The Voyage of the James Caird by Ernest Shackleton

This is an excerpt from Ernest Shackleton's book, "The Voyage of the James Caird". It provides a firsthand report of Ernest Shackleton's epic 800-mile ocean crossing in a twenty-two foot lifeboat, the "James Caird", to find help after his specially constructed ship, the "Endurance", was trapped and crushed by the Antarctic pack ice. The material includes biographic information about Shackleton, who made four voyages to Antarctica and was knighted for one of his expeditions, his account of the rescue journey he embarked on with five men to obtain help for his stranded crew, and his report of sailing aboard the Chilean steamer Yelcho to rescue the rest of his crew on Elephant Island after 105 days. Educational levels: High school, Middle school

Displaying Lives: the Narrative of Objects in Biographical Exhibitions

Biographical exhibitions are a museum practice that asks for critical consideration. Grounding the argument in critical theory, social studies and museum theory, the article explores the narrative function of objects in biographical exhibitions by addressing the social significance of objects in relation to biography and their relevance when presented into an exhibition display. Central is the concept of objects as ‘biographical relics’ that are culturally fetishized in biographical narratives. This raises questions about biographical reliability and the cultural role that such objects plays in exhibition narratives as bearers of reality and as metonymical icons of the biographical subject. The article considers examples of biographical exhibitions of diverse figures such as Gregor Mendel, Madame de Pompadour and Roland Barthes, and the role that personal items, but also portraits and photographs, play in them

Show or tell? Opportunities, problems and methods of the exhibition as a form of research dissemination

There has a been a good deal of debate about the possible use of exhibitions in disseminating research, as an alternative to conventional text papers where artefacts have a significant role in the research The European Academy of Design has been a pioneer in this area but, so far, there has been little documentation of this practice or constructive reflection to support future development. The authors were responsible for the organisation of an exhibition of research work at the 2002 "Common Ground" Conference of the Design Research Society. Their role included mentoring the exhibitors, making the practical arrangements for the exhibition and organising refereeing of exhibits by an international panel of referees. The exhibition demonstrated the potential for new forms of research dissemination but also highlighted a number of problems and issues which must be dealt with if future exhibitions are to provide a robust and appropriate way to present and record research outcomes. The reflections of the organisers, and comments of referees and exhibitors are employed in this paper to develop guidelines for future practice in research exhibitions, paying particular attention to the importance of providing a full narrative within the exhibit and a permanent record, and ways that exhibitions might change the format of conferences to allow more constructive engagement between participants. </p

Exhibition Season: Annual Archaeological Exhibitions in London, 1880s-1930s

Annual archaeological exhibitions were a visible symbol of archaeological research. Held mainly in London, the displays encapsulated a network of archaeologists, artists, architects and curators, and showcased the work of the first generations of trained archaeologists. The exhibition catalogues and published reviews of the displays provide a unique method for exploring the reception and sponsorship of archaeological work overseas and its promotion to a fascinated, well connected and well moneyed public. The exhibitions were a space in which conversation and networking were as important as educational enrichment. This paper analyses the social history of the “annual exhibition” in archaeology, highlighting the development and maintenance of the networks behind archaeological research, the geography of London as a way to examine influence in archaeology, and the utility of exhibitions for archaeological publicity during this period of exploration

Mexican art exhibitions in New York as cultural diplomacy, 1928-1932

In the aftermath of the 1910 Mexican Revolution, the postrevolutionary state launched an innovative campaign that exported the country’s emerging art and culture, which glorified its indigenous roots. The strategy of expanding its nation-building project abroad helped remake its image and radically improved U.S.-Mexican relations. This project investigates the first standalone exhibitions of Mexican modern and popular arts in the U.S.—the Art Center’s 1928 Exhibition of Mexican Art and the American Federation of Arts’ 1930-32 “Mexican Arts”—as cultural diplomatic efforts. Using empirical evidence, this project reveals the confluence of wealthy patrons, corporate sponsors, government officials, local artists, and museums and galleries in Mexico and the U.S. that made these exhibitions, both debuting in New York, possible. It argues that the success of the exhibitions, measured in public and critical reception, relied on the vision of Mexico curators offered and the access organizers had to established museum circulation networks.Histor

Exhibitions and the City: To Accelerate or Pause? Two Asia-Pacific Case Studies

Critical historical appraisal of two exhibitions: 'Cities on the Move' (1997–2000) and Project 1, P_A_U_S_E, of the fourth Gwangju Biennale (2002)

Spring Events of the Arts 1967

The Portland Campus of The University of Maine is proud to announce its Concert-Lecture Series for the Spring of 1967https://digitalcommons.usm.maine.edu/art-exhibitions/1015/thumbnail.jp

Ralph Steiner Photographic Exhibition (1980)

https://digitalcommons.usm.maine.edu/art-exhibitions/1002/thumbnail.jp