Exhibition
The Eiffel Tower in Paris was built for the Exposition Universelle and served as an entrance arch. Modern exhibitions may be concerned with preservation, education and demonstration, early exhibitions were designed to attract public interest and curiosity. Before the widespread adoption of photography , the exhibition of a single object could attract large crowds. Art exhibitions include an array of artifacts from countless forms of human making: Art exhibitions may focus on one artist, one group, one genre, one theme or one collection; or may be organized by curators, selected by juries, or show any artwork submitted.
Fine arts exhibitions typically highlight works of art with generous space and lighting, supplying information through labels or audioguides designed to be unobtrusive to the art itself. Exhibitions may occur in series or periodically, as in the case with Biennales , triennials and quadrennials. The first art exhibition to be called a blockbuster was allegedly the Picasso show at Tate in London.
Interpretive exhibitions are exhibitions that require more context to explain the items being displayed. This is generally true of exhibitions devoted to scientific and historical themes, where text, dioramas , charts , maps and interactive displays may provide necessary explanation of background and concepts.
Section 1. Decorative Panels
Interpretive exhibitions generally require more text and more graphics than fine art exhibitions do. The topics of interpretive graphics cover a wide range including archaeology , anthropology , ethnology , history, science, technology and natural history.
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Commercial exhibitions, generally called trade fairs , trade shows or expos, are usually organized so that organizations in a specific interest or industry can showcase and demonstrate their latest products, service, study activities of rivals and examine recent trends and opportunities. Some trade fairs are open to the public, while others can only be attended by company representatives members of the trade and members of the press. Changes in scholarly communication and the rise of the Internet have led to the creation of online exhibitions or digital exhibitions.
The integration of information technology into museums and archives has also created opportunities for interactive and multimedia experiences inside cultural institutions. Many museums and galleries have extensive online resources that complement or enhance their physical exhibits. This began a period where exhibitions, often one-off shows, were crucial in exposing the public to new developments in art, and eventually Modern art.
Museums started holding large loan exhibitions of historic art in the late 19th century, as also did the Royal Academy, but the modern "blockbuster" museum exhibition, with long queues and a large illustrated catalogue, is generally agreed to have been introduced by the exhibitions of artifacts from the tomb of Tutankhamun held in several cities in the s.
Many exhibitions, especially in the days before good photographs were available, are important in stimulating research in art history ; the exhibition held in Bruges in poster illustrated below had a crucial impact on the study of Early Netherlandish painting. The fairs took place during the fall months.
This rivalry continued for a few years which provided the Basel Art Fair the opportunity to interject the Basel fair in early summer. These fairs became extremely important to galleries, dealers and publishers as they provided the possibility of worldwide distribution. Basel soon became the most important art fair.
This American fair met with fierce opposition by those galleries interested in maintaining distribution channels for European artwork already in place. The Washington fair introduced the European idea of dealer fairs to art dealers throughout the United States.
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Following the advent of Wash Art, many fairs developed throughout the United States. Although preservation issues are often disregarded in favor of other priorities during the exhibition process, they should certainly be considered so that possible damage to the collection is minimized or limited. As all objects in the library exhibition are unique and to some extent vulnerable, it is essential that they be displayed with care. Not all materials are able withstand the hardships of display, and therefore each piece needs to be assessed carefully to determine its ability to withstand the rigors of an exhibition.
In particular, when exhibited items are archival artifacts or paper-based objects, preservation considerations need be emphasized because damage and change in such materials is cumulative and irreversible. These criteria may be divided into five main preservation categories: Environmental concerns of the exhibition space; Length of the exhibition; Individual cases; Display methods used on individual objects; and Security.
The main concerns of exhibition environments include light , relative humidity , and temperature.
Exhibition
Light wavelength , intensity , and duration contribute collectively to the rate of material degradation in exhibitions. A maximum exhibition length should initially be determined for each exhibited item based on its light sensitivity, anticipated light level, and its cumulative past and projected exhibition exposure.
Light levels need to be measured when the exhibition is prepared. UV light meters will check radiation levels in an exhibit space, and data event loggers help determine visible light levels over an extended period of time. Blue wool standards cards can also be utilized to predict the extent to which materials will be damaged during exhibits. When such exposure is unavoidable, preventative measures must be taken to control UV radiation, including the use of blinds, shades, curtains, UV filtering films, and UV-filtering panels in windows or cases.
Artificial light sources are safer options for exhibition.
Exhibition - Wikipedia
Among these sources, incandescent lamps are most suitable because they emit little or no UV radiation. The control of relative humidity is especially critical for vellum and parchment materials, which are extremely sensitive to changes in relative humidity and may contract violently and unevenly if displayed in too dry an environment.
For preservation purposes, cooler temperatures are always recommended. As temperature and relative humidity are interdependent, temperature should be reasonably constant so that relative humidity can be maintained as well. Controlling the environment with hour air conditioning and dehumidification is the most effective way of protecting an exhibition from serious fluctuations.
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One factor that influences how well materials will fare in an exhibition is the length of the show. The longer an item is exposed to harmful environmental conditions, the more likely that it will experience deterioration. Many museums and libraries have permanent exhibitions , and installed exhibitions have the potential to be on the view without any changes for years.
Damage from a long exhibition is usually caused by light. The degree of deterioration is different for each respective object. For paper-based items, the suggested maximum length of time that they should be on display is three months per year, or 42 kilolux hours of light per year — whichever comes first. An exhibition log report, including records of the length of the exhibition time and the light level of the display, may prevent objects from being exhibited too frequently.
Displayed items need to be inspected regularly for evidence of damage or change. Library or archival materials are usually displayed in display cases or frames. It was through them that he managed to promote his own version of the new decorative style. The primary group consists of posters for Sarah Bernhardt, who was a famous Parisian actress. The first of these, created at the very turn of and , portrayed Bernhardt starring in the role of Gismonda.
This is the poster that made Mucha famous. The story of its creation is legendary, with many commentators arguing over its details. There is no question that Mucha himself saw the hand of fate in the circumstances which led to the creation of this poster.
The story took place at Christmas of All of the artists who normally worked for Lemercier were on holiday and so he turned to Mucha. The poster that Mucha produced was revolutionary in its genre. The long, narrow shape, soft pastel colours and the stillness of the figure captured in a near-life size produced a surprising sense of dignity and gravity which was quite startling.
The poster became so popular among the Parisian public that some collectors would bribe the bill stickers to get it, while others would even cut them out from the hoardings at night. Sarah Bernhardt was delighted with the poster, immediately offering Mucha a six-year contract for the creation of stage and costume designs and posters. At the same time, the artist also signed an exclusive contract with the printer Champenois for commercial and decorative posters. The two original proof prints for Gismonda are quite interesting. Proof print however proves that it was printed using a single stone.
The deep pink and yellow tones used in proof print indicate that Mucha originally conceived his poster in the bright hues fashionable among contemporary Parisian artists, such as Cheret and Toulouse-Lautrec, developing the softer pastel shadows, which were typical of Gismonda, while working on this poster.
Czech-Slovak / Slovak-Czech Exhibition
Lorenzo contemplates the murder of Alexander, which is depicted in the bottom segment of the poster. The poster renders the substance of the tragedy through a lonely figure. This bracelet was designed by Mucha during his work on the poster and Sarah liked it so much that she commissioned jeweller George Fouquet to create a snake bracelet and a ring embellished with gemstones for her to wear on stage. Behind the central figure of Hamlet, the ghost of his murdered father haunting the ramparts of Elsinore appears in the background.
Hamlet was the last poster Mucha made for Sarah. Mucha made two promotional posters for JOB cigarette rolling papers, both featuring a woman with exceptionally abundant hair, holding a cigarette whose smoke whirls around her head.