Relevant bibliographies by topics / Auckland City Art Gallery

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Auckland City Art Gallery'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Auckland City Art Gallery"

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Hillary, Sarah. "PART II : AUCKLAND CITY ART GALLERY CONTEMPORARY ART FILE." AICCM Bulletin 11, no. 4 (January 1985): 52–62. http://dx.doi.org/10.1179/bac.1985.11.4.005.

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McKay, Andrew. "Preserving a legacy: an analysis of the role and function of the Mackelvie Trust Board, 1885−2010." Records of the Auckland Museum 53 (December 20, 2018): 17–25. http://dx.doi.org/10.32912/ram.2018.53.2.

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"Established to manage the art collections of one of Auckland city’s former businessmen, the Mackelvie Trust Board has operated for over 125 years. The Trust was set up to administer James Tannock Mackelvie’s(1824−85) collection of European paintings, books, decorative arts and objets de vertu including bronzes, clocks, coins and natural treasures now held at the Auckland Art Gallery, the Auckland War Memorial Museum and the Auckland Public Library. This article will explain how part of the collection came to be at the Auckland War Memorial Museum, how the Trustees administered the will, and how the Trust Board itself evolved to include professional expertise. The impact of this evolution on Mackelvie’s gifts and bequest and the collection’s development is one of the most important findings. After an evaluation of the collection’s management over time, it is concluded that while the Mackelvie Trust Board has always endeavoured to implement Mackelvie’s wishes, financial and physical restrictions led to certain compromises regarding control and display of the collection. Nevertheless, the Trustees have always acted in good faith and protected Mackelvie’s legacy for the enjoyment of future generations of Aucklanders and visitors to the city."
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Hammond, Catherine. "Escaping the digital black hole: e-ephemera at two Auckland art libraries." Art Libraries Journal 41, no. 2 (April 2016): 107–14. http://dx.doi.org/10.1017/alj.2016.10.

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The collections of e-ephemera of two Auckland art libraries are discussed here: the E H McCormick Research Library at Auckland Art Gallery Toi o Tāmaki, a specialist art library within one of New Zealand's major public art galleries, and the Fine Arts Library Te Herenga Toi at the University of Auckland which supports the research and teaching needs of the Elam School of Fine Arts and the Department of Art History. While there are differences in approach both institutions see the value in preserving print and e-ephemera and are looking to make this material more accessible to users, despite numerous challenges.
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Fazra Risky Nasution and Morida Siagian. "Contemporary Art Gallery (Expressionism Architecture)." International Journal of Architecture and Urbanism 4, no. 2 (August 27, 2020): 174–80. http://dx.doi.org/10.32734/ijau.v4i2.4520.

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Some issues prove that the development of art in Medan is relatively slow and does not become a concern of the public because of the availability of minimal and inadequate space, while Medan is a multicultural city in terms of art, many artists in the city of Medan have great potential. The construction of contemporary art gallery aims to meet the needs and facilities of art activities in the city of Medan because Medan does not yet have a decent art gallery for art activities, from exhibitions, artwork making space, to fine arts training venues and also as a center for art development likeness of the City of Medan. This gallery plans to be a productive place or place to introduce and provide attractive insights or knowledge to local people and tourists and to be able to preserve and preserve the fine arts in the city of Medan. The methodology used in this project is by collecting data through from literature review and by doing a site surveys. This building design uses the theme of expressionism architecture, where this building can express the meaning of art that it can be enjoyed visually.
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Lynch, Sean. "Limerick: Tina O'Connell at City Art Gallery." Circa, no. 107 (2004): 74. http://dx.doi.org/10.2307/25564102.

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Honoris, Robby, and Andalucia . "Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 91–99. http://dx.doi.org/10.32734/ijau.v1i1.266.

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The purpose of this Art Gallery designing is for giving space for the local artist to place and promote their art products. It’s because Medan city has not decent gallery according to the national standard. The surplus of this art gallery out of showing fine art is giving room experience impression to support fine art showcase. The theme of the building is a metaphor of water ripple to represent Babura river, so the art installation to the building is using water concept that gives unique aspect to building and can be art identity of Medan city. This gallery building is hoped to fulfill gallery estimation which is decent in national and international rank because Medan is the third biggest town in Indonesia where been visited by so many foreign tourists.
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Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.

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Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.
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O'Brien, Treasa. "Limerick: Gerard Byrne at Limerick City Gallery of Art." Circa, no. 101 (2002): 79. http://dx.doi.org/10.2307/25563856.

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Little, Pippa. "Limerick: "Amanda Coogan" at Limerick City Gallery of Art." Circa, no. 111 (2005): 112. http://dx.doi.org/10.2307/25564307.

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Kelly, Niamh Ann. "Limerick: Mark O'Kelly at Limerick City Gallery of Art." Circa, no. 112 (2005): 94. http://dx.doi.org/10.2307/25564330.

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Dissertations / Theses on the topic "Auckland City Art Gallery"

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Swanepoel, Jade Lansley. "Portrait of a city : a narrative of discovery, creation and reflection." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60207.

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This study forms part of the discourse that critiques the current state of colonial museums in a post-colonial, post-apartheid city. The project focuses on a proposed urban vision for the precinct of Joubert Park in Johannesburg and responds to themes of memory, identity, reflection, art and public space. In the process, strategies are investigated to enhance identity in the area using the Johannesburg Art Gallery as a starting point. The gallery is integrated into the public realm, making it more accessible and transparent to its context by introducing pavilions and art installations to the park. These pavilions perform a variety of functions with the main design taking the form of a photographic urban archive. The pavilion archives the city and the people of the park by harnessing one of the current skill sets of the park photographers who are present on site. The project takes the form of a working camera using the principals of pinhole and wet plate photography to tangibly capture and display the happenings and changes of the site and the people who frequent it, over time. Once the pavilion has archived the desired changes in the city it will be dismantled and relocated to a new site to begin its life cycle once more. The movability of the structure acts as a critique on the static nature of buildings situated in cities that are always in flux. By introducing an architecture that allows and facilitates public activity while using people as the subjects for the creation of art by documenting a changing city, the scheme hopes to enhance the public realm by encouraging a collective identity to form.
Hierdie werkstuk is gebaseer op deurlopende gesprekke wat kritiek lewer oor die huidige stand waarin koloniale museums (na die Apartheid era) hulself bevind. Die intrinsieke waarde van hierdie museums het oor tyd verlore gegaan. Die projek het ten doel om op hierdie verwaarlosing te fokus en terselfdertyd die publieke omgewing met betrekking tot identiteit, kuns en sosiale aktiwiteite, op te hef. Voorstelle word gedoen om die vervalle Joubert Park in Johannesburg op te gradeer in n buurt waarop inwonders trots kan wees en sosiaal kan verkeer, terwyl die geskiedkundige verlede terselfdertyd bewaar word. Die Johannesburg Kunsgallery is geidentifiseer as die belangrike spilpunt vir hierdie projek. Hierdie Gallery is sentraal gelee wat dit maklik toeganklik maak vir die publiek. Die oogmerk is om n verskeidenheid kunswerke te installeer asook kamera/beeld-strukture. Hierdie kamerabeelde kan dien as n stedelike fotografiese vertoning van die stad en sy mense. Veranderinge in die stad oor n tydsvlak kan vervolgens so geargiveer word. Die projek se eind doel is om met argitektoniese toepassings, die ou verlede, die hede, en die mense en sy sosiale omgewing, tot voordeel van almal, te integreer. Die sukses van die projek sal bepaal word deur die kollektiewe indentitiet en sosiale integrasie wat bereik gaan word.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
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Moore, Catlin F. "An analysis of the adaptive contemporary art gallery model in Culver City following the 2008 global recession." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523296.

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The purpose of this thesis is to explore how the contemporary art gallery model has been adapted in order to suit a post-2008 global recession marketplace. Using Culver City as a case study, I have analyzed how three local gallerists have changed their business practices made in response to a rapidly changing economic environment as well as the demands of the current "Knowledge Age" and also demonstrated how these adaptations follow from historical developments in American gallery culture. My findings suggest the degree to which socioeconomic changes inspired shifts within the design of the current gallery business model, which enabled galleries in Culver City to survive the most challenging economic recession of their time. Findings from this study can benefit future gallerists, collectors, artists, or historians engaging in the contemporary art marketplace.

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Xu, Le. "The Renascent Road of Old Industrial Areas-- A comparison between Zollverein and 798 Art Zone in order to do the planning of RUBBER SOUL in Nanjing." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1157.

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This paper examines the transformation of an industrial complex in the post-industrial city. I chose two study cases for research. Zollverein is an industrial complex and a World Heritage Site located in the city of Essen which is the 2010 European Capital of Culture. “798” art gallery in Beijing represents a clear example of the cultural movement, since 1990, for the renewal of art in China. (Greco and Santoro 2008) And this new cultural complex was created in what was once an industrial area. Through comparing the two areas Zollverein Coal Mine Industrial Complex in Essen and “798” art gallery in Beijing, I aim to highlight and discuss the similarities and differences of the process of transformation from an industrial area to a post-industrial one. After that, I can analyze some of the strengths, weakness, opportunities and threats from these two examples. Based on the conclusions drawn from the two cases, I will make a proposal for the reconstruction of Nanjing Jinsanli Rubber & Plastic Co., Ltd. I gave the new name “RUBBER SOUL” to this place. My design proposal for this area will bring the knowledge from the study-case analysis into practice.
My phone number is 13776657019
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Torres-Barreto, Jose Antonio. "dis.PLAY - Center for the Art of Moving Images. A Film Center for Washington, D.C." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/31337.

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This thesis explores how a displayed image and architecture interact together. This manifesto is analogically explored using parts of the human body such as the eyeballs as a structural analysis for the buildings with a projection of the cornea, the pupil, the retina, the optic nerves and the brain. This analysis follows a sequential order of capturing light, transcribing light into image, and displaying such image onto a screen. Both, the image and architecture are created parallel to each other respectively when conceiving an architectural idea in order to develop the idea into a building and then perceiving the architecture from such building. These steps are a cinematic approach using a video camera to record an experience of movement through the journey of a metro ride. This video is one of the tools used to edit an urban tissue of downtown Washington, D.C. The project becomes a Center for the Art of Moving Images exposing vectors of movements through its architecture. The building is manifested in a three-dimensional design where the site provides a sunken plaza 60 ft below street level perceived as a new floor in the city. The underground metro station transitions to the street surface through the use of this plaza in a very harmonious way. The result is a visual depth parallel to the perspectives perceived in movies where you see beyond the surface of the screen and in this case, beyond the surface of the city.
Master of Architecture
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Wepener, Leila. "Artspace : creating a contemporary African art gallery for the city of Pretoria." Diss., 2000. http://hdl.handle.net/2263/29005.

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The year 2007 is significant for Africa and African artists as “[t]his is the first time a major exhibition of contemporary African art will be held in Africa” (Clive Kellner, curator of the Johannesburg Art Gallery, Africa Remix Exhibition Catalogue 2007:9). Africa Remix, an exhibition of 85 contemporary African artists from all regions of the continent and displaying a variety of skills and styles, provides and overview of contemporary art from Africa and the African diaspora in a single exhibition. Previous exhibitions of contemporary African art, namely Africa Explores (exhibited at New York’s Museum for African Art, 1991) and Seven Stories about African Art (exhibited at London’s Whitechapel Art Gallery, 1995) were never exhibited on the continent. After having toured Düsseldorf, London, Paris, Tokyo and Stockholm, Johannesburg is the last stop for Africa Remix and the only stop in Africa. It is important that Johannesburg managed to host this exhibition, both to show that Africa has the capacity and fortitude to host exhibitions of this scale, and for bringing the art of Africa to Africa. It has taken enormous efforts in fundraising to secure this opportunity. Yet, it also points to the lack of proper exhibition spaces both to host travelling exhibitions of this size and to provide a home for permanent collections of contemporary African art. Africa has long been subject to plundering of her riches: first through outright slavery, then through the exploitation of mineral reserves (often leading to concurrent exploitation of people), and in the contemporary world through the more subtle but potentially no less devastating “harvesting” (supported by the inherently unequal nature of global trade) of intellectual resources, such as items of cultural heritage, indigenous knowledge, and the production of scientists, writers, and artists. Africa needs to take the responsibility for making the most of what we have, here, before exporting it to the rest of the globe. Therefore, for art, there needs to be a gallery to support and exhibit the numerous collections of contemporary African art currently locked in storage. This will allow our art to be housed on the continent of its birth. Furthermore, a gallery such as this will contribute to cultural creation on the continent by the fact of its existence, providing space for and stimulating debate, performance and artistic production. This dissertation will therefore serve as an investigation into the interface between art and architecture. An alternative artspace to exhibit primarily but not exclusively contemporary African art is proposed for the city of Pretoria. The full text of this thesis/dissertation is not available online. Please contact us if you need access.
Dissertation (MArch(Prof))--University of Pretoria, 2008.
Architecture
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Harper, Colin John Linton. "Art in the City: A New Vancouver Art Gallery as a Means of Re-affirming Culture and Vitalizing the Urban Realm." 2011. http://hdl.handle.net/10222/13344.

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This thesis explores the possibility that a well designed and situated urban art gallery might improve a problematic urban condition in Vancouver. The aim is to vitalize a neglected urban space, and connect the waterfront seawall with the downtown core, while exposing the gallery to the public. By playing on the potential of a formally rich urban context— characterized by viaducts, SkyTrain rails, tunnels, underpasses and abrupt elevation changes — the project aims to celebrate the site’s unusual formal qualities while reclaiming it for human, rather than vehicular, activity.
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Abbott, Janet Gail. "The Barnett Aden Gallery : a home for diversity in a segregated city /." 2008. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-3323/index.html.

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Guppy, Graeme Blair. "Two sides to staging public space : enhancing civic function and establishing symbolic content to the Vancouver Art Gallery landscape." Thesis, 2002. http://hdl.handle.net/2429/12071.

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This paper explores urban design possibilities for the enhancement of the Vancouver Art Gallery landscape. It is understood that urban public places are necessary for not only the daily functioning of society, but as venues of and for celebrations, demonstrations, and communication. All public urban spaces have the potential to serve as significant locations of human experience. The designed urban landscape should have the capacity to elicit response and heighten our perceptions, thereby furthering our understanding of the world. Understanding the Vancouver Art Gallery landscape as a central urban space of significant civic importance, it is necessary that its design illuminate the interactions between humans and the physical world - the actors, the audience, and the stage. A literature review is conducted in order to discern possible connections between museum processes and designed landscapes. Analogies are drawn between the processes and display of art within and around galleries and museums, and the cultural meanings associated with these displays. These processes also reveal themselves in the designed landscape. Second, museum-landscape analogs are proposed, and from these, precedents are researched in order to identify criteria that support and reinforce these analogs. These analogs are typologies that may serve to inform the urban design, and landscape architectural process. In response to the research, the Vancouver Art Gallery landscape is designed according to one of the types (analogs) identified - Landscape as Theatre. The design provides a model for the expression of the theatrical aspects of urban life that contribute to the vibrancy and cultural richness of the urban landscape. The conclusions drawn herein are suggestive of urban design enhancement opportunities that exist within central downtown Vancouver, in particular the Vancouver Art Gallery landscape. It is recognized that significant investment in our urban spaces is a requirement for ensuring the successful evolution of urban life. In addition to the enhancement of human experiences within the city, successful urban projects that elicit international acclaim and recognition further the economic growth of, and investment in the city. Certainly, when public spaces are used and enjoyed steadily and repeatedly the experiences of places are enriched, and human experience is enhanced.
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Plaskocinska, Patrycja. "Between hair and the Johannesburg art gallery: a hair museum mediating the disjointed context by inspiring public ownership through the celebration of an African Art Form." Thesis, 2015. http://hdl.handle.net/10539/17581.

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Master of Architecture [Professional] at the University of the Witwatersrand, Johannesburg, South Africa, in the year 2014.
In the case of Johannesburg, unlike cities around the world that experienced inner city decline, its city centre was never entirely abandoned. It experienced rapid social change. As Johannesburg was beginning to change, the Johannesburg Art Gallery (JAG) was experiencing a declining number of visitors. Unable to engage with the changing social structure, a fence was built around it and JAG turned itself inwards. This thesis explores the intention to take advantage of the rich and dynamic informal industry of hair that has emerged around JAG. Hair is loaded with social, sexual and political undercurrents. In an African city that has been colonized and becoming increasingly globalised, hair’s relevance in terms of politics must be brought to the forefront. By acknowledging the thriving inner workings and its contributors and by engaging in a critical discussion that people can relate to, JAG will be embraced by the community again. An intervention of mediation through architecture is proposed. A Hair Museum perched on the opposite side of the railway that weaves JAG closer into its current context by opening and improving dialogue between the disjointed surroundings. A new museum as a mediator explores the idea of museum-asurban system. The question is asked whether a public institution is capable of assisting a society through a museum by looking at the concept of the Greek ideal of kalokagathia, which means the perfection of the body and city based on balance, justice and proportion. This thesis essentially explores Julian Carman’s idea of a museum1; that the key to JAG’s survival and upliftment lies only if it inspires public ownership. This thesis will explore the significance of celebrating hair in an African city with visible impacts of an imperialist past. By celebrating hair, thereby beginning the discourse of it’s connotations, will allow for a transgression into where society and its’ perception of itself stands in a globalizating world. Museum’s play a key role in society to not only preserve memories but also re-ordering them and making sense of them for later generations (Watson, 2007: 4). The proposed Hair Museum as mediator is not so much about saving a contested and feared city- as much as it is about embracing the new spirit of the city and encouraging the potential held within. 1 Julian Carman, Author of ‘Uplifting The Colonial Philistine: Florence Phillips And The Making Of The Johannesburg Art Gallery’. See References.
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Rasal, Sneha. "Reconnecting The City With The Riverfront, To Revitalize The Socio-Economic Conditions Of Springfield, Ma." 2012. https://scholarworks.umass.edu/theses/795.

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The City of Springfield, Massachusetts is one of the largest cities in western Massachusetts, and was established on the Connecticut River for trading and as a fur-collecting post. In 18th and early 19th century, it experienced an industrial boom and became a regional financial center. Springfield became a major railroad center and grew to become the regional center for banking, finance, and courts. However, in mid-19th century Springfield suffered due to the flooding of the Connecticut River and the disinvestment in industry. These resulted in an urban sprawl as people started moving away from heart of the city. Now, once again, the city is trying to revitalize its downtown and neighboring areas to attract people by improving different types of social and cultural amenities. In this thesis, the author studies the relation of the city with its natural asset ‘The Connecticut Riverfront’ which can be a great place to attract people towards the heart of the city. The author has also researched the various reasons causing this natural asset to be underutilized for several years. In addition, the author also explores the possibilities of connecting the Springfield downtown to the riverfront, providing safe and undisturbed access mainly to pedestrians, physically challenged people, and bike riders. Research shows that the existing transportation paths are the major barriers discouraging people from reaching the riverfront. In order to overcome this problem, a design solution is proposed including a safe, pedestrian-friendly link from the downtown area to the riverfront mitigating all the transportation paths such as highway, high speed traffic roads, and railway tracks. The proposed link will give encouragement to local artist and will also aim to boost local businesses by providing sites for museums, exhibitions, art galleries, food courts, and retail shops. This structure will not only improve the accessibility but it will also provide public open spaces where people can gather for various activities and can also enjoy the scenic view of the riverfront. In Addition, local people can also enjoy the water viewing restaurant and bar overlooking Connecticut River. Lastly, this connecting link lays the foundation for further development of the riverfront area due to increased accessibility to this asset.
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Books on the topic "Auckland City Art Gallery"

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Auckland City Art Gallery. Friends of the Auckland City Art Gallery. Auckland City Art Gallery: Centennial - 1988. Auckland: Friends of Auckland City Art Gallery, 1988.

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Brenda, Gamble, and Shaw Peter 1946-, eds. Auckland City Art Gallery: A centennial history. Auckland, N.Z: The Gallery, 1988.

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Fuseli, Henry. The drawings of Henry Fuseli from the Auckland City Art Gallery. New York: American Federation of Arts, 1990.

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Gallery, Auckland City Art, ed. The print: Methods and masterpieces, from the Auckland City Art Gallery collection and the Mackelvie collection. Auckland, N.Z: The Gallery, 1987.

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Michael, Gifkins, Auckland City Art Gallery, and Queen Elizabeth II Arts Council of New Zealand., eds. Gates and journeys: An Auckland City Art Gallery centenary exhibition, organised with the assistance of the Queen Elizabeth II Arts Council of New Zealand. Auckland: Auckland City Art Gallery, 1988.

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Iain, Sharp, Walsh John, Makoare Bernard, Reynolds Patrick, and Auckland Art Gallery, eds. Auckland Art Gallery Toi o Tāmaki: A place for art. Auckland, New Zealand: Auckland Art Gallery Toi o Tāmaki, 1999.

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Brownson, Ron. Art toi: New Zealand art at Auckland Art Gallery Toi o Tāmaki. Auckland, N.Z: Auckland Art Gallery Toi o Tāmaki, 2011.

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Leeds Art Galleries. Education Service. Leeds City Art Gallery Education Service. Leeds: Leeds City Art Gallery, 1993.

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Pollock, Griselda. A feminist looks round the City Art Gallery: A Manchester City Art Gallery alternative guide. [Manchester]: [City Council], 1987.

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Bible, art, gallery. Sheffield, UK: Sheffield Phoenix Press, 2011.

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Book chapters on the topic "Auckland City Art Gallery"

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Clark, Justin T. "Transcending the Gallery." In City of Second Sight, 82–113. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638737.003.0004.

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Even more effectively than outdoor vistas, indoor galleries offered reformers the ability to manipulate what urbanites saw. Embracing the arts as a form of moral instruction, late-Federal Bostonians established public exhibition spaces to divert the city’s growing middle-class from more fashionable and sensualist attractions. Yet the 1820’s public exhibition culture that emerged at the Athenaeum and elsewhere was ridden with anxiety, as moralists warned that connoisseurship concealed a shallow and fashionable sensualism. To avert this danger, art gallery patrons absorbed themselves in visions that transcended the material art object and the social imposture of their fellow viewers. These supersensory flights from the urban gallery proved a key template for Transcendentalist encounters with nature, epitomized by Emerson’s famous “transparent eyeball” metaphor.
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"5. The City Transformed." In "A Modern World: American Design from the Yale University Art Gallery, 1920–1950". Yale University Art Gallery, 2011. http://dx.doi.org/10.37862/aaeportal.00002.012.

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"2 A Mnemonic Space: The Construction of the Memorial Art Gallery 1912–1936." In Sacred Space in the Modern City, 61–120. BRILL, 2013. http://dx.doi.org/10.1163/9789004254183_004.

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Moore, James. "The art of philanthropy? The formation and development of the Walker Art Gallery." In High culture and tall chimneys, 166–89. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784991470.003.0006.

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The opening of Liverpool’s Walker Art Gallery provided the city with one of the country’s most modern art galleries, complementing the impressive neoclassical architecture that had emerged around the famous St. George’s Hall. Yet a gallery aimed at promoting popular art education was decidedly unpopular with many of Liverpool’s population. The partisan nature of the gift by well-known brewer and Conservative A.B. Walker was flavoured with corruption and revealed the difficulties that municipal art institutions faced when accepting financial support from controversial local donors. It also revealed that although municipalisation promised a more democratic age, financial limitations on local authorities meant that elite influence in the local art world remained strong.
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Clark, Justin T. "Drawing Forth Spirits." In City of Second Sight, 114–39. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638737.003.0005.

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A decade after establishing the Athenaeum gallery, reformers’ concerns about the sensualism of public art exhibition culture led them to promote yet another source of moral instruction: amateur drawing. Still hoping to create a generation of pious and rational observers, Boston school reformers such as Elizabeth Peabody introduced drawing in the 1830s as a non-sectarian substitute for moral instruction. Simultaneously, industrial reformers promoted drawing at Boston’s popular artisan fair as a lingua franca for affluent connoisseurs and technically-minded mechanics. As drawing shifted from a polite art to a moral pursuit, critics feared the practice encouraged hollow mechanical imitation. Draughtsmen responded by embracing a more ethereal, Romantic visual idiom, transforming amateur drawing into a medium of Spiritualism and occultism.
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Copp, Charles J. T. "The development of documentation procedures in the City of Bristol Museum and Art Gallery." In Museum Documentation Systems, 171–81. Elsevier, 1986. http://dx.doi.org/10.1016/b978-0-408-10815-7.50022-3.

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"On the Ideal Relations of Public Libraries, Museums, and Art Gallery to the City." In Museum Origins, 79–82. Routledge, 2016. http://dx.doi.org/10.4324/9781315424019-22.

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Moore, James. "A problem of scale and leadership? Manchester’s municipal ambitions and the ‘failure’ of public spirit." In High culture and tall chimneys, 190–220. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784991470.003.0007.

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The 1870s and 1880s saw the Manchester art world arguably reach its cultural zenith. The rise of the proto-Impressionist ‘Manchester school’, the municipalisation of the Royal Manchester Institution building and the plans for a new city gallery produced an art community and institutional infrastructure second to nowhere in England, except London. However such progress concealed a growing disagreement about the purpose of municipal art institutions. As attendance at exhibitions fell, critics questioned the ability of large galleries to engage the public and called for more community-based art initiatives. The crisis point was reached when proposals for a new city art gallery in Piccadilly Square fell foul of Conservative and Labour opposition. At a time of economic slump, had art become an expensive luxury?
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Mokras-Grabowska, Justyna. "Creating an Art Tourist Space in the Urban Sphere of Lodz – a Theoretical Approach Based on the Exmple of the Urban Forms Gallery of Murals." In Aesthetic Energy of the City. Experiencing Urban Art & Space. Wydawnictwo UŁ, 2016. http://dx.doi.org/10.18778/8088-151-8.07.

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Dohoney, Ryan. "Shaken into Seeing and Hearing." In Saving Abstraction, 131–70. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190948573.003.0004.

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Chapter 3 chronicles the intersection of Feldman’s and Dominique de Menil’s spiritual aesthetics. It begins by reconstructing the conditions of their first meeting: the New York City Ballet’s 1966 performance of Merce Cunningham’s Summerspace, re-choreographed for George Balanchine. It goes on to document Feldman and de Menil’s 1967 collaboration on the gallery show Six Painters at the University of St. Thomas. Through her family’s patronage, as well as Dominique’s presence as self-installed head of the art department, the University became a major presenting organization offering avant-garde cultural events in the city. Six Painters featured paintings by Piet Mondrian, Mark Rothko, Jackson Pollock, Willem de Kooning, Philip Guston, and Franz Kline. Feldman was also given a residency at the university in 1967, where he lectured on abstract expressionism and his own musical aesthetics as well as presented a concert of his music.
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Conference papers on the topic "Auckland City Art Gallery"

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Lily and Honglei. "Forbidden city." In ACM SIGGRAPH 2008 art gallery. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1400385.1400465.

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Gonzalez, Quintin. "The Mist of Spider City." In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185922.

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Iribarne, Jorge. "The essential purpose of any Urban Project is to define Public Space." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6233.

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In that aspect, buildings role, no matter their architectural qualities, is to shape that void and give it character. If one asks people about their remembrances of cities they have visited, they usually mention places and the activities that took place there. Architecture, great or bad is the referente of Architects. Only some monuments –Eiffel Tower or Sidney´s Opera- which act as the city´s image are worth recalling. The failure of CIAM´s urbanism was not its lack of quality, even vition, as some of Le Corbusier designs clearly demostrate, but its disregard of public space, merely a left over spread between isolated building blocks and highways. A good instrument to understand this fact are the Figure/ Ground plans, in which the basic shape of buildings and voids are drawn in black and white. In the tradicional city renders, the public spaces have a clear definition, a presence of its own. In any CIAM project –mostly- or construction, the public realm is the shapless space left over by buildings, with no hint about use or limits. A clear demonstration is the no-space around the Philarmonic, the National Library and the Art Gallery in Berlin. This knowlege is sufficiently incorporated into the practice of most Western Designers, but two perverse conditions are part of the everyday´s life of entire populations in the World: In poor Countries there is an urgent need to incorporate slums to the city structure, culture and services.In Asian Cities, mainly in China, inmense areas are demolished overnight and its tradicional fabric replaced by endless rows of anonymous high rise blocks amid a maze of transport elevated structures, with no place left for pedestrians. An old text advices not to let the urgent erase the important. In today´culture both conditions are unfortunately simultaneous.
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Felli, Marco, and Antonello Incerto. "Recovering of an identity: restoration works of the Orsini-Colonna castle in Avezzano, Italy." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11482.

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The Orsini Colonna castle of Avezzano represents one of the most important historic buildings in the internal area of Abruzzo. Founded at the end of the fifteenth century, on the rests of an older structure, with continuing modification till the sixteenth century, the building had several damages with the earthquake of January thirteenth 1915, which destroyed the entire city Avezzano and the neighborhood, causing more than 30000 victims. After the quake event, the efforts and the works for the preservation didn’t have the time to start, because of the beginning of the world wars; in particular, the castle suffered more damages with the three different bombardments on the city in 1943 and 1944. The first works of recovering and restoration were achieved in 1964 by the Genio Civile of Avezzano, the corps of engineers, with the direction of Tommaso Orlandi; in this intervention, the building had been interested by the recovering of the structures, with the reconstruction of the perimeter walls, also with the purpose of avoiding deterioration and the complete abandonment. The second works were conducted by the architect Alessandro Del Bufalo, who designed the restoration of the entire building, inserting an internal concert hall in the courtyard with a new structure in steel and glass, recovering the castle basement under the towers, and creating a modern art gallery museum in the second level. The works finished in 1994. This paper aims to redefine the historical development of the building, focusing in particular on the restoration interventions of the last century, and their different methods in the efforts of preservation, which approached to the preservation and reconstruction of the building in different ways.
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