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without stress to the binding structure; and polyester film strips, which help to secure open leaves. Textblock supports are best used in conjunction with book cradles where the textblock is greater than 1/2 inch, or where the textblock noticeably sags. Regardless of its method of support, however, any book that is kept open for long periods can cause damage. One should turn an exhibited book's pages every few days in order to protect pages from overexposure to light and spread any strain on the binding structure.
785:
856:, and backing layers. Matting, which consists of two pH-neutral or alkaline boards with a window cut in the top board to enable the object to be seen, can be used to support and enhance the display of single sheet or folded items. Backing layers of archival cardboard should be thick enough to protect objects. Moreover, any protective glazing used should never come in direct contact with objects. Frames should be well-sealed and hung securely, allowing a space for air circulation between the frame and the wall.
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opportunity to meet with an international public. 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. DĂĽsseldorf and
Cologne merged their efforts. Basel soon became the most important art fair.
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that the temperature should not go above 77 °F and below 45 °F. 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 24-hour air conditioning and dehumidification is the most effective way of protecting an exhibition from serious fluctuations.
700:. Cases provide a physically and chemically secure environment. Vertical cases are acceptable for small or single-sheet items, and horizontal cases can be used for a variety of objects, including three-dimensional items such as opened or closed books, and flat paper items. All these objects can be arranged simultaneously in one horizontal case under a unified theme.
415:– have established indispensable criteria to help curtail the deleterious effects of exhibitions on library and archival materials. 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.
683:
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. It is recommended that high-quality facsimiles
398:
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
379:
In 1976, the
Felluss Gallery under the direction of Elias Felluss, in Washington DC organized the first American dealer art fair. "The Washington International Art Fair" or "Wash Art" for brevity. This American fair met with fierce opposition by those galleries interested in maintaining distribution
650:
For preservation purposes, cooler temperatures are always recommended. The temperature of the display space should not exceed 72 °F. A lower temperature of down to 50 °F can be considered safe for a majority of objects. The maximum acceptable variation in this range is 5 °F, meaning
164:
is an exhibition space of works in a gallery that charges the artist for use of the space. Temporary museum exhibitions typically display items from the museum's own collection on a particular period, theme or topic, supplemented by loans from other collections, mostly those of other museums. They
877:
Because exhibited items are often of special interest, they demand a high level of security to reduce the risk of loss from theft or vandalism. Exhibition cases should be securely locked. In addition, cases may be glazed with a material that hinders penetration and that when broken does not risk
168:
Exhibitions in commercial galleries are often entirely made up of items that are for sale, but may be supplemented by other items that are not. Typically, the visitor has to pay (extra on top of the basic museum entrance cost) to enter a museum exhibition, but not a commercial one in a gallery.
868:
allows. Common practice is to open volumes at an angle no greater than 135°. There are some types of equipment that help support volumes as they displayed openly: blocks or wedges, which hold a book cover to reduce stain at the book hinge; cradles, which support bound volumes as they lay open
375:
In 1968, Art fairs in Europe became quite the fashion with the advent of the
Cologne Art Fair which was sponsored by the Cologne Art Dealers Association. Because of the high admission standards of the Cologne fair a rival fair was organized in DĂĽsseldorf which enabled less regarded galleries
294:
held their readers attention by sharply divergent reviews of different works, praising some extravagantly and giving others the most savage put-downs they could think of. Many of the works were already sold, but success at these exhibitions was a crucial way for an artist to attract more
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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. UV
281:
was added to the London scene in 1805, holding two annual exhibitions, one of new
British art for sale, and one of loans from the collections of its aristocratic patrons. These exhibitions received lengthy and detailed reviews in the press, which were the main vehicle for the
227:
A pop-up art exhibition is a temporary showcase of artwork that takes place in unconventional or unexpected locations. It offers a unique and immersive art experience outside of traditional gallery settings, often appearing spontaneously and capturing the attention of diverse
129:. An important distinction is noted between those exhibits where some or all of the works are for sale, normally in private art galleries, and those where they are not. Sometimes the event is organized on a specific occasion, like a birthday, anniversary or commemoration.
355:
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
633:
The exhibition space's relative humidity (RH) should be set to a value between 35% and 50%. The maximum acceptable variation should be 5% on either side of this range. Seasonal changes of 5% are also allowed. The control of relative humidity is especially critical for
844:
before encapsulation. Avoid potential slippage during encapsulation – when possible, use ultrasonic or heat seals. For objects that need to be hung (and that may require more protection than lightweight polyester film), matting would be an effective alternative.
624:
are currently a favorite artificial lighting source, they still give off significant amounts of UV radiation; use these only with special UV filters and dimmers. Lights should be lowered or turned off completely when visitors are not in the exhibition space.
558:, and duration contribute collectively to the rate of material degradation in exhibitions. The intensity of visible light in the display space should be low enough to avoid object deterioration, but bright enough for viewing. A patron's tolerance of low-level
667:
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
574:
being exposed and the duration of the exhibition time. 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.
276:
in London, beginning in 1769, soon established a similar grip on the market, and in both countries artists put great efforts into making pictures that would be a success, often changing the direction of their style to meet popular or critical taste. The
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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
878:
shards of glass falling on the exhibits. Whenever possible, the exhibition area should be patrolled; a 24-hour security presence is recommended when precious treasures are exhibited. Finally, the exhibition is best protected when equipped with
380:
channels for
European artwork already in place. The Washington fair introduced the European idea of dealer fairs to art dealers throughout the United States. Following the advent of Wash Art, many fairs developed throughout the United States.
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Unbound materials, usually single-sheet items, need to be attached securely to the mounts, unless matted or encapsulated. Metal fasteners, pins, screws, and thumbtacks should not come in direct contact with any exhibit items. Instead,
743:
barrier film will help protect items from damage. Any fabrics that line or decorate the case (for example, polyester blend fabric), and any adhesives used in the process, should also be tested to determine any risk. Using internal
403:
or paper-based objects, preservation considerations need be emphasized because damage and change in such materials is cumulative and irreversible. Two trusted sources – the
National Information Standard Organization's
204:, has an individual (or group) acting as judge of the submitted artworks, selecting which are to be shown. If prizes are to be awarded, the judge or panel of judges will usually select the prizewinners as well.
819:, cards, drawings, and other two-dimensional items. The observance of proper display conditions will help minimize any potential physical damage. All items displayed must be adequately supported and secured.
711:
from materials used in the construction of the exhibition case and/or fabrics used for lining the case can be destructive. Pollutants may cause visible deterioration, including discoloration of surfaces and
603:
is undesirable because of its intensity and high UV content. When such exposure is unavoidable, preventative measures must be taken to control UV radiation, including the use of blinds, shades, curtains,
31:
71:, they may be called "exhibit", "exposition" (the French word) or "show". In UK English, they are always called "exhibitions" or "shows", and an individual item in the show is an "exhibit".
394:
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
716:. Examples of evaluative criteria to be used in deeming materials suitable for use in exhibit display could be the potential of contact-transfer of harmful substances,
165:
normally include no items for sale; they are distinguished from the museum's permanent displays, and most large museums set aside a space for temporary exhibitions.
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film straps may hold the object to the support. Objects may also be encapsulated in polyester film, though old and untreated acidic papers should be professionally
764:
and pollutants. Buffers and absorbers should be placed out of sight, in the base or behind the backboard of a case. If the case is to be painted, it is recommended
360:
held in several cities in the 1970s. Many exhibitions, especially in the days before good photographs were available, are important in stimulating research in
256:"A Slight Attack of Third Dimentia Brought on by Excessive Study of the Much Talked of Cubist Pictures in the International Exhibition at New York", drawn by
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The most common way to display bound materials is closed and lying horizontally. If a volume is shown open, the object should be open only as much as its
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materials, which are extremely sensitive to changes in relative humidity and may contract violently and unevenly if displayed in too dry an environment.
562:
can be aided by reducing ambient light levels to a level lower than that falling on the exhibit. Visible light levels should be maintained at between 50
67:. The exhibit is universally understood to be for some temporary period unless, as is occasionally true, it is stated to be a "permanent exhibition". In
2147:
1926:
318:("Salon of the Refused") were held, most famously in 1863, when the government allowed them an annex to the main exhibition for a show that included
272:, open to the public from 1737, rapidly became the key factor in determining the reputation, and so the price, of the French artists of the day. The
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promoted by the Paris Salon, always more rigid than London, was felt to be stifling French art, alternative exhibitions, now generally known as the
620:, common in most institutions, may be used only when they produce a low UV output and when covered with plastic sleeves before exhibition. Though
148:
There are different kinds of art exhibitions, in particular there is a distinction between commercial and non-commercial exhibitions. A commercial
1876:
1676:
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There are two kinds of objects displayed at the library and archival exhibition – bound materials and unbound materials. Bound materials include
340:. This began a period where exhibitions, often one-off shows, were crucial in exposing the public to new developments in art, and eventually
181:
is a large exhibition held every two years, often intending to gather together the best of international art; there are now many of these. A
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969:
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Materials used for case construction should be chosen carefully because component materials can easily become a significant source of
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1953:
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woods. Separating certain materials from the display section of an exhibition case by lining relevant surfaces with an
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1909:
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must be eliminated to the extent it is physically possible; it is recommended that light with a wavelength below 400
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17:
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The art exhibition has played a crucial part in the market for new art since the 18th and 19th centuries. The
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1752:
218:, allows anybody to enter artworks and shows them all. A type of exhibition that is usually non-juried is a
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and 100 lux depending on the light sensitivity of objects. An items level of toleration will depend on the
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of especially delicate or fragile materials be displayed in lieu of originals for longer exhibitions.
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672:, and installed exhibitions have the potential to be on the view without any changes for years.
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that shows the work of artists or art dealers where participants generally have to pay a fee. A
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New cases may be preferred, constructed of safe materials such as metal, plexiglass, or some
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commissions. Among important early one-off loan exhibitions of older paintings were the
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1948:
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211:, the organizer of the show asks certain artists to supply artworks and exhibits them.
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to withstand the rigors of an exhibition. In particular, when exhibited items are
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by individual artists, groups of artists or collections of a specific form of
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1963:
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Biennials and Beyond: Exhibitions That Made Art
History. Volume II: 1962–2002
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Salon to
Biennial: Exhibitions That Made Art History. Volume I: 1863–1959
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Exhibitions of new or recent art can be juried, invitational, or open.
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The
Ephemeral Museum: Old Master Paintings in the Rise of Art Exhibition
1997:
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Environmental Conditions for Exhibiting Library and Archival Materials,
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Environmental Conditions for Exhibiting Library and Archival Materials
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Environmental Conditions for Exhibiting Library and Archival Materials
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Objects in frames should be separated from harmful materials through
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is an exhibition seen at several venues, sometimes across the world.
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1075:, Preservation Management Series (London: British Library, 2000), 2.
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look back over the work of a single artist; other common types are
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Light levels need to be measured when the exhibition is prepared.
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1337:, ed. Paula Marincola, Philadelphia Exhibitions Initiative, 2006.
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New York School Abstract Expressionists Artists Choice by Artists
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Where Art Worlds Meet: Multiple Modernities and the Global Salon
1304:. Preservation Management Series. London: British Library, 2000.
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are most suitable because they emit little or no UV radiation.
368:(poster illustrated below) had a crucial impact on the study of
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OpenArt - Magazine about Art Exhibitions in India and worldwide
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sources are safer options for exhibition. Among these sources,
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IFLA Principles for the Care and Handling of Library Material
1135:
IFLA Principles for the Care and Handling of Library Material
1122:
IFLA Principles for the Care and Handling of Library Material
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Light is used to draw attention to the exhibits. Interior of
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1010:"Protecting Paper and Book Collections During Exhibition"
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111:
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Inside the White Cube: The Ideology of the Gallery Space
1233:
Preservation and Conservation for Libraries and Archives
1189:
Preservation and Conservation for Libraries and Archives
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Preservation and Conservation for Libraries and Archives
949:
725:
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Library or archival materials are usually displayed in
591:(ultraviolet radiation) be limited to no more than 75
1302:
Guidance for Exhibiting Library and Archive Materials
1073:
Guidance for Exhibiting Library and Archive Materials
518:
The main concerns of exhibition environments include
413:
Guidance for Exhibiting Library and Archive Materials
358:
exhibitions of artifacts from the tomb of Tutankhamun
1360:
9 tips to help you prepare your first art exhibition
1248:(Chicago: Society of American Archivists, 1980), 22.
1204:(Chicago: Society of American Archivists, 1980), 42.
1040:"Home - National Information Standards Organization"
984:"Fair for modern and contemporary art | ART COLOGNE"
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films, and UV-filtering panels in windows or cases.
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with the exhibition "Changing Tartu in Four Views".
27:Organized presentation and display of works of art
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680:hours of light per year – whichever comes first.
141:Exhibition space being readied for a show at the
2183:
214:An open or "non-juried" exhibition, such as the
1877:Timeline of 20th century printmaking in America
1260:O'Doherty, Brian and McEvilley, Thomas (1999).
1116:
1114:
1112:
966:Advice for Artists - AGI Fine Art - Advice Blog
177:, and group exhibitions or "group shows"). The
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1143:
419:Environmental concerns of the exhibition space
1385:
1293:National Information Standards Organization.
1089:National Information Standards Organization,
1109:
1106:, 2nd edn (London: Butterworths, 1986), 183.
432:
1140:
654:
390:Preservation (library and archival science)
207:In an invitational exhibition, such as the
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1378:
599:at 10 to 100 lux.Furthermore, exposure to
350:London International Surrealist Exhibition
344:. Important shows of this type were the
297:Art Treasures Exhibition, Manchester 1857
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788:A photography exhibition in Moscow, 2010
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707:or harmful fumes for displayed objects.
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286:of the day. Critics as distinguished as
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29:
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1001:
799:photo exhibition (Faculty of Teaching,
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14:
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1014:Northeast Document Conservation Center
383:
175:individual exhibitions or "solo shows"
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1355:Art Week, 40 years for Art Exhibition
1078:
307:, held in three stages in 1866–1868.
1093:(Bethesda, MD: NISO Press, 2001), 6.
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63:(in the most general sense) meet an
59:is traditionally the space in which
1331:, ed. Robert Storr, Marsilio, 2005.
687:
24:
1976:Index of painting-related articles
1246:Archives and Manuscripts: Exhibits
1202:Archives and Manuscripts: Exhibits
994:from the original on Jan 27, 2024.
779:
121:, art halls, art clubs or private
117:The art works may be presented in
25:
2203:
1348:
1297:. Bethesda, MD: NISO Press, 2001.
1165:Nelly Balloffet and Jenny Hille,
972:from the original on Oct 3, 2023.
748:and pollutant absorbers, such as
366:exhibition held in Bruges in 1902
348:in New York City in 1913 and the
815:, and unbound materials include
506:
494:
482:
470:
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435:Bibliothèque nationale de France
301:Exhibition of National Portraits
1282:, New York School Press, 2000.
1238:
1225:
1216:
1207:
1194:
1181:
1172:
1127:
198:Royal Academy Summer Exhibition
1300:National Preservation Office.
1266:University of California Press
1096:
1071:National Preservation Office,
1032:
976:
962:"All About Pop-up Exhibitions"
954:
943:
918:
303:in London, at what is now the
260:in April 1913, satirizing the
13:
1:
1335:What Makes a Great Exhibition
1254:
724:, the dry-texture of paints,
74:Such expositions may present
1915:Museum collection management
1838:Art history (academic study)
1717:alternative exhibition space
370:Early Netherlandish painting
7:
2076:Colossal sculptures in situ
1780:Artist-in-residence program
1342:A Brief History of Curating
885:
872:
760:, is a good way to control
156:is often referred to as an
10:
2208:
2086:Contemporary art galleries
1981:Outline of the visual arts
926:"Definition of EXHIBITION"
387:
305:Victoria and Albert Museum
232:
2156:
2016:
1885:
1823:
1687:
1612:
1411:
1169:(Chicago: ALA, 2005), 37.
433:
328:(Le déjeuner sur l'herbe)
143:Arthur M. Sackler Gallery
2140:Most expensive paintings
1927:Conservation-restoration
1729:Contemporary art gallery
1325:, Phaidon Editors, 2013.
1318:, Phaidon Editors, 2008.
1311:, Yale University, 2000.
1124:(Paris: IFLA, 1998), 27.
912:
655:Length of the exhibition
333:James McNeill Whistler's
196:exhibition, such as the
35:This Year Venuses Again!
2192:Visual arts exhibitions
2148:works by living artists
1910:Classificatory disputes
1104:The Museum Environment
804:
801:University of Valencia
789:
664:
629:Relative humidity (RH)
622:tungsten-halogen lamps
547:
265:
249:
145:
52:
1785:Artist-run initiative
1672:Visual arts education
1344:, Zurich-Dijon, 2008.
1231:Balloffet and Hille,
1187:Balloffet and Hille,
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787:
776:paint is preferable.
670:permanent exhibitions
662:
541:
325:Luncheon on the Grass
255:
245:of 1787, held at the
240:
183:travelling exhibition
140:
33:
2081:Contemporary artists
1944:Destination painting
1741:Single-artist museum
1630:Conservator-restorer
1340:Hans Ulrich Obrist,
1268:, Expanded edition.
722:dry-transfer of dyes
663:Poster, Bruges, 1902
133:Types of exhibitions
2071:Art reference books
1865:History of painting
1449:Fine-art photograph
1008:Todd Glaser, Mary.
384:Preservation issues
279:British Institution
47:scandalized by the
2166:Visual arts portal
2096:National galleries
1949:Eclecticism in art
1904:Catalogue raisonné
1775:Artist cooperative
1120:Edward P. Adcock,
968:. 14 August 2018.
897:Exhibition history
805:
790:
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614:incandescent lamps
548:
431:exhibition at the
401:archival artifacts
266:
250:
200:in London, or the
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53:
2179:
2178:
1770:Artist collective
1584:Site-specific art
1434:Cultural artifact
1321:Bruce Altshuler,
1314:Bruce Altshuler,
1307:Francis Haskell,
1020:on 28 August 2008
823:Unbound materials
797:Wikimedia Commons
762:relative humidity
618:Fluorescent lamps
524:relative humidity
429:, American Prayer
410:British Library's
316:Salon des Refusés
258:John French Sloan
16:(Redirected from
2199:
2135:Stolen paintings
2003:Sociology of art
1954:Economics of art
1805:Sculpture garden
1790:Artist-run space
1589:Social sculpture
1459:Installation art
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1046:. Archived from
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1016:. Archived from
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754:activated carbon
718:water solubility
688:Individual cases
610:Artificial light
544:Tartu Art Museum
510:
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477:25 February 2011
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465:25 February 2011
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424:Preparation for
209:Whitney Biennial
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768:be avoided;
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1959:art finance
1760:Arts centre
1724:Art gallery
1707:Art commune
1697:Art auction
1540:Printmaking
1469:Mixed media
1464:Kinetic art
1401:Visual arts
1191:(2005), 11.
907:Art gallery
842:deacidified
817:manuscripts
741:impermeable
646:Temperature
528:temperature
362:art history
346:Armory Show
292:John Ruskin
270:Paris Salon
262:Armory Show
243:Paris Salon
222:exhibition.
127:coffeehouse
96:performance
61:art objects
51:'s Venuses.
49:Paris Salon
44:bourgeoisie
2144:sculptures
1998:Provenance
1893:Art market
1800:Commission
1748:Art school
1736:Art museum
1702:Art colony
1690:and events
1550:street art
1545:Public art
1255:References
1153:(1998), 6.
1137:(1998), 8.
766:oil paints
750:silica gel
709:Outgassing
705:pollutants
593:microwatts
552:wavelength
396:collection
342:Modern art
299:, and the
228:audiences.
154:trade fair
150:exhibition
108:sculptures
2123:Sculptors
2029:Art media
1991:sculpture
1932:paintings
1853:Criticism
1635:paintings
1625:Collector
1557:Sculpture
1474:bricolage
1405:art world
1213:NISO, 12.
1178:NISO, 10.
1054:10 August
838:polyester
813:pamphlets
714:corrosion
640:parchment
585:radiation
556:intensity
352:in 1936.
2186:Category
2101:Painters
1986:painting
1898:The arts
1858:feminist
1795:Biennale
1535:Portrait
1520:Painting
1491:graffiti
1444:Fine art
1403:and the
1149:Adcock,
1133:Adcock,
1044:NISO.org
1024:9 August
992:Archived
970:Archived
935:16 April
886:See also
873:Security
572:pigments
408:and the
220:mail art
179:Biennale
158:art fair
80:drawings
76:pictures
65:audience
37:, 1864.
2106:by name
2049:largest
1886:Related
1870:outline
1652:Curator
1640:frescos
1577:tallest
1562:carving
1513:virtual
1508:digital
1503:history
1439:Drawing
1424:Collage
1412:Artwork
1222:NPO, 6.
866:binding
854:glazing
850:matting
803:, 2022)
770:acrylic
758:zeolite
746:buffers
678:kilolux
310:As the
233:History
119:museums
2128:female
1753:Europe
1688:Places
1677:Europe
1667:Patron
1657:Dealer
1647:Critic
1620:Artist
1572:statue
1567:relief
1486:fresco
1286:
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737:sealed
728:, and
698:frames
636:vellum
550:Light
526:, and
364:; the
247:Louvre
194:juried
2017:Lists
2008:Style
1662:Model
1613:Roles
1481:Mural
913:Notes
836:, or
809:books
774:latex
756:, or
597:lumen
534:Light
520:light
441:Paris
88:sound
84:video
1284:ISBN
1270:ISBN
1056:2009
1026:2009
937:2021
811:and
638:and
595:per
568:inks
331:and
290:and
241:The
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720:or
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