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Journal articles on the topic 'Art museums Victoria'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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Helmreich, Anne. "Victorian Exhibition Culture: The Market Then and the Museum Today1." Articles, no. 55 (April 20, 2010): 0. http://dx.doi.org/10.7202/039556ar.

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Abstract This essay examines the dialectical relationship between the formation of the commercial art market in London over the course of the second half of the nineteenth century and the representation of Victorian art in museum displays of recent decades. With respect to the latter, the essay provides an overview of recent monographic and group exhibitions devoted to Victorian art. It reveals, through the examination of the twinned phenomena of the commercial art market and museological practice, the central role played by exhibition culture in our understanding of Victorian art. It closes by posing questions as to how we might improve our interpretation of Victorian art and culture as presented through museum exhibitions and displays.

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12

Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.

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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.

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13

Alberti, Samuel. "Wax Bodies: Art and Anatomy in Victorian Medical Museums." Museum History Journal 2, no. 1 (January 2009): 7–36. http://dx.doi.org/10.1179/mhj.2009.2.1.7.

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14

Choi, Tina Young. "THE LATE-VICTORIAN HISTORIES OF INDIAN ART OBJECTS: POLITICS AND AESTHETICS IN JAIPUR'S ALBERT HALL MUSEUM." Victorian Literature and Culture 41, no. 2 (February 15, 2013): 199–217. http://dx.doi.org/10.1017/s1060150312000356.

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Recent guidebooks for the Westerner traveling to Northern India generally refer the prospective visitor to a common range of cities around Delhi – Agra, Jaipur, and Udaipur; within these, the Taj Mahal, Jaipur's Pink City and nearby Amber Fort, and Udaipur's glamorous lake palaces usually merit must-see status. Until its refurbishment a few years ago, the Albert Hall Museum, an elaborate structure with old-fashioned interiors and a location a kilometer south of Jaipur's city center, ranked as a second- or even third-tier tourist attraction; travel guides from recent years mention it with indifference, describing its collections as “dusty” and “fine, if carelessly exhibited” (Bindloss and Singh 170), or even suggesting that “a slow circular turn around the building in a car will suffice” (Frommers 520). Yet a century ago the Museum proudly occupied a primary place in British travel guides to India. It opened with ceremony and fanfare in 1887, and by 1898 almost three million Indian and over ten thousand European visitors had passed through its doors (Hendley, Report 9). A striking example of colonial architecture, constructed of white stone with numerous courtyards, covered walkways, and ornamented domes (Figure 1), it was regarded as perhaps the most noteworthy edifice within a noteworthy Indian city. Thomas Holbein Hendley, resident Surgeon-Major in Jaipur, chief curator for the 1883 Jaipur Exhibition, and the Albert Hall Museum's Secretary and tireless champion, recommended that travelers in Jaipur for a single day make two visits, both morning and evening, to the site, and that those with an additional day to spend in the city schedule a third visit. Murray's Handbook for Travellers in India, Burma and Ceylon concurred, describing it as “a beautiful museum – an Oriental South Kensington, suitably housed” (174), and just after the turn of the century, English journalist Sidney Low recalled that it was “the best museum, with one exception, in all India, a museum which, in the careful selection and the judicious arrangement of its contents, is a model of what such an institution ought to be” (114).

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15

Meriton, John. "Training and the National Art Library." Art Libraries Journal 27, no. 1 (2002): 13–17. http://dx.doi.org/10.1017/s0307472200019921.

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The National Art Library at the Victoria & Albert Museum in London has always seen itself as primarily an educational institution, with training as an integral part of its fabric. There are two fundamental strands to this training the provision of training by our librarians to the users, and the training the staff receive in order to develop and better perform their jobs.

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16

Barringer, T. J. "Nature's Museums: Victorian Science and the Architecture of Display, and: On Exhibit: Victorians and Their Museums (review)." Victorian Studies 45, no. 1 (2002): 151–53. http://dx.doi.org/10.1353/vic.2003.0040.

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17

Dodds, Douglas. "Documentation systems in Britain’s National Art Library." Art Libraries Journal 18, no. 4 (1993): 15–23. http://dx.doi.org/10.1017/s0307472200008518.

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Britain’s National Art Library at the Victoria & Albert Museum joined the OCLC network in 1986, and from 1987 to 1990 created catalogue records in MARC format on the OCLC database pending the introduction of a stand-alone computer system. The Library now employs a Dynix minicomputer system for cataloguing, acquisitions, circulation, serials control, and the provisions of OPACs. About 15% of the Library’s records are available online. Retrospective conversion of older records is proceeding and may be completed by the year 2000. The online catalogue is networked internally within the Museum, and is likely to be accessible to external users via JANET in the future. A number of bibliographic and image databases are also provided in CD-ROM and videodisc format. Future developments will include interface between Museum/image and Library/documentation databases.

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18

Lenz, Melanie. "Early Argentine Computer Art at the Victoria & Albert Museum." Journal of Design History 31, no. 2 (November 11, 2017): 154–66. http://dx.doi.org/10.1093/jdh/epx035.

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19

Lyon, Peter. "The Victoria and Albert museum royal college of art project." Museum Management and Curatorship 15, no. 2 (June 1996): 187–94. http://dx.doi.org/10.1080/09647779609515479.

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20

der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.

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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art, especially the fine and decorative arts, in the major European languages. Some sources for obtaining new publications from India are noted.

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21

Lang, Caroline. "Design for learning: developing the Sackler Centre for arts education at the V&A." Art Libraries Journal 36, no. 1 (2011): 34–38. http://dx.doi.org/10.1017/s0307472200016771.

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London’s Victoria and Albert Museum, the UK’s national museum of art and design, recently created a new centre for public learning through creative design. The development process was key to the project, which has resulted in one of the most innovative and attractive learning spaces in any museum today. Research, consultation and collaboration, involving the people who are going to use the building and the architects/designers from the outset, has been an approach that has worked very successfully.

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22

Zheng, Haiyao. "The provision and use of information on Chinese art in London Libraries." Art Libraries Journal 22, no. 1 (1997): 10–14. http://dx.doi.org/10.1017/s0307472200010257.

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London is a major international centre for study of and research into Chinese art. Four libraries - the British Library, the library of the School of Oriental and African Studies, the library of the Percival David Foundation of Chinese Art, and the National Art Library at the Victoria and Albert Museum - are perhaps the main providers of information on Chinese art, although information is also available from several museum libraries, from the library of Christie’s auction house, and from public and other libraries. A survey of users of information on Chinese art indicates that provision is generally satisfactory, although the degree of user satisfaction varies from one library to another. More effective networking between the key libraries would bring about significant improvements.

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23

Woodson-Boulton, Amy. "“Industry without Art Is Brutality”: Aesthetic Ideology and Social Practice in Victorian Art Museums." Journal of British Studies 46, no. 1 (January 2007): 47–71. http://dx.doi.org/10.1086/508398.

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24

Farmer, Jennie. "Artists’ books in the National Art Library, Victoria and Albert Museum." Art Libraries Journal 32, no. 2 (2007): 27–31. http://dx.doi.org/10.1017/s0307472200019167.

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The National Art Library’s collection of artists’ books is described here by one of the librarians, who is herself trained as a book artist, having completed an MA in Book Arts at Camberwell College of Art. She has built upon this knowledge through working with the large numbers of artists’ books at the NAL and begins this article by discussing the terminology relating to the book arts, going on to talk about the history of the NAL’s collection and touching on its future. She finishes by highlighting a few very distinctive items available for consultation.

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25

Wilkinson, L. "Collecting Korean Art at the Victoria and Albert Museum 1888-1938." Journal of the History of Collections 15, no. 2 (November 1, 2003): 241–55. http://dx.doi.org/10.1093/jhc/15.2.241.

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26

Pomeroy, Jordana. "A Grand Design: The Art of the Victoria and Albert Museum, and: Photography, An Independent Art: Photographs from the Victoria and Albert Museum 1839-1996 (review)." Victorian Studies 42, no. 3 (2000): 562–64. http://dx.doi.org/10.1353/vic.2000.0077.

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27

Varley, Gillian. "An English art librarian in Paris: a report and diary." Art Libraries Journal 14, no. 1 (1989): 9–15. http://dx.doi.org/10.1017/s0307472200006064.

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Following Nicole Picot’s visit to England, the subject of the report printed above, Gillian Varley from the National Art Library of the Victoria and Albert Museum in London spent two weeks at the Bibliothèque Publique d’Information at the Centre Georges Pompidou in Paris, during the summer of 1988. She also visited a number of other art libraries in Paris. The text of her report is followed by extracts from her diary of her trip.

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28

Barringer, Tim. "BOOK REVIEW: Carla Yanni.NATURE'S MUSEUMS: VICTORIAN SCIENCE AND THE ARCHITECTURE OF DISPLAY. and Barbara J.ON EXHIBIT: VICTORIANS AND THEIR MUSEUMS." Victorian Studies 45, no. 1 (October 2002): 151–53. http://dx.doi.org/10.2979/vic.2002.45.1.151.

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29

Ho, Elizabeth. "Heterotopic Heritage in Hong Kong: Tai Kwun and Neo-Victorian Carceral Space." Humanities 11, no. 1 (January 13, 2022): 12. http://dx.doi.org/10.3390/h11010012.

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The prison is specifically identified by Michel Foucault in his essay, ‘Of Other Spaces’ (1967), as an exemplar of “heterotopias of deviation”. Reified in neo-Victorian production as a hegemonic space to be resisted, within which illicit desire, feminist politics, and alternate narratives, for example, flourish under harsh panoptic conditions, the prison nonetheless emerges as a counter-site to both nineteenth-century and contemporary social life. This article investigates the neo-Victorian prison museum that embodies several of Foucault’s heterotopic principles and traits from heterochronia to the dynamics of illusion, compensation/exclusion and inclusion that structure the relationship of heterotopic space to all space. Specifically, I explore the heritage site of the Central Police Station compound in Hong Kong, recently transformed into “Tai Kwun: the Centre for Heritage and the Arts”. Tai Kwun (“Big Station” in Cantonese) combines Victorian and contemporary architecture, carceral space, contemporary art, and postcolonial history to herald the transformation of Hong Kong into an international arts hub. Tai Kwun is an impressive example of neo-Victorian adaptive reuse, but its current status as a former prison, art museum, and heritage space complicates the celebratory aspects of heterotopia as counter-site. Instead, Tai Kwun’s spatial, historical, and financial arrangements emphasize the challenges that tourism, government funding, heritage, and the art industry pose for Foucault’s original definition of heterotopia and our conception of the politics of neo-Victorianism in the present.

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Gore, Charles. "Transforming Museums: Mounting Queen Victoria in a Democratic South Africa, Steven C. Dubin." Africa Today 55, no. 2 (March 2009): 107–9. http://dx.doi.org/10.2979/aft.2009.55.2.107.

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31

Wateren, Jan van der. "Connections and collections: Britain’s National Art Library and the former USSR." Art Libraries Journal 17, no. 2 (1992): 32–36. http://dx.doi.org/10.1017/s0307472200007811.

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The National Art Library’s coverage of Russian and Soviet art is extensive if uneven, comprising some 20,000 titles. These include approximately 100 serials from the former USSR, a small number of manuscripts, some significant livres d’artistes, illustrated and illustrated childrens’ books, and many exhibition catalogues. The important Larionov/Gontcharova collection was begun when the Museum purchased certain items from an exhibition it organised itself in 1926; many more items (including part of the artists’ library) were acquired in 1961, and yet more have been added since. The Library’s collections of printed ephemera include work by El Lissitsky and Rodchenko. The collections in the Library, which are being developed partly through exchange, are complemented by examples of Russian fine and decorative arts in the collections of the Victoria and Albert Museum - the home of the National Art Library.

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32

Picot, Nicole. "Stage dans des Bibliotheques d’Art en Grande Bretagne organise par la BPI et le British Council." Art Libraries Journal 14, no. 1 (1989): 4–8. http://dx.doi.org/10.1017/s0307472200006052.

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During October, 1987, Nicole Picot, arts librarian of the Bibliothèque Publique d’Information at the Centre Georges Pompidou in Paris, worked at the National Art Library at the Victoria and Albert Museum in London. She also visited several other British art libraries in order to gain a wider view. Her report is printed below. As part of the same arrangement, Gillian Varley from the National Art Library spent two weeks, in June, 1988, at the Bibliothèque Publique d’Information; her report, and extracts from the diary of her visit, are also published in this issue of the Arts Libraries Journal.

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33

Dodds, Douglas. "Integrating access to distributed images: the Electronic Library Image Service for Europe (ELISE) project." Art Libraries Journal 24, no. 1 (1999): 40–42. http://dx.doi.org/10.1017/s0307472200019325.

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The Victoria and Albert Museum in London is a partner in the Electronic Library Image Service for Europe (ELISE) project, which is part-funded by the European Community. ELISE I began in 1993 and was completed in 1995. The V&A’s National Art Library is particularly involved in the second phase of the project, ELISE II, which began in 1996 and is due to finish in 1999. This paper explains the background to ELISE and considers the implications for the V&A and the wider art and design community.

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34

Esteve-Coll, Elizabeth. "Image and Reality: the National Art Library." Art Libraries Journal 11, no. 2 (1986): 33–39. http://dx.doi.org/10.1017/s0307472200004624.

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The Library of the Victoria and Albert Museum originated in the mid-19th century as the library of a School of Design, and adopted the title ‘The National Art Library’ later in the century following publication of the Universal Catalogue of Books on Art. Decades of steady growth and of low usage ended in the late 1960s, when sudden growth of art publishing, and of interest in art history, generated demands the Library was not equipped to meet. The Library possesses one of the world’s outstanding collections of art publications but is still funded, staffed, and administered as if its role was merely that of a Department of the Museum. Currently all aspects of the Library’s procedures and policies are under review; government funding is to be sought for a programme of computerisation, and it is hoped to redefine the Library’s role in national and international contexts and to re-establish it as the ‘heart and core’ of art library provision in the U.K., as an active participant in cooperative schemes and projects, and as a training centre for art librarianship, or in other words, as an active and truly national art library.

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35

Gillbank, Linden. "University Botany in Colonial Victoria: Frederick McCoy's Botanical Classes and Collections at the University of Melbourne." Historical Records of Australian Science 19, no. 1 (2008): 53. http://dx.doi.org/10.1071/hr08002.

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Botany was part of the broad intellectual territory of one of the University of Melbourne's four foundation chairs. From his appointment in 1854 until his death in 1899, Frederick McCoy was the Professor of Natural Science and, for most of that time, also honorary Director of the Colony of Victoria's National Museum. McCoy gained ideas about botany and botanic gardens and museums while studying and working at the University of Cambridge, where he attended Professor John Stevens Henslow's botany lectures in 1847. With help from Henslow and Victoria's Government Botanist, Ferdinand Mueller, McCoy acquired botanical collections and developed a class (system) garden at the University of Melbourne, where he taught botany to arts and medical students from 1863 until the establishment of the science degree and arrival of the Professor of Biology in 1887 left him only a rarely-taken botanical subject.

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Devereux, Jo. "Women in the Victorian Art Museum: Travels with Eurydice and Flora." Victorian Review 43, no. 1 (2017): 35–41. http://dx.doi.org/10.1353/vcr.2017.0008.

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Whitehead, Christopher. "Henry Cole’s European Travels and the Building of the South Kensington Museum in the 1850s." Architectural History 48 (2005): 207–34. http://dx.doi.org/10.1017/s0066622x00003786.

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In January 1859, Henry Cole, the first Director of the South Kensington Museum (from 1899 known as the Victoria and Albert Museum) was in Rome, commissioning the photographer Pietro Dovizielli to produce photographs of buildings in the capital which Cole considered ‘suggestive’ and ‘picturesque’.

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Almond, Gemma. "Normalizing Vision: The Representation and Use of Spectacles and Eyeglasses in Victorian Britain." Journal of Victorian Culture 26, no. 2 (April 1, 2021): 267–81. http://dx.doi.org/10.1093/jvcult/vcab007.

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Abstract This study explores the representation and use of Victorian visual aids, specifically focusing on how the design of spectacle and eyeglass frames shaped ideas of the ‘normal’ and ‘abnormal’ body. It contributes to our understanding of assistive technologies in the Victorian period by showcasing the usefulness of material evidence for exploring how an object was produced and perceived. By placing visual aids in their medical and cultural context for the first time, it will show how the study of spectacle and eyeglass frames develops our understanding of Victorian society more broadly. Contemporaries drew upon industrialization, increasing education, and the proliferation of print to explain a rise in refractive vision ‘errors’. Through exploring the design of three spectacle frames from the London Science Museum’s collections, this study will show how the representations and manufacture of visual aids transformed in response to these wider changes. The material evidence, as well as contemporary newspapers, periodicals, and medical texts, reveal that visual aids evolved from an unusual to a more mainstream device. It argues that visual aids are a unique assistive technology, one that is able to inform our understanding of how Victorians measured the body and constructed ideas of ‘normalcy’ and ‘abnormalcy’.

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Ford, Simon. "Artists’ books in UK & Eire libraries." Art Libraries Journal 18, no. 1 (1993): 14–25. http://dx.doi.org/10.1017/s030747220000818x.

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An overview of the author’s research into the collection management of artists’ books in UK and Eire libraries, dealing with their selection, acquisition, processing, cataloguing, storage, conservation, and exploitation. Much of the information derives from a questionnaire distributed to 127 art and design libraries in the UK and Eire during 1992. Various policies are compared and the case of the National Art Library, at the Victoria and Albert Museum, is examined in detail. Artists’ books are seen to illuminate fundamental issues concerning both contemporary art and contemporary librarianship. Future prospects are discussed and recommendations for better use, management, promotion and understanding of the material are offered. A selection of 25 definitions of artists’ books is appended.

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Rodgers, Christine Love. "New initiatives to solve old problems: collecting exhibition catalogues at the National Art Library." Art Libraries Journal 24, no. 2 (1999): 8–11. http://dx.doi.org/10.1017/s0307472200019416.

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Exhibition catalogues are a key resource for art and design research, but smaller and more ephemeral catalogues are difficult for art librarians to collect. In the late 1980s and early 1990s a period of interest in the UK in the problems of collecting and cataloguing exhibition catalogues sparked off research into fresh approaches to the problem. In line with the resulting recommendations the National Art Library, at the Victoria & Albert Museum in London, has developed two key initiatives. These are the Exhibition Catalogues Programme and a joint project with the British Library to increase access to smaller exhibition catalogues. Both are showing clear benefits for national access to published exhibition documentation.

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Soler Navarro, Joan J. "MUSEARI, estudios visuales y activismo LGTBIQ+ en el cómic y el álbum ilustrado." Arte y Políticas de Identidad 27 (December 30, 2022): 93–113. http://dx.doi.org/10.6018/reapi.552661.

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The hypothesis of this paper is to demonstrate the motivation of LGBT+ art to transform society, so we focus on the social contributions, policies and culture of the selected artists. We take as its axis the exposed art in the permanent collection of MUSEARI, Museum of the Imagine. We visit this online museum, focusing only on the six authors related to the comic and the picture book that have been exhibited to date. We discuss with Sara Colaone, Sebas Martín, Juan Sepúlveda, Nazario Luque, Laerte Coutinho and Victoria Rubio. Six projects of MUSEARI for meeting first hand, their visual narratives, their personal and artistic contributions, to art and life. Art it’s a social reflex, it promotes reflection, it influences and brings about changes in society. The art that emanates from activism LGTBIQ+ is made up of committed people, and their motivation is essential to stimulate changes in different orders. La hipótesis de este trabajo es demostrar la motivación del arte LGTBIQ+ para transformar la sociedad, y para ello nos centramos en las aportaciones sociales, políticas y culturales de los ilustradores e ilustradoras seleccionadas. Tomamos como eje al arte expuesto en la colección permanente de MUSEARI, Museu de l’Imaginari. Visitamos este museo online, centrándonos únicamente en los seis autores relacionados con el cómic y el álbum ilustrado que han expuesto hasta la fecha. Conversamos con Sara Colaone, Sebas Martín, Juan Sepúlveda, Nazario Luque, Laerte Coutinho y Victoria Rubio. Seis proyectos de MUSEARI para conocer de primera mano sus narrativas visuales, sus motivaciones personales y artísticas, a favor del arte y de la vida. El arte es el reflejo social, promueve la reflexión, influye y provoca cambios en la sociedad. El arte que emana del activismo LGTBIQ+ está formado por personas comprometidas, y su motivación resulta imprescindible para estimular cambios en diferentes órdenes.

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Baker, Patricia L. "Wrestling at the Victoria and Albert Museum." Iran 35 (1997): 73. http://dx.doi.org/10.2307/4299960.

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Marshall, P. J. "The Nehru Gallery of Indian Art 1550–1900 at the Victoria and Albert Museum." London Journal 16, no. 1 (May 1991): 66–68. http://dx.doi.org/10.1179/ldn.1991.16.1.66.

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McIntosh, Jacqueline, Philippe Campays, and Adele Leah. "Empowerment through Collaboration." International Journal of Civic Engagement and Social Change 2, no. 3 (July 2015): 21–35. http://dx.doi.org/10.4018/ijcesc.2015070102.

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Since the 1970s, more than half of the Tokelau population has relocated to New Zealand due to limited natural resources and overcrowding of the 10km2 land area. In the Wellington region Tokelau groups have sought to maintain their cultural traditions and this paper discusses a collaboration between Te Umiumiga, a Tokelau Hutt Valley community, and the School of Architecture at Victoria University of Wellington, in the design and development of a sustainable, cultural community centre complex. Outcomes included a museum exhibition, which involved a further collaboration with Pataka Art + Museum and a project with the Tokelau youth. University staff and students were empowered to engage directly with the community, undertaking design work, the construction of furniture, an exploration of alternative energy sources and community garden initiatives.

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Saunders, Gill. "Collecting the contemporary." Art Libraries Journal 28, no. 4 (2003): 5–11. http://dx.doi.org/10.1017/s0307472200013304.

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

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Goodman, David. "Fear of circuses: Founding the national museum of Victoria." Continuum 3, no. 1 (January 1990): 18–34. http://dx.doi.org/10.1080/10304319009388147.

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Wateren, Jan van der. "The National Art Library: into the 1990s." Art Libraries Journal 15, no. 4 (1990): 12–18. http://dx.doi.org/10.1017/s0307472200006994.

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The National Art Library, at the Victoria & Albert Museum in London, seeks to fulfil its national role by becoming the focal point of a wider network of libraries. In order to support this role, and to carry it forward into the 1990s, the Library has redesigned its management structure, developed a role as a training library for the art library profession, and applied a professional approach, involving the collection and consideration of management data, to the Library’s administration. Collection development has been redefined, shifting the emphasis from the past to the present; this has resulted in an increased intake of material, in spite of a frozen budget, with a consequent need for more space which will be provided through a reorganisation of the Library’s existing accommodation. A plan for the conservation of items in the Library’s collections is being devised. Automation, installed in 1990, brings with it further possibilities and the critical question of whether to prioritise the development of the collections or the development of access to the collections.

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Edwards, Jason, Amy Harris, and M. G. Sullivan. "Cunningham, Chantrey and Gibbons: winged words on nation and nature, c. 1829-57." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (December 1, 2020): 337–60. http://dx.doi.org/10.3828/sj.2020.29.3.6.

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In this article, the authors explore the nineteenth-century British reception of Gibbons through a number of closely related images, objects and texts, frequently focusing on the bodies of dead birds. The article commences with Allan Cunningham’s pivotal 1830 account of Gibbons at the start of his Lives of the Most Eminent Sculptors, which made the influential claim that the sculptor was the heir to a ‘natural’ decorative carving tradition and father to an indigenous British school, resistant to the idealism and allegory that characterized continental classicism. The authors go on to explore Gibbons’s key status in Francis Chantrey’s contemporaneous Woodcocks (c. 1829-34) for Holkham Hall, which employed Gibbons’s idiom to emphasize Chantrey’s related status as a paradigmatic British sportsman and sculptor. The article then examines how these characterizations of Gibbons took hold at the mid-century Great Exhibitions and at the Victoria and Albert Museum, before concluding with a close reading of an obscure, but deeply revealing 1857 meditation on Chantrey’s Woodcocks, and on Gibbons before him, that reveals the complex attitudes the Victorians had in relation to the spectacle of dead animals.

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KAPLAN, W. "Art and Design in Europe and America 1800 1900 at the Victoria and Albert Museum." Journal of Design History 2, no. 4 (January 1, 1989): 315. http://dx.doi.org/10.1093/jdh/2.4.315.

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Ordoñez, Margaret. "Lace from the Victoria and Albert Museum, Clare Browne." TEXTILE 4, no. 2 (July 2006): 226–27. http://dx.doi.org/10.2752/147597506778052340.

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