“Art Girls”: Philanthropy,Corporate Sponsorship,and Private Art Museums in Post‐Communist Russia

Russian art sponsorship is dominated by women of the oligarch elite. Rather than dismissing this phenomenon as a faddish diversion of new money, this article takes a broader perspective on the motivations of these “art girls” along a trajectory of Russian women's involvement in patronage, philanthropy, and sponsorship extending back to the late eighteenth century. It considers how socio‐political circumstances have shaped philanthropy directed at the arts in Russia, and uses interviews to explore the reasons behind this recent focus on the contemporary in the sponsorship of exhibitions, art centers, and private museums in Moscow, St. Petersburg, and Siberia.     

The Laboratory on 53rd Street: Victor D’Amico and the Museum of Modern Art, 1937–1969

Abstract This essay addresses the pioneering work of Victor D’Amico, the first director of education at the Museum of Modern Art (MoMA) and an influential art educator. During his tenure at MoMA, D’Amico explored the role of museums in developing creativity through direct aesthetic experience and the larger social implications of art museum education. Victor D’Amico led the Education Project at MoMA, which began as a part‐time school partnership program in 1937. By the time he retired in 1969, he had become an internationally recognized leader in the field of art museum education. Yet today his influence is little known and seldom discussed. This essay focuses on two important programs he developed at MoMA: his most widely acclaimed and influential program, the Children’s Art Carnival (1942‐1969), and the groundbreaking art education television series Through the Enchanted Gate (1952‐1953).     

A Conversation on Object‐Centered Learning in Art Museums

Danielle Rice and Philip Yenawine are veteran art museum educators who have wrestled for decades with the thorny issues involved in teaching about and learning from art objects in the museum setting. While there is general agreement within art museums today that the object should be the focus of educational practice, debate continues as to the most effective processes for facilitating learning. Gallery teaching is one of the most contested arenas, with much of the disagreement centering on the place of information in teaching beginning viewers. In art museums, the issue of what and how to teach is complicated by the fact that many people, including artists, museum professionals, psychologists and educators consider art primarily as something to be enjoyed, and they posit this enjoyment in direct opposition to learning about art. Partly because of this, the function of art museum education and gallery‐based instruction is still evolving.     

The Museum Visit: It’s an Experience,Not a Lesson

Abstract Museums offer visitors direct experiences—such as visual experiences—that are not available elsewhere in daily life. Learning through verbal information is part of it, yet the aesthetic experience is always outside of the “right‐answer paradigm.” Cognitive development occurs when perceptions inform thinking, thoughts are expressed in language, and expressed thoughts invite reconsideration of the material at hand. Both science and art require the development of these skills. Science and art museum educators can and should advocate the value of looking, thinking, wondering about complexity, and discussing the results.     

‘The feeling of exclusion’: Young peoples' perceptions of art galleries

This article first looks at the relationship between museums and art galleries and their potential audiences and, in particular, the under-represented sector of young visitors. It examines the main findings from the limited research available on young visitors, and goes on to discuss theories delineating the differences between the cultures, identities and values of culture consumers and culture providers. The second part of the article looks at what specific museums have done towards being more inclusive in their appeal, and then reports the findings of a survey of young people in relation to New Zealand's Auckland Art Gallery. The survey found that young people's ideas of what constitutes modern, relevant art do not match standard art criteria, and that most exhibitions and marketing methods do not mesh with their worldview. The article concludes by using data from the survey to suggest ways of engaging more young people with public art galleries.     

Stanley Kubrick in the Museum: Post‐cinematic Conditions,Limitations, and Possibilities

This paper contextualizes the Stanley Kubrick exhibition, a worldwide exhibition tour program dedicated to showcasing the complete oeuvre of the filmmaker Stanley Kubrick, within ‘post‐cinematic’ conditions. Since the mid‐1990s, the formal and experiential components of the cinema in the 20th century have increasingly become displaced from the traditional apparatus and site and ‘relocated’ within new technological and institutional platforms, and museums have become one of those new sites for content consumption. The paper discusses both the limitations and possibilities of the exhibition as it is considered to represent the migration of cinema into the art museum context as one salient phenomenon of post‐cinematic conditions. The Kubrick exhibition is explored to uncover the underlying tensions of the ‘exhibition of cinema’ as a key trend of major international museums, between the movie theater as black box and the art museum's exhibition space as white cube. It considers the difference between these two institutional platforms and their conceptions of objecthood, artifact and the temporal economy of the viewing experience. The author argues that this event succeeds in realizing the possibilities for revivifying three constants of cinema: film auteur, cinematic apparatus, and intermediality. The ambivalence demonstrates that while the museum's exhibition of cinema inevitably removes some of its ontological essences, it also preserves and revivifies others.     

Touring Yuzi Paradise Art Park,Guilin, China

Abstract Guilin, a small city in subtropical southwest China, is an hour’s flight north from Guangzhou or Hong Kong. This region, famous for its mountains, which appear in some important Chinese old master scrolls and also on the 20 RMB currency note of the People’s Republic, is nicely described by a popular saying: “Guilin’s scenery is best among all under heaven.” An art park, Yuzi Paradise, founded in 1997 by Tsao Ryh‐Chang, a wealthy Taiwanese entrepreneur, occupies 1,300 acres of land in this remote area. Ten percent of the acreage is the art park; the rest is mostly untouched landscape. Sculptors from 30 nations were invited to more than a dozen symposiums at the park and were given the means to create art. Recently, the site was opened to the public.     

“图文博美”四馆协同服务之研究

公共图书馆、文化馆、博物馆和美术馆之间处于一种条块分割、分散管理的状态,很少开展具有一定深度和广度的交流与合作。文章分析了“图文博美”四馆开展协同服务的必要性和可行性,阐述了如何实现公共文化服务机构之间的协同服务,并介绍了江门地区文化场馆开展资源共享和联合服务的工作实践。     

Challenging the Context: Perception,Polity, and Power

The Art Institute of Chicago opened its new Kraft General Foods Education Center in 1992. Its inaugural gallery exhibition, ART INSIDE OUT: Exploring Art and Culture Through Time, was designed to help visitors explore the historical and cultural context of twelve works of art. “Contextual areas” are provided for six of them. They employ models, replicas, artwork, art materials and tools as well as interpretive panels and interactive computer installations to enable visitors to fully comprehend and appreciate the immediate world from which each work emerged. the six other works are contextualized by interactive computer installations.     

RESTORATION OF TURQUOISE MASKS FROM COIXTLAHUACA AND ZAACHILA,OAXACA

Abstract

A feature card system is described which enables the storing of information resulting from the scientific examination of works of art.

The feature card system is necessary in order to ascertain quickly certain information for reference purposes. It also enables technical findings to be related to artists, epochs and art regions, and statistical reports to be made on the use of certain materials and art techniques in different centuries and epochs.

The punch cards used cover a maximum number of 6000 objects. The number of features which can be introduced is unlimited because it corresponds to the number of punch cards. The system works on the following lines: the art objects are numbered in the order in which they are examined. Each art object is given a serial number. The serial number is punched on the feature cards, which are subdivided into feature sections, and alphabetically arranged. The feature (general, art-historical and technical data) is given as a heading in ‘clear-text’ at the top of each punch card.

The feature card system described has some advantages: for setting up such a system only a rough scheme need be worked out. It is always possible to introduce further features at a later date. The system described is one of the simplest and cheapest punch card systems; it can be operated similarly to a normal filing system.     

档案艺术的理论背景、实践案例及影响

“档案热”在艺术领域的出现,带动了许多艺术工作者利用档案进行创作、针对档案进行思考等。这一现象的出现与后现代主义思潮对档案客观性立场的质疑相关。在此基础上,艺术工作者纷纷在实践领域展开诸多探索,包括面向装置艺术实现档案数据可视化、面向场景叙事设计档案隐喻、面向田野调查参与档案创作等。基于上述理论与实践分析,可以发现,档案艺术的发展挑战了档案信息的传统媒介方式,丰富了档案价值的实现场景,质疑了档案工作者的中立立场,具有一定的思辨意义。     

科学、艺术与数学的教育计划

赫拉克莱冬是一个小国家的小型博物馆,它试图在一个文化产业并不总是受欢迎的环境中努力前行。在过去的10年中,该馆设法将艺术、科学和数学整合到一个独特的教育计划中,旨在使数学学习变得更容易、使学生热爱艺术、使科学更易于理解。为此,该馆正在与包括教育专家、数学家、美术教师在内的各路专家一起工作,使该馆开展的工作能适应并满足学生们的各种需求。     

“Ferry Me O’er”: Musing on the Future of Museum Culture

Abstract Museum professionals face unprecedented challenges in the digital world of the twenty‐first century. How will we meet those challenges and who will lead us to the new shore of our future? We need museum professionals who act as ferrymen, guiding the museum community and its constituents through the troubled waters of our age to cultural reform that leads us to the essential purpose of art: love.     

The Uneasy Relationship of Self‐Critique in the Public Art Institution

Reacting to the gradual neoliberalization of the European public art institutional landscape, actors within a number of critical art museums and galleries have attempted to reform their institutions from within through a process that is largely commensurate with Chantal Mouffe's radical political strategy of ‘critique as hegemonic engagement‐with’. This article focuses on Manuel J. Borja‐Villel's attempt to implement such a strategy at the Museu D'Art Contemporani, Barcelona (MACBA) in the early 2000s. Through an examination of two key projects – Las Agencias (The Agencies) (2001) and Com Volem ser Governats? (How do we want to be governed) (2003‐2004) – it considers the efficacy of such an approach. In so doing, it calls into question the public art institution's ability to perform a self‐critique when embedded within the hegemony of the neoliberal order and constrained by bureaucratic institutional limitations. It concludes by noting that Mouffe's strategy of engagement does not give sufficient consideration to the dependence critical public art institutions have on local and national political support and its funding channels, making them extremely susceptible to instrumentalization. In response to this constraint, it makes the recommendation that, rather than curbing their experimentation, these critical actors should embrace the potentially temporary status of their institutions, and intentionally push them to and even beyond their bureaucratic limitations.     

Envisioning a Common,Capable Public

Abstract To bring great art to the people, art that would transform their lives, used to be the aim of museums. But in the twenty‐first century, contemporary trends in cultural policy reflect a diminished idea of the public and human subjectivity, and a diminished concept of culture. The outcome of this defensive turn is a retreat from difficult exhibitions and a replacement of them with celebration of the ordinary and the banal: the obviously popular topics which challenge no one. As a consequence of the collapse of culture with a capital “C” and the crisis of human subjectivity, cultural policy demands less of the public and delivers less.     

阅览室管理程序——MELINETS接口程序

阅览室管理在图书馆管理中是个很重要的环节, 而在图书馆自动化系统中始终是个薄弱环节, 为改善阅览室管理的模式我们开发编制了阅览室管理程序, 用以记录读者进室情况和阅览文献情况; 程序输入文献典藏条码和读者条码, 并按图书分类法对文献进行统计, 按读者类型对读者进行统计。为提高阅览室管理水平提供了一个有用的工具。     

Gloria Werner, 1940–2021

Gloria Werner, successor to Louise M. Darling at the UCLA Louise M. Darling Biomedical Library, university librarian emerita, and eighteenth editor of the Bulletin of the Medical Library Association, died on March 5, 2021, in Los Angeles. Before assuming responsibility in 1990 for one of the largest academic research libraries in the US, she began her library career as a health sciences librarian and spent twenty years at the UCLA Biomedical Library, first as an intern in the NIH/NLM-funded Graduate Training Program in Medical Librarianship in 1962–1963, followed by successive posts in public services and administration, eventually succeeding Darling as biomedical librarian and associate university librarian from 1979 to 1983. Werner''s forty-year career at UCLA, honored with the UCLA University Service Award in 2013, also included appointments as associate university librarian for Technical Services. She was president of the Association of Research Libraries in 1997, served on the boards of many organizations including the Association of Academic Health Sciences Library Directors, and consulted extensively. She retired as university librarian in 2002.

Gloria Werner, university librarian emerita and successor to Louise M. Darling at the UCLA Louise M. Darling Biomedical Library, died on March 5, 2021, in Los Angeles.Werner was born on December 12, 1940, in Seattle, Washington. She skipped grades a couple of times in the Seattle public schools and applied to Radcliffe, Pomona College, and Oberlin College—all of which accepted her. She chose to go to Oberlin and arrived in the small college town in Ohio at the age of sixteen. While at Oberlin, she was a French major with an art history minor, but she also had a continuing interest in music, particularly classical piano. She played a piano concerto with the University of Washington Symphony orchestra when she was only fourteen, and Oberlin''s well-known music conservatory allowed her to continue her piano studies. It appears that the small liberal arts college suited her as she graduated with a BA in French in three years in 1961.While at Oberlin, Gloria worked as an assistant at the Oberlin Art Library. Following graduation, she returned to Seattle and obtained her master''s in librarianship from the University of Washington in 1962. Because of her interest in libraries, she had always intended to get a library degree. Though art history was perhaps her greatest love, it would have required at least a master''s or PhD and many more years of education to become an art curator or museum director, which was something she was uninterested in pursuing at the time. In 1962, she was honored with the University of Washington School of Librarianship Award for Most Outstanding Student [1].Before assuming responsibility for one of the largest academic research libraries in the US, Gloria began her career at the UCLA Biomedical Library. She was fond of saying that despite not having attended UCLA, she was born and raised professionally there [2]. Before library school graduation, she was offered a job at Seattle Public Library, which had the largest art history collection in the area and where she had completed an internship. Even though she had no science in her academic background and had already been offered a job at Seattle Public Library, University of Washington Library School Dean Dorothy Bevis was instrumental in convincing her to apply for an internship at the UCLA Biomedical Library. After being accepted and completing the NIH/NLM-funded Graduate Training Program in Medical Librarianship Internship in 1963, she was hired as a reference librarian by Director Louise M. Darling. Gloria also celebrated a momentous event in 1963 when she married Newton Davis Werner, a Los Angeles native who had recently completed his PhD in chemistry.From 1963 to 1979, she assumed increasingly responsible positions in the UCLA Biomedical Library including head of reference and assistant/associate biomedical librarian for public services (Figure 1). She took a year off in 1967–1968 to work in London as librarian of the Wellcome Historical Medical Library, while her husband was completing a Fulbright Fellowship. In 1979, she succeeded Louise Darling as director of the Biomedical Library (later named the Louise M. Darling Biomedical Library by action of the UC Board of Regents), and as director the Pacific Southwest Regional Medical Library Service and Cancer Information Center. As director, Gloria added computer-assisted instruction and audiovisual services, implemented the transition from bibliographic searching by librarians to end user searching, and oversaw the physical expansion of the library. She was also designated an assistant dean of the UCLA Medical School.Open in a separate windowFigure 1Gloria Werner (left) with Louise Darling (right), 1972In 1983, Gloria was persuaded to take on the position of associate university librarian for technical services for the UCLA Library system. In this role, she oversaw the development of the UCLA Library''s online information system, ORION, based in part on the continuation of automation efforts initiated by the Biomedical Library. She served in that capacity until 1990 when she was appointed university librarian. Her accomplishments in this position included renovating the historic Powell Library built originally as the main university library, establishing the College Library Instructional Computing Commons, managing the transition from print to electronic resources in many disciplines, reducing multiple campus library locations, and managing successive University of California budgetary shortfall issues. She also became active during this time in the Association of Research Libraries (ARL), serving as ARL President (1996–1997), as a member of the Research Collections Committee, and as a participant in ARL''s Scholarly Publishing and Academic Resources Coalition (SPARC) program.Werner was associated for ten years with publication of the Medical Library Association''s journal, then titled Bulletin of the Medical Library Association (BMLA). In 1973, Robert F. Lewis, biomedical librarian at UC San Diego, was appointed to the first of two three-year terms as editor. He chose Gloria to lead the editorial committee of the journal and then, a year later, to serve as associate editor during his two terms as editor. During their tenure, the publication type called “brief communications” became part of the journal, and the editorial committee and peer review process were strengthened under Gloria''s guidance. When Lewis stepped down in 1979, Werner, who was the choice of the editorial selection committee, became the eighteenth editor of BMLA. The editorial selection committee recommended her reappointment in 1983, but she had to decline due to her new position in the UCLA library system [3]. Werner''s successor as editor praised her for “her encouragement of authors” and for “developing a peer review system that is among the best in scientific publishing” [4].Though she was born and raised in the Pacific Northwest and arrived serendipitously at UCLA, Gloria stayed the course and contributed significantly to the development of the UCLA library system over her forty-year career. In 2013, she was honored with the UCLA University Service Award. The arc of her career spanned from MEDLARS and other batch process retrieval systems to online catalogs and digital libraries. She served on the boards of many organizations including the Association of Academic Health Sciences Library Directors and consulted extensively. She was tempted only once to return to Seattle when the University of Washington offered her the university librarian position.When Gloria retired as UCLA university librarian in 2002, she continued to treasure her ties to UCLA as well as her love of music, art, and travel. She and her husband Newton were avid art collectors and donated generously to the Grunwald Center for the Graphic Arts in the Hammer Museum. Gloria served on the Docent Council of the Los Angeles County Museum of Art and was active in many other organizations. Music continued to be an integral part of her life as a season ticket holder of the Los Angeles Opera, Los Angeles Philharmonic, and the Ojai Music Festival. Gloria is survived by her son, Adam, daughter-in-law, Tammy, and grandson, Noah.     

Against the tyranny of musical form: glitch music,affect, and the sound of digital malfunction

This essay provides a model of how to critically read non-representational sound by attending carefully to its material elements. It presents a novel conceptualization of glitch music, an experimental medium of digital art comprised of the unpleasant sounds of technology malfunctioning. The analysis examines the representative songs of glitch artists Oval and their sonic articulation of the regenerative possibilities of failure. Although Oval largely considers conventional musical form to be tyrannical, its sound art simulates traditional musical elements such as rhythm, phrasing, and instrumentation, and transforms them into their respective glitch equivalents of metrical dissonance, repeated sound textures, and timbral experimentation, thereby altering digital malfunctions of sound into a sensual affective experience. Although music is theorized elsewhere to be persuasive because of its mobilization of emotions within the listener, the glitch art of Oval is suasory because it generates affective intensities that operate at an intercorporeal level of matter-energy. The songs of Oval update the modern directive of the Futurist sound movement to train the listener to accept a life surrounded by the sound of digital technology.     

媒介资本轨道中的艺术传播危机

"艺术传播危机"关乎艺术的存在与命运,是艺术史上"艺术终结"命题的第三次提出,煤介资本轨道中,艺术传播危机表征在三个方面:艺术传播主体的身份焦虑危机、艺术文本的存在合法性危机和艺术受众的审美期待危机.艺术需要借助策略性转型寻找解决危机的办法.     

Scholarly Communication,Peer Review,and Reference Librarian Ethics:

There is some apparent conflict involving reference librarian ethics and their relationship to some recently published views relating to peer review and the scholarly communication system. A case study, based on the gap between the promotional rhetoric and the actual peer review, editorial practices of a famous reference work, the Lexicon of the Middle Ages (Artemis Verlag, Munich), brings this conflict into sharp relief. An academic debate in the field of art history of the Middle Ages, known as the Guide Riccio controversy, has been called the "case of the century" in art history. Material distributed by the Lexicon of the Middle Ages states that in the case of controversies, protagonists of opposing sides will have the chance to express their ideas in the pages of the lexicon. But the protagonists of one side of the Guide Riccio controversy were flatly rejected. If providing accurate information, and providing access to all sides of an issue, are tenets of library ethics, it would seem logical that academic and reference librarians would become professional allies of the academic whistleblower.