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This viewpoint paper shares my experience of the exhibition curated by children at Ipswich Art Gallery, Queensland, Australia, entitled Junior Curators: Mysterious Realms. To delve into the challenges of children's participation in museum curation, I explore key concepts in children's geographies and sociologies, such as power/knowledge relations, consultation and participation, a post-human epistemology of the child, and the emerging concept of critical children's museology. Shifting children from passive learners to active protagonists in a structuring role in museological practice contributes to museum studies by presenting a powerful and inspiring initiative for children's participation in the curatorial process. In addition, the convergence between the unique characteristics of the museum's space and materiality with the child's embodied experience can generate new connections and reflections that contribute to the field of children's geographies. [ABSTRACT FROM AUTHOR]

Purpose: Recently there has been a surge in interest about the use of artificial intelligence in organisations with art galleries introducing new technological innovations that coincide with the digitalisation revolution. Virtual and immersive environments that are supported by social media and digital platforms are significantly changing customer experiences at art galleries. This is internationalising and making art gallery experiences more accessible thereby fostering the competitive advantage of art galleries. Design/methodology/approach: Art gallery customers, stakeholders and managers are appreciating the use of artificial intelligence with resulting higher satisfaction rates. Building on competency and transformational entrepreneurship theory international art gallery managers were interviewed to understand the role of artificial intelligence in their organisations and the impact of internationalisation. Findings: The data analysis revealed that the internationalisation of art galleries enabled artificial intelligence to transform in person and online visitor experience, work and marketing, and future art gallery development ideas. Results show that artificial intelligence is opening up new transformations derived from entrepreneurial behaviours. Originality/value: Key managerial implications are that art gallery managers need to utilise their international networks in order to learn about artificial intelligence and other new technological innovation. Theoretical implications are that existing theory can be adapted to an art gallery and artificial intelligence context. Limitations and future research suggestions focus on the need to focus more on art galleries as cultural entities that are more likely to utilise new technology innovation such as artificial intelligence. [ABSTRACT FROM AUTHOR]

Questo articolo esplora il progetto di riallestimento della Galleria Comunale di Arte Moderna e Contemporanea di Arezzo, affrontando la complessa interazione tra spazio espositivo, opere d’arte e genius loci. Il riallestimento, concepito per accogliere stili e linguaggi diversi, si pone come un dialogo tra passato e presente, ispirandosi alla storia dell’edificio, dalla sua origine conventuale alle successive trasformazioni, e riflettendo sull’importanza della luce naturale e della relazione tra interno ed esterno. L’analisi include la mostra dedicata ad Afro, il cui passaggio dal figurativo all’astratto sottolinea la complementarità tra pieni e vuoti, luce e ombra. Attraverso un approccio basato sull’apertura e la flessibilità, lo spazio espositivo è reinterpretato non solo come contenitore per l’arte, ma come luogo di connessione sociale e culturale, dove il transitorio si intreccia con l’eterno. L’articolo riflette sul potenziale degli allestimenti temporanei nel rinnovare il rapporto tra opere, spazi e visitatori, sottolineando l’importanza di una progettualità fluida e adattiva nel contesto contemporaneo.

This study examines Gallery Sanat Yapım, one of the first private art galleries in Ankara, as a representation of urban transformation in the 1980s. Gallery Sanat Yapım is analyzed using qualitative longitudinal research and document analysis. This process highlights its spatial and temporal transformations. To provide an understanding of the gallery's role in Ankara's art scene, the research incorporates data collected through interviews in addition to an analysis of written, visual, and audio materials. The evaluation includes an examination of these sources to reveal the impact of galleries on Ankara's cultural scene. In contrast to government-supported art galleries, this research emphasizes the distinctive characteristics of private galleries, such as Gallery Sanat Yapım, which played a pivotal role in shaping Ankara's cultural identity. Thus, as a cultural and urban setting, the importance of gallery spaces is emphasized through the evaluation of interior space and spatial context. Furthermore, a comprehensive understanding of the spatial components offers crucial insights into audience engagement with artworks. In conclusion, the findings shed light on the opportunities and challenges faced by both private and state-supported art galleries during the period. This research contributes novel perspectives on the intersection of space, art, and society within Ankara's evolving urban landscape, thereby enriching scholarly discourse. Ultimately, the study underscores the crucial role of private galleries in preserving and shaping the city's cultural heritage, paving the way for future academic investigations in this field.

This paper presents computer and color vision research focusing on human color perception in VR environments. A VR art gallery with digital twins of original artworks is created for this experiment. In this research, the field of colorimetry and the application of the L*a*b* and RGB color models are applied. The inter-relationships of the two color models are applied to create a color modification of the VR art gallery environment using C# Script procedures. This color-edited VR environment works with a smooth change in color tone in a given time interval. At the same time, a sudden change in the color of the RGB environment is defined in this interval. This experiment aims to record a user's reaction embedded in a VR environment and the effect of color changes on human perception in a VR environment. This research uses lie detector sensors that record the physiological changes of the user embedded in VR. Five sensors are used to record the signal. An experiment on the influence of the user's color perception in a VR environment using lie detector sensors has never been conducted. This research defines the basic methodology for analyzing and evaluating the recorded signals from the lie detector. The presented text thus provides a basis for further research in the field of colors and human color vision in a VR environment and lays an objective basis for use in many scientific and commercial areas. [ABSTRACT FROM AUTHOR]

The ArtGallery problem is a fundamental visibility problem in Computational Geometry. The input consists of a simple polygon P, (possibly infinite) sets G and C of points within P, and an integer k; the task is to decide if at most k guards can be placed on points in G so that every point in C is visible to at least one guard. In the classic formulation of ArtGallery, G and C consist of all the points within P. Other well-known variants restrict G and C to consist either of all the points on the boundary of P or of all the vertices of P. Recently, three new important discoveries were made: the above mentioned variants of ArtGallery are all W[1]-hard with respect to k [Bonnet and Miltzow in 24th Annual European Symposium on Algorithms (Aarhus 2016)], the classic variant has an O (log k) -approximation algorithm [Bonnet and Miltzow in 33rd International Symposium on Computational Geometry (Brisbane 2017)], and it may require irrational guards [Abrahamsen et al. in 33rd International Symposium on Computational Geometry (Brisbane 2017)]. Building upon the third result, the classic variant and the case where G consists only of all the points on the boundary of P were both shown to be ∃ R -complete [Abrahamsen et al. in 50th Annual ACM SIGACT Symposium on Theory of Computing (Los Angeles 2018)]. Even when both G and C consist only of all the points on the boundary of P, the problem is not known to be in NP. Given the first discovery, the following question was posed by Giannopoulos [Lorentz Workshop on Fixed-Parameter Computational Geometry (Leiden 2016)]: Is ArtGallery FPT with respect to r, the number of reflex vertices? In light of the developments above, we focus on the variant where G and C consist of all the vertices of P, called Vertex-Vertex Art Gallery. Apart from being a variant of ArtGallery, this case can also be viewed as the classic DominatingSet problem in the visibility graph of a polygon. In this article, we show that the answer to the question by Giannopoulos is positive: Vertex-VertexArtGallery is solvable in time r O (r 2) · n O (1) . Furthermore, our approach extends to assert that Vertex-BoundaryArtGallery and Boundary-VertexArtGallery are both FPT as well. To this end, we utilize structural properties of "almost convex polygons" to present a two-stage reduction from Vertex-VertexArtGallery to a new constraint satisfaction problem (whose solution is also provided in this paper) where constraints have arity 2 and involve monotone functions. [ABSTRACT FROM AUTHOR]

Nike Art Gallery is a legacy handcraft that comprises numerous displays of art and culture developed with the intention of establishing and nurturing an atmosphere conducive to the growth of art in Africa. Despite its presence for approximately 30 years, a paucity in empirical research has occurred on its activities. To address this concern, this study evaluates the patronage patterns and management strategies implemented by Nike Art Gallery in other to know the contribution of the gallery to tourism development. A semi-structured interview was conducted with the two directors of the Gallery with secondary data on influx and revenue. The result revealed that the Gallery receives many visitors for educational, recreational, and other purposes. Students on group excursions paid nominal fees ranging from N300 to N500 per group with average weekly and monthly earnings for the Gallery reaching N10250 and N30000, respectively. The administration of the Gallery is focused on tourism promotion, sales and marketing, and staff training. Nike Art Gallery was found to be a significant heritage treasure that promotes people empowerment and growth but with little tourism impact. Thus, efforts should be exerted to improve its tourism value and, consequently, its socioeconomic contribution to the community. [ABSTRACT FROM AUTHOR]

Art activities for people with dementia have a range of therapeutic benefits including psychosocial wellbeing and enhanced quality of life. Successful art programs promote social engagement, are inclusive and empowering, and enable opportunity for people with dementia to express themselves verbally and non-verbally. The COVID-19 pandemic and associated social distancing precautions have impacted the capacity of art galleries and museums to deliver in-person programs. However, they have also provided a new opportunity. This paper explores the potential benefits, challenges, and future directions for research relating to the online delivery of gallery-facilitated art activities for people with dementia. The evidence revealed that increased digitisation of programs increased access for participants, however, the majority of the research was published before the pandemic. Nevertheless, COVID-19 has necessitated many museums and galleries to engage with people with dementia online. Future research is needed to improve the usability of online delivery platforms and a comparison of online and onsite delivery is recommended, particularly to evaluate benefits to people living in rural and remote areas where access to museums and galleries may be limited. [ABSTRACT FROM AUTHOR]

Copyright of Goya is the property of Fundacion Lazaro Galdiano 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.)

This article brings into the discussion one of the important components of the cultural and educational infrastructure - the art gallery. In the paper, we will analyze the transformations that occurred in the offer of exhibition spaces in the contemporary artistic dynamics of Iasi. Along with an radiography of the Iași art galleries and the relational dimension they exercise, we will expose some of the comments of some Iași visual artists, on the side of this topic, extracted from the interviews which I realized in my doctoral research and which I published in the book Ieșeni ai artei vizuale contemporane. In shaping a dynamic artistic context, the art galleries constitute a factor of relational consolidation between the artist and the public, an aesthetic and active environment for the promotion of local, national and international artistic values. The space where visual artists exhibit their artistic projects either in personal, group or collective exhibitions is the place where a special connection is created, an aesthetic and educational means of communication between artists, critics and viewers, from the perspective of the dynamics of new structures, styles and forms of visual expression.

This article brings into the discussion one of the important components of the cultural and educational infrastructure - the art gallery. In the paper, we will analyze the transformations that occurred in the offer of exhibition spaces in the contemporary artistic dynamics of Iasi. Along with an radiography of the Iași art galleries and the relational dimension they exercise, we will expose some of the comments of some Iași visual artists, on the side of this topic, extracted from the interviews which I realized in my doctoral research and which I published in the book Ieșeni ai artei vizuale contemporane. In shaping a dynamic artistic context, the art galleries constitute a factor of relational consolidation between the artist and the public, an aesthetic and active environment for the promotion of local, national and international artistic values. The space where visual artists exhibit their artistic projects either in personal, group or collective exhibitions is the place where a special connection is created, an aesthetic and educational means of communication between artists, critics and viewers, from the perspective of the dynamics of new structures, styles and forms of visual expression. [ABSTRACT FROM AUTHOR]

Pictorial representations of women in galleries and museums, clutching a catalogue, abound in the nineteenth century. Hilary Fraser has emphasized the importance of women to the development of art writing and its increasing professionalism in the nineteenth century. This article examines the interrelated art historical processes of looking, reading, and writing through the professional trajectories of three very different art writers: Emily Dilke (E. F. S. Pattison) (1840–1904) was a specialist in eighteenth-century French art; Gertrude Campbell (1857–1911) was a London-based art reviewer; and Christiana Herringham (1852–1929) developed technical expertise on the early Renaissance. It argues that ‘looking back’ at the intellectual and material legacies of these writers gives insight into how these women worked as professionals inside and outside the museum.

Copyright of Cuadernos de Arte de la Universidad de Granada is the property of Universidad de Granada 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.)

Considering all transactions related to modern and contemporary visual artists mediated by galleries in Italy between 2007 and 2012, we propose an empirical measure of artist brand and explore its relationship with artist-specific characteristics, such as talent, fame, and popularity, through a structural model. We find that artist brand depends positively on talent, fame, and popularity. Moreover, we find that a co-creation mechanism is at work in the Italian art market, where galleries choose their specialization strategies in picking their artist portfolios. We interpret our findings in light of a novel conceptual framework of human branding and co-creation in the visual art market. [ABSTRACT FROM AUTHOR]

This paper describes young children's symbolic meaning-making practices and participation in complex aesthetic experiences in a contemporary art museum context. Through an ongoing long-term research and pedagogy project, The Museum of Contemporary Art, Sydney, Australia (MCA) is working with researchers to provide regular opportunities for young children (aged birth–5 years) and their families—all members of the same early childhood education (ECE) services—to encounter art works, engage with materials, and experience the museum environment. The program provides a rich experience of multiple forms of communication, ways of knowing and ways of expressing knowings: through connecting with images, videos and told stories about artists and their practice, sensorial engagement with tactile materials, and embodied responses to artworks and materials. Children also experience the physicality of the museum space, materials for art-making and the act of mark-making to record ideas, memories, and reflections. The project supports the development of a pedagogy of listening and relationships and is grounded in children's rights as cultural citizens to participation, visibility and belonging in cultural institutions such as the MCA. [ABSTRACT FROM AUTHOR]

Proper inventory management is crucial for art galleries. Yet, despite its importance, inventory management has been overlooked in the literature. We distinguish four main strategies used by art dealers to manage their inventory and use this classification to set the inventory strategy of Goupil, Boussod & Valadon, a major art gallery active in France at the end of the 19th century, into perspective. Goupil's books cover the sale of more than 25,000 artworks between 1860 and 1914. Rapidity to sell was a key element in Goupil's strategy. Out of the sold artworks, almost 75% were sold within a year. Goupil required a slightly higher mark-up for artists from which he held a large inventory. Mark-up for artists in residence and the likelihood to sell their artworks at a loss were lower, signaling a preoccupation for their long-term market. [ABSTRACT FROM AUTHOR]

Outdoor learning through its immersive experience can be an avenue for critical inquiry in artmaking. Malaysian artists Piyadasa and Suleiman claim artists have not engaged in critical thinking and have become craftsmen instead of thinkers. Artmaking becomes concerned with superficial form, technique and style rather than content. The art education in Malaysian schools has emphasized the technical 'know-how' of art production with little critical inquiry, focusing on the end product of art as craft and not a thinking process. Outdoor learning, through the context of time and place as social materials, aims to inculcate critical thinking and develop a student's voice and Malaysian identity. Redefining outdoor learning as sites of memory, this paper presents four types of spaces: physical space in natural and urban environments, communicative space, collaborative space and media space through an art gallery, as ways of integrating artistic thinking and developing a Malaysian identity through art education. [ABSTRACT FROM AUTHOR]

Many museum or art gallery visitors record their experience through social media platforms. Instagram is a case in point. Instagram is an application for mobile devices where people post images and comments, sharing their experiences in different places, with different people. This paper shares data from a project exploring people's art gallery visitations and how they engage with Instagram in such spaces. The research aimed to answer the following research questions: What are the current practices of art gallery visitors using Instagram? and why do visitors use Instagram to experience the art gallery? Findings showed people use Instagram in art galleries for a range of reasons and these include to extend and evolve their aesthetic experience, to share their experience, and to mediate gallery space. The significance of these findings may influence decisions made by gallery curators to enhance visitor experience as well as people's expressive response to artworks. [ABSTRACT FROM AUTHOR]

Collecting works of art in the modern Russian provinces is still a poorly studied topic of art history. The relevance of the study is determined by considering the main activities of private art galleries in Orenburg, which is being done for the first time. The author points out the factors that led to the collection of works by Orenburg artists, who was influenced by the graduates of the Moscow State Academic Art Institute named after V.I. Surikov since the 1960s. Changes in the methodological work of art galleries with viewers and buyers at the present stage are noted. The object of the analysis is the art gallery “On Pushkinskaya” as an example of exhibition, information and educational activities. The study emphasizes the role of the personality of the gallery owner M. F. Konnov, a collector, philanthropist and artist, thanks to whom the art gallery has become a cultural center of the city.

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. 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 Bucharest Municipality Museum Art department has received, during the last three years, an impressing number of donations reflecting the art loving public wish to participate in important cultural deeds and to become actively involved in the building of a great art gallery at the very core of Bucharest. We have in view the Bucharest Pinacothèque to become functional in the building on no. 18-20 Lipscani street. The received offers consist of paintings, works of graphics, sculpture, decorative arts. The Pinacothèque Library has also received numerous gifts consisting of art books, which have substantially enriched our museum’s collection. Within The „Ligia and Pompiliu Macovei” Art Collection, the permanent exhibition of the museum was enriched with a new donation offered to the museum by Michaela-Maria Macovei, the donor’s niece. [ABSTRACT FROM AUTHOR]

New technologies have started to be used in museums and other cultural consumption venues, and the online marketing notion of "phygital" is becoming more and more integrated into the art world transforming an exhibition or a museum. The main factors that have led to the digitalization of art exhibitions and a mandatory presence in the online environment, especially on social media, were the pandemic and the recurring lockdowns that turned our daily life into an online daily life. New technologies are transforming the way we interact with a work of art or an exhibition and how we deliver contemporary value judgments. The new curatorial practices and the organizational practices of an exhibition adapt to the requirements of a public eager for technological and artistic novelty. Through the examples used in the article, I highlight how new technologies transform and retransform the notions of art/non-art. [ABSTRACT FROM AUTHOR]

Copyright of Revista de la Asociacion Aragonesa de Criticos de Arte is the property of Asociacion Aragonesa de Criticos de Arte 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 main role of photography as an artistic medium in the art world. The relevance of art fairs. The role of the fine art photographer in the art world and his/her skills. The features of fine art photography today. The trends and the teaching of the photographic medium. Photography collecting and its evolution. Commercial art galleries as facilitators between photographers and collectors. [ABSTRACT FROM AUTHOR]

This paper describes young children’s symbolic meaning-making practices and participation in complex aesthetic experiences in a contemporary art museum context. Through an ongoing long-term research and pedagogy project, The Museum of Contemporary Art, Sydney, Australia (MCA) is working with researchers to provide regular opportunities for young children (aged birth–5 years) and their families—all members of the same early childhood education (ECE) services—to encounter art works, engage with materials, and experience the museum environment. The program provides a rich experience of multiple forms of communication, ways of knowing and ways of expressing knowings: through connecting with images, videos and told stories about artists and their practice, sensorial engagement with tactile materials, and embodied responses to artworks and materials. Children also experience the physicality of the museum space, materials for art-making and the act of mark-making to record ideas, memories, and reflections. The project supports the development of a pedagogy of listening and relationships and is grounded in children’s rights as cultural citizens to participation, visibility and belonging in cultural institutions such as the MCA.

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. 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.)

We devise an algorithm for surveying a dynamic orthogonal polygonal domain by placing one guard at each vertex in a subset of its vertices, i.e., whenever an orthogonal polygonal domain ′ is modified to result in another orthogonal polygonal domain , our algorithm updates the set of vertex guards surveying ′ so that the updated guard set surveys . Our algorithm modifies the guard placement in O (k lg (n + n ′)) amortized time, while ensuring the updated orthogonal polygonal domain with h holes and n vertices is guarded using at most ⌊ (n + 2 h) / 4 ⌋ vertex guards. For the special case of the initial orthogonal polygon being hole-free and each update resulting in a hole-free orthogonal polygon, our guard update algorithm takes O (k lg (n + n ′)) worst-case time. Here, n ′ and n are the number of vertices of the orthogonal polygon before and after the update, respectively; and, k is the sum of | n − n ′ | and the number of updates to a few structures maintained by our algorithm. Further, by giving a construction, we show it suffices for the algorithm to consider only the case in which the parity of the number of reflex vertices of both ′ and are equal. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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.)

Presented and analysed are interviews with a blend of museums and art galleries in Victoria, Australia, conducted within the wider context of Corporate Social Responsibility (CSR) in the global scene of curated collections as tourist attractions. A subsequent website content analysis of public communication by the organizations augments the CSR insights of the interviews. The findings suggest the interviewed organizations follow a contextual form of CSR and its expression depends on the underlying knowledge of the role of CSR as a tourism issue. Successively, a range of socio-cultural drivers and inhibitors enter the mix for the curators of the collections and tend currently to converge in the social and economic dimensions. The definition of CSR and the debate about the theoretical and practical economic pressures of tourism management for museums and art galleries are uncovered, along with directions for future research indicated within this significant sub-field of the tourism sector. [ABSTRACT FROM AUTHOR]

В статье анализируется опыт внедрения интерактивных технологий в научно-просветительскую работу художественного музея. Рассматриваются предпосылки возникновения таких практик, плюсы и минусы, актуальность и перспективы развития в Приморской государственной картинной галерее в 2014–2020 годы. На примере ряда выставочных проектов, состоявшихся в галерее, показана эффективность таких форм взаимодействия со зрителями, как тематическая видеопрезентация, расширение информационных носителей с помощью QR-кодов, кинотеатр виртуальной реальности, элементы дополненной реальности, или AR, квесты в рамках направления «эдьютейнмент» — игрового и развлекательного обучения. Кратко представлена коммуникация сотрудников музея с аудиторией в социальных сетях.

В 2020 году Иркутский областной художественный музей им. В.П. Сукачева празднует свое 150-летие. По богатству и разнообразию своих коллекций он стал одним из крупнейших музеев не только в Сибири, но и России в целом. В данной статье автор представляет «Иркутские летописи» в качестве источника изучения истории Иркутского художественного музея, опираясь на хронологическую точность приведенных фактов. В результате введены в научный оборот и систематизированы обширные документальные материалы об организации музея, становлении его коллекции и выставочной деятельности, уточнены некоторые факты. Сведения, полученные в ходе изучения «Иркутских летописей», значимы для искусствоведов и историков.

The article discusses the motivational factors of visual art institution consumers. Analysis includes Falk’s identity-related theory of motivation for visiting art institutions that discusses how visitors’ experience begins before visiting a museum and is focused on the consumer’s attitude (identity) validation. Consumers’ motivation to visit an art institution depends on not only the proposals provided by the institution and their value to the consumer, but also on accessibility, the environment, and the personnel’s communication. The article introduces the motivations, expectations of consumers of the services provided by Kaunas Picture Gallery as well as evaluation of the services and infrastructure provided by the organisation obtained during study Visitors’ Expectations in Visual Art Institutions.

The spatial arrangement of artworks is recognized as one of the key elements of exhibition design. The underlying assumption is that the layout can strengthen the impact of individual exhibits, because the way visitors visually engage with artworks affects how they are cognitively processed. This paper explores the influence of the exhibits’ visual properties on the visitors’ attention and their memory of artworks. Attention was recorded with the use of mobile eye-tracking and memory was measured by an unanticipated recognition test immediately after the visit. The paper analyses both the total amount of attention spent on interacting with each artwork, as well as the strategy through which attention was allocated: through primarily longer (“diligent”) looks, versus primarily shorter (“distracted”) glimpses. Results of two experiments demonstrate that the visibility and co-visibility of artworks affected the amount of attention allocated to them, and the strategy of attention allocation. While the amount of attention contributed to improving the recognition memory of pictures, the strategy of attention allocation did not. These findings demonstrate the power of the exhibition’s visual properties to influence the experience of museum visitors but also highlight the visitors’ ability to employ alternative viewing strategies without diminishing the cognitive processing of artworks.

Some important results about art gallery theorems are proposed, starting from Chvátal’s essay, using also polygon triangulations and orthogonal polygons.

This paper explores scale and spatiality in the practice and theory of the art gallery. Through the example of Des Hughes: Stretch Out and Wait, an exhibition at The Hepworth Wakefield, I unpick the construction of scaled notions such as ‘local’, ‘(inter)national’ and ‘community’, in particular, a ‘local’ versus‘(inter)national’ binary; and explore how we may seek alternatives to such hierarchized thinking and practice. By testing and developing Kevin Hetherington’s approach of analyzing the topological character of the spaces of the museum (1997), I treat the space of Des Hughesas one which is complex, contingent and folded around certain objects on display. In so doing, this paper argues that scale and spatiality should not only be attended to as a subject of study for museums, galleries and heritage; but that they can also form a useful methodological lens through which productive alternatives for the knowledge and practice of these organizations may be explored.

Century-long traditons of art trade in Hungary are strongly connected to the capital, famous, elite auction houses and galleries are concentrated in the downtown area of Budapest. Although art market in Hungary is capital-centered, remarkable amount of art trade takes place in the countryside too. This study aims to give insight into the presence of the different types of art trade (antique shops, second-hand book stores, art galleries and auction houses) in rural settlements, compared to the characteristics of art trade in Budapest. The research – based on primary data collection – reveals the social, economic, and cultural factors which explain the regional differences in art trade. During the field work in Budapest, semi-structured interviews were conducted with art gallery owners, auctioners, and antiquarians. The penetration index (PEX) which was applied in the case of researches in the countryside shows the rate in which the different types of art trade are present in settlements of different sizes. The results are demonstrated on the map with the help of the Mapinfo 12.5 software.

In a multi-robot system, a number of autonomous robots would sense, communicate, and decide to move within a given domain to achieve a common goal. In the pursuit-evasion problem, a polygonal region is given and a robot called a pursuer tries to find some mobile targets called evaders. The goal of this problem is to design a motion strategy for the pursuer such that it can detect all the evaders. In this paper, we consider a new variant of the pursuit-evasion problem in which the robots (pursuers) each moves back and forth along an orthogonal line segment inside a simple orthogonal polygon P. We assume that P includes unpredictable, moving evaders that have bounded speed. We propose the first motion-planning algorithm for a group of robots, assuming that they move along the pre-located line segments with a constant speed to detect all the evaders with bounded speed. Also, we prove an upper bound for the length of the paths that all pursuers move in the proposed algorithm. [ABSTRACT FROM AUTHOR]

This article examines the cultural and philosophical intersection between visual and tactile knowledge and the emergent aesthetics of modernism. In the September 1913 edition of The Museums Journal, J. A. Charlton Deas published a paper entitled "The Showing of Museums and Art Galleries to the Blind." The text, exceptional in its historical context, complicated prevailing assumptions about acts of "visual" art and blindness. Deas details a series of experiments undertaken at Sunderland Museum and Art Gallery from 1906 to 1913 that consisted of making accessible exhibits, specimens and paintings for blind children to touch. Unprecedented at the time, these experiments recast the persistent Western belief that the eye has privileged access to knowledge, instead asserting that knowledge is embedded within material corporeality. The physical, creative and intellectual inclusion of blind people into the formerly inaccessible space of the museum was unique in its reach and offers a refreshing new perspective of what those (authoritatively visual) spaces could be. Sunderland, a region which tends to be discursively separated from the ambitions and experiments of modernism, was at the center of modernist discussions about knowledge, sight and touch; and, disrupts modernism's silence with respect to acknowledging unprecedented regional developments such as those detailed in "Showing." [ABSTRACT FROM AUTHOR]

The article discusses the motivational factors of visual art institution consumers. Analysis includes Falk's identity-related theory of motivation for visiting art institutions that discusses how visitors' experience begins before visiting a museum and is focused on the consumer's attitude (identity) validation. Consumers' motivation to visit an art institution depends on not only the proposals provided by the institution and their value to the consumer, but also on accessibility, the environment, and the personnel's communication. The article introduces the motivations, expectations of consumers of the services provided by Kaunas Picture Gallery as well as evaluation of the services and infrastructure provided by the organisation obtained during study Visitors' Expectations in Visual Art Institutions. [ABSTRACT FROM AUTHOR]

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Given a simple polygon P on n vertices, two points x,y in P are said to be visible to each other if the line segment between x and y is contained in P. The Point Guard Art Gallery problem asks for a minimum set S such that every point in P is visible from a point in S. The Vertex Guard Art Gallery problem asks for such a set S subset of the vertices of P. A point in the set S is referred to as a guard. For both variants, we rule out any f (k)no(k/log k) algorithm, where k := |S | is the number of guards, for any computable function f, unless the exponential time hypothesis fails. These lower bounds almost match the nO(k) algorithms that exist for both problems. [ABSTRACT FROM AUTHOR]

In this paper, we consider a new variant of covering in an orthogonal art gallery problem where each guard is a sliding k -transmitter. Such a guard can travel back and forth along an orthogonal line segment, say s , inside the polygon. A point p is covered by this guard if there exists a point q ∈ s such that p q ‾ is a line segment normal to s , and has at most k intersections with the boundary walls of the polygon. The objective is to minimize the sum of the lengths of the sliding k -transmitters to cover the entire polygon. In other words, the goal is to find the minimum total length of trajectories on which the guards can travel to cover the entire polygon. We prove that this problem is NP-hard when k = 2 , and present a 2-approximation algorithm for any fixed k ≥ 2. The proposed algorithm also works well for an orthogonal polygon where the edges have thickness. [ABSTRACT FROM AUTHOR]