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50-490: The British Art Show ( BAS ) is a major survey exhibition organised every five years to showcase contemporary British Art . Each time it is organised, the show tours to four UK cities. It usually requires a number of venues in each city to accommodate it. As a snapshot of contemporary British Art, the exhibition has some equivalence to the biennial exhibitions of the Whitney Museum of American Art . The exhibition

100-609: A 24-hour security presence is recommended when precious treasures are exhibited. Finally, the exhibition is best protected when equipped with intruder alarms , which can be fitted at entry points to the building and internal areas. Luke Fowler Luke Fowler (born 1978) is an artist, 16mm filmmaker and musician based in Glasgow . He studied printmaking at Duncan of Jordanstone College of Art and Design in Dundee . He creates cinematic collages that have often been linked to

150-759: A crucial impact on the study of Early Netherlandish painting . 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 Düsseldorf which enabled less regarded galleries opportunity to meet with an international public. The fairs took place during

200-533: A level lower than that falling on the exhibit. Visible light levels should be maintained at between 50 lux and 100 lux depending on the light sensitivity of objects. An items level of toleration will depend on the inks or pigments 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. Light levels need to be measured when

250-432: A low UV output and when covered with plastic sleeves before exhibition. Though tungsten-halogen lamps 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. The exhibition space's relative humidity (RH) should be set to

300-536: A number of collaborators including Eric La Casa, George Clark and Peter Hutton, Mark Fell , Lee Patterson, Toshiya Tsunoda, and Richard Youngs . He collaborated with guitarist Keith Rowe and film maker and curator Peter Todd on the live sound and film work The Room . Luke Fowler's work explores the limits and conventions of biographical and documentary film-making with an emphasis on sound, marginalised communities and radical voices. This article about an artist, architect or photographer from Scotland

350-692: A period where exhibitions, often one-off shows, were crucial in exposing the public to new developments in art, and eventually Modern art . Important shows of this type were the Armory Show in New York City in 1913 and the London International Surrealist Exhibition in 1936. Museums started holding large loan exhibitions of historic art in the late 19th century, as also did the Royal Academy, but

400-464: 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. Materials used for case construction should be chosen carefully because component materials can easily become

450-418: A significant source of pollutants or harmful fumes for displayed objects. Outgassing 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 corrosion . Examples of evaluative criteria to be used in deeming materials suitable for use in exhibit display could be

500-1248: A unique exhibition in each location. "We are interested in the recurrent nature of the comet as a symbol of how each version of the present collides with the past and the future, and the work of the artists in British Art Show 7, in many different ways, contests assumptions of how ‘the now’ might be understood." Lisa Le Feuvre and Tom Morton, Curators of British Art Show 7. The selected artists were Charles Avery , Karla Black , Becky Beasley, Juliette Blightman, Duncan Campbell, Varda Caivano, Spartacus Chetwynd , Steven Claydon , Cullinan Richards, Matthew Darbyshire, Milena Dragicevic, Luke Fowler , Michael Fullerton, Alasdair Gray, Brian Griffiths, Roger Hiorns , Ian Kiaer, Kirschner & Panos, Sarah Lucas , Christian Marclay , Simon Martin, Nathaniel Mellors , Haroon Mirza , David Noonan, The Otolith Group, Mick Peter, Gail Pickering, Olivia Plender, Elizabeth Price, Karin Ruggaber, Edgar Schmitz, Maaike Schoorel, George Shaw , Wolfgang Tillmans , Sue Tompkins, Phoebe Unwin, Tris Vonna Michell , Emily Wardill , Keith Wilson. Curated by Anna Colin and Lydia Yee, British Art Show 8

550-476: 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 vellum and parchment materials, which are extremely sensitive to changes in relative humidity and may contract violently and unevenly if displayed in too dry an environment. For preservation purposes, cooler temperatures are always recommended. The temperature of

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600-689: A wavelength below 400 nm (ultraviolet radiation) be limited to no more than 75 microwatts per lumen at 10 to 100 lux. Furthermore, exposure to natural light 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, UV filtering films, and UV-filtering panels in windows or cases. Artificial light sources are safer options for exhibition. Among these sources, incandescent lamps are most suitable because they emit little or no UV radiation. Fluorescent lamps , common in most institutions, may be used only when they produce

650-404: 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

700-534: Is a Hayward Gallery Touring exhibition, organised in collaboration with institutions across the cities of Aberdeen, Wolverhampton, Manchester and Plymouth. Art exhibition Such expositions may present pictures , drawings , video , sound , installation , performance , interactive art , new media art or sculptures by individual artists, groups of artists or collections of a specific form of art . The art works may be presented in museums , art halls, art clubs or private art galleries , or at some place

750-409: Is a distinction between commercial and non-commercial exhibitions. A commercial exhibition or trade fair is often referred to as an art fair that shows the work of artists or art dealers where participants generally have to pay a fee. A vanity gallery 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

800-655: Is cumulative and irreversible. Two trusted sources – the National Information Standard Organization's Environmental Conditions for Exhibiting Library and Archival Materials, and the British Library's Guidance for Exhibiting Library and Archive Materials – 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

850-408: Is essential that they be displayed with care. Not all materials are able withstand the hardships of display, and therefore each piece needs to be assessed carefully to determine its ability to withstand the rigors of an exhibition. In particular, when exhibited items are archival artifacts or paper-based objects, preservation considerations need be emphasized because damage and change in such materials

900-452: Is normally curated by two or three people who are appointed for their knowledge of contemporary art. Previously these had been artists and critics, but more recently they have been curators. The 1990 show caused controversy as it did not include any Scottish artists, even though it opened in Glasgow as part of the city's European Capital of Culture programme. The 1995 show, curated by Richard Cork , Rose Finn-Kelcey and Thomas Lawson,

950-738: The academic art promoted by the Paris Salon, always more rigid than London, was felt to be stifling French art, alternative exhibitions, now generally known as the Salon des Refusés ("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 Édouard Manet 's Luncheon on the Grass (Le déjeuner sur l'herbe) and James McNeill Whistler's Girl in White . This began

1000-475: The British Free Cinema movement of the 1950s. His para- documentary films have explored counter cultural figures including Scottish psychiatrist R. D. Laing , English composer Cornelius Cardew and Marxist-Historian E. P. Thompson . As well as portraits of musicians and composers he has also made films and installations that deal with the nature of sound itself. Luke Fowler has worked with

1050-530: 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 art criticism of the day. Critics as distinguished as Denis Diderot and John Ruskin held their readers attention by sharply divergent reviews of different works, praising some extravagantly and giving others

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1100-772: The UK. Its seventh incarnation opened in Nottingham , and toured for the first time in 20 years to the Hayward Gallery at Southbank Centre , followed by venues in Glasgow and Plymouth . It was curated by Lisa Le Feuvre and Tom Morton. The 39 artists were selected on the grounds of their significant contribution to contemporary art in the previous five years. All included artworks were produced between 2005 and 2010, and encompassed sculpture , painting , installation , drawing , photography , film , video , and performance , with many artists creating new works especially for

1150-470: The United States. Following the advent of Wash Art, many fairs developed throughout the United States. Although preservation issues are often disregarded in favor of other priorities during the exhibition process, they should certainly be considered so that possible damage to the collection is minimized or limited. As all objects in the library exhibition are unique and to some extent vulnerable, it

1200-401: The best of international art; there are now many of these. A travelling exhibition is an exhibition seen at several venues, sometimes across the world. Exhibitions of new or recent art can be juried, invitational, or open. The art exhibition has played a crucial part in the market for new art since the 18th and 19th centuries. The Paris Salon , open to the public from 1737, rapidly became

1250-423: The binding structure. 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 shards of glass falling on the exhibits. Whenever possible, the exhibition area should be patrolled;

1300-572: The book hinge; cradles, which support bound volumes as they lay open 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

1350-401: The case (for example, polyester blend fabric), and any adhesives used in the process, should also be tested to determine any risk. Using internal buffers and pollutant absorbers, such as silica gel , activated carbon , or zeolite , is a good way to control relative humidity and pollutants. Buffers and absorbers should be placed out of sight, in the base or behind the backboard of a case. If

1400-615: The case is to be painted, it is recommended oil paints be avoided; acrylic or latex paint is preferable. There are two kinds of objects displayed at the library and archival exhibition – bound materials and unbound materials. Bound materials include books and pamphlets , and unbound materials include manuscripts , 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. Unbound materials, usually single-sheet items, need to be attached securely to

1450-523: 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 channels for European artwork already in place. The Washington fair introduced the European idea of dealer fairs to art dealers throughout

1500-447: 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 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

1550-459: The environment with 24-hour air conditioning and dehumidification is the most effective way of protecting an exhibition from serious fluctuations. One factor that influences how well materials will fare in an exhibition is the length of the show. The longer an item is exposed to harmful environmental conditions, the more likely that it will experience deterioration. Many museums and libraries have permanent exhibitions , and installed exhibitions have

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1600-417: The exhibition is prepared. UV light meters will check radiation levels in an exhibit space, and data event loggers help determine visible light levels over an extended period of time. Blue wool standards cards can also be utilized to predict the extent to which materials will be damaged during exhibits. UV radiation must be eliminated to the extent it is physically possible; it is recommended that light with

1650-560: The exhibition opened in Gateshead, concern was voiced that few of the artists came from the North East of England. It then travelled to Manchester (January–April), Nottingham (April–June) and Bristol (July–September). The British Art Show is widely recognised as the most ambitious and influential exhibition of contemporary British art. Organised by Hayward Touring, it takes place every five years and tours to four different cities across

1700-585: The exhibition space; Length of the exhibition; Individual cases; Display methods used on individual objects; and Security. The main concerns of exhibition environments include light , relative humidity , and temperature . Light wavelength , intensity , 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 illumination can be aided by reducing ambient light levels to

1750-511: The exhibition. British Art Show 7 marked a change in direction from previous years, moving away from the model of a survey show to an exhibition with a marked curatorial focus. "The British Art Show has always been at the forefront of innovation, and this incarnation is no exception." Ralph Rugoff , Director of the Hayward Gallery . Subtitled In the Days of the Comet , British Art Show 7 employed

1800-596: 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. Düsseldorf and Cologne merged their efforts. Basel soon became the most important art fair. In 1976, the Felluss Gallery under

1850-415: The frame and the wall. 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 binding 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

1900-459: The key factor in determining the reputation, and so the price, of the French artists of the day. The Royal Academy 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 British Institution was added to

1950-458: 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 of especially delicate or fragile materials be displayed in lieu of originals for longer exhibitions. Library or archival materials are usually displayed in display cases or frames . Cases provide

2000-500: The modern "blockbuster" museum exhibition, with long queues and a large illustrated catalogue, is generally agreed to have been introduced by the exhibitions of artifacts from the tomb of Tutankhamun held in several cities in the 1970s. Many exhibitions, especially in the days before good photographs were available, are important in stimulating research in art history ; the exhibition held in Bruges in 1902 (poster illustrated below) had

2050-630: 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 commissions. Among important early one-off loan exhibitions of older paintings were the Art Treasures Exhibition, Manchester 1857 , and the Exhibition of National Portraits in London, at what is now the Victoria and Albert Museum , held in three stages in 1866–1868. As

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2100-418: The motif of the comet to explore and draw together a set of concerns that thread their way through the practices of the selected artists. Here the comet alludes to the measuring of time, to historical recurrence, and to parallel worlds. Comets are also commonly understood as harbingers of change, and fittingly the exhibition evolved as it moved from city to city, revealing new works at different venues, creating

2150-826: The mounts, unless matted or encapsulated. Metal fasteners, pins, screws, and thumbtacks should not come in direct contact with any exhibit items. Instead, photo corners , polyethylene , or polyester 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 deacidified 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. Objects in frames should be separated from harmful materials through matting , glazing , and backing layers. Matting, which consists of two pH-neutral or alkaline boards with

2200-471: The museum's own collection on a particular period, theme or topic, supplemented by loans from other collections, mostly those of other museums. They 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. 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,

2250-478: The potential of contact-transfer of harmful substances, water solubility or dry-transfer of dyes , the dry-texture of paints, pH , and abrasiveness . New cases may be preferred, constructed of safe materials such as metal, plexiglass, or some sealed woods. Separating certain materials from the display section of an exhibition case by lining relevant surfaces with an impermeable barrier film will help protect items from damage. Any fabrics that line or decorate

2300-423: The potential to be on the view without any changes for years. Damage from a long exhibition is usually caused by light. The degree of deterioration is different for each respective object. For paper-based items, the suggested maximum length of time that they should be on display is three months per year, or 42 kilolux hours of light per year – whichever comes first. An exhibition log report, including records of

2350-431: The principal business of which is not the display or sale of art, such as a coffeehouse . 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. There are different kinds of art exhibitions, in particular there

2400-401: 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. Retrospectives look back over the work of a single artist; other common types are individual exhibitions or "solo shows" , and group exhibitions or "group shows"). The Biennale is a large exhibition held every two years, often intending to gather together

2450-533: Was highly regarded as it spotlighted the emergence of the Young British Artists . The 2000 show was selected by Jacqui Poncelet, Pippa Coles and Matthew Higgs , and included more than 50 artists. BAS 6 in 2005 was in the Baltic Centre for Contemporary Art , Gateshead . It was curated by Andrea Schlieker and Alex Farquharson and included a large number of artists born outside the UK. As

2500-1060: Was scheduled to open in October 2015 at Leeds Art Gallery, and tour to venues in Edinburgh, Norwich and Southampton. The artists in British Art Show 8 are: Abake , Lawrence Abu Hamdan , Caroline Achaintre , John Akomfrah and Trevor Mathison, Aaron Angell, Pablo Bronstein , Adam Broomberg and Oliver Chanarin , Andrea Büttner , Alexandre da Cunha , Nicolas Deshayes, Benedict Drew, Simon Fujiwara , Martino Gamper , Ryan Gander , Melanie Gilligan , Anthea Hamilton , Will Holder , Alan Kane, Mikhail Karikis, Linder , Rachel Maclean , Ahmet Ogut , Yuri Pattison, Ciara Phillips , Charlotte Prodger , Laure Prouvost , Magali Reus, James Richards , Eileen Simpson and Ben White, Daniel Sinsel, Cally Spooner, Patrick Staff , Imogen Stidworthy , Hayley Tompkins , Jessica Warboys, Stuart Whipps, Bedwyr Williams , Jesse Wine, Lynette Yiadom-Boakye . Curated by Irene Aristizábal and Hammad Nasar, British Art Show 9

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