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A case study describes the impact on a collection of the extreme floods in eastern Australia in February 2022, and the salvaging of the Lismore Regional Art Gallery art collection. Despite predetermined protocols and preparedness efforts, the gallery suffered unprecedented flooding, requiring coordinated solutions to support emergency recovery. The project included relocating and stabilising around 1400 artworks, divided between the permanent collection and temporary exhibitions. Coordinated collaboration with stakeholders was needed to determine which artworks were salvageable; initial assessments indicated 60%. However, after further assessment this was reduced to 40% of all artworks able to be returned to a condition suitable for storage and display. The paper focuses on the assessment criteria used to prioritise artworks for salvage and conservation: insurance value, condition post-flooding, the views of living artists on display of treated works, and sentimental and community importance. It also outlines the conservation processes for flood-damaged paintings on canvas, works on paper, and photographgraphs, highlighting challenges and outcomes. [ABSTRACT FROM AUTHOR]

Art clusters in cities are welcomed by planners, residents and business. In respect to an urban economy, art clusters are viewed as beneficial because of their contribution to neighbourhood ambience in ways likely to attract young professionals who possess, it is said, higher propensity for innovation and creativity. Clusters of art activity are also seen as place-makers that enhance liveability, an important asset in the contemporary spatial economy. Yet there is little empirical work which examines the forces that drive the location of these places of art and their connection to the urban economy. This paper takes art galleries in Sydney, Australia, as a case study. Using data from a comprehensive survey, interviews and direct observation, the study finds a peculiar story of art clustering. Sydney's galleries are found to be concentrated in exclusive locations. The study finds powerful agglomeration forces, including opportunities for stable property tenure, adjacency to the city's cultural institutions, input of government funding and the presence of wealthy buyers among local residents. Certainly, the agglomerations identified meet criteria for recognition as cultural districts, yet in ways different to the images of edgy neighbourhoods presented in the literature as the substance of art in a post-industrial city. [ABSTRACT FROM AUTHOR]

The Romanian art market occupies a relatively modest place in the international context, but it has registered a significant growth in the last decades, attracting more and more attention on the global stage. Like most Eastern European countries, former communist states, Romania is an emerging art market, currently having a small volume of transactions on the world art market. At the moment, most sales of modern art in Romania are made through auction houses, with Artmark the authoritative leader, while contemporary art is mainly sold through galleries. However, the volume and value of transactions remain modest compared to the large international auction houses such as Christie's and Sotheby's. This paper examines the market dynamics, analyzing the activity of art galleries, auction houses, publications and art magazines, what are the quotes of Romanian artists, and other aspects, such as art fairs or data related to the trends of the Romanian art market good, because opportunities exist, including for a young market like the one in Romania. Events such as Art Safari, MoBU, Bucharest Contemporary Art Biennale and Cluj International Ceramics Biennale, etc. contributes to positioning the Romanian art market on the international map, attracting collectors and art critics from all over the world. The perspectives of the Romanian art market are particularly aimed at the function of art as an investment alternative, as there are still many heritage or contemporary art objects at affordable prices for the beginning of a collection, but also for older collectors or those people with solid financial funds who are looking for an alternative to secure savings. The paper concludes that the Romanian art market has the potential to develop and expand significantly in the coming years. [ABSTRACT FROM AUTHOR]

Copyright of Archivaria is the property of Association of Canadian Archivists 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.)

How do the curators of science and technology collections represent the daily realities of doing science? Through the acquisition of Professor Stephen Hawking's office by the Science Museum, this paper will explore what is involved in making major acquisitions for national collections. How do curators consider what to preserve from the eclectic range of items found in the working spaces of scientists? What do the personal artefacts of a scientist's life represent, and what do acts of curatorial choices say about the narratives that are foregrounded -- and those that are not -- in positioning that life historically? And how do those choices illuminate the considerations involved in the way science and technology is represented in our national collections? By going beyond the glass case, we consider what it takes to bring an object into a collection: the intellectual considerations of how its stories are preserved for a nation and the practical considerations required so that items can even be considered for future display. The paper illuminates the formal and informal networks around scientists' collections, and the processes and judgements that science and technology curators make every day when choosing what could be important for defining our history. Using the Stephen Hawking office as a case study the article explores the representation of scientific practice in museum collections, the relationship of some collections with celebrity and disability, and some of the challenges posed by science and technology acquisitions compared to other types of museum object. The paper explores how knowledge is generated in museum collections, through the act of acquiring a new collection. It asks fundamental questions, which are essential to the fields of museology and science and technology studies, about the contribution to knowledge made by personal scientific objects. It goes beyond the study of collections as artefacts of display in exhibitions and galleries, providing a detailed analysis of a routine but oftenneglected aspect of behind-the-scenes museum work: the acquisition of a collection. Arguing that a large and complex collection is a vital tool for understanding the complexity of science, the paper uses the 'museum as method' (Thomas, 2016) which prioritises simple curatorial questions and the use of the objects in exploration; this enables scholars and curators to respond to material evidence of scientific knowledge, and identify narratives that are prioritised, and others that are obscured, in the historic record. In doing so, it suggests that curators are uniquely placed to provide insights into the roles of human and non-human actors in the construction of scientific knowledge, demonstrating how the Hawking collection allows us to explore the nature of scientific practice, the creation of scientific celebrity, and the potential to give visibility to disability within the history of science whilst de-centring the myth of the scientific genius in museum narratives. [ABSTRACT FROM AUTHOR]

COVID-19 (2019-) appears to have accelerated the transition of movable books from ubiquitous multimodal learning tools into artifacts and artworks, exhibited in museums and galleries. In their place, children are embracing interactive digital books. Whether they offer the same pedological value as their material counterparts remains a point of contention amongst early childhood educators. Both movable books and computers, evolved from volvelles. The devices, constructed using cut paper, emerged in Europe during the thirteenth century. Like papermaking, the technology had precedents in the orient. Their establishment in Europe coincided with The Black Plague (c.1346-1351). This article examines the inclusion or omission of papercuts in books, in relation to the broader application of papercutting within their respective communities. Primary and secondary sources were examined from Europe between the thirteenth and nineteenth centuries, from the United States during the twentieth and twenty-first centuries and from China between the nineth and twentieth centuries. Reference is also made to recent exhibitions featuring artist books and papercuts in in the museum and galleries sectors of Australia, the US, Asia, and Europe. [ABSTRACT FROM AUTHOR]

The article focuses on an addition to the papers of American art gallery owner Richard Kuhlenschmidt at the Archives of American Art, which include photographs of letters from Las Vegas, Nevada casino signage. The author provides a brief biography of Kuhlenschmidt and discusses the gallery operated by Kuhlenschmidt and Tim Jancar in an apartment in Los Angeles, California, and the gallery he operated with Joan Simon Menkes in West Hollywood, California.

Copyright of Human Review is the property of Eagora Science 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.)

The Terrain Guarding problem, a variant of the famous Art Gallery problem, has garnered significant attention over the last two decades in Computational Geometry from the viewpoint of complexity and approximability. Both the continuous and discrete versions of the problem were shown to be NP-Hard in King and Krohn (2010) and to admit a PTAS (Krohn et al., 2014; Friedrichs et al., 2016). The biggest unsolved question regarding this problem is if it is fixed-parameter tractable with respect to the size of the guard set. In this paper, we present two theorems that establish a relationship between a restricted case of the ONE-SIDED TERRAIN GUARDING problem and the Clique Cover problem in chordal graphs. These theorems were proved in Katz and Roisman (2008) for a special class of terrains called orthogonal terrains and were used to present a FPT algorithm with respect to the parameter that we require for DISCRETE ORTHOGONAL TERRAIN GUARDING in Ashok et al. (2018). We hope that the results obtained in this paper can, in future work, be used to produce such an algorithm for Discrete Terrain Guarding. [ABSTRACT FROM AUTHOR]

Copyright of JDM: Jurnal Dinamika Manajemen is the property of Universitas Negeri Semarang, Fakultas Ekonomi, Jurusan Manajemen 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.)

The digital exhibition space called Header/Footer Gallery hosted by the nonprofit organization New Media Caucus web presence has presented numerous exhibitions highlighting innovative work by artists across new media art. Established in 2020, Header/Footer has invited curators to curate exhibitions that explored the themes of technological malfunction, the legacies of cyberfeminism in the twenty first century, and Afrofuturism. Since then, taking up the role as the official curator for Header/Footer Gallery, the New Media Caucus' curator has created different exhibitions concentrating on inclusivity and the exposure of emerging artists through creative curatorial design strategies. For this paper, we take Header/Footer Gallery as a case study to analyze the development of virtual exhibition spaces, their histories, benefits, challenges and their futures. Taking Header/Footer Gallery as an example of a virtual space, we analyze its challenges including the promotion and dissemination of exhibitions and their digital engagement, despite the increase in accessibility of virtual galleries, as well as the challenges of archiving virtual exhibitions. We also examine the creative freedom in creating a virtual gallery from the ground up and in establishing and promoting inclusive practices that emphasize diversity. [ABSTRACT FROM AUTHOR]

Copyright of History in Africa: A Journal of Method is the property of Cambridge University Press 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.)

Although artworks have been traded all around the world for decades and represent a huge market, the notion of quality linked to the process and the criteria evaluation is often under estimated and neglected. Indeed, the contracts often do not precisely describe the investment, other than monetary, that the Art Galleries should show during the project to ensure its success. It will be ideally necessary to add more quality measurements in the existing agreements or directly news clauses within contracts that are can be adapted for improving the assessment of quality of artworks and of the process, which can be considerate as a part of the artwork itself. This paper aims to analyse different alternatives found using a multi-attributes decision analysis method. From the various suggestions, one of the options seems to be the best solution for assessing quality. The communication and the implementation of clear milestones between owners and contractors clearly established quality assurance criteria are a significant success factor within a project. Indeed, if both owners and contractors are responsible for establishing quality control measures and maintaining quality assurance within the entire process in the project and agree upon quality control milestones, this may result with a better project execution, reduction of the complaints between the parties, increase the communication efficiency and reduce tension. [ABSTRACT FROM AUTHOR]

Because of the increase in green lighting in recent years, scholars have been trying to find more comfortable lighting methods in various fields to meet people's lighting needs. In previous studies, we found that most museum lighting was conducted in the form of subjective questionnaires, but in this study, we tried to introduce a new way to explore the impact of the lighting environment on comfort, namely eye tracking technology. This paper aims to explore the influences when viewing paintings in cold, warm, and middle tones under illumination of 50 lx, 150 lx, and 300 lx, respectively, on the visual comfort of viewers, and the use visual fatigue as the evaluation index to find the most appropriate illumination value for different painting systems in the art museum. By collecting eye movement data under different illuminance and color combination of different paintings and subjective evaluation from the subjects, this paper studies the impact of different illuminances and colors on the subjects' visual fatigue. By considering the illumination intensity of the light environment and the tone of the painting, it can be found that the warm tone painting was more suitable for 150 lx, the cold tone painting was more suitable for 50 lx, and the middle tone painting was more suitable for 300 lx. [ABSTRACT FROM AUTHOR]

This viewpoint paper shares my experience of the exhibition curated by children at Ipswich Art Gallery, Queensland, Australia, entitled Junior Curators: Mysterious Realms. To delve into the challenges of children’s participation in museum curation, I explore key concepts in children’s geographies and sociologies, such as power/knowledge relations, consultation and participation, a post-human epistemology of the child, and the emerging concept of critical children’s museology. Shifting children from passive learners to active protagonists in a structuring role in museological practice contributes to museum studies by presenting a powerful and inspiring initiative for children’s participation in the curatorial process. In addition, the convergence between the unique characteristics of the museum’s space and materiality with the child’s embodied experience can generate new connections and reflections that contribute to the field of children’s geographies. [ABSTRACT FROM AUTHOR]

Women played fundamental roles in the establishment of London as a 'science city' in the period 1650-1800.Taking its inspiration from the themes explored in the Science Museum's new permanent gallery, Science City 1550-1800:The Linbury Gallery, this paper explores four broad categories of contribution that women made - as scientific instrument makers or retailers, as teachers, as students or participants, and as authors or correspondents in science - to demonstrate that they played more significant roles than has been fully accounted for previously.To do so, we consider the examples of 25 specific individuals and various other virtually unidentifiable women spanning the period 1650-1800. By bringing together examples of different types of contribution, we show that women did not play a single role; they contributed to the emergence of a scientific culture in London in many different ways. All of the women discussed in this paper were individuals with their own reasons for involvement in science. But several factors such as contemporary perceptions of women, networks in London, and the growing demand for scientific knowledge united them all and influenced their experiences. [ABSTRACT FROM AUTHOR]

This paper explores the iterative process of striving for artistic expressivity and developing crafting techniques in a porcelain-making project. The paper is about mitigating the tensions and flaws in porcelain bodies by trying out technical solutions while searching for genuine porcelaneous expressivity in artmaking. The paper presents examples of a working process of material-based art, from the first samples of material collapse to an exhibition of finished works in an art gallery, allowing the reader to see how faults and failures contribute to this development. The paper advocates that craft science and artistic research are closely integrated and intertwined. [ABSTRACT FROM AUTHOR]

Art as an economic sector has experienced a challenging set of new competitive pressures over the last two-decades-plus. Foremost is an extensively changed digital landscape where virtual galleries, ecommerce and social media are rewriting the very premises upon which traditional gallery-client-artist relationships are rooted. This paper explores how art galleries are making strategic adaptations to these macro digital pressures. Analysis focuses on whether galleries are attempting to innovate in their competitive strategies and the extent of creativity imbued in their strategy efforts. Art galleries at Rocky Mountain resort destinations in Aspen, Bozeman, Jackson Hole, Park City and Sun Valley were included in the sample. Results suggest that gallery efforts to innovate, when addressing competitive pressures such as virtual galleries, ecommerce and social media, is a major first step that opens the door to creative strategy formulation. Ingenious competitive strategies arise from that initial move to innovate. [ABSTRACT FROM AUTHOR]

This article brings into the discussion one of the important components of the cultural and educational infrastructure - the art gallery. In the paper, we will analyze the transformations that occurred in the offer of exhibition spaces in the contemporary artistic dynamics of Iasi. Along with an radiography of the Iași art galleries and the relational dimension they exercise, we will expose some of the comments of some Iași visual artists, on the side of this topic, extracted from the interviews which I realized in my doctoral research and which I published in the book Ieșeni ai artei vizuale contemporane. In shaping a dynamic artistic context, the art galleries constitute a factor of relational consolidation between the artist and the public, an aesthetic and active environment for the promotion of local, national and international artistic values. The space where visual artists exhibit their artistic projects either in personal, group or collective exhibitions is the place where a special connection is created, an aesthetic and educational means of communication between artists, critics and viewers, from the perspective of the dynamics of new structures, styles and forms of visual expression. [ABSTRACT FROM AUTHOR]

Katharine Nash Rhoades, a painter, Charles Lang Freer's assistant, and a member of the Stieglitz Circle, met Freer at Mount Kisco, New York, the country home of Asian art collectors Agnes and Eugene Meyer on June 29, 1913. Their friendship lasted until Freer's death on September 25, 1919. Although their relationship was relatively short in duration, it was characterized by loyalty, warmth, and mutual respect. Rhoades and Freer shared the pursuit of beauty as the guiding principle in their lives. Rhoades's paintings reveal the influence that the Japanese art in Freer's collection had upon her work. She was instrumental in the creation of the Freer Gallery of Art as it is known today. This article, based on extensive research using primary sources, sheds new light on the relationship between Katharine Rhoades and Charles Lang Freer and the ways in which the art of Japan played a key role in their lives. [ABSTRACT FROM AUTHOR]

Over the dozen or so years of its existence the Artist in Residence (AiR) program at the Art Gallery of Ontario (AGO) has brought numerous emerging and established artists into the daily workings of the museum, inviting resident artists to explore and engage with the AGO's collections, staff and public programs as they develop their projects. Support for a process of research-creation is fundamental to the opportunity offered by the residency. As a foundational component of the museum's research infrastructure, the AGO's Edward P. Taylor Library & Archives has played a key role in the residency program, allowing strategies of reading, citation and documentation to emerge as central themes in the cumulative body of residency projects, and allowing in turn for the possibility of project documentation to enter the archival record of the museum. Drawing on interviews with selected past artists in residence, this paper will provide an account of how the involvement of librarians and archivists, and the availability of library and archival resources in the museum have shaped the trajectory of the AiR program at the AGO. [ABSTRACT FROM AUTHOR]

Art galleries have traditionally played a pivotal role in the contemporary art system, divided between cultural and commercial goals, which are not necessarily compatible. In recent times this has been further challenged by the emergence of art fairs. In this paper we consider the construct of business model and how it has more or less explicitly applied to art galleries and their relation to art fairs through a semi-systematic review of the literature with a method of thematic synthesis. From an initial body of 642 retrieved sources, our analysis selected and assessed 16 final references. Major themes that emerged encompass business model typologies, value creation, resources, partners network, customers, decision-making, organizational structure, internationalization, norms, risk and vulnerability, and the emerging online market, accounting for a quite articulated business model of art galleries. [ABSTRACT FROM AUTHOR]

This paper addresses the Stendahl Art Galleries' expansion of their trade in pre-Hispanic art from their home-base in Hollywood to New York and Europe in the late 1950s and early 1960s. After an initial success in acquiring and selling ancient Mexican artworks in the early 1940s, the gallery, founded by Earl Stendahl, experienced leaner years in the late 1940s. But they found renewed success after 1950 by placing family members in distinct locations - in Mexico and Central America, to acquire pieces, and in Los Angeles and New York, to cultivate buyers - and by organizing exhibitions in the US and Europe, for which host museums received commissions for sales. What began as works sold one at a time from the Los Angeles gallery would become a network of looters, agents, and buyers that expanded across the US and into Europe, selling both high-priced and inexpensive items in order to capture a broader market. Over the years, they also expanded their sources of pre-Hispanic art, beginning in Mexico and later moving to Panama, Costa Rica, and other countries. This article analyzes letters exchanged among Stendahl family members and clients to shed light on both their acquisistions and sales. [ABSTRACT FROM AUTHOR]

Purpose: The inappropriate lighting methods can have irreversible effects on artworks available in museums and exhibitions. Several factors affect the choice of the lighting system in the museums. By surveying all possible elements, this paper aims to propose a sustainability-based solution, as it relates to the development of artwork conservation, visual perception and energy efficiency during operation and maintenance (O&M). Design/methodology/approach: The paper elicits optimal solutions out of the method presented based on functions and expert opinion to improve lighting quality in existing museums. To study the optimization, the energy consumption and life cycle cost (LCC) in both the proposed lighting and the existing lighting system are compared using HoneyBee and LadyBug plugins in GrassHopper, as well as BLCC5 energy cost estimation software. Findings: The results indicated a practical method to select the most suitable solution for museum lighting. By applying the proposed solutions obtained from the case study, a significant reduction in energy consumption and LCC were achieved. Besides, greenhouse gases were remarkably decreased. Practical implications: Providing the proper lighting systems for each museum is the issue that is given special attention during the facilities management. The quality of the lighting, energy consumption and costs are analyzed by the simulation software. It is recommended that the validity considerations of the practice are examined. Originality/value: The present study tried to present an optimal method to choose the best lighting system by the simultaneous utilization of theoretical and practical aspects. The functional model is also introduced for performing the most effective method to enhance the lighting techniques in the art museums. [ABSTRACT FROM AUTHOR]

The ArtGallery problem is a fundamental visibility problem in Computational Geometry. The input consists of a simple polygon P, (possibly infinite) sets G and C of points within P, and an integer k; the task is to decide if at most k guards can be placed on points in G so that every point in C is visible to at least one guard. In the classic formulation of ArtGallery, G and C consist of all the points within P. Other well-known variants restrict G and C to consist either of all the points on the boundary of P or of all the vertices of P. Recently, three new important discoveries were made: the above mentioned variants of ArtGallery are all W[1]-hard with respect to k [Bonnet and Miltzow in 24th Annual European Symposium on Algorithms (Aarhus 2016)], the classic variant has an O (log k) -approximation algorithm [Bonnet and Miltzow in 33rd International Symposium on Computational Geometry (Brisbane 2017)], and it may require irrational guards [Abrahamsen et al. in 33rd International Symposium on Computational Geometry (Brisbane 2017)]. Building upon the third result, the classic variant and the case where G consists only of all the points on the boundary of P were both shown to be ∃ R -complete [Abrahamsen et al. in 50th Annual ACM SIGACT Symposium on Theory of Computing (Los Angeles 2018)]. Even when both G and C consist only of all the points on the boundary of P, the problem is not known to be in NP. Given the first discovery, the following question was posed by Giannopoulos [Lorentz Workshop on Fixed-Parameter Computational Geometry (Leiden 2016)]: Is ArtGallery FPT with respect to r, the number of reflex vertices? In light of the developments above, we focus on the variant where G and C consist of all the vertices of P, called Vertex-Vertex Art Gallery. Apart from being a variant of ArtGallery, this case can also be viewed as the classic DominatingSet problem in the visibility graph of a polygon. In this article, we show that the answer to the question by Giannopoulos is positive: Vertex-VertexArtGallery is solvable in time r O (r 2) · n O (1) . Furthermore, our approach extends to assert that Vertex-BoundaryArtGallery and Boundary-VertexArtGallery are both FPT as well. To this end, we utilize structural properties of "almost convex polygons" to present a two-stage reduction from Vertex-VertexArtGallery to a new constraint satisfaction problem (whose solution is also provided in this paper) where constraints have arity 2 and involve monotone functions. [ABSTRACT FROM AUTHOR]

The first icon is “St Naum with scenes of his life and St Paraskeva” (National Art Gallery № 520; wood/tempera; 34,5 x 27 cm) and depicts: “The Baptising of the Tzar’s Daughter”, “Horse Thief Who Was Caught at the Gates of the Monastery”, “The Miracle of Harnessing the Bear” and “The Dormition of St Naum”. The final scene has a row of six figures with no halos, standing behind the saint’s body and performing the burial ritual. The typological characteristics of those figures features no particular specifics, although their number speaks to the fact that they are, without a doubt, intended to be the remaining of the Seven Slavic Saints. The central figure likely is St Methodius or St Clement of Ohrid, presented as an archbishop. None of the four scenes are based on Hristofor Zhefarovich’s engraving and feature different iconography. It is clear that the zograph was familiar with other depictions of the life of St Naum, and, most likely, scenes featuring the Seven Slavic Sains as well. Featuring St Paraskeva alongside St Naum is not unique either, especially in the Korçë region. The origin of the icon is unknown, although, based on the style and iconography, as well as the Greek captions, one can assume that the provenance is Korçë region. The second icon is “The Benevolent Mother of God, St Nicholas and St Naum” (1842 or 1849; 50,5 x 37,5 cm; National Art Gallery № 897). The icon was painted by a highly-skilled artist, whose style is somewhat similar to that of zographs from the Debar school, although there’s a distinct attempt at being more “academic”. The fact that St Nicholas and St Naum are featured in the same icon implies that it probably originated from the Ohrid region. The third icon of St Naum (1871; National Art Gallery № 105; wood/tempera; 61 x 45 cm) is by Socrates Georgiou – a zograph from Sozopol. St Naum is depicted as an archbishop, with white hair and white beard. This iconography is in line with neither historical data, nor traditional depictions and is instead based on a lithograph of the Seven Slavic Saints, which was printed in the typography of A. V. Morozov in Moscow in 1869. Proof of this are the identical „СВ. Наумъ ЧУД.[отворец] Охрадскі...“ caption and well as the matching iconography of certain details. The icon from Sozopol shows that during that late period, the cult towards St Naum was no longer regional, but generally accepted in Orthodox Christianity and had begun spreading in regions further away from Ohrid. The last work presented here is a drawing from a notebook (first half of 19th century; National Art Gallery № 834; pencil on paper) possession of zographs from Elena. St Naum is presented holding a bear tied on a robe, a certain iconography has no parallel. [ABSTRACT FROM AUTHOR]

The chromatic orthogonal art gallery problem is a well-known problem in the computational geometry. Two points in an orthogonal polygon P see each other if there is an axis-aligned rectangle inside P contains them. An orthogonal guarding of P is k-colorable, if there is an assignment between k colors and the guards such that the visibility regions of every two guards in the same color have no intersection. The purposes of this paper are discussing the time complexity of k-colorability of orthogonal guarding and providing algorithms for the chromatic orthogonal art gallery problem. The correctness of presented solutions is proved, mathematically. Herein, the heuristic method is used that leads us to an innovative reduction, some optimal and one approximation algorithms. The paper shows that deciding k-colorability of orthogonal guarding for P is NP-complete. First, we prove that deciding 2-colorability of P is NP-complete. It is proved by a reduction from planar monotone rectilinear 3-SAT problem. After that, a reduction from graph coloring implies this is true for every fixed integer k ≥ 2 . In the third step, we present a 6-approximation algorithm for every orthogonal simple polygon. Also, an exact algorithm is provided for histogram polygons that finds the minimum chromatic number. [ABSTRACT FROM AUTHOR]

As sound practices continue to evolve in the gallery arts, conceptual texts create value for audiences who have been trained to see but who are still learning to listen. Based on 105 semi-structured interviews and four years of ethnographic observation, this paper finds that, contrary to the reliance on hearing in music or vision in the other gallery arts, gallery sound has had to rely, paradoxically, on reading audiences. After a look at models of cultural-economic valuation, this study finds that sound artists tend to rely on written language to value their works, and these textual value devices appear on a variety of interfaces. Artist statements are communicated through online platforms, handouts, didactic panels, and grant applications as instances of economic agencement – rendering the aesthetic economic – for works that otherwise might be mistaken for music or visual art. Respondents explained this reliance on text in terms of art world isomorphism, as a response to technical maladaptation, and as a tool for sensory learning. The resulting hierarchies of aesthetic value have implications for the relationship between sensory perception and conceptual understanding throughout the gallery arts and beyond. [ABSTRACT FROM AUTHOR]

This paper investigates the role of visitor location and other related contributing factors in determining motivation to attend the Queen Victoria Museum and Art Gallery in the regional city of Launceston, Tasmania. It carries out an assessment of the literature on visitor motivation to attend museums and galleries, including visiting as a learning experience and as an environment for well-being. It also considers the role of visitor location in determining the factors behind the visit. Following our adoption of a visitor survey, this paper carries out a demographic visitor profile before considering our findings on geographical location, engagement with the museum and marketing engagement (including by visitor location). The study then carries out a series of independent t-tests with respect to visitor location, followed by ANOVA calculations with respect to the overall mean findings for different subgroups. Following this, confirmatory factor analyses determine item suitability, with four factors being identified. Following discussion of the findings and the drawing of conclusions, a series of recommendations for theory and practice are made, beginning with implications for QVMAG itself before broadening insight for other museums, galleries and cultural attractions more generally. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. 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 article explores the London Gallery as a disseminator of modern art. So far, the London Gallery has been considered as a gallery for surrealism only, as its longest-serving director, E.L.T. Mesens, promoted surrealism all his life (1903–1971). By considering particularly its early exhibition history and activities in the 1930s, this article will show first that the London Gallery supported any avant-garde art contemporary to its showing, and second that commercial art galleries were the driving force behind the dissemination of modern art in London, using a number of marketing strategies that also included a claim to education. [ABSTRACT FROM AUTHOR]

This paper investigates an alternative to contemporary art gallery management in Romania, proposing a possible cross-disciplinary working pattern. Starting from the characteristics of the curatorial activity, respectively from the need of contemporary arts to leverage the cultural marketing strategies, we selected some of the theoretical meanings of curatorship, designing a lucrative alternative to them. A brief analysis of the status quo of the Bucharest art scene from 2017 to 2018 is included in this paper. The boundaries of the museum curatorship are contrasted with the prototype of exhibition maker, avatar of commercial galleries and art markets, in order o highlight the importance of innovation in capitalizing the artistic assets and of cultural management. The case study is focused on the previous arguments and on the activity of establishing Sensuri Noi Art Gallery, an institution that operated in Bucharest in 2018. [ABSTRACT FROM AUTHOR]

This paper aims to analyse to what extent the willingness to pay of art gallery visitors for the preservation of cultural artefacts is affected by the identity traits of the objects. To this purpose, we designed a discrete choice experiment that took place during a major exhibition dedicated to the artist Costantino Nivola (1911–1988) in Sassari (Sardinia, Italy). His works are known worldwide and many of them were produced after he moved from Sardinia to the United States in 1939. As a result, both the American and the Sardinian culture show up in his works and, in particular, were clearly visible in the exhibition under study. The discrete choice experiments allowed us to elicit respondents' preferences towards the identity features stemming from Nivola's artefacts. The results confirm the importance of this component indicating that its presence almost doubles respondents' willingness-to-pay for the acquisition of these artefacts to a permanent collection. [ABSTRACT FROM AUTHOR]

Art biennials have proliferated around the world. These important events have been influencing the art market in different ways, since the first art biennial, held in Venice in 1895. This article aims to analyze and discuss the relationship between the São Paulo International Art Biennial, established in 1951, and the Brazilian art market. In this study three sources of information were used, with primary and secondary data. The first source was the Brazilian artworks exports data during the exhibition period of the São Paulo Art Biennial, as per the Ministry of Industry, Foreign Trade and Services of Brazil. The second source was a survey with the commercial staff of renowned Brazilian art galleries. The third source of information used in this paper was the systematic review of articles published in selected newspapers in USA and England about the São Paulo International Art Biennial between 2012 and 2019. The analysis of the gathered information led to the conclusion that, although the São Paulo International Art Biennial may not directly impact the Brazilian art market short-term sales, the event highlights and promotes Brazilian artists internationally, providing a solid base for the recognition of Brazilian art as good and innovative art, therefore being essential to the Brazilian art system and to the Brazilian art market. [ABSTRACT FROM AUTHOR]

The Terrain Guarding problem is a well-known variant of the famous Art Gallery problem. Only second to Art Gallery, it is the most well-studied visibility problem in Discrete and Computational Geometry, which has also attracted attention from the viewpoint of Parameterized complexity. In this paper, we focus on the parameterized complexity of Terrain Guarding (both discrete and continuous) with respect to two natural parameters. First we show that, when parameterized by the number r of reflex vertices in the input terrain, the problem has a polynomial kernel. We also show that, when parameterized by the number c of minima in the terrain, Discrete Orthogonal Terrain Guarding has an XP algorithm. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge 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.)

Although the contemporary art system has experienced relevant changes in Mainland China over the past decades, only recently it gained an international reputation. Within this context, art fairs played a strategic role in developing relationships with players of the global art world. The aim of this paper is to analyze this internationalization process by focusing on two dimensional measures: the composition of galleries attending art fairs and their network embeddedness. Using Social Network Analysis (SNA) to explore contemporary art fairs in Mainland China over the period 2007–2019, we show the transition from local to international hub, suggesting the importance of art fairs as a potential soft power vehicle. [ABSTRACT FROM AUTHOR]

The paper discusses in detail the cases of two different sorts of reproductions: the first, that of the Wedding at Cana, by Veronese. The original work is displayed in the Louvre, while a highquality replica is displayed in its stead in Venice. The second example is Bicycle Wheel, by Duchamp, the original of which is destroyed. Subsequently, many versions and appropriations of Bicycle Wheel have been fabricated, whose status is examined in this paper. The aesthetic properties of originals and reproductions are investigated in these two examples, with reference to the problems of authenticity and intertextuality. An intertextual approach to their significance is discussed, based on a series of different scenarios, and personal perceptual knowledge, for the observers of each work. [ABSTRACT FROM AUTHOR]

Adult education in art galleries sits on a fault line, at once an apparatus upholding the affirmative aspects of museum culture cultivated by global elites, a propellant in the whirring of an increasingly dislocated set of events on trendy and consumable political themes, and a site for 'allyship' and other kinds of radical and socially transformative work. Resurrecting Hannah Arendt's question, 'where are we when we think?' this paper explores how we might move from a moment in which the 'space' of the gallery is replaced by the 'time' of the event (Helguera) and towards embedded space-times that attempt to address contemporary urgencies through situated practices that collectively analyse and respond to conditions. Drawn from examples derived from the author's practice, the paper argues for the use of popular education and anti-colonial pedagogies in the production of adult education in galleries, suggesting that such processes support groups in collectively naming and thinking through conflicts to re-shape both the galleries in which they have congregated and the worlds beyond their doors. This paper suggests that the re-construction and use of the often forgotten genealogies of emancipatory education are pivotal to doing social justice work in galleries. [ABSTRACT FROM AUTHOR]

The focus of this paper and case study is the public art Depot Boijmans Van Beuningen, which will open in 2021 in Rotterdam. In our marketing campaign we present the Depot as the first fully public art storage facility in the world; but in fact, the development of opening up collections to the general public has been a focus for many institutions in the last decade. The concept of the Depot Boijmans Van Beuningen relates to different strategies for making the collection accessible, from visible storage and visitable storage, to the older concept of collection study rooms and the presentations we intend to make in the two public galleries within the depot, on the topics of collection care and collecting. With the opening of this building, we aim to reach a wider audience than the one that normally visits the museum, whom we will address as fellow collectors and owners of this public collection. While there are notable tensions between the public function of the building and the museum's primary vocation to preserve the collection for future generations, this new space also has the advantage of placing ignored artworks in the spotlight. The Depot Boijmans Van Beuningen represents a new typology in the museum field, in particular in the visual arts; however, there are more initiatives on the way, including the V&A East in London or the Centre Pompidou's new collection centre in the suburbs of Paris. A collection centre open to the public is not a feasible model for every museum, particularly because it is expensive and makes strong demands on organisations. In the future, we will face questions around unlimited collection growth and de-accessioning. Nonetheless, the Depot Boijmans Van Beuningen represents an effort to keep the depository active and more accessible. [ABSTRACT FROM AUTHOR]

Copyright of Journal for the Critique of Science, Imagination & New Anthropology / Časopis za Kritko Znanosti, Domišljijo in Novo Antropologijo is the property of Institute for the Critique of Science 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.)

The practise of Focusing with images was the key element of six workshops held for postgraduate research students at the University of East Anglia, UK. Participants were invited both to respond to extant images (including those from the university's art galleries) as well as to create their own images through working with paint and other art materials. Changes in this highly anxious group's ability to access and manage inner experiencing as a result of their participation in these workshops was recorded and assessed both qualitatively and quantitatively. Participants completed the Focusing Manner Scale (FMS) at the beginning and at the end of their participation in the workshops and improvement (p = 0.063) was seen in 6 out of 7 participants, indicating a shift in their ability to find ways of processing difficult experiencing. The FMS findings are supplemented by reconstructions of Focusing sessions based on field notes taken during the workshops. Images not only offer external representations of inner experiencing but also provide material for experience to be carried forward. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of the National Gallery in Prague / Bulletin Národní Galerie v Praze is the property of National Gallery in Prague 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.)

In this paper I focus on a case study concerning the Cristi Rusu exhibition, The Only Thing I Am Sure about in This Life Lies above My Head, from the Plan B Gallery in Berlin (March 6 - April 11 2020). By integrating some interventions specific to land art in the gallery space (and, therefore, transforming it), Cristi Rusu manages to transgress the conventional limits imposed by the idea of a white cube gallery neutral space. The art gallery's space functions as a medium for developing artistic discourse as the project tries to detach from the tradition and ideologies already incorporated in a certain place and time, in search for the sublime. [ABSTRACT FROM AUTHOR]

In her research about the museum ecosystem, Jung (2011) explored the links between art galleries and the wider society they aim to serve. However, this ecosystem theory did not delve into notions of power or authority within the museum institution. Whilst scholars have investigated the nature of museums as a source of power/knowledge, there is no similar in-depth analysis of the impact of this social power on curatorial practices. This special issue aims to shed light on the often overlooked but significant power dynamics taking place within the walls of the museum, with a focus on the British art institutional context. Through a series of case studies, the contributors investigate and deconstruct the relationship between curators and their institutions in a range of periods, art forms, circumstances and locations within the UK. Together, the articles offer a critical analysis of the strategies put in place by curators within their institutional structures, shaping their interactions with artists, colleagues, critics, connoisseurs, private collectors, commercial art galleries and public funders. The contributions move away from the opposition between an artistic centre and a periphery, to instead consider the constellation of practices making up the British curatorial scene and its intersection with a globalised art world. [ABSTRACT FROM AUTHOR]

This paper discusses two different types of crime that occur in art museums: the theft of art objects and the vandalism of works of art. This paper explores the extent to which theft may affect our memory of a given work of art (regardless of whether the object is ultimately recovered), as well as our experience of the museum (especially if efforts are subsequently undertaken to improve security, such as with the Munch Museum following the theft of the Scream). With respect to vandalism, this paper considers whether and how such acts subsequently affect the value we place on the assaulted items as cultural icons and the meaning of the paintings as art objects. This paper argues that how we regard such events should be determined not by their criminality, but by the individual's or individuals' intent and the effect of the acts on the meaning and memory of the works. [ABSTRACT FROM AUTHOR]

Qitang Experimental Field is a rural public art practice project in Qitang Town, Chongqing. Through the art practice of Qitang Experimental Field, the artistic works go out of the art gallery, into the field, and associate with Qitang in different creative ways, which reflects the experimental, sitespecific and participatory nature of the works. This paper summarizes the creation methods of rural public art, and expounds the creative experience of artists in rural public art from four aspects. [ABSTRACT FROM AUTHOR]

The aim of the paper is to investigate museum communication and establish to what extent museums are responding to the changing social context of the early 21st century. Museums have been traditionally perceived as authoritative and distant repositories of knowledge. Over the last few decades there has been a drive to make museum visits meaningful experiences for all peoples of different origins and backgrounds, including the development of websites, not only as a marketing strategy, but also as an important channel of knowledge dissemination. The data has been collected from the websites of four of the most important art galleries in Europe. Using a Critical Discourse Analysis approach and drawing on Blunden's work on museum communication (2017a, 2017b), the analysis will focus firstly on the webpages where the museum presents itself to the public and explains its principles, beliefs and objectives. It will then analyse what kind of information about the artefacts in the museums is given and especially how it is conveyed to the visitor. The findings reveal the different approaches adopted by the museums. [ABSTRACT FROM AUTHOR]

We consider two variants of the Art Gallery Problem: illuminating orthotrees with a minimum set of vertex lights, and covering orthotrees with a minimum set of vertex beacons. An orthotree P is a simply connected orthogonal polyhedron that is the union of a set S of cuboids glued face to face such that the graph whose vertices are the cuboids of S, two of which are adjacent if they share a common face, is a tree. A point p illuminates a point q ∈ P if the line segment ℓ joining them is contained in P. A beacon b is a point in P that pulls other points in P towards itself similarly to the way a magnet attracts ferrous particles. We say that a beacon bcoversp if when b starts pulling p, p does not get stuck at a point of P before it reaches b. This happens, for instance if p reaches a point p ′ such that there is an ϵ > 0 such that any point in P at distance at most ϵ from p ′ is farther away from p ′ than q (there is another pathological case that we will not detail in this abstract). In this paper we prove that any orthotree P with n vertices can be illuminated using at most ⌊ n / 8 ⌋ light sources placed at vertices of P, and that all of the points in P can always be covered with at most ⌊ n / 12 ⌋ vertex beacons. Both bounds are tight. [ABSTRACT FROM AUTHOR]