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67-649: The Summer Exhibition is an open art exhibition held annually by the Royal Academy in Burlington House , Piccadilly in central London , England, during the months of June, July, and August. The exhibition includes paintings , prints, drawings, sculpture , architectural designs and models , and is the largest and most popular open exhibition in the United Kingdom . It is also "the longest continuously staged exhibition of contemporary art in

134-427: A hypertext environment; some works accept textual or visual input from outside; sometimes an audience can influence the course of a performance or can even participate in it. Some other interactive artworks are considered as immersive as the quality of interaction involve all the spectrum of surrounding stimuli. Virtual reality environments like works by Maurice Benayoun and Jeffrey Shaw are highly interactive as

201-440: 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. Interactive art Interactive art is a form of art that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting

268-759: 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

335-533: 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

402-432: 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

469-408: A medium produces meaning. Interactive art installations are generally computer-based and frequently rely on sensors, which gauge things such as temperature, motion, proximity, and other meteorological phenomena that the maker has programmed in order to elicit responses based on participant action. In interactive artworks, both the audience and the machine work together in dialogue in order to produce

536-418: A monologue – the artwork may change or evolve in the presence of the viewer, but the viewer may not be invited to engage in the reaction but merely enjoy it. According to the new media artist and theorist Maurice Benayoun , the first piece of interactive art should be the work done by Parrhasius during his art contest with Zeuxis described by Pliny , in the fifth century B.C. when Zeuxis tried to unveil

603-418: A new class of interactive art. Examples of such interactive art are installation art , interactive architecture , interactive film , and interactive storytelling . Since there is a presumed participant or agent in interactivity, interactive art has a deep connection with performance art. There are number of globally significant festivals and exhibitions of interactive and media arts. Prix Ars Electronica

670-691: A number of global cities. A number of leading museums, for example, the National Gallery , Tate , Victoria & Albert Museum , and Science Museum in London (to cite the leading UK museums active in this field) were early adopters in the field of interactive technologies, investing in educational resources, and more latterly, in the creative use of MP3 players for visitors. In 2004, the Victoria & Albert Museum commissioned curator and author Lucy Bullivant to write Responsive Environments (2006),

737-692: 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

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804-464: 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

871-418: 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

938-513: 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, 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

1005-407: 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 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

1072-530: A sum of some £2,000,000 for the institution, which receives no financial support from the state or crown. Over £70,000 prize money, including the £25,000 Charles Wollaston Award, is awarded each year at the Summer Exhibition. In addition, a £10,000 architectural prize is awarded. (facade of the RA) The exhibition has received both admiration and criticism. Jonathan Jones described it in 2019 as

1139-409: A unique artwork for each audience to observe. However, not all observers visualize the same picture. Because it is interactive art, each observer makes their own interpretation of the artwork and it may be completely different from another observer's views. Interactive art can be distinguished from generative art in that it constitutes a dialogue between the artwork and the participant; specifically,

1206-411: A unique artwork for each audience. In the late 1990s, museums and galleries began increasingly incorporating the art form in their shows, some even dedicating entire exhibitions to it. This continues today and is only expanding due to increased communications through digital media. A hybrid emerging discipline drawing on the combined interests of specific artists and architects has been created in

1273-476: 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

1340-689: 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

1407-404: 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

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1474-443: 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 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

1541-804: Is a major yearly competition and exhibition that gives awards to outstanding examples of (technology-driven) interactive art. Others include SIGGRAPH (the Association of Computing Machinery's Special Interest Group in Graphics), ISEA (the International Symposium on Electronic Art), DEAF (the Dutch Electronic Arts Festival), Transmediale Germany, Electronic Language International Festival Brazil, and AV Festival England. CAiiA (the Centre for Advanced Inquiry in

1608-428: 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 normally include no items for sale; they are distinguished from the museum's permanent displays, and most large museums set aside

1675-555: Is continuing to grow and evolve in a somewhat rapid manner through internet social sub-culture, as well as through large scale urban installations. Interactive art is a genre of art in which the viewers participate in some way by providing an input in order to determine the outcome. Unlike traditional art forms, wherein the interaction of the spectator is merely a mental event, interactivity allows for various types of navigation, assembly, and/or contribution to an artwork, which goes far beyond purely psychological activity. Interactivity as

1742-655: 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

1809-408: 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

1876-495: The Internet and other telecommunications networks ); and to the development of social contexts for interactive systems (such as utilitarian tools, formal experiments, games and entertainment, social critique, and political liberation). There are many different forms of interactive art. Such forms range from interactive dance, music, and even drama. New technology, primarily computer systems and computer technology, have enabled

1943-738: 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

2010-492: The shortlists for various prizes are announced. Some years have particular themes. The 2005 exhibition theme was " Printmaking and the multiple". In 2006, the theme was "From Life." In 2008, the theme was "Man Made". The theme for 2010 was "Raw". In 2011, the selection committee agreed to have no specific theme. Almost all exhibited works are for sale; the Academy receives 30% of the purchase price. In 2003, this amounted to

2077-543: The "bloated corpse of a tradition ... [with] a tired, inward looking, end-of-the-road quality". An exhibition about the history of the Summer Exhibition, The Great Spectacle , was held in 2018. 51°30′33″N 0°08′24″W  /  51.5092°N 0.1401°W  / 51.5092; -0.1401 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

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2144-483: The 1960s for partly political reasons. At the time, many people found it inappropriate for artists to carry the only creative power within their works. Those artists who held this view wanted to give the audience their own part of this creative process. An early example is found in the early 1960s "change-paintings" of Roy Ascott , about whom Frank Popper has written: "Ascott was among the first artists to launch an appeal for total spectator participation". Aside from

2211-640: The Interactive Arts) was first established by Roy Ascott in 1994 at the University of Wales, Newport , and later in 2003 as the Planetary Collegium . It was the first doctoral and post doc research center to be established specifically for research in the interactive art field. Interactive architecture has now been installed on and as part of building facades, in foyers, museums, and large scale public spaces, including airports, in

2278-470: 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

2345-423: 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;

2412-572: 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

2479-401: 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

2546-615: 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

2613-523: 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

2680-447: 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

2747-463: The dynamic exchange of information between participants in a system. As a two-way dialogue, this concept of a conversation between the user and the system has shaped artists' thinking about interactivity. Interactive art became a large phenomenon due to the advent of computer-based interactivity in the 1990s. Along with this came a new kind of art-experience. Audience and machine were now able to more easily work together in dialogue in order to produce

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2814-459: 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

2881-422: The event is organized on a specific occasion, like a birthday, anniversary or commemoration. There are different kinds of art exhibitions, in particular there 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

2948-417: 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

3015-585: 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

3082-465: The exhibition. For the 2006 exhibition, the academy received a statue and a plinth from David Hensel. By mistake, the two parts were judged independently, with the result that the statue was rejected and the plinth put on display. Some artists apply repeatedly before being selected: in 2024 Alison Aye's accepted piece Shifting to the Moon was her 31st submission. The RA Summer Exhibition usually opens to

3149-596: 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

3216-415: 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

3283-475: The idea of an annual exhibition and a school design. King George III approved of the idea and the first exhibition, in 1769, included 136 works. The name Summer Exhibition dates from 1870. Today, around 1,000 works are selected each year from as many as 32,000 entries representing some 16,000 artists. Any artist (living, known or unknown) may submit up to two works at a fee of £40 per piece for selection by The Summer Exhibition Selection and Hanging Committee. Due to

3350-529: The last 10–15 years. Disciplinary boundaries have blurred, and significant number of architects and interactive designers have joined electronic artists in the creation of new, custom-designed interfaces and evolutions in techniques for obtaining user input (such as dog vision, alternative sensors, voice analysis , etc.); forms and tools for information display (such as video projection , lasers , robotic and mechatronic actuators , led lighting etc.); modes for human-human and human-machine communication (through

3417-458: 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

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3484-500: 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

3551-683: 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

3618-826: 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

3685-491: The observer walk through, over or around them; others ask the artist or the spectators to become part of the artwork in some way. Works of this kind of art frequently feature computers , interfaces and sometimes sensors to respond to motion, heat, meteorological changes or other types of input their makers have programmed the works to respond to. Most examples of virtual Internet art and electronic art are highly interactive. Sometimes, visitors are able to navigate through

3752-411: The painted curtain. The work takes its meaning from Zeuxis' gesture and wouldn't exist without it. Zeuxis, by its gesture, became part of Parrhasius' work. This shows that the specificity of interactive art resides often less in the use of computers than in the quality of proposed "situations" and the "Other's" involvement in the process of sensemaking . Nevertheless, computers and real time computing made

3819-532: The participant has agency, or the ability, even in an unintentional manner, to act upon the artwork and is furthermore invited to do so within the context of the piece, i.e. the work affords the interaction. More often, we can consider that the work takes its visitor into account. In an increasing number of cases, an installation can be defined as a "responsive environment", especially those created by architects and designers . By contrast, Generative Art , which may be interactive, but not responsive per se, tends to be

3886-478: 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

3953-423: 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

4020-482: 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 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

4087-403: The public in early June, preceded by a series of private viewings . The main event is called "Varnishing Day", the day that, according to popular legend, artists would come to add a final coat of varnish to their paintings (compare: vernissage ). Traditionally, artists walk in procession from Burlington House to St James's Church, Piccadilly , where a service is held. At the opening reception

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4154-604: The significant increase in the volume of entries over recent years, the number of entries per artist was reduced to 2 (from 3) and the fee was increased per piece. The committee is formed from the Council of Academicians (the governing body of the RA) and is traditionally chaired by the President of the Royal Academy. In addition to those works selected by the committee, all 80 Academicians are entitled to have six of their own pieces in

4221-505: The task easier and opened the field of virtuality – the potential emergence of unexpected (although possibly pre-written) futures – to contemporary arts. Some of the earliest examples of interactive art were created as early as the 1920s. An example is Marcel Duchamp ’s piece named Rotary Glass Plates . The artwork required the viewer to turn on the machine and stand at a distance of one meter in order to see an optical illusion. The present idea of interactive art began to flourish more in

4288-535: The work the spectators – Maurice Benayoun call them "visitors", Miroslaw Rogala calls them (v)users, Char Davies "immersants" – interact with take all their fields of perception. Though some of the earliest examples of interactive art have been dated back to the 1920s, most digital art didn't make its official entry into the world of art until the late 1990s. Since this debut, countless museums and venues have been increasingly accommodating digital and interactive art into their productions. This budding genre of art

4355-428: The world". When the Royal Academy was founded in 1768 one of its key objectives was to establish an annual exhibition, open to all artists of merit, which could be visited by the public. The first Summer Exhibition took place in 1769; it has been held every year since without exception. In 1768, a group of artists visited King George III and sought his permission to establish a society for Arts and Design. They proposed

4422-418: The “political” view, it was also current wisdom that interaction and engagement had a positive part to play within the creative process. In the 1970s, artists began to use new technology such as video and satellites to experiment with live performances and interactions through the direct broadcast of video and audio. At this time, Gordon Pask came up with the "Conversation theory". This theory emphasizes

4489-490: 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 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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