scholarly journals Om strandvandringer og annen unyttig eksersis

1970 ◽  
pp. 69
Author(s):  
Birthe Marie Løveid
Keyword(s):  
Fine Arts ◽  
Art Museum ◽  
Works Of Art ◽  
Museum Objects ◽  
The Status ◽  
Mixed Feelings ◽  
Flow Of Time ◽  
Store Room

About shore-walks and other idle amusements The author, who is a sculptor and the leader of the Academy of Fine Arts in Bergen, Norway, looks at the art museum with mixed feelings. The works of art which have attained the status of museum objects have been salvaged from the relentless flow of time. But, alas, many of them are doomed to the store-room or cellar. 

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

2020 ◽  
Author(s):  
Hariyanto .
Keyword(s):  
Social Media ◽  
Fine Arts ◽  
Art Museum ◽  
Art Museums ◽  
The Self ◽  
Work Of Art ◽  
Self Identity ◽  
Museum Visitors ◽  
Works Of Art

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

scholarly journals Design of Medan Fine Art Museum with the Application of Futuristic Architecture

2019 ◽  
Vol 3 (3) ◽  
pp. 324-333
Author(s):  
N. Vinky Rahman ◽  
Rahmah Y.A.
Keyword(s):  
Site Selection ◽  
Fine Arts ◽  
Fine Art ◽  
Art Museum ◽  
Concept Design ◽  
The Past ◽  
Works Of Art ◽  
The Future

The Futuristic architecture is a concept that illustrates the planning and development is not based on something related to the past, but try to describe the future. The futuristic architecture concept is applied to bring a new style to the building. The purpose is to eliminate the ancient impression on the building of the Fine Art Museum in Medan. The Medan Fine Arts Museum was designed as a recreation and education place to learn about fine art. Other than a place to store and preserve works of art, The Museum also provides a variety of facilities. The methodology of these projects starts with literature studies, site selection, site observation, and concept design. After carrying out these steps, the concept of space and the shape of the Museum building can be determined. Therefore, by designing this Medan Fine Art Museum with the application of Futuristic Architecture, it is hoped can increase the attractiveness of visitors and make an educative recreational place in Medan.

scholarly journals Collecting Pandemic Phenomena: Reflections on Rapid Response Collecting and the Art Museum

Collections ◽  
2021 ◽  
pp. 155019062098084
Author(s):  
Sandro Debono
Keyword(s):  
21St Century ◽  
Art Museum ◽  
Art Museums ◽  
Rapid Response ◽  
Early Years ◽  
Future Generations ◽  
Specific Context ◽  
Development Methodology ◽  
Works Of Art ◽  
Potential Use

Rapid Response Collecting has been a most apt methodology with which to document the COVID-19 pandemic for an increasing number of museums. As the phenomenon unfolded across the globe, museums searched for and head-hunted the truth-revealing objects that could tell the stories and histories of the present to current and future generations. Indeed, the COVID-19 pandemic took Rapid Response Collecting to a higher level. A methodology originally conceived for a sporadic phenomenon happening within a specific context during the early years of the 21st century gained much more traction almost overnight. This paper shall make a case for a better understanding of the potential use and application of Rapid Response Collecting by art museums. It shall look into the defining values of this collections development methodology and how these can be applied and adopted when acquiring works of art. In doing so, it shall seek to understand to what extent the mainstream version of Rapid Response Collecting can be adapted for the needs, purposes and requirements of the art museum.

Three Sculptured Stelai in the Possession of Lord Newton at Lyme Park

1903 ◽  
Vol 23 ◽  
pp. 356-359
Author(s):  
Eugénie Strong
Keyword(s):  
Fine Arts ◽  
Official Gazette ◽  
Works Of Art ◽  
Greek Art

The recent Exhibition of works of Greek art held at the Burlington Fine Arts Club—although necessarily limited to comparatively small objects—has been sufficient to prove that the traditional wealth of our English collections of classical antiquities still remains a fact. The Exhibition, moreover, has had its use in eliciting information as to works of art on a larger scale, hitherto unknown and unrecorded, that had escaped the vigilance of Waagen and of Conze, of Michaelis and of Furtwängler, and even of our English archaeologists. Thus it was that when the Exhibition was little more than planned I learnt from the well known sculptor, Countess Feodora Gleichen, that there existed at Lyme Park, Lord Newton's Cheshire seat, three fine sculptured Stelai from the best period of Attic art. I am grateful to the owner for granting me permission to publish these inedited works in this Journal, which ought indeed to be the official gazette of the English collections. I have unfortunately been unable to avail myself as yet of Lord Newton's further permission to study the originals. But as photographs of the Stelai are now extant, I have thought it wiser not to postpone the publication for fear that it might be anticipated elsewhere. The information kindly given me by Lord Newton himself has facilitated the discussion and interpretation of the Stelai which, for the rest, are perfectly straightforward examples of their class.

scholarly journals TRANSLATING TEXTS ON ART (ILLUSTRATED BY EXAMPLES FROM MUSEUM TEXTS IN RUSSIAN, ENGLISH AND FINNISH)

2020 ◽  
Vol 12 ◽  
pp. 135-141
Author(s):  
I. P. Ryabkova ◽  
A. A. Deryugina
Keyword(s):  
Linguistic Analysis ◽  
Art Museum ◽  
Small Arms ◽  
Visual Component ◽  
Works Of Art ◽  
Translation Analysis ◽  
Target Languages ◽  
International Visitors ◽  
Formal Business

The article studies the ways of rendering stylistic and lexical features of museum texts in the Russian, English and Finnish languages in translations. Research in the field of translation of museum texts seems important in view of the growing popularity of museums and the increased number of international visitors who have to refer to translated texts. The study uses the texts of Kiasma and the Helsinki Art Museum (HAM), Helsinki, as well as the texts of the Museum and Exhibition Complex of Small Arms named after M. T. Kalashnikov, Izhevsk. The source languages ​​(SL) of the analyzed texts were Russian and Finnish, the target languages ​​(TL) were Russian and English. The objective of this research was to study the peculiarities of translating museum texts. In the course of the study, a linguistic analysis of texts in the SL was carried out. It was found that museum texts feature a combination of different functional styles. In addition to publicist and scientific styles, museum texts can have some features of fiction, formal business and colloquial functional styles. The study showed a link between the type of the museum text or the nature of the museum and the functional style of the text. In the course of a comparative and translation analysis of texts in the SL and the TL, the main stylistic and lexical problems of translating museum texts were identified, and optimal translation solutions for conveying the stylistic and lexical features of museum texts were described. It was found that lexical translation problems were most often associated with idioms and the vocabulary lacking equivalents in the TL, as well as the dependence of texts on the visual component of works of art. Stylistic problems, in turn, were due to the need to preserve the functional and stylistic characteristics of the original.

Louis Pasteur's three artist compatriots—Henner, Pointelin, and Perraud: A story of friendship, science, and art in the 1870s and 1880s

2016 ◽  
Vol 25 (1) ◽  
pp. 18-27 ◽  
Author(s):  
Bert Hansen ◽  
Richard E Weisberg
Keyword(s):  
Social Life ◽  
Fine Arts ◽  
Medical Science ◽  
Working Relationship ◽  
Research Project ◽  
Science And Art ◽  
Work Habits ◽  
Works Of Art ◽  
The Creation ◽  
Home Region

Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the second in a series of the authors' studies of Pasteur's friendships with artists. This research project has uncovered data that enlarge the great medical chemist's biography, throwing new light on a variety of topics including his work habits, his social life, his artistic sensibilities, his efforts to lobby on behalf of his artist friends, his relationships to their patrons and to his own patrons, and his use of works of art to foster his reputation as a leader in French medical science. In a prior article, the authors examined his unique working relationship with the Finnish painter Albert Edelfelt and the creation of the famous portrait of Pasteur in his laboratory in the mid-1880s. The present study documents his especially warm friendship with three French artists who came from Pasteur's home region, the Jura, or from neighboring Alsace. A forthcoming study gives an account of his friendships with Max Claudet and Paul Dubois, both of whom made important images of Pasteur, and it offers further illustrations of his devotion to the fine arts.

Aesthetic Dynamics, Inc. Presents: Afro-American Images 1971

2019 ◽  
Vol 8 (2) ◽  
pp. 184-204
Author(s):  
Margaret Winslow
Keyword(s):  
Local Community ◽  
National Guard ◽  
Art Museum ◽  
Works Of Art ◽  
Archival Record

Abstract In February 1971, the artist collective Aesthetic Dynamics, Inc. presented its first major undertaking: an exhibition of over 130 works of art by 66 artists. Organized as a memorial to the late James A. Porter, Afro-American Images 1971 was presented at the National Guard Armory in Wilmington, Delaware. Many of the artists who participated in the show were well-established nationally; however, the location and inclusion of many artists known only to the local community resulted in the marginalization of this significant exhibition. In 2021, the Delaware Art Museum will restage the exhibition as a collaborative curatorial partnership with past and currents members of Aesthetic Dynamics, Inc. in an effort to counter this historical amnesia. Restaging as a curatorial methodology is a constructive means through which to aid in the recovery of the 1971 project, its archival record and its significance locally and nationally.

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