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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Art History, Exhibition History, Museum and Curating Studies</h1><div class="u-tcGrayDark">613 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Art History, Exhibition History, Museum and Curating Studies</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Art_History_Exhibition_History_Museum_and_Curating_Studies">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31309021" data-work_id="31309021" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31309021/Art_About_AIDS_Nan_Goldins_Exhibition_Witnesses_Against_Our_Vanishing">Art About AIDS: Nan Goldin's Exhibition Witnesses: Against Our Vanishing</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In 1989, the photographer Nan Goldin curated the first group exhibition about AIDS at the Artists Space in New York City. The show Witnesses: Against Our Vanishing included, among other works, photos by Philip-Lorca diCorcia, Peter Hujar,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31309021" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In 1989, the photographer Nan Goldin curated the first group exhibition about AIDS at the Artists Space in New York City. The show Witnesses: Against Our Vanishing included, among other works, photos by Philip-Lorca diCorcia, Peter Hujar, Mark Morrisroe, and David Wojnarowicz. <br />This study examines the exhibition and many of the photographs therein to answer questions surrounding art about AIDS and the struggle for the power of definition. Artistic explorations of the AIDS epidemic were politically and morally charged and were used as a technology of power in the fight for the visibility of AIDS in American society. <br />The analysis of the exhibition and six interviews with New York artists and curators give us new insight into the artistic, social, and political meanings of art about AIDS in the late 1980s.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31309021" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e305bc8c6b1a5433ed8eced8c5b5438f" rel="nofollow" data-download="{"attachment_id":51702335,"asset_id":31309021,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51702335/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="27837584" href="https://uzh.academia.edu/SophieJunge">Sophie Junge</a><script data-card-contents-for-user="27837584" type="text/json">{"id":27837584,"first_name":"Sophie","last_name":"Junge","domain_name":"uzh","page_name":"SophieJunge","display_name":"Sophie Junge","profile_url":"https://uzh.academia.edu/SophieJunge?f_ri=264788","photo":"https://0.academia-photos.com/27837584/8379089/9368918/s65_sophie.junge.jpg"}</script></span></span></li><li class="js-paper-rank-work_31309021 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31309021"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31309021, container: ".js-paper-rank-work_31309021", }); 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$(".js-view-count[data-work-id=31309021]").text(description); $(".js-view-count-work_31309021").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31309021").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31309021"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3225" href="https://www.academia.edu/Documents/in/Visual_Culture">Visual Culture</a>, <script data-card-contents-for-ri="3225" type="text/json">{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="264788" href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies">Art History, Exhibition History, Museum and Curating Studies</a>, <script data-card-contents-for-ri="264788" type="text/json">{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="971158" href="https://www.academia.edu/Documents/in/HIV_AIDS_Activism">HIV/AIDS Activism</a><script data-card-contents-for-ri="971158" type="text/json">{"id":971158,"name":"HIV/AIDS Activism","url":"https://www.academia.edu/Documents/in/HIV_AIDS_Activism?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31309021]'), work: {"id":31309021,"title":"Art About AIDS: Nan Goldin's Exhibition Witnesses: Against Our Vanishing","created_at":"2017-02-08T10:03:07.889-08:00","url":"https://www.academia.edu/31309021/Art_About_AIDS_Nan_Goldins_Exhibition_Witnesses_Against_Our_Vanishing?f_ri=264788","dom_id":"work_31309021","summary":"In 1989, the photographer Nan Goldin curated the first group exhibition about AIDS at the Artists Space in New York City. The show Witnesses: Against Our Vanishing included, among other works, photos by Philip-Lorca diCorcia, Peter Hujar, Mark Morrisroe, and David Wojnarowicz. \nThis study examines the exhibition and many of the photographs therein to answer questions surrounding art about AIDS and the struggle for the power of definition. Artistic explorations of the AIDS epidemic were politically and morally charged and were used as a technology of power in the fight for the visibility of AIDS in American society. \nThe analysis of the exhibition and six interviews with New York artists and curators give us new insight into the artistic, social, and political meanings of art about AIDS in the late 1980s.","downloadable_attachments":[{"id":51702335,"asset_id":31309021,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":27837584,"first_name":"Sophie","last_name":"Junge","domain_name":"uzh","page_name":"SophieJunge","display_name":"Sophie Junge","profile_url":"https://uzh.academia.edu/SophieJunge?f_ri=264788","photo":"https://0.academia-photos.com/27837584/8379089/9368918/s65_sophie.junge.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false},{"id":971158,"name":"HIV/AIDS Activism","url":"https://www.academia.edu/Documents/in/HIV_AIDS_Activism?f_ri=264788","nofollow":false},{"id":1397241,"name":"Art and AIDS Activism","url":"https://www.academia.edu/Documents/in/Art_and_AIDS_Activism?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36118037 coauthored" data-work_id="36118037" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36118037/Picturing_the_Family_Media_Narrative_Memory_TOC">Picturing the Family: Media, Narrative, Memory - TOC</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36118037" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. 'Picturing the Family: Media, Narrative, Memory' investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film. Combining academic and creative, practice-based approaches, this collection of essays introduces a dialogue between scholars and artists working at the intersections between family, memory and visual media.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36118037" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b2e41c9382e122c0e40fcc39e21f7027" rel="nofollow" data-download="{"attachment_id":56010197,"asset_id":36118037,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56010197/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="164445" href="https://birkbeck.academia.edu/SilkeArnolddeSimine">Silke Arnold-de Simine</a><script data-card-contents-for-user="164445" type="text/json">{"id":164445,"first_name":"Silke","last_name":"Arnold-de Simine","domain_name":"birkbeck","page_name":"SilkeArnolddeSimine","display_name":"Silke Arnold-de Simine","profile_url":"https://birkbeck.academia.edu/SilkeArnolddeSimine?f_ri=264788","photo":"https://0.academia-photos.com/164445/41762/25195848/s65_silke.arnold-de_simine.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-36118037">+1</span><div class="hidden js-additional-users-36118037"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://birkbeck.academia.edu/JoanneLeal">Joanne Leal</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-36118037'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-36118037').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_36118037 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="36118037"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36118037; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36118037]").text(description); $(".js-view-count-work_36118037").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36118037").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36118037"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11452" href="https://www.academia.edu/Documents/in/Memory_Studies">Memory Studies</a>, <script data-card-contents-for-ri="11452" type="text/json">{"id":11452,"name":"Memory Studies","url":"https://www.academia.edu/Documents/in/Memory_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="27665" href="https://www.academia.edu/Documents/in/Photography_Visual_Studies_">Photography (Visual Studies)</a>, <script data-card-contents-for-ri="27665" type="text/json">{"id":27665,"name":"Photography (Visual Studies)","url":"https://www.academia.edu/Documents/in/Photography_Visual_Studies_?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="120069" href="https://www.academia.edu/Documents/in/Ethnographic_and_autoethnographic_research">Ethnographic & autoethnographic research</a><script data-card-contents-for-ri="120069" type="text/json">{"id":120069,"name":"Ethnographic \u0026 autoethnographic research","url":"https://www.academia.edu/Documents/in/Ethnographic_and_autoethnographic_research?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36118037]'), work: {"id":36118037,"title":"Picturing the Family: Media, Narrative, Memory - TOC","created_at":"2018-03-09T05:18:28.680-08:00","url":"https://www.academia.edu/36118037/Picturing_the_Family_Media_Narrative_Memory_TOC?f_ri=264788","dom_id":"work_36118037","summary":"Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. 'Picturing the Family: Media, Narrative, Memory' investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film. Combining academic and creative, practice-based approaches, this collection of essays introduces a dialogue between scholars and artists working at the intersections between family, memory and visual media. ","downloadable_attachments":[{"id":56010197,"asset_id":36118037,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":164445,"first_name":"Silke","last_name":"Arnold-de Simine","domain_name":"birkbeck","page_name":"SilkeArnolddeSimine","display_name":"Silke Arnold-de Simine","profile_url":"https://birkbeck.academia.edu/SilkeArnolddeSimine?f_ri=264788","photo":"https://0.academia-photos.com/164445/41762/25195848/s65_silke.arnold-de_simine.jpg"},{"id":164448,"first_name":"Joanne","last_name":"Leal","domain_name":"birkbeck","page_name":"JoanneLeal","display_name":"Joanne Leal","profile_url":"https://birkbeck.academia.edu/JoanneLeal?f_ri=264788","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=264788","nofollow":false},{"id":11452,"name":"Memory Studies","url":"https://www.academia.edu/Documents/in/Memory_Studies?f_ri=264788","nofollow":false},{"id":27665,"name":"Photography (Visual Studies)","url":"https://www.academia.edu/Documents/in/Photography_Visual_Studies_?f_ri=264788","nofollow":false},{"id":120069,"name":"Ethnographic \u0026 autoethnographic research","url":"https://www.academia.edu/Documents/in/Ethnographic_and_autoethnographic_research?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32990076" data-work_id="32990076" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32990076/Walter_Hopps_Iconic_Curator">Walter Hopps Iconic Curator</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Walter Hopps entered the art world during one of the most historic sociopolitical periods in America: President Truman, without the approval of Congress, committed American troops to battle; the Vietnam War was prolonged; Senator Joseph... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32990076" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Walter Hopps entered the art world during one of the most historic sociopolitical  periods in America: President Truman, without the approval of Congress, committed American troops to battle; the Vietnam War was prolonged; Senator Joseph McCarthy began his communist witch hunt; the abstract expressionist movement was in full swing; President Truman ordered the construction of hydrogen bomb; Truman signed a Peace Treaty with Japan, which officially ended WWII; Joseph Stalin died; the Iron curtain went up; segregation was ruled illegal in the U.S., Disneyland opened, Abstract Expressionism faded, Pop-art became huge, civil rights activist, Rosa Parks refused to give up her seat on a Montgomery, Alabama bus and Water Hopps painted the art world with broad strokes--from Los Angeles to Washington and onward to Houston, Texas.<br />This paper is about Hopps, the artist-curator, whose contributions indispensably elevated the appreciation of modern art in America.  With insightful commentary by his widow, Caroline Huber, my objective is to shed light on the legendary Hopps who redefined the way the art world examined art and embraced his genius.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32990076" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="365ba6767eb3d104711d5f06ef9a6f58" rel="nofollow" data-download="{"attachment_id":53107889,"asset_id":32990076,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53107889/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1675530" href="https://usc.academia.edu/chellebarbour">chelle barbour</a><script data-card-contents-for-user="1675530" type="text/json">{"id":1675530,"first_name":"chelle","last_name":"barbour","domain_name":"usc","page_name":"chellebarbour","display_name":"chelle barbour","profile_url":"https://usc.academia.edu/chellebarbour?f_ri=264788","photo":"https://0.academia-photos.com/1675530/2538806/2946756/s65_chelle.barbour.gif"}</script></span></span></li><li class="js-paper-rank-work_32990076 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32990076"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32990076, container: ".js-paper-rank-work_32990076", }); 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$(".js-view-count[data-work-id=32990076]").text(description); $(".js-view-count-work_32990076").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32990076").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32990076"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="13966" href="https://www.academia.edu/Documents/in/History_of_Art">History of Art</a>, <script data-card-contents-for-ri="13966" type="text/json">{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="22832" href="https://www.academia.edu/Documents/in/Curatorial_Practice_Art_">Curatorial Practice (Art)</a>, <script data-card-contents-for-ri="22832" type="text/json">{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="94493" href="https://www.academia.edu/Documents/in/Los_Angeles_culture_and_history">Los Angeles culture and history</a>, <script data-card-contents-for-ri="94493" type="text/json">{"id":94493,"name":"Los Angeles culture and history","url":"https://www.academia.edu/Documents/in/Los_Angeles_culture_and_history?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="253545" href="https://www.academia.edu/Documents/in/Curatorial_Studies">Curatorial Studies</a><script data-card-contents-for-ri="253545" type="text/json">{"id":253545,"name":"Curatorial Studies","url":"https://www.academia.edu/Documents/in/Curatorial_Studies?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32990076]'), work: {"id":32990076,"title":"Walter Hopps Iconic Curator","created_at":"2017-05-12T14:42:23.915-07:00","url":"https://www.academia.edu/32990076/Walter_Hopps_Iconic_Curator?f_ri=264788","dom_id":"work_32990076","summary":"Walter Hopps entered the art world during one of the most historic sociopolitical periods in America: President Truman, without the approval of Congress, committed American troops to battle; 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With insightful commentary by his widow, Caroline Huber, my objective is to shed light on the legendary Hopps who redefined the way the art world examined art and embraced his genius.\n","downloadable_attachments":[{"id":53107889,"asset_id":32990076,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1675530,"first_name":"chelle","last_name":"barbour","domain_name":"usc","page_name":"chellebarbour","display_name":"chelle barbour","profile_url":"https://usc.academia.edu/chellebarbour?f_ri=264788","photo":"https://0.academia-photos.com/1675530/2538806/2946756/s65_chelle.barbour.gif"}],"research_interests":[{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=264788","nofollow":false},{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=264788","nofollow":false},{"id":94493,"name":"Los Angeles culture and history","url":"https://www.academia.edu/Documents/in/Los_Angeles_culture_and_history?f_ri=264788","nofollow":false},{"id":253545,"name":"Curatorial Studies","url":"https://www.academia.edu/Documents/in/Curatorial_Studies?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":1238458,"name":"Contemporarty Art","url":"https://www.academia.edu/Documents/in/Contemporarty_Art?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13959376" data-work_id="13959376" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/13959376/Widmontologia_Teoria_filozoficzna_i_praktyka_artystyczna_ponowoczesno%C5%9Bci">Widmontologia. Teoria filozoficzna i praktyka artystyczna ponowoczesności</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13959376" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji. <br /> <br />Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? <br /> <br />Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13959376" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="48fe7680a976da7ca85edfa7dc0c47ee" rel="nofollow" data-download="{"attachment_id":56840903,"asset_id":13959376,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56840903/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1934801" href="https://amu.academia.edu/AndrzejMarzec">Andrzej Marzec</a><script data-card-contents-for-user="1934801" type="text/json">{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=264788","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}</script></span></span></li><li class="js-paper-rank-work_13959376 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13959376"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13959376, container: ".js-paper-rank-work_13959376", }); 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Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? \r\n \r\nKategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. 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kunst</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article takes as its starting point a recent press release from Norway’s National Art Museum: here the museum asserts a “strengthening of its collection of Sami art”. The article charts the assembling and articulation of Sami... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40869119" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article takes as its starting point a recent press release from Norway’s National Art Museum: here the museum asserts a “strengthening of its collection of Sami art”. The article charts the assembling and articulation of Sami material in the museum and argues that Sami art doesn’t stand out as a special area of interest in a longer perspective. Nevertheless, the recent shift indicated by the statement may function to work reflexively upon the collection, and could make it emerge in a new light when the museum re-opens in 2021.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40869119" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c291c6bb78bf12adbca282b5cd571b5e" rel="nofollow" data-download="{"attachment_id":61164474,"asset_id":40869119,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61164474/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6918221" href="https://uit.academia.edu/MonicaGrini">Monica Grini</a><script data-card-contents-for-user="6918221" type="text/json">{"id":6918221,"first_name":"Monica","last_name":"Grini","domain_name":"uit","page_name":"MonicaGrini","display_name":"Monica Grini","profile_url":"https://uit.academia.edu/MonicaGrini?f_ri=264788","photo":"https://0.academia-photos.com/6918221/3489544/4099459/s65_monica.grini.jpg"}</script></span></span></li><li class="js-paper-rank-work_40869119 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40869119"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40869119, container: ".js-paper-rank-work_40869119", }); 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href="https://www.academia.edu/21837156/Ernesto_Treccani_a_Macugnaga_una_traccia_tra_vita_e_pittura">Ernesto Treccani a Macugnaga, una traccia tra vita e pittura</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/21837156" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fc1896b603588f45d6cef4b7f7de21e9" rel="nofollow" data-download="{"attachment_id":42584382,"asset_id":21837156,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen 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href="https://www.academia.edu/Documents/in/Painting">Painting</a>, <script data-card-contents-for-ri="5081" type="text/json">{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13966" href="https://www.academia.edu/Documents/in/History_of_Art">History of Art</a><script data-card-contents-for-ri="13966" type="text/json">{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=21837156]'), work: {"id":21837156,"title":"Ernesto Treccani a Macugnaga, una traccia tra vita e 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Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":507685,"name":"Art and Art History","url":"https://www.academia.edu/Documents/in/Art_and_Art_History?f_ri=264788"},{"id":703114,"name":"Novecento","url":"https://www.academia.edu/Documents/in/Novecento?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32990119" data-work_id="32990119" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32990119/This_L_A_Riots_Exhibit_Traces_the_Roots_of_Discontent_Going_Back_to_the_1900s">This L.A. Riots Exhibit Traces the Roots of Discontent Going Back to the 1900s</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Newton’s Third Law of Physics suggests that for every action there is a reaction. In “No Justice, No Peace: L.A. 1992,” an exhibition on view at the California African American Museum through August 27, curator Tyree Boyd-Pates... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32990119" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Newton’s Third Law of Physics suggests that for every action there is a reaction. In “No Justice, No Peace: L.A. 1992,” an exhibition on view at the California African American Museum through August 27, curator Tyree Boyd-Pates re-contextualizes the 25th anniversary of the Los Angeles Riots, showing how the violent days following the acquittal of four police officers in the videotaped beating of black motorist Rodney King has its roots in generations of racism, vice and civil unrest going back to the early 1900s -- content that you will not learn in history books.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32990119" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dd9d6da96f9b93998746f32c379a2d9b" rel="nofollow" data-download="{"attachment_id":53107930,"asset_id":32990119,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53107930/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1675530" href="https://usc.academia.edu/chellebarbour">chelle barbour</a><script data-card-contents-for-user="1675530" type="text/json">{"id":1675530,"first_name":"chelle","last_name":"barbour","domain_name":"usc","page_name":"chellebarbour","display_name":"chelle barbour","profile_url":"https://usc.academia.edu/chellebarbour?f_ri=264788","photo":"https://0.academia-photos.com/1675530/2538806/2946756/s65_chelle.barbour.gif"}</script></span></span></li><li class="js-paper-rank-work_32990119 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32990119"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32990119, container: ".js-paper-rank-work_32990119", }); 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Riots","url":"https://www.academia.edu/Documents/in/Los_Angeles_Riots?f_ri=264788"},{"id":514726,"name":"rodney king LAPD LA riots los angeles 1995 race relations civil rights television media technology video cameras community media activist media alternative media","url":"https://www.academia.edu/Documents/in/rodney_king_LAPD_LA_riots_los_angeles_1995_race_relations_civil_rights_television_media_technology_v?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31534714" data-work_id="31534714" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31534714/My_Gallery_is_the_World_Now_Seth_Siegelaub_and_the_catalogue_as_exhibition">'My Gallery is the World Now' – Seth Siegelaub and the catalogue-as-exhibition</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31534714" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ca83e0a2960af11f0d9b626b86052043" rel="nofollow" data-download="{"attachment_id":51876433,"asset_id":31534714,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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data-has-card-for-ri="220364" href="https://www.academia.edu/Documents/in/Conceptualism">Conceptualism</a>, <script data-card-contents-for-ri="220364" type="text/json">{"id":220364,"name":"Conceptualism","url":"https://www.academia.edu/Documents/in/Conceptualism?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="226095" href="https://www.academia.edu/Documents/in/History_of_Exhibitions">History of Exhibitions</a><script data-card-contents-for-ri="226095" type="text/json">{"id":226095,"name":"History of Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Exhibitions?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31534714]'), work: {"id":31534714,"title":"'My Gallery is the World Now' – Seth Siegelaub and the 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Books","url":"https://www.academia.edu/Documents/in/Artists_Books-1?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4175490" data-work_id="4175490" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4175490/Archaeology_Meccas_of_Travel_Exploration_Protection_and_Exploitation">Archaeology Meccas of Travel: Exploration, Protection, and Exploitation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Earlier provisional title was "Archaeology, Tourism, Museum...." "This chapter is divided into two distinct sections that are positioned in a point-counterpoint structure of dialogue. These two position statements invoke the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4175490" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Earlier provisional title was "Archaeology, Tourism, Museum...." <br /> <br />"This chapter is divided into two distinct sections that are positioned in a point-counterpoint structure of dialogue. These two position statements invoke the etymological meanings of the word essay, to attempt, put to the test, trial, to act out, to explore, travel, and travail. The first is an historical analysis written in the third person by an anthropologist whose expertise includes the ethnography of archaeology and the anthropology of tourism. The second is a counterpoint commentary written in the first person by an anthropologist whose specializations include Pre-Columbian and historical archaeology. Both of us have significant research experience in same area of the Maya world in Yucatán, México. From these two differing vantage points, we chart our perspectives on the relationship between archaeology and tourism in terms of the problems of exploration, protection, and exploitation. <br />In the first section, Castañeda takes an historical approach to the emergence of archaeology in the institutional context of the modern museum. He essays an analytical and theoretical manifesto about the deep, intimate interconnections between tourism and archaeology as revealed through an understanding of the museum. In his historical analysis of the role of archaeological representation in the museum, he identifies the sociological creation of universal heritage. He theorizes a notion of the universal citizen-heir as the implied benefactor of this universal heritage. In the second section, Mathews elaborates a commentary on this historical analysis of archaeology, tourism, heritage and the museum. Specifically, she counter-argues and assesses Castañeda theoretical and analytical claims through the use of archaeology and tourism at sites that are not postcard worthy. Together these two “attempts” grapple with the historical and contemporary interconnections between archaeology and tourism. Together we put to the test our typical assumptions about the ethics of archaeologists, tourists, and tourism promoters in the contemporary contexts in which we are now beginning to ask how and why archaeology and tourism are interwoven phenomena in today’s world.""</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4175490" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cb0d7528713f20ab04ae7406e9d238de" rel="nofollow" data-download="{"attachment_id":33217620,"asset_id":4175490,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33217620/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="54682" href="https://osea-cite.academia.edu/Quetzil_Casta%C3%B1eda">Quetzil Castañeda</a><script data-card-contents-for-user="54682" type="text/json">{"id":54682,"first_name":"Quetzil","last_name":"Castañeda","domain_name":"osea-cite","page_name":"Quetzil_Castañeda","display_name":"Quetzil Castañeda","profile_url":"https://osea-cite.academia.edu/Quetzil_Casta%C3%B1eda?f_ri=264788","photo":"https://0.academia-photos.com/54682/16314/7492897/s65_quetzil.casta_eda.jpg"}</script></span></span></li><li class="js-paper-rank-work_4175490 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4175490"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4175490, container: ".js-paper-rank-work_4175490", }); 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$(".js-view-count[data-work-id=4175490]").text(description); $(".js-view-count-work_4175490").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4175490").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="4175490"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">102</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="136" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="261" href="https://www.academia.edu/Documents/in/Geography">Geography</a>, <script data-card-contents-for-ri="261" type="text/json">{"id":261,"name":"Geography","url":"https://www.academia.edu/Documents/in/Geography?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="392" href="https://www.academia.edu/Documents/in/Archaeology">Archaeology</a><script data-card-contents-for-ri="392" type="text/json">{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4175490]'), work: {"id":4175490,"title":"Archaeology Meccas of Travel: Exploration, Protection, and Exploitation","created_at":"2013-08-05T06:01:39.974-07:00","url":"https://www.academia.edu/4175490/Archaeology_Meccas_of_Travel_Exploration_Protection_and_Exploitation?f_ri=264788","dom_id":"work_4175490","summary":"\"Earlier provisional title was \"Archaeology, Tourism, Museum....\"\r\n\r\n\"This chapter is divided into two distinct sections that are positioned in a point-counterpoint structure of dialogue. These two position statements invoke the etymological meanings of the word essay, to attempt, put to the test, trial, to act out, to explore, travel, and travail. The first is an historical analysis written in the third person by an anthropologist whose expertise includes the ethnography of archaeology and the anthropology of tourism. The second is a counterpoint commentary written in the first person by an anthropologist whose specializations include Pre-Columbian and historical archaeology. Both of us have significant research experience in same area of the Maya world in Yucatán, México. From these two differing vantage points, we chart our perspectives on the relationship between archaeology and tourism in terms of the problems of exploration, protection, and exploitation.\r\nIn the first section, Castañeda takes an historical approach to the emergence of archaeology in the institutional context of the modern museum. He essays an analytical and theoretical manifesto about the deep, intimate interconnections between tourism and archaeology as revealed through an understanding of the museum. In his historical analysis of the role of archaeological representation in the museum, he identifies the sociological creation of universal heritage. He theorizes a notion of the universal citizen-heir as the implied benefactor of this universal heritage. In the second section, Mathews elaborates a commentary on this historical analysis of archaeology, tourism, heritage and the museum. Specifically, she counter-argues and assesses Castañeda theoretical and analytical claims through the use of archaeology and tourism at sites that are not postcard worthy. Together these two “attempts” grapple with the historical and contemporary interconnections between archaeology and tourism. Together we put to the test our typical assumptions about the ethics of archaeologists, tourists, and tourism promoters in the contemporary contexts in which we are now beginning to ask how and why archaeology and tourism are interwoven phenomena in today’s world.\"\"","downloadable_attachments":[{"id":33217620,"asset_id":4175490,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":54682,"first_name":"Quetzil","last_name":"Castañeda","domain_name":"osea-cite","page_name":"Quetzil_Castañeda","display_name":"Quetzil Castañeda","profile_url":"https://osea-cite.academia.edu/Quetzil_Casta%C3%B1eda?f_ri=264788","photo":"https://0.academia-photos.com/54682/16314/7492897/s65_quetzil.casta_eda.jpg"}],"research_interests":[{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=264788","nofollow":false},{"id":188,"name":"Cultural 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36582872/Learning_from_documenta_The_Material_Performance_of_Education_Ethno_nationalism_and_Wealth_at_documenta_14">Learning from documenta: The Material Performance of Education, Ethno-nationalism, and Wealth at documenta 14</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In 2017, for the first time in the history of documenta, curator Adam Szymczyk made the decision to site the quinquennial in two locations: Kassel, Germany, and Athens, Greece. Szymczyk's intention was to "decentralize" documenta's... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36582872" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In 2017, for the first time in the history of documenta, curator Adam Szymczyk made the decision to site the quinquennial in two locations: Kassel, Germany, and Athens, Greece. Szymczyk's intention was to "decentralize" documenta's Western European gaze, turning the exhibition into an opportunity to foreground Greco-German relations in the wake of Greece's debt crisis. This essay examines documenta 14 through the overlapping frames of education, ethno-nationalism, and wealth—three real-world currents made visible by not only the works of art chosen, but in the protracted controversy over the exhibition's budget shortfall, which reinscribed some of the very dynamics Szymczyk set out to critique with his curatorial decision to site half of documenta in Athens.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36582872" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9120e440499f823c356314da74ab474f" rel="nofollow" data-download="{"attachment_id":56510105,"asset_id":36582872,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56510105/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="68498147" href="https://gtu.academia.edu/EmilyPothast">Emily Pothast</a><script data-card-contents-for-user="68498147" type="text/json">{"id":68498147,"first_name":"Emily","last_name":"Pothast","domain_name":"gtu","page_name":"EmilyPothast","display_name":"Emily Pothast","profile_url":"https://gtu.academia.edu/EmilyPothast?f_ri=264788","photo":"https://0.academia-photos.com/68498147/17974287/96611841/s65_emily.pothast.jpeg"}</script></span></span></li><li class="js-paper-rank-work_36582872 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36582872"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36582872, container: ".js-paper-rank-work_36582872", }); 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Szymczyk's intention was to \"decentralize\" documenta's Western European gaze, turning the exhibition into an opportunity to foreground Greco-German relations in the wake of Greece's debt crisis. This essay examines documenta 14 through the overlapping frames of education, ethno-nationalism, and wealth—three real-world currents made visible by not only the works of art chosen, but in the protracted controversy over the exhibition's budget shortfall, which reinscribed some of the very dynamics Szymczyk set out to critique with his curatorial decision to site half of documenta in Athens. 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It covers a generation of critical writing published between 1988-2018 and includes texts of 40 female authors, as well as 5 recent interviews. <br /><br />Slavko Kacunko (Hg.)<br />THEORIEN DER VIDEOKUNST <br />Theoretikerinnen 1988–2003<br />eva - edition video art 3 <br />(Hg. M. Odenbach, Y. Spielmann, S. Kacunko)<br />Logos Verlag Berlin 2018<br />ISBN 978-3-8325-4605-2<br />582 pages, German.<br />With 22 contributions from Edith Decker-Phillips, Inga Lemke, Karin Bruns, Claudia Richarz, Gerda Lampalzer, Christiane Fricke, Nicoletta Torcelli, Söke Dinkla, Annette Hünnekens, Claudia Rosiny, Ursula Frohne, Verena Kuni, Katharina Gsöllpointner, Yvonne Volkart, Barbara Engelbach, Barbara Büscher, Katja Albers, Lydia Haustein, Sabine Flach, Sabine Himmelsbach, Anja Osswald and Martina Dobbe. <br />The anthology includes an introduction by Slavko Kacunko and recent interviews with Gerda Lampalzer, Ursula Frohne and Lydia Haustein.<br /><br />Slavko Kacunko (Hg.)<br />THEORIEN DER VIDEOKUNST<br />Theoretikerinnen 2004–2018<br />eva - edition video art 4 <br />(Hg. M. Odenbach, Y. Spielmann, S. Kacunko)<br />Logos Verlag Berlin 2018<br />ISBN 978-3-8325-4606-9<br />406 pages, German.<br />With 19 contributions from Irene Schubiger, Änne Söll, Inke Arns, Katharina Gsöllpointner, Yvonne Spielmann, Katharina Ammann, Christiane Fricke, Sylvia Martin, Martina Dobbe, Sigrid Adorf, Stephanie Sarah Lauke, Kathrin Becker, Sabine Maria Schmidt, Katja Kwastek, Marion Thielebein, Anke Hervol, Tabea Lurk, Franziska Stöhr and Eva Wattolik. <br />The anthology includes recent interviews with Yvonne Spielmann and Kathrin Becker.<br /><br />[German:]<br />Die dritte und vierte Ausgabe der eva-edition video art, herausgegeben von M. Odenbach, Y. Spielmann und S. Kacunko, versammeln Texte, die für die Theorie der Videokunst prägend sind und fortwährend inspirierend wirken. Die Anthologie enthält Beiträge von Autorinnen aus Deutschland, Österreich und der Schweiz, die seit Mitte der 1980er Jahre entstanden sind und den Begriff des Mediums Video bestimmen, erweitern, die spezifische Leistung der Videokunst deuten oder ihre Systematik und Historisierung versuchen. Es finden Texte Berücksichtigung, die den sich verändernden Gebrauch des Mediums reflektieren, seine (Un-)Spezifizität als Reflexionsmedium definieren und Video als Katalysator für die Theorie-bildung an den Schnittstellen zur Film-, Medien-, Internet-oder Performancekunst nutzen. Die beiden Sammelbände folgen entsprechend einem wissenschaftshistoriographischen In-teresse ebenso wie der Herausbildung von kunst-, medien-, performance-, geschlechts- und kulturtheoretischen Schwerpunkten der Videokunsttheorie.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36075169" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="37c59792bb7287202fc4b574de0075ec" rel="nofollow" data-download="{"attachment_id":55963328,"asset_id":36075169,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55963328/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="968296" href="https://independent.academia.edu/SlavkoKacunko">Slavko Kacunko</a><script data-card-contents-for-user="968296" type="text/json">{"id":968296,"first_name":"Slavko","last_name":"Kacunko","domain_name":"independent","page_name":"SlavkoKacunko","display_name":"Slavko Kacunko","profile_url":"https://independent.academia.edu/SlavkoKacunko?f_ri=264788","photo":"https://0.academia-photos.com/968296/2701756/66264133/s65_slavko.kacunko.jpg"}</script></span></span></li><li class="js-paper-rank-work_36075169 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36075169"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36075169, container: ".js-paper-rank-work_36075169", }); 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It covers a generation of critical writing published between 1988-2018 and includes texts of 40 female authors, as well as 5 recent interviews. \n\nSlavko Kacunko (Hg.)\nTHEORIEN DER VIDEOKUNST \nTheoretikerinnen 1988–2003\neva - edition video art 3 \n(Hg. M. Odenbach, Y. Spielmann, S. Kacunko)\nLogos Verlag Berlin 2018\nISBN 978-3-8325-4605-2\n582 pages, German.\nWith 22 contributions from Edith Decker-Phillips, Inga Lemke, Karin Bruns, Claudia Richarz, Gerda Lampalzer, Christiane Fricke, Nicoletta Torcelli, Söke Dinkla, Annette Hünnekens, Claudia Rosiny, Ursula Frohne, Verena Kuni, Katharina Gsöllpointner, Yvonne Volkart, Barbara Engelbach, Barbara Büscher, Katja Albers, Lydia Haustein, Sabine Flach, Sabine Himmelsbach, Anja Osswald and Martina Dobbe. \nThe anthology includes an introduction by Slavko Kacunko and recent interviews with Gerda Lampalzer, Ursula Frohne and Lydia Haustein.\n\nSlavko Kacunko (Hg.)\nTHEORIEN DER VIDEOKUNST\nTheoretikerinnen 2004–2018\neva - edition video art 4 \n(Hg. M. Odenbach, Y. Spielmann, S. Kacunko)\nLogos Verlag Berlin 2018\nISBN 978-3-8325-4606-9\n406 pages, German.\nWith 19 contributions from Irene Schubiger, Änne Söll, Inke Arns, Katharina Gsöllpointner, Yvonne Spielmann, Katharina Ammann, Christiane Fricke, Sylvia Martin, Martina Dobbe, Sigrid Adorf, Stephanie Sarah Lauke, Kathrin Becker, Sabine Maria Schmidt, Katja Kwastek, Marion Thielebein, Anke Hervol, Tabea Lurk, Franziska Stöhr and Eva Wattolik. \nThe anthology includes recent interviews with Yvonne Spielmann and Kathrin Becker.\n\n[German:]\nDie dritte und vierte Ausgabe der eva-edition video art, herausgegeben von M. Odenbach, Y. Spielmann und S. Kacunko, versammeln Texte, die für die Theorie der Videokunst prägend sind und fortwährend inspirierend wirken. Die Anthologie enthält Beiträge von Autorinnen aus Deutschland, Österreich und der Schweiz, die seit Mitte der 1980er Jahre entstanden sind und den Begriff des Mediums Video bestimmen, erweitern, die spezifische Leistung der Videokunst deuten oder ihre Systematik und Historisierung versuchen. Es finden Texte Berücksichtigung, die den sich verändernden Gebrauch des Mediums reflektieren, seine (Un-)Spezifizität als Reflexionsmedium definieren und Video als Katalysator für die Theorie-bildung an den Schnittstellen zur Film-, Medien-, Internet-oder Performancekunst nutzen. Die beiden Sammelbände folgen entsprechend einem wissenschaftshistoriographischen In-teresse ebenso wie der Herausbildung von kunst-, medien-, performance-, geschlechts- und kulturtheoretischen Schwerpunkten der Videokunsttheorie.","downloadable_attachments":[{"id":55963328,"asset_id":36075169,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":968296,"first_name":"Slavko","last_name":"Kacunko","domain_name":"independent","page_name":"SlavkoKacunko","display_name":"Slavko Kacunko","profile_url":"https://independent.academia.edu/SlavkoKacunko?f_ri=264788","photo":"https://0.academia-photos.com/968296/2701756/66264133/s65_slavko.kacunko.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=264788","nofollow":false},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=264788","nofollow":false},{"id":6100,"name":"Video 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38476288/Two_Art_Histories_The_Museum_and_the_University_Introduction_in_Chinese_">Two Art Histories: The Museum and the University (Introduction in Chinese)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38476288" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="87a43842f167223b2127a8b9b3537df2" rel="nofollow" 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31–June 3, 2017</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Exhibition Review for African Arts Journal The White Hunter: African Memories and Representations curated by Marco Scotini FM Centro per l'Arte Contemporanea, Milan March 31–June 3, 2017.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37679965" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a8d9936df7bb3aed4f9ca418f87635e6" rel="nofollow" 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2017.","downloadable_attachments":[{"id":57669634,"asset_id":37679965,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":791301,"first_name":"Helena","last_name":"Cantone","domain_name":"soas-uk","page_name":"HelenaCantone","display_name":"Helena Cantone","profile_url":"https://soas-uk.academia.edu/HelenaCantone?f_ri=264788","photo":"https://0.academia-photos.com/791301/269280/17746080/s65_helena.cantone.jpg"}],"research_interests":[{"id":379,"name":"African Studies","url":"https://www.academia.edu/Documents/in/African_Studies?f_ri=264788","nofollow":false},{"id":2221,"name":"Italian Studies","url":"https://www.academia.edu/Documents/in/Italian_Studies?f_ri=264788","nofollow":false},{"id":156075,"name":"Contemporary African art","url":"https://www.academia.edu/Documents/in/Contemporary_African_art?f_ri=264788","nofollow":false},{"id":184321,"name":"Contemporary Art from African and the 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u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Hallel. Carmel. Bezalel The Exhibitions: Halel. Carmel Winery 'Judaica Now!': Goblets and Kiddush Cups of the Bezalel School These two exhibitions: "Halel. Carmel Winery" and "'Judaica Now!': Goblets and Kiddush Cups of the Bezalel... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32750067" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Hallel. Carmel. Bezalel<br /><br />The Exhibitions:<br />Halel. Carmel Winery<br />'Judaica Now!':<br />Goblets and Kiddush Cups<br />of the Bezalel School<br /><br />These two exhibitions: "Halel. Carmel Winery" and<br />"'Judaica Now!': Goblets and Kiddush Cups of the Bezalel<br />School" focus on two pioneering phenomenon. Both of them,<br />each one in its own specific field, established a material<br />and cultural infrastructure for the renewal of the Jewish<br />settlement in Eretz Israel. The two integrated exhibitions<br />presented here show the primary aspects where these two<br />enterprises overlap. The principal point here is the fact that<br />their produce, wine in Rishon Le‑Zion and art in Bezalel,<br />symbolized the regenerated Jewish settlement. Moreover,<br />most of their products were purchased by Jews in the<br />Diaspora as an emotional gesture of love for Eretz Israel<br />together with a contribution for the realization of the idea<br />for its settlement.<br />The "Halel. Carmel Winery" exhibition tells the story of<br />the winery from its historical perspective. The winery<br />symbolized the realization of the dream of settling<br />Eretz Israel. Thus, it became a source of pride and a center<br />of attraction for the leaders of the people and the world<br />who pinned their hopes on it and visited the winery. The<br />historical exhibition aims to show how innovative the<br />Rishon Le-Zion winery was during its early years as it was<br />recognized as the prominent modern agricultural-industrial<br />plant in the Middle Eastern region. The winery played a key<br />role in the economic life of Rishon Le-Zion and the Jewish<br />settlements in the surrounding area. The exhibition displays<br />its development, achievements, challenges, transitions,<br />connections with the Diaspora and how it influenced<br />Rishon Le-Zion and the Yishuv in Eretz Israel. The exhibition<br />focuses mainly on the first few decades of the winery's<br />existence which were also the most momentous years in<br />its history, during which a modern industrial model was<br />developed leading to a breakthrough in the country.<br />The Bezalel exhibition 'Judaica Now'!: Goblets and<br />Kiddush Cups of the Bezalel School"is displayed from the<br />contemporary artistic standpoint. In this exhibition also<br />some 48 exhibits of contemporary wine and Kiddush cups,<br />handmade by artists and designers belonging to the Bezalel<br />School, are displayed. The philosophy and artistic language<br />of the School's members, men and women, were apparent as<br />expressed in the holy vessels and articles. The participants in<br />this group show had all attended Bezalel either as students<br />or teachers, some served as department heads. A large<br />group among these artists later became the elite of leading<br />Judaica artists, whose creations now enrich the collections of<br />important museums in Israel and throughout the world.<br /><br />Curators:<br />"Hallel. Carmel Winery": Yona Shapira<br />"'Judaica Now!': Wine goblets and Kiddush cups of the<br />Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy<br /><br /><br />הלַלֵּ. כרמל. בצלאל<br />התערוכות:<br />הַללֵּ. יקב כרמל<br />'יודאיקה עכשיו!':<br />כוסות וגביעי יין לקידוש<br />של אסכולת בצלאל<br /><br />שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון<br />ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו<br />תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.<br />שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני<br />המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,<br />היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה<br />רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של<br />יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת<br />מבט אמנותית עכשווית.<br />היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן<br />שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה<br />"הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון<br />בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב<br />המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות<br />הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,<br />קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.<br />עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים<br />המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני<br />ופורץ דרך בארץ.<br />התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת<br />בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים<br />ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם<br />ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי<br />בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:<br />בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק<br />נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם<br />מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.<br /><br />אוצרים:<br />הלל, יקב כרמל: יונה שפירא<br />'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש<br />של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32750067" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="20ca90d56cd81c8d7780ec4c89492636" rel="nofollow" data-download="{"attachment_id":52907415,"asset_id":32750067,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52907415/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50784280" href="https://independent.academia.edu/shiratmiriam">Shirat-Miriam Shamir</a><script data-card-contents-for-user="50784280" type="text/json">{"id":50784280,"first_name":"Shirat-Miriam","last_name":"Shamir","domain_name":"independent","page_name":"shiratmiriam","display_name":"Shirat-Miriam Shamir","profile_url":"https://independent.academia.edu/shiratmiriam?f_ri=264788","photo":"https://0.academia-photos.com/50784280/13423641/35343592/s65_shirat-miriam.shamir.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-32750067">+1</span><div class="hidden js-additional-users-32750067"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://shenkar.academia.edu/IdoNoy">Ido Noy</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-32750067'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-32750067').html(); 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Carmel. Bezalel\n\nThe Exhibitions:\nHalel. Carmel Winery\n'Judaica Now!':\nGoblets and Kiddush Cups\nof the Bezalel School\n\nThese two exhibitions: \"Halel. Carmel Winery\" and\n\"'Judaica Now!': Goblets and Kiddush Cups of the Bezalel\nSchool\" focus on two pioneering phenomenon. Both of them,\neach one in its own specific field, established a material\nand cultural infrastructure for the renewal of the Jewish\nsettlement in Eretz Israel. The two integrated exhibitions\npresented here show the primary aspects where these two\nenterprises overlap. The principal point here is the fact that\ntheir produce, wine in Rishon Le‑Zion and art in Bezalel,\nsymbolized the regenerated Jewish settlement. Moreover,\nmost of their products were purchased by Jews in the\nDiaspora as an emotional gesture of love for Eretz Israel\ntogether with a contribution for the realization of the idea\nfor its settlement.\nThe \"Halel. Carmel Winery\" exhibition tells the story of\nthe winery from its historical perspective. The winery\nsymbolized the realization of the dream of settling\nEretz Israel. Thus, it became a source of pride and a center\nof attraction for the leaders of the people and the world\nwho pinned their hopes on it and visited the winery. The\nhistorical exhibition aims to show how innovative the\nRishon Le-Zion winery was during its early years as it was\nrecognized as the prominent modern agricultural-industrial\nplant in the Middle Eastern region. The winery played a key\nrole in the economic life of Rishon Le-Zion and the Jewish\nsettlements in the surrounding area. The exhibition displays\nits development, achievements, challenges, transitions,\nconnections with the Diaspora and how it influenced\nRishon Le-Zion and the Yishuv in Eretz Israel. The exhibition\nfocuses mainly on the first few decades of the winery's\nexistence which were also the most momentous years in\nits history, during which a modern industrial model was\ndeveloped leading to a breakthrough in the country.\nThe Bezalel exhibition 'Judaica Now'!: Goblets and\nKiddush Cups of the Bezalel School\"is displayed from the\ncontemporary artistic standpoint. In this exhibition also\nsome 48 exhibits of contemporary wine and Kiddush cups,\nhandmade by artists and designers belonging to the Bezalel\nSchool, are displayed. The philosophy and artistic language\nof the School's members, men and women, were apparent as\nexpressed in the holy vessels and articles. The participants in\nthis group show had all attended Bezalel either as students\nor teachers, some served as department heads. A large\ngroup among these artists later became the elite of leading\nJudaica artists, whose creations now enrich the collections of\nimportant museums in Israel and throughout the world.\n\nCurators:\n\"Hallel. Carmel Winery\": Yona Shapira\n\"'Judaica Now!': Wine goblets and Kiddush cups of the\nBezalel School\": Dr. Shirat‑Miriam Shamir, Ido Noy\n\n\nהלַלֵּ. כרמל. בצלאל\nהתערוכות:\nהַללֵּ. יקב כרמל\n'יודאיקה עכשיו!':\nכוסות וגביעי יין לקידוש\nשל אסכולת בצלאל\n\nשתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון\nובית הספר לאמנויות \"בצלאל\". שניהם, כל אחד בתחומו, הניחו\nתשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.\nשתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני\nהמפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,\nהיוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה\nרגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של\nיישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת\nמבט אמנותית עכשווית.\nהיקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן\nשואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה\n\"הלל. יקב כרמל\" מבקשת להציג את החדשנות של יקב ראשון־לציון\nבשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב\nהמזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות\nהסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,\nקשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.\nעיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים\nהמשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני\nופורץ דרך בארץ.\nהתערוכה, \"׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת\nבצלאל\" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים\nומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם\nושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי\nבתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:\nבין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק\nנכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם\nמעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.\n\nאוצרים:\nהלל, יקב כרמל: יונה שפירא\n'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש\nשל אסכולת בצלאל: ד\"ר שירת־מרים שמיר ועידו נוי\n","downloadable_attachments":[{"id":52907415,"asset_id":32750067,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50784280,"first_name":"Shirat-Miriam","last_name":"Shamir","domain_name":"independent","page_name":"shiratmiriam","display_name":"Shirat-Miriam Shamir","profile_url":"https://independent.academia.edu/shiratmiriam?f_ri=264788","photo":"https://0.academia-photos.com/50784280/13423641/35343592/s65_shirat-miriam.shamir.jpg"},{"id":5381631,"first_name":"Ido","last_name":"Noy","domain_name":"shenkar","page_name":"IdoNoy","display_name":"Ido Noy","profile_url":"https://shenkar.academia.edu/IdoNoy?f_ri=264788","photo":"https://0.academia-photos.com/5381631/2362386/16068519/s65_ido.noy.jpg"}],"research_interests":[{"id":26,"name":"Business","url":"https://www.academia.edu/Documents/in/Business?f_ri=264788","nofollow":false},{"id":915,"name":"Art 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Curadoria de José Francisco Alves Catálogo de 220 pág.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43512239" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Amostra de páginas do Catálogo Geral da exposição Labirintos da Iconografia, realizada no Museu de Arte do Rio Grande do Sul, Porto Alegre, entre 29 de junho e 14 de agosto de 2011.<br />Curadoria de José Francisco Alves<br />Catálogo de 220 pág. Publicado pelo MARGS em 2014.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43512239" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5b18666898dacdb3bdea1aac569d5b1b" rel="nofollow" data-download="{"attachment_id":63823019,"asset_id":43512239,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63823019/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="416231" href="https://independent.academia.edu/JoseFranciscoAlves">José Francisco Alves</a><script data-card-contents-for-user="416231" type="text/json">{"id":416231,"first_name":"José Francisco","last_name":"Alves","domain_name":"independent","page_name":"JoseFranciscoAlves","display_name":"José Francisco Alves","profile_url":"https://independent.academia.edu/JoseFranciscoAlves?f_ri=264788","photo":"https://0.academia-photos.com/416231/1885898/2237623/s65_jose_francisco.alves.jpg"}</script></span></span></li><li class="js-paper-rank-work_43512239 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43512239"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43512239, container: ".js-paper-rank-work_43512239", }); 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$(".js-view-count[data-work-id=43512239]").text(description); $(".js-view-count-work_43512239").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43512239").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43512239"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="58222" href="https://www.academia.edu/Documents/in/Models_of_Curatorship">Models of Curatorship</a>, <script data-card-contents-for-ri="58222" type="text/json">{"id":58222,"name":"Models of Curatorship","url":"https://www.academia.edu/Documents/in/Models_of_Curatorship?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="86120" href="https://www.academia.edu/Documents/in/Exhibitions">Exhibitions</a>, <script data-card-contents-for-ri="86120" type="text/json">{"id":86120,"name":"Exhibitions","url":"https://www.academia.edu/Documents/in/Exhibitions?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="109029" href="https://www.academia.edu/Documents/in/Museus">Museus</a>, <script data-card-contents-for-ri="109029" type="text/json">{"id":109029,"name":"Museus","url":"https://www.academia.edu/Documents/in/Museus?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="226095" href="https://www.academia.edu/Documents/in/History_of_Exhibitions">History of Exhibitions</a><script data-card-contents-for-ri="226095" type="text/json">{"id":226095,"name":"History of Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Exhibitions?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43512239]'), work: {"id":43512239,"title":"Labirintos da Iconografia","created_at":"2020-07-03T19:54:35.440-07:00","url":"https://www.academia.edu/43512239/Labirintos_da_Iconografia?f_ri=264788","dom_id":"work_43512239","summary":"Amostra de páginas do Catálogo Geral da exposição Labirintos da Iconografia, realizada no Museu de Arte do Rio Grande do Sul, Porto Alegre, entre 29 de junho e 14 de agosto de 2011.\nCuradoria de José Francisco Alves\nCatálogo de 220 pág. Publicado pelo MARGS em 2014.","downloadable_attachments":[{"id":63823019,"asset_id":43512239,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":416231,"first_name":"José Francisco","last_name":"Alves","domain_name":"independent","page_name":"JoseFranciscoAlves","display_name":"José Francisco Alves","profile_url":"https://independent.academia.edu/JoseFranciscoAlves?f_ri=264788","photo":"https://0.academia-photos.com/416231/1885898/2237623/s65_jose_francisco.alves.jpg"}],"research_interests":[{"id":58222,"name":"Models of Curatorship","url":"https://www.academia.edu/Documents/in/Models_of_Curatorship?f_ri=264788","nofollow":false},{"id":86120,"name":"Exhibitions","url":"https://www.academia.edu/Documents/in/Exhibitions?f_ri=264788","nofollow":false},{"id":109029,"name":"Museus","url":"https://www.academia.edu/Documents/in/Museus?f_ri=264788","nofollow":false},{"id":226095,"name":"History of Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Exhibitions?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":377308,"name":"Curatorship","url":"https://www.academia.edu/Documents/in/Curatorship?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_73600061" data-work_id="73600061" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/73600061/Art_Awakening_and_Modernity_in_the_Middle_East_The_Arab_Nude">Art, Awakening, and Modernity in the Middle East: The Arab Nude</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This edited scholarly volume offers a perspective on the history of the fine arts genre of the nude in the Middle East and includes contributions written by scholars from several disciplines (art history, history, anthropology). Each... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_73600061" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This edited scholarly volume offers a perspective on the history of the fine arts genre of the nude in the Middle East and includes contributions written by scholars from several disciplines (art history, history, anthropology). Each chapter provides a distinct perspective on the early days of the nude, as its author studies a particular aspect through analysis of artworks and historical documents from the late nineteenth and early twentieth centuries. The volume examines a rich body of reproductions of both primary documents and of works of art made by Lebanese, Egyptian, and Syrian artists or of anonymous book illustrations from nineteenth-century Ottoman erotic literature.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/73600061" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="59e04970ab82012cf4ff3c6e696a8693" rel="nofollow" data-download="{"attachment_id":82059521,"asset_id":73600061,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/82059521/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="42405193" href="https://aub-lb.academia.edu/OctavianEsanu">Octavian Esanu</a><script data-card-contents-for-user="42405193" type="text/json">{"id":42405193,"first_name":"Octavian","last_name":"Esanu","domain_name":"aub-lb","page_name":"OctavianEsanu","display_name":"Octavian Esanu","profile_url":"https://aub-lb.academia.edu/OctavianEsanu?f_ri=264788","photo":"https://0.academia-photos.com/42405193/12569685/13984912/s65_octavian.esanu.jpg"}</script></span></span></li><li class="js-paper-rank-work_73600061 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="73600061"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 73600061, container: ".js-paper-rank-work_73600061", }); 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$(".js-view-count[data-work-id=73600061]").text(description); $(".js-view-count-work_73600061").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_73600061").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="73600061"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2015" href="https://www.academia.edu/Documents/in/Middle_East_Studies">Middle East Studies</a>, <script data-card-contents-for-ri="2015" type="text/json">{"id":2015,"name":"Middle East Studies","url":"https://www.academia.edu/Documents/in/Middle_East_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="34879" href="https://www.academia.edu/Documents/in/Modern_Art_of_the_Middle_East">Modern Art of the Middle East</a>, <script data-card-contents-for-ri="34879" type="text/json">{"id":34879,"name":"Modern Art of the Middle East","url":"https://www.academia.edu/Documents/in/Modern_Art_of_the_Middle_East?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="264788" href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies">Art History, Exhibition History, Museum and Curating Studies</a>, <script data-card-contents-for-ri="264788" type="text/json">{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1137542" href="https://www.academia.edu/Documents/in/Contemporary_Middle_Eastern_Art">Contemporary Middle Eastern Art</a><script data-card-contents-for-ri="1137542" type="text/json">{"id":1137542,"name":"Contemporary Middle Eastern Art","url":"https://www.academia.edu/Documents/in/Contemporary_Middle_Eastern_Art?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=73600061]'), work: {"id":73600061,"title":"Art, Awakening, and Modernity in the Middle East: The Arab Nude","created_at":"2022-03-12T05:50:00.134-08:00","url":"https://www.academia.edu/73600061/Art_Awakening_and_Modernity_in_the_Middle_East_The_Arab_Nude?f_ri=264788","dom_id":"work_73600061","summary":"This edited scholarly volume offers a perspective on the history of the fine arts genre of the nude in the Middle East and includes contributions written by scholars from several disciplines (art history, history, anthropology). Each chapter provides a distinct perspective on the early days of the nude, as its author studies a particular aspect through analysis of artworks and historical documents from the late nineteenth and early twentieth centuries. The volume examines a rich body of reproductions of both primary documents and of works of art made by Lebanese, Egyptian, and Syrian artists or of anonymous book illustrations from nineteenth-century Ottoman erotic literature.","downloadable_attachments":[{"id":82059521,"asset_id":73600061,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":42405193,"first_name":"Octavian","last_name":"Esanu","domain_name":"aub-lb","page_name":"OctavianEsanu","display_name":"Octavian Esanu","profile_url":"https://aub-lb.academia.edu/OctavianEsanu?f_ri=264788","photo":"https://0.academia-photos.com/42405193/12569685/13984912/s65_octavian.esanu.jpg"}],"research_interests":[{"id":2015,"name":"Middle East Studies","url":"https://www.academia.edu/Documents/in/Middle_East_Studies?f_ri=264788","nofollow":false},{"id":34879,"name":"Modern Art of the Middle East","url":"https://www.academia.edu/Documents/in/Modern_Art_of_the_Middle_East?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false},{"id":1137542,"name":"Contemporary Middle Eastern Art","url":"https://www.academia.edu/Documents/in/Contemporary_Middle_Eastern_Art?f_ri=264788","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_79496933" data-work_id="79496933" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/79496933/Man%C3%A9vre_v_roku_1911_v_okol%C3%AD_Stropkova_a_Svidn%C3%ADka_a_boje_o_mesto_Stropkov_v_prvej_svetovej_vojne">Manévre v roku 1911 v okolí Stropkova a Svidníka a boje o mesto Stropkov v prvej svetovej vojne</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/79496933" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="767663f23e4a73cd500d429de7b6bc89" rel="nofollow" data-download="{"attachment_id":86192192,"asset_id":79496933,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/86192192/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="56575343" href="https://minv.academia.edu/ErikOndria">Erik Ondria</a><script data-card-contents-for-user="56575343" type="text/json">{"id":56575343,"first_name":"Erik","last_name":"Ondria","domain_name":"minv","page_name":"ErikOndria","display_name":"Erik Ondria","profile_url":"https://minv.academia.edu/ErikOndria?f_ri=264788","photo":"https://0.academia-photos.com/56575343/14878306/133763542/s65_erik.ondria.jpg"}</script></span></span></li><li class="js-paper-rank-work_79496933 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="79496933"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 79496933, container: ".js-paper-rank-work_79496933", }); 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Twilight Biennale: Russian art life as if it mattered. Vestnik SPbSU. Arts, 2018, vol. 8, issue 2, pp. 320–324. (In Russian) Котломанов А.О. Сумерки биеннале: российская художественная жизнь, как если бы она имела значение... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36936018" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Kotlomanov A.O. Twilight Biennale: Russian art life as if it mattered. Vestnik SPbSU. Arts, 2018, vol. 8, issue 2, pp. 320–324. (In Russian)<br />Котломанов А.О. Сумерки биеннале: российская художественная жизнь, как если бы она имела значение // Вестник СПбГУ. Искусствоведение. 2018. Т. 8. Вып. 2. С. 320–324.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36936018" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="09f21c08fb956017a67723b19037d32b" rel="nofollow" data-download="{"attachment_id":56886205,"asset_id":36936018,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56886205/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22338791" href="https://ghpa.academia.edu/AleksandrKotlomanov">Alexander O. 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js-work-card work_77709596" data-work_id="77709596" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/77709596/A_Space_Beyond_Dualism_On_Alois_Riegls_influence_on_Alexander_Dorners_atmosphere_rooms_">A Space Beyond Dualism -On Alois Riegl's influence on Alexander Dorner's "atmosphere rooms"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Analysis of the influence of Riegl's analysis of space in especially his work on the Dutch Group Portrait on the curatorial vision of museum director Alexander Dorner.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/77709596" 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class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="110588" href="https://uni-hildesheim.academia.edu/SteventenThije">Steven ten Thije</a><script data-card-contents-for-user="110588" type="text/json">{"id":110588,"first_name":"Steven","last_name":"ten Thije","domain_name":"uni-hildesheim","page_name":"SteventenThije","display_name":"Steven ten Thije","profile_url":"https://uni-hildesheim.academia.edu/SteventenThije?f_ri=264788","photo":"https://0.academia-photos.com/110588/85453/1133576/s65_steven.ten_thije.png"}</script></span></span></li><li class="js-paper-rank-work_77709596 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="77709596"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 77709596, 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History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="24016" href="https://www.academia.edu/Documents/in/Museology">Museology</a>, <script data-card-contents-for-ri="24016" type="text/json">{"id":24016,"name":"Museology","url":"https://www.academia.edu/Documents/in/Museology?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="264788" href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies">Art History, Exhibition History, Museum and Curating Studies</a><script data-card-contents-for-ri="264788" type="text/json">{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=77709596]'), work: {"id":77709596,"title":"A Space Beyond Dualism -On Alois Riegl's influence on Alexander Dorner's \"atmosphere rooms\"","created_at":"2022-04-26T13:20:52.578-07:00","url":"https://www.academia.edu/77709596/A_Space_Beyond_Dualism_On_Alois_Riegls_influence_on_Alexander_Dorners_atmosphere_rooms_?f_ri=264788","dom_id":"work_77709596","summary":"Analysis of the influence of Riegl's analysis of space in especially his work on the Dutch Group Portrait on the curatorial vision of museum director Alexander Dorner. ","downloadable_attachments":[{"id":85005834,"asset_id":77709596,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":110588,"first_name":"Steven","last_name":"ten Thije","domain_name":"uni-hildesheim","page_name":"SteventenThije","display_name":"Steven ten Thije","profile_url":"https://uni-hildesheim.academia.edu/SteventenThije?f_ri=264788","photo":"https://0.academia-photos.com/110588/85453/1133576/s65_steven.ten_thije.png"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false},{"id":24016,"name":"Museology","url":"https://www.academia.edu/Documents/in/Museology?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37065712" data-work_id="37065712" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37065712/Greenwishing_Dealing_With_a_Wishful_Environmental_Awareness_D%C3%A9sir_vert_n%C3%A9gocier_avec_la_bonne_conscience_environnementale_">Greenwishing: Dealing With a Wishful Environmental Awareness/Désir vert : négocier avec la bonne conscience environnementale‪</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Since the beginning of its history, Environmental photography has been exploited for the sake of politics purpose in the United States. This “fair use” is part of the DNA of this photography, a genre that mixes landscape and nature... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37065712" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Since the beginning of its history, Environmental photography has been exploited for the sake of politics purpose in the United States. This “fair use” is part of the DNA of this photography, a genre that mixes landscape and nature aesthetics with environmental awareness. How can one deal with the aura of the words “environment” “nature”, which “green” the content of any publication or exhibition? This paper intends to explore a subtler greening made of the genuine intention of the spectator.‪<br /><br />Depuis les prémices de son histoire, la photographie environnementale a été instrumentalisée à des fins politiciennes aux États-Unis. Cet « usage loyal » fait partie de l’ADN de cette photographie qui allie l’esthétique paysagère et naturaliste à une conscience environnementale. Comment gérer l’effet de mots-clefs comme « environnement » ou « nature », qui suscitent l’éco-blanchiment du contenu d’expositions ou de publications ? Cet article entend explorer un verdissement plus subtil, celui opéré par la bonne conscience du public.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37065712" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="df9d4f071aa5a275554c38241023c67f" rel="nofollow" data-download="{"attachment_id":57016574,"asset_id":37065712,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57016574/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2284475" href="https://umontreal.academia.edu/B%C3%A9n%C3%A9dicteRamade">Bénédicte Ramade</a><script data-card-contents-for-user="2284475" type="text/json">{"id":2284475,"first_name":"Bénédicte","last_name":"Ramade","domain_name":"umontreal","page_name":"BénédicteRamade","display_name":"Bénédicte Ramade","profile_url":"https://umontreal.academia.edu/B%C3%A9n%C3%A9dicteRamade?f_ri=264788","photo":"https://0.academia-photos.com/2284475/726071/901590/s65_b_n_dicte.ramade.jpg"}</script></span></span></li><li class="js-paper-rank-work_37065712 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37065712"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37065712, container: ".js-paper-rank-work_37065712", }); 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This “fair use” is part of the DNA of this photography, a genre that mixes landscape and nature aesthetics with environmental awareness. How can one deal with the aura of the words “environment” “nature”, which “green” the content of any publication or exhibition? This paper intends to explore a subtler greening made of the genuine intention of the spectator.‪\n\nDepuis les prémices de son histoire, la photographie environnementale a été instrumentalisée à des fins politiciennes aux États-Unis. Cet « usage loyal » fait partie de l’ADN de cette photographie qui allie l’esthétique paysagère et naturaliste à une conscience environnementale. Comment gérer l’effet de mots-clefs comme « environnement » ou « nature », qui suscitent l’éco-blanchiment du contenu d’expositions ou de publications ? 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data-card-contents-for-ri="264788" type="text/json">{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="445622" href="https://www.academia.edu/Documents/in/Curating_contemporary_art">Curating contemporary art</a><script data-card-contents-for-ri="445622" type="text/json">{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=22284184]'), work: {"id":22284184,"title":"ŠIUOLAIKYBĖS KURAVIMAS: RAIMUNDO MALAŠAUSKO 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class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1657" href="https://www.academia.edu/Documents/in/Museum_Studies">Museum Studies</a>, <script data-card-contents-for-ri="1657" type="text/json">{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2869" href="https://www.academia.edu/Documents/in/Digital_Media">Digital Media</a>, <script data-card-contents-for-ri="2869" type="text/json">{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="78350" href="https://www.academia.edu/Documents/in/Museum_and_Heritage_Studies">Museum and Heritage Studies</a><script data-card-contents-for-ri="78350" type="text/json">{"id":78350,"name":"Museum and Heritage Studies","url":"https://www.academia.edu/Documents/in/Museum_and_Heritage_Studies?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32634206]'), work: {"id":32634206,"title":"Digital technology and the art museum: a case 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41277298/Tino_Sehgal_au_Palais_de_Tokyo_appropriation_et_oralit%C3%A9">Tino Sehgal au Palais de Tokyo - appropriation et oralité</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Travail d'Histoire de l'Art où il nous était demandé d'analyser une oeuvre vécue en la replaçant dans son contexte. Mon devoir porte sur la carte blanche de Tino Sehgal au Palais de Tokyo. Mai 2017.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41277298" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9229f0915065531e7e4ba6c7455ece36" rel="nofollow" data-download="{"attachment_id":61496822,"asset_id":41277298,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61496822/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="82096062" href="https://unistra.academia.edu/SachaGhezi">Sacha Ghezi</a><script data-card-contents-for-user="82096062" type="text/json">{"id":82096062,"first_name":"Sacha","last_name":"Ghezi","domain_name":"unistra","page_name":"SachaGhezi","display_name":"Sacha Ghezi","profile_url":"https://unistra.academia.edu/SachaGhezi?f_ri=264788","photo":"https://0.academia-photos.com/82096062/19800304/31596099/s65_amandine.ghezi.jpg"}</script></span></span></li><li class="js-paper-rank-work_41277298 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41277298"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41277298, container: ".js-paper-rank-work_41277298", }); 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$(".js-view-count[data-work-id=41277298]").text(description); $(".js-view-count-work_41277298").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41277298").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41277298"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10444" href="https://www.academia.edu/Documents/in/Postmodernism">Postmodernism</a>, <script data-card-contents-for-ri="10444" type="text/json">{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="26805" href="https://www.academia.edu/Documents/in/Orality">Orality</a><script data-card-contents-for-ri="26805" type="text/json">{"id":26805,"name":"Orality","url":"https://www.academia.edu/Documents/in/Orality?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41277298]'), work: {"id":41277298,"title":"Tino Sehgal au Palais de Tokyo - appropriation et oralité","created_at":"2019-12-12T10:09:45.312-08:00","url":"https://www.academia.edu/41277298/Tino_Sehgal_au_Palais_de_Tokyo_appropriation_et_oralit%C3%A9?f_ri=264788","dom_id":"work_41277298","summary":"Travail d'Histoire de l'Art où il nous était demandé d'analyser une oeuvre vécue en la replaçant dans son contexte. 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At the same time, it examines the legacy that the figure of Szeemann has handed down to new generations of curators and the directions that the curatorial practices have taken more recently.<br />A session is further dedicated to the results of the research by young scholars, carried out in Szeemann’s archives (acquired by the Getty Research Institute during 2011) and on the fruitful exchanges between Szeemann and Italy.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22217496" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="446c47ca0921e1754b8eab537af7fd02" rel="nofollow" data-download="{"attachment_id":42870401,"asset_id":22217496,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42870401/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="62117737" href="https://independent.academia.edu/LacagninaSalvatore">Salvatore Lacagnina</a><script data-card-contents-for-user="62117737" type="text/json">{"id":62117737,"first_name":"Salvatore","last_name":"Lacagnina","domain_name":"independent","page_name":"LacagninaSalvatore","display_name":"Salvatore Lacagnina","profile_url":"https://independent.academia.edu/LacagninaSalvatore?f_ri=264788","photo":"/images/s65_no_pic.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-22217496">+1</span><div class="hidden js-additional-users-22217496"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unige.academia.edu/HenrideRiedmatten">Henri de Riedmatten</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-22217496'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-22217496').html(); 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At the same time, it examines the legacy that the figure of Szeemann has handed down to new generations of curators and the directions that the curatorial practices have taken more recently.\nA session is further dedicated to the results of the research by young scholars, carried out in Szeemann’s archives (acquired by the Getty Research Institute during 2011) and on the fruitful exchanges between Szeemann and Italy.","downloadable_attachments":[{"id":42870401,"asset_id":22217496,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":62117737,"first_name":"Salvatore","last_name":"Lacagnina","domain_name":"independent","page_name":"LacagninaSalvatore","display_name":"Salvatore Lacagnina","profile_url":"https://independent.academia.edu/LacagninaSalvatore?f_ri=264788","photo":"/images/s65_no_pic.png"},{"id":9382550,"first_name":"Henri","last_name":"de Riedmatten","domain_name":"unige","page_name":"HenrideRiedmatten","display_name":"Henri de Riedmatten","profile_url":"https://unige.academia.edu/HenrideRiedmatten?f_ri=264788","photo":"https://0.academia-photos.com/9382550/2997027/12832337/s65_henri.de_riedmatten.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=264788","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=264788","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=264788","nofollow":false},{"id":7063,"name":"History of Museums","url":"https://www.academia.edu/Documents/in/History_of_Museums?f_ri=264788"},{"id":11469,"name":"Curating","url":"https://www.academia.edu/Documents/in/Curating?f_ri=264788"},{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=264788"},{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=264788"},{"id":37490,"name":"Modern and Contemporary Art","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Art-1?f_ri=264788"},{"id":169362,"name":"Curatorial Theory","url":"https://www.academia.edu/Documents/in/Curatorial_Theory?f_ri=264788"},{"id":253545,"name":"Curatorial Studies","url":"https://www.academia.edu/Documents/in/Curatorial_Studies?f_ri=264788"},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=264788"},{"id":657369,"name":"Harald Szeemann","url":"https://www.academia.edu/Documents/in/Harald_Szeemann?f_ri=264788"},{"id":1035820,"name":"Museums and Curating","url":"https://www.academia.edu/Documents/in/Museums_and_Curating?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_21892628" data-work_id="21892628" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/21892628/Forming_a_Visual_Canon_Comics_in_Museums">Forming a Visual Canon: Comics in Museums</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Stories of pioneers that helped advance comic art into museums: Maurice Horn; Mort & Brian Walker; Malcolm Whyte; John Carlin; Art Spiegelman; Ann Philben; Trina Robbins, and Paul Gravett. Includes an overview of key comics exhibitions in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_21892628" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Stories of pioneers that helped advance comic art into museums: Maurice Horn; Mort & Brian Walker; Malcolm Whyte; John Carlin; Art Spiegelman; Ann Philben; Trina Robbins, and Paul Gravett. Includes an overview of key comics exhibitions in the US.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/21892628" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="58a43ae4f23967574426062e7632cded" rel="nofollow" data-download="{"attachment_id":42628214,"asset_id":21892628,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42628214/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="176995" href="https://independent.academia.edu/KimMunson">Kim A Munson</a><script data-card-contents-for-user="176995" type="text/json">{"id":176995,"first_name":"Kim","last_name":"Munson","domain_name":"independent","page_name":"KimMunson","display_name":"Kim A Munson","profile_url":"https://independent.academia.edu/KimMunson?f_ri=264788","photo":"https://0.academia-photos.com/176995/88760/96720/s65_kim.munson.jpg"}</script></span></span></li><li class="js-paper-rank-work_21892628 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="21892628"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 21892628, container: ".js-paper-rank-work_21892628", }); 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$(".js-view-count[data-work-id=21892628]").text(description); $(".js-view-count-work_21892628").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_21892628").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="21892628"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2858" href="https://www.academia.edu/Documents/in/Popular_Culture">Popular Culture</a>, <script data-card-contents-for-ri="2858" type="text/json">{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3893" href="https://www.academia.edu/Documents/in/Comics_Studies">Comics Studies</a>, <script data-card-contents-for-ri="3893" type="text/json">{"id":3893,"name":"Comics Studies","url":"https://www.academia.edu/Documents/in/Comics_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="29963" href="https://www.academia.edu/Documents/in/Comics_and_Graphic_Novels">Comics and Graphic Novels</a><script data-card-contents-for-ri="29963" type="text/json">{"id":29963,"name":"Comics and Graphic Novels","url":"https://www.academia.edu/Documents/in/Comics_and_Graphic_Novels?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=21892628]'), work: {"id":21892628,"title":"Forming a Visual Canon: Comics in Museums","created_at":"2016-02-12T14:33:52.290-08:00","url":"https://www.academia.edu/21892628/Forming_a_Visual_Canon_Comics_in_Museums?f_ri=264788","dom_id":"work_21892628","summary":"Stories of pioneers that helped advance comic art into museums: Maurice Horn; Mort \u0026 Brian Walker; Malcolm Whyte; John Carlin; Art Spiegelman; Ann Philben; Trina Robbins, and Paul Gravett. Includes an overview of key comics exhibitions in the US.","downloadable_attachments":[{"id":42628214,"asset_id":21892628,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":176995,"first_name":"Kim","last_name":"Munson","domain_name":"independent","page_name":"KimMunson","display_name":"Kim A Munson","profile_url":"https://independent.academia.edu/KimMunson?f_ri=264788","photo":"https://0.academia-photos.com/176995/88760/96720/s65_kim.munson.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=264788","nofollow":false},{"id":3893,"name":"Comics Studies","url":"https://www.academia.edu/Documents/in/Comics_Studies?f_ri=264788","nofollow":false},{"id":29963,"name":"Comics and Graphic Novels","url":"https://www.academia.edu/Documents/in/Comics_and_Graphic_Novels?f_ri=264788","nofollow":false},{"id":226095,"name":"History of Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Exhibitions?f_ri=264788"},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7860332" data-work_id="7860332" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7860332/Under_the_Burning_Sun_of_the_Colony_The_Eight_hour_Day_Movement_Exhibition_Catalgoue_Ian_Potter_Museum_of_Art_University_of_Melbourne_2006_">Under the Burning Sun of the Colony: The Eight-hour Day Movement (Exhibition Catalgoue, Ian Potter Museum of Art, University of Melbourne, 2006)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7860332" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d8900ec0de5d4b9ee6c8cadbcb3b59b4" rel="nofollow" data-download="{"attachment_id":34352925,"asset_id":7860332,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button 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McQuilten","profile_url":"https://rmit.academia.edu/GraceMcQuilten?f_ri=264788","photo":"https://0.academia-photos.com/14660983/3989109/4659962/s65_grace.mcquilten.png"}</script></span></span></li><li class="js-paper-rank-work_7860332 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7860332"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7860332, container: ".js-paper-rank-work_7860332", }); });</script></li><li class="js-percentile-work_7860332 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7860332; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="7860332"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="5176" href="https://www.academia.edu/Documents/in/Labour_history">Labour history</a>, <script data-card-contents-for-ri="5176" type="text/json">{"id":5176,"name":"Labour history","url":"https://www.academia.edu/Documents/in/Labour_history?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5403" href="https://www.academia.edu/Documents/in/Trade_unionism">Trade unionism</a>, <script data-card-contents-for-ri="5403" type="text/json">{"id":5403,"name":"Trade unionism","url":"https://www.academia.edu/Documents/in/Trade_unionism?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7513" href="https://www.academia.edu/Documents/in/Archives">Archives</a>, <script data-card-contents-for-ri="7513" type="text/json">{"id":7513,"name":"Archives","url":"https://www.academia.edu/Documents/in/Archives?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="264788" href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies">Art History, Exhibition History, Museum and Curating Studies</a><script data-card-contents-for-ri="264788" type="text/json">{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7860332]'), work: {"id":7860332,"title":"Under the Burning Sun of the Colony: The Eight-hour 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“Cross-Pollination”</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Brittany Luberda, “Curating across Material: Reflections on ‘Reigning Men’ and ‘Cross-Pollination’,” Journal18 (October 2017), <a href="http://www.journal18.org/1969" rel="nofollow">http://www.journal18.org/1969</a></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35381922" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0fee529f8746eab92c3f99d5fad4f0f0" rel="nofollow" data-download="{"attachment_id":56517692,"asset_id":35381922,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56517692/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11342287" href="https://artbma.academia.edu/BrittanyLuberda">Brittany Luberda</a><script data-card-contents-for-user="11342287" type="text/json">{"id":11342287,"first_name":"Brittany","last_name":"Luberda","domain_name":"artbma","page_name":"BrittanyLuberda","display_name":"Brittany Luberda","profile_url":"https://artbma.academia.edu/BrittanyLuberda?f_ri=264788","photo":"https://0.academia-photos.com/11342287/13211695/29958746/s65_brittany.luberda.jpg"}</script></span></span></li><li class="js-paper-rank-work_35381922 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35381922"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35381922, container: ".js-paper-rank-work_35381922", }); });</script></li><li class="js-percentile-work_35381922 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35381922; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35381922"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35381922 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35381922"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35381922; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35381922]").text(description); $(".js-view-count-work_35381922").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35381922").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35381922"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2209" href="https://www.academia.edu/Documents/in/Cross-Media_Studies">Cross-Media Studies</a>, <script data-card-contents-for-ri="2209" type="text/json">{"id":2209,"name":"Cross-Media Studies","url":"https://www.academia.edu/Documents/in/Cross-Media_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11469" href="https://www.academia.edu/Documents/in/Curating">Curating</a>, <script data-card-contents-for-ri="11469" type="text/json">{"id":11469,"name":"Curating","url":"https://www.academia.edu/Documents/in/Curating?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="47749" href="https://www.academia.edu/Documents/in/Porcelain">Porcelain</a>, <script data-card-contents-for-ri="47749" type="text/json">{"id":47749,"name":"Porcelain","url":"https://www.academia.edu/Documents/in/Porcelain?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="264788" href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies">Art History, Exhibition History, Museum and Curating Studies</a><script data-card-contents-for-ri="264788" type="text/json">{"id":264788,"name":"Art History, Exhibition History, Museum and Curating 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Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false},{"id":288810,"name":"Material Culture, Design History, Decorative Arts","url":"https://www.academia.edu/Documents/in/Material_Culture_Design_History_Decorative_Arts?f_ri=264788"},{"id":311265,"name":"17th and 18th century European Decorative Arts and Design","url":"https://www.academia.edu/Documents/in/17th_and_18th_century_European_Decorative_Arts_and_Design?f_ri=264788"},{"id":566757,"name":"Fashion Curating","url":"https://www.academia.edu/Documents/in/Fashion_Curating?f_ri=264788"},{"id":2780234,"name":"Intermateriality","url":"https://www.academia.edu/Documents/in/Intermateriality?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28885888 coauthored" data-work_id="28885888" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28885888/Blank_Arcade_2016">Blank Arcade 2016</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In its third iteration, the Blank Arcade exhibit lands in Dundee, Scotland for 2016. Understanding design as research and extending the academic program of the 1st joint conference of the Digital Games Research Association and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28885888" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In its third iteration, the Blank Arcade exhibit lands in Dundee, Scotland for 2016. <br /><br />Understanding design as research and extending the academic program of the 1st joint conference of the Digital Games Research Association and Foundations of Digital Games Conference, the curators invited submissions of games that explore the edges of play and research. The work in this collection help answer a few key questions in games that are more effectively or more interestingly addressed through the experience of a playful artifact than through the analysis of its subject. Whether digital game or analog play design, these works remind player and audience of the value of the experiential.<br /><br />These games ostensibly fill in the blanks of design or ludic experience, offering new game play experiences, highlighting spaces that are relatively uninhabited by other playful experiences or that simply remind players to play differently.<br /><br />The exhibt runs from the 3rd of August through Friday the 28th of October at the University of Abertay Dundee's Hannah Maclure Centre in Scotland.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28885888" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="83cdfcfae4c9ef0dd35a1de1e19e2681" rel="nofollow" data-download="{"attachment_id":49317627,"asset_id":28885888,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49317627/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1119486" href="https://miami.academia.edu/LindsayGrace">Lindsay Grace</a><script data-card-contents-for-user="1119486" type="text/json">{"id":1119486,"first_name":"Lindsay","last_name":"Grace","domain_name":"miami","page_name":"LindsayGrace","display_name":"Lindsay Grace","profile_url":"https://miami.academia.edu/LindsayGrace?f_ri=264788","photo":"https://0.academia-photos.com/1119486/391152/38162447/s65_lindsay.grace.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-28885888">+1</span><div class="hidden js-additional-users-28885888"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://abertay.academia.edu/EmilieReed">Emilie M Reed</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-28885888'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-28885888').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_28885888 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28885888"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28885888, container: ".js-paper-rank-work_28885888", }); });</script></li><li class="js-percentile-work_28885888 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 28885888; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_28885888"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_28885888 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="28885888"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28885888; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=28885888]").text(description); $(".js-view-count-work_28885888").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28885888").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28885888"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2892" href="https://www.academia.edu/Documents/in/Experimental_games">Experimental games</a>, <script data-card-contents-for-ri="2892" type="text/json">{"id":2892,"name":"Experimental games","url":"https://www.academia.edu/Documents/in/Experimental_games?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5200" href="https://www.academia.edu/Documents/in/Video_Game_Design">Video Game Design</a>, <script data-card-contents-for-ri="5200" type="text/json">{"id":5200,"name":"Video Game Design","url":"https://www.academia.edu/Documents/in/Video_Game_Design?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5203" href="https://www.academia.edu/Documents/in/Video_Game_Art_and_Animation">Video Game Art and Animation</a>, <script data-card-contents-for-ri="5203" type="text/json">{"id":5203,"name":"Video Game Art and Animation","url":"https://www.academia.edu/Documents/in/Video_Game_Art_and_Animation?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18736" href="https://www.academia.edu/Documents/in/New_Media_Art">New Media Art</a><script data-card-contents-for-ri="18736" type="text/json">{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28885888]'), work: {"id":28885888,"title":"Blank Arcade 2016","created_at":"2016-10-03T07:16:27.707-07:00","url":"https://www.academia.edu/28885888/Blank_Arcade_2016?f_ri=264788","dom_id":"work_28885888","summary":"In its third iteration, the Blank Arcade exhibit lands in Dundee, Scotland for 2016. \n\nUnderstanding design as research and extending the academic program of the 1st joint conference of the Digital Games Research Association and Foundations of Digital Games Conference, the curators invited submissions of games that explore the edges of play and research. The work in this collection help answer a few key questions in games that are more effectively or more interestingly addressed through the experience of a playful artifact than through the analysis of its subject. Whether digital game or analog play design, these works remind player and audience of the value of the experiential.\n\nThese games ostensibly fill in the blanks of design or ludic experience, offering new game play experiences, highlighting spaces that are relatively uninhabited by other playful experiences or that simply remind players to play differently.\n\nThe exhibt runs from the 3rd of August through Friday the 28th of October at the University of Abertay Dundee's Hannah Maclure Centre in Scotland. ","downloadable_attachments":[{"id":49317627,"asset_id":28885888,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1119486,"first_name":"Lindsay","last_name":"Grace","domain_name":"miami","page_name":"LindsayGrace","display_name":"Lindsay Grace","profile_url":"https://miami.academia.edu/LindsayGrace?f_ri=264788","photo":"https://0.academia-photos.com/1119486/391152/38162447/s65_lindsay.grace.jpg"},{"id":54781383,"first_name":"Emilie","last_name":"Reed","domain_name":"abertay","page_name":"EmilieReed","display_name":"Emilie M Reed","profile_url":"https://abertay.academia.edu/EmilieReed?f_ri=264788","photo":"https://0.academia-photos.com/54781383/14445167/15346338/s65_emilie.reed.jpg"}],"research_interests":[{"id":2892,"name":"Experimental games","url":"https://www.academia.edu/Documents/in/Experimental_games?f_ri=264788","nofollow":false},{"id":5200,"name":"Video Game Design","url":"https://www.academia.edu/Documents/in/Video_Game_Design?f_ri=264788","nofollow":false},{"id":5203,"name":"Video Game Art and Animation","url":"https://www.academia.edu/Documents/in/Video_Game_Art_and_Animation?f_ri=264788","nofollow":false},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":759877,"name":"Vidoe Games","url":"https://www.academia.edu/Documents/in/Vidoe_Games?f_ri=264788"},{"id":1382035,"name":"Experimental Game Design","url":"https://www.academia.edu/Documents/in/Experimental_Game_Design?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9139230" data-work_id="9139230" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9139230/Tex_t_Mex_Seductive_Hallucinations_of_the_Mexican_in_America_2_0_or_Narcissus_Mexicanus_A_Diary_Chronicling_the_Transmogrifying_Metamorphosis_of_a_Mexican_American_s_Neurosis_from_Psyche_to_Book_to_Museum_and_on_to_the_Internet">Tex[t]-Mex, Seductive Hallucinations of the “Mexican” in America, 2.0 or “Narcissus Mexicanus” A Diary Chronicling the Transmogrifying Metamorphosis of a Mexican American’s Neurosis from Psyche to Book to Museum and on to the Internet</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The long, sordid, twisted tale of a book becoming a website becoming a gallery exhibition becoming a TV documentary series #mextasy #textmex #miraclesdohappen For the final version of the essay--the pdf here on academia.edu is a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9139230" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The long, sordid, twisted tale of a book becoming a website becoming a gallery exhibition becoming a TV documentary series #mextasy #textmex #miraclesdohappen<br /><br />For the final version of the essay--the pdf here on academia.edu is a corrected galley--go to Latinos and Narrative Media: Participation and Portrayal, edited by Frederick Aldama:  <a href="http://www.palgrave.com/us/book/9781137366450" rel="nofollow">http://www.palgrave.com/us/book/9781137366450</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9139230" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="46d1857f83979a6ebe2b96eb382ee5f0" rel="nofollow" data-download="{"attachment_id":35427698,"asset_id":9139230,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35427698/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="219352" href="https://sdsu.academia.edu/williamnericcio">William A Nericcio</a><script data-card-contents-for-user="219352" type="text/json">{"id":219352,"first_name":"William","last_name":"Nericcio","domain_name":"sdsu","page_name":"williamnericcio","display_name":"William A Nericcio","profile_url":"https://sdsu.academia.edu/williamnericcio?f_ri=264788","photo":"https://0.academia-photos.com/219352/49767/155183501/s65_william.nericcio.jpeg"}</script></span></span></li><li class="js-paper-rank-work_9139230 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9139230"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9139230]").text(description); $(".js-view-count-work_9139230").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9139230").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9139230"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="297" href="https://www.academia.edu/Documents/in/Chicano_Studies">Chicano Studies</a>, <script data-card-contents-for-ri="297" type="text/json">{"id":297,"name":"Chicano Studies","url":"https://www.academia.edu/Documents/in/Chicano_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="388" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a><script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9139230]'), work: {"id":9139230,"title":"Tex[t]-Mex, Seductive Hallucinations of the “Mexican” in America, 2.0 or “Narcissus Mexicanus” A Diary Chronicling the Transmogrifying Metamorphosis of a Mexican American’s Neurosis from Psyche to Book to Museum and on to the Internet","created_at":"2014-11-05T03:24:26.007-08:00","url":"https://www.academia.edu/9139230/Tex_t_Mex_Seductive_Hallucinations_of_the_Mexican_in_America_2_0_or_Narcissus_Mexicanus_A_Diary_Chronicling_the_Transmogrifying_Metamorphosis_of_a_Mexican_American_s_Neurosis_from_Psyche_to_Book_to_Museum_and_on_to_the_Internet?f_ri=264788","dom_id":"work_9139230","summary":"The long, sordid, twisted tale of a book becoming a website becoming a gallery exhibition becoming a TV documentary series #mextasy #textmex #miraclesdohappen\n\nFor the final version of the essay--the pdf here on academia.edu is a corrected galley--go to Latinos and Narrative Media: Participation and Portrayal, edited by Frederick Aldama: http://www.palgrave.com/us/book/9781137366450","downloadable_attachments":[{"id":35427698,"asset_id":9139230,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":219352,"first_name":"William","last_name":"Nericcio","domain_name":"sdsu","page_name":"williamnericcio","display_name":"William A Nericcio","profile_url":"https://sdsu.academia.edu/williamnericcio?f_ri=264788","photo":"https://0.academia-photos.com/219352/49767/155183501/s65_william.nericcio.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=264788","nofollow":false},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=264788","nofollow":false},{"id":297,"name":"Chicano Studies","url":"https://www.academia.edu/Documents/in/Chicano_Studies?f_ri=264788","nofollow":false},{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=264788","nofollow":false},{"id":2940,"name":"Latina/o Studies","url":"https://www.academia.edu/Documents/in/Latina_o_Studies?f_ri=264788"},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=264788"},{"id":30947,"name":"The Internet","url":"https://www.academia.edu/Documents/in/The_Internet?f_ri=264788"},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36381974" data-work_id="36381974" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36381974/_Confronting_Fashions_Death_Drive_Conservation_Ghost_Labor_and_the_Material_Turn_Within_Fashion_Curation_in_Fashion_Curating_Critical_Practice_in_the_Museum_and_Beyond_ed_by_Annamari_Vanska_and_Hazel_Clark_Bloomsbury_2017_">"Confronting Fashion's Death Drive: Conservation, Ghost Labor, and the Material Turn Within Fashion Curation" in Fashion Curating: Critical Practice in the Museum and Beyond, ed. by Annamari Vanska and Hazel Clark (Bloomsbury, 2017)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This chapter examines the integral role that conservation plays within fashion curation.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36381974" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="aaae5f29b1b0eb75465d6f5d77bf551b" rel="nofollow" data-download="{"attachment_id":56291926,"asset_id":36381974,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56291926/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down 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u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="136" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="751" href="https://www.academia.edu/Documents/in/Labor_Economics">Labor Economics</a><script data-card-contents-for-ri="751" type="text/json">{"id":751,"name":"Labor Economics","url":"https://www.academia.edu/Documents/in/Labor_Economics?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36381974]'), work: {"id":36381974,"title":"\"Confronting Fashion's Death Drive: Conservation, Ghost Labor, and the Material Turn Within Fashion Curation\" in Fashion Curating: Critical Practice in the Museum and Beyond, ed. by Annamari Vanska and Hazel Clark (Bloomsbury, 2017)","created_at":"2018-04-11T00:00:42.871-07:00","url":"https://www.academia.edu/36381974/_Confronting_Fashions_Death_Drive_Conservation_Ghost_Labor_and_the_Material_Turn_Within_Fashion_Curation_in_Fashion_Curating_Critical_Practice_in_the_Museum_and_Beyond_ed_by_Annamari_Vanska_and_Hazel_Clark_Bloomsbury_2017_?f_ri=264788","dom_id":"work_36381974","summary":"This chapter examines the integral role that conservation plays within fashion curation.","downloadable_attachments":[{"id":56291926,"asset_id":36381974,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2398565,"first_name":"Sarah","last_name":"Scaturro","domain_name":"clevelandart","page_name":"SarahScaturro","display_name":"Sarah 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clothing and fashion","url":"https://www.academia.edu/Documents/in/History_of_clothing_and_fashion?f_ri=264788"},{"id":248985,"name":"New Materialisms","url":"https://www.academia.edu/Documents/in/New_Materialisms?f_ri=264788"},{"id":255110,"name":"History Of Texiles, Conservation Of Textiles,Archaeology","url":"https://www.academia.edu/Documents/in/History_Of_Texiles_Conservation_Of_Textiles_Archaeology?f_ri=264788"},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=264788"},{"id":533892,"name":"Material Turn","url":"https://www.academia.edu/Documents/in/Material_Turn?f_ri=264788"},{"id":566757,"name":"Fashion Curating","url":"https://www.academia.edu/Documents/in/Fashion_Curating?f_ri=264788"},{"id":638520,"name":"Fashion","url":"https://www.academia.edu/Documents/in/Fashion?f_ri=264788"},{"id":789075,"name":"History of Clothing","url":"https://www.academia.edu/Documents/in/History_of_Clothing?f_ri=264788"},{"id":1459746,"name":"Fashion Curation","url":"https://www.academia.edu/Documents/in/Fashion_Curation?f_ri=264788"},{"id":1886347,"name":"Fashion conservation","url":"https://www.academia.edu/Documents/in/Fashion_conservation?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_80013400" data-work_id="80013400" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/80013400/%C4%B0MGESEL_DEV%C4%B0N%C4%B0M_IMAGINARY_MOTION_SERG%C4%B0_KATALO%C4%9EU_EXHIBITION_CATALOG_">İMGESEL DEVİNİM / IMAGINARY MOTION (SERGİ KATALOĞU / EXHIBITION CATALOG)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">YILDIZ TECHNICAL UNIVERSITY, HISTORICAL CISTERN, 30 MAY - 11 JUNE, İSTANBUL / TURKEY.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/80013400" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="37c4ffb295f9c97b4c67766ee40a917d" rel="nofollow" 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}); });</script></span><script>$(function() { $(".js-view-count-work_80013400").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="80013400"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8865" href="https://www.academia.edu/Documents/in/History_of_Sculpture">History of Sculpture</a>, <script data-card-contents-for-ri="8865" type="text/json">{"id":8865,"name":"History of Sculpture","url":"https://www.academia.edu/Documents/in/History_of_Sculpture?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13606" href="https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design">Museums and Exhibition Design</a><script data-card-contents-for-ri="13606" type="text/json">{"id":13606,"name":"Museums and Exhibition Design","url":"https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: 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Üniversitesi","url":"https://www.academia.edu/Documents/in/Y%C4%B1ld%C4%B1z_Teknik_%C3%9Cniversitesi?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7888157" data-work_id="7888157" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7888157/The_Arts_Curator_as_Storyteller_and_Curating_as_a_Sophisticated_Communication_Process_the_Curatorial_Communication_Process_CCP_Diagram">The Arts Curator as Storyteller and Curating as a Sophisticated Communication Process: the Curatorial Communication Process (CCP) Diagram</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Every curator is a storyteller. He or she tells big stories-metanarratives-and small stories-micronarratives. Curating is a metanarrative as it embodies a narrative about narrative dealing with the nature, structure and signification of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7888157" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Every curator is a storyteller. He or she tells big stories-metanarratives-and small stories-micronarratives. Curating is a metanarrative as it embodies a narrative about narrative dealing with the nature, structure and signification of curatorial narratives. Every curator selects and orders artworks, and her or his perspective adds to the subjectivity of the narrative. And, as such, the curatorial constructs a text that refers to the generation and accumulation of meaning across texts. <br /> <br />The Curatorial Communication Process (CCP) explains the communication process from idea to spectator.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7888157" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0cbe157f20e72466b54b4853ad68d103" rel="nofollow" data-download="{"attachment_id":34374809,"asset_id":7888157,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34374809/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1063443" href="https://independent.academia.edu/PacoBarrag%C3%A1n">Paco Barragán</a><script data-card-contents-for-user="1063443" type="text/json">{"id":1063443,"first_name":"Paco","last_name":"Barragán","domain_name":"independent","page_name":"PacoBarragán","display_name":"Paco Barragán","profile_url":"https://independent.academia.edu/PacoBarrag%C3%A1n?f_ri=264788","photo":"https://0.academia-photos.com/1063443/884472/150203568/s65_paco.barrag_n.png"}</script></span></span></li><li class="js-paper-rank-work_7888157 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7888157"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7888157, container: ".js-paper-rank-work_7888157", }); 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Green and Christopher Reed, eds., JapanAmerica: Points of Contact, 1876-1976 (Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University, 2016), 66-87.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31061584" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0c20222e4be20c31bb37ee73b44fb853" rel="nofollow" data-download="{"attachment_id":51495777,"asset_id":31061584,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51495777/download_file?st=MTczMzAzMTIzMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="47646" href="https://umcp.academia.edu/AliciaVolk">Alicia Volk</a><script data-card-contents-for-user="47646" type="text/json">{"id":47646,"first_name":"Alicia","last_name":"Volk","domain_name":"umcp","page_name":"AliciaVolk","display_name":"Alicia Volk","profile_url":"https://umcp.academia.edu/AliciaVolk?f_ri=264788","photo":"https://0.academia-photos.com/47646/14810/40569156/s65_alicia.volk.jpg"}</script></span></span></li><li class="js-paper-rank-work_31061584 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31061584"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31061584, container: ".js-paper-rank-work_31061584", }); 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Green and Christopher Reed, eds., JapanAmerica: Points of Contact, 1876-1976 (Ithaca, NY: Herbert F. 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u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Throughout this research, we would like to focus on the Emilio and Annabianca Vedova Foundation in Venice. The Foundation's Museum was opened to the public in 2009 and dedicated exclusively to the work of the Venetian artist. It is... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_59899097" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Throughout this research, we would like to focus on the Emilio and Annabianca Vedova Foundation in Venice. The Foundation's Museum was opened to the public in 2009 and dedicated exclusively to the work of the Venetian artist. It is situated in the suggestive headquarters of the Salt Warehouses, one of which was saved from destruction and used as a studio by Vedova in the last part of his career. The restoration of this medieval space and its new destination as a museum was entrusted by the painter himself to his long-year friend architect Renzo Piano. They knew each other from 1983 when they cooperated to realize the scenography for Luigi Nono's opera Prometeo. The Genoese had already a vast experience of creator and builder of monographic museums at the time of Vedova's commission. He then began to realize an atypical project, where the protagonist is a mechanical device with the task of extracting from a cage-deposit the painter's works and bring them to the visitor's attention along the gallery of the former warehouse.<br /><br />After a short introduction to Emilio Vedova's art, it will be important to discuss his friendship with the architect. This is extremely useful to understand the relationship that Piano had with the artist's legacy and how he transferred his interpretation to the building. Subsequently, I will focus on the device itself, which is not unique in the architect's career. Furtherly, it is possible to find in the project another important characteristic that is common to other Piano's museums: the Treasure House. In conclusion, I will try to find analogies and differences between the Vedova Foundation and the previous monographic museums, trying to outline, if possible, a common approach used by the RPBW to the critical problem of designing a building devoted to a single artistic legacy.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/59899097" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9bcc1efcc9184c65db1255c961b3f887" rel="nofollow" data-download="{"attachment_id":73586573,"asset_id":59899097,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/73586573/download_file?st=MTczMzAzMTIzNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7003907" href="https://sns.academia.edu/WilliamCort%C3%A8sCasarrubios">William Cortès Casarrubios</a><script data-card-contents-for-user="7003907" type="text/json">{"id":7003907,"first_name":"William","last_name":"Cortès Casarrubios","domain_name":"sns","page_name":"WilliamCortèsCasarrubios","display_name":"William Cortès Casarrubios","profile_url":"https://sns.academia.edu/WilliamCort%C3%A8sCasarrubios?f_ri=264788","photo":"https://0.academia-photos.com/7003907/2660022/71958915/s65_william.cort_s_casarrubios.jpeg"}</script></span></span></li><li class="js-paper-rank-work_59899097 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="59899097"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 59899097, container: ".js-paper-rank-work_59899097", }); 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The Foundation's Museum was opened to the public in 2009 and dedicated exclusively to the work of the Venetian artist. It is situated in the suggestive headquarters of the Salt Warehouses, one of which was saved from destruction and used as a studio by Vedova in the last part of his career. The restoration of this medieval space and its new destination as a museum was entrusted by the painter himself to his long-year friend architect Renzo Piano. They knew each other from 1983 when they cooperated to realize the scenography for Luigi Nono's opera Prometeo. The Genoese had already a vast experience of creator and builder of monographic museums at the time of Vedova's commission. He then began to realize an atypical project, where the protagonist is a mechanical device with the task of extracting from a cage-deposit the painter's works and bring them to the visitor's attention along the gallery of the former warehouse.\n\nAfter a short introduction to Emilio Vedova's art, it will be important to discuss his friendship with the architect. This is extremely useful to understand the relationship that Piano had with the artist's legacy and how he transferred his interpretation to the building. Subsequently, I will focus on the device itself, which is not unique in the architect's career. Furtherly, it is possible to find in the project another important characteristic that is common to other Piano's museums: the Treasure House. 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Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34787340" data-work_id="34787340" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34787340/%E7%AD%96%E5%B1%95%E4%BA%BA%E5%B7%A5%E4%BD%9C%E6%8C%87%E5%8D%97_The_Curators_Handbook">策展人工作指南 / The Curator's Handbook</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">從展覽最初的構思、協調、布展到完成，本書回答了所有你能想像到的問題，也提出你意想不到可能會發生的問題！「策展是20%的天賦與想像力加上80%的行政、協作與管理。你必須能夠前瞻思考、面面俱到。缺少那20%，你或許只是無法創造出成功的展覽，但若缺乏管理一檔展覽所涉及的事務的能力，將會毀掉一個很棒的想法。」──倫敦泰特美術館館長　塞洛塔 Nicholas Serota... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34787340" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">從展覽最初的構思、協調、布展到完成，本書回答了所有你能想像到的問題，也提出你意想不到可能會發生的問題！ <br /> <br />「策展是20%的天賦與想像力加上80%的行政、協作與管理。你必須能夠前瞻思考、面面俱到。缺少那20%，你或許只是無法創造出成功的展覽，但若缺乏管理一檔展覽所涉及的事務的能力，將會毀掉一個很棒的想法。」──倫敦泰特美術館館長　塞洛塔 Nicholas Serota <br /> <br />策展實踐的可能性不斷擴張，不只是因為美術館部門蓬勃發展，也因為策展人持續在意想不到的地方創造新契機。但絕妙的想像力，也得有實踐它的能力及專業，才能創造成功的展覽。本書就是從根本開始，幫助策展人和學習策展的學生，建構自身策展資訊、知識、能力的實用工具書。 <br /> <br />本書從追溯策展歷史與策展人角色開始，並概述今日策展人的多重角色：包括保管者、解說者、教育者、協助者，以及籌辦者。再以資訊豐富的十二個章節標示出展覽製作過程的各個階段必備的完整知識：從最初的發想，到擬定相關合約與借件請求書、整合預算及展覽時程表、製作展覽畫冊和解說資料、展場空間設計、與藝術家與借展單位及展品運送人員合作、籌備預展，以及記錄並評估展覽。 <br /> <br />此外，書內亦特別以單頁設計、重點呈現了許多國際知名的博物館館長與策展人給予讀者如何在現今變動劇烈的藝術現場中工作的各方面資訊與建議。對於想要好好整理規劃自己的展覽事業、苦幹實幹的做一個真正的策展人的讀者來說，本書勢必可以提供關於策展最全面及完整的知識及訊息。 <br /> <br />本系列套書還有《如何書寫當代藝術》吉塔．威廉斯著、《藝術創作委託指南：一本給策展人、藏家和藝術家的教戰手冊》露薏莎．巴克、丹尼爾‧麥克林著。相關推薦著作《策展簡史》，漢斯．烏爾里希．奧布里斯特著、《台灣當代藝術策展二十年》，呂佩怡主編。 <br /> <br />作者介紹： <br />亞德里安．喬治 Adrian George <br /> <br />英國政府藝術典藏（U.K. Government Art Collection）副總監暨資深策展人。他帶領其策展團隊，提供教育與解說服務，並負責從公共計畫到專家藝術活動的相關出版事宜。他自己也針對當代藝術策展和當代藝術作品委託製作等主題至各處演講。他委託製作的特定場域作品遍及比利時、菲律賓、卡達、西班牙、英國，以及葉門等國；也在香港、都柏林、倫敦、馬其頓首都史高比耶、紐約以及台北等地策劃過展覽。此外，他也曾在泰特利物浦美術館、泰特現代美術館，以及紐約新當代藝術博物館擔任策展人。</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34787340" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="95253" href="https://fu-berlin.academia.edu/ShengChihWang">Sheng-Chih Wang</a><script data-card-contents-for-user="95253" type="text/json">{"id":95253,"first_name":"Sheng-Chih","last_name":"Wang","domain_name":"fu-berlin","page_name":"ShengChihWang","display_name":"Sheng-Chih Wang","profile_url":"https://fu-berlin.academia.edu/ShengChihWang?f_ri=264788","photo":"https://0.academia-photos.com/95253/26378/79157483/s65_sheng-chih.wang.jpg"}</script></span></span></li><li class="js-paper-rank-work_34787340 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34787340"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34787340, 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34787340]").text(description); $(".js-view-count-work_34787340").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34787340").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34787340"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="19161" href="https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice">Curatorial Studies and Practice</a>, <script data-card-contents-for-ri="19161" type="text/json">{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="22832" href="https://www.academia.edu/Documents/in/Curatorial_Practice_Art_">Curatorial Practice (Art)</a>, <script data-card-contents-for-ri="22832" type="text/json">{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="264788" href="https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies">Art History, Exhibition History, Museum and Curating Studies</a>, <script data-card-contents-for-ri="264788" type="text/json">{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1035820" href="https://www.academia.edu/Documents/in/Museums_and_Curating">Museums and Curating</a><script data-card-contents-for-ri="1035820" type="text/json">{"id":1035820,"name":"Museums and Curating","url":"https://www.academia.edu/Documents/in/Museums_and_Curating?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34787340]'), work: {"id":34787340,"title":"策展人工作指南 / The Curator's Handbook","created_at":"2017-10-06T21:07:24.449-07:00","url":"https://www.academia.edu/34787340/%E7%AD%96%E5%B1%95%E4%BA%BA%E5%B7%A5%E4%BD%9C%E6%8C%87%E5%8D%97_The_Curators_Handbook?f_ri=264788","dom_id":"work_34787340","summary":"從展覽最初的構思、協調、布展到完成，本書回答了所有你能想像到的問題，也提出你意想不到可能會發生的問題！ \r\n\r\n「策展是20%的天賦與想像力加上80%的行政、協作與管理。你必須能夠前瞻思考、面面俱到。缺少那20%，你或許只是無法創造出成功的展覽，但若缺乏管理一檔展覽所涉及的事務的能力，將會毀掉一個很棒的想法。」──倫敦泰特美術館館長　塞洛塔 Nicholas Serota \r\n\r\n策展實踐的可能性不斷擴張，不只是因為美術館部門蓬勃發展，也因為策展人持續在意想不到的地方創造新契機。但絕妙的想像力，也得有實踐它的能力及專業，才能創造成功的展覽。本書就是從根本開始，幫助策展人和學習策展的學生，建構自身策展資訊、知識、能力的實用工具書。 \r\n\r\n本書從追溯策展歷史與策展人角色開始，並概述今日策展人的多重角色：包括保管者、解說者、教育者、協助者，以及籌辦者。再以資訊豐富的十二個章節標示出展覽製作過程的各個階段必備的完整知識：從最初的發想，到擬定相關合約與借件請求書、整合預算及展覽時程表、製作展覽畫冊和解說資料、展場空間設計、與藝術家與借展單位及展品運送人員合作、籌備預展，以及記錄並評估展覽。 \r\n\r\n此外，書內亦特別以單頁設計、重點呈現了許多國際知名的博物館館長與策展人給予讀者如何在現今變動劇烈的藝術現場中工作的各方面資訊與建議。對於想要好好整理規劃自己的展覽事業、苦幹實幹的做一個真正的策展人的讀者來說，本書勢必可以提供關於策展最全面及完整的知識及訊息。 \r\n\r\n本系列套書還有《如何書寫當代藝術》吉塔．威廉斯著、《藝術創作委託指南：一本給策展人、藏家和藝術家的教戰手冊》露薏莎．巴克、丹尼爾‧麥克林著。相關推薦著作《策展簡史》，漢斯．烏爾里希．奧布里斯特著、《台灣當代藝術策展二十年》，呂佩怡主編。\r\n\r\n作者介紹：\r\n亞德里安．喬治 Adrian George\r\n\r\n英國政府藝術典藏（U.K. Government Art Collection）副總監暨資深策展人。他帶領其策展團隊，提供教育與解說服務，並負責從公共計畫到專家藝術活動的相關出版事宜。他自己也針對當代藝術策展和當代藝術作品委託製作等主題至各處演講。他委託製作的特定場域作品遍及比利時、菲律賓、卡達、西班牙、英國，以及葉門等國；也在香港、都柏林、倫敦、馬其頓首都史高比耶、紐約以及台北等地策劃過展覽。此外，他也曾在泰特利物浦美術館、泰特現代美術館，以及紐約新當代藝術博物館擔任策展人。","downloadable_attachments":[],"ordered_authors":[{"id":95253,"first_name":"Sheng-Chih","last_name":"Wang","domain_name":"fu-berlin","page_name":"ShengChihWang","display_name":"Sheng-Chih Wang","profile_url":"https://fu-berlin.academia.edu/ShengChihWang?f_ri=264788","photo":"https://0.academia-photos.com/95253/26378/79157483/s65_sheng-chih.wang.jpg"}],"research_interests":[{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=264788","nofollow":false},{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating 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class="summarized">Las crónicas de los viajes reales de Isabel II y Alfonso XII en tren por Extremadura y por Portugal nos han permitido observar la trascendencia de la modernización de los sistemas de transporte en las relaciones económicas, culturales, y... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10832447" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Las crónicas de los viajes reales de Isabel II y Alfonso XII en tren por Extremadura y por Portugal nos han permitido observar la trascendencia de la modernización de los sistemas de transporte en las relaciones económicas, culturales, y políticas entre España y Portugal. En esos años tuvo un gran auge el movimiento iberista. El contenido de los ensayos no era objetivo, y en muchos casos se priorizó la exaltación de la figura del monarca y de los valores patrios. Una de las principales aportaciones ha sido el análisis de la visión de Rada y Delgado de la Exposición de Arte Ornamental Retrospectiva de Lisboa (1882) y en particular de las piezas expuestas: el tesoro de Guarrazar, y el tríptico gótico de la Natividad de Guimarães. Un análisis detenido de las coronas y vestigios de Guarrazar nos ha permitido dar a conocer los primeros planteamientos historiográficos sobre su origen y sus características. Arte e identidad fueron parejos en los escritos de historia del arte. Por último, aunque las crónicas no lo llegasen a analizar hemos comentado las polémicas generadas entre Badajoz y Cáceres por el trazado de la vía internacional a Portugal, las obras de ingeniería, y la composición del tren real. <br /> <br />Isabel II’s and Alfonso XII’s chronicles of the royal travels by train in Extremadura and Portugal are indicative of the key role played by the modernization of transport systems in economic, cultural, and political relations between Spain and Portugal. Royal travels take place in the heyday of Iberianism. Chronicles are not objective, and the exaltation of monarchical and patriotic values is usually prioritized. One of the main contributions of our study lies in the analysis of the views of Rada y Delgado on the Ornamental Retrospective Art Exhibition of Lisbon (1882), especially regarding the treasure of Guarrazar and the Gothic triptych of the Nativity of Guimarães. A careful analysis of the treasure of Guarrazar enables us to provide a first historiographical approach to its origin and characteristics. Art and identity were evenly matched in the writings of Art History. Finally, we discuss a number of aspects not included in the chronicles, such as the controversy between Cáceres and Badajoz on the route of the international train, the engineering works and the composition of the royal train.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10832447" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6000294c8ae6095595cd9b102e6d0a17" rel="nofollow" data-download="{"attachment_id":36653296,"asset_id":10832447,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36653296/download_file?st=MTczMzAzMTIzNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4106783" href="https://unex.academia.edu/ElenadeOrtueta">Elena de Ortueta</a><script data-card-contents-for-user="4106783" type="text/json">{"id":4106783,"first_name":"Elena","last_name":"de Ortueta","domain_name":"unex","page_name":"ElenadeOrtueta","display_name":"Elena de Ortueta","profile_url":"https://unex.academia.edu/ElenadeOrtueta?f_ri=264788","photo":"https://0.academia-photos.com/4106783/51355348/39424198/s65_elena.de_ortueta.jpg"}</script></span></span></li><li class="js-paper-rank-work_10832447 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10832447"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10832447, container: ".js-paper-rank-work_10832447", }); 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$(".js-view-count[data-work-id=10832447]").text(description); $(".js-view-count-work_10832447").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10832447").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10832447"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2132" href="https://www.academia.edu/Documents/in/Cultural_Heritage">Cultural Heritage</a>, <script data-card-contents-for-ri="2132" type="text/json">{"id":2132,"name":"Cultural Heritage","url":"https://www.academia.edu/Documents/in/Cultural_Heritage?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7655" href="https://www.academia.edu/Documents/in/Architectural_History">Architectural History</a>, <script data-card-contents-for-ri="7655" type="text/json">{"id":7655,"name":"Architectural History","url":"https://www.academia.edu/Documents/in/Architectural_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13776" href="https://www.academia.edu/Documents/in/Bridge_Engineering">Bridge Engineering</a><script data-card-contents-for-ri="13776" type="text/json">{"id":13776,"name":"Bridge Engineering","url":"https://www.academia.edu/Documents/in/Bridge_Engineering?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10832447]'), work: {"id":10832447,"title":"Viajes reales: propaganda, identidad, arte y progreso de los medios de locomoción","created_at":"2015-02-16T03:12:48.198-08:00","url":"https://www.academia.edu/10832447/Viajes_reales_propaganda_identidad_arte_y_progreso_de_los_medios_de_locomoci%C3%B3n?f_ri=264788","dom_id":"work_10832447","summary":"Las crónicas de los viajes reales de Isabel II y Alfonso XII en tren por Extremadura y por Portugal nos han permitido observar la trascendencia de la modernización de los sistemas de transporte en las relaciones económicas, culturales, y políticas entre España y Portugal. En esos años tuvo un gran auge el movimiento iberista. El contenido de los ensayos no era objetivo, y en muchos casos se priorizó la exaltación de la figura del monarca y de los valores patrios. Una de las principales aportaciones ha sido el análisis de la visión de Rada y Delgado de la Exposición de Arte Ornamental Retrospectiva de Lisboa (1882) y en particular de las piezas expuestas: el tesoro de Guarrazar, y el tríptico gótico de la Natividad de Guimarães. Un análisis detenido de las coronas y vestigios de Guarrazar nos ha permitido dar a conocer los primeros planteamientos historiográficos sobre su origen y sus características. Arte e identidad fueron parejos en los escritos de historia del arte. Por último, aunque las crónicas no lo llegasen a analizar hemos comentado las polémicas generadas entre Badajoz y Cáceres por el trazado de la vía internacional a Portugal, las obras de ingeniería, y la composición del tren real.\r\n\r\nIsabel II’s and Alfonso XII’s chronicles of the royal travels by train in Extremadura and Portugal are indicative of the key role played by the modernization of transport systems in economic, cultural, and political relations between Spain and Portugal. Royal travels take place in the heyday of Iberianism. Chronicles are not objective, and the exaltation of monarchical and patriotic values is usually prioritized. One of the main contributions of our study lies in the analysis of the views of Rada y Delgado on the Ornamental Retrospective Art Exhibition of Lisbon (1882), especially regarding the treasure of Guarrazar and the Gothic triptych of the Nativity of Guimarães. A careful analysis of the treasure of Guarrazar enables us to provide a first historiographical approach to its origin and characteristics. Art and identity were evenly matched in the writings of Art History. Finally, we discuss a number of aspects not included in the chronicles, such as the controversy between Cáceres and Badajoz on the route of the international train, the engineering works and the composition of the royal train.","downloadable_attachments":[{"id":36653296,"asset_id":10832447,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4106783,"first_name":"Elena","last_name":"de Ortueta","domain_name":"unex","page_name":"ElenadeOrtueta","display_name":"Elena de Ortueta","profile_url":"https://unex.academia.edu/ElenadeOrtueta?f_ri=264788","photo":"https://0.academia-photos.com/4106783/51355348/39424198/s65_elena.de_ortueta.jpg"}],"research_interests":[{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=264788","nofollow":false},{"id":2132,"name":"Cultural Heritage","url":"https://www.academia.edu/Documents/in/Cultural_Heritage?f_ri=264788","nofollow":false},{"id":7655,"name":"Architectural History","url":"https://www.academia.edu/Documents/in/Architectural_History?f_ri=264788","nofollow":false},{"id":13776,"name":"Bridge Engineering","url":"https://www.academia.edu/Documents/in/Bridge_Engineering?f_ri=264788","nofollow":false},{"id":25721,"name":"Railway and Transportation History","url":"https://www.academia.edu/Documents/in/Railway_and_Transportation_History?f_ri=264788"},{"id":250631,"name":"Bridges","url":"https://www.academia.edu/Documents/in/Bridges?f_ri=264788"},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":555889,"name":"History of Art Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Art_Exhibitions?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11999020 coauthored" data-work_id="11999020" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11999020/William_Morris_Ministering_to_the_Swinish_Luxuary_of_the_Rich_">William Morris ‘Ministering to the Swinish Luxuary of the Rich’</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Catalogue for Whitworth Art Gallery exhibtion William Morris ‘Ministering to the Swinish Luxuary of the Rich’ curated by David Mabb. Includes The Colonisation of Utopia by Steve Edwards; William Morris: 'Ministering to the Swinish Luxuary... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11999020" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Catalogue for Whitworth Art Gallery exhibtion William Morris ‘Ministering to the Swinish Luxuary of the Rich’ curated by David Mabb. Includes The Colonisation of Utopia by Steve Edwards; William Morris: 'Ministering to the Swinish Luxuary of the Rich' by David Mabb and Four Walls: Morris and Ornament by Caroline Arscott. <br />Reviewed by Dave Beech <a href="https://www.academia.edu/11050597/As_It_Might_Be" rel="nofollow">https://www.academia.edu/11050597/As_It_Might_Be</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11999020" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c6096172112e803a8d60e75a77e5a8f3" rel="nofollow" data-download="{"attachment_id":38919603,"asset_id":11999020,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38919603/download_file?st=MTczMzAzMTIzNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26917343" href="https://goldsmiths.academia.edu/DavidMabb">David Mabb</a><script data-card-contents-for-user="26917343" type="text/json">{"id":26917343,"first_name":"David","last_name":"Mabb","domain_name":"goldsmiths","page_name":"DavidMabb","display_name":"David Mabb","profile_url":"https://goldsmiths.academia.edu/DavidMabb?f_ri=264788","photo":"https://0.academia-photos.com/26917343/7536387/8463249/s65_david.mabb.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-11999020">+2</span><div class="hidden js-additional-users-11999020"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://courtauld.academia.edu/CarolineArscott">Caroline Arscott</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://birkbeck.academia.edu/SteveEdwards">Steve Edwards</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-11999020'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-11999020').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11999020 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11999020"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11999020; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11999020]").text(description); $(".js-view-count-work_11999020").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11999020").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11999020"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">50</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="988" href="https://www.academia.edu/Documents/in/Design">Design</a>, <script data-card-contents-for-ri="988" type="text/json">{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a><script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11999020]'), work: {"id":11999020,"title":"William Morris ‘Ministering to the Swinish Luxuary of the Rich’","created_at":"2015-04-18T04:53:54.622-07:00","url":"https://www.academia.edu/11999020/William_Morris_Ministering_to_the_Swinish_Luxuary_of_the_Rich_?f_ri=264788","dom_id":"work_11999020","summary":"Catalogue for Whitworth Art Gallery exhibtion William Morris ‘Ministering to the Swinish Luxuary of the Rich’ curated by David Mabb. Includes The Colonisation of Utopia by Steve Edwards; William Morris: 'Ministering to the Swinish Luxuary of the Rich' by David Mabb and Four Walls: Morris and Ornament by Caroline Arscott.\r\nReviewed by Dave Beech https://www.academia.edu/11050597/As_It_Might_Be","downloadable_attachments":[{"id":38919603,"asset_id":11999020,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26917343,"first_name":"David","last_name":"Mabb","domain_name":"goldsmiths","page_name":"DavidMabb","display_name":"David Mabb","profile_url":"https://goldsmiths.academia.edu/DavidMabb?f_ri=264788","photo":"https://0.academia-photos.com/26917343/7536387/8463249/s65_david.mabb.jpg"},{"id":8531786,"first_name":"Caroline","last_name":"Arscott","domain_name":"courtauld","page_name":"CarolineArscott","display_name":"Caroline Arscott","profile_url":"https://courtauld.academia.edu/CarolineArscott?f_ri=264788","photo":"https://0.academia-photos.com/8531786/11330682/12640218/s65_caroline.arscott.jpg_oh_225455b0ea75d178d075cb573830843d_oe_574190ef"},{"id":5017785,"first_name":"Steve","last_name":"Edwards","domain_name":"birkbeck","page_name":"SteveEdwards","display_name":"Steve Edwards","profile_url":"https://birkbeck.academia.edu/SteveEdwards?f_ri=264788","photo":"https://0.academia-photos.com/5017785/10415574/31167767/s65_steve.edwards.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=264788","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=264788","nofollow":false},{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=264788","nofollow":false},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=264788","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=264788"},{"id":1632,"name":"Design History","url":"https://www.academia.edu/Documents/in/Design_History?f_ri=264788"},{"id":1698,"name":"Marxism","url":"https://www.academia.edu/Documents/in/Marxism?f_ri=264788"},{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=264788"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=264788"},{"id":5553,"name":"Interior Design","url":"https://www.academia.edu/Documents/in/Interior_Design?f_ri=264788"},{"id":8355,"name":"Design History and 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}) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_52207782" data-work_id="52207782" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/52207782/Performativitetsteoretiska_tolkningar_av_Tadeusz_Kantors_konstn%C3%A4rskap_Appearances_Performative_Interpretations_of_the_Art_of_Tadeusz_Kantor">Performativitetsteoretiska tolkningar av Tadeusz Kantors konstnärskap / Appearances. Performative Interpretations of the Art of Tadeusz Kantor</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The subject of this dissertation is the art of the Polish theatre director, set designer, and visual artist Tadeusz Kantor (1915–1990) and its inherent width of artistic expressions. The aim is to contribute with new interpreta- tions... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_52207782" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The subject of this dissertation is the art of the Polish theatre director, set designer, and visual artist Tadeusz Kantor (1915–1990) and its inherent width of artistic expressions. The aim is to contribute with new interpreta- tions that add to previous research that primarily has studied the body of work from the perspectives of the artist’s intention and biography, and divided his artistic work between visual art and theatre. This dominating perspective has also been informed by the artist himself as he invented his own periodisation and explanatory expressions, tying the artworks and theatre productions to his personal experiences of Polish political and cultural history.<br /><br />By using perspectives from theories of performativity, the starting-point for the present study is that artworks interplay with a presumed spectator, contribute to the interpretation, and continue to produce new meaning beyond the original context. The study sets out to answer how the interaction between artwork and spectator can be understood, and what effects the art- works have on each other, when being analysed together, mediated by public presentations. In three chapters, two exhibitions, one anthology, and a group of artworks from the respective presentations, are being analysed.<br /><br />The first analysis explores the solo exhibition Tadeusz Kantor: Ein Reisender – seine Texte und Manifeste, published by Verlag für moderne Kunst & Institut für moderne Kunst, 1988, and a selection of the texts and reproduced draw- ings are analysed. In this chapter issues related to verbal and visual expres- sions are being discussed in relation to the motif of the book, that is identified as the literary narrator. In the last analysis, the retrospective exhibition Tadeusz Kantor at Migros Museum für Gegenwartskunst in Zürich, 2008, with artworks in the mediums of sculpture, film, painting, and photography are explored. The chapter deals with issues related to spatial, material, and temporal aspects, connecting to a theoretical discussion on the live event of performance and theatre and their subsequent reproductions. Tadeusz Kantor, emballage at Kulturhuset in Stockholm, 1975–76, together with seven artworks in the mediums of sculpture, assemblage, collage, and text. Questions regarding representation, materiality, and conceptual modes are discussed in relation<br />to a presumed spectator. In the following analysis, the anthology<br />The concluding discussion brings up three recurring features of the artworks highlighted in the analysis. Firstly, how artworks by Kantor that are materially elaborated or intermedial combinations communicate in a dual manner where the spectator is made to respond to seemingly different expressive modes. Secondly, the analysis further shows that this way of addressing a spectator leads to reflexivity, as the duality makes the spectator aware of the modes of communication as such. Lastly, how artworks by Kantor address the spectator by means of a multitude of materials to create a strong sense of the here-and-now. These features add to and give nuance to previous research that interpreted literary and thematic motifs visually.<br /><br />In conclusion, the dissertation demonstrates how questions of media and materiality can deepen the way we understand the oeuvre of an artist that actively shaped the reception of his work with contextual references and themes. The chosen perspective and method take the artworks in a relatively unexplored direction, showing how public appearances can be considered as events of becoming.<br /><br />Keywords: Tadeusz Kantor, performative meaning, mediality as material, sensorial and spatiotemporal affects, intermediality, art exhibition, W. J. T. Mitchell, Mieke Bal, Kulturhuset in Stockholm, Verlag für Moderne Kunst Nürnberg, Migros Museum für Gegenwartskunst in Zürich.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/52207782" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a02175ff06d500c5edc3e74d60c04611" rel="nofollow" data-download="{"attachment_id":69579565,"asset_id":52207782,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/69579565/download_file?st=MTczMzAzMTIzNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11956246" href="https://sh.academia.edu/CamillaLarsson">Camilla Larsson</a><script data-card-contents-for-user="11956246" type="text/json">{"id":11956246,"first_name":"Camilla","last_name":"Larsson","domain_name":"sh","page_name":"CamillaLarsson","display_name":"Camilla Larsson","profile_url":"https://sh.academia.edu/CamillaLarsson?f_ri=264788","photo":"https://0.academia-photos.com/11956246/3434506/58490248/s65_camilla.larsson.jpg"}</script></span></span></li><li class="js-paper-rank-work_52207782 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="52207782"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 52207782, container: ".js-paper-rank-work_52207782", }); 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$(".js-view-count[data-work-id=52207782]").text(description); $(".js-view-count-work_52207782").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_52207782").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="52207782"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3242" href="https://www.academia.edu/Documents/in/Intermediality">Intermediality</a>, <script data-card-contents-for-ri="3242" type="text/json">{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6013" href="https://www.academia.edu/Documents/in/Performativity">Performativity</a>, <script data-card-contents-for-ri="6013" type="text/json">{"id":6013,"name":"Performativity","url":"https://www.academia.edu/Documents/in/Performativity?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="66588" href="https://www.academia.edu/Documents/in/Mieke_Bal">Mieke Bal</a>, <script data-card-contents-for-ri="66588" type="text/json">{"id":66588,"name":"Mieke Bal","url":"https://www.academia.edu/Documents/in/Mieke_Bal?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="171987" href="https://www.academia.edu/Documents/in/Tadeusz_Kantor">Tadeusz Kantor</a><script data-card-contents-for-ri="171987" type="text/json">{"id":171987,"name":"Tadeusz Kantor","url":"https://www.academia.edu/Documents/in/Tadeusz_Kantor?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=52207782]'), work: {"id":52207782,"title":"Performativitetsteoretiska tolkningar av Tadeusz Kantors konstnärskap / Appearances. 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This dominating perspective has also been informed by the artist himself as he invented his own periodisation and explanatory expressions, tying the artworks and theatre productions to his personal experiences of Polish political and cultural history.\n\nBy using perspectives from theories of performativity, the starting-point for the present study is that artworks interplay with a presumed spectator, contribute to the interpretation, and continue to produce new meaning beyond the original context. The study sets out to answer how the interaction between artwork and spectator can be understood, and what effects the art- works have on each other, when being analysed together, mediated by public presentations. In three chapters, two exhibitions, one anthology, and a group of artworks from the respective presentations, are being analysed.\n\nThe first analysis explores the solo exhibition Tadeusz Kantor: Ein Reisender – seine Texte und Manifeste, published by Verlag für moderne Kunst \u0026 Institut für moderne Kunst, 1988, and a selection of the texts and reproduced draw- ings are analysed. In this chapter issues related to verbal and visual expres- sions are being discussed in relation to the motif of the book, that is identified as the literary narrator. In the last analysis, the retrospective exhibition Tadeusz Kantor at Migros Museum für Gegenwartskunst in Zürich, 2008, with artworks in the mediums of sculpture, film, painting, and photography are explored. The chapter deals with issues related to spatial, material, and temporal aspects, connecting to a theoretical discussion on the live event of performance and theatre and their subsequent reproductions. Tadeusz Kantor, emballage at Kulturhuset in Stockholm, 1975–76, together with seven artworks in the mediums of sculpture, assemblage, collage, and text. Questions regarding representation, materiality, and conceptual modes are discussed in relation\nto a presumed spectator. In the following analysis, the anthology\nThe concluding discussion brings up three recurring features of the artworks highlighted in the analysis. Firstly, how artworks by Kantor that are materially elaborated or intermedial combinations communicate in a dual manner where the spectator is made to respond to seemingly different expressive modes. Secondly, the analysis further shows that this way of addressing a spectator leads to reflexivity, as the duality makes the spectator aware of the modes of communication as such. Lastly, how artworks by Kantor address the spectator by means of a multitude of materials to create a strong sense of the here-and-now. These features add to and give nuance to previous research that interpreted literary and thematic motifs visually.\n\nIn conclusion, the dissertation demonstrates how questions of media and materiality can deepen the way we understand the oeuvre of an artist that actively shaped the reception of his work with contextual references and themes. The chosen perspective and method take the artworks in a relatively unexplored direction, showing how public appearances can be considered as events of becoming.\n\nKeywords: Tadeusz Kantor, performative meaning, mediality as material, sensorial and spatiotemporal affects, intermediality, art exhibition, W. J. T. 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J. T. Mitchell","url":"https://www.academia.edu/Documents/in/W._J._T._Mitchell?f_ri=264788"},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":289535,"name":"Mediality","url":"https://www.academia.edu/Documents/in/Mediality?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40633251" data-work_id="40633251" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40633251/Engagement_with_Interactive_Museum_Collections_The_Rise_and_Development_of_Interactive_Museum_Exhibitions_in_Thailand_2000_2019_Journal_paper_">Engagement with Interactive Museum Collections: The Rise and Development of Interactive Museum Exhibitions in Thailand (2000 -2019) (Journal paper)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper aims to examine the museum evolution in Thailand, with a focus on interactive museum and exhibition development in Bangkok from 2000 to 2019. In the past two decades, Thailand has become one of the key players of cultural... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40633251" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper aims to examine the museum evolution in Thailand, with a focus on interactive museum and exhibition development in Bangkok from 2000 to 2019. In the past two decades, Thailand has become one of the key players of cultural industries in the Southeast Asian region. Strategically, attention to the steady development of the nation's cultural economy has been built on the stable growth of cultural heritage tourism. Museum as an art and cultural institution that falls under the category of tangible cultural resources is therefore seen as an important cultural asset that able to boost the cultural economy. Meanwhile, with the arrival of digital media and technology, interactive museum and exhibition have become a trend of museum development in Thailand. For instance, museums that opened after 2000, such as Thailand Creative are new museums that employed interactive exhibitions as a way to communicate and engage audiences. As interaction design of interactive installations is now seen as an important factor and global trend in museum practices around the world. As the aforementioned this paper will provide insights into an understanding of the expansion of interactive museum exhibitions in Southeast Asia, particularly on interactive museums and exhibitions development in Thailand since the new millennium. <br /><br />Keywords: Interactive museum / Interactive exhibitions / Interactive visitor experiences / Museums in Thailand / Creative industry</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40633251" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bed84d6a2f520615a85439d01c400114" rel="nofollow" data-download="{"attachment_id":61621426,"asset_id":40633251,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61621426/download_file?st=MTczMzAzMTIzNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="37436325" href="https://chula.academia.edu/ShawHongSER">ShawHong SER</a><script data-card-contents-for-user="37436325" type="text/json">{"id":37436325,"first_name":"ShawHong","last_name":"SER","domain_name":"chula","page_name":"ShawHongSER","display_name":"ShawHong SER","profile_url":"https://chula.academia.edu/ShawHongSER?f_ri=264788","photo":"https://0.academia-photos.com/37436325/10587978/33151942/s65_shawhong.ser.jpg"}</script></span></span></li><li class="js-paper-rank-work_40633251 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40633251"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40633251, container: ".js-paper-rank-work_40633251", }); });</script></li><li class="js-percentile-work_40633251 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40633251; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40633251"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40633251 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40633251"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40633251; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40633251]").text(description); $(".js-view-count-work_40633251").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40633251").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40633251"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1657" href="https://www.academia.edu/Documents/in/Museum_Studies">Museum Studies</a>, <script data-card-contents-for-ri="1657" type="text/json">{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8246" href="https://www.academia.edu/Documents/in/Interactive_Narrative">Interactive Narrative</a>, <script data-card-contents-for-ri="8246" type="text/json">{"id":8246,"name":"Interactive Narrative","url":"https://www.academia.edu/Documents/in/Interactive_Narrative?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13606" href="https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design">Museums and Exhibition Design</a>, <script data-card-contents-for-ri="13606" type="text/json">{"id":13606,"name":"Museums and Exhibition Design","url":"https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="42181" href="https://www.academia.edu/Documents/in/New_Museology">New Museology</a><script data-card-contents-for-ri="42181" type="text/json">{"id":42181,"name":"New Museology","url":"https://www.academia.edu/Documents/in/New_Museology?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40633251]'), work: {"id":40633251,"title":"Engagement with Interactive Museum Collections: The Rise and Development of Interactive Museum Exhibitions in Thailand (2000 -2019) (Journal paper)","created_at":"2019-10-15T20:27:39.301-07:00","url":"https://www.academia.edu/40633251/Engagement_with_Interactive_Museum_Collections_The_Rise_and_Development_of_Interactive_Museum_Exhibitions_in_Thailand_2000_2019_Journal_paper_?f_ri=264788","dom_id":"work_40633251","summary":"This paper aims to examine the museum evolution in Thailand, with a focus on interactive museum and exhibition development in Bangkok from 2000 to 2019. In the past two decades, Thailand has become one of the key players of cultural industries in the Southeast Asian region. Strategically, attention to the steady development of the nation's cultural economy has been built on the stable growth of cultural heritage tourism. Museum as an art and cultural institution that falls under the category of tangible cultural resources is therefore seen as an important cultural asset that able to boost the cultural economy. Meanwhile, with the arrival of digital media and technology, interactive museum and exhibition have become a trend of museum development in Thailand. For instance, museums that opened after 2000, such as Thailand Creative are new museums that employed interactive exhibitions as a way to communicate and engage audiences. As interaction design of interactive installations is now seen as an important factor and global trend in museum practices around the world. As the aforementioned this paper will provide insights into an understanding of the expansion of interactive museum exhibitions in Southeast Asia, particularly on interactive museums and exhibitions development in Thailand since the new millennium. \n\nKeywords: Interactive museum / Interactive exhibitions / Interactive visitor experiences / Museums in Thailand / Creative industry ","downloadable_attachments":[{"id":61621426,"asset_id":40633251,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":37436325,"first_name":"ShawHong","last_name":"SER","domain_name":"chula","page_name":"ShawHongSER","display_name":"ShawHong SER","profile_url":"https://chula.academia.edu/ShawHongSER?f_ri=264788","photo":"https://0.academia-photos.com/37436325/10587978/33151942/s65_shawhong.ser.jpg"}],"research_interests":[{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=264788","nofollow":false},{"id":8246,"name":"Interactive Narrative","url":"https://www.academia.edu/Documents/in/Interactive_Narrative?f_ri=264788","nofollow":false},{"id":13606,"name":"Museums and Exhibition Design","url":"https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design?f_ri=264788","nofollow":false},{"id":42181,"name":"New Museology","url":"https://www.academia.edu/Documents/in/New_Museology?f_ri=264788","nofollow":false},{"id":78350,"name":"Museum and Heritage Studies","url":"https://www.academia.edu/Documents/in/Museum_and_Heritage_Studies?f_ri=264788"},{"id":88164,"name":"Exhibition Culture","url":"https://www.academia.edu/Documents/in/Exhibition_Culture?f_ri=264788"},{"id":226095,"name":"History of Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Exhibitions?f_ri=264788"},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":264860,"name":"Museum Studies and Cultural management","url":"https://www.academia.edu/Documents/in/Museum_Studies_and_Cultural_management?f_ri=264788"},{"id":378962,"name":"Management of Museums","url":"https://www.academia.edu/Documents/in/Management_of_Museums?f_ri=264788"},{"id":577176,"name":"Museography and Museology","url":"https://www.academia.edu/Documents/in/Museography_and_Museology?f_ri=264788"},{"id":2639612,"name":"Interactive Exhibitions","url":"https://www.academia.edu/Documents/in/Interactive_Exhibitions?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_21455101" data-work_id="21455101" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/21455101/Blurred_Lines_Artists_and_Curators">Blurred Lines? Artists and Curators</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Do Artists Treat Curating as an Art Form, and do Some Curators Treat Curating as their ‘Practice’, and Exhibitions as their ‘Work’?</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/21455101" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="83fd6a4186f33bcd6688824e6cbf5e83" rel="nofollow" data-download="{"attachment_id":41886341,"asset_id":21455101,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41886341/download_file?st=MTczMzAzMTIzNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="40730764" href="https://bristoluwe.academia.edu/EloiseDunwell">Eloise Dunwell</a><script data-card-contents-for-user="40730764" type="text/json">{"id":40730764,"first_name":"Eloise","last_name":"Dunwell","domain_name":"bristoluwe","page_name":"EloiseDunwell","display_name":"Eloise Dunwell","profile_url":"https://bristoluwe.academia.edu/EloiseDunwell?f_ri=264788","photo":"https://0.academia-photos.com/40730764/20471032/20120390/s65_eloise.dunwell.jpg"}</script></span></span></li><li class="js-paper-rank-work_21455101 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="21455101"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 21455101, container: ".js-paper-rank-work_21455101", }); });</script></li><li class="js-percentile-work_21455101 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 21455101; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_21455101"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_21455101 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="21455101"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 21455101; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=21455101]").text(description); $(".js-view-count-work_21455101").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_21455101").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="21455101"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11469" href="https://www.academia.edu/Documents/in/Curating">Curating</a>, <script data-card-contents-for-ri="11469" type="text/json">{"id":11469,"name":"Curating","url":"https://www.academia.edu/Documents/in/Curating?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="26558" href="https://www.academia.edu/Documents/in/Visual_Arts">Visual Arts</a><script data-card-contents-for-ri="26558" type="text/json">{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=21455101]'), work: {"id":21455101,"title":"Blurred Lines? Artists and Curators","created_at":"2016-02-02T05:26:37.071-08:00","url":"https://www.academia.edu/21455101/Blurred_Lines_Artists_and_Curators?f_ri=264788","dom_id":"work_21455101","summary":"Do Artists Treat Curating as an Art Form, and do Some Curators Treat Curating as their ‘Practice’, and Exhibitions as their ‘Work’?","downloadable_attachments":[{"id":41886341,"asset_id":21455101,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":40730764,"first_name":"Eloise","last_name":"Dunwell","domain_name":"bristoluwe","page_name":"EloiseDunwell","display_name":"Eloise Dunwell","profile_url":"https://bristoluwe.academia.edu/EloiseDunwell?f_ri=264788","photo":"https://0.academia-photos.com/40730764/20471032/20120390/s65_eloise.dunwell.jpg"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=264788","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=264788","nofollow":false},{"id":11469,"name":"Curating","url":"https://www.academia.edu/Documents/in/Curating?f_ri=264788","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43761159" data-work_id="43761159" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43761159/Venezia_e_l_arte_La_Biennale_a_mosaico_essay_">Venezia e l’arte. La Biennale a mosaico [essay ]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The 45th edition of the Venice Biennale, titled Cardinal Points of Art (1993), is key to understanding the pro- drome of the exhibition’s exit from the Giardini and to identifying the first signs of urban biennials that would take entire... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43761159" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The 45th edition of the Venice Biennale, titled Cardinal Points of Art (1993), is key to understanding the pro- drome of the exhibition’s exit from the Giardini and to identifying the first signs of urban biennials that would take entire cities as their sites.<br />The curator Achille Bonito Oliva offered the visitor an expanded exhibition scattered throughout the city. The concept of the “mosaic exhibition” served as a curato- rial methodology, and the key concepts of nomadism, transnationality and coexistence were shared by all of the 15 exhibitions that composed the Biennale. The visitor, obliged to embark on an intense tour of the city, was invited to build their own Biennale in fragments and to inhabit Venice both physically and semantically. The expansion of national pavilions and collateral ex- hibitions beyond the historical venue transformed the whole of Venice into an exhibition space.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43761159" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5cf268d8abe16a81435be84299efc178" rel="nofollow" data-download="{"attachment_id":64073397,"asset_id":43761159,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64073397/download_file?st=MTczMzAzMTIzNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="46639295" href="https://unibo.academia.edu/clarissaricci">clarissa ricci</a><script data-card-contents-for-user="46639295" type="text/json">{"id":46639295,"first_name":"clarissa","last_name":"ricci","domain_name":"unibo","page_name":"clarissaricci","display_name":"clarissa ricci","profile_url":"https://unibo.academia.edu/clarissaricci?f_ri=264788","photo":"https://0.academia-photos.com/46639295/46364569/35851215/s65_clarissa.ricci.jpg"}</script></span></span></li><li class="js-paper-rank-work_43761159 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43761159"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43761159, container: ".js-paper-rank-work_43761159", }); 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$(".js-view-count[data-work-id=43761159]").text(description); $(".js-view-count-work_43761159").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43761159").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43761159"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2793" href="https://www.academia.edu/Documents/in/Transnationalism">Transnationalism</a>, <script data-card-contents-for-ri="2793" type="text/json">{"id":2793,"name":"Transnationalism","url":"https://www.academia.edu/Documents/in/Transnationalism?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="28797" href="https://www.academia.edu/Documents/in/Nomadism">Nomadism</a>, <script data-card-contents-for-ri="28797" type="text/json">{"id":28797,"name":"Nomadism","url":"https://www.academia.edu/Documents/in/Nomadism?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="128164" href="https://www.academia.edu/Documents/in/Venice_Biennale">Venice Biennale</a>, <script data-card-contents-for-ri="128164" type="text/json">{"id":128164,"name":"Venice Biennale","url":"https://www.academia.edu/Documents/in/Venice_Biennale?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="141679" href="https://www.academia.edu/Documents/in/Coexistence">Coexistence</a><script data-card-contents-for-ri="141679" type="text/json">{"id":141679,"name":"Coexistence","url":"https://www.academia.edu/Documents/in/Coexistence?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43761159]'), work: {"id":43761159,"title":"Venezia e l’arte. La Biennale a mosaico [essay ]","created_at":"2020-08-01T10:01:19.863-07:00","url":"https://www.academia.edu/43761159/Venezia_e_l_arte_La_Biennale_a_mosaico_essay_?f_ri=264788","dom_id":"work_43761159","summary":"The 45th edition of the Venice Biennale, titled Cardinal Points of Art (1993), is key to understanding the pro- drome of the exhibition’s exit from the Giardini and to identifying the first signs of urban biennials that would take entire cities as their sites.\nThe curator Achille Bonito Oliva offered the visitor an expanded exhibition scattered throughout the city. The concept of the “mosaic exhibition” served as a curato- rial methodology, and the key concepts of nomadism, transnationality and coexistence were shared by all of the 15 exhibitions that composed the Biennale. The visitor, obliged to embark on an intense tour of the city, was invited to build their own Biennale in fragments and to inhabit Venice both physically and semantically. The expansion of national pavilions and collateral ex- hibitions beyond the historical venue transformed the whole of Venice into an exhibition space.","downloadable_attachments":[{"id":64073397,"asset_id":43761159,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":46639295,"first_name":"clarissa","last_name":"ricci","domain_name":"unibo","page_name":"clarissaricci","display_name":"clarissa ricci","profile_url":"https://unibo.academia.edu/clarissaricci?f_ri=264788","photo":"https://0.academia-photos.com/46639295/46364569/35851215/s65_clarissa.ricci.jpg"}],"research_interests":[{"id":2793,"name":"Transnationalism","url":"https://www.academia.edu/Documents/in/Transnationalism?f_ri=264788","nofollow":false},{"id":28797,"name":"Nomadism","url":"https://www.academia.edu/Documents/in/Nomadism?f_ri=264788","nofollow":false},{"id":128164,"name":"Venice Biennale","url":"https://www.academia.edu/Documents/in/Venice_Biennale?f_ri=264788","nofollow":false},{"id":141679,"name":"Coexistence","url":"https://www.academia.edu/Documents/in/Coexistence?f_ri=264788","nofollow":false},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":577190,"name":"Exhibition studies","url":"https://www.academia.edu/Documents/in/Exhibition_studies?f_ri=264788"},{"id":649800,"name":"Achille Bonito Oliva","url":"https://www.academia.edu/Documents/in/Achille_Bonito_Oliva?f_ri=264788"},{"id":750759,"name":"Contemporaneity and Art","url":"https://www.academia.edu/Documents/in/Contemporaneity_and_Art?f_ri=264788"},{"id":2475250,"name":"History of the Venice Biennale","url":"https://www.academia.edu/Documents/in/History_of_the_Venice_Biennale?f_ri=264788"},{"id":2614946,"name":"Contemporary Art Biennials ","url":"https://www.academia.edu/Documents/in/Contemporary_Art_Biennials?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_22791222" data-work_id="22791222" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/22791222/Beti_%C5%BDerovc_When_Attitudes_Become_the_Norm_The_Contemporary_Curator_and_Institutional_Art">Beti Žerovc When Attitudes Become the Norm The Contemporary Curator and Institutional Art</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Introduction to the book When Attitudes Become the Norm The Contemporary Curator and Institutional Art Some sentences from the cover by Mary Anne Staniszewski: "Beti Žerovc has not only written an insightful and provocative book, but an... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_22791222" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Introduction to the book When Attitudes Become the Norm<br />The Contemporary Curator and Institutional Art<br />Some sentences from the cover by Mary Anne Staniszewski:<br />"Beti Žerovc has not only written an insightful and provocative book, but an especially timely one.<br />In this book devoted to the field of curating and “institutional art”, Žerovc raises questions about the character and limitations of the “exhibition-maker as artist” and the “exhibition as a work of art”, asking whether the socio-political objectives for the latter actually manifest contradictory or even opposite effects given the inescapable conditions of capitalism.<br />The book culminates with Žerovc’s queries about the ritualistic function of contemporary art exhibitions, and this is evocatively expressed in her introduction: “There was once great discussion about how removing artworks from their original context and installing them in the museum meant their certain death. Today, it seems, we need to be thinking about different questions. Does the institution of visual art bring something to life … what, in fact, are we summoning to life?”</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22791222" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1dd33511bc0cea80752dec0304cfad78" rel="nofollow" data-download="{"attachment_id":43344592,"asset_id":22791222,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43344592/download_file?st=MTczMzAzMTIzNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7910808" href="https://uni-aas.academia.edu/BetiZerovc">Beti Zerovc</a><script data-card-contents-for-user="7910808" type="text/json">{"id":7910808,"first_name":"Beti","last_name":"Zerovc","domain_name":"uni-aas","page_name":"BetiZerovc","display_name":"Beti Zerovc","profile_url":"https://uni-aas.academia.edu/BetiZerovc?f_ri=264788","photo":"https://0.academia-photos.com/7910808/2926062/3422958/s65_beti.zerovc.jpg"}</script></span></span></li><li class="js-paper-rank-work_22791222 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22791222"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22791222, container: ".js-paper-rank-work_22791222", }); 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$(".js-view-count[data-work-id=22791222]").text(description); $(".js-view-count-work_22791222").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_22791222").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="22791222"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11469" href="https://www.academia.edu/Documents/in/Curating">Curating</a>, <script data-card-contents-for-ri="11469" type="text/json">{"id":11469,"name":"Curating","url":"https://www.academia.edu/Documents/in/Curating?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13606" href="https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design">Museums and Exhibition Design</a>, <script data-card-contents-for-ri="13606" type="text/json">{"id":13606,"name":"Museums and Exhibition Design","url":"https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design?f_ri=264788","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19161" href="https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice">Curatorial Studies and Practice</a><script data-card-contents-for-ri="19161" type="text/json">{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=264788","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=22791222]'), work: {"id":22791222,"title":"Beti Žerovc When Attitudes Become the Norm The Contemporary Curator and Institutional Art","created_at":"2016-03-04T02:08:34.337-08:00","url":"https://www.academia.edu/22791222/Beti_%C5%BDerovc_When_Attitudes_Become_the_Norm_The_Contemporary_Curator_and_Institutional_Art?f_ri=264788","dom_id":"work_22791222","summary":"Introduction to the book When Attitudes Become the Norm\nThe Contemporary Curator and Institutional Art\nSome sentences from the cover by Mary Anne Staniszewski:\n\"Beti Žerovc has not only written an insightful and provocative book, but an especially timely one.\nIn this book devoted to the field of curating and “institutional art”, Žerovc raises questions about the character and limitations of the “exhibition-maker as artist” and the “exhibition as a work of art”, asking whether the socio-political objectives for the latter actually manifest contradictory or even opposite effects given the inescapable conditions of capitalism.\nThe book culminates with Žerovc’s queries about the ritualistic function of contemporary art exhibitions, and this is evocatively expressed in her introduction: “There was once great discussion about how removing artworks from their original context and installing them in the museum meant their certain death. Today, it seems, we need to be thinking about different questions. Does the institution of visual art bring something to life … what, in fact, are we summoning to life?” \n","downloadable_attachments":[{"id":43344592,"asset_id":22791222,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7910808,"first_name":"Beti","last_name":"Zerovc","domain_name":"uni-aas","page_name":"BetiZerovc","display_name":"Beti Zerovc","profile_url":"https://uni-aas.academia.edu/BetiZerovc?f_ri=264788","photo":"https://0.academia-photos.com/7910808/2926062/3422958/s65_beti.zerovc.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=264788","nofollow":false},{"id":11469,"name":"Curating","url":"https://www.academia.edu/Documents/in/Curating?f_ri=264788","nofollow":false},{"id":13606,"name":"Museums and Exhibition Design","url":"https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design?f_ri=264788","nofollow":false},{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=264788","nofollow":false},{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=264788"},{"id":81272,"name":"Curatorial Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Practice?f_ri=264788"},{"id":86120,"name":"Exhibitions","url":"https://www.academia.edu/Documents/in/Exhibitions?f_ri=264788"},{"id":169362,"name":"Curatorial Theory","url":"https://www.academia.edu/Documents/in/Curatorial_Theory?f_ri=264788"},{"id":226095,"name":"History of Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Exhibitions?f_ri=264788"},{"id":252023,"name":"History of Contemporary Art, History of Exhibitions, Museology","url":"https://www.academia.edu/Documents/in/History_of_Contemporary_Art_History_of_Exhibitions_Museology?f_ri=264788"},{"id":253545,"name":"Curatorial Studies","url":"https://www.academia.edu/Documents/in/Curatorial_Studies?f_ri=264788"},{"id":264788,"name":"Art History, Exhibition History, Museum and Curating Studies","url":"https://www.academia.edu/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?f_ri=264788"},{"id":377308,"name":"Curatorship","url":"https://www.academia.edu/Documents/in/Curatorship?f_ri=264788"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=264788"},{"id":1762871,"name":"History of exhibitions, museum studies, modern and contemporary art","url":"https://www.academia.edu/Documents/in/History_of_exhibitions_museum_studies_modern_and_contemporary_art?f_ri=264788"}]}, }) } })();</script></ul></li></ul></div></div></div><div class="u-taCenter Pagination"><ul class="pagination"><li class="next_page"><a href="/Documents/in/Art_History_Exhibition_History_Museum_and_Curating_Studies?after=50%2C22791222" 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