Art Gallery Research Articles

Escaping the Bondage of Bullying: A Game-based Learning Approach

School bullying is a phenomenon of great concern worldwide, with profound implications for the emotional development of those involved. Leveraging the interactive nature of game-based learning provides a unique opportunity for active student engagement that goes beyond traditional pedagogical methods. This article aims to explore students' perceptions of bullying and present a digital game as an alternative educational approach to raising students' awareness, empathy, and empowerment. Furthermore, it will be demonstrated how an art-based virtual museum game engages students in exploring and understanding the phenomenon. A needs assessment on bullying was conducted on a student population sample during the school year 2023 - 2024. Subsequently, a digital 3D escape room type game (named "e-BOB") was used, which was redesigned and reconstructed by the students from an initial project within the Panhellenic Students Competition of Onassis Foundation "Hack the Art: Yiannoulis Halepas". The game was developed using Unity, Blender, and Krita platforms and is set in an art museum. Players interact with the sculptor's exhibits through micro-scenarios and quizzes drawn from the sculptor's life and artwork that tackle the issue of bullying. Key game features include goal achievement within a time limit and discovery of hidden elements. The analysis of the needs assessment data found that all students had been involved in bullying behaviors either as victims, perpetrators or observers. The majority of students focused mainly on direct forms of bullying and less on indirect forms, and most were unable to distinguish bullying from 'simple teasing', demeaning bullying behavior. Those at greater risk are the ones who show some element of differentiation in relation to the stereotypes of the social context in which they live. Several students indicated that the school environment needs to address the issue sufficiently. Finally, the game contributed to students' empathy about bullying, enhancing their self-reflection and managing strategies. Raising awareness, mental empowerment, and empathy for bullying requires dynamic and innovative approaches. With its potential for self-awareness and student activation, game-based learning should be incorporated into educational programs for bullying prevention and management within schools.

Exhibition review. The Invisible Burden. An Artistic Dialogue on Transgenerational Trauma (The Contemporary Art Gallery Subotica, June 8 – July 20, 2024)

Exhibition review. The Invisible Burden. An Artistic Dialogue on Transgenerational Trauma (The Contemporary Art Gallery Subotica, June 8 – July 20, 2024)

A Study on the Space Syntax of the Location and Usage Rate of Children's Art Museums

A Study on the Space Syntax of the Location and Usage Rate of Children's Art Museums

THE HISTORICAL BEDROCK OF HOLY QUR’AN’S MANUSCRIPT IN MALAYSIA: A STUDY ON ITS STYLE OF CALLIGRAPHY AND ILLUMINATION

The focus of this article is to examine the historical foundation of the Holy Qur’an’s manuscript in Malaysia, with specific attention to its calligraphic style and illumination. Islamic calligraphy and manuscript traditions hold significant importance within the Malaysian Muslim heritage. These traditions have been inherited and evolved over generations, with the earliest examples of Arabic calligraphy being found in the Holy Qur'an, commonly inscribed in a script known as Kufic. The historical roots of Islam are deeply intertwined with the Holy Qur'an's manuscript, making it a primary source for understanding the advent of Islam. In this research, an extensive array of resources from the Islamic Art Museum Malaysia (IAMM) and the National Library of Malaysia (NLM) were utilised, alongside personal collections and secondary sources. Data analysis involved employing philological, comparative, deductive, and inductive methodologies. Through this approach, it was revealed that the production of Malay Holy Qur'an's manuscripts has been significantly influenced by local creative input and intellectual contributions from regions such as Turkey, China, and Persia. The study particularly accentuates the diverse calligraphic and illumination techniques across different nations. Notably, manuscripts from the west coast of Peninsular Malaysia, specifically from Malacca and Johor, exhibit distinct artistic qualities that set them apart from those originating from the east coast, including Kelantan and Terengganu. This underscores the prevalence of varied artistic expressions resulting from a broad spectrum of cultural interactions. The development of calligraphy and illumination methods in Malaysian Holy Qur'an's manuscripts mirrors a wide range of artistic expressions, which are shaped by both local innovation and broader Islamic intellectual traditions.

A Journey Through Islamic Art Exhibition: Purification of Form, Ineradicable in Content

Throughout the years, the manifestations of Islamic art from east and west have been diverse in the formalistic aspects but united in its spiritual essence. The wide range of ornamental motifs, stylisation, placement, material, and context is constantly changing according to the current trend of the period, reflecting the historical, social-cultural and economic background it was produced. This ensues that change is inevitably bound to happen, where traditional approach in Islamic art might not be suitable to implement in the modern society due to the unavailability of precious materials and patronage as before. Despite the challenge, the “Islamic” identity in their artworks is still being discretely preserved in their expression despite implementing and combining new techniques, styles, forms, and materials with traditional approaches. This creates an asymmetrical balance that embraces change while maintaining the Islamic principle, philosophy, and spiritual allure in their artistic production where the artists design their art to be parallel and in context with modernity. However, the Islamic identity in contemporary artworks is difficult to identify and challenging to decipher as the visual expression differs significantly from traditional art forms that people are accustomed to, making it vaguely recognised and understood. This constant and dynamic flux of tolerance and acculturation is something that is being visually exhibited by the Islamic Arts Museum Malaysia (IAMM) in their special curation “A Journey Through Islamic Art” that showcases traditional and contemporary form of Islamic art in the same place. Although the curation is impressive, but the visual tension it creates invokes the mind to think deeply about what makes an Islamic art “Islamic” and what is the suitable approach to appropriately fathom and consider the art piece as a work of “Islamic art” as the physical form of calligraphy alone is not sufficient for it to be considered as “Islamic.”

Visibility in the Italian Art World: How Far Along We Are

Even though the concept of “nationality” when we talk about an internationally acclaimed artists is more and more blurred and has little to do with the importance of the artworks, it is evident how small the Italian art presence in great international art manifestations is, sometimes almost negligible. It is then necessary to understand the causes of this situation, to draw a map of the current state of the contemporary Italian scene and state some resolutions from it. The first 2022 Report “How (well) known is Italian art abroad?” by BBS-Lombard Benefit Corporation, together with Arte Generali has investigated how much Italian contemporary artists are (in)visible in the international art market, laying the groundwork for a much more in-depth research of the art system, with the ultimate purpose of giving new solutions to overcome this situation, wandering whether Italian art has a business model with (still) some gray areas - unlike almost all other product sectors – and how building an economy to bridge the gap, having a market strategy and being attractive in the international positioning can be a strategic move. The study was conducted carrying out both qualitative and quantitative analysis throughout more than 20 interviews to Italian curators internationally known that have helped us understand causes, strengths and weaknesses of the Italian art system and a big data collection about the presence of Italian artist in international museums, art manifestations, biennials, such as Biennale di Venezia and documenta, international art galleries and auctions. The global media coverage of Italian artists was analyzed with the help of Artiker and through the artificial intelligence of Wondeur AI, partner of Arte Generali, it was possible to analyze the relationship between art development and cities, considering the city’s overall success rate (percentages of artists showing growth in the city) and the city’s risk propensity (ability to attract artists). The instrument of the Italian Council was also studied, the main MIC project (Italian Ministry for Culture) in support of Italian art and the initiatives of Italian cultural institutes abroad. From the overall analysis some relevant names have emerged: Francesco Vezzoli, Monica Bonvicini, Enrico David, Paola Pivi, Tatiana Trouvè, Roberto Cuoghi, Rosa Barba, Massimiliano Cattelan (above all) and a few others, all united by a time of study or work abroad which allowed them to create valuable relationships with curators, galleries and museums abroad.

Atrworks by Yakov Weber in the collection of the Literary and Art Museum of the Chekhov’s Book “Sakhalin Island”

Atrworks by Yakov Weber in the collection of the Literary and Art Museum of the Chekhov’s Book “Sakhalin Island”

Figurative and stylistic analysis of Givi Mantkava's work “The Nivkhi Archers” (1974) from the collection of the Sakhalin Regional Art Museum

Figurative and stylistic analysis of Givi Mantkava's work “The Nivkhi Archers” (1974) from the collection of the Sakhalin Regional Art Museum

Reimagining Engagement: A Case Study of Interactive Educational Programs in Art Museums

This case study examines the educational programs the Musée de l'Orangerie offers in Paris, focusing on its interactive and immersive approaches to art education. The museum, known for its Impressionist and Modern art collection, provides various educational programs tailored to different age groups and backgrounds, including children's, family, school, and adult programs. These programs aim to enhance visitors' understanding and appreciation of art through hands-on activities, guided tours, and digital platforms.

Tintoretto in the city of La Plata? Several investigations for the reattribution of the Portrait of Melchior Michael to Tintoretto

The records of the Museo Provincial de Bellas Artes “Emilio Pettoruti” (Provincial Museum of Fine Arts of Buenos Aires "Emilio Pettoruti") indicate that a work belonging to Jacopo Comin, "Tintoretto," is part of its cultural heritage, of great value to the museum and the university city of La Plata. Over time, and perhaps due to the ambitious nature of this attribution, the original assertion was called into question. A comprehensive and complementary spectroscopic analysis using Raman, FTIR-ATR and SEM-EDX techniques serves as one of the information sources for the current study. Thus, cinnabar (HgS), lead white (2PbCO3.Pb(OH)2), calcite (CaCO3), gypsum (CaSO4·2H2O), and carbon black were determined in the artwork using the vibrational techniques while the presence of several components, such as alum (KAl(SO4)2·12H2O), calcite (CaCO3), green earths (K(MgFe2+)(Fe3+Al)(AlSi3,Si4)O10(OH)2), lead white (2PbCO3·Pb(OH)2), cerussite (PbCO3), goethite (FeO(OH)), lapis lazuli, mainly composed of lazurite (Na6Ca2(AlSiO4)6(SO4,S,S2,S3,Cl,OH)2), calcite (CaCO3) and pyrite (FeS2) as well as gypsum (CaSO4·2H2O), umber (α-FeOOH·MnO2), zinc white (ZnO) and lead sulfide (PbS) can be inferred from the determination of the elements using SEM-EDX studies. The tracking of the artwork and its journey to the city of La Plata, and the scanned X-Ray determination revealing hidden objects under the painting surface of the artwork are also dimensions taking into account in the present study. Thus, we can affirm the validity of the work, the Portrait of Melchior Michael, reconfirming and reattributing it to the colossal Jacopo Comin, Tintoretto.

Trade signs in antiquity

AbstractThe paper discusses the inscriptions of two ancient artifacts, the fragment of an Egyptian wine jug (Museum of Fine Arts, Budapest), and a terra sigillata bowl made by Pacatus (Aquincum Museum, Budapest), and seeks to situate them in the history of trade signs. In ancient Egypt, signs predominantly indicated details such as the place and date of production, and the quality of the product, while in Rome trade signs conveyed information concerning the origin of the product through the craftsman or workshop.

Reconsidering Enslaved People in Ancient Greek Art at the Harvard Art Museums

ABSTRACT In response to the Harvard Art Museums’ ReFrame Initiative and the publication of the “Harvard & the Legacy of Slavery” report, the author reevaluates the display and discussion of images of enslaved people in ancient Greek art in the museum gallery. Ancient Greece relied heavily on the labor and crafts produced by enslaved people, and while enslaved people are common subjects of ancient art, a critical analysis of their representations and interpretations is not standard in art historical or museum discourse. This paper proposes a reading of these images that prioritizes the voice of the enslaved person and proposes strategies to foster dialogue about this topic in the art museum. In particular, the author recommends avoiding euphemisms in nomenclature and in annotated “chat” labels and invites alternative readings of images that take the embodied experiences of enslaved people in the ancient world into consideration.

Accessibility and expansion of the narratives’ space: convergent technologies and semiotics of exposition in an art museum

The development of convergent technologies opens up new horizons for expanding the sensory experience of museum visitors, especially the people with disabilities and alternative perception. We argue that augmented reality (AR) technologies, mainly used to develop applications that visually expand physical spaces, may serve not only as a tool of inclusion and immersion, but also an instrument of reviewing the narrative of art history delivered by a classical museum. Although AR technologies are focused mainly on visuality, detecting and localizing objects and images, as well as mapping and augmenting the visual space, they could be employed to expand the museum environment by other sensory modalities, such as sound and tactile sensations. Increasing the level of information accessibility of museum expositions and the independence of the development of exhibition space by people with disabilities is possible, among other things, by providing them access to context-aware information (MoMA, Tate, Garage and other institutions provide examples of such type of curatorship and exposition design).Furthermore, we argue that the issue of contextualization of knowledge received by the museum visitor is considered should be considered in a broader sense: we take the museum as a space of narration, where the main concepts of art history (with its conventional semantic accents and limitations) are shaped, consolidated and delivered. Having analyzed the logic of a classical art museum exposition, we review the alternative models for presenting art history narratives (in curatorial projects of A. Malraux, J.-H. Martin and F. Lyotard) and argue that new media may become a tool not only for inclusiveness and immersion, but also for a special type of subjectivation of the viewer involved in the process of creative rethinking of the history of art. Inclusiveness, immersion and semantic flexibility provided by new media makes museums a space for an open dialogue. Instead of outlined birders and «ready-to-use» senses an exhibition can show how «other things are possible». We argue that curatorial experiments and media applications dedicated to art can turn a museum into a zone of seeking that awakens the viewer to an independent search for subtle meanings and stories that exist on the periphery of the classical history of art. And the new media extensions of museum space, considered in the context of inclusion, may also be viewed as a tool for building new narratives and developing models for a more flexible and complex interpretation of art history in a multipolar world.

Fashion and Beauty Center in Semarang City with an Organic Modern Architecture Approach

As the economy in Indonesia grows, the lifestyle of its people is dynamically changing. There is an increasing interest in fashion and beauty among the population, supported by the tendency of urban Indonesians to follow evolving fashion trends. Clothing (fashion) and beauty are crucial factors in personal appearance, thus creating a demand for facilities that cater to these needs within a single area. Semarang City is part of the mega-urban area known as Kedungsepur (Kendal, Demak, Ungaran, Salatiga, Semarang, and Purwodadi), which is a hub of urban development in Central Java. However, the growth of fashion and beauty in Semarang is uneven, despite the promising potential of the fashion and beauty industries to support local and regional economic growth. Therefore, there is a need for planning a facility that encompasses not only commercial aspects but also educational aspects within one area. The planning of a Fashion and Beauty Center aims to provide facilities to the community of Semarang City to support various activities such as shopping, salons, beauty treatments, fashion training, treatment training, makeup training, art galleries, and fashion shows. The application of a modern organic architectural approach in planning the Fashion and Beauty Center embodies the characteristics of fashion and beauty that are always evolving to be free-spirited, simple, functional, and elegant from year to year, while maintaining a balance with the surrounding environment.

Strategic management of rural art museums in southern Zhejiang province, China: A mixed approach

Restoration of rural art museums in southern Zhejiang is important for regional and national development. Therefore, this study focuses on the strategic management issues of rural art museums in southern Zhejiang in the context of revitalization. This research sets three objectives: (1) to study and analyze rural art museums; (2) to synthesize strategic management; and (3) to create, propose, and define strategic management. This study used a mixed approach, with 300 stakeholders from five rural art museums in southern Zhejiang. The results show that elements of the strategic management model for rural art museums in southern Zhejiang Province can be determined. From the second objective, it is possible to formulate and implement a strategic management model in accordance with empirical data. An operational manual was developed and divided into 15 items for the strategic management of rural art museums that could be adapted to the southern region of Zhejiang Province. However, based on the questionnaires, in-depth interviews, and field visits, the average satisfaction with the level of rural art museum management was 3.27, with a standard deviation of 1.32. The average satisfaction score for the exhibition was 3.27 with a standard deviation of 1.38. Similarly, the average overall satisfaction with rural art museum was 3.4 with a standard deviation of 1.23. This study provides theoretical support and practical recommendations for strategic management of rural art museums. This study provides valuable insights into rural art museum research across the country. It also opens up new perspectives for the study of regional relations within the academic community and increases the depth and breadth of academic discussions.

Indigenous interventions: museums as sites for rapprochement

ABSTRACT This paper raises important questions regarding (mis)appropriation and voice, such as who speaks on whose behalf concerning representations of Indigeneity in the museum and gallery space; and whose values and assumptions inform decision-making processes, whether for individual ancestor belongings and works of art in museums, or for entire monuments, historic sites, and cultural landscapes. The author proposes that museums, galleries, and related spaces remain relevant to Indigenous peoples only to the extent that they promote cultural continuity over mere preservation.

Private art collectors on motivations to donate, deposit, or lend out artworks in Norway

ABSTRACT Based on interviews with twelve art collectors, the following paper investigates the motivations driving art collectors to engage in donations, deposits, and short-term loans to publicly funded art museums, using Norway as an example. Additionally, it delves into the reasons behind their reluctance to contribute. It also probes deeper into the role of price as an objective valuation. This study’s findings reveal personal, economic, and societal influences on art collectors’ decisions to contribute, including the joy of seeing their art exhibited, making art publicly accessible, storage considerations, promoting Norwegian artists internationally, and fulfilling social responsibility. The rationale behind not donating is closely tied to art collectors’ demands and preferences for their artworks or collections, as well as personal and financial reasons.

Virtual Platform for Museum: A Case Study with Oman Across Ages Museum

Abstract: The Virtual Platform for Oman across Ages Museum (VPOAAM) is a project initiated in 2015 in Manah, Al Dakhiliyah Governorate, aiming to highlight the unique qualities of the Sultanate of Oman and its features, ancient history, and Renaissance. The project, designed in the shape of mountains, was initiated by His Majesty Sultan Haitham bin Tariq the Great. The project is situated on a 300,000 square meter land area with a building area of 66,591 square meters, designed in the shape of mountains. The late Sultan Qaboos bin Said laid the foundation stone for the project, which inspires architectural innovation and showcases the Sultanate of Oman's qualitative transition from its historical splendors to its bright present. Visitors can explore the museum's art and historical collection online, with interactive virtual tours allowing them to interact and learn about art pieces and exhibits. The museum also contains a wide range of multimedia, including images, videos, written texts, and audio information, allowing visitors to interact with antiques and artistic exhibits. These are a glance of the museum we taken as case study to develop the platform with the approval and kind support from the competent authority of the museum. After successful completion of the research project; the output will be the same museum in a virtual platform. This research conducted with a number of items among thousands of physical items in the museum. And the result shows a significant remark to continue and complete the virtual museum platform for the stated museum.

Camouflaging colonialism: a case study of a NeoColonial Museum

Museums are presented as institutions housing a society’s most outstanding artistic collective achievements. They are racialized organisations helping preserve white supremacist normativity in the racialized social system. We argue that museums are colonial projects that often camouflage colonialism. Museums’ hierarchal nature in prioritising Europe is blatantly apparent but rendered unseen unless you study its presence. Then, you discover differences through indifference. We used ethnographic observations and photography to explore how the Boston Museum of Fine Arts conceals colonialism. We find, for example, that the Art of Africa is demoted to two transitionary passageways. The pre-Columbian exhibit is relegated to the basement and camouflaged by other exhibitions. Additionally, Black bodies are subject to out-of-place sexualised portrayals. These findings reinforce our earlier argument that museums are white sanctuaries, safe spaces allowing whites to reaffirm their dominance in society.

Gordon Crook: Banners and Wall Hangings

Gordon Crook was a British textile artist who came to live in Wellington in 1972, aged 51. Through contacts at the Dowse Art Museum and the Ministry of Foreign Affairs and Trade, Crook was commissioned by the architect Miles Warren to make banners for the New Zealand Chancery in Washington D.C. (1979–80), followed by banners and wall hangings for the Michael Fowler Centre in Wellington (1981–83). Crook’s work was suigeneric, idiosyncratic in its imagery and development, a world feeding on itself. Outside any national or current artworld style, Crook extended and enriched New Zealand’s public visual art scene.[i] [i] See my three articles on the work of Gordon Crook: “Gordon Crook: tapestries,” Tuhinga 31 (2020): 70–90; “Gordon Crook: The Pastel Triptychs,” Tuhinga 32 (2021): 120–34; and “Gordon Crook and the Wolf-Man,” Tuhinga 33 (2022): 1–29.