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Journal articles on the topic 'Art galleries'

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Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Sommer, Robert. "Art from Flotsam." Boom 3, no. 1 (2013): 56–62. http://dx.doi.org/10.1525/boom.2013.3.1.56.

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For thirty years Northern California hosted several informal galleries in which local people constructed unsigned sculpture from flotsam. The work received considerable media publicity. The premier gallery was in Emeryville, but several other locations around the Bay were used, along with subsidiary galleries in Arcata and North Bend, OR. All these tidal galleries have become state parks, nature reserves, or otherwise closed to sculpture-building. Given the creative energy of people in the area, future galleries in other tidal locations are likely to arise.

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2

Hightower, John B. "Are Art Galleries Obsolete?" Curator: The Museum Journal 12, no. 1 (July 9, 2010): 9–13. http://dx.doi.org/10.1111/j.2151-6952.1969.tb01759.x.

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3

Toppings, M. Glenn. "Are Art Galleries Obsolete?" Curator: The Museum Journal 12, no. 1 (July 9, 2010): 69–70. http://dx.doi.org/10.1111/j.2151-6952.1969.tb01768.x.

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4

Carmichael, Stephen W. "Microscopes in Art Galleries?" Microscopy Today 14, no. 6 (November 2006): 3–5. http://dx.doi.org/10.1017/s1551929500058806.

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In addition to concerns about the appearance of a display, curators of art galleries are also concerned about conservation of the artwork and their authenticity. Microscopes have played a role in these latter activities since the 1930s. Various imaging techniques, including X-radiography, infrared reflectography, macrophotography, UV-fluorescence and raking light (light source at a low angle to the surface) imaging have their advantages and disadvantages. Confocal microscopy is most useful compared to the other methods for the purpose of examination of subsurface structure, but the close working distance (a few mm) makes it precarious to use on valuable masterpieces. More recently, Haida Liang, Marta Cid, Radu Cucu, George Dobre, Adrian Podoleanu, Justin Pedro, and David Sauders have demonstrated the usefulness of optical coherence tomography (OCT) for non-destructive examination of artwork. OCT, as discussed previously in this column, is more commonly used to examine biological specimens.

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Czyzowicz, J., E. Rivera-Campo, N. Santoro, J. Urrutia, and J. Zaks. "Guarding rectangular art galleries." Discrete Applied Mathematics 50, no. 2 (May 1994): 149–57. http://dx.doi.org/10.1016/0166-218x(92)00029-l.

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6

Aldhea Fauziah Rahma. "Analisis Bibliometrik Tentang “Art Galleries” Tahun 2018-2021 pada Scopus." Palimpsest: Jurnal Ilmu Informasi dan Perpustakaan 13, no. 2 (December 20, 2022): 111–25. http://dx.doi.org/10.20473/pjil.v13i2.40757.

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Arts galleries atau galeri seni merupakan tempat dimana para seniman dapat memamerkan hasil karyanya kepada orang-orang. Publikasi ilmiah yang membahas tentang galeri seni atau art galleries masih belum banyak dihasilkan dan publikasi ilmiah tentang art galleries pada Scopus masih belum terbilang banyak. Penelitian ini bertujuan untuk mengetahui dan menganalisis perkambangan publikasi mengenai art galleries tahun 2018-2021. Metode yang digunakan dalam penelitian ini adalah analisis bibliometrika menggunakan VOSviewer dengan sumber data yang berasal dari artikel ilmiah tentang art galleries yang terindeks oleh Scopus pada tahun 2018-2021. Hasil temuan yang didapatkan yaitu publikasi tentang art galleries tahun 2018-2021 berdasarkan data dari Scopus sebanyak 1.581 dokumen. Hasil analisis yang didapatkan berupa network visualization, overlay visualization, dan density visualization dengan dua tipe analisis yaitu co-authorship dan co-occurrence. Kesimpulan dari penelitian ini adalah topik yang paling banyak dibahas pada publikasi ilmiah art galleries tahun 2018-2020 adalah art, human, humans, person re identification, deep learning, state of the art, dan security system.

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7

Memili, Esra, Hanqing Fang, Gerd-Michael Hellstern, Joanna Ozga, and Dilek Zamantili Nayir. "An Empirical Analysis of Art Galleries." Zeitschrift für Kulturmanagement 2, no. 2 (November 1, 2016): 103–22. http://dx.doi.org/10.14361/zkmm-2016-0206.

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Abstract Despite the extant research on entrepreneurial orientation (EO) and its performance consequences, cultural industries have been under researched. In our paper, we examine the impact of the Entrepreneurial Orientation (EO) on performance as well as performance deviation from industry average in art galleries. The findings of our exploratory study based on responses from 113 art galleries in Istanbul showing that EO improves performance only in galleries with above industry average performance. We further find that the relationship between EO and performance deviation of galleries is U-shaped.

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8

Terreni, Lisa. "Beyond the Gates: Examining the Issues Facing Early Childhood Teachers when they Visit Art Museums and Galleries with Young Children in New Zealand." Australasian Journal of Early Childhood 42, no. 3 (September 2017): 14–21. http://dx.doi.org/10.23965/ajec.42.3.02.

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EXCURSIONS TO CULTURAL CENTRES, such as art museums and galleries, can add new and valuable learning opportunities for young children. This paper presents the findings from a large scale national questionnaire that asked early childhood (EC) teachers in New Zealand about their engagement with art museums and galleries for learning experiences, outside of their EC centres. As part of a mixed methods research project, the questionnaire also sought to ascertain the degree to which the EC sector uses art museums and galleries as excursion destinations, and the ways in which they are used (or not). The findings suggest that key factors that both help and hinder visiting art museums and galleries with young children include: the pedagogical approaches EC teachers have in relation to visual art education, the ways in which teachers view successful learning opportunities for young children, and a teacher's own perceptions and fears of art museums and galleries. This study suggests that teachers have mixed views about whether visiting art museums and galleries will provide appropriate experiences for young children.

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9

Hutchinson, Joan P., and Andre Kundgen. "Art Galleries with Walls: 10478." American Mathematical Monthly 105, no. 3 (March 1998): 274. http://dx.doi.org/10.2307/2589095.

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10

Żyliński, Paweł. "Cooperative guards in art galleries." Dissertationes Mathematicae 450 (2007): 1–132. http://dx.doi.org/10.4064/dm450-0-1.

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11

Burton, David. "Web-Based Student Art Galleries." Art Education 63, no. 1 (January 2010): 47–52. http://dx.doi.org/10.1080/00043125.2010.11519053.

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12

Cox, Miranda. "Visiting museums and art galleries." Practical Pre-School 1999, no. 18 (November 1999): 17–18. http://dx.doi.org/10.12968/prps.1999.1.18.41107.

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13

Massis, Bruce. "Art galleries in the library." Information and Learning Science 118, no. 9/10 (October 10, 2017): 566–68. http://dx.doi.org/10.1108/ils-08-2017-0083.

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Purpose The purpose of this study is to report that the library has recognized the benefit to the community of including art gallery space in the library. Design/methodology/approach This paper is a literature review and commentary on this topic that has been addressed by professionals, researchers and practitioners. Findings Exposure to art in the library can open and expand worlds that might never have been available to some and can provide the populace with greater access directly in their own community. Originality/value The value in exploring this topic is to provide libraries that may not have considered including an art gallery in their libraries to consider the possibility of doing so.

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14

Schuetz, Jenny. "Do art galleries stimulate redevelopment?" Journal of Urban Economics 83 (September 2014): 59–72. http://dx.doi.org/10.1016/j.jue.2014.08.002.

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15

Kündgen, A. "Art Galleries with Interior Walls." Discrete & Computational Geometry 22, no. 2 (September 1999): 249–58. http://dx.doi.org/10.1007/pl00009458.

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Żyliński, Paweł. "Watched guards in art galleries." Journal of Geometry 84, no. 1-2 (March 2006): 164–85. http://dx.doi.org/10.1007/s00022-005-0016-y.

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17

Krishnan, Prakash. "Diversity Counts: Gender, Race, and Representation in Canadian Art Galleries." Public 31, no. 61 (December 1, 2020): 311–13. http://dx.doi.org/10.1386/public_00037_5.

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A review of Anne Dymond’s new book, Diversity Counts: Gender, Race, and Representation in Canadian Art Galleries. In it, she takes a statistical approach to investigating gender and racial parity in large Canadian art galleries. By counting solo exhibitions shown in Canadian art galleries, Dymond reveals that they are not in fact representative of the nation’s diverse population.

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18

Quemin, Alain. "Art and the City: Contemporary Art Galleries Districts in Paris from the End of the 19th Century until Today." Arts 11, no. 1 (January 18, 2022): 20. http://dx.doi.org/10.3390/arts11010020.

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The space invested by contemporary art galleries is of utmost importance. Not only is it essential to have suitable premises, but they must also be in the right place: The physical address carries a lot of weight. The benefits to galleries of being concentrated in the same areas are twofold: They are close to their competitors, which means they are close to the art market, and thus, by their collective presence, can boost the market by encouraging collectors to go to the same places built up as art districts. Moreover, the district’s qualifying function comes about through the collective construction of this grouping of galleries from which it benefits. Today in Paris, it is the Marais neighborhood—a sector that started developing in the 1970s but even more in the 1980s and 1990s—that epitomizes the place to be for contemporary art galleries. The implantation of contemporary galleries in Paris clearly results from a historical process that led them from the 8th arrondissement to the Marais, stopping briefly at Saint-Germain-des-Prés (or the 6th arrondissement) mostly for small avant-garde structures. Studying the implantation—here in Paris—of contemporary art galleries over time illustrates the dynamics that gird the installation choices and also shows how alive the urban fabric is. Galleries enter the transformations of the urban fabric, and when they are numerous enough, they also participate directly in its development.

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19

Cooke, Glenn R. "Vida Lahey: Beyond Monday Morning." Queensland Review 17, no. 2 (July 2010): 53–59. http://dx.doi.org/10.1017/s1321816600005419.

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Some of the guests at the opening of the Queensland Art Gallery's exhibition Vida Lahey: Colour and Modernism on 16 October 2010 expressed their consternation when Lahey's most famous work, Monday Morning, was not included. Despite it being one of the icons of the Gallery's collection, it remained on display in the permanent collection galleries – a choice that was quite deliberate.

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20

Lechner, Judith V. "Picture Books as Portable Art Galleries." Art Education 46, no. 2 (March 1993): 34. http://dx.doi.org/10.2307/3193374.

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21

Ross, Peter, T. S. Michael, and Val Pinciu. "Guarding the Guards in Art Galleries." College Mathematics Journal 37, no. 5 (November 1, 2006): 404. http://dx.doi.org/10.2307/27646404.

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22

Gair, Marina. "Interpreting art in museums and galleries." Visual Studies 30, no. 1 (March 24, 2014): 102–4. http://dx.doi.org/10.1080/1472586x.2014.887305.

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23

Piana, E. A., and F. Merli. "Lighting of Museums and Art Galleries." Journal of Physics: Conference Series 1655 (October 2020): 012138. http://dx.doi.org/10.1088/1742-6596/1655/1/012138.

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24

Michael, T. S., and Val Pinciu. "Guarding the Guards in Art Galleries." Math Horizons 13, no. 3 (February 2006): 22–25. http://dx.doi.org/10.1080/10724117.2006.11974629.

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25

Hutchinson, Joan, and André Kündgen. "Orthogonal art galleries with interior walls." Discrete Applied Mathematics 154, no. 11 (July 2006): 1563–69. http://dx.doi.org/10.1016/j.dam.2006.01.006.

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26

CHWA, KYUNG-YONG, BYUNG-CHEOL JO, CHRISTIAN KNAUER, ESTHER MOET, RENÉ VAN OOSTRUM, and CHAN-SU SHIN. "GUARDING ART GALLERIES BY GUARDING WITNESSES." International Journal of Computational Geometry & Applications 16, no. 02n03 (June 2006): 205–26. http://dx.doi.org/10.1142/s0218195906002002.

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Let P be a polygon, possibly with holes. We define a witness set W to be a set of points in P such that if any (prospective) guard set G guards W, then it is guaranteed that G guards P. Not all polygons admit a finite witness set. If a finite minimal witness set exists, then it cannot contain any witness in the interior of P, all witnesses must lie on the boundary of P, and there can be at most one witness in the interior of every edge. We give an algorithm to compute a minimum size witness set for P in O(n2 log n) time, if such a set exists, or to report the non-existence within the same time bounds. We also outline two algorithms that use a witness set for P to test whether a (prospective) guard set sees all points in P.

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27

Shermer, T. C. "Recent results in art galleries (geometry)." Proceedings of the IEEE 80, no. 9 (1992): 1384–99. http://dx.doi.org/10.1109/5.163407.

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28

Kothe, Elsa Lenz. "Beyond Art Waitressing: Meaningful Engagement in Interactive Art Galleries." Art Education 65, no. 4 (July 2012): 19–24. http://dx.doi.org/10.1080/00043125.2012.11519180.

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29

MacGregor, A. "Palaces of Art. Art Galleries in Britain 1790 1990." Journal of the History of Collections 4, no. 1 (January 1, 1992): 159–60. http://dx.doi.org/10.1093/jhc/4.1.159.

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30

Park, Sohyun. "Deregulation and the Museum and Art Gallery Support Act: Focusing on the Museum’s Legal Definition and Classification." Korean Arts Association of Arts Management 65 (February 28, 2023): 169–209. http://dx.doi.org/10.52564/jamp.2023.65.169.

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Until recently, there have been constant calls for a complete revision of the Museum and Art Gallery Support Act. At the center is the argument that the legal definition and conceptual system for museums and art galleries should be corrected. This paper tried to clarify why the legal definition, scope of application, and classification system of museums and art galleries are always and still important issues. The government-wide deregulation stance and the quantitative expansion of cultural facilities at the cultural policy level, which began in earnest in the 1990s, were factors that drove the process of enacting and revising the law. In the process, the policy direction of museums and art galleries, quantitative expansion through deregulation, was established, and active adjustment of the legal definition, scope of application, and classification system became the core strategy of deregulation. In other words, the provisions on the definition, scope, and classification system were repeatedly revised to maximize the effect of quantitative expansion by lowering the threshold of legal boundaries of museums and art galleries as much as possible and expanding the scope as possible. As a result, the problems caused by the revision have been repeatedly pointed out since the 2000s, but the revision for the re-establishment of the conceptual system was considered contrary to deregulation and was not made. And the confusion of the conceptual system in law became and amplified the confusion of reality. Based on existing studies, this paper attempted to problemize the confusion caused by the policy stance of deregulation into specific legal issues.

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McNaughton, Esther Helen. "Aratoi: Our Journeys to Aotearoa." Museum Worlds 9, no. 1 (July 1, 2021): 92–109. http://dx.doi.org/10.3167/armw.2021.090108.

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How can regional art galleries support the development of cultural understanding in their communities? The 2019 collaborative project Aratoi: Our Journeys to Aotearoa between Nelson, New Zealand’s Suter Art Gallery te Aratoi o Whakatū and eight local schools explored this question. Students’ artworks were hung alongside the gallery’s collection, enriching dialogue within the exhibition through the provision of voices otherwise absent. Building on the gallery’s collection and history, this project demonstrated the evolution of the gallery’s colonial roots into a broader discussion of culture. Participating teachers believed the project allowed public recognition of students’ abilities and ideas; expression of a school community’s special character; cross-curricular learning; cohesive whole school learning; bicultural learning; and pre-service teacher development. It also enabled meaningful exploration of Aotearoa New Zealand’s histories.

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Lorente, Jesús-Pedro. "Galleries of modern art in nineteenth-century Paris and London: their location and urban influence." Urban History 22, no. 2 (August 1995): 187–204. http://dx.doi.org/10.1017/s0963926800000468.

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Museums of contemporary art tend to be exclusive landmarks of great capitals. We are used to finding art galleries in the most prominent of locations, either in old palaces, or in purpose-built museum buildings. For the special case of galleries of contemporary art, however, it is also a common policy to provide space at the middle of an out-of-town park, or else into the heart of an urban renewal area, using modern arts as ‘flagships’ of city regeneration. This article strives to show that today's dilemmas and choices about the siting of galleries of art are a legacy of the nineteenth century, recalling the lively controversies concerning the urban setting of the Parisian Musée des Artistes Vivants and its London equivalents. The different national cases are explored, to reveal several distinct models of gallery formation.

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Habelsberger, Beatrix E. M., and Pawan V. Bhansing. "Art Galleries in Transformation: Is COVID-19 Driving Digitisation?" Arts 10, no. 3 (July 23, 2021): 48. http://dx.doi.org/10.3390/arts10030048.

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Compared to other consumer goods markets, art galleries have long been reluctant to innovate through digitisation. However, the global outbreak of COVID-19 forces art galleries to reconsider the role of digital channels. This study aims to provide a better understanding of the art gallery business model and its related difficulties of integrating digital channels into marketing, communication, and sales. Twenty interviews with gallery owners and managers in Vienna and Salzburg were conducted. They were asked about their attitudes towards, opinions on, and experiences with digital channels, and how they reacted to the restrictions caused by COVID-19. The findings verify that COVID-19 has led galleries of any type to reconsider their digital strategy. We identified limitations with respect to digital channels: plain presentation of information online; lacking or distanced personal interaction; online anonymity that disconnects from the social art environment; increased information and price transparency; a more commercial appearance; limited resources for digital adaptations. Galleries striving to integrate digital channels into their business model should pay attention to ensuring that analogue, as well as digital, channels are integrated into a coherent system where personal contact and the physical location remain the core of the business.

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Kalinina, Irina, and Polina Maksimova. "Analysis of the Modern Gallery Activities as an Element of the Tourism Infrastructure of the City." Bulletin of Baikal State University 29, no. 4 (December 20, 2019): 552–59. http://dx.doi.org/10.17150/2500-2759.2019.29(4).552-559.

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Nowadays, due to the insufficiently developed theoretical background of gallery business, gallery owners mainly rely on their intuition, analysis of the art market, and numerous sketchy theoretical works and tips. The article presents a comparative analysis and characteristics of the art galleries of the city of Irkutsk, not mentioned previously in the literature. A list of resources necessary for the formation and promotion of attractiveness of art galleries for tourists has been developed. It was created on the basis of the analysis of the activities of Russian and foreign galleries in terms of their tourism attractiveness and cooperation with tourist companies. At the same time, it is mentioned that measures aimed at developing of the tourism attractiveness of the gallery, which are quite often commercial by their nature, should promote the brand of the territory where the gallery is located, preserving its uniqueness. They should in no way turn the art gallery into a gift shop selling art souvenirs.

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35

Pavlovic, Marija. "Art museums and galleries: Educational programs and resources for teachers." Zbornik Matice srpske za drustvene nauke, no. 159-160 (2016): 931–45. http://dx.doi.org/10.2298/zmsdn1660931p.

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This paper gives the analysis of educational programs and resources for teachers in art museums and galleries in the world and in Serbia. Nowadays, in attempt to follow contemporary tendencies in art education, a significant attention is payed to development of educational programs in art museums and galleries. There is also a strong pursuit to build connections between these cultural institutions and teachers. The goal of this paper is to present selected examples of practices in museums and galleries, programs and resources for teachers, based on preschool and primary school approaches and strategies of teaching using works of art. Research on different aspects of collaboration between kindergartens and schools with institutions of culture is also presented in this paper. Research results indicate that there is no satisfactory collaboration among these institutions in our environment. Schools and kindergartens should support teachers by providing developmentally encouraging environment for maintaining collaboration, so children should get a chance to study works of art more frequently.

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36

Härmä, Vuokko. "Experiencing Pervasive Computer Mediated Art Exhibitions." Suomen Antropologi: Journal of the Finnish Anthropological Society 35, no. 3 (September 1, 2010): 90–93. http://dx.doi.org/10.30676/jfas.127502.

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Cultural institutions such as museums and galleries are going through a transformation driven by an increasingly competitive funding environment and a sense that they need to reconnect with their contemporary visitors. Audience-led design has been seen as one of the main ways to attract visitors to museums for some time (McLean 1993). Active participation during visits to cultural institutions has been reported to generate positive feedback from visitors (Bagnall 2007), and so contemporary museums and galleries have become increasingly concerned with promoting public engagement through offering interactive installations (Hein 2000). Museum staff, exhibition designers and curators are under pressure to create attractive exhibitions that encourage participation and evoke emotional and behavioral responses. Thus the manufacturing of experiences has become a key issue in the design process, with digital technologies playing an increasing role in rendering artworks accessible. Drawing on research carried out in the UK, this paper considers the relationship between technologically mediated artworks and social interaction in museums and galleries, and suggests some further questions about possible cross-cultural variation in this relationship, specifically with respect to Finnish conventions of social interaction.

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Rafiei Vardanjani, Ahmad. "United States Economic Sanctions on Iran and Their Impacts on the Middle Eastern Art Market." Arts 9, no. 4 (December 18, 2020): 132. http://dx.doi.org/10.3390/arts9040132.

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The United States’ sanctions on Iran have limited the Iranian art market’s connections with the international art network. Galleries try to compensate for such limitations through online marketing and exhibition. Thus, the sanctions not only impact the form of marketing exerted by dealers but also directly influence the type of artistic production. Such changes also reshape the art market in the Arab states. The transition from tangible to intangible has become a strategy for the regional market to bypass the sanctions and develop business with the global collectors and institutions. A quantitative analysis was used to demonstrate the impact of the sanctions on the art market in Iran and the United Arab Emirates. This analysis examined all exhibitions in 12 commercial galleries in Tehran and Dubai from 2009 to 2019, statistically assessing the index of changes over this period and calculating the variations, particularly during the years of intensified sanctions. The study indicates how the propensity of galleries for a digitally networked economy is becoming a solution to reduce the impacts of the sanctions in order for the galleries to maintain their clientele of international collectors and dealers.

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38

Capssa, Andrea. "GALERIAS ON-OFF: MERCADO DA ARTE E (RE)CONFIGURAÇÕES / ON-OFF galleries: art market and (re)configurations." arte e ensaios 26, no. 40 (December 2, 2020): 185–99. http://dx.doi.org/10.37235/ae.n40.13.

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Este artigo no campo da Arte Contemporânea, propõe discutir as estratégias de atuação das Galerias ON-OFF[1], que atuam paralelamente em ambientes virtuais e físicos. A capacidade de articulação das galerias ao disseminar conteúdo nas redes, divulgar artistas e obras, ao realizar ações no campo da curadoria e expandir seus contatos em feiras de arte, promover eventos e firmar parcerias, estabelece, sobretudo, as suas relações com o mercado da arte. Busca-se compreender a atuação das galerias na contemporaneidade, através da curadoria, o público-alvo e suas estratégias, sobretudo as relações entre as galerias ON-OFF e o mercado da arte, as dinâmicas do sistema e suas (re)configurações.Palavras-chave: Arte Contemporânea; Galerias ON-OFF; Curadoria; Mercado da arte.AbstractThis article in the field of Contemporary Art proposes to discuss the strategies of ON-OFF galleries acting in parallel in virtual and physical environments. The ability to articulate the galleries by disseminating contended on the networks, publicize artists and works, carry out actions in the field of curatorship and expand their relations with the art market. It seeks to understand the performance of galleries in the contemporary world, through curatorship, the target audience and their strategie, especially the relations between the ON-OFF galleries and the art market, the dynamics of the system and its (re)configuartions.Keywords: Contemporary Art; ON-OFF Galleries; Curatorship; Art Market.[1] Conceito proposto e defendido pela autora para caracterizar as galerias de arte que na atualidade atuam online e offline concomitantemente, de acordo com suas estratégias de atuação.

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39

Świerczyńska-Kaczor, Urszula. "Art Galleries Virtual Design and the Neuroaesthetics." Annales Universitatis Mariae Curie-Skłodowska, sectio H, Oeconomia 50, no. 2 (June 15, 2016): 135. http://dx.doi.org/10.17951/h.2016.50.2.135.

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40

Banerjee, Debangshu, and R. Inkulu. "Vertex Guarding for Dynamic Orthogonal Art Galleries." International Journal of Computational Geometry & Applications 31, no. 02n03 (June 2021): 123–40. http://dx.doi.org/10.1142/s0218195921500060.

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We devise an algorithm for surveying a dynamic orthogonal polygonal domain by placing one guard at each vertex in a subset of its vertices, i.e., whenever an orthogonal polygonal domain [Formula: see text] is modified to result in another orthogonal polygonal domain [Formula: see text], our algorithm updates the set of vertex guards surveying [Formula: see text] so that the updated guard set surveys [Formula: see text]. Our algorithm modifies the guard placement in [Formula: see text] amortized time, while ensuring the updated orthogonal polygonal domain with [Formula: see text] holes and [Formula: see text] vertices is guarded using at most [Formula: see text] vertex guards. For the special case of the initial orthogonal polygon being hole-free and each update resulting in a hole-free orthogonal polygon, our guard update algorithm takes [Formula: see text] worst-case time. Here, [Formula: see text] and [Formula: see text] are the number of vertices of the orthogonal polygon before and after the update, respectively; and, [Formula: see text] is the sum of [Formula: see text] and the number of updates to a few structures maintained by our algorithm. Further, by giving a construction, we show it suffices for the algorithm to consider only the case in which the parity of the number of reflex vertices of both [Formula: see text] and [Formula: see text] are equal.

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41

Phillips, David. "Science centres: A lesson for art galleries?" International Journal of Museum Management and Curatorship 5, no. 3 (September 1986): 259–66. http://dx.doi.org/10.1080/09647778609515028.

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Šunić, Zoran. "Normal art galleries: Wall in – all in." Computational Geometry 46, no. 1 (January 2013): 7–16. http://dx.doi.org/10.1016/j.comgeo.2012.02.007.

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Durocher, Stephane, Omrit Filtser, Robert Fraser, Ali D. Mehrabi, and Saeed Mehrabi. "Guarding orthogonal art galleries with sliding cameras." Computational Geometry 65 (October 2017): 12–26. http://dx.doi.org/10.1016/j.comgeo.2017.04.001.

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Harper, Jenny. "Museum as Provocateur—Art Galleries and Controversy." Australian and New Zealand Journal of Art 5, no. 1 (January 2004): 57–75. http://dx.doi.org/10.1080/14434318.2004.11432732.

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KATZ, MATTHEW J., and GILA MORGENSTERN. "GUARDING ORTHOGONAL ART GALLERIES WITH SLIDING CAMERAS." International Journal of Computational Geometry & Applications 21, no. 02 (April 2011): 241–50. http://dx.doi.org/10.1142/s0218195911003639.

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We study the problem of guarding an orthogonal art gallery with security cameras sliding back and forth along straight tracks. We show that if only vertical (alternatively, horizontal) tracks are allowed, then a solution minimizing the number of tracks can be found in polynomial time, and if both orientations are allowed, then a 2-approximation can be found in polynomial time for x-monotone galleries.

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Bárány, Imre, and Jiřι´ Matoušek. "Berge's theorem, fractional Helly, and art galleries." Discrete Mathematics 306, no. 19-20 (October 2006): 2303–13. http://dx.doi.org/10.1016/j.disc.2005.12.028.

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Maßberg, Jens. "Perfect Graphs and Guarding Rectilinear Art Galleries." Discrete & Computational Geometry 51, no. 3 (April 2014): 569–77. http://dx.doi.org/10.1007/s00454-014-9587-4.

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Phillips, D. "Science centres: A lesson for art galleries?" Museum Management and Curatorship 5, no. 3 (September 1986): 259–66. http://dx.doi.org/10.1016/0260-4779(86)90033-6.

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Ekhaese, E. N., and A. O. Solaja. "Assessment of Lighting Strategies in Art Galleries: A Comparative Case Study of Selected Art Galleries in Lagos State." IOP Conference Series: Earth and Environmental Science 1054, no. 1 (September 1, 2022): 012028. http://dx.doi.org/10.1088/1755-1315/1054/1/012028.

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Abstract Light is so important in our everyday lives that it effects user experiences of spaces as well as the user’s overall well-being for a large portion of the day in the built environment. Lighting, among the other aspects that make up the design of spaces, is an important characteristic in a building because it is the primary means of appreciating art and culture. The study aimed to assess purposively selected art galleries as the basis for determining the best lighting strategies to be adopted in the design of an art gallery in Lagos, Nigeria. This study addressed two key objectives – identify the existing lighting strategies used in the assessed art galleries to recommend the best lighting strategies to be used and ascertain how the lighting strategies are implemented. A qualitative research method using case study approach was employed in the research. Content and narrative analyses were used to analyse data. Findings show a significant need for daylight to be implemented alongside artificial lighting in an art gallery. The results align with current global trends towards sustainability.

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Molho, Jeremie. "Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong." Arts 10, no. 2 (April 27, 2021): 28. http://dx.doi.org/10.3390/arts10020028.

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The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.

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