medical practitioners.6 In this essay, I shall examine the content and purpose of popular anatomy museums and the medical profession's response to them. Though advertised after the Anatomy Act as a means of learning something of anatomy without the unpleasantness of dissection, by the 1850s anatomy museums were also dispensing medical advice and treatments for venereal disease: the museum setting gave the vendor an air of medical authority, and horrifying models of diseases alarmed patients and entertained casual visitors. The medical profession's labelling of public anatomy museums as obscene can be seen as a strategy for creating a medical monopoly of anatomy by categorizing it as knowledge from which laypeople could be excluded on moral grounds. Under English obscenity laws, professionals, by virtue of their education, social background and character, were deemed impervious to influences that could corrupt the weaker-minded public. By the 1870s, the practice of anatomy was the hurdle that initiated, and sometimes deterred, entrants to the medical profession. Though it enhanced the reputation of medical men as professional and dispassionate observers, anatomy was also seen as a potentially demoralizing science.

Who Will Beat Whom?: Soviet Popular Reception of the American National Exhibition in Moscow, 1959

Abstract: The U.S. industrialist Norman K. Winston, special adviser to the American National Exhibition held in Moscow from 25 July to 4 September 1959, had predicted to This Week magazine earlier that year: We know the life we have is good. By the end of the summer, the millions of Russians who have seen our exhibit will know it too .... Unless I am a completely inept judge of human nature, that experience is going to stir not only hearts but also desires. Let it. Let the Russians want what we have. Let them clamor for it from their leaders. And let the clamor be so loud that it will demand answering. Perhaps then the Russian leaders, to keep their people happy, will divert some of their manufacturing facilities from weapons to the production of furniture, electric mixers, and prefabricated homes. (1) In 2005, Victoria de Grazia invoked the exhibition and the famous Nixon-Khrushchev "Kitchen Debate" that took place there to illustrate a pan-European prostration before America's "irresistible" market empire: By the end of the 1950s, it was clear that the United States had won hands-down on the scorecard of standard of living. True, the left press, as well as a wide band of public opinion, would have agreed that in the United States there were no social safeguards for workers: as Khrushchev was quoted, "if you don't have the money, you sleep on the street." But whatever the defects, the USSR was becoming irrelevant as offering an alternative vision of collective well-being. (2) The American National Exhibition (ANEM) was the first Soviet mass encounter with America--as America wanted itself to be seen--on Soviet turf. "A transplanted slice of the American way of life," emphasizing leisure, consumption, and domesticity, the experience it offered Soviet viewers was a kind of virtual day trip to America in the heart of Moscow, in the absence of any realistic prospect of their being able to travel to see the real thing. (3) It was held in Sokol'niki Park under a September 1958 agreement between the United States and the USSR, according to which national exhibitions demonstrating developments in science, technology, and culture were to be exchanged; the reciprocal Soviet National Exhibition had already opened at New York's Coliseum on 29 June 1959. (4) Among the exhibits at ANEM were a life-size model modern home of "the average American," in whose yellow General Electric kitchen the notorious "Kitchen Debate" between Nixon and Khrushchev took place, three further kitchens including Whirlpool's fully automated "Miracle" kitchen of the future, consumer goods for the home, toys, cars, fashion, voting machines meant to demonstrate the mechanisms of democracy, books, contemporary art, and the Family of Man photographic exhibition. (5) Visited by some 2,700,000 Soviet citizens over its six-week run, did ANEM stir the hearts and desires of these millions, as Winston and others predicted, and make them covet and clamor for what Americans had? (6) Conceived, as he indicates, as a soft weapon of the Cold War against the Soviet Union, did the exhibition have the decisive impact historians have ascribed to it? Was it the fatal close encounter that "led" inexorably to the collapse of the Soviet Union 32 years later, when the United States "won" the standard-of-living race "hands-down" and left the USSR's alternative, socialist vision of collective well-being in the dust? (7) "You are mistaken if you think you can convert [the USSR] to capitalism," Khrushchev warned U.S. governors visiting Moscow a few weeks before the exhibition opened. "The Soviet people are proud of the accomplishments like the Sputnik, et cetera. They will not be converted." (8) Khrushchev would say that, of course. But was his confidence misplaced bravado? Contemporary U.S. reports from this Cold War front, produced during and immediately after the exhibition, were also significantly less confident in its success, as even Walter Hixson's doggedly triumphalist account acknowledges. …

Phantom Sightings: Art after the Chicano Movement

Abstract: Phantom Sightings: Art after the Chicano Movement. Organized by the Los Angeles County Museum of Art, Los Angeles, April 6September 1, 2008. Tamayo Museum of Contemporary Art, Mexico City, October 16, 2008-January 11, 2009. Museo de Arte Contemporaneo de Monterrey, MARCO, February 22-June 14, 2009. Contemporary Arts Museum Houston, July 25-October 4, 2009. Centro Cultural Universitario, Guadalajara, November 8, 2009-January 31, 2010. El Museum del Barrio and the Americas Society, New York, March 7-May 23, 2010. Exhibition co-curators: Howard N. Fox, curator of contemporary art; Rita Gonzalez, assistant curator of special exhibitions; Chon A. Noriega, UCLA professor of film, television, and digital media, director of the UCLA Chicano Studies Research Center and adjunct curator of Chicano/Latino art, Los Angeles County Museum of Art.

Untouchable: Creating Desire and Knowledge in Museum Costume and Textile Exhibitions

Abstract: This article examines various intellectual and physical challenges of exhibiting costumes and textiles in European and North American museum settings where artifacts cannot be handled or physically experienced by visitors. It describes different museological and commercial solutions and suggests reasons for the various approaches taken to collections and on-going rotating displays. It also describes the author's own experiences with costume and textile displays in different institutions in the USA and Canada since the 1980s.

Introduction: Experiments in Exhibition, Ethnography, Art, and Science

Abstract: ''Nullius in verba,'' ''On the word of no man.'' In the 1660s, with these words taken from Horace, the scientific age was inaugurated. Adopted by the newly established Royal Society, this motto declared a break from Aristotelian epistemologies based on doctrine, rhetoric, and the authority of accepted truths which had dominated the scholastic world of the Middle Ages and Renaissance. What the new academicians proposed was a commitment to empirical evidence as the basis for knowledge, a commitment to establishing truths about the world through the staging of experiments. The experiment, meaning ''from trying,'' thus became synonymous with the scientific method. Indeed, the popular image of the scientist remains that of a white-coated figure, surrounded by laboratory apparatus, peering into a test tube. Historians of science have discussed the concept of the experiment at length. Like other disciplines, the natural sciences have had their reflexive turn and authors including Hacking (1983), Latour (1999), and Shapin and Schaffer (1985) have turned their critical attention to the experimental processes through which scientific knowledge is produced. While they have pointed out the heterogeneity of types of experimentation historically (especially Hacking 1975; see Schaffer 2005), central to many characterizations is that experiment is regarded as a knowledge-generating procedure – ''experiment is the creation of phenomena'' as Ian Hacking puts it (1983, p. 229, emphasis added). Via the assembly of particular apparatus and methods performed in a context that was at least theoretically open to the public, experimentalism was, according to Thomas Hobbes's critical account of 1660, an empirical intervention that aimed to ''procure new phenomena'' (see Shapin and Schaffer 1985, p. 115). Experiment thus entails the ''systematic production of novelty'' (Pickstone 2000, p. 13). Or, as Bruno Latour (1999) has explored, experiment can be seen as a transformative process – for the people as well as the materials involved. (For example, the experimenter is transformed by the experiment into an expert.) As we hope to demonstrate, such conceptualizations resonate in the chapters of this book, which are concerned not with scientific experiments so much as with experiments in exhibitionary practices. Indeed, the realms of experiments and exhibitions are perhaps not so distinct. Shapin and Schaffer argue that the purpose of scientific apparatus is ''to make visible the invisible'' – in other words, to exhibit, to ''hold out,'' to display. In the seventeenth century Robert Hooke, we might note, was the Royal Society's first curator …

The Project of Autonomy: Politics and Architecture Within and Against Capitalism

Abstract: A challenging and polemical argument about the Autonomia movement in Italy, a group of Italian intellectuals who produced a powerful and rigorous critique of capitalism and work in the 1960s and '70s, and its intersections with two of the most radical architectural urban theorists of the day: Aldo Rossi and Archizoom. The Project of Autonomy introduces English speaking readers to major figures like Mario Tronti and Raniero Panzieri who have previously been little known here, especially in an architectural context; and draws on siginficant new source material, including recent interviews by the author and untranslated material. Finally, the book includes beautiful illustrations related to the context of these intellectual and architectural movements, with reproductions of rare publications of the 1960s as well as seminal projects and exhibitions. A part of the FORuM Project Publication series published in association with the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University.

Interactive spatial multimedia for communication of art in the physical museum space

Abstract: This paper discusses the application of three spatial multimedia techniques for communication of art in the physical museum space. In contrast to the widespread use of computers in cultural heritage and natural science museums, it is generally a challenge to introduce technology in art museums without disturbing the art works. This has usually been limited to individual audio guides. In our case we strive to achieve holistic and social experiences with seamless transitions between art experience and communication related to the artworks.To reach a holistic experience with minimal disturbance of the artworks we apply three spatial multimedia techniques where the only interaction device needed is the human body. The three techniques are: 1) spatially bounded audio; 2) floor-based multimedia; 3) multimedia interior. The paper describes the application of these techniques for communication of information in a Mariko Mori exhibition. The multimedia installations and their implementation are described. It is argued that the utilization of the spatial multimedia techniques support holistic and social art experience. The multimedia installations were in function for a three and a half month exhibition period and they were approved on beforehand by the artist to be in concordance with the artworks.

Indigenous curation, museums, and intangible cultural heritage

Abstract: Fifteen to 20 years ago, few curators working in an American museum housing Native American collections would have questioned their right to open and handle the contents of a sacred medicine bundle, to put an Iroquois false face mask on display, or to mount an exhibition without consulting representatives from the source community. These were the taken-for-granted, exclusive roles and responsibilities of curators working within professional guidelines and ethics of the time. However, as museums have been making efforts to become responsive to the needs and interests of their diverse constituencies, especially minority and Indigenous communities, they have become more inclusive of diverse perspectives and sensitive to the rights of people to have a voice in how their cultures are represented and their heritage curated. Today, collaboration between museums and source communities and the co-curation of collections and exhibitions has become commonplace in many museums (see Peers and Brown 2003). These activities have also inspired the development of more culturally relative and appropriate approaches to curatorial work (see Kreps 2008). Collaboration and co-curation has also revealed how many Indigenouscommunities have their own curatorial traditions, or ways of perceiving, valuing, handling, caring for, interpreting, and preserving their cultural heritage. What we have learned is that just as museums are diverse in the multiple voices, perspectives, and identities they represent so too are approaches to curation and cultural heritage preservation. While the recognition of Indigenous or non-Western approaches to cura-tion has become de rigueur in some mainstream museums, Western-based and professionally oriented museological theory and practice continues to dominate the museum world. Indigenous curatorial traditions and approaches to heritage preservation are unique cultural expressions. As such, they should be recognised and preserved in their own right as part of a people’s cultural heritage. They also, however, contribute to world, cultural diversity and have much to contribute to our understanding of museological behaviour cross-culturally, in addition to the formulation of new museological paradigms.

Hollywood in the Neighborhood: Historical Case Studies of Local Moviegoing

Abstract: PART I: INTRODUCTION-SETTING THE CONTEXTS 1 Introduction: Researching and Writing the History of Local Moviegoing Kathryn H Fuller-Seeley and George Potamianos 2 Decentering Historical Audience Studies: A Modest Proposal Robert C Allen PART II: ORIGINS-CASE STUDIES 3 The Itinerant Movie Show and the Development of the Film Industry Calvin Pryluck 4 Early Film Exhibition in Wilmington, North Carolina Anne Morey 5 Building Movie Audiences in Placerville, California, 1908-1915 George Potamianos 6 Cinema Virtue, Cinema Vice: Race, Religion, and Film Exhibition in Norfolk, Virginia, 1908-1922 Terry Lindvall PART III: INTEGRATION AND VARIATIONS-CASE STUDIES 7 The Movies in a "Not So Visible Place": Des Moines, Iowa, 1911-1914 Richard Abel 8 Digging the Finest Potatoes from Their Acre: Government Film Exhibition in Rural Ontario, 1917-1934 Charles Tepperman 9 At the Movies in the "Biggest Little City in Wisconsin" Leslie Midkiff DeBauche PART IV: MATURITY AND CRISIS IN THE 1930S-CASE STUDIES 10 Imagining and Promoting the Small-Town Theater Gregory A Waller 11 "What the Picture Did for Me": Small-Town Exhibitors' Strategies for Surviving the Great Depression Kathryn H Fuller-Seeley 12 "Something for Nothing": Bank Night and the Refashioning of the American Dream Paige Reynolds PART V: LOOKING BACKWARD, LOOKING FORWARD 13 Bad Sound and Sticky Floors: An Ethnographic Look at the Symbolic Value of Historic Small-Town Movie Theaters Kevin Corbett 14 Conclusion: When Theory Hits the Road Ronald G Walters Contributors Selected Bibliography Index

Communicating art through interactive technology: new approaches for interaction design in art museums

Abstract: This paper discusses new approaches to interaction design for communication of art in the physical museum space. In contrast to the widespread utilization of interactive technologies in cultural heritage and natural science museums it is generally a challenge to introduce technology in art museums without disturbing the domain of the art works.To explore the possibilities of communicating art through the use of technology, and to minimize disturbance of the artworks, we apply four main approaches in the communication: 1) gentle audio augmentation of art works; 2) conceptual affinity of art works and remote interactive installations; 3) using the body as an interaction device; 4) consistent audio-visual cues for interaction opportunities. The paper describes the application of these approaches for communication of inspirational material for a Mariko Mori exhibition. The installations are described and argued for. Experiences with the interactive communication are discussed based on qualitative and quantitative evaluations of visitor reactions. It is concluded that the installations are received well by the visitors, who perceived exhibition and communication as a holistic user experience with a seamless interactive communication.

Britain, the Empire, and the World at the Great Exhibition of 1851

Abstract: Contents: Introduction, Jeffrey A. Auerbach Part 1 England, Exhibitions, and Empire: Mission impossible: globalisation and the Great Exhibition, Paul Young The world within the city: the Great Exhibition, race, class and social reform, Kylie Message and Ewan Johnston Defining nation: Ireland at the Great Exhibition of 1851, Louise Purbrick ' A valuable and tolerably extensive collection of native and other products': New Zealand at the Crystal Palace, Ewan Johnston ' Nothing very new, or very showy to exhibit': Australia at the Great Exhibition and after, Peter H. Hoffenberg. Part 2 Europe, the Orient, and the Spaces in Between: Russia and the Crystal Palace in 1851, David C. Fisher The Great Exhibition and the German states, John R. Davis Modern to ancient: Greece at the Great Exhibition and the Crystal Palace, Debbie Challis Degrees of otherness: the Ottoman Empire and China at the Great Exhibition of 1851, Francesca Vanke Select bibliography Index.

Spectacle, Exoticism, and Display in the Gentleman's House: The Fonthill Auction of 1822

Abstract: This essay examines the reaction of the public and periodical press to the exhibition and sale of William Beckford’s country estate. The specific circumstances of Beckford’s notoriety and unconventional tastes, the conjunction of exhibition and sale, and the publicity surrounding the auction undermined the conventional ideology of the country house and transgressed categories of exhibiting, display, and viewing in a number of significant ways; by analyzing the points of friction characterizing the exhibition’s reception I will reveal what was at stake in the struggle for cultural authority, here manifested as public display and gentlemanly taste, in the early nineteenth century.

Cold War Modern: Design 1945-1970

Abstract: This exhibition, conceived and co-curated by Crowley and Pavitt (RCA), was part of a 12-year series of major shows dedicated to 20th-century design at the V&A Museum, London. It explored the influence of cold war politics and anxieties on modernist art, design and architecture after 1945. It featured c.300 objects including works of art, design, photography, film and architecture from c.20 countries. For this four-year research project, Crowley and Pavitt divided roles equally. Crowley was, with Pavitt, the co-editor and author of a large proportion of the 319-page accompanying book (2008), and his essays were translated into Polish (2009) and Italian (2012). Crowley also wrote a short popular book, Posters of the Cold War (2008), and numerous related articles in popular titles such as History Today (2008). The AHRC (2006), V&A and RCA supported Crowley’s research. He worked closely with architects and designers active in the period c.1945–70, and in numerous archives and collections in Europe and North America, to research and select exhibits. Many were ‘discovered’ by the curators and exhibited for the first time. Moreover, the exhibition set out to create new paradigms for thinking about design during these years. Breaking with the narrow focus on Western models, the exhibition established new frameworks for thinking about modern design during the Khrushchev ‘Thaw’ in Eastern Europe. In 2009, the exhibition toured to MART Rovereto and the National Gallery, Vilnius, where it was the centrepiece of the European Capital of Culture 2009 programme. An estimated 183,000 people saw the exhibition in its three venues. ‘Cold War Modern’ was widely and enthusiastically reviewed in magazines, newspapers and academic journals worldwide. Crowley was invited to speak on the exhibition and its themes to audiences in the UK, Poland, Serbia, Lithuania, the USA, Bosnia, Hungary and Germany between 2008 and 2010.

Online Virtual Exhibitions: Concepts and Design Considerations

Abstract: Online virtual exhibitions (VEs) are acknowledged as important complimentary counterparts to physical exhibitions. It overcomes space, time and location restrictions and allows global visitors to access these priceless and exciting treasures that are stored in museums, archives and other institutions on a 24/7/365 basis. Well constructed VEs can offer alternative experiences to the "real thing" and open up other opportunities that include learning, more content beyond physical exhibits, active participation and contribution by visitors through forums and uploads, online shopping, and others. This paper provides a state-of-the-art review, and illustrates concepts and design considerations for the development of VEs that can be highly effective and efficient with minimal technological knowledge. By considering the important issues of metadata, system architecture design and development techniques, it becomes possible to generate a series of VEs to meet the needs of different user groups and at the same time cater to the constraints of the client computers, thereby providing the users the best possible experience in engaging with the VEs. DOI: 10.14429/djlit.28.4.194

Is There Competition in the Exhibition Market in Asia? Analysis of the Positioning of Major Asian Exhibition Host Cities

Abstract: There have been few efforts made to identify the positioning of exhibition host countries or cities, even though studies on the positioning of convention host destinations have been popular. Thus, the aim of this study was to assess the positioning of exhibition cities as perceived by a sample of exhibitors who participated in exhibitions held in Hong Kong. A total of 304 questionnaires were collected at the PATA Travel Mart 2006, the Hong Kong Jewelry and Watch Fair, Aircraft Interiors Expo ASIA 2006, MIPIM Asia 2006, and Electronic Asia 2006. The results of this study found that there is a strong competition between major exhibition host cities in Asia, including Hong Kong, Beijing, Shanghai, Singapore, Seoul and Tokyo. The respondents showed the highest preference for Hong Kong and Singapore as an exhibition host destination.

From Technophilia to Technophobia: The Impact of the Vietnam War on the Reception of "Art and Technology"

Abstract: Using the Los Angeles County Museum of Art's 1971 exhibition “Art and Technology” as a case study, this essay examines a shift in attitude on the part of influential American artists and critics toward collaborations between art and technology from one of optimism in the mid-1960s to one of suspicion in the early 1970s. The Vietnam War dramatically undermined public confidence in the promise of new technology, linking it with corporate support of the war. Ultimately, the discrediting of industry-sponsored technology not only undermined the premises of the LACMA exhibition but also may have contributed to the demise of the larger “art and technology” movement in the United States.