Representing the human form…
Has the artist highlighted a particular part of the human figure, such as the human upper torso or the human hand, or even an individual facial feature, such as the human eye or the mouth?
Has the artist used visual repetition in order to depict a section of the human form?
Has the artist depicted multiple rotating views of a particular section of the human form?
Has the artist used abstraction techniques in order to depict a particular section of the human form?
Sunday, December 4, 2011
Reviewing representations...the human form...
Representing the human form…
Has the artist depicted the human figure against a plain background devoid of man-made or natural features? Describe the use of tonal elements and colour in the background. Why has the artist selected a plain background?
Has the artist depicted the human figure in a man-made environment? Describe the complete composition and the use of tonal elements and colour. Is the human figure depicted in the background or in the foreground of the composition?
Has the artist depicted the human figure in a natural environment? Describe the complete composition and the use of tonal elements and colour. Is the human figure depicted in the background or the foreground of the composition?
Has the artist depicted the human figure against a plain background devoid of man-made or natural features? Describe the use of tonal elements and colour in the background. Why has the artist selected a plain background?
Has the artist depicted the human figure in a man-made environment? Describe the complete composition and the use of tonal elements and colour. Is the human figure depicted in the background or in the foreground of the composition?
Has the artist depicted the human figure in a natural environment? Describe the complete composition and the use of tonal elements and colour. Is the human figure depicted in the background or the foreground of the composition?
Tuesday, November 1, 2011
Reviewing visual representations of the human form...
Reviewing subject representation…
The human form…
Has the artist represented the human form in a particular historical context? Describe the historical period or event. Why has the artist concentrated on this historical setting?
Has the artist represented the human form in a contemporary setting? Describe the depiction of this contemporary environment. Why has the artist highlighted this contemporary setting?
Has the artist selected a specific controversial event as a setting for the representation of the human figure? Why is this event so important?
Has the artist tried to use the representation of the human figure in order to provoke a social debate or social change? Describe the social concerns depicted in the exhibit.
The human form…
Has the artist represented the human form in a particular historical context? Describe the historical period or event. Why has the artist concentrated on this historical setting?
Has the artist represented the human form in a contemporary setting? Describe the depiction of this contemporary environment. Why has the artist highlighted this contemporary setting?
Has the artist selected a specific controversial event as a setting for the representation of the human figure? Why is this event so important?
Has the artist tried to use the representation of the human figure in order to provoke a social debate or social change? Describe the social concerns depicted in the exhibit.
Reviewing visual representations of the human form...
Reviewing subject representation…
The human form…
Has the artist represented more than one human portrait or full figure in the composition?
Has the artist attempted to depict a narrative or story through the representation of a single human figure or several human figures?
Has the representation of the human figure in the exhibit been used to evoke a particular emotional response?
Describe the placement of human figures in the composition. Refer to the use of positive and negative shapes, as well as the relationships between the figures and compositional boundaries.
The human form…
Has the artist represented more than one human portrait or full figure in the composition?
Has the artist attempted to depict a narrative or story through the representation of a single human figure or several human figures?
Has the representation of the human figure in the exhibit been used to evoke a particular emotional response?
Describe the placement of human figures in the composition. Refer to the use of positive and negative shapes, as well as the relationships between the figures and compositional boundaries.
Sunday, October 2, 2011
Reviewing human representation...
Reviewing representations of the human form…
Has the artist highlighted one aspect of the human form, such the upper torso, or the full figure?
Has the artist used specific drawing or painting or printing techniques to emphasise particular parts of the human form?
Has the artist concentrated on costume or drapery on the human form? Describe these aspects in detail.
Has the artist used shadows or the fall of light in order to focus attention on particular aspects of the human form?
Has the human form represented in the exhibit been posed in special manner, or has the subject been depicted in a very natural or relaxed manner.
Has the artist used abstraction techniques in order to develop the representation?
Has the artist used hyper-realism in order to depict the subject?
Has the artist highlighted one aspect of the human form, such the upper torso, or the full figure?
Has the artist used specific drawing or painting or printing techniques to emphasise particular parts of the human form?
Has the artist concentrated on costume or drapery on the human form? Describe these aspects in detail.
Has the artist used shadows or the fall of light in order to focus attention on particular aspects of the human form?
Has the human form represented in the exhibit been posed in special manner, or has the subject been depicted in a very natural or relaxed manner.
Has the artist used abstraction techniques in order to develop the representation?
Has the artist used hyper-realism in order to depict the subject?
Reviewing subject representation...
Representing the human face…
A visit to an exhibition may be motivated by interest in visual representations of a specific subject, such as the human form. Visitors could focus attention on the following…
Has the exhibit depicted a human face?
How has the artist concentrated attention on a particular angle or facet of the human face? Has the face been depicted in profile, or full-face, or in a three-quarter view?
Has the artist used a clearly defined tonal or colour scheme?
Has the artist emphasised particular textures?
Has the artist tried to depict particular character traits in the portrait?
A visit to an exhibition may be motivated by interest in visual representations of a specific subject, such as the human form. Visitors could focus attention on the following…
Has the exhibit depicted a human face?
How has the artist concentrated attention on a particular angle or facet of the human face? Has the face been depicted in profile, or full-face, or in a three-quarter view?
Has the artist used a clearly defined tonal or colour scheme?
Has the artist emphasised particular textures?
Has the artist tried to depict particular character traits in the portrait?
Reviewing subject representation...
Subject representation…
The human face…
A visit to an exhibition may be motivated by interest in visual representations of a specific subject, such as the human form. Visitors could focus attention on the following…
Has the exhibit depicted a human face?
How has the artist concentrated attention on a particular angle or facet of the human face? Has the face been depicted in profile, or full-face, or in a three-quarter view?
Has the artist used a clearly defined tonal or colour scheme?
Has the artist emphasised particular textures?
Has the artist tried to depict particular character traits in the portrait?
The human face…
A visit to an exhibition may be motivated by interest in visual representations of a specific subject, such as the human form. Visitors could focus attention on the following…
Has the exhibit depicted a human face?
How has the artist concentrated attention on a particular angle or facet of the human face? Has the face been depicted in profile, or full-face, or in a three-quarter view?
Has the artist used a clearly defined tonal or colour scheme?
Has the artist emphasised particular textures?
Has the artist tried to depict particular character traits in the portrait?
Saturday, September 3, 2011
Reviewing a survey exhibition...a student group...
Reviewing a survey exhibition of work produced by a specific group of students.
Survey exhibitions can reveal connections and differences between members of a specific group of students.
Describe the location used for the display of the survey exhibition. Outline the collections used as sources for the exhibits for this survey show. Have the educators or curatorial staff responsible for this survey exhibition concentrated on works from a special section of a particular collection?
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the exhibition and the sources used in order to provide the exhibits? Describe any available publication.
Provide a brief description of the student groups and educational institutions featured in the survey exhibition. Outline the students’ educational course. Refer to any important historical or geographical factors associated with the students featured in the survey exhibition.
Why has this particular survey exhibition been held? Does this exhibition celebrate an important anniversary or milestone? Are there other reasons why is this exhibition significant? Has the curatorial staff responsible for the exhibition highlighted a specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include details about the students responsible for each work, as well as the date of each work, and each location where every work was produced. How do these works reflect the development of the students, or the concerns of the curatorial staff responsible for the survey exhibition?
Survey exhibitions can reveal connections and differences between members of a specific group of students.
Describe the location used for the display of the survey exhibition. Outline the collections used as sources for the exhibits for this survey show. Have the educators or curatorial staff responsible for this survey exhibition concentrated on works from a special section of a particular collection?
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the exhibition and the sources used in order to provide the exhibits? Describe any available publication.
Provide a brief description of the student groups and educational institutions featured in the survey exhibition. Outline the students’ educational course. Refer to any important historical or geographical factors associated with the students featured in the survey exhibition.
Why has this particular survey exhibition been held? Does this exhibition celebrate an important anniversary or milestone? Are there other reasons why is this exhibition significant? Has the curatorial staff responsible for the exhibition highlighted a specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include details about the students responsible for each work, as well as the date of each work, and each location where every work was produced. How do these works reflect the development of the students, or the concerns of the curatorial staff responsible for the survey exhibition?
Reviewing survey exhibitions...a group of artists, designers or craftspeople...
Reviewing a survey exhibition of work produced by a specific group of artists, or designers or craftspeople.
Survey exhibitions can reveal connections, continuity and changes in the development of a specific art movement or group of artists, designers or craftspeople.
Describe the location used for the display of the survey exhibition. Outline the collections used as sources for the exhibits for this survey show. Have the curatorial staff responsible for this survey exhibition concentrated on works from a special section of a particular collection?
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the exhibition and the sources used in order to provide the exhibits? Describe any available publication.
Provide a brief biographical overview of the lives of the individual artists, designers or craftspersons featured in the survey exhibition, and a description of the development of the art movement or the group of artists, designers or craftspersons. Refer to any important historical or geographical factors associated with the art movement or group of artists, designers or craftspersons featured in the survey exhibition.
Why has this particular survey exhibition been held? Does this exhibition celebrate an important anniversary or milestone? Are there other reasons why is this exhibition significant? Have the curatorial staff responsible for the exhibition highlighted a specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include details about the artists, designers or craftspersons responsible for each work, as well as the date of each work, and each location where every work was produced. How do these works reflect the development of the art movement or group of artists, or the concerns of the curatorial staff responsible for the survey exhibition?
Survey exhibitions can reveal connections, continuity and changes in the development of a specific art movement or group of artists, designers or craftspeople.
Describe the location used for the display of the survey exhibition. Outline the collections used as sources for the exhibits for this survey show. Have the curatorial staff responsible for this survey exhibition concentrated on works from a special section of a particular collection?
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the exhibition and the sources used in order to provide the exhibits? Describe any available publication.
Provide a brief biographical overview of the lives of the individual artists, designers or craftspersons featured in the survey exhibition, and a description of the development of the art movement or the group of artists, designers or craftspersons. Refer to any important historical or geographical factors associated with the art movement or group of artists, designers or craftspersons featured in the survey exhibition.
Why has this particular survey exhibition been held? Does this exhibition celebrate an important anniversary or milestone? Are there other reasons why is this exhibition significant? Have the curatorial staff responsible for the exhibition highlighted a specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include details about the artists, designers or craftspersons responsible for each work, as well as the date of each work, and each location where every work was produced. How do these works reflect the development of the art movement or group of artists, or the concerns of the curatorial staff responsible for the survey exhibition?
Tuesday, August 30, 2011
Reviewing a survey exhibition...an individual artist, designer or craftsperson
Reviewing a survey exhibition of work produced by an individual artist, designer or craftsperson.
Survey exhibitions can reveal continuity or change in the development of work by an individual artist, designer or craftsperson.
Describe the location used for the display of the survey exhibition. Outline the collections used as sources for the exhibits for this survey show.
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the exhibition and the sources used in order to provide the exhibits? Describe any available publication.
Provide a brief biographical overview of the life of the individual artist, designer or craftsperson featured in the survey exhibition.
Why has this particular survey exhibition been held? Does this exhibition celebrate an important anniversary or milestone in the life of the featured individual artist, designer or craftsperson. Are there other reasons why is this exhibition significant? Refer to any important historical or geographical factors associated with the life of the individual artist, designer or craftsperson featured in the survey exhibition.
Have the curatorial staff responsible for this survey exhibition concentrated on works from a special section of a particular collection or specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include the date of each work, and each location where every work was produced. How do these works reflect the concerns of the curatorial staff responsible for the survey exhibition?
Survey exhibitions can reveal continuity or change in the development of work by an individual artist, designer or craftsperson.
Describe the location used for the display of the survey exhibition. Outline the collections used as sources for the exhibits for this survey show.
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the exhibition and the sources used in order to provide the exhibits? Describe any available publication.
Provide a brief biographical overview of the life of the individual artist, designer or craftsperson featured in the survey exhibition.
Why has this particular survey exhibition been held? Does this exhibition celebrate an important anniversary or milestone in the life of the featured individual artist, designer or craftsperson. Are there other reasons why is this exhibition significant? Refer to any important historical or geographical factors associated with the life of the individual artist, designer or craftsperson featured in the survey exhibition.
Have the curatorial staff responsible for this survey exhibition concentrated on works from a special section of a particular collection or specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include the date of each work, and each location where every work was produced. How do these works reflect the concerns of the curatorial staff responsible for the survey exhibition?
Reviewing a survey exhibition...collections developed by an individual or family
Reviewing a survey exhibition associated with a collection developed by an individual or family group.
Survey exhibitions can reveal the history of collection building and special interests of the identities responsible for the development of the collection.
Describe the location used for the display of the survey exhibition. Is this the same location used by the collection owners or collection managers to store the collection?
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the collection and the exhibition? Describe any available publication.
Provide a brief overview of the lives of the collection owner or owners.
Why is this collection significant? Refer to any important historical or geographical factors associated with the lives of the collection owners.
Describe the reasons for the development of the collection. Has collection development been linked to the evolution of the identity of the individual or family group, as well as the special interests and activities of the individual or family group, or have other factors been associated with the development of the collection?
Have the collection owners or administrators associated with the collection concentrated on the acquisition of particular forms of visual art, design or craft, or have they focused their collection strategy on the acquisition of works that highlight specific subjects or themes? Has the responsible collection owner selected works on the basis of personal preferences that have changed over time?
Why has this particular survey exhibition been held? Have the collection owners and curatorial staff responsible for this survey exhibition concentrated on works from a special section of the collection or specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include details about the artists, designers or craftspersons responsible for each work, as well as the date of each work, and each location where every work was produced. How do these works reflect the development of the collection, or the concerns of the curatorial staff responsible for the survey exhibition?
Survey exhibitions can reveal the history of collection building and special interests of the identities responsible for the development of the collection.
Describe the location used for the display of the survey exhibition. Is this the same location used by the collection owners or collection managers to store the collection?
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the collection and the exhibition? Describe any available publication.
Provide a brief overview of the lives of the collection owner or owners.
Why is this collection significant? Refer to any important historical or geographical factors associated with the lives of the collection owners.
Describe the reasons for the development of the collection. Has collection development been linked to the evolution of the identity of the individual or family group, as well as the special interests and activities of the individual or family group, or have other factors been associated with the development of the collection?
Have the collection owners or administrators associated with the collection concentrated on the acquisition of particular forms of visual art, design or craft, or have they focused their collection strategy on the acquisition of works that highlight specific subjects or themes? Has the responsible collection owner selected works on the basis of personal preferences that have changed over time?
Why has this particular survey exhibition been held? Have the collection owners and curatorial staff responsible for this survey exhibition concentrated on works from a special section of the collection or specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include details about the artists, designers or craftspersons responsible for each work, as well as the date of each work, and each location where every work was produced. How do these works reflect the development of the collection, or the concerns of the curatorial staff responsible for the survey exhibition?
Monday, July 18, 2011
Reviewing survey exhibitions...institutional, corporate or associational collections...
Reviewing a survey exhibition associated with an institutional, corporate or associational collection.
Survey exhibitions can reveal the history of collection building and special interests of the institutional, corporate or associational identities responsible for the development of the collection.
Describe the location used for the display of the survey exhibition. Is this the same location used by the collection managers to store the institutional, corporate or associational collection?
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the collection and the exhibition? Describe any available publication.
Describe the reasons for the development of the institutional, corporate or associational collection. Has collection development been linked to the evolution of the identity or the special interests of the parent institution, corporate body or association, or have other factors been associated with the development of the collection?
Have the administrators or collection managers associated with the institutional, corporate or associational collection concentrated on the acquisition of particular forms of visual art, design or craft, or have they focused their collection strategy on the acquisition of works that highlight specific subjects or themes?
Why has this particular survey exhibition been held? Have the curatorial staff members responsible for this survey exhibition concentrated on works from a special section of the collection or specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include details about the artists, designers or craftspersons responsible for each work, as well as the date of each work, and the location where every work was produced. Describe the use of media and the subjects depicted. How do these works reflect the development of the institutional, corporate or associational collection, or the concerns of the curatorial staff members responsible for the survey exhibition?
Survey exhibitions can reveal the history of collection building and special interests of the institutional, corporate or associational identities responsible for the development of the collection.
Describe the location used for the display of the survey exhibition. Is this the same location used by the collection managers to store the institutional, corporate or associational collection?
Describe the display methods used to present the exhibits.
Is there an exhibition catalogue or a publication that provides information about the organisation of the collection and the exhibition? Describe any available publication.
Describe the reasons for the development of the institutional, corporate or associational collection. Has collection development been linked to the evolution of the identity or the special interests of the parent institution, corporate body or association, or have other factors been associated with the development of the collection?
Have the administrators or collection managers associated with the institutional, corporate or associational collection concentrated on the acquisition of particular forms of visual art, design or craft, or have they focused their collection strategy on the acquisition of works that highlight specific subjects or themes?
Why has this particular survey exhibition been held? Have the curatorial staff members responsible for this survey exhibition concentrated on works from a special section of the collection or specific theme in order to select works for the exhibition?
Describe at least five of the works on display. Include details about the artists, designers or craftspersons responsible for each work, as well as the date of each work, and the location where every work was produced. Describe the use of media and the subjects depicted. How do these works reflect the development of the institutional, corporate or associational collection, or the concerns of the curatorial staff members responsible for the survey exhibition?
Reviewing Special Event Competitions...
Reviewing Art, Design or Crafts Competition Exhibitions– Special Event Competitions.
Describe the special event associated with the competition and the associated exhibition.
Does the competition also emphasise a particular art form, such as drawing or painting or photography or a sculptural format, or a particular design or craft form. Why have the organisers focused their attention on this format? Note any unacceptable media or techniques.
Who is responsible for organising the competition and the associated exhibition? Why has this competition exhibition been organised?
Describe the location associated with the competition. Is it an urban area? Is it a regional area? Describe the location used as the exhibition venue. Does the exhibition venue relate to any special aspects of the competition? Is the exhibition also associated with a specific institution?
Have the organisers included any specific categories as a part of the competition and exhibition structure? Describe any competition categories and outline any awards or prizes associated with the competition or the competition categories.
Who is responsible for judging the competition? Have the judges provided reasons for their decisions?
Is there an exhibition catalogue or a publication that provides information about the organisation of the competition and the exhibition? Describe any available publication. Outline any important features in these publications.
Describe at least five of the works on display. Refer to media and subject matter. Outline any information about the exhibitors associated with each of these works. Describe the ways how these works reflect the special subject or theme of the competition.
Describe the special event associated with the competition and the associated exhibition.
Does the competition also emphasise a particular art form, such as drawing or painting or photography or a sculptural format, or a particular design or craft form. Why have the organisers focused their attention on this format? Note any unacceptable media or techniques.
Who is responsible for organising the competition and the associated exhibition? Why has this competition exhibition been organised?
Describe the location associated with the competition. Is it an urban area? Is it a regional area? Describe the location used as the exhibition venue. Does the exhibition venue relate to any special aspects of the competition? Is the exhibition also associated with a specific institution?
Have the organisers included any specific categories as a part of the competition and exhibition structure? Describe any competition categories and outline any awards or prizes associated with the competition or the competition categories.
Who is responsible for judging the competition? Have the judges provided reasons for their decisions?
Is there an exhibition catalogue or a publication that provides information about the organisation of the competition and the exhibition? Describe any available publication. Outline any important features in these publications.
Describe at least five of the works on display. Refer to media and subject matter. Outline any information about the exhibitors associated with each of these works. Describe the ways how these works reflect the special subject or theme of the competition.
Tuesday, June 21, 2011
Recurring Art, Design or Crafts Competition Exhibitions
Reviewing Art, Design or Crafts Competition Exhibitions – Recurring competitions related to a special subject or theme.
What is the name of the competition?
Who organised the competition and the associated exhibition?
Describe the special subject or theme of the competition. Provide details about any other special conditions related to the competition, such as regulations associated with the size of each entry.
Why have the organisers highlighted the special subject or theme or the competition? How long has this competition and the associated exhibition existed?
Does the competition also emphasise a particular art form, such as drawing or painting or photography or a sculptural form, or a particular design or craft form. Why have the organisers focused their attention on this format? Note any unacceptable media or techniques.
Who is responsible for judging the competition? Have the judges provided reasons for their decisions?
Do the competition and the associated exhibition feature several categories or award levels? Describe any prizes or awards associated with the competition and the associated exhibition.
Are competition publications or exhibition catalogues available? Describe any printed support documents, and outline any important features in these documents.
Describe the exhibition venue and the methods used to display the exhibits. Is the exhibition associated with a specific institution or location?
Describe at least five of the works on display. How do these works reflect the special subject or theme of the competition? If possible, provide information about each exhibitor. Describe how these works reflect the location as well as any special subject or theme associated with the competition.
What is the name of the competition?
Who organised the competition and the associated exhibition?
Describe the special subject or theme of the competition. Provide details about any other special conditions related to the competition, such as regulations associated with the size of each entry.
Why have the organisers highlighted the special subject or theme or the competition? How long has this competition and the associated exhibition existed?
Does the competition also emphasise a particular art form, such as drawing or painting or photography or a sculptural form, or a particular design or craft form. Why have the organisers focused their attention on this format? Note any unacceptable media or techniques.
Who is responsible for judging the competition? Have the judges provided reasons for their decisions?
Do the competition and the associated exhibition feature several categories or award levels? Describe any prizes or awards associated with the competition and the associated exhibition.
Are competition publications or exhibition catalogues available? Describe any printed support documents, and outline any important features in these documents.
Describe the exhibition venue and the methods used to display the exhibits. Is the exhibition associated with a specific institution or location?
Describe at least five of the works on display. How do these works reflect the special subject or theme of the competition? If possible, provide information about each exhibitor. Describe how these works reflect the location as well as any special subject or theme associated with the competition.
Urban or Regional Art, Design or Crafts Competitions Exhibitions
Reviewing Art, Design or Crafts Competition Exhibitions – Urban or Regional Competitions.
Opportunities to visit and review art or design or crafts competition exhibitions can provide teachers and students with valuable opportunities to view important visual representations, designs or crafts objects.
Teachers and subjects can include the following during discussions or the preparation of written evaluations:
Who is responsible for organising the competition and the associated exhibition?
Why has this competition and the associated exhibition been organised?Describe the location associated with the competition. Is it an urban area? Describe significant features associated with the urban area, such as civil structures and transport routes, local public, residential or commercial architecture, the presence of retail, service or industrial businesses, as well as landscape architecture or natural environments. Is it a regional area? Describe the local natural environment, man-made civil structures, transport routes, as well as public, commercial or residential architecture in the region.
Describe the location used for the exhibition venue. Does the exhibition venue relate to any special aspects of the competition, such as a special exhibition theme?
Have the organisers included specific categories as a part of the competition and exhibition structure? Describe any competition categories and outline any awards or prizes associated with the competition or the competition categories.
Who is responsible for judging the competition? Have the judges provided reasons for their decisions?
Is there an exhibition catalogue or a publication that provides information about the organisation of the competition and exhibition? Describe any available publication.
Describe at least five of the works on display. Include descriptions of special subjects or themes as well as methods and materials. If possible, provide information about each exhibitor. Describe how these works reflect the location as well as any special subject or theme associated with the competition.
Opportunities to visit and review art or design or crafts competition exhibitions can provide teachers and students with valuable opportunities to view important visual representations, designs or crafts objects.
Teachers and subjects can include the following during discussions or the preparation of written evaluations:
Who is responsible for organising the competition and the associated exhibition?
Why has this competition and the associated exhibition been organised?Describe the location associated with the competition. Is it an urban area? Describe significant features associated with the urban area, such as civil structures and transport routes, local public, residential or commercial architecture, the presence of retail, service or industrial businesses, as well as landscape architecture or natural environments. Is it a regional area? Describe the local natural environment, man-made civil structures, transport routes, as well as public, commercial or residential architecture in the region.
Describe the location used for the exhibition venue. Does the exhibition venue relate to any special aspects of the competition, such as a special exhibition theme?
Have the organisers included specific categories as a part of the competition and exhibition structure? Describe any competition categories and outline any awards or prizes associated with the competition or the competition categories.
Who is responsible for judging the competition? Have the judges provided reasons for their decisions?
Is there an exhibition catalogue or a publication that provides information about the organisation of the competition and exhibition? Describe any available publication.
Describe at least five of the works on display. Include descriptions of special subjects or themes as well as methods and materials. If possible, provide information about each exhibitor. Describe how these works reflect the location as well as any special subject or theme associated with the competition.
Tuesday, May 3, 2011
Additional bibliographic references...
Michael Scuello, Israel Abramov, James Gordon and Steven Weintraub, “Museum lightingwhy are some illuminants preferred?” Optics InfoBase: Journal of the Optical Society of America, http://www.opticsinfobase.org/josaa/abstract.cfm?uri=josaa-21-2-306 (downloaded 24/03/2010).
Mary Naquin Sharp, Magda Schemp and others, “United States: volunteers lead the way,” Museum (UNESCO), no. 176, XLIV, no. 4 (1992): 230-234.
Alan Warhurst, “Tripe crisis in university museums,” Museums Journal (Museums Association Britain) 86, no. 3 (December 1986): 137-140.
Stephen E. Weil, “Courtly ghosts & aristocratic artifacts: the art museum as palace,” Museum News, 77, no. 6 (November/December 1998): 44-49.
Lawrence J. Wheeler, “Preserving integrity. Professional standards ought to be just as rigorous in the marketing field as they are in the management of collections,” Museum News, 68, no. 4 (July/August 1989): 48-51.
Inez S. Wolins, “Teaching the teachers. This approach to docent education wisely acknowledges that the people who lead museum tours are learners as well as teachers,” Museum News, 69, no. 3 (May/June 1990): 71-75.
Rena Zurofsky, “Sharp shop talk. Museum marketers know that scrutiny of their merchandising efforts is virtually inevitable-and they are ready for it,” Museum News, 68, no. 4 (July/August 1989): 45-47.
Mary Naquin Sharp, Magda Schemp and others, “United States: volunteers lead the way,” Museum (UNESCO), no. 176, XLIV, no. 4 (1992): 230-234.
Alan Warhurst, “Tripe crisis in university museums,” Museums Journal (Museums Association Britain) 86, no. 3 (December 1986): 137-140.
Stephen E. Weil, “Courtly ghosts & aristocratic artifacts: the art museum as palace,” Museum News, 77, no. 6 (November/December 1998): 44-49.
Lawrence J. Wheeler, “Preserving integrity. Professional standards ought to be just as rigorous in the marketing field as they are in the management of collections,” Museum News, 68, no. 4 (July/August 1989): 48-51.
Inez S. Wolins, “Teaching the teachers. This approach to docent education wisely acknowledges that the people who lead museum tours are learners as well as teachers,” Museum News, 69, no. 3 (May/June 1990): 71-75.
Rena Zurofsky, “Sharp shop talk. Museum marketers know that scrutiny of their merchandising efforts is virtually inevitable-and they are ready for it,” Museum News, 68, no. 4 (July/August 1989): 45-47.
Additional bibliographic references...
George F. MacDonald, “The future of museums in the global village,” Museum (UNESCO), no. 155, XXXIX, no. 3 (1987): 209-216.
Paul McKee, “A story of storage,” Museums Journal (Museums Association Britain) 100, no. 1 (January 2000): 14.
Julie Nightingale, “Families flocking to be hands-on at Gosport,” Museums Journal (Museums Association Britain) 97, no. 4 (May 1997): 13.
Susannah Cassedy O’Donnell, “Women in museums. A progress report,” Museum News, 76, no. 2 (March/April 1997): 34-41.
Susan M. Pearce, “Objects as signs and symbols,” Museums Journal (Museums Association Britain) 86, no. 3 (December 1986): 131-135.
Jarno Juhani Peltonen, “The role of the applied arts museums today,” Museum (UNESCO), no. 157, XL, no. 1 (1988): 18-21.
Powerhouse Museum, “Education & school visits,” http://www.powerhousemuseum.com/education (downloaded 24/03/2010).
Paul McKee, “A story of storage,” Museums Journal (Museums Association Britain) 100, no. 1 (January 2000): 14.
Julie Nightingale, “Families flocking to be hands-on at Gosport,” Museums Journal (Museums Association Britain) 97, no. 4 (May 1997): 13.
Susannah Cassedy O’Donnell, “Women in museums. A progress report,” Museum News, 76, no. 2 (March/April 1997): 34-41.
Susan M. Pearce, “Objects as signs and symbols,” Museums Journal (Museums Association Britain) 86, no. 3 (December 1986): 131-135.
Jarno Juhani Peltonen, “The role of the applied arts museums today,” Museum (UNESCO), no. 157, XL, no. 1 (1988): 18-21.
Powerhouse Museum, “Education & school visits,” http://www.powerhousemuseum.com/education (downloaded 24/03/2010).
Additional bibliographic material...
Herbert Ganslmayr, “Museums and crafts,” Museum (UNESCO), no. 157, XL, no. 1 (1988): 2-8.
The Getty Museum, “Education (Getty Museum),” http://www.getty.edu/education/ (downloaded 24/03/2010).
The Getty Museum, “Museum lighting research (Conservation at the Getty),” http://www.getty.edu/conservation/science/lighting/index.html (downloaded 24/03/2010)
Chris Goddard, “Beyond the showcase,” Museums Journal (Museums Association Britain) 90, no. 3 (June 1990): 24-27.
Anne Henderson and Susy Watts, “Learning how they learn: the family in the museum,” Museum News, 79, no.6 (November/December 2000): 40-45.
Stephen P. Huyler, “Patronage and craft potentials: exploring innovative concepts of selection and display,” Museum (UNESCO), no. 157, XL, no. 1 (1988): 28-33.
Stephen Inglis, “The island of craft…and an outgoing tide,” Museum (UNESCO), no. 157, XL, no. 1 (1988): 34-38.
The Institute of Museum and Library Services, “True needs true partners. 1998 Survey Highlights. Museums serving schools,” http://www.imlsgov/pdf/pubsurvey.pdf (downloaded 24/3/2010).
_“Italy shows the way for pre-school teaching,” Museums Journal (Museums Association Britain) 97, no. 4 (May 1997): 13.
Judith Kelly, “Placement politics,” Museums Journal (Museums Association Britain) 90, no. 7 (July 1990): 31-33.
_“Just what is ‘museum communication,’ anyway?” Museum News, 69, no. 3 (May/June 1990): 98-99.
Roger K. Lewis, “Should museum additions be kindred spirits or clones?” Museum News, 68, no. 4 (July/August 1989): 19-21.
Albert O. Louer, “Tools of the trade. Mastering the elements of a successful museum communications program is a valid-but annoyingly subjective-undertaking,” Museum News, 68, no. 4 (July/August 1989): 43-44.
The Getty Museum, “Education (Getty Museum),” http://www.getty.edu/education/ (downloaded 24/03/2010).
The Getty Museum, “Museum lighting research (Conservation at the Getty),” http://www.getty.edu/conservation/science/lighting/index.html (downloaded 24/03/2010)
Chris Goddard, “Beyond the showcase,” Museums Journal (Museums Association Britain) 90, no. 3 (June 1990): 24-27.
Anne Henderson and Susy Watts, “Learning how they learn: the family in the museum,” Museum News, 79, no.6 (November/December 2000): 40-45.
Stephen P. Huyler, “Patronage and craft potentials: exploring innovative concepts of selection and display,” Museum (UNESCO), no. 157, XL, no. 1 (1988): 28-33.
Stephen Inglis, “The island of craft…and an outgoing tide,” Museum (UNESCO), no. 157, XL, no. 1 (1988): 34-38.
The Institute of Museum and Library Services, “True needs true partners. 1998 Survey Highlights. Museums serving schools,” http://www.imlsgov/pdf/pubsurvey.pdf (downloaded 24/3/2010).
_“Italy shows the way for pre-school teaching,” Museums Journal (Museums Association Britain) 97, no. 4 (May 1997): 13.
Judith Kelly, “Placement politics,” Museums Journal (Museums Association Britain) 90, no. 7 (July 1990): 31-33.
_“Just what is ‘museum communication,’ anyway?” Museum News, 69, no. 3 (May/June 1990): 98-99.
Roger K. Lewis, “Should museum additions be kindred spirits or clones?” Museum News, 68, no. 4 (July/August 1989): 19-21.
Albert O. Louer, “Tools of the trade. Mastering the elements of a successful museum communications program is a valid-but annoyingly subjective-undertaking,” Museum News, 68, no. 4 (July/August 1989): 43-44.
Additional bibliographic material...
Robert Archibald, “Narratives for a new century,” Museum News, 77, no. 6 (November/December 1998): 33-42.
Susan J. Bandes and Selma Holo, “Intern ins and outs,” Museum News, 68, no. 4 (July/August 1989): 54-56.
Kathy S. Borrus, “Marketing crafts through museum shops,” Museum (UNESCO), no. 157, XL, no. 1 (1988): 22-27.
Brooklyn Museum, “Education: School visit information,” http://www.brooklynmuseum.org/educationschools/visit-infophp (downloaded 24/03/2010).
Lucie Carrington, “Whose job is it anyway,” Museums Journal (Museums Association Britain) 99, no. 9 (September 1999): 59.
David E. Chesebrough, “Museum partnerships. Insights from the literature and research,” Museum News, 77, no. 6 (November/December 1998): 50-53.
Diana F. Cohen, “Words to live by because labels can make the difference between a good exhibit and a great one, pay attention to the process of script editing,” Museum News, 69, no. 3 (May/June 1990): 76-79.
Denise Cullen, “The past is not another cemetery,” The Weekend Australian, Professional Public Sector: 2.
Danforth Museum of Art, “Education at the Danforth Museum of Art,” http://www.danforthmuseum.org/education.html (downloaded 24/03/2010).
Maurice Davies, “Children-friendly environments,” Museums Journal (Museums Association Britain) 100, no. 1 (January 2000): 15.
Jonathon David, “Light in museums,” Museums Journal (Museums Association Britain) 85, no. 4 (March 1986): 203-215.
Chris Dorsett, “Absence makes the heart grow fonder,” Museums Journal (Museums Association Britain) 100, no. 1 (January 2000): 14.
Susan J. Bandes and Selma Holo, “Intern ins and outs,” Museum News, 68, no. 4 (July/August 1989): 54-56.
Kathy S. Borrus, “Marketing crafts through museum shops,” Museum (UNESCO), no. 157, XL, no. 1 (1988): 22-27.
Brooklyn Museum, “Education: School visit information,” http://www.brooklynmuseum.org/educationschools/visit-infophp (downloaded 24/03/2010).
Lucie Carrington, “Whose job is it anyway,” Museums Journal (Museums Association Britain) 99, no. 9 (September 1999): 59.
David E. Chesebrough, “Museum partnerships. Insights from the literature and research,” Museum News, 77, no. 6 (November/December 1998): 50-53.
Diana F. Cohen, “Words to live by because labels can make the difference between a good exhibit and a great one, pay attention to the process of script editing,” Museum News, 69, no. 3 (May/June 1990): 76-79.
Denise Cullen, “The past is not another cemetery,” The Weekend Australian, Professional Public Sector: 2.
Danforth Museum of Art, “Education at the Danforth Museum of Art,” http://www.danforthmuseum.org/education.html (downloaded 24/03/2010).
Maurice Davies, “Children-friendly environments,” Museums Journal (Museums Association Britain) 100, no. 1 (January 2000): 15.
Jonathon David, “Light in museums,” Museums Journal (Museums Association Britain) 85, no. 4 (March 1986): 203-215.
Chris Dorsett, “Absence makes the heart grow fonder,” Museums Journal (Museums Association Britain) 100, no. 1 (January 2000): 14.
Thursday, March 17, 2011
More bibliographic references...
Barbara A. Levy and Nancy Curtis, “Back to Boston’s Future. Students in this education program assume the identities of 18th-century residents to learn something about local history-and about themselves,” Museum News, 68, no. 5 (September/October 1989): 59-61.
Phyllis J. Meltzer, “Help volunteers help you,” Museum News, 68, no. 2 (March/April 1989): 60-63.
Judy D. Schiebel, “Penchant for pizzazz,” Museum News, 68, no. 2 (March/April 1989): 55-59.
C.G. Screven, “A bibliography on visitor education research,” Museum News The Journal of the American Association of Museums, 57, no. 4 (March/April 1979): 56-59, 86.
Beth B. Schneider, “Museums and schools are allies in shaping art education,” Museum News, 68, no. 5 (September/October 1989): 70-71.
Richard G. Stein, “Energy and illumination,” Museum News The Journal of the American Association of Museums, 57, no. 4 (March/April 1979): 43-49.
Dorothy K. Washburn “Experts for the day,” Museum News, 68, no. 2 (March/April 1989): 65-66.
Phyllis J. Meltzer, “Help volunteers help you,” Museum News, 68, no. 2 (March/April 1989): 60-63.
Judy D. Schiebel, “Penchant for pizzazz,” Museum News, 68, no. 2 (March/April 1989): 55-59.
C.G. Screven, “A bibliography on visitor education research,” Museum News The Journal of the American Association of Museums, 57, no. 4 (March/April 1979): 56-59, 86.
Beth B. Schneider, “Museums and schools are allies in shaping art education,” Museum News, 68, no. 5 (September/October 1989): 70-71.
Richard G. Stein, “Energy and illumination,” Museum News The Journal of the American Association of Museums, 57, no. 4 (March/April 1979): 43-49.
Dorothy K. Washburn “Experts for the day,” Museum News, 68, no. 2 (March/April 1989): 65-66.
Another selected bibliography...
Ann Bay, “Learning in and through Art: A guide to Discipline-Based Art Education,” Museum News, 78, no. 1 (January/February 1999): 23-26.
_“ ‘Appropriate’ marketing needn’t compromise museum integrity,” Museum News, 68, no. 5 (September/October 1989): 82-83.
Nancy W. Berry, “Positive peer pressure,” Museum News The Journal of the American Association of Museums, 57, no. 4 (March/April 1979): 29-34.
John W. Carlin, “Your past is disappearing. What museums should know about the 20th-Century Archives Crisis,” Museum News, 78, no. 1 (January/February 1999): 46-49.
Ellie Caston, “An interdisciplinary approach to education,” Museum News The Journal of the American Association of Museums, 57, no. 4 (March/April 1979): 50-53.
Donald Garfield, “The next thing now. Designing the 21st-century museum,” Museum News, 75, no.1 (January/February 1996): 34-45, 58.
Steven K. Hamp and Michael J. Ettema, “To collect or to educate? Some history museums discover they can’t do one without the other,” Museum News, 68, no. 5 (September/October 1989): 41-44.
_“ ‘Appropriate’ marketing needn’t compromise museum integrity,” Museum News, 68, no. 5 (September/October 1989): 82-83.
Nancy W. Berry, “Positive peer pressure,” Museum News The Journal of the American Association of Museums, 57, no. 4 (March/April 1979): 29-34.
John W. Carlin, “Your past is disappearing. What museums should know about the 20th-Century Archives Crisis,” Museum News, 78, no. 1 (January/February 1999): 46-49.
Ellie Caston, “An interdisciplinary approach to education,” Museum News The Journal of the American Association of Museums, 57, no. 4 (March/April 1979): 50-53.
Donald Garfield, “The next thing now. Designing the 21st-century museum,” Museum News, 75, no.1 (January/February 1996): 34-45, 58.
Steven K. Hamp and Michael J. Ettema, “To collect or to educate? Some history museums discover they can’t do one without the other,” Museum News, 68, no. 5 (September/October 1989): 41-44.
Monday, February 28, 2011
Reviewing Methods and Materials...Three-dimensional mixed media exhibits...
Students can begin to investigate the ways in which three-dimensional mixed media techniques can be used in order to represent ideas, emotional responses or design solutions. Here are some initial points:
Describe the different three-dimensional media combinations have been used by the exhibitor.
Specify the ways that the exhibitor has used modelling, carving, casting, welding, assemblage or other three-dimensional techniques together.
Has the exhibitor used these different techniques side-by-side, or has the exhibitor overlapped and juxtaposed techniques in another distinctive manner?
Has the exhibitor linked the use of three-dimensional mixed media techniques to the use of two-dimensional methods?
Describe the different three-dimensional media combinations have been used by the exhibitor.
Specify the ways that the exhibitor has used modelling, carving, casting, welding, assemblage or other three-dimensional techniques together.
Has the exhibitor used these different techniques side-by-side, or has the exhibitor overlapped and juxtaposed techniques in another distinctive manner?
Has the exhibitor linked the use of three-dimensional mixed media techniques to the use of two-dimensional methods?
Reviewing Methods and Materials...Two-dimensional mixed media exhibits...
Students can begin to investigate the ways in which two-dimensional mixed media techniques can be used in order to represent ideas, emotional responses or design solutions. Here are some initial points:
Describe the different two-dimensional media combinations have been used by the exhibitor.
Specify the ways that the exhibitor has used drawing or printing or photographic techniques together.
Has the exhibitor used these different techniques side-by-side by using panels or multiple interconnected frames, or has the exhibitor overlapped and juxtaposed techniques in another distinctive manner?
Has the exhibitor linked the use of two-dimensional mixed media techniques to the creation of a three-dimensional exhibit?
Describe the different two-dimensional media combinations have been used by the exhibitor.
Specify the ways that the exhibitor has used drawing or printing or photographic techniques together.
Has the exhibitor used these different techniques side-by-side by using panels or multiple interconnected frames, or has the exhibitor overlapped and juxtaposed techniques in another distinctive manner?
Has the exhibitor linked the use of two-dimensional mixed media techniques to the creation of a three-dimensional exhibit?
Saturday, January 29, 2011
Reviewing Methods and Materials...Mixed Media...
Reviewing Methods and Materials…
Two and three-dimensional mixed media exhibits:
Students can begin to consider the advantages of using mixed media techniques in order to represent ideas, emotional responses or design solutions. Here are some initial points:
Describe the different media used in each exhibit.
Describe the ways that media combinations have been used by the exhibitor.
Has the exhibitor referred to specific art, design or craft traditions?
Describe the use of fonts, lines, shapes, colours, textures and materials.
Two and three-dimensional mixed media exhibits:
Students can begin to consider the advantages of using mixed media techniques in order to represent ideas, emotional responses or design solutions. Here are some initial points:
Describe the different media used in each exhibit.
Describe the ways that media combinations have been used by the exhibitor.
Has the exhibitor referred to specific art, design or craft traditions?
Describe the use of fonts, lines, shapes, colours, textures and materials.
Reviewing Methods and Materials...Graphic Design...
Reviewing Methods and Materials…
Two dimensional design exhibits:
Graphic design.
Students can begin to consider the advantages of using design techniques in order to represent ideas and solutions for graphic design projects.
Describe the guiding design brief or design briefs. Has the design brief been developed in response to a specific local problem? Has the development of the design brief been inspired by a desire to create a special response to new or prevailing graphic design issues that are widespread?
Has the design proposal featured in the exhibition been produced for a graphic design developed for personal use, or domestic use, or industrial environments or mass public use?
Has the exhibitor referred to specific art, design or craft traditions in the response to the design brief?
Describe the size of the graphic design exhibits.
Describe the use of fonts, lines, shapes, colours, textures and materials proposed for the graphic designs.
Outline the methods used to represent the graphic design exhibits. Has the exhibitor used two-dimensional representations based on the use of hand-rendered freehand or technical drawing techniques, or photographic techniques, or computer-aided design software packages and printing techniques? Has the exhibitor produced three-dimensional models in order to produce two-dimensional representations? If so, describe the methods and materials used to produce the three-dimensional models. Note the use of specific modelling or construction methods, and particular materials, such as card, wood, plastics, or modelling compounds.
Two dimensional design exhibits:
Graphic design.
Students can begin to consider the advantages of using design techniques in order to represent ideas and solutions for graphic design projects.
Describe the guiding design brief or design briefs. Has the design brief been developed in response to a specific local problem? Has the development of the design brief been inspired by a desire to create a special response to new or prevailing graphic design issues that are widespread?
Has the design proposal featured in the exhibition been produced for a graphic design developed for personal use, or domestic use, or industrial environments or mass public use?
Has the exhibitor referred to specific art, design or craft traditions in the response to the design brief?
Describe the size of the graphic design exhibits.
Describe the use of fonts, lines, shapes, colours, textures and materials proposed for the graphic designs.
Outline the methods used to represent the graphic design exhibits. Has the exhibitor used two-dimensional representations based on the use of hand-rendered freehand or technical drawing techniques, or photographic techniques, or computer-aided design software packages and printing techniques? Has the exhibitor produced three-dimensional models in order to produce two-dimensional representations? If so, describe the methods and materials used to produce the three-dimensional models. Note the use of specific modelling or construction methods, and particular materials, such as card, wood, plastics, or modelling compounds.
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