Journal articles: '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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Finnegan, Ciara. "Limerick: Tom Molloy at Limerick City Gallery of Art." Circa, no. 113 (2005): 90. http://dx.doi.org/10.2307/25564352.

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

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

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Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVERÂ the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country.Â Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Galleryâ€™s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent

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Tulloch, Pamela. "Integrating art – a Glasgow style." Art Libraries Journal 28, no. 3 (2003): 42–46. http://dx.doi.org/10.1017/s0307472200013237.

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Glasgow’s Mitchell Library is one of the largest public reference libraries in Europe. Recently, the City Council’s Cultural and Leisure Services staff have implemented an innovative approach to providing art information for the general public in the ‘Library @ GoMA – the learning gallery’, which opened in 2002 within the Gallery of Modern Art. In addition to the support the library offers to the Gallery’s activities, an ambitious programme of digitisation is under way to enable access to more of the Mitchell’s treasures.

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Reeves, David. "One big picture – 12,000 little pictures: the Auckland Art Gallery collection management and access programme." Electronic Library 21, no. 3 (June 2003): 208–13. http://dx.doi.org/10.1108/02640470310480443.

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Walsh, Samuel. "Mike Fitzpatrick, Limerick City Gallery of Art, October - November 1992." Circa, no. 63 (1993): 55. http://dx.doi.org/10.2307/25557758.

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Bahri, Samsul, and Febby Khafilwara. "Kualanamu Art Gallery & Exhibition Center (Structure as Elements of Aesthetics)." International Journal of Architecture and Urbanism 2, no. 2 (August 20, 2018): 115–21. http://dx.doi.org/10.32734/ijau.v2i2.395.

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Medan is the third largest city in Indonesia, so it has considerable potential in the field of Art. A lot of potential and human resources that could be developed in the city of Medan. The city characterized by the culture of various Ethnic this hope was able to preserve the culture of each ethnic group. Art galleries and exhibition is expected to become a new tourism venue in the city of Medan and the iconic place of the development of works of art in the city of Medan. With the approach of the structure as elements of aesthetic in architecture

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Vickery, Jonathan P. "ANTI-SPACE: THE POLITICAL COMPLEXION OF AN INNER CITY ART GALLERY." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 1 (March 28, 2014): 90–101. http://dx.doi.org/10.3846/20297955.2014.895529.

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The subject of this paper is an inner city artist-run gallery called Eastside Projects. As part of an historical trend in artistrun spaces, Eastside Projects have innovated a strategic approach to post-industrial space, their location and role within the city of Birmingham, UK. This paper outlines their approach in the context of the recent cultural policy frameworks impressed on publicly funded city-based art organisations. It attempts to extend the conceptualisation of contemporary art in the city within urban studies generally, specifically investigating the theoretical potential of Eastside Project’s curatorial strategy. How can we define public agency for art in the neoliberal city? For Eastside Projects, agency is defined principally through space and the aesthetics of space. This paper proposes a theoretical framework for articulating the political aesthetics of new public spaces for art.

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Duddy, Tom. "Exhibition of Visual⁺ Art, City Gallery of Art, Limerick 9 March-13 April 91." Circa, no. 57 (1991): 52. http://dx.doi.org/10.2307/25557633.

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Allen, Jo. "Cork City Artists, Crawford Minicipal Art Gallery, Cork, July - August 1993." Circa, no. 65 (1993): 48. http://dx.doi.org/10.2307/25557823.

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Finnegan, Ciara. "Limerick: Jack Donovan / Tom Fitzgerald at Limerick City Gallery of Art." Circa, no. 110 (2004): 72. http://dx.doi.org/10.2307/25564239.

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Vicars-Harris, Oliver. "COLLAGE “the Corporation of London Library & Art Gallery Electronic”." Art Libraries Journal 24, no. 1 (1999): 48–51. http://dx.doi.org/10.1017/s0307472200019349.

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The Corporation of London (the local authority for the City) recently launched COLLAGE, a powerful custom-designed visual information system, whose aim is to transform public accessibility to the extensive visual collections held in its libraries and galleries. Over a period of eighteen months a dedicated team of staff photographed, digitised and indexed over 30,000 works of art as the result of an intensive data imaging project. So far the works are drawn from the Guildhall Library and Guildhall Art Gallery - collections particularly renowned for their strength in material relating to London, which is now widely and easily accessible on dedicated workstations in the City, as well as via the Internet.

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McBride, Caroline. "Engaging Archives: Activating our collections for new audiences." Art Libraries Journal 44, no. 3 (June 12, 2019): 132–38. http://dx.doi.org/10.1017/alj.2019.18.

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In recent years we have noticed a substantial increase in interest in our archive collections at the E H McCormick Research Library at Auckland Art Gallery Toi o Tāmaki. With circulation figures for print publications generally reported to be on a downward trend for libraries, unique material is being eagerly sought out.Who are our new audiences and how do they engage with archives in varying ways? What specific approaches have contributed to achieving this positive shift? Including observations from other research librarians and archivists, this article provides a view of art archive use and users, as well as the mechanisms that are proving successful. Our aim is to increase the visibility of our special collections to facilitate the unlocking of their powerful potential for the understanding and, sometimes, making of art.

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Meiklejohn, Heather M. "Dress in History: Studies and Approaches." Costume 32, no. 1 (January 1, 1998): 102–3. http://dx.doi.org/10.1179/cos.1998.32.1.102.

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Jordan, Peter. "Exchange-Germany/Ireland, Limerick City Gallery of Art, 9 September - 8 October." Circa, no. 43 (1988): 33. http://dx.doi.org/10.2307/25557381.

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Duddy, Tom. "EV + A '88, Limerick City Gallery of Art, 15 October - 26 November." Circa, no. 44 (1989): 30. http://dx.doi.org/10.2307/25557398.

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Finnegan, Ciara. "Limerick: Mark O'Kelly (And Sarah Pierce) at Limerick City Gallery of Art." Circa, no. 112 (2005): 92. http://dx.doi.org/10.2307/25564329.

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Frost, Jonathan. "The Michaelis Art Library: Thirty Years in a Changing City." Art Libraries Journal 20, no. 4 (1995): 13–15. http://dx.doi.org/10.1017/s0307472200009561.

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The Michaelis Art Library, part of the Reference Division of the Johannesburg Public Library Service, originated with a collection of books purchased for the planned Johannesburg Art Gallery in the 1920s. Temporarily and then permanently housed in the Public Library, the collection became the nucleus of a growing art library, the largest public art library in South Africa. In recent years usage of the library declined as a result of political tensions, but then increased in parallel with a surge of vitality in the arts which heralded the end of apartheid and the emergence of democracy. During 1995 the Michaelis Art Library was due to move into Johannesburg’s central library building.

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Griniuk, Marija. "BRIDGING THE CITY: CONNECTING ART, PERFORMANCE DESIGN, ENVIRONMENT AND EDUCATION." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 528–38. http://dx.doi.org/10.17770/sie2021vol4.6412.

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This study explores knotworks and networks within art, participatory performance design, the environment and education specialists and institutions within the case-project “Nomadic Radical Academy”, realised in 2019 and 2020. The novelty of the research lies in its investigation of how international collaborations impact the performance pedagogy project at the local level. The project bridged a wide spectrum of actors in order to design an interactive space and participatory infrastructure involving a diverse variety of stakeholders. The projects were created by the author of this paper and involved the art venue Gallery Meno Parkas in Kaunas, local Kaunas schools and environment-friendly local art initiatives, families in Kaunas, Kaunas Municipality, The Lithuanian Council for Culture, a performance designer and international artists from the Baltic-Nordic region. The author created the performative milieu in the gallery space with the intention of educating children and young people about the environment and climate change through performance pedagogy methods. The research question is as follows: How are the knotworks and networks created during the planning and realisation of the international performance pedagogy project, and how do they target the local community and influence projects locally in real-time? The study materials were collected by arts-based methods and analysed by utilising reflexive research. The data collected during the planning and implementation phases are the author’s notes and reflections, notes from feedback and discussions with the involved artists and photos and videos. This research can be valuable to educators, performance designers and artists interested in knotwork- and network-building. This research focused on the planning and realisation of the project by involving international performance professionals in site-specific projects designed for local communities.

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Sigley, Agnes. "Diving into the Human Psyche." Ata: Journal of Psychotherapy Aotearoa New Zealand 17, no. 1 (September 30, 2013): 109–13. http://dx.doi.org/10.9791/ajpanz.2013.09.

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As I regularly invite my clients to inhale and exhale and connect with their breath, their bodies’ sensations, their hearts, and deeper parts of themselves through the expressive arts, I find inspiration and resonance in Vincent Ward’s art works. Vincent Ward (b.1956) is one of the most original and acclaimed New Zealand artists, and some have called him a visionary. His latest exhibitions, Inhale/Exhale were held simultaneously at the Gus Fisher Gallery, in the University of Auckland and the Wallace Arts Centre at the Pah Homestead in July 2012. Inhale was a cinematic installation while Exhale showcased painting and photographic print. I visited both exhibitions and attended some of the talks.

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McCarthy, Christine. "Anscombe's plans for Highrise Living." Architectural History Aotearoa 3 (March 16, 2021): 29–43. http://dx.doi.org/10.26686/aha.v3i.6798.

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In the 1930s New Zealand was yet to invest in inner-city living via large scale apartment buildings. Few examples of flats existed. A. Sinclair O'Connor's Courtville (1914-19) at the corner Waterloo Quadrant and Parliament Street, Auckland, and Francis Petre's Manor Place Flats in Dunedin were exceptions to conventional living. In the 1930s greater interest was shown in the design of inner-city apartments – most famously by the Department of Housing Construction's Berhampore Flats, Adelaide Rd (Wellington, Gordon Wilson, 1938-40), and Symonds Street Flats, Symonds Street (Auckland, Friedrich Neumann, 1939-47), anticipating their 1940s work: the Dixon Street Flats, Dixon Street (Wellington, 1940-44), the Maclean Flats, The Terrace (Wellington, 1943-44), the Hanson Street Flats, Newtown (1943-44), and the Greys Avenue Flats, Greys Avenue (Auckland, 1945-47). [NEW PARAGRAPH] In Wellington, Edmund Anscombe dominated the design of privately funded inner city flats, designing six art-deco/modernistic apartments during this time: Belvedere, Hamilton Flats, Olympus, Linfield, Alberts Flats and Franconia. This paper examines these apartments in the context of Anscombe's comments on house design, and housing, and his 1936 proposal to replan the area of Adelaide Road as a residential area to accommodate superblocks of high rise apartments.

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Mokras-Grabowska, Justyna. "Art-tourism space in Łódź: the example of the Urban Forms Gallery." Turyzm/Tourism 24, no. 2 (April 18, 2015): 23–30. http://dx.doi.org/10.2478/tour-2014-0013.

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Łódź, as a city of huge post-industrial and modern art potential, has become in recent years a unique Polish tourism destination whose urban fabric constitutes a perfect background for street art. Examples are the murals of the Urban Forms Gallery (large format artworks) which contribute to revitalisation as well as the creation of new tourism assets to form a new tourism space: art-tourism space. The paper describes both the process of creating this space as well as its distinctive features.

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Laaksonen, Esa. "Architectural intersections: Museum of Contemporary Art, Helsinki." Architectural Research Quarterly 3, no. 1 (March 1999): 15–28. http://dx.doi.org/10.1017/s135913550000172x.

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Steven Hollwon an international competition for the Museum of Contemporary Art in Helsinki, Finland, based on the concept of intertwining or ‘chiasma’. That idea stems from the museum's site, which stands at the point where the city and Töölö Bay, the commercial core and the Parliament building come together. Intertwining also characterizes the form of the building, in which a gallery wing twists over and around a rectangular block, separated by a tall, curving entry hall dominated by a broad ramp. The museum has a few functional lapses, but is generally successful.

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Tzortzi, Kali. "The art museum as a city or a machine for showing art?" Architectural Research Quarterly 14, no. 2 (June 2010): 129–38. http://dx.doi.org/10.1017/s1359135510000746.

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This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–b]. Their ground floors are conceived as a space you walk through, as a ‘piazza’; their spatial organisation is modular and flexible; their visual construction, punctuated by powerful views to the city. Moreover, they are guided by similar spatial ideas and share common fundamental morphological properties. Interestingly, their affinities extend to their collections – both begin with the turn of the twentieth century and extend to the twenty-first century; and their curatorial practices – as, for instance, the practice of reprogramming the galleries on a regular basis. But the experience of visiting the two museums is entirely different and each appears to have its own idiosyncratic spatial character, quite distinct from the other (described metaphorically by the museum designers as the museum as a city in the case of the Pompidou and as a machine for showing art in the case of Tate Modern). So, could these obvious similarities hide critical differences between the two museums?

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Symons, David. "Museum Supplement: Acquisitions by the City of Birmingham Museum and Art Gallery 1966–1986." Journal of Hellenic Studies 107 (November 1987): 278–80. http://dx.doi.org/10.2307/630184.

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Freedman, Jan. "Storage of the Radioactive Mineral Collections at Plymouth City Museum and Art Gallery, UK." Collections 7, no. 2 (June 2011): 201–12. http://dx.doi.org/10.1177/155019061100700209.

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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (December 28, 2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.

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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.

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McBride, Caroline. "Curators and their use of digital images." Art Libraries Journal 31, no. 3 (2006): 25–31. http://dx.doi.org/10.1017/s0307472200014577.

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New Zealanders like to think of themselves as high users of the latest technology. Does this extend to digital imagery in the workplace? Curators at the Auckland Art Gallery Toi o Tāmaki were surveyed regarding digital image sources, their use and the problems and opportunities they presented. They were found to be keen, adept users, satisfied with their technical and retrieval capabilities, and aware of issues relating to copyright and image storage. Happy with thumbnails in many instances, they employed the skills of the Gallery’s professional photographers when higher quality images were required. Looking at the move from analogue to digital, slide use was found to be negligible but reproductions in books and journals were still a favoured source. Disadvantages were downplayed and the positive impact of digital imagery was stressed.

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Anguix, Laia. "‘A collection of mere travesties of time-honoured originals’." Journal of the History of Collections 32, no. 3 (April 7, 2020): 523–36. http://dx.doi.org/10.1093/jhc/fhz034.

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Abstract In 1909 the city of Newcastle was offered the bequest of J.A.D. Shipley. Containing 2,500 paintings attributed to masters such as Rembrandt and Raphael, and linked to a sum of £30,000 for museum accommodation, it caused a media stir. C. B. Stevenson, curator of the Laing Art Gallery in Newcastle upon Tyne, reported that the collection contained many ‘feeble imitations . . . unworthy of the names attached to them.’1 Nevertheless, he recommended its acceptance, because of the benefit it would confer on the Laing. But Newcastle council rejected Stevenson’s advice, favouring external reports to support its verdict, which was based on financial concerns and on the negative responses of prominent citizens. The Laing’s appeals were disregarded and Gateshead obtained the bequest, leading to the creation of the town’s first public art gallery, the Shipley Art Gallery, in 1917. The Shipley case is here discussed as an example of misunderstanding between cultural institutions and political structures, and of the power of local elites to raise questions regarding authorship and authenticity.

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Jarvis, Anthea. "An Agreeable Change from Ordinary Medical Diagnosis." Costume 33, no. 1 (January 1, 1999): 1–11. http://dx.doi.org/10.1179/cos.1999.33.1.1.

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This paper was prepared for and given at the conference ‘Dress in History’ held at Manchester Metropolitan University in July 1997 to celebrate the 50th Anniversary of the opening of the Gallery of English Costume at Platt Hall. Its intention was to give the history of the Cunnington Collection and its acquisition by Manchester City Art Galleries, which was the catalyst for the establishment of the Gallery, rather than to be a re-evaluation, in the light of present-day scholarship, of the Cunningtons' collecting and writing.

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Noll, A. Michael. "The Howard Wise Gallery Show Computer-Generated Pictures (1965): A 50th-Anniversary Memoir." Leonardo 49, no. 3 (June 2016): 232–39. http://dx.doi.org/10.1162/leon_a_01158.

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In April 1965, the Howard Wise Gallery in New York City held a show of computer-generated pictures by Bela Julesz and Michael Noll. This show was a very early public exhibit of digital art in the United States. This essay is a memoir of that show.

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Filippelli, Sandra Elaine. "AN URBAN WALKABOUT WITH CINDY SHERMAN'S PHOTOGRAPH, "UNTITLED #466, 2008”." Art/Research International: A Transdisciplinary Journal 6, no. 1 (April 22, 2021): 132–50. http://dx.doi.org/10.18432/ari29565.

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In this article, the narrator of the story immerses herself in the interiority of a character depicted in a Cindy Sherman portrait on an art gallery wall. The narrator invites the character out of the photograph and immerses her in the pandemic-stricken city outside. In this way, the author engages with contemporary visual art while composing fictional text as literary art. Her encounter with the photograph becomes an aesthetic visual and literary investigation of art, text, and characterization set against the backdrop of the global COVID-19 crisis.

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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.

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Walsh, Kevin Q., Dmytro Y. Dizhur, Nasser Almesfer, Patrick A. Cummuskey, Jim Cousins, Hossein Derakhshan, Michael C. Griffith, and Jason M. Ingham. "Geometric characterisation and out-of-plane seismic stability of low-rise unreinforced brick masonry buildings in Auckland, New Zealand." Bulletin of the New Zealand Society for Earthquake Engineering 47, no. 2 (June 30, 2014): 139–56. http://dx.doi.org/10.5459/bnzsee.47.2.139-156.

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The 2010-2011 Canterbury earthquakes and corresponding Royal Commission reports have resulted in changes to the legislative environment and led to increased public awareness in New Zealand of the earthquake performance of unreinforced masonry (URM) buildings. As a result, building regulators, owners, tenants, users and heritage stakeholders will be facing a unique challenge in the near future where assessments, improvements and demolitions of URM buildings are expected to occur at an unusually high rate. Auckland is the largest city in New Zealand and because of the relative prosperity of Auckland during the period 1880-1935 when most URM buildings were being constructed in New Zealand, the city has the largest number of URM buildings in the country. Identifying those buildings most at seismic risk in Auckland’s large and varied building stock has warranted a rapid field assessment program supplemented by strategically chosen detailed assessments. Information that can be procured through rapid field inspections includes the building geometric typologies (e.g., heights, building footprint geometry and isolated versus row configuration), elevation type (e.g., perforated frame versus solid wall), wall construction (e.g., solid versus cavity, number of leaves) and basic construction material type (e.g., clay brick versus stone). Furthermore, investigation into the architectural history, heritage status and functional usage of Auckland’s URM buildings will affect the direction of retrofit strategies and priorities. As the owner of a large and varied portfolio of URM buildings as well as the local organisation responsible for assessing building safety, Auckland Council is developing exemplar inspection, assessment, prioritisation and retrofit strategies that will target the seismic risks associated with URM buildings, in particular, so as to preserve and enhance safety and the economic and community value of these special buildings. Collaboration amongst Auckland Council, The University of Auckland and GNS Science has resulted in a state-of-the-art rapid quantitative assessment program applied to a sampling of typologically representative URM buildings in Auckland.

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Normoyle, Karen. "Seán Lynch, Retrieval Unit, Karen Normoyle, Limerick City Gallery of Art, Limerick, February - March 2007." Circa, no. 120 (2007): 66. http://dx.doi.org/10.2307/25564810.

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James, Paula. "How Classical is Ariadne's Parrot? Southall's Painting and Its Literary Registers." Ramus 39, no. 1 (2010): 53–72. http://dx.doi.org/10.1017/s0048671x00000539.

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In this article I suggest ways in which a gorgeously crafted, colourful, compelling 20th century painting of an abandoned Ariadne highlights both her tragic and comic presence in classical literary representations. Joseph South-all's 1925-6 work Ariadne in Naxos (tempera on linen, 83.5 × 101.6 cm), reproduced below, can be viewed in all its glory in the Birmingham City Art Gallery (bequeathed by the artist's widow, Anne Elizabeth, in 1948) but it was featured to fine effect in the 2007 exhibition The Parrot in Art: From Dürer to Elizabeth Butterworth, Barber Institute of Fine Arts, University of Birmingham. It was in this psittacine (psittaceous?) context that I first encountered Ariadne's parrot so the bird perhaps loomed larger in the painting than it might as a stand-alone Southall on its home ground in the Gallery.

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Sunder, Sumithra. "When Modern meets Contemporary." Artha - Journal of Social Sciences 15, no. 3 (July 1, 2016): 67. http://dx.doi.org/10.12724/ajss.38.4.

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Public spaces and institutions have often been linked when it comes to art practice in Bangalore. Whether it was the large-scale earthworks or the appropriation of heritage spaces taken on by artists, the spaces occupied by the public and the public art institutions have had a strong impact on the ways art gets produced in the city. There is also an additional element of reclaiming public spaces that is the struggle of most cities today. Since February this year, the artist community of Bangalore has protested against the move made by the government to 'hand over' the Venkatappa Art Gallery to a private entity. This has spurred a lot of conversations about public spaces and public resources in the city, specifically, in relation to art. Art history and the 'teaching of art' have often been celebrated as an achievement of European scholarship. It is true that a number of institutions set up to teach art in India are a colonial legacy, but what emerged post-independence is a culture of rejecting European aesthetics and trying to form a national one if it were. And in our era of postmodern/postcolonial awareness, there is a fluidity in the conduct of the institutions and in the understanding of public spaces that have contributed to the aesthetic of the contemporary artist. In the light of the recent events, this paper will examine the ways in which the art gallery and later the freeform collectives serve as educational spaces for students and subsequently, explore the implications of the lack of such spaces in the practice of art in contemporary times.

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Stokes-Rees, Emily, Blaire M. Moskowitz, Moira Sun, and Jordan Wilson. "Exhibition Review Essay and Reviews." Museum Worlds 7, no. 1 (July 1, 2019): 238–61. http://dx.doi.org/10.3167/armw.2019.070115.

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Exhibition Review Essay:Exhibition without Boundaries. teamLab Borderless and the Digital Evolution of Gallery Space by Emily Stokes-Rees Exhibition Reviews:The Colmar Treasure: A Medieval Jewish Legacy. The Met Cloisters, The Metropolitan Museum of Art, New York by Blaire M. MoskowitzShanghai Museum of Glass, Shanghai; Suzhou Museum, Suzhou; and PMQ, Hong Kong by Moira SunThe Story Box: Franz Boas, George Hunt and the Making of Anthropology. Exhibition at the Bard Graduate Center Gallery in New York City (14 February–7 July 2019) and the U’mista Cultural Centre in Alert Bay, British Columbia (20 July–24 October 2019) by Jordan Wilson

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Bioza, Betyona, Titis Srimuda Pitana, and Gunawan Gunawan. "SOLO CRAFT GALLERY EXPO DENGAN PENDEKATAN ARSITEKTUR JAWA KONTEMPORER." Arsitektura 15, no. 1 (July 14, 2017): 269. http://dx.doi.org/10.20961/arst.v15i1.12182.

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Abstract: Solo Craft Gallery Expo is an effort to accommodate the presence of creative industries joined in the craft subsector SMEs, and facilitating MICE activities in the city of Solo. The space is in the form of art galleries as well as a market for good packaging and expo space with diverse capacities. Combining the two functions of this building is a strategy for mutually supporting each other’s existences. Gallery space presented as cultural charms, while the expo space plays a role in bringing visitors. The government policies in synergy with the city’s potential efforts to support and facilitate the development of the city for more advances physical quality and human resources. This system if it is associated with the city of Solo as location, intersects with the image which is the city of culture. This last issue is associated with contemporary architecture, which is an effort to locate and revive the values of cultural and society, as a reflection of the city’s identity. In this case, the Javanese architecture which is the local architecture and result of the Javanese cultural community life, deserve to be appreciated to exist as a force of local architecture. The process of aligning the image of the building with the city image of the building of Solo Craft Gallery Expo, carried out through the application of contemporary Javanese Architecture. Keywords: MSME craft’s sub-sector, craft galleries, MICE facilities, contemporary Javanese architecture.

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Gyurkovich, Magdalena. "THE CITY AS A FREE ART GALLERY. THE RELATIONSHIP BETWEEN THE EXHIBIT AND THE EXHIBITION SPACE." Space&FORM 2020, no. 46 (June 24, 2021): 25–46. http://dx.doi.org/10.21005/pif.2021.46.b-02.

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The city is an artwork in itself, as its urban and architectural structure creates unique spaces that offer emotions and experiences on various scales. Details and sculptures are used to build the city’s nature and recognisability. The paper presents an approach to the city as an exhibition, where the relationship between the environment and the displayed object is created. What is the contemporary role of these works of art, such as sculpture, in urban space? Do they only fill the space or commemorate historical facts, or were they consciously arranged in relationship with their surroundings to create unique values?

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Journal articles on the topic 'Auckland City Art Gallery'

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