Zeitschriftenartikel: „Contemporary collecting“

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Wilson, Margaret. „Contemporary collecting“. British Dental Journal 231, Nr. 8 (22.10.2021): 431. http://dx.doi.org/10.1038/s41415-021-3591-x.

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Saunders, Gill. „Collecting the contemporary“. Art Libraries Journal 28, Nr. 4 (2003): 5–11. http://dx.doi.org/10.1017/s0307472200013304.

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How do we define ‘the contemporary’, can we collect it, and if so, how should we do it? A look at some of the issues from the perspective of the Word & Image Department at the Victoria & Albert Museum in London argues for the primacy of the object over the digital surrogate, and investigates the challenges -and opportunities - involved in collecting or representing ‘boundary crossing’ art and design practice. The arguments are illustrated by a selection of recent acquisitions, ranging from book arts, multiples and ‘maps’, to prints, drawings and wallpapers.

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Elsner, J. „Collecting in Contemporary Practice“. Journal of the History of Collections 10, Nr. 2 (01.01.1998): 230. http://dx.doi.org/10.1093/jhc/10.2.230.

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Lurie, Nancy Oestreich. „Collecting Contemporary American Indian Art“. Museum Anthropology 11, Nr. 4 (November 1987): 3–7. http://dx.doi.org/10.1525/mua.1987.11.4.3.

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Williams, Emily Rebecca. „Red Collections in Contemporary China“. British Journal of Chinese Studies 11 (29.06.2021): 71–90. http://dx.doi.org/10.51661/bjocs.v11i0.73.

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“Red Collecting” is a widespread phenomenon in contemporary China. It refers to the collecting of objects from the Chinese Communist Party’s history. Red Collecting has received only minimal treatment in English-language scholarly literature, much of which focuses on individual object categories (primarily propaganda posters and Chairman Mao badges) and overemphasises the importance of Cultural Revolution objects within the field. Because of this limited focus, the collectors’ motivations have been similarly circumscribed, described primarily in terms of either neo-Maoist nostalgia or the pursuit of profit. This article will seek to enhance this existing literature and, in doing so, offer a series of new directions for research. It makes two main arguments. First, that the breadth of objects incorporated within the field of Red Collecting is far broader than current literature has acknowledged. In particular, the importance of revolutionary-era (pre-1949) collections, as well as regional and rural collections is highlighted. Second, it argues that collectors are driven by a much broader range of motivations, including a variety of both individual and social motivations. Significantly, it is argued that collectors’ intentions and their understandings of the past do not always align; rather, very different understandings of China’s recent past find expression through Red Collecting. As such, it is suggested that Red Collecting constitutes an important part of contemporary China’s “red legacies,” one which highlights the diversity of memories and narratives of both the Mao era and the revolutionary period. Image © Hou Feng

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Gabriel, Mille. „New Futures for Old Collections - Contemporary Collecting and Community Involvement at the National Museum of Denmark“. Museum and Society 14, Nr. 2 (09.06.2017): 275–93. http://dx.doi.org/10.29311/mas.v14i2.643.

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In recognition of altered global relations since colonial times, the Ethnographic Collections at the National Museum of Denmark have identified a need to redefine their role in society. The Ethnographic Collections explore new ways of activating old collections – ways, which include contemporary collecting, co-curation and dialogue with the communities from where the collections derive. Through three recent projects, this paper revolves around questions such as: How can we make associations between the old collections and contemporary society? How do we prioritize, when collecting the contemporary? And how do we ensure that community involvement not only challenges the authority of museums, but also informs museological practices in new and constructive ways?Key words: Ethnography, representation, contextualization, partnerships, contemporary collecting, knowledge sharing, co-curation.

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Chippindale, Christopher, und David W. J. Gill. „Material Consequences of Contemporary Classical Collecting“. American Journal of Archaeology 104, Nr. 3 (Juli 2000): 463. http://dx.doi.org/10.2307/507226.

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Alberti, Samuel J. M. M., Elsa Cox, Tacye Phillipson und Alison Taubman. „Collecting contemporary science, technology and medicine“. Museum Management and Curatorship 33, Nr. 5 (22.07.2018): 402–27. http://dx.doi.org/10.1080/09647775.2018.1496353.

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Exell, Karen. „Desiring the past and reimagining the present: contemporary collecting in Qatar“. Museum and Society 14, Nr. 2 (09.06.2017): 259–74. http://dx.doi.org/10.29311/mas.v14i2.642.

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The collecting processes in Qatar at state level is intimately linked with the construction of a new Qatari identity for global consumption and national cohesion. At an individual level, collecting can be linked with the desire to preserve the disappearing present in the face of rapid development, as well as representing local traditions of authority and erudition. The national collections created for the first Qatar National Museum institutionalize this process and re-classify the objects as representing the newly constructed ‘Qatari’ identity. The Msheireb Arts Center holds the Echo Memory collection of found objects, collected to inspire a Qatari future but representing the lives of the South Asian community otherwise excluded from the Qatari national discourse. Using these examples, this paper situates the processes of collection, curation and display within, or in opposition to, the ongoing process of Qatari national identity construction, preservation and dissemination, and presents them as a facet of Qatar’s engagement with modernity and the reimagining of itself in the contemporary global age.Key words: Qatar, collections, modernity, national identity, authorized heritage

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Knell, S. J. „Collecting and Excavation in Palaeontology“. Geological Curator 6, Nr. 2 (Oktober 1994): 49–56. http://dx.doi.org/10.55468/gc486.

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Many existing collections no longer fulfil past functions due to the more sophisticated collecting requirements of contemporary science. The reassessment of collecting rigour has also been driven by conservation concerns. Yet museum collecting policy and practice often continue to reflect interests which are external to the requirements of science. In addition the nomenclature applied to the process of collecting is redefined according to collector objectives rather than social level; the role of the collector is divided into field collector and collection assembler; and palaeontological excavation is given extractive and systematic categories.

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Sackler, EA. „The ethics of collecting“. International Journal of Cultural Property 7, Nr. 1 (Januar 1998): 132–40. http://dx.doi.org/10.1017/s0940739198770122.

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The author questions the concepts underlying ethnological collections of art and artifacts in the context of the Native American Graves Protection and Repatriation Act (NAGPRA). Alternatives to traditional Western anthropological and art historical methods of collection and display of sacred Native American material are found in traditional Native American philosophy and practice. The contemporary fashion among curators for contextualization of displayed objects from Indigenous cultures is critiqued in the light of broader ethical concerns regarding the appropriateness of collecting sacred objects from living Indigenous Peoples.

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Andrews, Jamie. „‘LAID ASIDE’? COLLECTING CONTEMPORARY LITERARY ARCHIVES AND MANUSCRIPTS“. Archives: The Journal of the British Records Association 35, Nr. 122 (April 2010): 11–20. http://dx.doi.org/10.3828/archives.2010.2.

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Абрамович, Ігор. „Contemporary Ukrainian Art and Collecting of 1991–2018“. Art Research of Ukraine, Nr. 18 (19.12.2018): 198–203. http://dx.doi.org/10.31500/2309-8155.18.2018.152395.

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Marselis, Randi. „Exhibiting Refugee Routes: Contemporary Collecting as Memory Politics“. Museum and Society 19, Nr. 3 (01.11.2021): 301–16. http://dx.doi.org/10.29311/mas.v19i3.3155.

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In recent years, numerous European museums have collected objects related to refugees. This article examines the Flight for Life (På Flugt) exhibition (2017), which the National Museum of Denmark organized based on a contemporary collecting project that took place in Greece and Denmark in 2016. Alison Landsberg’s concept of prosthetic memory is made use of here to examine how the exhibition invited visitors to identify with refugees. This empathetic approach had political potential by promoting solidarity with refugees. However, it did not open up a broader contextualization of the collected objects in terms of the migration policies of Denmark and the European Union. This article argues that museums, through contemporary collecting projects of the refugee reception crisis, engage in memory politics by framing how Europe will be able to make sense of the refugee reception crisis of the early twenty-first century.

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Freire, Mela Dávila, und Pamela Sepúlveda Arancibia. „Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)“. Art Libraries Journal 37, Nr. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well as special materials from letters to photographic negatives, alongside information from galleries, cultural spaces and artistic centres.

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Cox, Debbie. „Developing and raising awareness of the zine collections at the British Library“. Art Libraries Journal 43, Nr. 2 (27.03.2018): 77–81. http://dx.doi.org/10.1017/alj.2018.5.

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This article presents a practice-based account of collection development related to zines in the British Library. Rather than making the case for the collecting of zines, it aims to describe the process of collection building in a specific time and place, so that researchers have a better understanding of why certain resources are offered to them and others are not, and to share experiences with other librarians with zine collections. Zines form an element of the cultural memory of activists and cultural creators, and for researchers studying them it would seem useful to make transparent the motivations, methods and limitations of collection building. Librarians in the USA have written about their collecting practices for some time, for instance at Barnard College1 and New York Public Library2, there has been less written about the practices of UK libraries. The article aims to make a contribution as a case study alongside accounts of collection development in a range of other libraries with zine collections, and it is written primarily from my own perspective as a curator in Contemporary British Collections since 2015, focusing on current practice, with some reference to earlier collecting.

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Herrada, Julie. „Collecting Anarchy: Continuing the Legacy of the Joseph A. Labadie Collection“. RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, Nr. 2 (01.09.2007): 133–40. http://dx.doi.org/10.5860/rbm.8.2.287.

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The Joseph A. Labadie Collection at the University of Michigan is one of the oldest and most comprehensive collections of radical history in the United States, bringing together unique materials that document past as well as contemporary social protest movements. In addition to anarchism and labor movements, topics that were its original focus, the Collection today is particularly strong in civil liberties (with an emphasis on racial minorities), socialism, communism, colonialism and imperialism, American labor history through the 1930s, the Industrial Workers of the World (IWW or the Wobblies), the Spanish Civil War, sexual freedom, women’s liberation, gay liberation, the . . .

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Neatrour, Anna L., Jeremy Myntti und Rachel J. Wittmann. „Documenting contemporary regional history: the Utah COVID-19 digital collection“. Digital Library Perspectives 36, Nr. 4 (20.07.2020): 403–14. http://dx.doi.org/10.1108/dlp-04-2020-0025.

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Purpose When faced with events, such as the global pandemic of coronavirus disease 2019 (COVID-19), libraries have a unique opportunity to develop a community facing response through born-digital collections. These collections provide challenges for metadata creation, collection development policies, workflows, and digital preservation. This paper aims to provide an overview of the Utah COVID-19 digital collection, with a discussion of impact and lessons learned. Design/methodology/approach This paper provides a case study of a born-digital collection initiative undertaken at the University of Utah in response to the COVID-19 pandemic. The project prompted engagement with the University of Utah communities and people across the state. Workflows, metadata management and partnerships are discussed, to provide a model for institutions developing similar projects during a time of crisis. Findings While the project was launched with open-ended and flexible goals, the response from the community has been both surprising and gratifying. Statistics and examples demonstrating reuse of collection materials are provided to highlight the impact and potential of community engagement. Originality/value Digital collecting projects during a historical event are not new, however the restrictions placed upon people worldwide during the COVID-19 pandemic created interesting circumstances for building this collection. Several lessons were learned throughout the project which will be useful for other institutions embarking upon related projects.

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HUBBERT, JENNIFER. „(Re)collecting Mao: Memory and fetish in contemporary China“. American Ethnologist 33, Nr. 2 (Mai 2006): 145–61. http://dx.doi.org/10.1525/ae.2006.33.2.145.

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Mullins, Paul R. „The Banality of Everyday Consumption: Collecting Contemporary Urban Materiality“. Museum Anthropology 37, Nr. 1 (25.03.2014): 46–50. http://dx.doi.org/10.1111/muan.12047.

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Dudash, Andrew M., und John E. Russell. „Collecting Pennsylvania Political Twitter Data“. Pennsylvania Libraries: Research & Practice 9, Nr. 1 (29.06.2021): 4–7. http://dx.doi.org/10.5195/palrap.2021.249.

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During the two most recent elections we have seen the importance of social media, and Twitter in particular, for political discourse. This paper describes the effort of an academic library to collect election-related Twitter data from Pennsylvania-specific organizational accounts and hashtags for 2018 and 2020 in the run-up and aftermath of both election cycles. Because of its importance to understanding contemporary politics and its historic value, libraries need to consider the opportunity to collect and make this data accessible to Pennsylvanians.

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Laurenson, Sarah, Calum Robertson und Sophie Goggins. „Collecting COVID-19 at National Museums Scotland“. Museum and Society 18, Nr. 3 (14.10.2020): 334–36. http://dx.doi.org/10.29311/mas.v18i3.3519.

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This opinion piece discusses National Museums Scotland’s first responses to collecting COVID-19. Drawing on perspectives from social history, biomedical science and military history, this short paper contextualizes COVID-related collecting within the contexts of the organization’s programme of contemporary collecting and the nation’s ongoing socio-political journey.

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Heck, Brigette, und Sonja Thiel. „Collecting Corona (Corona Sammeln)“. Annual Review of Museum Anthropology, Nr. 8 (29.12.2021): 209–24. http://dx.doi.org/10.12775/zwam.2021.8.12.

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The coronavirus pandemic has posed major challenges to the museum landscape. Not only because their presence was not perceivable for a long period of time, but also because their social significance was re-located. "System relevance" was the characteristic that decided whether a museum was to be opened or closed in Germany. Many of my colleagues working in cultural history museums and in charge of collections got involved in this discussion constructively and used the opportunities to participate in social discourse, collection initiatives, and collegial cooperation. The article gives an overview of the ongoing process, different theoretical and practical approaches and focuses on the example of the Baden State Museum in Karlsruhe - a cultural history museum with expertise in participatory contemporary projects.

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Zuanni, Chiara. „Contemporary Collecting in a Pandemic: Challenges and Solutions for Documenting the COVID-19 Pandemic in Memory Organizations“. Heritage 5, Nr. 4 (21.11.2022): 3616–27. http://dx.doi.org/10.3390/heritage5040188.

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This paper draws on a survey of contemporary collecting projects aiming to document the COVID-19 pandemic in museums and other memory organizations. The survey focused on European memory organizations and investigated the practices they adopted in collecting, accessioning, recording, preserving, and displaying material and immaterial witnesses of the pandemic. This paper presents the results of the survey, with a particular attention on the challenges faced by these projects in relation to born-digital objects. It discusses how organizations were able to quickly launch initiatives aimed at collecting memories of the pandemic, drawing on different collection methods, adapting to the circumstances, and using a proactive attitude to reach out to different communities. The paper highlights the solutions adopted to ensure legal compliance in these projects and discusses the need for ethical considerations in relation to the collection of traumatic memories. It suggests that these collecting projects are likely to face significant challenges in the subsequent processing of this material—due to its volume and the need for new digital curation and preservation workflows. Therefore, the paper argues that these projects could also lead to a renewed attention and collaboration across the heritage sector on issues of digital curation and preservation.

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Pane, Imam Faisal, und Rahmita Dewi Lubis. „Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)“. International Journal of Architecture and Urbanism 1, Nr. 1 (15.11.2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.

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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. There are few steps made in the process of completing the design; the first one is by collecting data from the literature, books, journal, magazine, the internet, survey, and interview. And from the data collected, the design for Museum and Gallery of Contemporary Art will be produced.

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Anderson, Margot. „Dance Overview of the Australian Performing Arts Collection“. Dance Research 38, Nr. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.

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SHUKER, ROY. „Beyond the ‘high fidelity’ stereotype: defining the (contemporary) record collector“. Popular Music 23, Nr. 3 (Oktober 2004): 311–30. http://dx.doi.org/10.1017/s0261143004000224.

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The popular image of record collectors is of obsessive males, whose ‘train spotting’ passion for collecting is often a substitute for ‘real’ social relationships. This image can draw on some support from academic discussions of collectors and collecting, but it represents only a partial account of record collectors. This paper draws on interviews with sixty-seven self-identified record collectors to show how they demonstrate a complex mix of characteristics: a love of music; obsessive-compulsive behaviour, accumulation and completism, selectivity and discrimination; and self-education and scholarship. As a social practice, record collecting presents itself as a core component of individual social identity and a central part of the life cycle.

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Tisdale, Rainey. „THIS TIME IT’S PERSONAL: CITY MUSEUMS AND CONTEMPORARY URBAN LIFE“. City History, Culture, Society, Nr. 3 (30.10.2017): 92–96. http://dx.doi.org/10.15407/mics2019.03.092.

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The CAMOC conference that took place in Berlin in 2011, with its theme“Participative Strategies in Capturing the Changing Urban World,” is partof a larger discussion that museums in general—and city museums in particular—have been having recently about our collections and whether theyare serving our current needs. We have been assessing our collections—whatwe own versus what we wish we owned—and we are noticing a disconnect.Most of our collections were formed at the turn of the twentieth century, andwe’re having a lot of trouble making them fit the stories we want to tell aboutour cities here in the twenty-first century. So, we’re experimenting with contemporarycollecting, and participatory collecting, in an attempt to make ourcollections more inclusive and more representative. This is important workand we need to do more of it.

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Pecoskie, Jen, und Heather L. Hill. „Indie media and digital community collaborations in public libraries“. Collection Building 33, Nr. 4 (30.09.2014): 127–31. http://dx.doi.org/10.1108/cb-05-2014-0025.

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Purpose – This paper aims to examine the current state of collecting with emphasis on small, independent and local digital media for the purpose of exploring librarians’ tools to develop unique collections with these types of cultural products included. Design/methodology/approach – This conceptual paper is based on examination of the current state of publishing and digital media, of case profiles of independent digital content providers, of case profiles of public libraries using digital media to expand collections and of collection developers’ tools, including reviewing sources. Findings – With regard to expanding collections from small, independent and local digital content providers, user-generated content (UGC) is offered as a tool for collection developers to use alongside other traditional reviewing sources. UGC allows for embedding collective voices into collection development practices to capture digital cultural products from these providers. Originality/value – This paper reflects on the current state of digital content creation and publishing, including the limitations and possibilities in place for the future of public library collections from both large publishing companies and smaller media creators. Non-traditional digital media are cultural products produced for consumption and reception; therefore, we consider how these materials fit into contemporary collections, how they are connected to public libraries and subsequently are made available to library users.

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Sterrett, Jill. „Collecting the New: Museums and Contemporary Art: Edited by Bruce Altshuler“. Curator: The Museum Journal 50, Nr. 2 (April 2007): 265–67. http://dx.doi.org/10.1111/j.2151-6952.2007.tb00270.x.

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Wali, Alaka. „Collecting Contemporary Urban Culture: An Emerging Framework for the Field Museum“. Museum Anthropology 37, Nr. 1 (25.03.2014): 66–74. http://dx.doi.org/10.1111/muan.12044.

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Szafrański, Wojciech. „‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’ PROGRAMME. PART TWO: APPLICANTS/ COLLECTIONS AND RESULTS/EVALUATION“. Muzealnictwo 63 (03.08.2022): 87–94. http://dx.doi.org/10.5604/01.3001.0015.9451.

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The ‘National Collections of Contemporary Art’ Programme of the Ministry of Culture and National Heritage constitutes an interesting case of a systemic solution to the question of financing museum collections’ purchases. Its implementation demonstrated changeability of action (both from the point of view of the applicants, and Programme’s evaluators and organizer), while at the same time the genuine assumptions were maintained, namely the support provided to the major museums, most often newly established, whose statutory goal would be and is collecting contemporary art. Turning points in the Programme, as well as the observation of applicants’ strategies while the Programme functioned served as the basis for the Programme’s evaluation, and led to replacing it with the ‘National Collections of Contemporary Art’ Programme, these, however, demonstrated failures in consistency, in particular without pointing to the final systemic solution in this respect.

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Alberti, Samuel J. M. M., Stephen Allen, Xavier Dectot und Ruth Gill. „Reflecting the Now: Project Management and Contemporary Collecting in a Multi-disciplinary Museum“. Museum and Society 15, Nr. 3 (09.01.2018): 324–42. http://dx.doi.org/10.29311/mas.v15i3.2427.

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Nearly two million visitors a year will pass through the new permanent galleries of the National Museum of Scotland in Edinburgh. This article reflects on the planning and collecting that presaged their redevelopment in the context of twenty-first century museum practice in the UK. We focus in particular on two elements: firstly, the fundamental project management work that underpins any development of this kind. Were established methodologies and practices conducive to open-ended, outcomes-based objectives such as research? Secondly, we ask this question specifically in relation to contemporary collecting in art, and in science. How can the known unknowns and the unknown unknowns of contemporary collecting be mainstreamed in project management workflows? What boundaries endure in museum processes and products?

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Andres, Hanna, und Mariia Lutska. „Features of Private Art Collecting in Ukraine in 1990s–2000s“. Research and methodological works of the National Academy of Visual Arts and Architecture, Nr. 29 (17.12.2020): 66–71. http://dx.doi.org/10.33838/naoma.29.2020.66-71.

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The article analyzes private art collecting in 1990s–2000s in Ukraine. It is important to mention that collecting works of art in Ukraine of the time indicated in the article does not have comprehensive coverage. The complexity of the study of this issue is also due to the closeness and limitation of access to private collections. The collapse of the USSR, the transition from a totalitarian regime to democracy and the establishment of a market economy in Ukraine contributed to the formation and creation of private collections of artistic works. At this time, three main branches of non-state collecting begin to form: private collections, corporate collections of institutions (banks, insurance companies) and foundations. In the early 1990s the practice of collecting works by banks came to Ukraine from the West. Ukrincombank, Southern Bank, Gradobank, etc. were involved in that work. The interest of private individuals in forming their own collections also begins with Ukraine’s acquisition of Independence, but gains momentum in the early 2000s. The art collections were represented by E. Dymshyts, L. Bereznitsky, A. Adamovsky, I. Voronov, V. Pinchuk and others. One of the most important collections began to be initiated by Boris and Tatiana Hrynyov family of in 1996. Their idea of the collection arose from the concept of Kharkiv artists. In the circle of their interests — the art of Soviet nonconformists and Ukrainian contemporary art. Foundations of art appeared in Ukraine after the proclamation of Independence in 1991. These are non-governmental and non-profit organizations, established by private or corporate enti- ties. Important foundations in Ukraine, that have their own collections of art, are Soviart, Alexander Feldman Foundation, Stedley Art Foundation etc. The collections of the 1990s and 2000s are very important for the history of Ukrainian art and collecting. The collectors of this period have played a key role in preserving the artistic heritage of Independent Ukraine.

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Braun, Jolie. „Make Your Own History: Documenting Feminist & Queer Activism in the 21st Century. Eds. Lyz Bly and Kelly Wooten. Los Angeles: Litwin Books, 2012. xi, 180p. $30 (ISBN978-1-936117-13-0).“ RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 14, Nr. 1 (01.03.2013): 48–50. http://dx.doi.org/10.5860/rbm.14.1.399.

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Make Your Own History: Documenting Feminist & Queer Activism in the 21st Century, edited by Lyz Bly and Kelly Wooten, features essays by archivists, librarians, and activists that explore collecting, preserving, and providing access to materials produced by contemporary feminist and queer activist movements. Thought provoking and informative, this collection will be useful to archivists, librarians, activists, and scholars interested in women’s and LGBT history; and, despite the book’s particular focus, the best essays in this anthology will be useful to archivists and librarians throughout the field.Several of the essays in the book focus on collecting zines of the . . .

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SPIER, J., und E. VASSILIKA. „S. S. LEWIS: Notes on a Victorian antiquary and on contemporary collecting“. Journal of the History of Collections 7, Nr. 1 (01.01.1995): 85–102. http://dx.doi.org/10.1093/jhc/7.1.85.

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Söderström, Lars, Anders Hagborg, Matt von Konrat und Ana Séneca. „The Guaraní Land – Checklist of Hornworts (Anthocerotophyta) and Liverworts (Marchantiophyta) of Paraguay“. Polish Botanical Journal 58, Nr. 1 (01.07.2013): 267–77. http://dx.doi.org/10.2478/pbj-2013-0027.

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AbstractThe first ever liverwort and hornwort checklist is provided for Paraguay. Despite the high level of biological diversity in Paraguay, there remain very few intensive collecting efforts for liverworts and hornworts in the region since the late 1800’s. We report 2 hornwort taxa and 71 liverwort taxa. The list is based on almost 100 literature references, including monographs, regional studies, and molecular investigations. Given the dramatic loss of habitats in Paraguay coupled with high species diversity in other organisms, further collecting of liverworts and hornworts is critical. There is also the potential to use historical records with contemporary collections to investigate the impact of habitat loss in the area.

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Anderson, L. I., und M. A. Taylor. „Charles W. Peach, palaeobotany and Scotland“. Geological Curator 8, Nr. 9 (Oktober 2008): 393–425. http://dx.doi.org/10.55468/gc395.

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The move south from Wick to the city of Edinburgh in 1865, some four years after retirement from the Customs service, provided Charles W. Peach with new opportunities for fossil-collecting and scientific networking. Here he renewed and maintained his interest in natural history and made significant palaeobotanical collections from the Carboniferous of the Midland Valley of Scotland. These are distinguished by some interesting characteristics of their documentation which the following generations of fossil collectors and researchers would have done well to emulate. Many of his fossil plant specimens have not only the locality detail, but also the date, month and year of collection neatly handwritten on attached paper labels; as a result, we can follow Peach's collecting activities over a period of some 18 years or so. Comments and even illustrative sketches on the labels of some fossils give us first-hand insight into Peach's observations. Study of these collections now held in National Museums Scotland reveals a pattern of collecting heavily biased towards those localities readily accessible from the newly expanding railways which provided a relatively inexpensive and convenient means of exploring the geology of the neighbourhood of Edinburgh. Charles W. Peach had a very 'hands-on' practical approach to scientific investigation which led him to construct novel glass plates with mounted Sphenopteris cuticle, removed intact from Lower Carboniferous shales and limestones originating in West Lothian. These resemble the herbarium sheets with which he was familiar from his parallel and highly significant work on extant flora including nearshore marine algae. He also prepared hand-ground glass microscope slides, particularly of permineralised plant material from Pettycur in Fife, using whatever materials he had to hand at the time. Peach's collection raises questions about the evolution of accepted standards of documentation in private collections, in parallel with the evolution of collecting practices by the new professionals such as the workers of the Geological Survey. Its relatively rapid deposition in museums, compared to many private collections, may also have contributed to its apparently high rate of usage by contemporary workers.

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de Rosset, Tomasz F. „MIECZYSŁAW TRETER, CONTEMPORARY MUSEUMS“. Muzealnictwo 60 (09.07.2019): 103–7. http://dx.doi.org/10.5604/01.3001.0013.2802.

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In 2019, the National Institute for Museums and Public Collections in cooperation with the Państwowy Instytut Wydawniczy published the 1917 book by Mieczysław Treter titled Contemporary Museums as the first volume in the Monuments of Polish Museology Series. The study consists of two parts originally released in ‘Muzeum Polskie’ published by Treter in Kiev; it was an ephemeral periodical associated with the Society for the Protection of Monuments of the Past, active predominantly in the Kingdom of Poland, but also boasting numerous branches in Polish communities throughout Russia. The Author opens the first part of a theoretical format with a synthesized presentation of the genesis of the museum institution (also on the territory of the Polish-Lithuanian Commonwealth), to later follow to its analysis in view of its collecting and displaying character, classification according to the typical factual areas it covers, chronology, and territory (general natural history museums, general history ones, technological ones, ethnographic ones, historical-social ones, historical-artistic ones); moreover, he tackles questions like a museum exhibition, management, a museum building. In Treter’s view the museum’s mission is not to provide simple entertainment, neither is it to create autonomous beauty (realm of art), but it is of a strictly scientific character, meant to serve science and its promotion, though through this museums become elitist: by serving mainly science, they cannot provide entertainment and excitement to every amateur, neither are they, as such, works of art to which purely aesthetical criteria could be applied. The second part of Treter’s study is an extensive outline of the situation of Polish museums on the eve of WWI, in a way overshadowed by the first congress of Polish museologists, and in the perspective of the ‘museum world’ of the Second Polish Republic. It is an outline for the monograph on Polish museums, a kind of a report on their condition as in 1914 with some references to later years. Through this it becomes as if a closure of the first period of their history, which the Author, when involved in writing his study, could obviously only instinctively anticipate.

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Ada, Erika. „Ways of Representing Accumulation: The Archive and the Collection in Jonathan Safran Foer’s Everything is Illuminated and John Fowles’ the Collector“. Romanian Journal of English Studies 10, Nr. 1 (01.03.2013): 192–98. http://dx.doi.org/10.2478/rjes-2013-0017.

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Abstract The paper explores the desire of accumulating in our contemporary society by analysing two processes: that of archiving and that of collecting; and how these are represented in literature, in novels such as Everything is Illuminated, which deals with the preservation of memory through the archive; and The Collector, which brings a different perspective on the act of collecting, namely, the relationship between collecting, possession and fetishism.

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Hassan, Salah M. „Contemporary African Art as a Paradox“. Nka Journal of Contemporary African Art 2020, Nr. 46 (01.05.2020): 8–26. http://dx.doi.org/10.1215/10757163-8308138.

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The field of contemporary African and African diaspora art and culture is currently riddled by two paradoxes. First, in Africa and its diaspora, we are witnessing a burgeoning of creative energy and an increasing visibility of artists in the international arts arena. Yet, this energy and visibility has not been matched by a parallel regime of art criticism that lives up to the levels of their work. Second, we find a rising interest in exhibiting and collecting works by contemporary African and diaspora artists among Western museums as well as private and public collections. This growing interest, however, has been taking place within an extremely xenophobic environment of anti-immigration legislation, the closing of borders to the West, and a callous disregard for African and non-Western people’s lives. Hence, this essay addresses the need for an innovative framework that is capable of critically unpacking these paradoxes and that offers a critical analysis of contemporary African and African diaspora artistic and cultural production. In doing so, the author asserts the importance of movement, mobility, and transiency in addressing issues of contemporary African artistic and cultural production. This article focuses on the use of the term Afropolitan, which has made its way into African artistic and literary criticism as a crossover from the fashion and popular culture arenas. In thinking about the usefulness of “Afropolitanism,” the author revisits the notion of cosmopolitanism in relationship to the entanglement of Africa and the West and its reconfiguration at the intersection of modernity and postcoloniality.

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Stalp, Marybeth C. „Hiding the (Fabric) Stash: Collecting, Hoarding, and Hiding Strategies of Contemporary US Quilters“. TEXTILE 4, Nr. 1 (März 2006): 104–25. http://dx.doi.org/10.2752/147597506778052449.

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Boogh, Elisabeth. „Samtidsbild/Contemporary Images – A Method of Collecting Vernacular Photography in the Digital Age“. Museum International 65, Nr. 1-4 (Januar 2013): 54–67. http://dx.doi.org/10.1111/muse.12033.

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Babič, Saša, und Piret Voolaid. „Introduction: Earlier Experience of Collecting and Researching School Lore in Estonia and Slovenia“. Folklore: Electronic Journal of Folklore 86 (August 2022): 7–14. http://dx.doi.org/10.7592/fejf2022.86.introduction.

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The current issue of the journal Folklore: Electronic Journal of Folklore was created as a collaboration between Estonian and Slovenian folklorists and ethnologists within the joint bilateral project, “Slovenian and Estonian Contemporary School Lore”. The main objective of the project was to analyse and compare the contemporary school lore, its collecting, use, and dynamics in two European countries with different geographical positions and characteristics, with a similar history, and no direct contact. The project focused on tradition and transformations of the folklore material, playfulness, and creativity in (new) formats, and on how they reflect the social reality that produces them. The project aimed to apply a new dynamic comparative approach from an intercultural as well as diachronic and synchronic point of view, which offers a unique and innovative perspective in folklore studies of Slovenia and Estonia.

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Coon, Lynda. „Collecting the Desert in the Carolingian West“. Church History and Religious Culture 86, Nr. 1 (2006): 135–62. http://dx.doi.org/10.1163/187124106778787042.

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AbstractThe Egyptian desert summoned for its early medieval progeny memories of a past age of superhuman askêsis that posed a challenge to Carolingian attempts at Benedictine hegemony. In response, the architects of ninth-century monastic reform labored to present their votaries with a carefully controlled memory of the Egyptian past, and they did so through a propagandistic aesthetic of literary, visual, and ritual "bricolage." Jaś Elsner defines this aesthetic of bricolage as an artistic form based on symbolic ownership of the past through the display of ancient spolia on contemporary monuments (e.g., the sculptured reliefs collected from past, imperial regimes and exhibited as spolia on the Arch of Constantine) or the layering of present-day texts with past literary forms (e.g., Christian typological exegesis of Hebrew Scripture). Similarly, for the Carolingians, who also ventured into the artistic realm of bricolage, collecting, embodying, and displaying were methods of exerting control over the past.

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Pluszyńska, Anna. „Copyright Management by Contemporary Art Exhibition Institutions in Poland: Case Study of the Zachęta National Gallery of Art“. Sustainability 12, Nr. 11 (02.06.2020): 4498. http://dx.doi.org/10.3390/su12114498.

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The mission of cultural institutions is the expression of sustainable development, which assumes a specific social order based on respect for the right of access to culture and care for the common good which is cultural heritage, in order to preserve it for future generations. To best implement its social mission, the essence of museum activities is not only collecting resources but also promoting the collection. In addition, promotion in accordance with the principle of openness and the conviction that cultural heritage is a common good, which is why it should be available to the widest possible public. Copyright in artworks often stands in the way of implementing an open approach to the dissemination of collections. Contemporary museums and galleries of art are in a special situation; their collections are not yet in the public domain, and so they cannot be freely distributed. The undertaken research problem explores how cultural institutions in Poland manage the copyright of collections in order to carry out their mission in a sustainable way. In this context, copyright is treated as an important intangible resource of a cultural institution. The case study was used as the research strategy in order to understand the subject. Activities implemented at the Zachęta National Gallery of Art in Warsaw were described.

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Saad, Sadek Ahmed. „The Courtyard in Cairene Traditional Houses; A Territorial Dispute, Game of Spaces Geometry and Light“. Journal of Islamic Architecture 7, Nr. 2 (22.12.2022): 198–209. http://dx.doi.org/10.18860/jia.v7i2.15427.

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The courtyard lost its role in contemporary Egyptian architecture. Despite its importance in the family social life, the western model of the villa and townhouse is adopted. The author argues that presenting the courtyard as a climatic solution only is inaccurate in introducing the courtyard to local urbanism. The study adopted qualitative and quantitative approaches, collecting historic courtyards houses in Cairo analyzing their courtyard form, geometry, and introductory spatial sequences. Related literature was reviewed for collecting data and introducing criteria. The study sample analysis proved the strong relationship between the spatial territoriality, the house transition zone, the public right to assert the order of their built environment (through collective deliberation) and other forces, which are of great importance to the courtyard role and meanings.

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Fazra Risky Nasution und Morida Siagian. „Contemporary Art Gallery (Expressionism Architecture)“. International Journal of Architecture and Urbanism 4, Nr. 2 (27.08.2020): 174–80. http://dx.doi.org/10.32734/ijau.v4i2.4520.

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Some issues prove that the development of art in Medan is relatively slow and does not become a concern of the public because of the availability of minimal and inadequate space, while Medan is a multicultural city in terms of art, many artists in the city of Medan have great potential. The construction of contemporary art gallery aims to meet the needs and facilities of art activities in the city of Medan because Medan does not yet have a decent art gallery for art activities, from exhibitions, artwork making space, to fine arts training venues and also as a center for art development likeness of the City of Medan. This gallery plans to be a productive place or place to introduce and provide attractive insights or knowledge to local people and tourists and to be able to preserve and preserve the fine arts in the city of Medan. The methodology used in this project is by collecting data through from literature review and by doing a site surveys. This building design uses the theme of expressionism architecture, where this building can express the meaning of art that it can be enjoyed visually.

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Fiedoruk, Maksymilian. „Fair Trade: Shortcomings and contemporary challenges“. Ekonomia 27, Nr. 4 (16.02.2022): 37–51. http://dx.doi.org/10.19195/2658-1310.27.4.3.

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The aim of this paper is presenting the Fair Trade movement in pragmatic categories, disassembling the core components to discuss them more closely, and drawing an image of what Fair Trade really is. This article has also confronted over 60-year-old fundamentals of Fair Trade with modern global problems and new political doctrines, shedding the light onto future prospects of the movement. By collecting the data and analysing the mechanisms of the Fair Trade model, this paper has attempted to discuss the current shape and effects of Fair Trade, exposing the flaws and the assets of the organization to see if its role is significant in the world trade system. The conclusions are mainly negative — Fair Trade has a minimal share in global trade, presents discussable effects on economic well-being of people and outdated agricultural doctrine, putting in question its sustainability. Fair Trade has rarely been subject to analysis from this perspective, and it can prove to be a starting point for future research.

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Smits, Vivian. „Making Heritage. A Case Study on the Impact of Contract Archaeology on Museum Collecting in Sweden“. Current Swedish Archaeology, Nr. 28 (14.12.2020): 279–301. http://dx.doi.org/10.37718/csa.2020.11.

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Since taking off as an industry in Sweden in the 1980s, contract archaeology has changed not only the role of field archaeologists but also that of museums and the formation of collections. This paper discusses some of the effects of the commercialization of archaeological services through a case study of past and present collection practices. Data records are compared from three different archaeological investigations at the site Nya Lödöse (1473-1621) in Gothenburg. Each excavation represents a particular era in archaeological practice. The data are used to compare and analyse collecting practices within contemporary contract archaeology. Separately, a survey among contract archaeology units examines the implementation of legislative guidelines and day-to-day practices and suggests several causes for anomalies in the selection and discarding of finds in the case study. Combined, the findings of the case study and the survey results, suggest that contract archaeology leaves a specific imprint on collections in archaeological museums, impacting their compilation, and therefore influencing future research as well as the experience of the public.

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