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Thematische Bibliographien / Fralin Museum of Art / Zeitschriftenartikel

Zeitschriftenartikel zum Thema „Fralin Museum of Art“

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Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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1

Pacher, Jeanette. „Art libraries in Austria“. Art Libraries Journal 21, Nr. 4 (1996): 27–30. http://dx.doi.org/10.1017/s0307472200010087.

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Kunstbibliotheken in Österreich können gemäß ihrer jeweiligen institutionellen Verankerung in drei Gruppen unterteilt werden: in Museums- und Universitätsbibliotheken sowie in Bibliotheken, die in anderen Austellungs-institutionen, Galerien und Kunsthallen untergebracht sind. Gerade in jüngster Vergangenheit ist die Zahl der ‘alternativen’ Ausstellungsräume stark gewachsen, die vorwiegend internationale Gegenwartskunst präsentieren und in ihren Bibliotheken und Archiven grundlegende Materialien dazu sammeln. Museums- und Universitätsbibliotheken verfügen hingegen meist über einen umfangreichen Bestand an Basisliteratur zur bildenden Kunst und Kunstgeschichte, aber auch über Literatur zu ihren Sammlungs- und Studien-schwerpunkten. Insgesamt muß festgestellt werden, daß aufgrund der äußerst unterschiedlichen Organisationsstrukturen Fragen von allgemeinem Interesse (etwa eine zentrale Vernetzung aller Daten oder eine generelle Ausbildungs-regelung) nicht koordiniert werden und die Situation daher recht unzufriedenstellend ist. Immerhin ist aber ein Trend in Richtung länger-fristiger Kooperationen im Ansatz zu erkennen. Zu nennen wären in diesem Zusammenhang etwa der Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe (FIB) oder die ‘Kunstreferentensitzungen’, bei denen (seit 1949!) Bibliothekarlnnen aktuelle Probleme und Entwicklungen im Bibliotheksbereich diskutieren.Art libraries in Austria are basically divided into three main groups according to their specific form of institutional organisation: museum libraries, university libraries, and libraries in galleries. The latter are often situated in recently founded institutions and usually put their focus on contemporary art. Museums and university libraries traditionally have rather extensive collections of basic literature on art and art history as well as specialized literature according to the main subject of their collections. It is characteristic of the present stage of development that innovations in the organisation of these libraries (i.e. computer systems for online catalogues, specialized training, etc.) are not being co-ordinated and the results of local improvements are therefore not as rewarding as they could be. Nevertheless, the first steps towards long term cooperation are being taken, and include such initiatives as the Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe, FIB (= Association to promote the foundation of an academy for information professions), and the Kunstreferentensitzungen, an assembly of librarians who discuss current trends and problems in library organization.

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2

Myzgina, V. „Memories in memoirs: Mykhailo (Moisey) Fradkin“. Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, Nr. 02 (Oktober 2021): 306–28. http://dx.doi.org/10.33625/visnik2021.02.306.

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The artist Moisey Fradkin (1904–1974) was a bright talented person in a brilliant galaxy of Ukrainian artists of the late 1920s – mid 1930s. He was a direct participant in the process of forming a special national “face” of graphic art. His works, which were exhibited at numerous foreign exhibitions in Europe and the United States, were noted as “strong and magical.” However, the further Fradkin’s creative destiny was not triumphant – after a very bright surge of original talent, his art was muted in the Procrustean bed of the Stalinist ideology, from about the end of the 1930s to the 1960s. He did not lose his skills, but only at the end of his life, full of wise experience, Fradkin again acquired bright energy and youthful enthusiasm in his work. Fradkin was a widely educated person, he taught at the Kharkiv Art Institute, was an active illustrator, author of easel compositions and graphic miniatures-exlibrises, worked in the field of industrial graphics for many years, headed the section of decorative and applied arts of the Kharkiv Club of Exlibrisists, collected a huge library. He and his wife, H. Krieger put together a unique collection of paintings, graphics and decorative and applied arts (more than 4000 items), which was later inherited by the Kharkiv Art Museum. The museum’s archives contain scattered sheets with fragments of Fradkin’s memoirs about his years of study at the Kharkiv Art College-Institute, which emotionally describe the time of the rapid reform of art education, which was full of contradictions. The article is based on these, not completely deciphered notes, and on the personal memoirs of the author of the article, who was familiar with the artist in the last four years of his life.

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Mozzati, Tommaso. „¿Os recibimos con alegría? Il viaggio di Olga Raggio a Vélez Blanco nel 1959: l’itinerario, gli interlocutori, i rapporti frail Metropolitan Museum e le istituzioni spagnole.“ TEMPORÁNEA. Revista de Historia de la Arquitectura, Nr. 2 (2021): 2–23. http://dx.doi.org/10.12795/temporanea.2021.02.01.

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L’articolo intende ripercorrere il dialogo apertosi fra il Metropolitan Museum of Art di New York, le autorità ministeriali spagnole e l’intelligentsia andalusa negli anni compresi fra il 1959 e il 1963, cioè durante la ricostruzione del patio proveniente dal castello di Vélez Blanco nelle sale dell’istituzione newyorkese. Nel far questo il contributo si propone di ricollocare una simile rete di relazioni sullo sfondo della più ampia situazione politica e diplomatica vissuta in quegli anni dal regime franchista all’interno della comunità internazionale e, in particolare, nel contesto dei negoziati intrattenuti al tempo con il governo di Washington.

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4

Guarino, Regina. „The Art Museum“. McNeese Review 60, Nr. 1 (2023): 121–25. http://dx.doi.org/10.1353/mcn.2023.a925635.

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5

Yuliasari, Yuliasari, und Yeptadian Sari. „Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space“. Journal of Architectural Design and Development 1, Nr. 1 (30.06.2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.

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Ortíz Triviño, Jorge Eduardo, und Rodolfo Cipagauta. „A virtual art museum“. Ingeniería e Investigación 26, Nr. 3 (01.09.2006): 78–84. http://dx.doi.org/10.15446/ing.investig.v26n3.14754.

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This paper presents some indispensable technical aspects for designing an art museum based on virtual reality (VR) technology. A VR setting can be produced which is able to submerge users having a basic immersion level in a didactic, entertaining, cultural and artistic experience. Specialised tools, object-orientated programming language and low-cost peripheral equipment are suggested so that the VR experience can be developed and executed on reasonably-priced computers. The VR concept, characteristics, components, application and systems are analysed, as is the design for implementing it.

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Tollfree, Eleanor. „Art and the Museum“. Art Book 8, Nr. 2 (März 2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.

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8

Carrier, David. „The Art Museum Today“. Curator: The Museum Journal 54, Nr. 2 (April 2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.

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9

Guffey, Elizabeth. „The Disabling Art Museum“. Journal of Visual Culture 14, Nr. 1 (April 2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.

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10

Blair, Jennifer. „Art Museum Image Gallery“. Charleston Advisor 21, Nr. 3 (01.01.2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

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11

Offringa, Dirkie, und Suzelle Botha. „The Pretoria Art Museum“. de arte 33, Nr. 57 (April 1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.

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12

van Deventer, Anriet. „The Pietersburg Art Museum“. de arte 33, Nr. 57 (April 1998): 61–62. http://dx.doi.org/10.1080/00043389.1998.11761270.

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13

Stylianou-Lambert, Theopisti. „Perceiving the art museum“. Museum Management and Curatorship 24, Nr. 2 (Juni 2009): 139–58. http://dx.doi.org/10.1080/09647770902731783.

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14

Hebb, Timothy Tore. „Kalmar Museum of Art“. Architectural Design 78, Nr. 6 (November 2008): 134–35. http://dx.doi.org/10.1002/ad.791.

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15

Hughston, Milan R. „NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art“. Art Documentation: Journal of the Art Libraries Society of North America 16, Nr. 2 (Oktober 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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16

Lee, Jungwon. „Why a Contemporary Art Museum?: The Museum Experience through Contemporary Art Exhibition“. International Journal of the Inclusive Museum 17, Nr. 2 (2024): 51–71. http://dx.doi.org/10.18848/1835-2014/cgp/v17i02/51-71.

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17

Imajo, Motoi. „New lighting for museum and museum of art“. JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

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18

Miller, Jack, und Laurie B. Reese. „MUSEUM TOL: Confessions of an Art Museum Librarian“. Art Documentation: Journal of the Art Libraries Society of North America 6, Nr. 4 (Dezember 1987): 168–69. http://dx.doi.org/10.1086/adx.6.4.27947827.

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19

Vossen-Delbrück, Else. „Libraries of art museums“. Art Libraries Journal 12, Nr. 1 (1987): 12–13. http://dx.doi.org/10.1017/s0307472200004983.

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With one exception Dutch art museum libraries date from the second half of the 19th century or later. In general, museum libraries reflect the scope of the museum they serve and exist primarily for the use of museum staff although the public are also admitted. Most now use the same cataloguing rules; manual catalogues are still commonplace but are likely to be displaced by the computer.

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20

Carrier, David. „THE ART MUSEUM AS A WORK OF ART: THE J. PAUL GETTY MUSEUM“. Source: Notes in the History of Art 22, Nr. 2 (Januar 2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.

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21

Eskilson, S. „Museum Movies: The Museum of Modern Art and the Birth of Art Cinema“. Journal of American History 93, Nr. 1 (01.06.2006): 267–68. http://dx.doi.org/10.2307/4486181.

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22

Rasmussen, Briley. „Museum as Métier: Victor D'Amico and the Museum of Modern Art“. Journal of Aesthetic Education 57, Nr. 4 (01.12.2023): 60–75. http://dx.doi.org/10.5406/15437809.57.4.04.

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Abstract Although Victor D'Amico's pedagogy and legacy are well known within the field of art education, discussions of his work often disregard the context in which he worked for over thirty years—The Museum of Modern Art. This essay examines D'Amico's key projects, considering how they were supported by and in collaboration with his museum colleagues. The result was a unique legacy steeped in a pedagogy of modern art and museum education. As a conclusion, this essay looks at the training of art educators and museum educators as requiring different kinds of foundational work and an acknowledgment of the importance of the museum as a context for art education.

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23

Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch et al. „Exhibition Reviews“. Museum Worlds 1, Nr. 1 (01.07.2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)

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24

Stone, Denise L. „The Secondary Art Specialist and the Art Museum“. Studies in Art Education 35, Nr. 1 (1993): 45. http://dx.doi.org/10.2307/1320837.

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25

Nazarov, Anton Sergeevich. „ART REALM OF TODAY’S MUSEUM AND ART MEDIATION“. Sphere of Culture, Nr. 2 (2022): 55–64. http://dx.doi.org/10.48164/2713-301x_2022_8_55.

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26

Lee, Eunjeok. „Art Museum Education to Form Art Subject Competencies“. Korean Association For Learner-Centered Curriculum And Instruction 18, Nr. 9 (05.05.2018): 955–77. http://dx.doi.org/10.22251/jlcci.2018.18.9.955.

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Stone, Denise Lauzier. „The Art Museum and the Elementary Art Specialist“. Journal of Museum Education 17, Nr. 1 (Dezember 1992): 9–11. http://dx.doi.org/10.1080/10598650.1992.11510190.

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28

Crampton, Sharon. „The art collection of Oliewenhuis Art Museum, Bloemfontein“. de arte 37, Nr. 65 (Januar 2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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29

Jacoby, Thomas. „ETHIOPIAN ART: THE WALTERS ART MUSEUM. Kelly Holbert“. Art Documentation: Journal of the Art Libraries Society of North America 21, Nr. 2 (Oktober 2002): 46. http://dx.doi.org/10.1086/adx.21.2.27949210.

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30

Moomaw, Kate. „Collecting participatory art at the Denver Art Museum“. Studies in Conservation 61, sup2 (Juni 2016): 130–36. http://dx.doi.org/10.1080/00393630.2016.1190904.

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31

Barbosa, Ana Mae Tavares Bastos. „Art education in a museum of contemporary art“. Museum International 41, Nr. 1 (März 1989): 45–49. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00757.x.

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32

Darish, Patricia J. „African Art at the Indiana University Art Museum“. African Arts 20, Nr. 3 (Mai 1987): 30. http://dx.doi.org/10.2307/3336475.

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33

Graham, Stephen Valambras. „Discovering art online: Digitising university art museum collections“. Humanities Research XX, Nr. 1 (30.05.2024): 201–21. http://dx.doi.org/10.22459/hr.xx.01.2024.13.

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34

Jacknis, Ira. „Anthropology, Art, and Folklore“. Museum Worlds 7, Nr. 1 (01.07.2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

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35

Sepessy, Joan, und William B. Walker. „MUSEUM TOL: Librarians in The Metropolitan Museum of Art“. Art Documentation: Journal of the Art Libraries Society of North America 5, Nr. 3 (Oktober 1986): 125. http://dx.doi.org/10.1086/adx.5.3.27947625.

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36

Smith, Donna B. „National Museum of American Art9839National Museum of American Art.“ Electronic Resources Review 2, Nr. 4 (April 1998): 43–44. http://dx.doi.org/10.1108/err.1998.2.4.43.39.

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37

Glesne, Corrine E. „Museum Art in Everyday Life“. LEARNing Landscapes 5, Nr. 2 (02.05.2012): 99–116. http://dx.doi.org/10.36510/learnland.v5i2.555.

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Art museums engage diverse audiences in multiple forms of learning. Based on qualitative research at seven academic institutions, this article focuses on the role academic art museums play in the everyday life of students and faculty, on how people become interested in art and art museums, and on possible contributions of campus art museums beyond use in classes and research.

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Gaber, Tammy. „Islamic Art and the Museum“. American Journal of Islam and Society 31, Nr. 2 (01.04.2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.

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This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...

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Camilla Jalving. „Utopia at the Art Museum:“. Utopian Studies 22, Nr. 2 (2011): 360. http://dx.doi.org/10.5325/utopianstudies.22.2.0360.

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40

Gurian, Elaine Heumann. „Kelvingrove Art Gallery and Museum“. Curator: The Museum Journal 50, Nr. 3 (Juli 2007): 358–61. http://dx.doi.org/10.1111/j.2151-6952.2007.tb00278.x.

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41

Železnik, Adeia. „Art Museum Education in Transition“. Journal of Museum Education 37, Nr. 3 (September 2012): 31–42. http://dx.doi.org/10.1080/10598650.2012.11510740.

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42

Persaud, R. „Art: The Museum of Emotions“. BMJ 320, Nr. 7246 (20.05.2000): 1413. http://dx.doi.org/10.1136/bmj.320.7246.1413.

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43

Foden-Lenahan, Erica. „Viewpoint: educating art museum librarians?“ Art Libraries Journal 33, Nr. 1 (2008): 3–4. http://dx.doi.org/10.1017/s0307472200015145.

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44

Dale, Daniel A., und Brenae L. Bailey. „Physics in the Art Museum“. Physics Teacher 41, Nr. 2 (Februar 2003): 82–83. http://dx.doi.org/10.1119/1.1542042.

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45

Campbell, Siobhan. „Kamasan Art in Museum Collections“. Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 170, Nr. 2-3 (01.01.2014): 250–80. http://dx.doi.org/10.1163/22134379-17002001.

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46

Harney, Elizabeth. „National Museum of African Art“. African Arts 35, Nr. 4 (01.12.2002): 89. http://dx.doi.org/10.1162/afar.2002.35.4.89.

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47

Carrier, David, und Didier Maleuvre. „Museum Memories. History, Technology, Art“. Journal of Aesthetic Education 35, Nr. 2 (2001): 122. http://dx.doi.org/10.2307/3333680.

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48

Newton, Douglas. „The Museum of Primitive Art“. African Arts 18, Nr. 3 (Mai 1985): 8. http://dx.doi.org/10.2307/3336346.

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49

Hacker, Inge. „The Philadelphia Museum of Art“. Rivista di Neuroradiologia 11, Nr. 1_suppl (Mai 1998): 31–32. http://dx.doi.org/10.1177/19714009980110s119.

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50

Dillon, Paul. „The Rose Art Museum crisis“. New Directions for Higher Education 2010, Nr. 151 (24.09.2010): 83–92. http://dx.doi.org/10.1002/he.403.

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