为中国山水画卷添彩——记国家非物质文化遗产之“鲁庵印泥”

印泥是中国的特产。一幅墨韵生动的中国书画完成以后,在恰当的位置盖上一枚红红的章印,这鲜丽的红色印记便使整幅作品产生画龙点睛般的美妙效果。 中国文人对书斋及其用品大多都很讲究,大至环境、书桌、书柜,小至笔筒、砚墨,甚至一张纸、一枝笔、一方印章。     

曲艺名家“大狗熊”

“大狗熊”名叫孙宝才，他长得身高体重，膀大腰圆，而且憨态可掬，所以得了“大狗熊”的艺名。     

构建具有中国特色的艺术设计教育体系

艺术设计教育的发展直接关系到设计人才的培养,中国的设计教育应该具有自己的特色,这样才能在国际的竞争中立于不败之地。·     

The industrial connections in Donald Judd's art

This paper examines the context and impact of the industrial materials and processes of the mid-twentieth century on Donald Judd's works, focusing on galvanized steel, cellulose nitrate paints, anodizing, and the RAL color matching system. Exploration of the industrial materials and methods Judd utilized provides a greater understanding of his processes, choices, and ultimately his art, its care, and legacy.     

The art of planning for library personnel.

A review of the planning process for personnel at the University of Cincinnati's new Health Sciences Library is discussed. The staff of two libraries were involved in the plan. The final organizational pattern encompassed present staff plus justification for additional staff who would be necessary in the expanded facility.     

馆长在新形势下的管理艺术

文章探讨了在图书馆电子化、数字化、网络化建设已成图书馆事业建设主旋律的新形势下，图书馆馆长从事管理应遵循的原则、艺术，强调了“法治”与“德治”相结合。     

The role of cognitive competence in the art museum experience

The gap between the potential for works of art in museums to offer unique experiences, and the actual outcomes of visitor encounters, highlights the importance of the cultural competence of museum visitors. However, when applied to museum visiting, cultural competence should be primarily treated as perceptual and cognitive—one needs to exercise the perceptual activities that works of art require in order for a museum visit to register as some form of satisfying experience. The main part of the paper is devoted to discussion of some aspects of the perceptual basis of cultural competence required for perception of works of art—the problem of attention, the misplaced dichotomy of ‘museum viewing’ versus ‘everyday perception’, and the problem of defining the current cognitive style. It is argued that one of the greatest challenges to the museological profession is the problem of how to engage the complex issues of perception, vision and subjective experience more properly in the museological discourse, so that they can be reflected in theories of presentation and interpretation.     

The parallel paths of conservation of contemporary art and indigenous collections

This paper uses a range of case studies from contemporary art and indigenous collections to explore synergies between the disciplines and pose questions about contemporary perceptions of condition and durability. The idea that value is only connected to original material or specific perceptions of condition has been challenged repeatedly by the very makers and primary users of these collections. Nevertheless, old expectations in relation to collections may still affect conservation processes. The conservator is positioned at the center of these tensions, trying to understand, negotiate and mediate the interests and values of dynamic layers of significance associated with the object being treated. Attempting to homogenize or generalize these relationships would directly affect the complexity of the meanings of the artworks and run the risk of hollowing them.     

论艺术博物馆的文化生态

不同种类的博物馆都有着其独特的性质,艺术博物馆亦然。如果说自然博物馆是为了使人们以生态和历史的观点来看待自然界和人类的演变过程,并以此推动自然科学和技术的发展,而历史博物馆则旨在从历史的角度,提供实物证明来阐述历史发展的过程及其内在联系的话,艺术博物馆则是通过挖掘和展示实物中的艺术性,从而反映出艺术发展的脉络,藏品从标准的确立到被关注。被研究,所有这一切的根源首先是艺术的,是以艺术的名义的。尽管它们中大多具有多重价值,如历史的或方志的或科学的,层层交叉,然而毫无疑问的是,一旦进人艺术博物馆的空间…