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Malinche was an indigenous slave woman who helped Cortés communicate with and understand native chiefs during the conquest of Mexico. This paper analyzes the way the Denver Art Museum represented cultural metaphors of Malinche in visual culture in its 2022 show titled "Traitor, Survivor, Icon: The Legacy of La Malinche." The exhibition distinguishes five key metaphors in the reception of Malinche from the sixteenth century through today. The paper highlights the theme of Malinche as the mother of the nation and its diverse appearances in visual culture among the images displayed. The paper surveys the ways in which images of motherhood interact in museum space. [ABSTRACT FROM AUTHOR]

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It is currently part of the mission of art museums to actively involve children in learning experiences and empower them through a variety of programmes – including developing text panels specialized for children. To date, we have only a limited understanding of the semiotic resources in audience-sensitive exhibition text panels. Drawing upon Systemic Functional Linguistics, this paper analyses and compares 56 text panels in an exhibition from the Art Gallery of New South Wales in Australia. They are comprised of two versions of text panels for 28 artworks, targeting different groups of audiences, respectively (children and adults). It is found that the children's texts have been recontextualized to evoke interest in learning to paint, while the adults' texts focus on aesthetic appreciation. The comparative analysis shows that audience-sensitive text writing is interrelated with its social context in view of field, tenor, mode, and genre. This paper further explores how the production of audience-sensitive text panels contributes to the pedagogic, commercial, and community value of art museums. [ABSTRACT FROM AUTHOR]

"Do they read? Oh, yes, they do," was the conclusion of a paper identifying the proof of label use in visitors' in-gallery conversations versus the difficulties of observing them reading. This paper -methodologically refines this research question by asking how exactly exhibit labels are used. Answers are derived from an empirical study that analyzed viewing behavior both before and after the reinstallation of a museum's collection through mobile eye tracking (MET), subjective mapping, and questionnaires. As the introduction of interpretive labels was one of the major changes implemented, the paper demonstrates differences in visitors' responses to the artworks with or without contextual information. Analytical emphasis rests on the exploration of patterns in the process of decision making (differentiating between visitors' reading affinities); visual engagement (analyzing the combined activities of looking and reading); and memory (echoing label texts in visitors' artwork reflections). Our findings show that all visitors read, albeit to very different extents, the majority being medium-affinity readers; that the basic viewing pattern "art-label-art" becomes more complex with more text and more -visitors on-site; and that art interpretations deepen and differ through additional information. The power of labels to guide eyes and thoughts suggests their intentional use in museum and curatorial practice. [ABSTRACT FROM AUTHOR]

Within an art exhibition, the disposition of space is fundamental in experiencing artworks. A study of the exhibition space as discourse enmeshes art within a framework of relationship and processes instead of viewing art as an isolated and autonomous object. This paper features the case study of Art '76, the inaugural exhibition of Singapore's first large-scale institution of art, the National Museum Art Gallery (NMAG). The NMAG's opening in 1976 had been much anticipated by artists and the art audience since the 1960s, it was also an important milestone in the National Museum of Singapore's process of modernisation and revitalisation. During Singapore's post-independent period, the National Museum began to redefine itself as a civic museum focussing on Singapore's history and culture, shifting away from its previous incarnation of a research-focused colonial institution, the Raffles Library and Museum. Singapore was not alone in exploring the role of modern art in nation-building, as neighbouring Southeast Asian countries such as Indonesia, Philippines, Malaysia and Thailand also began to moot for their own institution of modern art around the same period of time. Art '76 and the NMAG represent a case of distinct spatial typology that arose out of unique institutional and socio-political dynamic in post-independent Singapore. In analysing the legacy as well as the relationships and contentions that shaped the spatial articulation of Art '76, this paper studies existing visual and oral archive, as well as critically evaluating the concepts of space as a subject of historical study. [ABSTRACT FROM AUTHOR]

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents a framework for the design of interpretive media in art museums. These have been developed based on a review of the literature and the study of current practices of interpretation design in art exhibitions. The study supports the urge to promote design for experiences that resonate with the visitor and that increase diversity in the art museum. Practitioners who design interpretation strategies integrated into art exhibitions often omit visitors' voices from the process, resulting in practices which do not reflect visitors' contexts and needs. This practice-based research project aims to be used and adapted by art institutions in the design of interpretation strategies for their exhibitions, in collaboration with visitors. [ABSTRACT FROM AUTHOR]

Copyright of Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Historiae Artis Slovenica is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study examines polyvalent reasons for the use of found objects by contemporary Zimbabwean artists. Data were generated through ethnographic interviews, observations, and analysis of textile artworks and sculptures by five contemporary artists. Results indicate that found objects can be up cycled to create artworks that attract international acclaim, which are subsequently exhibited in prestigious art galleries and museums. The use of found objects in the Zimbabwean context is often a response to the high cost and shortage of art materials. The study recommends the exploration of found objects as alternative art media to encourage environmental sustainability. [ABSTRACT FROM AUTHOR]

The article highlights the career of Johanna Hoffman-Stirnemann, art historian and the first female museum director in Germany appointed at the Jena Municipal Museum. Information is provided on the education and earlier museum career of Hoffman-Stirnemann at Oldenburg State Museum of Art and Cultural History, her appointment at Greiz Museum, exhibitions she conceived and her commitment to contemporary art, and her work as director of the State Castle Museum Rudolstadt at Heidecksburg Castle.

Artworks play a fundamental role in the cultural and economic assets of communities, enhancing their identity and helping with social integration. Despite their importance, they are not always adequately protected against degradation, which can be induced by aging, atmospheric and human-induced occurrences, and catastrophic events. Earthquakes certainly represent one of the main risks for art objects; however, traffic, construction works, and shipment can also represent a threat to art goods. Therefore, the assessment of the vulnerability of art collections to dynamic excitations plays a crucial role in their conservation, and it has been collecting increasing attention from researchers, academics, and museum managers. This work focuses on the vulnerability of the art collections exhibited at the "Gaio Cilnio Mecenate" museum in Arezzo. Namely, it aims to assess the effective dynamic loading experienced by the artworks, which is a function of the dynamic propagation played by the foundation soil, the building, and the displayers used for the exhibition. In this study, the dynamic properties of some of the displayers used for exhibiting the art collections are investigated by performing an experimental survey. The analysis of the experimental data led to the assessment of the proper frequencies of the displayers, which were compared to those of the building and the foundation soil of the museum. [ABSTRACT FROM AUTHOR]

An interview with artist Tarrah Krajnak discusses her exhibition "Re-Pose" at REDCAT, which explores the concept of reclaiming earlier works and poses, focusing on the woman's pose as a central theme. She also talks about her process, incorporating visual materials, and the idea of preserving ephemeral art in museums.

Educational tools in art exhibitions seem crucial to improve the cultural and aesthetic experience, particularly of non-expert visitors, thus becoming a strategic goal for museums. However, there has not been much research regarding the impact of labels on the quality of visitors' aesthetic experience. Therefore, here we compared the impact on the cognitive and emotional experience of naïve visitors between essential and descriptive labels, through multiple objective and subjective measurements, focusing on the controversial modern art museum context. We found that, after detailed descriptions, observers spend more time inspecting artworks, their eyes wander more looking for the described elements, their skin conductance and pupil size increase, and overall, they find the content less complex and more arousing. Our findings show that people do receive important benefits from reading detailed information about artworks. This suggests that elaborating effective labels should be a primary goal for museums interested in attracting a non-expert public. [ABSTRACT FROM AUTHOR]

In this essay the author recalls the process of organizing and interpreting an exhibition of art and language made in response to a catastrophic fire that devastated California's Sonoma and Napa counties in late 2017. The Sonoma Valley Museum of Art invited a group of artists and writers to be part of its small exhibition planning team to help establish the exhibition's focus, compile the checklist of artworks and writing, compose the interpretive labels, and participate as presenters in the public programs. What follows is a reflection on the process that resulted in unique approaches to organizing, presenting, and interpretation as the artists, writers, and museum staff collaborated to engage the audience directly through first-person stories, with the intention of honoring their shared experience and healing their community. [ABSTRACT FROM AUTHOR]

This illustrated essay speculates on alternative economic models for embedding social practice within commercial and public spaces in art galleries in the UK's charity sector. Cultural institutions are being asked to 'do more, with less' in a period rife with budget cuts, reduced staffing, zero-hour contracts and redundancies exacerbated by the Covid-19 pandemic. The cultural sector is urged to become less reliant on public money, to diversify revenue streams and look towards other, private stakeholders. All the while, institutions under the Arts Council England's 2020-2030 'Let's Create' strategy are told to prioritise societal challenges, such as 'inequality of wealth and of opportunity, social isolation and mental ill-health' as well as 'the accelerating climate emergency'. Cultural institutions are being asked to make meaningful, impactful and long-lasting relationships with their local communities inclusive of LGBTQIA+, BIPOC, and people with health conditions or impairments, school children and teachers, championing mental health, diversity, and equity within their programmes. All the while, those working within the sector are struggling due to low pay, barriers to employment and consolidating of multiple jobs into singular positions. Social and Community art practices of the 1960's-1990's sought to interrogate and democratise art production and address how this production could enact change in society. Socially engaged art practice showed that art can be a useful tool to explore societal issues and give people agency, space and power to make changes. However, I would like to argue that the way social art practice is implemented within arts institutions today does not fully capture the radical potential of societal change, due to the nature of funding structures and institutional workflows. Barriers to embedding social practice within arts institutions are structural and ideological problems, with governance, finance and requirements from funding bodies being the key barriers faced by social practitioners. There are lessons to be learned from artists, communities and other sectors to better embed social practice within arts institutions and offer alternatives to the current models. I explore how artist- and communities-led institutions embed social practices by discussing new models of democratised cultural spaces, places, programmes, highlighting artists and collectives providing examples of cultural alternatives. [ABSTRACT FROM AUTHOR]

With image-oriented social media growth, uploading "exhibition visit-proof photos" on social networking sites (SNS) has become a new trend, aligning with the promotional change made by major art museums, allowing visitors to take photos of artworks. This study identifies the antecedents of electronic word-of-mouth (eWOM) activities, particularly Instagram photo sharing, which corresponds to the representative image-oriented SNS. Drawing on the uses and gratifications theory and the cognitive-affective theory, this study identifies the important factors affecting the eWOM of art exhibitions. For instance, allowing taking photos and highlighting photogenic elements are the top influencing factors for photo sharing on Instagram. The seemingly unrelated regression analysis confirms the positive relationship between eWOM and market performance. The findings, especially how art museum marketing factors affect eWOM and market performance, can help art practitioners derive optimal marketing strategies for exhibitions. [ABSTRACT FROM AUTHOR]

In 2022, The Algae Society curated two exhibitions. Confluence, an exhibition at the Cameron Arts Museum in Wilmington, North Carolina, January 28 - April 24, 2022 featured sculptural, interactive works, video projections, kinetic works, and rapid prototyping, all featuring algae from the microscopic scale of phytoplankton to the giant kelp forests of the Pacific Northwest and Confluir, an exhibition at the Facultad de Bellas Artes Universidad Complutense de Madrid, Sala de Exposiciones del Salon de Actos between Feb 9th - March 9th, 2022. [ABSTRACT FROM AUTHOR]

The name of Nadezhda Dobychina (née Ghinda Nekha Fishman) and her Art Bureau are well known to art researchers and art lovers. Thanks to the "Last Futurist Exhibition. 0.10", the Dobychina's Bureau is mentioned in most of the books and articles dedicated to the history of modernism. It should be noted that Nadezhda Dobychina could hardly be named among the radical avant-gardists. Her interests as a collector and curator embraced, first of all, the artists of the "Mir Iskusstva", the "Blue Rose", of the Union of Russian Artists, she also had works by N. Goncharova, M. Larionov, D. Burliuk, N. Altman. The biography of Nadezhda Evseevna in the 1920s-1940s is rich by many bright episodes that allow us to assert that in Soviet times, she played an important role in the art field as well. After the Revolution she was appointed the head of the exhibitions department of Petrograd branch of the IZO Commissariat for Education, participating in the organization of the "First State Free Exhibition of Works of Art" which was inaugurated the 13th of April, 1919 in the nationalized Winter Palace. Later she headed the exhibition department of the House of Arts, organized by M. Gorky, as well as the department of exhibitions at the Society for the Encouragement of Arts. In 1926 she was elected chairman of the Chamber Music Society. From 1932 to 1934 she worked as a Senior Researcher at the Russian Museum, after which she moved to Moscow, where she headed the Art Department of the Museum of the Revolution. All these years Nadezhda Evseevna kept her art collection and continued to write memories which are kept together with her correspondence in the archive donated to the State Russian Library. [ABSTRACT FROM AUTHOR]

MoMA's emphasis on the interrelatedness of modern art and modern life (a constant theme in its design and architecture shows and photography exhibitions, and the inspiration for the title of its twentieth anniversary exhibition I Modern Art in Your Life i ) meant that MoMA had laid the groundwork early on for the connection between art and politics. As reviewers evaluated the "new" Museum of Modern Art (MoMA) on the occasion of the institution's ninetieth anniversary in 2019, several critics invoked a common myth of the museum's origins. 19 "New Museum of Modern Art Opens May 10", I New York Herald Tribune i , April 28, 1939, APF, "Building", MoMA Archives, MoMA, New York; "Record Breaking Attendance at New Home of Museum of Modern Art", June 6, 1939 press release archives, MoMA Archives, MoMA, New York. 62 See, for example, I Timeless Aspects of Modern Art i , the first of the twentieth anniversary exhibitions, which was primarily a loan show, and the closing twentieth anniversary show I Modern Art in Your Life i , primarily a collection show, but focused on "real world" elements of modern art (including toothpaste tubes, window display, and furniture design) rather than fine art. [Extracted from the article]