Am 30. Oktober diesen Jahres wurde die Ausstellung „Geschichte der Technikhistoriographie. Von der Artefaktbeschreibung zur sozialen Konstruktion von Technik“ in der Bereichsbibliothek Dre•Punct der SLUB eröffnet.

Der große europäische Barockdichter, Reiseschriftsteller und Arzt Paul Fleming (1609 – 1640), geboren in Hartenstein bei Chemnitz, wurde im Oktober dieses Jahres vor 400 Jahren geboren. Neben seiner Dichtung wurde Fleming durch die literarische Auseinandersetzung mit den Kulturen jener Gebiete bekannt, die er auf einer mehrjährigen Gesandtschaftsreise kennen lernte: Russland, die Länder des Baltikums, des Kaukasus und des Kaspischen Meeres und schließlich Persien. Seine Werke wurden unter anderen von Johann Sebastian Bach vertonte. David Pohle, der fürstliche Kapellmeister in den sächsischen Sekundogeniturfürstentümern, vertonte Oden des mit 30 Jahren frühvollendeten Fleming. Er war neben Martin Opitz der bedeutendste deutschsprachige Dichter des 17. Jahrhunderts. Den 400. Geburtstag nimmt die Stadtbibliothek Chemnitz zum Anlass, die Bedeutung Paul Flemings mit einer Ausstellung und Festveranstaltung zu würdigen.

Thesis (M.A.)--Queen's University, 2001. / Includes bibliographical references. Also available in electronic format.

The focus of this research study is on major art works produced during the nineteen-nineties by the Romanian collective subREAL, composed of Calin Dan and Josif Kiraly. The thesis is an alternative to the literal-minded and politically biased Western view typified in two major exhibitions of art from Eastern Europe: Beyond Belief: Contemporary Art from East Central Europe (Chicago, 1995) and After the Wall: Art and Culture in Post-Communist Europe (Sweden, 1999). Both exhibitions presented Post-Communist nations as a monolithic bloc, in which art was primarily a passive reflection of political and social events. It will be demonstrated that such exhibitions had consciously promoted this polarizing Western interpretation of the former socialist cultures of Eastern Europe. By contrast, the argument presented here is that subREAL did not merely transmit information and facts from remote lands, but rather explored satire as the way to engage the world around them.

Rethinking the monumental suggests not only a reconsideration of Judy Chicago’s controversial installation The Dinner Party (1979)-- as displayed in the group feminist art exhibition, Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History --but also refers to an unfixing of the monumental position of power afforded the museum and a re-invigoration of the debate in feminist visual art regarding the use of the female body. I use the Sexual Politics exhibition, curated by Amelia Jones for the University of California at Los Angeles Armand Hammer Museum and Cultural Center (1996) as an indicator of the museum as feminist space. Sexual Politics’ controversial reception by both the feminist community and mainstream critics provokes discussion for how the exhibition’s contradictions are part of the exhibition’s success. I uncover that the museum has always been an important factor in the validity of The Dinner Party. Nevertheless, neither the curator nor critic (exemplified by the Christopher Knight’s 1996 review) of Sexual Politics goes far enough to exploit the museum factor as part of their re-readings of The Dinner Party . I note that the exhibition backdrop, the contemporary art museum, is experiencing a crisis in representation in regards to its audience. Guiding institutional models originally identified by Duncan Cameron (1971) in essay Museum: Temple or Forum? prove suspect as the museum embarks toward a more self-reflexive sense of power in the postmodern museum. Janet Wolff’s essay Reinstating Corporeality serves as a point of departure from which to explore the action of museum exhibition as the site suitable for corporeal reinstatement for feminism. Exhibition elements of artwork, audience and environment act as partners in a metaphoric postmodern dance. This view supposes foreclosure on the debate of essentialism in regards to the corporeal in the feminist visual arts through themes and criticisms associated with The Dinner Party. Jones sets out in her exhibition to contribute to the historicization of feminist art. This thesis looks at that initiative and suggests the museum exhibition, as the medium for this historicization, is an integral element to the success of the process.

Compared to the early days of China’s New Documentary Movement in the 1990s, Chinese independent documentary in the past decade has become more diverse in topic and style, thanks to technologies such as digital video cameras and the internet. Independent documentaries capture a fast-changing China in progress, and have thus drawn scholarly attention from cultural or social studies perspectives. However, industrial development in the past decade has often been neglected in favor of textual analysis of films. Since the marketization of independent documentaries in the 1990s was mainly through international film festivals, and a domestic industry has been lacking, it is easy to assume that Chinese independent documentarians today still have to follow the same path as their counterparts in the 1990s. However, my research on the Chinese independent documentary scene in Beijing in 2009 showed me a picture of a burgeoning domestic industry for independent documentaries, with a handful of newly emerged multi-functional independent film organizations practicing production, distribution and exhibition. Since a real industry has not yet formed, I use “ecosystem” instead of “industry” in the context of Chinese independent documentary. This study compares three representative organizations which are different from each other in nature and emphases, from their birth and evolution to their work and strategies. I argue that these organizations have created new possibilities and opportunities for today’s Chinese independent documentaries, through their different strategies in balancing themselves in a three-legged system of the global, national and local forces and resources. / text

No description available.

Vaikų kuriamas menas vis dažniau sulaukia visuomenės dėmesio. Ne taip seniai į vaikų piešinius žiūrėta kaip į nereikšmingus, netobulus pirmuosius kūrybinius bandymus. Tačiau ilgamečių tyrimų dėka ir žymiems dailininkams ( P.Picasso, P.Klee, V. Kandinsky ir kt.) ėmus imituoti vaikiškų įvaizdžių paprastumą ir vaikiškus gebėjimus, į vaikų vaizdinę raišką imta žiūrėti jau kitu žvilgsniu. Kilus susidomėjimui vaikų dailės kūriniais ėmė rastis vaikų meną propaguojančios ir vaikų meninę veiklą skatinančios įstaigos – vaikų meno galerijos. Šiuo metu Lietuvoje veikia trys: Druskininkų vaikų dailės galerija, Vilniaus vaikų ir jaunimo meno galerija ir M.K.Čiurlionio menų gimnazijos galerija „Mūza��. Jose vaikų meno eksponavimui yra skiriamas pagrindinis dėmesys. Šio darbo tyrimo tikslas yra nustatyti vaikų dailės kūrinių eksponavimo įtaką vaiko meninei veiklai. O tyrimo objektas yra vaikų dailės kūrinių eksponavimas kaip meninę veiklą skatinantis veiksnys. Tikslui pasiekti buvo suformuluoti šie tyrimo uždaviniai: 1. Išanalizuoti ir apibendrinti literatūrą nagrinėjama tema. 2. Atskleisti vaikų meno tyrinėjimų kryptis ir tendencijas bei pagal tai aptarti vaikų vizualinės raiškos ypatumus. 3. Išanalizuoti kaip kuriamos meno kūrinių ekspozicijos šiuolaikiniuose dailės muziejuose ir apibūdinti vaikų meno eksponavimo specifiką. 4. Ištirti Lietuvos vaikų meno ekspozicijoms skirtų galerijų veiklą: pristatyti vaikų meno galerijų veiklos pobūdį, išanalizuoti jų tikslus, veiklos gaires ir... [toliau žr. visą tekstą] / Art of children becomes more and more interesting to our society. Not so long ago about children drawings were thought just as an irrelevant and unhandy creative try. But during long lasting scientific researches and famous artists (such as P.Klee, P.Picasso, V.Kandinsky and others) trying to imitate children drawing images that view had changed. At that time started activity such institutions in which art of children and artistic activity are propagated and stimulated. Now in Lithuania there are three children‘s art galleries – Children art gallery in Druskininkai, Vilnius art gallery for Children and Youth and „Muse“ (art gallery in M.K.Čiurlionis school of arts). The purpose of the research is to ascertain how children art exhibition is influencing their artistic activity. The object of this work is children art exhibition as an artistic activity stimulating factor. To reach the purpose were formulate such tasks: 1. To analyze and summarize the literature on that topic; 2. To educe the tendencies of the researches on children art and to consider children art singularity; 3. To analyze how exhibitions are made in modern art museums and to characterize the particularity of children art; 4. To explore the activity of Lithuanian children art galleries. After research were made hypothesis, that children art exhibition is influencing their artistic activity, were certified. To ascertain the influence of children art exhibition to their artistic activity were used analysis of... [to full text]

This study examines the impact of new museological theory on museum education practice at the Vancouver Art Gallery in relation to a re-installation of Emily Carr's work. It is a case study that concerns both the negotiation of meanings around Emily Carr's work as they are situated within current and traditional art historical/ historical beliefs, and the desire to offer museum visitors a more sufficient or comprehensive educational experience. The dissertation examines the installation of Carr in a variety of galleries across Canada (National Gallery, Art Gallery of Ontario, Art Gallery of Greater Victoria, Vancouver Art Gallery) as a means of contextualizing a range of problems associated with museum practice. The National Gallery chapter explores issues of ideology raised by the new museology. The chapter concerning the display at the Art Gallery of Greater Victoria concerns the particularities of site and place (Victoria was Carr's birthplace) as well as notions of resonance and contextualization in art displays. The discussion of the Art Gallery of Ontario concerns contextualization of a different sort, the display created with a solid foundation in educational literature. A temporary exhibition of Carr's work juxtaposed with that of Lawrence Paul Yuxweluptun in Vancouver offers an entry point into a discussion of subjectivity and curatorial epistemic authority, while the resulting re-installation of Carr at the Vancouver Art Gallery (the case) is explored as one possible approach to issues raised in the earlier chapters, by the challenges of post-modem theorists to historical understanding, historiography, and museum practice.

This thesis explores changing perceptions, theory, structure and policy within art exhibit and collection catalogues of First Peoples' objects from the Pacific Northwest Coast. This work looks at emerging viewpoints on material culture and its display over forty years as they present themselves in catalogue entries, textual content and labeling of Native groups and individuals. Early concepts based on salvage anthropology such as Native cultural demise and the degeneration of remaining people weakened as scholarship changed from a predominantly anthropological understanding of the objects to an aesthetic understanding based in art history. Political actions by Native groups have demanded policy changes within Canadian museum structure that includes the Native voice in curatorial decisions and textual discussions on both old and new objects. These very policy changes bring with them increased responsibility for the museum as well as new challenges of representation of the objects and their makers. The theme explored in this thesis is the changing role and responsibility of academia in the representation of the Other.