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Academic literature on the topic 'Ballarat Fine Art Gallery'

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

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Journal articles on the topic "Ballarat Fine Art Gallery"

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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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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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Coleridge, Edward. "How to make an entrance: Piranesi comes to Ballarat." Before/Now: Journal of the collaborative Research Centre in Australian History (CRCAH) 1, no. 1 (May 3, 2019): 5–10. http://dx.doi.org/10.35843/beforenow.173284.

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"The inside front cover of this publication carries an image of CRCAH's front door, the main gateway to the former Ballarat Gaol. It is a magnificent example of nineteenth century masonry work. The massive bluestone blocks were carved and chiselled into a grand classical edifice, making a fitting southern finale in scale and significance to the great range of buildings on either side of Lydiard Street. The remarkable architectural statement of a confident gold rich city runs from the os­tentatious neo-classical railway station at the northern end past the Art Gallery, the Mining Exchange, the palatial former Post Office (now housing the studios of the university Arts Academy) and on along the facades of banks, hotels, theatres and churches, in a melody of styles from palladian to gothic (with some 20th century intrusions) down to the suitably 'redbrick' buildings of the Ballarat School of Mines. Here the road swings round to the west so the range of prison buildings bookend the whole composition with a dramatic solemn coda " -From forum article
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Siwabessy, D., G. Widati, B. Erwin, and G. P. Dianty. "Application of metaphor and sustainable concepts in art gallery buildings in Jakarta." IOP Conference Series: Earth and Environmental Science 878, no. 1 (October 1, 2021): 012023. http://dx.doi.org/10.1088/1755-1315/878/1/012023.

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Abstract Indonesia is a country that has a diverse culture which is an art that has been formed by human civilization and where art is an emotion or expression of feelings towards the beauty that is seen or felt by the development of art galleries that can be exhibited or even sold by gallery artist from the country of origin. Welcome his work, and with this gallery building, art lovers can enjoy works that show beauty. Location of the buildings is an area that serves as a fine art gallery in central Jakarta, where the region can build fine art galleries. With the application of the metaphorical architecture concept on the sustainable building consideration, it would be an attraction in the modern era.
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Batinic, Bernad. "Information Strategies of Fine Art Collectors, Gallerists, and Trendsetters." Empirical Studies of the Arts 23, no. 2 (July 2005): 135–52. http://dx.doi.org/10.2190/5nk2-terb-2a4r-qmd3.

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The objective of this article is to identify the strategies and information sources used by gallery owners and people who are particularly interested in the art market to obtain information about artists and their works, and how they use this information to evaluate an artist's significance. The survey was carried out at the international art fair “Art de Cologne.” One hundred three people participated in this study, of which 25 were gallery owners. The descriptive data analysis reveals many differences between the gallery owners and people interested in the art market. In a second step, a model for trendsetting in the field of arts is proposed. According to this proposal, such a model should be able to identify significant artists of the future at an early point in their career. Key features of trendsetters are their pronounced information-seeking behavior and their intensive use of the media to inform themselves about art. They are able to categorize innovative artists into the correct existing art-trends, and furthermore they are interested in telling people in their sphere about their discoveries. The results of this study show a significant positive correlation between trendsetting and knowledge about art. Major trendsetters inform themselves about arts using specialist journals and the Internet, but reject friends and acquaintances as sources of information.
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Rohr, Doris. "Good art, bad art – what is a ‘good’ drawing?" Visual Inquiry 2, no. 1 (March 1, 2013): 11–26. http://dx.doi.org/10.1386/vi.2.1.11_1.

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The article addresses subjectivity in relation to assessment of drawing as fine art practice within higher education contexts. How can we measure the quality of a drawing in contemporary fine art? What standards can one take recourse to, or use, to define boundaries and definitions for excellence? The role of outsider art, and of art not produced or valorized within institutional norms, is an area of tension within academic contexts. Do we overly valorize rejection of norms and traditions, or to the contrary, do we create neo-conformism in the way we teach drawing within fine art? This article asks to reconsider aesthetics as a potential way of redressing the need to build overarching standards and measuring codes, independent from agents and institutions that have become interested parties and stake holders: the curatorial function of museum and gallery, market forces, Research Council and Arts Council. A more meaningful dialogue with different types of public needs to be sought, to redress criticism that contemporary arts practices are elitist and removed from the realities of everyday life.
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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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Schnell, Hayley. "The Technikon Natal Art Library: An overview." Art Libraries Journal 20, no. 4 (1995): 19–21. http://dx.doi.org/10.1017/s0307472200009585.

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The Fine Art Department at Technikon Natal is supported by the Library’s art section, and by the Technikon art gallery. Within the library, the art collection, which is the responsibility of a subject librarian, is an integral part of a multi-disciplinary resource. The scope of the collection is broad, but special efforts are being made to collect documentation of South African art.
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Artists, Multiple. "Crisscross." ti< 9, no. 1 (March 26, 2020): 15–28. http://dx.doi.org/10.26522/ti.v9i1.2449.

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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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Dissertations / Theses on the topic "Ballarat Fine Art Gallery"

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Lieberman, Christina Michele. "A handbook for developing an exhibition guide for a student union art gallery." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.

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This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.
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Whall, R. J. "Documentum de transmutatio : rhizomatous modelling in hypertext for the digital reformation and extension of gallery circumscribed art-installation." Thesis, Coventry University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319854.

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McNiven, Andrew. "‘Monkey Business’ : an artist’s action research into the parameters of temporary gallery installation through reflexive formal and informal documentary practice." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/985/.

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The term ‘installation’, referring to both process and product, is a significant component of contemporary fine art practice and the working lives of those involved. Consequently ‘installation’ can be seen as a domain of both fine art professional development and practice-led research. However, as art historian Mary Ann Staniszewski has observed (1998), the implication is that as process, this is an underresearched field of knowledge and this Ph.D. is an attempt, through a thesis and a body of practical work, to address this omission. Writing as an artist with significant experience as a technician, the thesis explores the insights that inform the work of technicians, using related theoretical concepts which map the conditions particular to the processes of installation: that of exhibits being subject to a binary condition, which I term ‘proper/improper’, and the concept of ‘tacit knowing’, developed by Michael Polyani (1966) as an index of specialist embedded understanding. Both ‘proper/improper’ and ‘tacit knowing’ are concealed by the sense of what I term ‘effortlessness’ that makes displayed objects part of an immutable fabric of exhibition culture. This is, in turn, compounded by the photographic ‘installation shot’, a form of documentation that, for commentators such as the writer and artist Brian O’Doherty (1976), creates idealized images of artworks. In reflecting upon the action research I have undertaken in order to penetrate the idealized surface of the ‘installation shot’, the thesis journeys from the visual to the aural in order to open up the ‘sensual 7 culture’ (Howes, 2005) around ‘installation’. Although not directly settingout to respond to Staniszewski’s proposition, the experiments with sound practice described and exhibited do, I claim, offer a creative response to our amnesia and an unfolding re-presentation of the processes and conditions of exhibition as it is currently experienced throughout museum and gallery culture.
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Kolokytha, Chara. "Formalism and ideology in 20th century art : Cahiers d'Art, magazine, gallery, and publishing house (1926-1960)." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/32310/.

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The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house active in Paris from 1926 to 1960 with special attention, and without particular regards to biography, to the intellectual development of its founder Christian Zervos from his early years in Alexandria at the beginning of the century to his professional establishment in the French capital. Its originality resides in the presentation of a significant corpus of unpublished archival information and the examination of the role that the network centred around Cahiers d’Art played in the institutionalisation of independent art in the first half of the century, the propagation of abstraction through the popularisation of European primitivism which was presented as a direct link to the modern era, and the passage from the Mechanist to the Atomic Age, its effects in the artistic domain and the ideological connotations it encased. The overall analysis focuses on particular transitional phenomena that marked the course of the 20th century. Particularly, the passage from analysis to synthesis which found diverse expressions in the contemporary artistic discourse since the beginning of the century giving birth to an increased interest in pragmatist approaches to art and architecture, social engagement, and a course towards formal simplification. The thesis observes the way in which the medieval and the primitive past contributed to the consecration of the international School of Paris and the conflicts of interest of their exponents. It furthermore pays close attention to Zervos’ position-taking with regards to these conflicts, his disdain for antiquity, its aftermath in western art, and the way that these positions affected his presentation of Picasso’s work in the voluminous catalogue raisonné of the artist’s work. Finally, it seeks to re-appreciate from the perspective of Cahiers d’Art, a significantly influential network of worldwide reputation, issues associated with the consecration and popularisation of international independent art in France and abroad, as well as the conflicting aspirations for decentralisation in a context dominated by Eurocentric attitudes and the formal and ideological projections of post Wold War Two liberal critique.
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Schubauer, Allison. "From Screen to Paper to the Gallery Walls: Comic and Confessional Drawing in the Digital Age." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/581.

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In the last half-century, a number of artists have chosen to abandon notions of good taste, skill, and aesthetics in the field of drawing in order to investigate and critique our social and cultural landscape. Two very different approaches have been taken to accomplish this – the use of humor, borrowing from the format of comics; and confessional art, in which the artist ostensibly lays themselves bare in order to act as a mirror for the viewer. In my senior thesis project, I explored these two forms of drawing in relation to my own life and identified institutional (within the Claremont Colleges) and larger cultural threads within my work.
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Bělotová, Jana. "Marketingové plánování krajské galerie výtvarného umění." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-113698.

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The master thesis, "Marketing planning of regional gallery for fine arts," consists of two major segments; theoretical and practical. The first includes theoretical bases concerning marketing plans and most importantly, Arts marketing. The regional gallery of fine arts in Zlin can be given a practical definition with special focus on; characteristics, buildings, visitors, competi-tion, current marketing activities etc. The main attribute of this thesis and the initial goal con-sists of proposed communication solutions linked to the plan of exhibitions for the year 2012. Recommended communication regards the nature of exhibitions and using the suitable com-munication channel that finds the target group. The original proposal concerning the lower financial inputs while using targeted communication was proved. The effectiveness of rec-ommended solutions expressed by a higher number of visitors could be proved only after full application of proposed solutions.
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Bass, Matthew L. "Cutting Into Relief." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3416.

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The following is an examination of the ideas and decisions that went into an art exhibition held in gallery 303 of the Harris Fine Art Center February 1-13, 2013. The exhibition explores the relationships of the artwork, artist, viewer, and space. The catalyst for the above mentioned exploration is a process of making art using linoleum relief printing. The subject of the artwork is an in-depth examination of the material and printing process. It is my contention that such a close look at the art making process reveals the attitudes and decisions that we make with any human endeavor.
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Reed, Hillary Nicole. "Failing, Falling, Flying, and the Knowledge “Gap”." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492005385494479.

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Hoffman, Sheila K. "L'histoire de la documentation des oeuvres d' art du 17e au 21e siècle : les impacts des technologies optiques et numériques sur les pratiques documentaires des galeries nationales à Londres, Ottawa et Washington D.C." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H014/document.

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Cette thèse examine les convergences et divergences le long de l'histoire de la documentation muséale dans trois galeries nationales en Angleterre, au Canada et aux États-Unis. Elle met en évidence un modèle commun, émanant plus particulièrement des deux types d'institutions apparues en Angleterre au 17e siècle : les musées publics, fondés sur des principes scientifiques et populistes, et la galerie privée, ancrée dans des traditions élitistes. Les galeries nationales analysées constituent un modèle hybride, en conflit avec ces deux formats antagonistes, mais leurs similitudes les plus frappantes résident dans l'évolution de leurs pratiques respectives de la documentation des œuvres d'art. La lutte continue afin d'intégrer véritablement la technologie dans la documentation d'art trahit l'héritage difficile entre ces deux modèles opposés. Tout au long des trajectoires uniques à chacune des institutions étudiées, peu de preuves montrent que les technologies optiques ou numériques ont eu des répercussions importantes sur les méthodologies ou les philosophies de la documentation des œuvres d'art. Au contraire, on observe que la documentation de forme numérique repose toujours sur une approche minimale de recueil de données, sur un groupe restreint de personnes habilitées à les collecter et sur un accès limité à ces données. Cette recherche renforce l'argumentation pour une redéfinition de la documentation des œuvres d'art pour repenser ses stratégies et ses philosophies directrices, pour poser un nouveau regard sur la recherche dans les collections et pour élargir l'intégration des technologies numériques dans ces processus
This research examines the divergences and convergences across the histories of three national galleries, in England, Canada and the United States, providing evidence of a common model that emanates particularly from two types of institutions that appeared in England during the 17th century: public museums founded on scientific and populist principles, and private art galleries anchored in elitist traditions. The national galleries compared in this study constitute hybrids in conflict with the original antagonistic models. But their most striking similarities reside in the evolution of their respective documentation practices. The continued struggle to truly integrate technologies in the documentation of art betrays the difficult heritage between these two opposing models. Throughout the unique historical trajectories of these institutions, there was little proof that optical or digital technologies had had important repercussions on the methodologies or the philosophies of the documentation of works of art. On the contrary, it was observed that documentation, even in digital form, continued to rely on minimal standards of data gathering, restricted groups of persons trained to collect data, and limited access to any data captured. This research reinforces the need to redefine museum documentation in order to rethink its strategies and guiding philosophies, to enable new research into museum collections, and to enlarge the integration of digital technologies into the process
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Bordo, Vanessa C. "Making a Case for the Use of Foreign Language in the Educational Activities of Nonprofit Arts Organizations." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1311135640.

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Books on the topic "Ballarat Fine Art Gallery"

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Hickey, Dale. Dale Hickey: A retrospective exhibition : City of Ballaarat [sic] Fine Art Gallery, 1988. Ballarat: City of Ballaarat [sic] Fine Art Gallery, 1988.

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

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Nottingham Castle Museum and Art Gallery: Fine art collection handlist. [Nottingham]: The Gallery, 1988.

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

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Catalogue of the fine art collection. [Kirkcaldy]: Kirkcaldy Museum and Art Gallery, 1996.

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Noel, Carboni, ed. Star vistas: A gallery of fine art astrophotography. New York: Springer, 2009.

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Gallery, Pucker. Fine choices: 35 years. Boston: Pucker Gallery, 2002.

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David, Coke, and Wildenstein and Co, eds. The fine art collections: Pallant House, Chichester. Chichester: The Gallery, 1990.

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Libby, Lumpkin, Mirage Resorts Inc, and Bellagio Gallery of Fine Art (Las Vegas, Nev.), eds. The Bellagio Gallery of Fine Art: Impressionist and modern masters. Las Vegas, Nev: Bellagio Gallery of Fine Art, Mirage Resorts, Inc., 1998.

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Classic Source Gallery (Bombay, India). Important paintings from the collection of the Classic Source Gallery, a gallery of fine art. Mumbai: Classic Source, 1999.

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Book chapters on the topic "Ballarat Fine Art Gallery"

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

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"Gallery of Works: Fine Arts." In Paul Mellon’s Legacy: A Passion for British Art. Yale Center for British Art, 2007. http://dx.doi.org/10.37862/aaeportal.00232.006.

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Rockman, Deborah A. "Teaching Essential Drawing Principles in Relation to the Human Figure." In The Art of Teaching Art. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195130799.003.0007.

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There is perhaps no more significant experience in the study of drawing than the study of the human figure. One needs only to look to the ancient Greeks and to the Renaissance masters to recognize the historical importance of the human form in the study of the visual arts and the refinement of visual expression. Although the figure’s presence and significance during the period known as modernism and in contemporary art has ebbed and flowed, its influence is always felt to some degree, and no classical or traditional art education would be complete without a substantial focus on drawing and studying the human form. Much debate is currently taking place about the changing role and responsibility of foundation courses for students studying both the fine and applied arts. If we examine those aspects that the fine and applied arts have in common, we find that a concern for communication is paramount, whether it takes place in a gallery or museum, in a television or magazine ad, on a showroom floor, on a computer monitor, or in any number of other locales. The power of the human form to communicate cannot be overstated, primarily because it is what we are. We have things in common with other humans that we have in common with nothing else. Looking at a human form in any context has the potential to provide us with the experience of looking in the mirror, of seeing our own reflection, so to speak. It follows that any significant experience in visual communication must thoroughly examine the role of the figure, and for the visual artist this requires experience with drawing the figure. The fine and applied arts also have in common a concern for principles of design and aesthetics. If we acknowledge the presence of these principles in nature, then we may also recognize an element of universality. Quite simply, I can think of no finer example of the application of principles of design and aesthetics than the living, breathing human form, and the human form is universal.
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Munson, Kim A. "Viewing R. Crumb." In The Comics of R. Crumb, 232–52. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.003.0012.

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In this chapter, Kim A. Munson explores how Robert Crumb and his work has been represented in a series of museum exhibitions. In the 2009-2010 exhibition “Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection” at the Museum of Modern Art (NY), for example, one gallery focused on drawings inspired by underground comix by Crumb and S. Clay Wilson. Other exhibits of Crumb’s work place him within more traditional art historical contexts. R. Crumb’s “Book of Genesis” was a tour de force exhibition shown in the US and internationally in several formats, and placed Crumb in an immediately recognizable artistic tradition. “Graphic Masters,” on display at the Seattle Museum of Art in 2016, also put Crumb’s work in an art historical context, showing the complete "Genesis" along with drawings and engravings by masters like Rembrandt, Dürer, Hogarth, and Picasso. “Masters of American Comics,” the popular and controversial 2005-2006 group exhibit in Los Angeles (Hammer Museum), positioned Crumb as one of the 15 chosen “masters,” placing him within the show’s canon of comics artists alongside Will Eisner, Harvey Kurtzman, Art Spiegelman, and Chris Ware. By looking at these exhibitions, we can see not only Crumb's influence on fine art, but also the evolving relationship between comics art and the art museum, as well as his influence on other artists.
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Conference papers on the topic "Ballarat Fine Art Gallery"

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Park, Arum, and Kyoung Jun Lee. "Service Design based on IoT and Technology Comparison for Fine Art Gallery." In 14th International Conference on e-Business. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0006473701380143.

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