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1. Inside and Outside the Body Politic: Fortress Australia, Europe, and Spain.

2. Sound in sight: audio and sound-focused art exhibitions in New York between 1978 and 1984.

3. The legacy of loss: a contemporary take on the Bengal partition of 1947 through the lens of art.

4. Writing Time: The Shufa of Fung Ming Chip.

5. Folding Paper: The Infinite Possibilities of Origami Touring Exhibition, 2012–2016.

7. RRRIPP!! Paper Fashion.

8. Pending recognition of media art: a case study of themes in media art festivals 2006–2021.

9. An Era in Jinling: Game Interactive Heritage Digital Art Exhibition.

10. Mineral Art with a Quartz Theme.

11. Crafting arts-based stories of exile, resistance and trauma among Chileans in the UK.

12. Power and devotion in the art of the Catholic missions in Asia during the Early Modern period.

13. The Politics of Taking No Position: Jay Chung and Q Takeki Maeda.

14. About the Artist: Tom Wudl.

15. The recontextualization of art exhibition text panels for children: a comparative analysis of the semiotic resources in audience-sensitive texts.

16. Pictures for Schools: visual education in the classroom and the art gallery.

18. Art and archives in the gallery: the archivist's perspective.

19. Letting Our Light Shine: The Value of Exhibiting Art in Archival Collections.

20. Rock & Mineral Artist Abigail Kramer (b. 1990).

21. Our Restless Hearts.

22. The Real Faces of the Royal Borough: from academic research to art exhibition.

23. When Children with Disabilities "Meet" Artists with Disabilities in a Museum: A Platform for Creativity and Cultural Dialogue.

24. Shooting the Picture: Press Photography in Australia: By Fay Anderson and Sally Young with Nikki Henningham. Melbourne: Melbourne University Publishing/The Miegunyah Press, 2016. Pp. 359. A$45.99 paper.

25. Looking to Read: How Visitors Use Exhibit Labels in the Art Museum.

26. Mineral Artist Tama Higuchi (b. 1999).

27. Uses of the archive in exhibition practices of contemporary art institutions.

28. Lynda Benglis's Materials.

29. Curation, conservation, and the artist in Silent Explosion: Ivor Davies and Destruction in Art.

30. Interwoven: A Resting Place for Collective Grief.

31. Micro-mobilities in curated spaces: agency, autonomy and dwelling in visitor experiences of augmented reality in arts and heritage.

32. Local contexts as activation mechanisms of market development: contemporary art in emerging markets.

33. Interpretation design in art exhibitions: review of literature and design of a practice cycle.

34. Microorganisms on Stage: Winogradsky columns as performative displays in art and science.

35. Showing-knowing: the exhibition, the student, and the higher education art institution.

36. Using Visual Art Workshops with Female Survivors of Domestic Violence in Portugal and England: A Comparative Reflection.

37. Choosing pictures at an exhibition: do identity values influence the willingness to pay for art?

38. The Diputación de la Grandeza and the organization of 'Retrospective Art Exhibitions' in the second half of the nineteenth century.

39. Integrating East Africa Through Arts and Culture: A Report of the EASTAFAB Tours and Exhibitions.

40. Affect and trauma in museums: an interpretive framework for understanding the real thing and its political potential.

41. Yoonmi Nam: Still.

42. OPTIMUM ACCESS AT MINIMUM RISK: THE DILEMMA OF DISPLAYING JAPANESE WOODBLOCK PRINTS.

43. The social context of death, dying and disposal.

44. "Autophagic landscapes: on the paradox of survival through self-degradation" – a science-inspired exhibition.

45. The Audience and Artist Interactivity in Augmented Reality Art: The Solo Exhibition on the Flame Series.

46. Mediating Museum Display and Technology: A Case Study of an International Exhibition Incorporating QR Codes.

47. Curating the Caribbean: unsettling the boundaries of art and artefact.

48. Art as Communication: Small Diplomacy and The Formation of The Grey Collection.

49. Kimchi and Other Others: kate-hers RHEE's food performance in contemporary Berlin.

50. The challenges of maintaining local identity in international biennale exhibitions: lessons from the third AiM arts in Marrakesh Biennale.