Fine Art Exhibition Research Articles

“Guyub Trisno” Fine Art Exhibition: Donation and Recovery of The COVID-19 Pandemic

A pandemic is like a mirror that shows us the realities of life (Teng & Margaret, 2020). This fact of life is the importance of doing for humanity as did the artists of Trisno Guyub’s members. They initiated a joint exhibition for donations and recovery from the Covid-19 pandemic. This exhibition was attended by 118 artists and exhibited around 200 works of art, paintings and sculptures. The first purpose is an effort to share and the second is so that artists can fulfill their artistic expression. This study uses a qualitative method in the form of an explanation of the pandemic condition and how a group of Guyub Tresno conducts exhibition efforts as one of the recovery efforts. The pandemic period in various fields experienced significant social and economic changes in society. Life is relatively difficult and efforts to maintain and develop the arts continue. Artists generally focus on how to create works according to their intuition. Meanwhile the strategy of how the work can be distributed with a certain dowry during the pandemic is also relatively difficult. This also applies to other disadvantaged groups of people, namely orphans of course. Those experiencing the same problem may be more concerned. The limitations of children who have lost their parents as the foundation of life and learning to live are gone. Meanwhile, this happens to artists who are in a state of suspended animation. This exhibition is one of the positive forums for an honorable life and ways to share with others. The aim of this exhibition is recovery (Farah & Nasution, 2020) together with the way artists share with fellow artists and orphans. It is hoped that it can contribute to awakening the creative process of artists and can ease the burden on orphans affected by the Covid-19 Pandemic.

Impact of an Institutional Repository on Viewers’ Experiences of a Student Art Exhibition

Introduction: Since 2014, Boise State University’s institutional repository (IR) has included artwork from Bachelor of Fine Arts (BFA) exhibitions. This paper explores how the experience of viewing artwork at an in-person BFA exhibition differs from that of viewing an online representation of it, makes recommendations to increase viewer engagement with online representations of artwork, and suggests ways that online exhibitions can enhance in-person viewing. Method: The authors conducted two surveys, one of in-person exhibition attendees and one of online exhibition viewers. Fixed-answer results were analyzed quantitatively, whereas an inductive qualitative coding process was used to analyze survey comments. Results: In-person participants were more likely to view all the artwork, spend more time at the exhibition, and view individual artwork for longer. Online participants were more likely to view artists’ statements. Online survey participants who attended the in-person exhibition preferred the in-person exhibition. Discussion: Results point toward a need to increase online viewers’ engagement with exhibition artwork, many of them centered around improving the usability of the IR interface. Finally, several benefits of the online environment are noted. Conclusion: Although the online representation of the art exhibition in the IR is not a complete replacement for the in-person exhibition, it is a representation that the authors believe can positively influence a viewer’s experience of the BFA exhibition, whether they have viewed the in-person exhibition or not. Respondents’ comments in both surveys provided suggestions for improving the two exhibitions, as well as insights into how IR exhibitions enhance the in-person exhibition experience.

Portrétní siluety ze sbírek Národního muzea

Portrait silhouettes from the collections of the National Museum The historical collection of the Department of Old Czech History of the National Museum contains a collection of more than seventy portrait silhouettes. Because of the diversity of techniques, topics and styles in this collection, we can gain a fairly complex idea of this specific type of portraiture, which was and continues to be quite significantly overlooked by contemporary fine arts literature and exhibition practice. Together with painted and engraved profile portraits, ceroplastics and profile medallions contained in this department’s collection, the collection of silhouettes forms a comprehensive array based on the period phenomenon of profile images.

츠치다 바쿠센(土田麥僊)의 〈평상(平牀)〉과 청초고아(淸楚古雅)의 미(美)

The 〈PyeongSang〉 (An arts museum, Gyosera Arts Museum seated at Kyoto City) is a work made through news gathering in Joseon on 1933 by Tsuchida Bakusen. The work allocating 2 women wearing Korean traditional clothes at the background of indoor equipped with pyeongsang has been mentioned as an epidemic case representing the gisaeng as passiveness, identity and prior modernism by traditional Japanese painters. However, the points those Bakusen translated the costume and cultural remains in the era based on oriental classic painting and putting weight on using color and line rather than emphasizing color of Joseon require the framework of new interpretation on the 〈PyeongSang〉 out of the conventional discourse. The translation through realistic classic and the expression of ‘Cheongcho-Goa(淸楚古雅)’ finished with the beautiful lines and blandest colors of whiteness tone are the carrying out of modernistic Japanese painting pursued by Bakusen at that time and the one in the same context with the Neoclassicism of Japanese painting society at that era.<BR> Therefore, this article traced and looked into the production procedures of 〈PyeongSang〉 and the expression of ‘Bluish Fresh Ancient Grace’ via the costume and cultural remains at that time and oriented to the trends of the painting society with Imperial Academy of Fine Arts Exhibition at its center at that time. Of course, it is very hard to deny that Bakusen partially contributed finding “the traces of Tang Era beyond the age of thousand years” and hiding the reality of colony by separating Gisaeng to reality via ancient arts based on Joseon Stagnation.<BR> But the Cheongcho-Goa in 〈PyeongSang〉 which is felt with the graceful image of ancient religious painting is a shape of new Japanese painting to be suggested by Bakusen who disassembled the opposing group, National Creative Association and returned to Imperial Academy of Fine Arts Exhibition after 10 years. It is believed as necessary to evaluate newly that Joseon granted the possibility and stimuli considerably to form the contemporary arts of Japan.

Social Media, Selfie Culture and Art Museums: Shifting Behavior in Art Museum Visitors

Smartphone users have a new habit of taking selfies then posting to Instagram or Facebook which will then be liked and commented on by their friends. This selfie culture influences the visitors of fine arts exhibitions and museums driving the urge to take a selfie in front of the work on display. Taking a selfie in front of a work of art seems to show the self-expression and self-identity of the performer. Selfie photos have similarities with self-portrait paintings by famous painters from the Reneisance era to the present. Selfie culture has influenced the behavior of millennials in appreciating works of art. Some applications that support selfie culture have been developed and gives smartphone users the opportunity to use it to create new interpretations of images. This article discusses the shift in exhibit behavior at the fine arts museum which is shown through photos uploaded on social media.&#x0D; Keywords: social media, selfies, art museum

Screened Live: Technologically Reconfiguring Notions of the Author

The dramatic tradition suggests, for the most part, a progressive relationship between author, performer, producer and audience, in which the author/s originates the playtext, the performers develop a production, and the producer presents the outcome to the public. The arrival of theatrical performance and the fine art exhibition on cinema screens worldwide, the phenomenon of ‘live relay’ or the ‘as live broadcast’ in the arts, challenges this familiar perception of the author/production/audience relationship. The emergence of screening live performances in cinemas has modulated the once-traditional dramaturgical interaction between text, production, and audience. The ‘live relay’ tests the very way we think about theatre and performance. With its destabilization of production and audience spatio-temporal locators, the ‘live relay’ disrupts the vocabulary of theatrical description and it inflects both ontological and epistemological attitudes to the theatre-viewing of the past, the theatre-making of the present, and the interactions thereof. The live relay, moreover, causes disturbances within what can be considered the authorial field. If postdramatic theatre shifts the dramaturgical valency from playwright as creative genius to director as auteur, then the mediaturgy of the ‘live relay’ renders both of these models redundant. This article examines the proposition that the live relay has given rise to new authorial voices and bodies, those of the cinematic director and the institution. These are bodies and voices that need to be accommodated within the mediated and intermedial paradigm of screening live performance in cinema.

Ceramic Art and Contemporary Cultural Context—Taking Thirteen National Fine Arts Exhibitions of Ceramic Art as an Example

This paper takes the ceramics part of the 13th National Art Works Exhibition as an example to interpret the relationship between ceramic art works and contemporary cultural context. This ceramic art shortlisted works have rich themes, various forms, profound thoughts and exquisite art. The works reflect the artistic orientation of paying attention to the real life, expressing the spirit of the times and reflecting the social development. They are based on the language style and aesthetic style of the contemporary social reality environment

To Survive on This Shore Selections from the South

Representations of older transgender people are nearly absent from American culture and those that do exist are often one-dimensional. For more than five years, Dugan and Fabbre traveled throughout the United States creating To Survive on This Shore: Photographs and Interviews with Transgender and Gender Nonconforming Older Adults, which culminated in a fine art exhibition and book about the lives of older transgender Americans. Here, portraits and interview excerpts with participants from Alabama, Arkansas, Florida, Georgia, Maryland, Missouri, South Carolina, Virginia, and Washington, D.C., are shared in order to highlight the ways in which transgender people are aging in the South. Participants’ experiences reflect the complex intersections of gender identity, age, race, ethnicity, sexuality, socioeconomic status, and geographic place and point toward a diversity of lived experience and perspectives on aging.

Research In Creating Artworks – Comparison 3 Case Studies of Fine Art Creative Process

In fine arts, creating artworks need doing research. The research has many types. Mostly, it is not the scientific research type. But, nowadays, scientific research is commonly implementing in creating artworks too. It is important to know the various researchs in creating artworks, so it could be able to understand how research has the significant role in creating artworks. This study examines the research in creating artworks through comparation of 3 case studies of fine art exhibitions; (1) the creative process of water color painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (2008-2012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for 13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014 which the process held for 4 years (2011-2014). Each of those 3 creative process has different type of research, methods, and period, artworks as the output, experience of the artist whom get involved, and certain location in Indonesia. These 3 case studies describe that the research in creating artworks can be scientific with fully consideration, or semiscientific in consideration, or unscientific between consideration and uncosideration. And, the certain research implemented in creating artworks is related to the artist (individual and cultural), purpose of the artworks and exhibition, and content of the artworks which appointed.

Exhibiting Art: The Case of ODTÜSanat

The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its beginning. ODTÜSanat is organized annually by ODTÜ in Ankara, Turkey as an art event. It brings together different areas of art including fine arts, music, theatre, and cinema and lasts for a month. The event started in 1999 as National Fine Arts Exhibition with the aim of exhibiting works of artists representing different senses of art in a 1200 m2 space. As its scope expanded, its name evolved into Art Festival in 2007 and ODTÜSanat in 2013. In this article, based on the sixteen-year professional experience in organizing the ODTÜSanat exhibitions, processes pertaining to exhibiting art, namely, planning, preparing, and implementation of the exhibition, are explained with examples of problems encountered and solutions developed. Keywords: ODTÜSanat; art; exhibition; artworks; design; space

Curatorial constructs: archives in fine art exhibitions

The essay explores the inclusion of archive material within fine art exhibitions, particularly considering differences in approach between displays of contemporary art and those featuring Old Master paintings. Taking the National Gallery's 2012 Turner Inspired exhibition as a primary case study, it looks at how archives are interpreted and displayed alongside traditional works of art. It compares the National Gallery's experience with a number of recent Old Master and nineteenth-century artists' exhibitions to consider whether there is a commonality of approach between different exhibiting institutions. Finally, it compares the different approach to displaying archives within contemporary art exhibitions and explores the rationale for this difference.

Council House Movie Star: Que(e)rying the Costume

Abstract Council House Movie Star (2012) originally started as a film enquiry exploring what happens when drag queens age, both off stage and onstage. The research expanded to include two further practice projects: an immersive gallery installation of a life-size council house and a fine art exhibition of the naked and costumed drag body. This article examines the quotidian experiences of a white working-class drag hero/ine and the costumed genderqueered skin. It discusses the queer costume of drag queens, including make-up and wigs. The article also explores the position of memory within the formation of costume for performance as a major theme within the creative processes and design of this project. This visual essay narrates the positioning of drag queens within the social realities of working-class life, thus producing an interesting contrast between the costume of chavs, B-boys and contemporary youth, against the queer and camp drag costume.

The History of Omani Women in the Fine Arts Movement

Omani women have not been too far behind in the fine arts movement that first began in the mid 1970s in Oman. Women's participation in fine arts was marginal and limited only to Muscat the capital. However, during the 1980s and 1990s, a number of prodigies appeared and became role models for the fine art movement in Oman. The first female participation at a fine art exhibition was at an exhibition held in October 1989. Since that time women's participations were obvious. The Omani Fine Art Society (OFAS) was established in 1993 and the presence of the female fine artists further intensified. The creation of this society encouraged women to practice fine arts. Today, the number of women registered at the OFAS outweighs the number of men, which makes the Omani women artists an appropriate case to be investigated. Therefore, this research focused on the history of the fine arts movement in Oman in general and the history of Omani women artists in particular, with reference to famous women and their artworks. The result of this study shows that the Omani women involved themselves in modern and contemporary arts, using different artistic styles, as well as implementing installations, photographs and video arts by using mysterious stories, spiritualism, cultural traditions and motifs that define their identity and experiences through their artworks.

Lessons in Seeing: Art, Religion and Class in the East End of London, 1881–1898

In 1881 the Reverend Samuel Barnett, Anglican incumbent of St Jude's Church, Whitechapel, established the Whitechapel Fine Art Exhibitions with his wife Henrietta. These quickly became an important part of the parochial programme ofSt Jude's. The Barnetts followed the art theories of John Ruskin and Matthew Arnold and argued that exhibiting famous and beautiful paintings would revive the spirituality of poor East Enders. In order to test this theory, they introduced the practice of ‘Voting for Your Favourite Picture’. The result, however, did not bear out straightforwardly the Barnetts' belief that paintings are ‘Windows into the other World’. The gap between the intended outcome and the actual reception of the Whitechapel Exhibitions reveals that, although they may not have adopted the Barnetts' religious aestheticism, working-class visitors were keen to engage with art on their own terms.

Anti-communism at Home, Europeanism Abroad: Italian Cultural Policy at the Venice Biennale, 1948–1958

Using the fine arts exhibition of the Venice Biennale as a case study, this article considers the role of the Italian national government's cultural policy in pursuing its key domestic and foreign concerns between 1948 and 1958. These were, respectively, suppressing communism at home, and promoting Western European unification and Italy's role within it. By scrutinising their involvement at the Biennale, it aims to show the importance placed not only by the Italian Christian Democrats but also by their European counterparts on constructing the idea of a culturally integrated Western Europe as a vital complement to analogous economic and political initiatives.

Challenging cultural categories: The transformation of the Venice Biennale under Fascism

This article analyzes the development of a national cultural event, the Venice Biennale, under the auspices of the Fascist government. As part of a larger project of forging responsive publics and modernizing cultural life, Fascist culture ministries and bureaucrats used this international fine arts exhibition as a place to challenge existing practices of cultural display and organization. In this process, which took place between 1930 and 1938, cinema, the decorative arts and audience incentive practices drawn from the tourist industry were mobilized to transform a previously limited institution.

IMAGE Imagery of Denmark among Visitors to Danish Fine Art Exhibitions in Scotland. V. Andersen, R. Prentice, and S. Guerin. Tourism Management, vol. 18, no. 7, November 1997, pp. 453-64. Elsevier Science Customer Support Department, P.O. Box 945, New York, NY 10010. $640 annual subscription

IMAGE Imagery of Denmark among Visitors to Danish Fine Art Exhibitions in Scotland. V. Andersen, R. Prentice, and S. Guerin. Tourism Management, vol. 18, no. 7, November 1997, pp. 453-64. Elsevier Science Customer Support Department, P.O. Box 945, New York, NY 10010. $640 annual subscription

Imagery of Denmark among visitors to Danish fine arts exhibitions in Scotland

Central to destination marketing is the image which potential tourists hold of a destination and its competitors. This paper considers the imagery of Denmark held by visitors to fine arts exhibitions in Scotland. It is argued that images of Denmark held by these visitors may deter visitation for cultural tourism and that, when visiting for other reasons, tourists may not seek out cultural tourism experiences, as these do not form part of the opportunity set traditionally promoted by Denmark to its visitors. The paper argues that destination promotion should consider market segmentation on the basis of experiences to be derived and not to assume implicitly that existing images are those solely appropriate for tourism promotion.

Review: The Expanding World of Art, 1874-1902, I, Universal Expositions and State-Sponsored Fine Arts Exhibitions by Elizabeth Gilmore Holt

Review: The Expanding World of Art, 1874-1902, I, Universal Expositions and State-Sponsored Fine Arts Exhibitions by Elizabeth Gilmore Holt

MA Fine Art Exhibition, University of Ulster, Belfast September 4 - 11, 1986

MA Fine Art Exhibition, University of Ulster, Belfast September 4 - 11, 1986