Relevant bibliographies by topics / Art gallery

Academic literature on the topic 'Art gallery'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Art gallery"

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Alexander, Olga. "Art Gallery." Frontiers: A Journal of Women Studies 43, no. 2 (2022): 202–7. http://dx.doi.org/10.1353/fro.2022.0020.

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Burbano, Andrés, Ernest Edmonds, Daniel Cardoso Llach, Skawennati, Nā ‘Anae Mahiki, Amy Fredeen, Dima Veryovka, et al. "Art Gallery." Leonardo 51, no. 4 (August 2018): 426–45. http://dx.doi.org/10.1162/leon_a_01694.

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Stradling, Bob. "Art gallery." Critical Perspectives on Accounting 15, no. 4-5 (May 2004): 542. http://dx.doi.org/10.1016/j.cpa.2003.11.003.

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Neethling, Lynnda. "The Johannesburg Art Gallery Library: Looking to the Future." Art Libraries Journal 20, no. 4 (1995): 16–18. http://dx.doi.org/10.1017/s0307472200009573.

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The Johannesburg Art Gallery opened in 1915. A collection of books intended for the Gallery, but housed elsewhere pending the completion of the building, became the separate Michaelis Art Library; the Gallery gradually formed its own library, for the use of the curators. In 1986 the Gallery Library was accommodated in a new wing. Selection for the Library has reflected the Gallery’s diverse collecting activities. Latterly, the Library has worked closely with the Gallery’s education department, and as a result its resources have been made available to the wider community. In 1994 the Library was given a major art slide collection by the Rand Afrikaans University; in the same year, it received funding for the computerisation of its catalogue, which will be accessible through SABINET. Work is in progress on an index of South African art.
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Tulloch, Pamela. "Integrating art – a Glasgow style." Art Libraries Journal 28, no. 3 (2003): 42–46. http://dx.doi.org/10.1017/s0307472200013237.

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Glasgow’s Mitchell Library is one of the largest public reference libraries in Europe. Recently, the City Council’s Cultural and Leisure Services staff have implemented an innovative approach to providing art information for the general public in the ‘Library @ GoMA – the learning gallery’, which opened in 2002 within the Gallery of Modern Art. In addition to the support the library offers to the Gallery’s activities, an ambitious programme of digitisation is under way to enable access to more of the Mitchell’s treasures.
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Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVER the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country. Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Gallery’s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent
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Jaiswal, Abhilasha. "ONLINE ART GALLERY." International Journal of Research -GRANTHAALAYAH 6, no. 6 (June 30, 2018): 403–6. http://dx.doi.org/10.29121/granthaalayah.v6.i6.2018.1386.

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An online art gallery is new concept of selling and purchasing art works, both digital prints and traditional paintings are available on online sites. Basically, it is a user interface kind of web page on which buyer and seller both gets a platform for their jobs. Online art gallery is a time, energy and money saving web site concept. By this artist also can host their works and art curator can arrange auctions for art works.
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Wolfe, Rosalee J., Jodi Giroux-Lang, Lynn Pocock, and Karen Sullivan. "Student art Gallery." ACM SIGGRAPH Computer Graphics 32, no. 1 (February 1998): 30–33. http://dx.doi.org/10.1145/279389.564624.

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Wolfe, Rosalee J., Jodi Giroux, Lynn Pocock, and Karen Sullivan. "Student art gallery." ACM SIGGRAPH Computer Graphics 32, no. 3 (August 1998): 32–34. http://dx.doi.org/10.1145/281278.564627.

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Bila, Vonani. "Baloyi's art gallery." New England Review 38, no. 4 (2017): 11–12. http://dx.doi.org/10.1353/ner.2017.0088.

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Dissertations / Theses on the topic "Art gallery"

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Ajlani, Tarek F. "Gallery For Art." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33977.

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For my thesis I explored the idea of the mask in relation to architecture. For my project I designed an art gallery located in Georgetown Washington DC which is composed of three layers: a structural layer, an environmental casing, and an outer layer. Theoretical parallels are drawn between the outer layer of the gallery and what is commonly referred to as a mask. Additionally, I explored the interaction between the layers of the gallery. The distinguishing characteristics of the building include the tri-facade mask, the unique spaces in between the gallery's layers, the glass system, the mask's ghost effect, and the floor system.
Master of Architecture
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Wolters, Erika. "A mobile art gallery." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223739.

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Most art galleries around the world look the same; a large white room with a few artworks placed far apart. This standard way of designing art spaces together with locating them almost exclusively in the city centers makes them both physically and culturally distant for many people.  This project aims to explore other ways of displaying art to make it accessible to more people through small architectural interventions. It is an exploration about the relation between space the body and the object. A prototype for a mobile art gallery has been built as a testing device.
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Bundalo, Mladen. "Cyber Gallery "Art Zeppelin"." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232290.

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Špirić, Dajan. "Cyber gallery "Art Zeppelin"." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232321.

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Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.

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Tolley, Rebecca. "Review of Art Museum Image Gallery." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.

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Thomas, Catherine. "Trans, intersections of art, life and the art gallery." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42105.pdf.

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Vicens, Rebeca. "Alley-Gallery." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9660.

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The site chosen for this thesis project is located in downtown Blacksburg, Virginia. It consists of a 30'­x110' infill lot and an alley running parallel to it. An initial desire to blur the boundary between the alley and the proposed building led to a study of the potential of parallel planes overlapped along the shared border. Representation of these planes in two dimensions allowed almost simultaneous perceptions of multiple spatial and geometrical configurations among them. The architectural consequences of this phenomenon became the main subject of inquiry. Exploration through silkscreen prints and model studies culminated in the design of an outdoor art gallery.
Master of Architecture
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Eekelaar, Catherine. "Art gallery-based interventions in dementia care." Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10460/.

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Section A reviews whether arts-based activities for people with a dementia (PWD) have significant cognitive, social, and psychological benefits for this population. There is a variety of theoretical perspectives on dementia that encompass the biological, psychological, and social effects of the disease on the wellbeing of PWD. Visual arts may be an appropriate way of addressing some of the challenges that PWD face by providing a means of ameliorating some of their cognitive, social, and psychological difficulties. Literature from the field of arts-based activities with PWD suggests that there is no apparent theoretical conceptualisation in the area, as most studies have attempted to evaluate various art programmes with no clear rationale for expected findings; rather, they have taken a more exploratory stance. However, they indicate that arts-based activities can have social and psychological benefits by increasing confidence, enthusiasm, enjoyment, social contact, mood, quality of life, and ratings of depression. The review concludes with a rationale for why it is important to expand the current evidence base on arts-based activities for PWD. Section B: Dementia refers to a variety of diseases that are characterised by cognitive difficulties and an overall decline in daily living skills. Arts and health interventions may be particularly valuable ways of improving the lives of PWD and their family carers. This exploratory study involved six people with mild to moderate dementia and six family carers attending an arts-based intervention at a major London art gallery for three sessions over three weeks, in which they engaged in art-viewing and art-making. Using audio recordings to record PWDs’ responses, rather than standardised measures, which are often problematic with this population, the study sought to explore possible changes in cognition of PWD during the intervention, namely episodic memory and verbal fluency. Using a mixed methods design, data were collected at five points and analysed using content and thematic analyses. The findings suggested that episodic memory and verbal fluency appeared to improve during the art gallery-based intervention. This was substantiated by family carers who also reported that PWD showed increased mood, confidence and social interaction, and that they valued the shared experience and learning opportunity. Whether these changes can be attributed to the intervention is a matter for further research beyond this exploratory study. Future research is proposed to further understand the implications of these preliminary findings. Section C presents a critical appraisal of the research. Research skills that have been learned and developed over the course of the process are discussed, such as increased awareness of the benefits of working within a wider research community. There is consideration of the need to communicate clearly and sensitively with other professionals from differing backgrounds and organisations, as well as the importance of building on a coherent evidence base when designing a research project. Better organisation relating to recruitment and investigation into recording during the art-viewing sessions at the gallery are identified as aspects that would be done differently, as well as consideration of using a case study approach. Clinical consequences of the research are discussed, such as utilising a community psychology approach and involving art and creativity in therapeutic sessions. Finally, further research in the area is considered, such as by expanding the study and using robust neuropsychological measures to detect cognitive change.
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Romano, Cara L. "Gallery 66 selling the Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.

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Books on the topic "Art gallery"

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Turner, J. M. W. 1775-1851., ed. J.M.W. Turner: Paintings in Merseyside collections : Walker Art Gallery, Sudley Art Gallery, Williamson Art Gallery, Lady Lever Art Gallery, Liverpool University Art Gallery. [Liverpool]: National Museums & Galleries on Merseyside, 1990.

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1940-, Zemans Joyce, and Ontario Association of Art Galleries., eds. Art gallery handbook. [Toronto]: Ontario Association of Art Galleries, 2001.

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Levin, Mai, Jelena Tsurkan, and Valeri Tsurkan. US Art Gallery. Tallinn: US Art OÜ, 2009.

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Patel, D. S. Kalanidhi Art Gallery. Vadodara: Kalanidhi Art Gallery, 2012.

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Endow, Goro. Sonata: Art gallery. Vergennes, VT: Virgo eBooks Pub., 2013.

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Ursula, Panhans-Bühler, Ohrt Roberto, Harden Paul J, Tatley Roger, and Phantom Gallery (Los Angeles, Calif.), eds. Phantom Gallery. Göttingen: Steidl Hauser & Wirth, 2009.

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Gallery, Dulwich Picture, ed. Street art, fine art: Dulwich Outdoor Gallery, Dulwich Picture Gallery. London: Heni Pub., 2014.

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Paul, Andriesse, Berg Mariska van den, and Galerie Paul Andriesse, eds. Art gallery exhibiting: The gallery as a vehicle for art. Amsterdam, NE: Paul Andriesse/Uitgeverij De Balie, 1996.

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Paul, Andriesse, and Berg Mariska van den, eds. Art gallery exhibiting: The gallery as a vehicle for art. [Netherlands]: [Galerie] Paul Andriesse, 1996.

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Gallery, Art Circle. [Art Circle Gallery art book collection]. Mandaluyong City]: Art Circle Gallery, 2010.

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Book chapters on the topic "Art gallery"

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Pritchard, Jacki. "The art gallery." In Hypnotherapy Scripts to Promote Children’s Wellbeing, 103–7. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003044147-29.

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Margenstern, Maurice. "Hyperbolic Gallery." In Designing Beauty: The Art of Cellular Automata, 65–71. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-27270-2_8.

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Franks, Anton. "Expanding the gallery." In Debates in Art and Design Education, 196–210. Second edition. | Abingdon, Oxon ; New York, NY : Routledge,2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429201714-12.

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Hunt, Bruce. "A Gallery of Algebraic Surfaces." In Mathematics and Art, 237–66. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04909-9_26.

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Hubard, Olga. "Introduction: What Is Gallery Teaching?" In Art Museum Education, 1–6. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_1.

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Chandra, Anupam, and Praveen Uchil. "Art of Designing an e-Art Gallery." In Research into Design for Communities, Volume 1, 537–46. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3518-0_47.

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Alekseenko, S., and D. Markovich. "Gallery of physical phenomena." In Science and Art Symposium 2000, 127–38. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4177-2_15.

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Besnoy, Kevin D. "Opening A Digital Art Gallery." In Teaching Gifted Children, 219–21. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238638-44.

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Fekete, Sándor P., Stephan Friedrichs, Alexander Kröller, and Christiane Schmidt. "Facets for Art Gallery Problems." In Lecture Notes in Computer Science, 208–20. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-38768-5_20.

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Werner, Thomas. "Gallery and Museum Teams." In The Business of Fine Art Photography, 81–103. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003086925-3.

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Conference papers on the topic "Art gallery"

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Truckenbrod, Joan, Heather Elliott, Jessica Westbrook, John Grimes, Ron Hutt, Deanna Morse, Jane Stevens, and Valerie Sullivan-Fuchs. "Art gallery." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281397.

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Bureaud, Annick, Stephen A. Benton, Deanna Morse, and Jane Stevens. "Art gallery." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281398.

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"D-Art Gallery." In 2019 23rd International Conference in Information Visualization – Part II. IEEE, 2019. http://dx.doi.org/10.1109/iv-2.2019.00007.

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"D-Art Gallery." In 2013 17th International Conference on Information Visualisation. IEEE, 2013. http://dx.doi.org/10.1109/iv.2013.92.

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"D-Art Gallery." In 2014 18th International Conference on Information Visualisation (IV). IEEE, 2014. http://dx.doi.org/10.1109/iv.2014.82.

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"D-Art Gallery." In 2023 27th International Conference Information Visualisation (IV). IEEE, 2023. http://dx.doi.org/10.1109/iv60283.2023.00010.

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"D-Art Gallery." In 2021 25th International Conference Information Visualisation (IV). IEEE, 2021. http://dx.doi.org/10.1109/iv53921.2021.00010.

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Lin, Ziyao. "Love letters without the recipient." In SIGGRAPH Art Gallery '24: ACM SIGGRAPH 2024 Art Gallery. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641523.3665168.

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Wolfe, Hannen. "Cybernetic Oracle." In SIGGRAPH Art Gallery '24: ACM SIGGRAPH 2024 Art Gallery. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641523.3665169.

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Hammett, Levi, Mohammad Suleiman, Hind Al Saad, and Fatima Abbas. "Preceding Emptiness." In SIGGRAPH Art Gallery '24: ACM SIGGRAPH 2024 Art Gallery. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641523.3665175.

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Reports on the topic "Art gallery"

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Campbell, J. R. Downtown Art Gallery Jacket. Ames: Iowa State University, Digital Repository, September 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1585.

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Alshaibi, Omar, Victoria Armstrong, Katie Brown, Nicole Hindley, Susie Johnston, Agathe Lermant, Elizabeth Mills, et al. Images of Research: An Art Gallery and Puzzle Book. Edited by Sandra Oza. University of Dundee, March 2024. http://dx.doi.org/10.20933/100001304.

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Images of Research is an annual competition that challenges researchers to capture their work in a single image, alongside a short description. This competition has been run at the University of Dundee since 2020 and represents just a handful of the research projects being carried out by postgraduate researchers. The competition celebrates our research and the many original ways it can be expressed. This collection showcases the winning entries, mixed with fun sketches and puzzles to complete.
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Mahat, Marian, Guy Morrow, Brian Long, Siew Fang Law, Amy Gullickson, and Chengxin Guo. Developing an impact framework for Science Gallery Network: Final report. University of Melbourne, 2022. http://dx.doi.org/10.46580/124372.

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The aim of this project was to develop an impact framework for the Science Gallery Network (SGN). This work was commissioned by the Science Gallery International (SGI). The SGN has eight member organisations across four continents: Dublin, London, Melbourne, Bengaluru, Detroit, Rotterdam, Atlanta and Berlin. Whilst the network consistently sees unprecedented levels of accomplishment by its members, a testimony to their capacity, innovation and vision, the SGN does not have a systematic way to measure and monitor this impact. An impact framework that can assist with understanding and reporting the value of this impact will provide important recognition that the SGN has achieved what it sets out to do— bringing science, art, technology and design together to deliver world-class educational and cultural experiences for young people. This report details the robust consultation approach that was undertaken by the University of Melbourne’s project team—one that included a desktop review, focus group discussions, surveys and interviews—to ensure multiple perspectives were gathered on what could be considered a multi-faceted concept. The desktop review provided a thorough review and an environmental scan of the impact literature and its measurement. In addition, the focus group discussions and interviews provided a rich understanding of what ‘good impact’ means for the SGN and the implications of this to the measurement of impact outcomes. Five key recommendations are provided and summarised. Note that these key recommendations should be taken as a point of departure for further in-depth consultation throughout the wider SGN.
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Brison, Jeffrey, Sarah Smith, Elyse Bell, Antoine Devroede, Simge Erdogan, Christina Fabiani, Kyle Hammer, et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.
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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt, and Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), June 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
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Sarin, N. K. Operating procedures - flame tests on rigid ducts used for mine ventilation. Natural Resources Canada/CMSS/Information Management, 1987. http://dx.doi.org/10.4095/331775.

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Flammability tests are carried out on a variety of flexible and rigid duct materials used for mine ventilation in order to evaluate their fire-resistance and their suitability in a mining environment. Several tests are available for this purpose, however, CEAL has been using CSA standard C22.2 No. 30 for at least 10 years as part of its program for certification of various mining products. An interim large scale gallery test has been introduced since July, 1985 in order to determine if better repeatability of test results can be obtained. The aim is to eliminate threats to health and safety resulting from the use of such products in the mines. Special attention has been given to the safety precautions and sequence of operations necessary while conducting tests. A standard test recording sheet and test layout diagrams are also presented.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Raymond, Kara, Laura Palacios, and Evan Gwilliam. Status of climate and water resources at Big Bend National Park: Water year 2019. Edited by Tani Hubbard. National Park Service, September 2022. http://dx.doi.org/10.36967/2294267.

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Climate and hydrology are major drivers of ecosystem structure and function, particularly in arid and semi-arid ecosystems. Understanding changes in climate, groundwater, streamflow, and water quality is central to assessing the condition of park resources. This report combines data collected on climate, groundwater, and springs at Big Bend National Park (NP) to provide an integrated look at climate and water conditions during water year (WY) 2019 (October 2018–September 2019). However, this report does not address the Rio Grande or its tributaries. Annual precipitation was higher than normal (1981–2010) for Big Bend NP at four of the five National Oceanic and Atmospheric Administration Cooperative Observer Program weather stations: 111% of normal for Chisos Basin, 122% of normal for Panther Junction, 155% of normal for Persimmon Gap, and 124% of normal for Rio Grande Village. Castolon had 88% of normal annual precipitation. All five stations had higher than normal rainfall in October and December, while rainfall totals were substantially below normal at all stations in November, February, and March. Monthly precipitation totals for April through September were more variable from station to station. Mean monthly maximum air temperatures were below normal in the fall months, with Panther Junction as much as 7.5°F below normal in October. Monthly temperatures from January through July were more variable. Temperatures in August and September were warmer than normal at every station, up to +9.4°F at Rio Grande Village and +8.7°F at Chisos Basin in July. The reconnaissance drought index values indicate generally wetter conditions (based on precipitation and evaporative demand) at Chisos Basin since WY2016 and at Panther Junction and Persimmon Gap since WY2015, except for WY2017. This report presents the manual and automatic groundwater monitoring results at nine wells. Five wells had their highest water level in or just before WY2019: Panther Junction #10 peaked at 99.94 ft below ground surface (bgs) in September 2018, Contractor’s Well peaked at 31.43 ft bgs in November 2018, T-3 peaked at 65.39 ft bgs in December 2018, K-Bar #6 Observation Well peaked at 77.78 ft bgs in February 2019, and K-Bar #7 Observation Well peaked at 43.18 ft bgs in February 2019. This was likely in response to above normal rainfall in the later summer and fall 2018. The other monitoring wells did not directly track within-season precipitation. The last measurement at Gallery Well in WY2019 was 18.60 ft bgs. Gallery Well is located 120 feet from the river and closely tracked the Rio Grande stage, generally increasing in late summer or early fall following higher flow events. Water levels in Gambusia Well were consistently very shallow, though the manual well measurement collected in April was 4.25 ft bgs—relatively high for the monitoring record—and occurred outside the normal peak period of later summer and early fall. The last manual measurement taken at TH-10 in WY2019 was 34.80 ft bgs, only 0.45 ft higher than the earliest measurement in 1967, consistent with the lack of directional change in groundwater at this location, and apparently decoupled from within-season precipitation patterns. The last water level reading in WY2019 at Oak Springs #1 was 59.91 ft bgs, indicating an overall decrease of 26.08 ft since the well was dug in 1989. The Southwest Network Collaboration (SWNC) collects data on sentinel springs annually in the late winter and early spring following the network springs monitoring protocol. In WY2019, 18 sentinel site springs were visited at Big Bend NP (February 21, 2019–March 09, 2019). Most springs had relatively few indications of natural and anthropogenic disturbances. Natural disturbances included recent flooding, drying, and wildlife use. Anthropogenic disturbances included flow modifications (e.g., springboxes), hiking trails, and contemporary human use. Crews observed one to seven facultative/obligate wetland plant...
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Boyle, Maxwell, and Elizabeth Rico. Terrestrial vegetation monitoring at Timucuan Ecological and Historic Preserve: 2019 data summary—Version 2.0. National Park Service, February 2022. http://dx.doi.org/10.36967/nrds-2290196.

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The Southeast Coast Network (SECN) conducts long-term terrestrial vegetation monitoring as part of the nationwide Inventory and Monitoring Program of the National Park Service (NPS). The vegetation community vital sign is one of the primary-tier resources identified by SECN park managers, and it is currently conducted on 15 network parks (DeVivo et al. 2008). Monitoring plants and their associated communities over time allows for targeted understanding of ecosystems within the SECN geography, which provides managers information about the degree of change within their parks’ natural vegetation. 2019 marks the first year of conducting this monitoring effort on four SECN parks, including Timucuan Ecological and Historic Preserve (TIMU). A total of 23 vegetation plots were established in the park in May and June. Data collected in each plot include species richness across multiple spatial scales, species-specific cover and constancy, species-specific woody stem seedling/sapling counts and adult tree (greater than 10 centimeters [3.9 inches (in)]) diameter at breast height (DBH), overall tree health, landform, soil, observed disturbance, and woody biomass (i.e., fuel load) estimates. This report summarizes the baseline (year 1) terrestrial vegetation data collected at Timucuan Ecological and Historic Preserve in 2019. Data were stratified across three dominant broadly defined habitats within the park (Coastal Plain Nonalluvial Wetlands, Coastal Plain Open Uplands and Woodlands, and Maritime Upland Forests and Shrublands) and three land parcels (Cedar Point, Theodore Roosevelt, and Thomas Creek). Noteworthy findings include: A total of 157 vascular plant taxa (species or lower) were observed across 23 vegetation plots, including nine species not previously known from the park. Three plots were located in the footprint of the Yellow Bluff Fire, and were sampled only two weeks following the fire event. Muscadine (Muscadinia rotundifolia), cat greenbrier (Smilax glauca), water oak (Quercus nigra), and swamp tupelo (Nyssa biflora) were the most frequently encountered species in Coastal Plain Nonalluvial Wetland habitat; saw palmetto (Serenoa repens), slash pine (Pinus elliottii), and gallberry (Ilex glabra) were the most frequently encountered species in Coastal Plain Open Upland and Woodland habitat; and Darlington oak (Quercus hemisphaerica), Spanish moss (Tillandsia usenoides), and red bay (Persea borbonia) were the most frequently encountered species in Maritime Upland Forests and Shrublands. There were no exotic species of the Florida Exotic Pest Plant Council list of invasive plants (FLEPPC 2020) observed on any of these plots. Both red bay and swamp bay (Persea palustris) were largely absent from the tree stratum in these plots; however, they were present (occasionally in high abundance) in the seedling and sapling strata across all habitat types. Buckthorn bully (Sideroxylon lycioides)—listed as Endangered in the state of Florida by the Florida Department of Agriculture and Consumer Services (FDACS 2020)—was observed in three Maritime Upland Forest and Shrubland plots. The tree strata in each broadly defined habitat were dominated by the following species: Coastal Plain Nonalluvial Wetlands-loblolly bay (Gordonia lasianthus) Coastal Plain Open Uplands and Woodlands-longleaf pine (Pinus palustris) Maritime Upland Forests and Shrublands-oaks (Quercus sp.) Most stems within the tree strata exhibited healthy vigor and only moderate dieback across all habitat types. However, there was a large amount of standing dead trees in plots within Maritime Upland Forests and Shrublands. Downed woody biomass (fuel loads) were highest in the Cedar Point and Thomas Creek land parcels.
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Coombs, HC opening exhibition of contemporary Australian paintings at Art Gallery - September 1955. Reserve Bank of Australia, September 2022. http://dx.doi.org/10.47688/rba_archives_pn-002886.

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