Online Virtual Art Exhibition Solution Based on Krpano

Art exhibitions organized by museums and art galleries have become vital mobile platforms for national cultural outreach. Drawing from the Ninth Beijing International Art Biennale, this study examines the developmental potential of contemporary Chinese art exhibitions within in a framework of “national consciousness” through three analytical dimensions: artistic experience, national discourse, and exhibition trajectories within a global context. The author argues that the spiritual dimension in modern art exhibitions has been neglected, emphasizes the crucial role of “national consciousness” in curatorial practices. By harnessing the window effect of art exhibitions to transform sensory experiences into tangible bodily engagements, this research provides practical insights for shaping China's cultural leadership, guiding public artistic engagement, and establishing national consciousness-driven art production mechanisms in the new era.

This article reports on a qualitative study that identified empathic dramatic engagement as a powerful lens for understanding how visitors learn in the art museum. Visitor responses to two art exhibitions reveal that visitors construct their own meaning-making narratives through a creative process of concept formation and imaginative elaboration (play). It is argued that visitors actively seek significant meaning through empathic engagement (identification) with selected exhibition elements in a manner similar to the way in which theater audiences identify with, and make meaning of, dramatic performances. Although these narratives are idiosyncratic in nature and rooted in the visitors' own memories and past experiences, it was found that visitors tend to conceptualize significant exhibition experiences in terms of basic elements of drama: character, plot, dialogue, and setting. The study also found that willing suspension of disbelief on behalf of the visitor is central to learning in the art exhibition setting, as it is in the theater. These findings confirm that the performative nature of the art museum environment is essentially evocative, and that art exhibitions lend themselves to empathic dramatic engagement. The practical implications of this modality as an interpretive frame for the museum experience is discussed with a view to allowing curatorial practice, exhibition design, and interpretive strategies to play a more effective role in visitor learning outcomes.

This study discusses about: Bentara Budaya Yogyakarta, management of art exhibitions and curatorial system organizing art exhibitions in Bentara Budaya Yogyakarta. This type of research is descriptive and qualitative object under study is the process of organizing an art exhibition in 2012, and observing and recording systems curatorial art exhibitions in Bentara Budaya Yogyakarta. Data collection techniques such as literature study, observation, interviews, and documentation. The validity technique used is the triangulation of data by leveraging data sources and methods review informant. Data analysis using flow models of analysis (flow models). To explain the process of the management of art exhibitions and curatorial system organizing art exhibitions using the guidebook written by Mikke Susanto. The results showed that: the process of organizing curatorial art exhibitions in Bentara Budaya Yogyakarta in its implementation is divided into two types, namely the initiative of artists and gallery managers initiative. Observing the results of the exhibition of art based on the typology and periodization of time organizing art exhibitions, visible differences between the initiative of artists and galleries initiatives in terms of time organizing exhibitions and art galleries pemakiaan procedures. Keywords: arts management, curatorial, Bentara Budaya Yogyakarta

The object of research is Chinese fine art presented in Soviet museums, museum practice and scientific discourse that has developed around the study of Chinese art in the USSR. The subject of the research is the specifics of designing exhibitions of Chinese art in Soviet art museums and the issues of its historical transformation. The analysis of a number of exhibition events held in Soviet museums and dedicated to Chinese fine art is proposed. During the consideration of the topic, such issues as the factors that influenced the methods of Soviet scientists in planning Chinese expositions, the degree of their effectiveness in relation to communication between the Soviet viewer and works of Chinese fine art are traced. This material is used to reconstruct the process of transformation of Soviet art critics' approaches to presentation and communication in the field of Chinese art. The comparative historical method is used to allow a comparative analysis of the Early Soviet and late Soviet periods in order to comprehend the issues of the evolution of scientific knowledge about Chinese art, approaches to its research, museum presentation and communication in this area. A descriptive method of analyzing exhibitions and collections of Chinese fine art in Soviet museums is used. For the first time, the nature of Soviet museum studies of Chinese fine art is generalized, the approaches of Soviet researchers to presentation and communication in the field of fine art in China are revealed, and their historical transformation is traced. The main conclusions of the study are as follows. The nature of the evolution of Soviet researchers' approaches to presentation and communication in the field of Chinese fine art in USSR museums is determined by the movement towards the development of deep scientific ideas, which in the late Soviet period provide a reliable basis for the effective implementation of certain approaches to exposition planning, the complication of exhibition events, the movement of Soviet museological theory from an ideologized view of exposition material as a means education of a citizen of a new formation, to the perception of an independent artistic idea of exposition works. Since the second half of the 1980s, new principles of artistic communication between the viewer and works of fine art have been formed in the USSR: an independent artistic idea of exposition works is brought to the fore, which provides favorable conditions for the Soviet viewer to perceive traditional Chinese aesthetics as a separate phenomenon of ancient and original Chinese culture.

THE exhibition of Chinese art at the Royal Academy, Burlington House, closed on March 7, when the number of visitors had reached the remarkable total of 422,048. This number constitutes a record for all the recent winter exhibitions, with the exception of the exhibition of Italian art. It justifies the opinion expressed at the time the exhibition opened that the quality of Chinese art, when once certain conventions had been assimilated, was such in its general outlook and approach to reality as was likely to appeal to the susceptibilities of a British public. This was most strikingly manifested in the attention attracted by the transcendent qualities of the scroll landscape paintings; but it was also to be noted that the bronzes and other exhibits belonging to the early prehistoric period and the T'ang figures received little less detailed inspection, so far as conditions allowed. The popularity of the exhibition did not, indeed, conduce to a full appreciation of the subtler qualities of this great art, and it is, therefore, all the more gratifying to leam from the Directors of the British Museum and Victoria and Albert Museum that arrangements are being made for the exhibition at South Kensington at an early date of the Eumorfopoulos collection of Chinese art. This exhibition will include not only the purchased objects already assigned to South Kensington and the British Museum respectively, which will be brought together again for this purpose, but also that part of the collection of which the purchase is not yet complete, through the generous public spirit of the owner. If the public displays an interest in this collection in any way comparable to the enthusiasm shown at Burlington House, it should prove a strong incentive to early action in providing the much desired Museum of Asiatic Art, so greatly needed in London.

In this study, the VR 360° panoramic technology is used to develop a virtual wetland ecological system for applications in environmental education. The system provides a virtual wetland environment for autonomous exploration, where the user can conduct inquiry-based learning by cardboard VR to obtain essential information and concepts in ecological protection. It contains the learning contents of wetland ecology and creatures in Hsinchu coastal areas, northern Taiwan. To investigate the learning effectiveness of the VR system, we recruited 42 seventh graders as participants and divided them evenly into two groups. The experimental group used the virtual wetland ecological system for learning and the control group learned with conventional teaching materials. The differences of the experimental results indicated: (1) the experimental group showed a high degree of satisfaction after using the virtual wetland ecological system; (2) the learning achievement of the experimental group was significantly higher than that of the control group; (3) the learning motivation of the experimental group was significantly higher than that of the control group. The virtual wetland ecological system can enhance the learning effectiveness and learning motivation using low-cost cardboard glasses, so it is a suitable tool for promoting environmental education in remote areas.

Contributors

Click to increase image sizeClick to decrease image size Notes 1. Presented in 1961 at the Stedelijk Museum, Amsterdam, March–April; Moderna Museet, Stockholm, May–September; the Louisiana Museum, Humlebaek, Denmark, September–October. 2. Billy Klüver and Robert Rauschenberg, Art in Motion – A Combined Memory, 1961, published in English for the first time in this issue. 3. The illicit act suggested by the title of work is open to interpretation. Branden Joseph provides an analysis of the work in his entry in the Combines catalogue, relating how the work connects to other of the artist's works and providing a reading of the various elements of the piece. He suggests that the incorporation of new objects into Black Market functioned as a »means of smuggling unauthorized objects … into the art museum«. »Rauschenberg's Refusal«, Robert Rauschenberg: Combines, exh. cat., Museum of Contemporary Art, Los Angeles, 2005, pp. 267–275. 4. Even after his Combine phase, Rauschenberg continued to produce innovative solutions, such as Mud Muse (1968–71), which would forge a way for sculpture away from static shapes to elements of constant varied movement and sound in a manner much more organic and variable than even Jean Tinguely had envisioned. 5. Alan R. Solomon, Robert Rauschenberg, exh. cat., Jewish Museum, New York, 1963, p. 3. 6. Solomon, 1963, pp. 1–2. 7. »The basis of Rauschenberg's position lies extraordinarily close to the aesthetic of Picasso, especially in the sense that both are involved in the tension between the illusionism of paint and the impinging presence of fragments of reality«. Solomon, 1963, p. 2. In 1965, for the show of Rauschenberg's work at the Walker Art Center, Dean Swanson repeatedly stressed the lack of social comment in Rauschenberg's art, for example: »He avoids exploiting topical references for the sake of social comment. Even the powerful image of President Kennedy that appears in several of the silk-screen paintings was chosen because it was comparatively uncontroversial«. »Robert Rauschenberg Paintings 1953–1964«, Walker Art Center, Minneapolis, 3 May-6 June, 1965. 8. Branden Joseph notes that efforts to assign specific iconographies to Rauschenberg's works have generally been in vain: »nearly three decades of such analyses (which at their most reductive condense a work's evident heterogeneity into a single sentence or illustration of a mythic event) have yielded only partial and unsatisfactory results. Indeed, those relatively few of Rauschenberg's pieces that seem to invite such readings are far outweighed by the majority that do not«. Random Order: Robert Rauschenberg and the Neo-Avant-Garde, MIT Press, Cambridge, MA, 2003, p. 11. 9. See Rauschenberg's interview with Dorothy Seckler, 21 December 1965, made for the Archives of American Art, Smithsonian Institution, available at http://www.aaa.si.edu/collections/oralhistories/transcripts/rausch65.htm. Branden Joseph discusses this work in his book, 2003, pp. 172–177. 10. Quoted in Joan Young and Susan Davidson, »Chronology«, in Walter Hopps and Susan Davidson (eds), Robert Rauschenberg: A Retrospective, Solomon R. Guggenheim Museum, New York, 1997, p. 559. Reprinted in Joseph, 2003, p. 177. 11. A Time magazine article from 1964 noted: »Juxtaposed in Tracer [1963] are army helicopters, a Rubens nude, a bald eagle, a street scene, all balanced in colorful harmonies and anchored by skeletal perspective boxes. As pure forms in relation, they make amusing pictorial sense … .«, »Most Happy Fella«, Time, 18 September 1964, p. 94. Thomas Crow, in his essay in the Combines catalogue, discusses the historiography behind formal interpretations superceding iconographic ones: »Rise and Fall: Theme and Idea in the Combines of Robert Rauschenberg«, Robert Rauschenberg: Combines, 2005, pp. 244–245. 12. Solomon, 1963, p. 3. 13. Ron Eyerman and Andrew Jamison, Seeds of the Sixties, University of California Press, Berkeley, 1995, p. 2. 14. Eyerman and Jamison, 1995, pp. 5, 7. 15. The »Why We Fight Series« included a total of seven films: Prelude to War, The Nazis Strike, Divide and Conquer, The Battle of Britain, The Battle of Russia, The Battle of China, and War Comes to America. Prelude to War was first released to the Armed Forces in the fall of 1942, then to personnel in munitions factories in April 1943, and to the public at large in May 1943. It won best documentary film at the Academy Awards in 1943. 16. Quote by Gen. George C. Wallace, 1942, attributed in the film to Secretary of War, Henry L. Stimson. 17. Vice-President Henry A. Wallace, May 8, 1942. 18. Declaration of Independence, 1776. 19. Prelude to War, 1942. 20. »I do take a stance in questions like race issues and atrocities of all sorts. . . If you feel strongly [about political issues], it's going to show there. I mean, that's the only way it can come into my work. And I believe it's there … I think cultivated protest is just as dreamlike as idealism«. Seckler interview with Rauschenberg, 1965 (see note 9 above). 21. In the Truman Doctrine, at the beginning of the Cold War, Harry Truman stated, »I believe that it must be the policy of the United States to support free peoples who are resisting attempted subjugation by armed minorities or by outside pressure«, 28 April 1947. During the Berlin Blockade, in 1948, General Lucius D. Clay, US military governor in Berlin, stated on 24 June, »If we mean that we are to hold Europe against communism, we must not budge. I believe the future of democracy requires us to stay here until forced out«. 22. In the United States in the 1950s, 80% of 15- to 19-year-olds were in enrolled in school, versus less than 30% of Europeans; between 1940 and 1950, the increase in college enrollment in the United States grew by nearly 80%. National Center for Education Statistics: Thomas D. Snyder (ed.), »120 Years of American Education: A Statistical Portrait«, 1993, pp. 6, 65. Available at: http://nces.ed.gov/pubsearch/pubsinfo.asp?pubid=93442 (accessed 15 November 2006). 23. Not the least of which was the Civil Rights Act of 1964. 24. Alan Solomon, »Four Germinal Painters, Four Younger Artists«, in XXXII International Biennial Exhibition of Art, Venice 1964, United States of America, exhibition brochure/catalogue, 1964. 25. In 1964, the United States Information Agency (USIA) had charge of the American entry at the Venice Biennale. The USIA, under the auspices of Edward R. Murrow and Lois Bingham, selected Alan Solomon as the commissioner for the American section, allowing him free rein in selecting the artists and works that would be included. The USIA's participation was limited to funding, facilitating the transportation of works, and other administrative duties, such as helping with printed material. See my »Political Promotion and Institutional Patronage: How New York Displaced Paris as the Center of Contemporary Art, ca. 1955–1968«, UMI, Ann Arbor, MI, 1995, pp. 184–203. 26. USIA Memorandum, 6 April 1964. USIA Inter-office Miscellaneous Memos file – 73, Smithsonian Institution Archives, Washington, DC. For a discussion of the relevance of Cold War politics and the promotion and exhibition of American art in general and Rauschenberg's art in particular, see Boyer, 1995. Not only did the US government want to juxtapose American art and issues of freedom and democracy, it wanted to combat the (Soviet-encouraged) view of the United States as a cultural wasteland, competent merely in the areas of technology. 27. I discuss Solomon's statement regarding New York replacing Paris as the center of art, reaction to the statement, as well as the importance of American cultural success within a Cold War context (Boyer, 1995, p. 191). 28. Boyer, 1995, p.190. See, for example, D. C., »Pop'art & dollars, ou la semaine de Venise«, No. 18, Vol. II, July–August 1964, La Côte des peintres, pp. 24–27. 29. The 1947 exhibition »Advancing American Art« serves as one excellent example. Some US congressmen, who were upset by the representation of the United States by art they found incomprehensible and ugly, forced the cancellation of the international schedule of the show as well and the wholesale unloading of the artworks, which had been government property. See Advancing American Art: Politics and Aesthetics in the State Department Exhibition, 1946–48, Montgomery Museum of Fine Arts, Montgomery, Alabama, 1984. 30. Robert Sivard, Memorandum to Mr Harris, »The Venice Biennale Art Exhibit«, 14 August 1964, Record Unit 321, Box no. 9, Smithsonian Institution Archives, Washington, D.C. 31. »[Rauschenberg] … is the artist of American democracy, yearningly faithful to its clamor, its contradictions, its hope and its enormous demotic freedom, all of which find shape in his work. Other American artists have had this ambition – one thinks of Robert Henri and the Ashcan painters at the turn of the century – but none fulfilled it so well«, Robert Hughes, »The Great Permitter«, Time, 3 November 1997, p. 57. 32. Calvin Tomkins, »Master of Invention«, New Yorker, 13 October 1997, pp. 92–96. 33. It should be also noted that Rauschenberg's biography and later professional career reveal a distinct liberal bias that argues that he was aware of liberal causes early on. Rauschenberg's 1965 interview with Dorothy Seckler reveals this. And note that Rauschenberg gave the work Election as a gift to the Kennedys. He supported the space program and championed environmental causes. Evidence of his later professional allegiance to liberal causes is found in the current Smithsonian Institution traveling exhibition of Rauschenberg's art, Robert Rauschenberg, Artist-Citizen. The promotional information from the SI website states that the exhibition includes prints from 1970 to 1996 »that reverberate with Rauschenberg's commitment to making the world a better place«.

La censura sucede en contextos donde se establecen discursos dominantes que invisibilizan memorias subterráneas, de tal manera, as obras de arte actúan como vehículos de memorias mediante sus símbolos externos. La investigación presenta casos de estudio sobre la censura de la exposición individual ‘El Tercer Mundo’ de MAx Provenzano en el Museo de Arte de Valencia en Venezuela y la clausura inesperada de la exposición colectiva ‘Queermuseu: Cartografias da diferença na arte brasileira’ en el Santander Cultural en Brasil, en los años de 2015 y 2017, respectivamente. Se analizaron los mecanismos de censura para identificar las memorias subterráneas en exposiciones de arte, como práctica discursiva para determinar el control de la memoria cultural a través de conflictos de poder. Además, se analizaron las formaciones discursivas e ideológicas para conocer los elementos sobre las acciones de censura, para comprender las narrativas divergentes que reflexionan sobre las diferentes identidades y memorias de las regiones latinoamericanas.

The current paper presents a scientific approach of implementing online virtual exhibitions on mobile devices in order to increase the number of visitors inside cultural institutions, such as galleries, libraries, archives and museums (GLAM). There are described the new opportunities offered by the cultural heritage to generate revenues for cultural institutions and to contribute at the economic development of the belonging countries. It is described the role of virtual exhibitions in the processes of digitization, preservation and valorization of cultural heritage. The most important features of virtual exhibitions, which makes the differences from simple image galleries and websites, are presented and detailed.

Virtual reality technology is the important application in the field of agricultural tools and agricultural researchers which focus with the progress of science and technology and the reform and development of agriculture. This system shows the double 360° spherical domain within the scope of agricultural base of the real environment and achieve the panoramic view, information query, navigation map, sales of agricultural products and source, and a series of auxiliary and interactive functions with the aid of 720° panoramic technology, based on the Krpano development platform and WebStorm code editing tool. The successful application of this system not only indicates that 720° panoramic technical feasibility and practicability, but also for the application of this technology in other industries to provide experience for reference.

Special art exhibits, sometimes known as "blockbusters", are often thought of as tourism and business generators. This belief is fostered by economic impact studies that bravely estimate the total gross domestic product or total jobs "created" by such exhibits. Unfortunately, the enthusiasm of the exhibit promoters often leads them to the uncritical use of methodologies that exaggerate the size of the exhibit's contribution to the local economy. Fortunately, such methodologies are well understood and corrective measures are available to make the estimates they produce more realistic and useful for advocacy purposes. This paper presents a comparison of two studies done in Canada to provide arts managers with a gauge for realistically forecasting the potential impact of planned "blockbusters". Several Canadian art galleries have recently hosted special art exhibits, notably the Renoir Por- traits at the National Gallery of Canada and the Barnes Exhibition at the Art Gallery of Ontario. They have surveyed the visitors to them using a corrective methodology that enables researchers to determine which visitors came to the region only because of the existence of the exhibit and which would have come to the region and spent money whether the exhibit existed or not. These data enable researchers to estimate quite accurately the amount of visitor spending that is actually due to the exhibit. This lower, but more credible, estimate is very useful in helping promoters obtain exhibit sponsorship from local tourism businesses who have become skeptical of the exaggerated claims of economic impact estimates based on standard survey approaches.

This research is attempting to find a new realm contributing to the current marketing practices through proposing a new method of marketing of art and heritage artefacts. This research tries to find a hint of a new angle through marketing practices on the relationship among abstraction, art and heritage marketing and customer value in art museums, galleries and exhibitions in Egypt.
 
 This research aims at gaining insight into the abstract marketing themes for a better use of the best marketing practices at museums, illuminating the way for other researchers to establish additional studies that look deeply into the relationships among abstraction theory, art & heritage dimensions and customer value.
 
 This research uses a quantitative research design beside a qualitative exploratory study for a clearer overview of the way art museums; galleries and exhibitions customers in Egypt view the provided service, through the use of an in-depth interview. The research develops and tests a conceptual model through quantitative analysis, using a self-administrated questionnaire of eight hundred copies distributed to art and heritage customers at some different art museums; galleries and exhibitions in greater Cairo and Alexandria. 320 questionnaire copies have been collected through a non-probability snowball sampling and convenience sample technique. The statistical analysis for the data, using SPSS and Path Analysis through AMOS have proved that there are positive correlations among the study variables, proving that abstraction has a significant positive impact on art and heritage marketing dimensions and that art and heritage marketing dimensions have a significant positive impact on customer value.

Exit Art New York City June 3-August 5, 2011 Compassion fatigue is a common complaint when faced with the all-encompassing topic of human misery at the hands of global capitalism. Exit Art's exhibition relies on images' aesthetic power to reach viewers. Contemporary Slavery is a project of Exit Art's SEA (Social Environmental Aesthetics) program and its second annual ECOAESTHETIC exhibition. The exhibition addresses multiple aspects of the issue of exploitation through a day-long symposium and poetry series, a month-long film screening series, and a two-month exhibition in Exit Art's gallery, featuring slideshows of photographs by a collection of fourteen artists and photojournalists. The photographic exhibition grapples with four main forms of slavery: prison work, domestic and migrant work, child laborers, and sex work. Perhaps the most intriguing in subject material, Bruce Jackson's prison series presents sweeping vistas of American prisoners toiling in southern cotton fields under the watchful eyes of armed guards on horseback. Taken from the 1960s through the early 1980s, these images also include intimate portraits of inmates on Texas' death row, haunting for their inescapable humanity. Many of the images are notable not for their documentary qualities, but for their arresting beauty. Tiana Markova-Gold's series (2010) and 002 (2010) offer subjects silhouetted, their identities partially obscured thanks to the personal danger and shame they face in their sex work. Heartbreaking synopses of Markova-Gold's subjects in the gallery's desk catalog of images reveal their between-a-rock-and-a-hard-place choices. In the photograph Macedonia 001 (2010), we are told that is a 22-year-old transgender Roma sex worker who was raped and coerced into prostitution as a teenager and has been the victim of countless incidents of violence. As the transgender sex worker in Skopje who regularly works in the street, we are informed that she is often homeless, struggles with drug abuse and has numerous health issues. She does not want to continue in this life but doesn't feel she has any alternatives. The quiet portrait shows little of the violence and struggle in Kristina's life; what we see instead is a domestic living space with the blurred shape of a refrigerator visible behind a darkened figure. Kristina's gold-painted nails, an outline of her gold hoop earring, and her vibrant red-sleeved shoulder are evident as Kristina prepares for what could be a night out. Her face, obscured in shadow, reveals the only hint of the danger she faces in her line of work. …

The methods of teaching art history in The Academy of Fine Arts in the 20th century always were based mainly on a concept of a connoisseur art science. The students of the Academy of arts must deeply understand the nature of creativity, so in addition to studying theoretical and historical disciplines. The art historian students at the Academy of arts spend many hours drawing and painting. They have a unique opportunity to study the technique and technology of art materials in academic laboratories and production workshops. Traditionally, an art historian who graduated from the Academy of arts works in a museum, teaches, works as an art critic, art expert, or deals with attribution of works of art. Now the boundaries of the profession have expanded, thanks to the emergence of curatorial institutions, art dealers, gallery business, the expansion of virtual space, and contemporary art strategies. Modern art history education is influenced by postmodern aesthetics and cultural studies, philosophy, the innovative technologies, the demands of an information and communication constantly changing market society, and so on. The problem of understanding the authenticity of an art work in the conditions of total reproduction and improvement of virtual technologies has also become one of the most significant. The need to switch to full distance learning in connection with the pandemic had both its negative sides and contributed to the development of new educational ideas, gave rise to interesting and unexpected projects that cover a wide audience. In the modern world, there is a process of threatening discommunication associated with the gap between representatives of mass and elite culture, between different layers of the society. The difference is not so much between cultures, but rather there is a lack of understanding between social stratums of society, between age and social groups. In particular, the gap between the previous links in the author-critic-artist chain has increased. The situation in the modern world and art, associated with the collapse of traditionalism and the emergence of non-traditional structures, the time of re-evaluation, the search for new ways to translate cultural experience poses a problem for researchers and teachers to understand and adequately explain the latest processes and phenomena occurring in the artistic space, which should be reflected in art education. The theoretical concept of criticism and its special functions is being developed in the Russian visual art of the 21st century. It performs a special type of artistic, analytical, and creative activity. In different periods of the existence of art criticism, certain features of it came to the fore, depending on the paradigm of the era. Often in modern artistic activity, the functions of critic and curator are combined, the functions of these spheres of activity merge together. It is the critic and the curator who become the interpreters of a work of art and sometimes the perception of an artistic phenomenon or event depends on their interpretation. In the modern world, critics and curators often act as the creators of an artistic concept or a specific art event, and as analysts who evaluate the phenomena. Сriticism and curatorship are creative professions that perform not only the tasks of expertise and evaluation, they are the field of artistic creativity, they have their own creative role. The basis of such professional qualities can be an academic art school, which has all the necessary conditions to achieve the modern level of art studies. Moreover, modern criticism, penetrating the field of art, becomes a part of art itself. Therefore, in the modern cultural space, critics and curators can be more in demand, and sometimes more vividly realized, than even artists trained within the traditional academic system.