Lonnie Holley exploration and analysis of his artworks in two settings : the yard and the museum

The contemporary artist, Lonnie Holley, creates assemblage sculptures using found objects that he then places in his multi-layered yard art environment. With the rise in prestige of folk art, many art galleries and museums have displayed the works of Holley, removing them from the yard art environment and placing them in the gallery setting. This paper addresses how meaning changes when the context of Holley’s artworks changes.

Elogio del cuadrado: cuadrícula, cuadro, cuatro, cubo

Un recorrido por la producción de Le Corbusier evidencia la insistente presencia del cuadrado como base de las composiciones en diversos campos (urbanismo, arquitectura, pintura, mobiliario...) y en diferentes formatos (en planta, alzado y sección, o como marco, módulo y cuadrícula). La presente comunicación realiza un análisis formal (gráfico y simbólico) de sus proyectos y obras, rastreando los modos en que se utiliza el cuadrado permaneciendo en el tiempo como una constante recurrente. Para ello se recorren cuatro áreas temáticas que descienden en escala y en dimensiones: 1) capitolios, 2) museos, 3) pabellones y 4) casas, estudiando una serie de ejemplos en cada área a partir de los planos de la Fundación Le Corbusier, generando discursos que reconstruyen un hilo del tiempo en la evolución de los procesos compositivos. De este modo, se desgrana el empleo del cuadrado, en correspondencia con las áreas de estudio, como: 1º) perímetro de la plaza pública donde insertar las arquitecturas representativas, 2º) marco o caja-fuerte donde encerrar los tesoros artísticos (o sagrados), 3º) volumen cúbico abierto y desmontable y 4º) caja definida por la retícula de la estructura. El cuadrado es siempre un medio y no un fin. Persiste un intento de sugerir algunos de los orígenes en su formación clasicista, sus viajes y sus pinturas.

El cambio cultural y los museos: reflexiones a partir del Instituto Inhotim de Arte Contemporáneo

A finales del siglo pasado y principios del siglo XXI el número de instituciones culturales se ha incrementado expresivamente. Países como Japón, Reino Unido y también Brasil son sorprendidos con nuevos museos a un ritmo singular. Este texto pretende ampliar la comprensión sobre el creciente número de establecimientos culturales, los nuevos formatos de los museos y las innovaciones en los espacios museísticos por medio de la perspectiva de los visitantes. Encuestas realizadas en el Instituto Inhotim, en Brasil, demuestran que la existencia de museos y símiles en nuevos formatos está en conformidad con las expectativas de una sociedad contemporánea donde las personas buscan vivir nuevas experiencias, valoran las sensaciones y privilegian el tiempo presente.

Illustrated catalogue of the Museum of Comparative Zoölogy, at Harvard College / published by order of the Legislature of Massachusetts.

no.4 (1871)

Annual report of the Trustees of the State Museum of Natural History ...

39th (1885)

Boston, Massachusetts, 1880 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: New map of Boston : with squares and numbers after the Baedeker plan, published by Boston Map Company in 1880. Scale [ca. 1:8,350]. Covers downtown Boston and Back Bay and parts of Charlestown, East Boston and South Boston. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Massachusetts State Plane Coordinate System, Mainland Zone (in Feet) (Fipszone 2001). All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, or other information associated with the principal map. This map shows features such as roads, railroads, drainage, some public buildings, churches, hospitals, schools, universities, clubs, hotels, museums, monuments, parks, cemeteries, industry and business locations, city ward boundaries and more. Relief is shown by hachures. The map indicates original shoreline and radial distances from City Hall. It includes an index to points of interest. This layer is part of a selection of digitally scanned and georeferenced historic maps of Massachusetts from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of regions, originators, ground condition dates (1755-1922), scales, and purposes. The digitized selection includes maps of: the state, Massachusetts counties, town surveys, coastal features, real property, parks, cemeteries, railroads, roads, public works projects, etc.

User interface de aplicações móveis para museus : atenção partilhada

With the emergence and growing supply of mobile apps for museums it becomes relevant to study the importance of all the design aspects of those apps in order to provide users/visitors with a better museum experience. One of these aspects is User Interface (UI) which may condition the quality of the application experience as well as the museum experience, serving the function of intermediary. Since interface design must combine usability with appearance (Schlatter e Levinson, 2013) the design must always appeal to the user, representing also a potential source of distraction. Hence the concern of this dissertation is to understand how we can distribute the user's attention in a balanced way, between the application and the exhibition via the User Interface design. For better understanding of the issue – sharing the attention between the physical experience and the application - questions are addressed as: what represents a distraction during a visit to a museum and what comprises the attention process. Thus, it was possible to find some good and bad practice to design a good mobile UI which suits the visual criteria and does not require too much visitor’s attention, serving as a complement to the visit

Espaço enquanto matéria da arte, espaço enquanto matéria do museu : (re)configurações da experiência site-specific

The central theme of this dissertation encompasses the importance of space, particularly the exhibition space, and how it has become part of the subject matter, as well as a medium in art. Some artistic practices of the 20th century, mainly in the 20s and 60s, both in Europe and the United States of America have provided the contextual foundation. The close relation between the architectural and exhibition spaces has become an intrinsic link to establish the existence of the three-dimensional work of art. The overarching importance of space in the contemporary artistic practice is visible through the creative and exhibition installation process, most notably in the artistic movements of Installation art and Site-specific. By carrying over the transformative contemporary art scene concepts to an institutional and museological context, paired with the inherent evolution of its practices, these have allowed for a convergence of the museological fields. With the intention of providing audiences a unique experience, curators and museologists have relied on site-specific practices. By inviting artists (typically featured in the current artistic scene) to develop projects specially thought for a specific museum space, this simultaneously allows for a dialogue between the work of art and the space. These temporary exhibitions have garnered the attention a more diverse audience. As a result sustainability and independence of the museums are a constant source of debate. The result of which has allowed for the broadening of the notions of how museums function and have integrated the audience as a main element of the strategies of the museum programming. The principles of the cultural marketing provide museums a clearer vision of the understanding of the different audience and their needs. Thus, the main goal of this study is to perceive the importance of the museum space in the relation to the artistic practice. While existing as a strategic resource of the museological program, insofar as having the ability to lure new audiences. It also matters to notice, if the fact of the artist working directly inside the museum, contribute to a narrowing of the artist/audience relationship, being the museum the mediation element

A valorização da função do objecto de design em contexto museológico : lógicas expositivas - a museologia do design industrial

The design objects give us a testimony of those who imagined, designed, developed, manufactured and used them. Each object, intentionally or not, portrays its own story, all the visible details are part of a decision taken by someone at some time of its chronology. The act of collecting objects, as well as private collections are the basis for the creation of museums as we know them today. Musealization - taking objects into a museum - means that one is restoring, preserving, enhancing some objects compared to others. And when restoring these objects, one is restoring their symbolic capacity, i.e. the fact that they tell a story, means you are restoring its message. In a museum, although out of context and deprived of most of the functions to which they had been designed for, the objects acquire other function(s), preserving their importance. Design museums give us the possibility to have a closer view of the objects, rather than just look at them, along with the pedagogical function. Thus presents a proposal for museography regarding industrial design, which is based on the appreciation of the function of anonymous design objects, based on expository logic, that takes the visitor to see, instead of just looking at objects, offering the possibility of interaction with the same, increasing the relationship between human being - object - museum, including groups with special needs, which are often forgotten in these exhibitions. This dissertation is a reflection and a projectual intervention on the design object in a museum, clarifying the concepts of object and museum, covering issues regarding the relevance of design museums, and culminating in the presentation of a museography project, where the function of an object prevails