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The "Anticipatory Heritage" salons, organized by the Fellows of the American Folklore Society, considered how the heritage of the present can be employed proactively to create more just and humane futures. Participants discussed approaches for re-animating and revitalizing traditions through incorporating them integrally within community life. They include repatriation and training in archival and collecting practices that empower communities. While folklore has emphasized safeguarding traditions transmitted over generations, anticipatory heritage contends that looking to the future is also needed to advance social justice, heal through remembrance, and generate greater community cultural self-determination. As was the case for participants in all of the salons, these discussions stressed the importance of a critical approach toward heritage, including interrogating who controls heritage-making and, at times, questioned the term "heritage" itself. [ABSTRACT FROM AUTHOR]

The "Sustainabilities" salons, organized by the Fellows of the American Folklore Society, drew together folklorists from the United States, Europe, and Asia, who were interested in frameworks for the study and stewardship of culture at the nexus of economy, ecology, nature, and the multi-species ethnographic and ontological turn. Conversations highlighted the continuing friction between public environmental policies grounded in Western instrumental, anthropocentric attitudes toward nature, and deeply relational values espoused by Indigenous and environmental justice communities, and by the growing numbers of climate refugees and host communities—urban and rural—with whom folklorists and heritage scholars are increasingly engaged. Exploring what is most needed from folklorists in a time of global environmental instability, participants identified ways to build on solid foundations developed over decades of public folklore's place-based community engagement. [ABSTRACT FROM AUTHOR]

The article discusses the relationship between music and symbolist art by examining how music was presented in symbolist salons in France and Belgium like the Salons de la Rose+Croix (R+C) and the Salons d'Art Idealiste.

This article examines the extent to which photographic modernism was embraced by the Irish amateur scene in the 1920s and 1930s. In particular, it looks at the annual photographic salons which were held in Dublin during the period, and considers the relationship between modernist techniques and the more painterly style known as "pictorialism". The debates and tensions relating to these opposing styles of photography, as played out in the contemporary press, will be analysed. Particular attention is paid to The Camera, a Dublin magazine aimed at the amateur market. The article will also examine how technological advances impacted upon Irish photographic practice, and how class was an important factor in determining who participated in amateur photography. The article finishes with a consideration of the "Irishness" of Irish photography in the decades after Partition. [ABSTRACT FROM AUTHOR]

The article offers information on Spanish sculptor Miguel Blay y Fábrega, discussing Spanish sculpture between 1880-1914 and the Salon culture in Paris, France. Topics discussed include the art exhibitions hosted in Paris, France in the 19th century; the study of several migrant sculptors in Paris at the Real Academia de Bellas Artes de San Fernando in Madrid, Spain; and the Société des artistes français (SAF), an organization created by artists in France.

The author discusses the attribution of 18th century French paintings that appeared in salons of the era. He mentions that not all paintings were signed by the artist, that determining a painting's creator often relies on the use of the exhibition livret (catalog), and that the desire to know the artist led to the concept of the artist as an individual.

L’Illustration and Le Monde illustré, Parisian up-market general-interest weekly illustrated magazines of the Illustrated London News genre published long Salon reviews every year there was a Salon. They also reproduced numbers of Salon pictures each year, in fluctuating (often very large) numbers, in a range of reproductive technologies, and accompanied by textual and presentational clues about what sorts of value the magazine was inviting its reader/viewers to attach to the reproduction: to the painting represented also but in the first instance to the reproduction. Engaging with recent work by Stephen Bann, this article discusses the ways in which, in these magazines, reproductive wood engravings were aligned with the great tradition of French reproductive intaglio printmaking, and it looks at the impact of the introduction of photomechanical technologies (the line block and the half-tone screen) on the values that were attached to these pictures of Salon pictures. It demonstrates the persistence into the 1890s of the value system of reproductive engraving, and its eventual displacement by the more mechanical efficiencies of the half-tone screened photograph of a work of art. The essay calibrates this displacement with the increasingly compelling demands of the news cycle in relation to the visual reporting of the Salon, and it provides evidence that the half-tone screen, for a decade after its introduction, was a less-than-adequate technology for the reproduction of photographs of works of art, as the evidence of its uptake in the more technologically progressive of these two titles, L’Illustration, demonstrates. The essay also engages with the debate over ‘the end of the Salon’ (Mainardi). From the evidence of the resources that these magazines devoted not only to writing about but also to reproducing pictures from, the Salon through from the 1860s to the end of the 1890s, the essay argues that, at last for the national bourgeois audience that was constituted by the wide readership of these two magazines, reports of the Salon’s death have been greatly exaggerated. [ABSTRACT FROM AUTHOR]

A personal narrative is presented which explores the author's experience of attending the conferences hosted by the periodical's Salons and Old Lesbians Organizing for Change (OLOC).

On 24 August 1824, a vaudeville entitled La St-Louis des artistes announced the opening of the most important artistic event in France during the Restoration, the Salon of 1824. This article analyses popular theatre in relation to French Romantic painting and emphasises the link between popular spectacle, high art and politics during the Restoration. The comparison of popular theatre and Romantic painting by artists like Eugène Delacroix and Charles-Emile Champmartin underscores the 'intermediality' of visual culture during the Restoration and suggests the importance of popular culture for the critical debate over Romanticism, for the innovative form of Romantic painting, and for state patronage of this controversial art. [ABSTRACT FROM AUTHOR]

The article discusses the aesthetics of exhibition space in art museums. The author develops a theory that the sparse exhibition space marked by white walls that is a frequent feature of the interior design of museums reflects attempts to create a sacred space for art in modern, secular society that can reflect the aura of an artwork. He outlines the history of art display techniques from early modern Wunderkammern to 19th-century salons. He also considers the reflection and representation of this history in modern and contemporary art since the second half of the 20th century, including by artists Gerhard Richter, Imi Knoebel, and James Lee Byars.

The Exhibition is embedded within the culture of Art and Design and has a long history as a form of 'gathering' to prompt academic discourse. This paper explores the role of the exhibition as a theatre for conversation that has parallels with the salon gatherings that emerged in mid-seventeenth-century France. This paper will describe 'The Future Bathroom' - a project that contributes to the development of methods and tools to support an inclusive design agenda. The bathroom provides a number of challenges to user-centred design methodology because of the highly personal, sensitive and intimate nature of the activities that take place there. Various methods were adopted during the course of the enquiry and here we focus on the role of the interactive exhibition as a research tool to gather data and further our understanding within the context of the research objectives. As part of the interdisciplinary research network 'Engineering for Life' (supported through the Engineering and Physical Sciences Research Council (EPSRC) Bridging the Gap Programme), researchers within the Art and Design Research Centre (ADRC) at Sheffield Hallam University explored the potential of a 'field lab' exhibition based on the 'future bathroom' research to both gather and disseminate knowledge. [ABSTRACT FROM AUTHOR]

This article profiles the work of 20th century sculptor Ruth Vollmer. According to the article, she began her artistic career late in life after emigrating from Germany to the U.S. in 1935. During the 1960s, Vollmer was active in the New York art scene, holding art exhibitions at her home that were attended by artist Robert Smithson, sculptor Eva Hesse, and artist Sol Le Witt. It is noted that these artists published writings on Vollmer's work and even owned her sculpture. The author considers that while their work has become well known Vollmer's has been neglected. It is suggested that this marginalization reflects her status as an exiled subject and in art history..

The article offers the author's insights on the aspects of biennales, which started in Venice, Italy in 1895. The author says that the history of the biennles as a tourism scheme has caught her interest rather than its eurocentricity. She relates her experience when she attended the 2008 Asian biennale in which she had observed the exhibit's attempt to meet the global art terms and grow the events.