The Pedagogic Potential of Interpretive Spaces in Art Exhibits: Examples From the Kitchener-Waterloo Art Gallery

Building a virtual art gallery through panoramic technology can make online exhibitions more realistic and immersive, enabling visitors to experience the feeling similar to the real venues through the interactive operation. This paper analyzes the application status and implementation algorithm of panoramic tour technology. To break through the direct effects of traditional offline exhibitions on this foundation, we try to apply panoramic technology to virtual art galleries’ presentations. This paper proposed a panoramic tour interactive technical process specifically for art exhibitions and constructed the virtual reality interactive exhibition hall system embedded in Html5. It is a new digital interactive solution for art galleries and exhibitions adopted by the Art Museum of Central Academy of Fine Arts in China.

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

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.

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.

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.

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.

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.

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. …

Art teachers are ordinarily content to accept as works of art the objects to which we are exposed in art classes, museums, galleries, and artists' studios. However, on occasion when they come upon a strange and novel denizensuch as a lump of lard in an art exhibition, Robert Barry's Tbougbts, or Sam Hsich's year-long clock-punching performance-art teachers are called upon to face the question What is a work of art? A large number of art educators accept the position that art has no definition and there is no single property or properties that are common to all works of art. About all that one can say in response to the question What is a work of art? is that a work of art is anything any member of the artworld calls or may call art. Many art teachers find this answer attractive, for it sounds democratic and open-minded, it removes the need to supply a plausible account of what sets art off from nonart, and it avoids having to defend ideas against hostile criticism which might lower the status of the art teachers. An increasing number of art teachers, however, find this answer acceptable because of the theoretical basis they believe exists for it. Kenneth M. Lansing, in a recent article in this journal, reviews the primary theoretical basis for the view that art has no definition.1 It is the Wittgenstein-Weitz theory that art is an open concept and thus cannot be defined. Though he writes that this theory creates more problems than it solves, he concludes that any proposed definition of art is no more than an attempt at an honorific definition. Such definitions treat the concept of art as if it were closed by restricting it to certain honored or selected referents despite the fact that the term is used to refer to a wider set of things. Thus, though Lansing is critical of the Wittgenstein-Weitz theory, he comes to the same conclusion about any attempt to define art as those who favor the theory.

Although the development of various technological products increases people’s methods to approach diverse art forms, they also bring many distractions and addictions to recent people, especially to those young people who don’t have much self-control ability. Those attractions causes students prefer to spend all weekend in virtual world, rather than participate in art exhibitions and museums, leading to lack of art appreciation ability and self-perception. This a worldwide issue, but few people have conducted such discussions both in theory and in practice. Therefore, a survey which aims to reveal the recent high school students real situation on artistic influence and a subsequent activity which hopes to improve those students’ most serve problem revealed by the previous survey are prepared to conduct in an emerging group of Chinese high school students: international school students. Then those students who received further treatment on art will be retested on their art appreciation ability. The result will not only give a direction for more high school in China to improve their artistic influence education, but also highlight and reveal that serve issue to more people and schools. The survey by questionnaires reveals that high school students in Guangdong Country Garden international school lack artistic influence extremely. They completely don’t have habit of paying attention to opera performance and visit the art exhibitions only a few times a year. This kind of usual practices leads to deficiency on cognitive power, perception ability and kinesthetic capability. In the survey, most students could describe their feelings to some concrete art works, but they could not describe their feelings on a film or an abstract painting successfully, which means they cannot perceive their own subtle emotional changes. Therefore, those students most severe problem is on their perception capability.

A large volume of evidence indicates that only high-class students attend extracurricular activities (Art, music, sport, dancing). On the other hand, this evidence intensively underlines the substantial importance of such extracurricular activities, particularly in visual art, in promoting children's cognitive and non-cognitive well-being. Adolescents' participation in visual art was always interrelated with enhancing their emotional affection towards the Art and cognitive skill in making one, which ultimately built solid efficacy that allows them to interact with their society. The present cross-sectional study sought to shed light on the potential impact of visual art on adolescents' emotional, cognition, and self-efficacy development, which needs to be improved in the Chinese context. Hence, randomly sampled (N = 2139) junior secondary school students were recruited from the rural province of Guizhou in Southwest China to attain the aim of the study. The study's finding affirms that students engaged in artistic activities start to develop a habit of communicating with their peers, showing their work, and commenting on works made by their peers or observed in art exhibitions or museums; such a process makes them self-efficacious. Ultimately, this paper extends the application of visual art activities from educational benefits to nonacademic development, which are the primary agents for children's well-being.

Contributors