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Windows Into Art was a month-long exhibit, held in June 2010, that placed paintings, works on paper, textile art, sculpture, video, and installations in the windows of vacant buildings in downtown Vancouver, WA. Co-curated by Karen Madsen and Dene Grigar, it was envisioned as an "alternative means of viewing art" that "turned the street into a museum and connected people with art." The show was also seen as a way to utilize art as a means for uplifting the spirit of a community where the number of vacant windows and storefronts was a growing concern to the city's public image. While such an approach to site-specific, civic art is not new, the show did break new ground with its use of technology: It utilized QR Codes to provide viewers with more information about the paintings, sculpture, installations, and the buildings in which the art was featured and to create an intermedial experience that connected analog art to the digital realm. Much has been written about technologies that make interacting with real world objects possible and tagging objects in ways that they can be found digitally. What interests this paper, instead, is the idea of intermediality--that is, the concept that digital and analog can come together so seamlessly that they create a new experience that is both real and virtual, augmented and extended. These are experiences that place viewers in two worlds simultaneously, offering all of the affordances available from both, thus making it possible to appreciate art in new ways. [ABSTRACT FROM AUTHOR]

This section features the portrait paintings created by the author, artist Eugene Palmer, for his 2018 art exhibition "Didn't It Rain," that was presented at the James Hockey Gallery of the University of the Creative Arts in Farnham, England. Topics discussed include the capability of painting to address issues concerning cultural identity, the representation of the Black subjects of his paintings, and the narrative that said paintings intend to convey to the audience.

The Field, in 1968, was the first exhibition held at the new National Gallery of Victoria. The exhibition made a bold modernist statement: seventy-four abstract paintings and sculptures by forty young Australian contemporary artists.The Fieldwas a controversial undertaking because it was clearly derived from contemporary New York avant-garde styles. This paper considersThe Field's impact and legacy based on the numerous exhibitions it has subsequently inspired. It focuses onThe Field's efforts to align Australian art with the international modernist tradition and argues that the exhibition established a new role and identity for the art institution in Australia. The modernist values introduced byThe Fieldhad a considerable impact on the Australian art world, far greater than the avant-garde style for which the exhibition is known. [ABSTRACT FROM PUBLISHER]

The article reviews exhibition "Written by Water" which represents the best of the 58th International Art Exhibition in Venice known as Venice Biennale which features a vast and diverse display of paintings, sculptures, video installations, and performance pieces from around the world.

The article informs on the art of Okayama. It mentions the prefecture is famous for its tradition of making Japanese katana swords in Osafune City Some swords from the Osafune Sword Museum will be exhibited in Kraków in November 2019. It also mentions about exhibitions such as painting and sculpture.

The article reviews the exhibition "The Milk of Dreams," featuring works of artists including paintings and drawings by Christina Quarles, sculptures by Katharina Fritsch, and sculpture installation by Andra Ursuta, as part of the Venice Biennale in Venice, Italy.

The article offers the author's insights on her "Illumination" art exhibition that was held at a synagogue in Kehillat Yedidya, Jerusalem. Topics mentioned include the art in textile medium, the work since 1983 on an assemblage and collage, and the list of her paintings including "Light of Prophecy," "First Light," and "Light of Dreams."

In the cold Stockholm winter of 1968, Moderna Museet presented the first major one-person exhibition of Andy Warhol (1928-1987) outside the USA. Showcasing Warhol's screen-printed Flower and Electric Chair paintings, and Marilyn prints, film screenings of Chelsea Girls (1966) and a mountain of 500 Brillo boxes, the exhibition received intense attention. The exterior of the museum building, ornamented with repetitive patterns of the artist's Cow Wallpaper, evoked the show's fundamental rhetoric and translation of Warhol's work. A selection of statements by Warhol, in both English and translated into Swedish, was printed in the first fourteen pages of the exhibition catalogue, as the publication's only text. The catalogue, brilliantly designed, featuring a graphic version of Warhol Flower paintings on the cover repeated in four rows of three, contained black-and-white photos of Warhol and his associates, and was (and still is) considered by many to be an art object in itself. The exhibition still echoes in the art world as much as it has been a part of the narrative of Pop art's soft power invasion of Europe, with its blunt presentation of Pop art imagery and underground culture. It has been argued that the Warhol show flopped in Sweden due to a politicised climate which created a lack of space for a 'more complex view on Warhol's relation to consumption'.1 John- Peter Nilsson has discussed the Warhol show in relation to the politically loaded atmosphere of Spring 1968, rightly suggesting that it was understood within this context.2 This essay, drawing upon the conceptualization of translation connected to ideas of cultural transfer, continues along this line and suggests further that [ABSTRACT FROM AUTHOR]

Descriptively capturing what one wants to say requires an attentive, refined focus. The complex act of selecting specifics (what to include, what to omit) when creating or when rendering an interpretation was conspicuously displayed in an exhibition featuring the appropriated works of the painting Las Meninas. This paper references the exhibition Olvidando a Velázquez (Forgetting Velázquez). Las Meninas, to discuss searching for specifics as it applies to the visual arts and aesthetic education. [ABSTRACT FROM AUTHOR]

Virtual reality (VR) technology has been employed in a wide range of fields, from entertainment to medicine and engineering. Advances in VR also provide new opportunities in art exhibitions. This study discusses the experience of art appreciation through desktop virtual reality (Desktop VR) or head-mounted display virtual reality (HMD VR) and compares it with appreciating a physical painting. Seventy-eight university students participated in the study. According to the findings of this study, painting evaluation and the emotions expressed during the appreciation show no significant difference under these three conditions, indicating that the participants believe that paintings, regardless of whether they are viewed through VR, are similar. Owing to the limitation of the operation, the participants considered HMD VR to be a tool that hinders free appreciation of paintings. In addition, attention should be paid to the proper projected size of words and paintings for better reading and viewing. The above indicates that through digital technology, we can shorten the gap between a virtual painting and a physical one; however, we must still improve the design of object size and the interaction in the VR context so that a virtual exhibition can be as impressive as a physical one. [ABSTRACT FROM AUTHOR]

By 1930, the British public took a stronger interest in early Chinese art than in works produced in the pre-modern and modern periods. However, China's cultural diplomacy in Britain during war-time, as well as the interactions between collectors, scholars and artists of both countries, helped refresh Occidental understanding of the tradition and recent achievements of Chinese art. This article examines the ways in which modern Chinese painting was perceived, collected and displayed in Britain from 1930 to 1980 – the formative period for the collecting and connoisseurship of modern Chinese art in the West. It analyses exhibitions of twentieth-century Chinese painting held in museums and galleries in order to map trends and identify the major parties who introduced the British public to a new aspect of Chinese pictorial art. It also discusses prominent Chinese painters' connections with British curators, scholars and dealers, who helped establish their reputation in Britain. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Death in America" at Galerie Sonnabend in Paris, France in 1964.

The article reviews the black and white portrait painting exhibition by Jason Brooks at the Entwistle Gallery in London, England from November 28, 1997 to January 17, 1998.

The article reviews the exhibition "Kaleidoscope: Colour and Sequence in 1960s British Abstract Art" at Longside Gallery, Yorkshire Sculpture Park in England from April 1 to June 16, 2017, featuring sculptures and paintings.

The article reviews an exhibition of prints at the Juniata College Museum of Art in Pennsylvania dedicated to the colonies in the south seas.

In the article, the author discusses the re-performance of exhibitions, plays and other art forms. He presents several works that are re-issued like the painting exhibition "Romans in the Decadence of the Empire," by Thomas Couture and Vito Acconci's "Seedbed." He also cites the exhibition "Feeling What No Longer" at the A.I.R. Gallery in Brooklyn, New York in April 2010, which features seven artists including Eleanor Antin, Elaine Angelopoulos and Kata Mejía.

The article reviews the exhibition "Seven Histories of Australia," which was held at the Australian Centre for Photography in Melbourne, Victoria, from September 22-October 29, 1995.