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The following section offers a selection of reproductions from Warren Sonbert's paper archive, now housed at Harvard University (https://harvardfilmarchive.org/collections/warren-sonbert-film-collection), as well as other digital sources. This archival material underscores the extensive exhibition of Sonbert's films during the first decade of the New American Cinema.GraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraphGraph [Extracted from the article]

In the eighteenth century, paper theatres were presented in special boxes on fairs. This technical note describes three ways to present these small decorative art objects in exhibitions: mounting the paper theatres in a box of museum board, between acrylic glass rods or in a frame. [ABSTRACT FROM AUTHOR]

For the 2006 installation of the permanent exhibition at the German Historical Museum Berlin 2600 paper objects, 330 posters and 1070 books were prepared for display within only three months. Paper objects were framed or installed in showcases lying horizontally, on slopes or vertically using customized mounts to secure them. The mounting technique developed for single sheet objects could be prepared ahead of time and allowed save handling during installation. Mounting materials include museum cardboard, corrugated cardboard with integrated hanging hardware, Japanese paper hinges, photo corners and staples. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition “ Paper Brains” by Andreas Vesalius at the University of Amsterdam.

Copyright of Arxiu d'Etnografia de Catalunya is the property of Universitat Rovira I Virgili 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 1925, architect Georg Eliassen took the initiative to establish a collection of drawings, photography and scale models in response to an increasing frustration among Norwegian architect of not being able to participate in international architectural exhibitions. The so-called Permanent Collection was founded on a principle of absolute contemporaneity, making de-acquisition as important as acquisition in the management of the collection. Nevertheless, the collection kept increasing. By the mid 1930s it included hundreds of models and innumerable drawings and photos and was seen as nucleus of an entire museum of Norwegian architecture. This ambition failed, and the material that had been so intensively displayed in Kiel, Budapest, Helsinki, Berlin, Prague, and Paris, before making its last appearance at the World’s Fair in New York in 1939, was buried in storage, dispersed, or destroyed. Based on extensive archival research, this article chronicles a forgotten collection, framing it within a modernist culture of collecting and exhibiting architecture. In November and December 2013, Mari Lending and Mari Hvattum salvaged parts of the Permanent Collection in the exhibition “Model as Ruin” at Kunstnernes Hus (House of Artists) in Oslo, the venue that hosted the most important display of the collection in 1931.

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica 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 book is dense with Susan Andrews's photographs of the exhibition, the visitors, and the post-exhibition journey of the objects. As befits its open-endedness Daniels does not draw one final conclusion as to whether the exhibition was successful or not in transforming the stereotypes that visitors had of Japanese domesticity. i challenges perceptions of contemporary exhibitions by a reversal of power from the curator to the visitor, thus looking at what exhibitions could be - "technologies of the imagination.". [Extracted from the article]

Methodologically connecting the experience- and interpretation-based aesthetic approach to popular culture (Juraj Malíček) and the pragmatist aesthetics (Richard Shusterman) on one hand and the views of what is called arch-textual thematology (Mariana Čechová) on the other, the paper seeks to observe the ties between arch-texts, in particular the final book of the New Testament — the Book of Revelation, and ‘pop-texts,’ i.e. such popcultural works of art (films, TV series, literary texts, comics etc.), within the frame of which the end of the world images appear in one way or another and which can be labelled with the agnomen ‘pop.’ Various appearances of a reanimation of the apocalypse-theme in various (popcultural) works of art become in the paper, an example-based exposition of the topic, referentially object of interest — from catastrophic films directed by Roland Emmerich and the post-apocalyptic comic book series Y: The Last Man written by Brian K. Vaughan to TV series like, for instance, Ragnarok (from 2020) and literary works like the pre-apocalyptic novel trilogy written by Ben H. Winters or other iconic genre fiction (for example, Cormac McCarthy’s post-apocalyptic novel The Road). [ABSTRACT FROM AUTHOR]

This article is partly concerned with defining the history of history exhibitions in Australia as a field of enquiry. Its specific departure point is the notion that the use of archival documents within exhibitions repays historical examination. I discuss how documents have been selected for and used in exhibitions at the Australian War Memorial between 1922 and 1954. The Memorial’s collections began with the acquisition of archival records, and from the beginning, archives were fundamental to of the development of the institution and the exhibitions in it. I argue that documents were used to legitimise the historical interpretation the Memorial offered in its exhibitions. I also contend that words on paper had a power of their own to evoke visitors’ imaginings and memories.

"Entre Líneas: una historia de Colombia en mapas" is a book that explores the cartographic history of Colombia and how the image of its territory became a national icon. The book is divided into five chronological sections, each covering a century, and examines the different maps that shaped Colombia's territorial configuration. The authors analyze the maps not only as descriptions but as deliberate actions that impose a past, present, and possible futures. The book also delves into the diverse geography of Colombia and the various cultures and groups that have influenced its maps. Overall, "Entre Líneas" offers a comprehensive and nuanced understanding of Colombia's history through the lens of cartography. [Extracted from the article]

Musee Royal de l'Afrique Centrale Tervuren, Belgium November 24, 2000-June 24, 2001 The fame of the Muse Royal de l'Afrique Centrale resides in its vast holdings of approximately 160,000 objects [...]

The article presents the plenary speeches delivered during several conferences in 2008. It cites the 42nd Annual Teaching English to Speakers of Other Languages (TESOL) Convention and Exhibit that was held on April 2-5 in New York which speeches' titles include "Correctness and Correction," "Creating Independent Language Learners" and "Worlds of Practice: In Search of Community." It notes the 42nd Annual International Association of Teachers of English as a Foreign Language (IATEFL) Conference and Exhibition from April 7-11 in Great Britain which discussed several topics including "Changing Global English Language Teaching (ELT) Practices" and "Motivation and the Vision of Knowing a Second Language."

The article highlights the Panama-Pacific International Exposition which was held in San Francisco, California in 1915. The record-breaking attendance of more than 18 million visitors made for a revenue-generating enterprise that accelerated the recovery of San Francisco from fire and earthquake of 1906. There were three lantern slides from a collection of eighty-nine slides taken during the exposition. The images showed artists at work and crowds viewing the "Nations of the East." The decorative effects of the lighting scheme at the exposition were wonderful that a number of postcards were made showing the view of the whole fairground.

'Vincent van Gogh: The drawings' argues that although it is the paintings that shape our image of his oeuvre, the artist's works on paper are highly important. A high proportion [...]

The article offers information on a special issue of Brontë Studies that focuses on the Brontës and material culture, inspired by the exhibition "Defying Expectations: Inside Charlotte Brontë's Wardrobe." It invites articles that explore various aspects of material culture related to the Brontës, including women as consumers, the Victorian home, archiving, representation of objects in literature, and items owned by the Brontës.

During the final decade of his long career, Matisse set the seal on his life's work through a radically new art form: the paper cut-outs. In response to a suggestion [...]

Copyright of Southern Medical Journal is the property of Lippincott Williams & Wilkins 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. [Extracted from the article]

Reports on the 2005 Paper Expo exhibit in Milwaukee, Wisconsin. Objectives of the exhibit; Educational activities and events; Content areas addressed by the Practical Papermaking Conference.

A brief overview of the field of Interaction Design is provided in order to contextualise the Create10 conference. The conference was held at Edinburgh Napier University in June/July 2010 and attracted over 120 delegates. The papers that comprise this special section in Digital Creativity reflect aspects of the debates that took place both within the main conference and in the work exhibited at the Student Design Exhibition. The papers by Fallman and Stolterman, and Edmonds explore the need for, and possible sources of, theoretical underpinnings in Interaction Design. While the work presented firstly by Kettley, Downes, Harrigan and Glazzard and secondly by Speed emphasise the importance of 'learning through doing' as a means of better understanding the process of design and the nature of user engagement. [ABSTRACT FROM AUTHOR]

FEATURE, INC. An exquisite show: nineteen small, untitled paintings on paper by anonymous artists in the Indian state of Rajasthan, created between 1989 and 1999. Yet these works are much [...]

'Angelo Ippolito: A Selection of Paintings and Works on Paper' at the New York Studio School. November 29, 1999-January 8, 2000 The exhibition pamphlet for 'Angelo Ippolito: A Selection of [...]

The article reviews the exhibition "Light, Paper, Process: Reinventing Photography," featuring works of Alison Rossiter, Ansel Adams, Matthew Brandt and other members of Group f/64 at the Getty Center in Los Angeles, California from April 14-September 6, 2015.

Malcolm Daniel, curator in charge in the Department of Photographs at the Metropolitan, explains how a single great acquisition has spectacularly transformed the museum's holding of early photography. After nearly [...]