Relevant bibliographies by topics / Art museums Victoria

Academic literature on the topic 'Art museums Victoria'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Art museums Victoria"

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Jones, Alexandra. "Ethiopian Objects at the Victoria and Albert Museum." African Research & Documentation 135 (2019): 8–24. http://dx.doi.org/10.1017/s0305862x00023864.

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The Victoria and Albert Museum, or V&A, is a museum of art, design and performance based in South Kensington, London. It was established in 1852, following on from the 1851 “Great Exhibition of the Works of Industry of All Nations” spearheaded by Prince Albert. The museum's collections today number over 2.7 million objects, amassed over the past 150 years through active collecting. Amongst them is a small but very significant collection of Ethiopian material, which tells a story about the complex relationship between Britain and Ethiopia during the 19th century, as well as prompting much discussion about how African collections and objects associated with military expeditions are displayed and interpreted by UK museums today.
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Jones, Alexandra. "Ethiopian Objects at the Victoria and Albert Museum." African Research & Documentation 135 (2019): 8–24. http://dx.doi.org/10.1017/s0305862x00023864.

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The Victoria and Albert Museum, or V&A, is a museum of art, design and performance based in South Kensington, London. It was established in 1852, following on from the 1851 “Great Exhibition of the Works of Industry of All Nations” spearheaded by Prince Albert. The museum's collections today number over 2.7 million objects, amassed over the past 150 years through active collecting. Amongst them is a small but very significant collection of Ethiopian material, which tells a story about the complex relationship between Britain and Ethiopia during the 19th century, as well as prompting much discussion about how African collections and objects associated with military expeditions are displayed and interpreted by UK museums today.
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Lambert, Susan. "The National Art Library repositioned." Art Libraries Journal 27, no. 4 (2002): 5–11. http://dx.doi.org/10.1017/s0307472200012797.

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Archives, libraries and museums have for some time been trying out the advantages, for themselves and for each other, of working together and sharing long-term aims. These independent sorties were given a coercive impetus in April 2000 when the Government-funded Library & Information Commission and the Museums & Galleries Commission were replaced by the single-word Resource, to bring together ‘strategic advocacy, leadership and advice to enable museums, archives and libraries to touch people’s lives and inspire their imagination, learning and creativity’. At the Victoria and Albert Museum, the National Art Library, which already included the Museum’s Archives, has recently merged with Prints, Drawings and Paintings to form the Word & Image Department. The integration of the National Art Library with a department that has traditionally put greater emphasis on its curatorial role has suggested new paths of development for us all and, in particular, an enhanced contribution for the new Department across the full range of material culture as represented in the V&A’s collections. Thus the merger has acted as a catalyst to put into practice aspects of the Government’s agenda within a single institution. This article outlines some of the developments proposed for the Word & Image Department, with particular emphasis on implications for the National Art Library, its staff, collections and users.
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The Curatorial Forum, The Metropoli, Jon Darius, Timothy Newbery, A. Jorritsma, and Patrick Drysdale. "World of museums: The restructuring of the Victoria and Albert Museum: An open letter from the curatorial forum of the metropolitan museum of art." International Journal of Museum Management and Curatorship 8, no. 2 (June 1989): 227–40. http://dx.doi.org/10.1080/09647778909515165.

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Clover, Darlene. "Animating ‘The Blank Page’: Exhibitions as Feminist Community Adult Education." Social Sciences 7, no. 10 (October 20, 2018): 204. http://dx.doi.org/10.3390/socsci7100204.

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Public museums and art galleries in Canada are highly authoritative, and trusted knowledge and identity mobilising institutions, whose exhibitions are frequently a ‘blank page’ of erasure, silencing, and marginalisation, in terms of women’s histories, experiences, and contributions. Feminist exhibitions are a response to this, but few in Canada have been explored as practices of feminist community adult education. I begin to address this gap with an analysis of two feminist exhibitions: In Defiance: Indigenous Women Define Themselves, curated by Mohawk-Iroquois artist, Lindsay Katsitsakatste Delaronde, at the Legacy Gallery, University of Victoria; and Fashion Victims: The Pleasures & Perils of Dress in the 19th Century, curated by Ryerson Professor Alison Matthews David, at the Bata Shoe Museum, Toronto. Although dissimilar in form, focus, and era, these exhibitions act as powerful intentional pedagogical processes of disruption and reclamation, using images and storytelling to animate, re-write and reimagine the ‘blank pages’ of particular and particularised histories and identities. Through the centrality of women’s bodies and practices of violence, victimization, and women’s power, these exhibitions encourage the feminist oppositional imagination, dialogic looking, gender consciousness, and a visual literacy of hope and possibility. Yet, as women’s stories become audible through the very representational vehicles and institutional spaces used to silence them, challenges remain.
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Wateren, J. F. van der. "Archival resources in the Victoria and Albert Museum." Art Libraries Journal 14, no. 2 (1989): 16–27. http://dx.doi.org/10.1017/s0307472200006192.

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The Victoria and Albert Museum, itself an archive of material culture, houses several collections of archival records. The Museum’s Registered Papers are divided between the Museum itself, which holds those papers relating to objects in the Museum, and the Public Record Office, where papers relating to Museum buildings and administration can be found; all papers produced since 1984 are to be housed together in a newly established V & A Archive. The quality of the archive of Registered Papers is uneven due to the lack of a controlling and unifying policy; this, and questions of conservation and administration, are being addressed as part of the current restructuring of the Museum. For the same reason the archives of the different Departments, though important, vary considerably not only in content but also in their organisation. The National Art Library, part of the V & A, includes archival collections of ephemera, comprising examples of printing and graphic design, and of manuscripts, including artists’ papers; it also includes the Archive of Art and Design, founded in 1978 to avoid the splitting up of significant archives between the Museum’s Departments.
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Ladas, Nancy. "Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria." Heritage 2, no. 1 (March 13, 2019): 858–67. http://dx.doi.org/10.3390/heritage2010057.

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With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to administer the Commonwealth Protection of Cultural Objects on Loan Act 2013 (PCOL Act). The PCOL Scheme provides (with some limits) legal protection—immunity from seizure—for Australian and foreign cultural items on loan from overseas lenders for temporary public exhibition in Australia. The Ministry for the Arts also released the Australian Best Practice Guide to Collecting Cultural Material in 2015. The Guide is not a mandatory code. It recommends principles and standards to apply when acquiring collection items and in part for inward and outward loans. In 2016–2017 Museums Victoria staff used the Act and its Regulation along with the Guide to substantially update and formalise previous formal and informal policies and practices, in order to demonstrate its commitment to due diligence endeavours to verify the accuracy of information before acquiring, deaccessioning, borrowing, or lending items. This paper outlines the steps we took and what we have learned since receiving approval as a registered borrower under the PCOL Scheme.
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Dodds, Douglas. "From analogue to digital: preserving early computer-generated art in the V&A’s collections." Art Libraries Journal 35, no. 3 (2010): 10–16. http://dx.doi.org/10.1017/s0307472200016485.

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The Victoria and Albert Museum holds the UK’s emerging national collection of early computer-generated art and design. Many of the earliest works only survive on paper, but the V&A also holds some born-digital material. The Museum is currently involved in a project to digitise the computer art collections and to make the information available online. Artworks, books and ephemera from the Patric Prince Collection and the archives of the Computer Arts Society are included in a V&A display on the history of computer-generated art, entitled Digital pioneers. In addition, the project is contributing to the development of the Museum’s procedures for dealing with time-based media.
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Marchand, Marie-Ève. "L’impossible « chambre des horreurs » du Museum of Ornamental Art : une archéologie du design criminel." RACAR : Revue d'art canadienne 39, no. 1 (August 14, 2014): 40–51. http://dx.doi.org/10.7202/1026201ar.

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In 1852, the Museum of Ornamental Art, today the Victoria and Albert Museum, opened its doors to the public. Taking part in a general reform of the British art and design education system, the museum sought to instill what were considered good design principles. To do so, a museographic strategy that proved to be as popular as it was controversial was chosen: the exhibition gallery entitled “Decorations on False Principles,” which immediately became known as the “Chamber of Horrors.” This gallery, a dogmatic expression of the functionalist conception of ornament advocated by the museum, referred through its nickname to another then famous Chamber of Horrors, the one in Mme Tussaud’s wax museum. In this paper, I will first argue that the Museum of Ornamental Art’s Chamber of Horrors is an early example of the association of ornament with crime that reappears in later design theories. Second, by examining the means taken to transmit the idea of the criminalization of ornaments designed after “bad principles,” I demonstrate why the concept of the Chamber of Horrors is in itself doomed to failure. I thus analyze this uncommon exhibition as a manifestation of the museum’s aesthetic philosophy and mechanisms at a time when the institution’s modalities were still in the process of elaboration.
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Fennessy, Kathleen M. "'Industrial Instruction' for the 'Industrious Classes': Founding the Industrial and Technological Museum, Melbourne." Historical Records of Australian Science 16, no. 1 (2005): 45. http://dx.doi.org/10.1071/hr05003.

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This paper examines the movement to foster scientific and technical learning in the colony of Victoria during the 1860s. It discusses how the concept of a public museum for 'industrial' and 'technological' instruction emerged, and analyses the events leading to the establishment of the Industrial and Technological Museum, Victoria's first public institution for educating the people in applied science.
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Dissertations / Theses on the topic "Art museums Victoria"

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Neumann, Sabine [Verfasser], Birgit [Akademischer Betreuer] Mersmann, Marion [Akademischer Betreuer] Müller, and Victoria [Akademischer Betreuer] Szabo. "Art Museums online - New visual challenges of Modern and Contemporary Art Collections / Sabine Neumann. Betreuer: Birgit Mersmann. Gutachter: Birgit Mersmann ; Marion Müller ; Victoria Szabo." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2016. http://d-nb.info/1098532848/34.

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Mikasa, Princess Akiko of. "Collecting and displaying 'Japan' in Victorian Britain : the case of the British Museum." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669978.

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Parker, Angela. "The History and Educational Legacy of the Manchester Art Museum, 1886-1898." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/623.

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This thesis examines the history of the Manchester Art Museum (Manchester, England), which was founded by Thomas Coglan Horsfall (1841-1932) in 1886. It considers the museum’s permanent collections and its programming from 1886 to 1898 with brief notes on the later years of the institution. While, like previous work on the Manchester Art Museum, the thesis contextualizes the museum within Victorian arts and community institutions, it breaks new ground by highlighting the ways in which it diverged from these institutions. The analysis of the museum’s collections and programming emphasizes the contributions that Horsfall and the Art Museum Committee made to museum education through the museum’s circulating loan collections and school tours.
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Rasmussen, Briley. "Pedagogy for the modern : Victor D'Amico and the Museum of Modern Art, 1929-1969." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/42851.

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This thesis explores the history of the educational mission and programs of the Museum of Modern Art, New York (MoMA) from 1929 to 1969, interrogating how education programs were critical to the museum’s presentation, definition, and dissemination of modern art in this period. It centers on the work of Victor D’Amico, the first director of education at MoMA, and follows the course of his tenure at MoMA from 1937 to his retirement in 1969. The first two chapters of this thesis address the philosophical roots of the museum and its education program. It begins with an examination of the progressive aspirations of the museum’s founders, as well as the pedagogical experiments of MoMA’s first director, Alfred H. Barr, Jr. It then introduces Victor D’Amico, exploring the progressive grounding of his work and the shifting notions of children and childhood that become the heart of his work at MoMA. Through the lens of specific programs the next three chapters investigate three different decades at the museum. Chapter Three focuses on the multiple exhibition Elements of Design and considers how the museum developed pedagogical tools to reach larger audiences for modern design. Chapter Four addresses the changing climate for MoMA and modern art following the Second World War and how the museum harnessed television as a critical medium to develop audiences for modern art and promote its place in a democracy. Finally, Chapter Five discusses how D’Amico’s Children’s Art Carnival was leveraged as a tool for cultural diplomacy in Europe and India during the Cold War. Through a focus on the educational philosophy and practices of the museum this thesis investigates the larger ambitions of MoMA to impact daily life. They believed an engagement with modern art and its ideas and practices could foster agency in people in the United States and abroad. Ultimately, this thesis charts a more expansive understanding of modernism and the role of museum education in the histories of art and museums.
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Borey, Erica. "Reichenbachia, Imperial Edition: Rediscovering Frederick Sander’s Late-Victorian Masterpiece of Botanical Art." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3292.

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This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business practices, and chromolithographic printmaking. Discussion of the transition of this collection into a museum art collection covers its consequent registration, conservation, and exhibition. Finally, this thesis project considers the advantages and disadvantages of managing an art collection at a botanical garden.
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Hook, Sarah. "Reading the gallery : portraits and texts in the mid- to late nineteenth century." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:87ad5989-055a-4777-9418-5f636afd6f96.

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The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph albums. They also included the art periodical, biography, fiction, and poetry as the experience of portraiture became distinctly textual as well as visual. This thesis draws upon art history alongside literary, museum, and material studies to explore the creative exchange that developed between portrait viewership and reading practices in the mid- to late nineteenth century. Taking the establishment of the National Portrait Gallery in 1856 as its starting point, the thesis tracks the changing idea of the portrait gallery through its literary reception. It takes the portrait gallery to mean the physical space in which portraits were exhibited, and the conceptual idea of collecting, arranging, and interacting with portraits that permeated into the literary world. By focussing on the work of Edmund Gosse, Walter Pater, Thomas Hardy, and Vernon Lee, the thesis forms a 'gallery' of nineteenth-century tastemakers, each of whom looked to the democratic art of portraiture to reflect upon their literary art. How did portraits and texts interact in the mid- to late nineteenth century? In what ways did writers adapt the conventions of portraiture and the portrait gallery for the written text? This thesis seeks to answer these questions and provide new narratives about the complex relationship between the visual and the verbal in nineteenth-century culture. It observes the Victorian 'culture of art' with a more focussed eye to illuminate how the conditions of viewing, circulating, and collecting portraits specific to the period allowed the portrait gallery to serve as a particularly compelling arena for the literary imagination. Gosse, Pater, Hardy, and Lee tested the inherent limitations of portraiture as an art of imitation to realise its imaginative capacity for communicating with close and distant, contemporary and historic figures. They recognised that writing offered a valuable way of constructing the affective conversations that could be had with - and the stories that could be told about - portraits and portrait collections. With the proliferation of portraits came the problem and the opportunity of organising them.
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Ayres, Sara Craig. "Hidden histories and multiple meanings : the Richard Dennett collection at the Royal Albert Memorial Museum, Exeter." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1039.

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Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.
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Yanni, Carla. "Building natural history constructions of nature in British Victorian architecture and architectural theory /." 1994. http://books.google.com/books?id=sDBUAAAAMAAJ.

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Murphy, Tracey. "Disrupting colonialism: weaving indigeneity into the gallery in schools project of the Art Gallery of Greater Victoria." Thesis, 2019. https://dspace.library.uvic.ca//handle/1828/10515.

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In 2015, the Truth and Reconciliation Commission made their final recommendations for Canadian society to address cultural genocide: by affirming stories of survivors, taking personal and professional inventory of their practices and making concrete steps to meet the Calls to Action. In particular, the TRC recognized damage done by museums and art galleries to perpetuate colonialism and yet, believed that these institutions could be sites of justice, particularly in relation to arts and artists The Art Gallery of Greater Victoria, an institution steeped in colonialism and under pressure to create accountable relationships with Indigenous communities, began to act by revamping their education program for school age children entitled the Gallery in the Schools art program. My study asked Indigenous artists and educators to contribute their ideas for a new art program. I used a blended research of community based and decolonizing research models, contextualized within decolonizing and critical theoretical frameworks. Overall, research findings suggest that process is as important as the end product in the context of reconciliation and decolonization. Significantly, relationships were esteemed over the concept of reconciliation. These finding further imply that a successful art program would ground pedagogical content within a critical historical framework, be informed by a fluid understanding of identity and search out possibilities of hope. The theoretical implications of this study support increased contributions by Indigenous artists as key policy makers, who will challenge the deeply embedded power structures of institutions and offer alternative ways to share power and support Indigenous envisioned futures.
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Books on the topic "Art museums Victoria"

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The Victoria Memorial Hall: An overview. Kolkata: R.N. Bhattacharya, 2010.

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Museum, Victoria and Albert, and Public Catalogue Foundation, eds. Oil paintings in public ownership in the Victoria and Albert Museum. London: Public Catalogue Foundation, 2008.

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Victoria and Albert museum. A practical guide to patchwork from the Victoria and Albert Museum. Pittstown, N.J: Main Street Press, 1987.

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Victoria and Albert museum. A grand design: The art of the Victoria and Albert Museum. Edited by Baker Malcolm, Richardson Brenda, Burton Anthony 1942-, and Baltimore Museum of Art. New York: Harry N. Abrams, 1997.

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museum, Victoria and Albert. A grand design: The art of the Victoria and Albert Museum. London: V & A Publications, 1997.

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Victoria and Albert museum. A grand design: The art of the Victoria and Albert Museum. [Toronto: Royal Ontario Museum, 1998.

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1942-, Borg Alan, Green Harry book designer, Victoria and Albert Museum, and Millennium Galleries (Sheffield England), eds. Precious: An illustrated guide to the exhibition. Sheffield: Sheffield Galleries & Museums Trust, 2001.

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Victoria and Albert museum. The medieval treasury: The art of the Middle Ages in the Victoria and Albert Museum. [London]: The Museum, 1996.

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Victoria and Albert museum. The medieval treasury: The art of the Middle Ages in the Victoria and Albert Museum. 2nd ed. [London]: V & A Publications, 1998.

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Victoria and Albert museum. The medieval treasury: The art of the Middle Ages in the Victoria and Albert Museum. [London]: The Museum, 1986.

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Book chapters on the topic "Art museums Victoria"

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Segall, Avner, and Brenda Trofanenko. "The Victoria and Albert Museum." In Adult Education, Museums and Art Galleries, 53–63. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_5.

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Siegel, Jonah. "Art and the Museum." In Victorian Aesthetic Conditions, 13–32. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281431_2.

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Legino, Rafeah, David Forrest, and Nurhanim Zawawi. "Asian Clothing Collection from Museum Victoria Australia." In Proceedings of the Art and Design International Conference (AnDIC 2016), 125–33. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_15.

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Ben-Ari, Mordechai. "How to Guard a Museum." In Mathematical Surprises, 53–59. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13566-8_5.

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Lo, Betty. "Decorative Techniques in Oriental Swords: Savoir Faire in Craftsmanship and Artistry." In Martial Culture and Historical Martial Arts in Europe and Asia, 239–79. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_8.

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AbstractOne important aspect in the study and appreciation of arms is the techniques and methods for their decoration. The wide range of materials and techniques used in the creation of swords and daggers were intended to add to the aesthetic qualities of functional items, either for everyday or ceremonial use. Throughout the ages, beautiful swords and daggers were worn by the elite and were presented to warriors and courtiers as gifts to symbolize victory, honor, virility, and to reinforce the bond of loyalty. They were also worn by men as jewelry of prestige and status. Techniques used by artisans to embellish these swords and bladed weapons are the subject of this paper. Examples from museums and private collections are selected to demonstrate the exquisite craftsmanship of gilding and coloring, inlay and damascening, stone and gem-setting, embossing, chasing and engraving, enameling, 3D carving, wiring and filigree, etching and openwork. This chapter focuses on how these techniques were used to produce distinctive details of decorated antique swords and daggers of Eastern origins from the Ottoman empire, Persia, and India.
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Damodaran, A. "Animating the Inanimate." In Managing Arts in Times of Pandemics and Beyond, 101–24. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192856449.003.0005.

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The onset of COVID-19 has altered the functioning of museums and biennials across the world. Consistent with the ‘deep dive approach’ employed in this book, the chapter takes a close look at three museums and a biennial. The museums chosen for detailed examination are ‘The Guggenheim’ (USA), the Victoria Memorial Hall (India), and the Montreal Museum of Fine Arts (Canada). The biennial chosen for detailed exploration is the ‘Kochi-Muziries Biennale’ (India). The objectives of the exercise are to understand the nature of operations carried out by these organizations and identifying the economic and managerial challenges faced by them prior to and during the difficult days of COVID-19. The chapter explores how the four organizations have coped with the pandemic. While Guggenheim opened up their premises on a minimal note and employed intense virtual media exposes, the Kochi-Muziries Biennale was constrained to postpone its biennial event. The Montreal Museum and the Victoria Memorial Hall also underwent protracted bouts of inactivity. The dive deep studies throw up a menu of management-related situations that holds vital lessons for budding museum managers. Similarly, the functioning of the four organizations also afford valuable lessons to the policy establishment regarding the effectiveness of cultural and arts policies.
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Turner, Sarah Victoria. "From Ajanta to Sydenham: ‘Indian’ art at the Sydenham Palace." In After 1851. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0006.

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Discussions about the display of Indian art and material culture in the Victorian imperial metropolis have largely focused on the Great Exhibition of 1851 and its progeny, the South Kensington Museum (now the Victoria and Albert Museum). However, the Crystal Palace at Sydenham Hill was an important, but much overlooked, location of imperial and colonial display well into the twentieth century. This essay begins by examining the Sydenham Palace at a site of imperial spectacle from its opening in 1854 and well into the twentieth century. Relevant events included the African Exhibition of 1895, the opening of the Victoria Cross Gallery in the same year and the Colonial Exhibition of 1905, and the display of Major Robert Gill’s copies of the frescoes from the Buddhist rock-cut temples at Ajanta in India (until they were destroyed by fire in 1866). The crowning occasion in the Sydenham series of imperial events was the Festival of Empire in 1911 which celebrated the ascension of George V as ‘King-Emperor’. Taking the 1911 Festival as a case study, this essay explores the complex and often conflicting narratives of empire that were communicated through the courts and grounds at Sydenham.
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Davies, Stuart. "Victorian values in Victorian buildings? The museums profession and management." In Professions at Bay, 127–49. Routledge, 2019. http://dx.doi.org/10.4324/9781315184593-6.

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Khan, Zarawar, Fawad Khan, and Ghayyur Shahab. "Gandhāran stucco sculptures from Sultan Khel (former Khyber Agency) in the collection of Peshawar Museum: a study in three parts." In The Rediscovery and Reception of Gandhāran Art, 43–82. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-3.

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The Peshawar Museum of Pakistan was inaugurated in the Victoria Memorial hall of Peshawar by the Archaeological Survey of India (ASI) in 1907, and since then, it has achieved a worldwide reputation for housing one of the best collections of Gandhāran Buddhist sculptures. The antiquities of the Museum have chiefly come from archaeological excavations and explorations of ancient sites and monuments of the former North-West Frontier Province, however, the number of artefacts has also been supplemented by the sculptures donated by the civil and military officials of the British Indian Empire. Most of the donated and gifted sculptures were collected in military operations or punitive expeditions, or purchased from the local people, as well as confiscated under the Ancient Monuments Preservation Act of 1904.
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Shannon, Louise. "Curating Emerging Art and Design at the Victoria and Albert Museum." In New Collecting: Exhibiting and Audiences after New Media Art, 171–82. Routledge, 2016. http://dx.doi.org/10.4324/9781315597898-9.

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Conference papers on the topic "Art museums Victoria"

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Pretzel, Boris. "NDT techniques used at the Victoria and Albert Museum." In IEE Colloquium on `NDT in Archaeology and Art'. IEE, 1995. http://dx.doi.org/10.1049/ic:19950772.

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Reports on the topic "Art museums Victoria"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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