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Relevant bibliographies by topics / Canajoharie Library and Art Gallery

Academic literature on the topic 'Canajoharie Library and Art Gallery'

Author: Grafiati

Published: 26 July 2024

Last updated: 27 July 2024

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Journal articles on the topic "Canajoharie Library and Art Gallery"

1

Bolotova, Alexandra I. "The Tretyakov Gallery Library." Art Libraries Journal 17, no. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.

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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.

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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (June 20, 2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.

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Massis, Bruce. "Art galleries in the library." Information and Learning Science 118, no. 9/10 (October 10, 2017): 566–68. http://dx.doi.org/10.1108/ils-08-2017-0083.

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Purpose The purpose of this study is to report that the library has recognized the benefit to the community of including art gallery space in the library. Design/methodology/approach This paper is a literature review and commentary on this topic that has been addressed by professionals, researchers and practitioners. Findings Exposure to art in the library can open and expand worlds that might never have been available to some and can provide the populace with greater access directly in their own community. Originality/value The value in exploring this topic is to provide libraries that may not have considered including an art gallery in their libraries to consider the possibility of doing so.

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Neethling, Lynnda. "The Johannesburg Art Gallery Library: Looking to the Future." Art Libraries Journal 20, no. 4 (1995): 16–18. http://dx.doi.org/10.1017/s0307472200009573.

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The Johannesburg Art Gallery opened in 1915. A collection of books intended for the Gallery, but housed elsewhere pending the completion of the building, became the separate Michaelis Art Library; the Gallery gradually formed its own library, for the use of the curators. In 1986 the Gallery Library was accommodated in a new wing. Selection for the Library has reflected the Gallery’s diverse collecting activities. Latterly, the Library has worked closely with the Gallery’s education department, and as a result its resources have been made available to the wider community. In 1994 the Library was given a major art slide collection by the Rand Afrikaans University; in the same year, it received funding for the computerisation of its catalogue, which will be accessible through SABINET. Work is in progress on an index of South African art.

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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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Dogu, Hikmet. "Exhibiting library books in an art gallery." College & Research Libraries News 50, no. 3 (March 1, 1989): 210–12. http://dx.doi.org/10.5860/crln.50.3.210.

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Shu, Yue, and Reiko Yoshimura. "The Chinese Collection of the Freer Gallery of Art | Arthur M. Sackler Gallery Library." Art Libraries Journal 39, no. 2 (2014): 33–38. http://dx.doi.org/10.1017/s0307472200018290.

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The library of the Freer Gallery of Art | Arthur M. Sackler Gallery is considered one of the finest East Asian art research collections in the United States. The development and progress of the library’s Chinese Collection has mirrored the historical changes in the field of Chinese art studies in the last one hundred years. Today, the library collection has more than 90,000 volumes, including 17,437 Chinese language monographs and 836 serials in over 25,000 volumes. In a landscape of changing scholarship, technology and user demands, the library is balancing the use of printed materials and digital resources and collaborating with other libraries to continue to meet the needs of curators, researchers and visitors.

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Hava, Jarmila. "The Library at the National Gallery of Zimbabwe." Art Libraries Journal 11, no. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.

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The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often content to continue traditions without seeking to innovate or to respond to other works of art. Both Gallery and Library have accepted and are developing an active educational role.

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Lydon, Andrea. "The right space: 150 years of housing a national gallery's library and archive collection." Art Libraries Journal 43, no. 1 (December 8, 2017): 24–30. http://dx.doi.org/10.1017/alj.2017.44.

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The National Gallery of Ireland is the country's premier art institution. It houses the nation's collection of fine art in addition to a collection of library and archive material relating to the visual arts. The library and archive collections play an invaluable role supporting the work of the gallery and are regularly consulted by external researchers. Surprisingly, for more than a century there was no dedicated library space allocated to this collection. This article explores the development of the collection and the space it has occupied within the Gallery over the last 150 years, chronicling the challenges the gallery has faced housing this growing collection. This article outlines the situation today and concludes with an outline of the gallery's future plans for the library and archive in its efforts to create a space that will be a fitting home for this remarkable collection.

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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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Dissertations / Theses on the topic "Canajoharie Library and Art Gallery"

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Tolley, Rebecca. "Review of Art Museum Image Gallery." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.

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Morrison, Leah. "Liber alphabeti super cantu plano, a fifteenth-century carthusian plainchant treatise in Huntington Library manuscript FI 5096 : an edition, translation and commentary /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063548t.

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Walther, Sigrid. "Zwischen Aufbruch und Agonie." SLUB Dresden, 2009. https://slub.qucosa.de/id/qucosa%3A1064.

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Aus dem Text: 'Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) bewahrt zahlreiche Nachlässe von Künstlern, Schriftstellern und Musikern, die in Sachsen gewirkt haben. Mit der Schenkung des Archivs der Galerie Nord 1974 bis 1991 wird nun eine weitere interessante Spezialsammlung der Dresdner Kunst- und Kulturgeschichte hinzugefügt, dauerhaft gesichert und für die Öffentlichkeit zugänglich gemacht. ... Die Galerie Nord verjüngte die gründerzeitliche, grau gewordene Häuserzeile in der Leipziger Straße. Die in diesem Band abgedruckten Fotografien – ergänzt durch Erinnerungen von Künstlern, Musikern und Dichtern – verdeutlichen, welchen Zuspruch die insgesamt 117 Ausstellungen und weiteren Veranstaltungen fanden, die weit über den Stadtteil Pieschen hinausstrahlten. Auch heute, nach der städtebaulichen Sanierung, leben und arbeiten zahlreiche Künstler in diesem elbnahen Stadtteil.'

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"Zwischen Aufbruch und Agonie." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-66237.

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Aus dem Text: "Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) bewahrt zahlreiche Nachlässe von Künstlern, Schriftstellern und Musikern, die in Sachsen gewirkt haben. Mit der Schenkung des Archivs der Galerie Nord 1974 bis 1991 wird nun eine weitere interessante Spezialsammlung der Dresdner Kunst- und Kulturgeschichte hinzugefügt, dauerhaft gesichert und für die Öffentlichkeit zugänglich gemacht. ... Die Galerie Nord verjüngte die gründerzeitliche, grau gewordene Häuserzeile in der Leipziger Straße. Die in diesem Band abgedruckten Fotografien – ergänzt durch Erinnerungen von Künstlern, Musikern und Dichtern – verdeutlichen, welchen Zuspruch die insgesamt 117 Ausstellungen und weiteren Veranstaltungen fanden, die weit über den Stadtteil Pieschen hinausstrahlten. Auch heute, nach der städtebaulichen Sanierung, leben und arbeiten zahlreiche Künstler in diesem elbnahen Stadtteil."

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Books on the topic "Canajoharie Library and Art Gallery"

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Library, National Gallery of Art (U S. ). National Gallery of Art Library. Washington, D.C. (Fourth and Constitution Ave., N.W., Washington 20565): The Library, 1993.

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2

Freer Gallery of Art. Library. Dictionary catalog of the Library of the Freer Gallery of Art, Smithsonian Institution. 2nd ed. Boston: G.K. Hall Micropublications, 1991.

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National Gallery of Art (U.S.). Guide to the National Gallery of Art microform holdings. Washington, D.C: National Gallery of Art, Library, 1990.

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Thorpe, James Ernest. Poems written at the Huntington Library. San Marino, CA: Huntington Library Press, 2000.

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Art Gallery of South Australia. Library. Artists in South Australia, 1940-1950: Art Gallery of South Australia Library. Adelaide: The Library, 1991.

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6

Henry E. Huntington Library and Art Gallery. The Huntington Library, art collections, and botanical gardens. San Marino, Calif: Huntington Library, 1992.

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7

Pomeroy, Elizabeth. The Huntington: Library, art collections, botanical gardens. Firenze: Scala, 1986.

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8

Bennett, Shelley M. French art of the eighteenth century at the Huntington. New Haven: Yale University Press, 2008.

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9

Exhibition, Magical Art. Magic and the art of seeing: The Magical Art Exhibition, Central Library Gallery Oxford, (6-11 April, 1987). Edited by Morgan Chris and DuQuesne Terence 1942-. Oxford: Golden Dawn, 1987.

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Henry E. Huntington Library and Art Gallery. The Huntington: Library, Art Collections, and Botanical Gardens : cultivating curiosity. San Marino, California: Huntington Library, Art Collections, and Botanical Gardens, 2014.

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Book chapters on the topic "Canajoharie Library and Art Gallery"

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Griffiths, John. "Annual Report of the Committee of the Free Public Library. Museum, and Walker Art Gallery 1888." In Empire and Popular Culture, 213–50. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351024785-39.

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Lederman, Alexandra, and Farah Jindani. "Drips Gallery." In Advances in Library and Information Science, 227–49. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2676-6.ch011.

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This paper explores the possibilities of using digital technologies in an archival setting. The hypothesis examined and investigated was: street art can be preserved and archived through archival websites and mobile applications. In order to explore this problem a community driven digital archive, Drips Gallery, was created. Drips Gallery is a new archive consisting of graffiti photograph collections and is available through a website and mobile app. The database, website, and mobile app was created, coded, and programmed specifically for the archival and community needs of Drips Gallery. Drips Gallery allows the community to drive the archive and changes the role of the archivist from record keeper to facilitator. By creating an archival mobile app and website, new and immediate ways of capturing and preserving culture as it is being created and consumed is now possible.

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3

Siegel, Jonah. "Art and the National Gallery." In The Emergence of the Modern Museum, 137–212. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195331134.003.0005.

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Abstract The National Gallery was regularly faulted, not only for flaws in the design of the building it shared with the Royal Academy until 1868, but for gaps in its collection and errors in the accession and preservation of its holdings. The British Museum, while seldom subjected to the vitriol that characterized accounts of the Gallery, challenged administrators and visitors by the sheer size and heterogeneity of its collection. At once museum of antiquities, copyright library, and repository of collections of natural history, numismatics, and more—how was such a diverse accumulation of materials to be rationalized so that it carried out the function of a modern cultural institution, especially given the pressure on the space of the building bound to result from the inexorable increase in all holdings?

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Lo, Patrick, Hermina G. B. Anghelescu, and Bradley Allard. "Yue Shu, Librarian, Freer Gallery of Art and Arthur M. Sackler Gallery Library, Smithsonian Libraries and Archives." In Inside Major East Asian Library Collections in North America, Volume 2, 231–40. Emerald Publishing Limited, 2022. http://dx.doi.org/10.1108/978-1-80455-139-420221022.

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Lo, Patrick, Hermina G. B. Anghelescu, and Bradley Allard. "Reiko Yoshimura, Head Librarian Freer Gallery of Art and Arthur M. Sackler Gallery Library, National Museum of Asian Art, Smithsonian Libraries and Archives." In Inside Major East Asian Library Collections in North America, Volume 1, 41–50. Emerald Publishing Limited, 2022. http://dx.doi.org/10.1108/978-1-80262-233-120221002.

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Whiteley, J. J. L. "The University Galleries." In The History Of The University Of Oxford, 611–30. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780199510160.003.0021.

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Abstract In the early nineteenth century, most of the works of art belonging to the University (excluding those which belonged to the colleges) were exhibited in and around the Bodleian. The Arundel inscriptions, given to the Uni-versity in 1667, and the busts and statues added by the Countess of Pomfret in 1755 were set out in ground-floor rooms adjoining the Schools Quadrangle. This was not an ideal arrangement, particularly for the Pomfret marbles, which were poorly displayed behind a ‘shilling barrier’.2 The Picture Gallery, one of the oldest public institutions of its kind, was better-organized.3 For a small fee, visitors could see approximately 200 portraits and a handful of other pictures, arranged in a large, well-lit, panelled gallery which occupied the site of the present Upper Library. But, despite the presence of a few good portraits, acquired chiefly out of interest in the sitters, most were of little value. Connoisseurs, who came to Oxford to see the collections at Christ Church and at Blenheim, did not, as a rule, visit the Bodleian Picture Gallery.

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Stamy, Cynthia. "Precision, Perspective, and the Harnessing of Silence." In Marianne Moore and China, 136–63. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184607.003.0006.

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Abstract Marianne Moore, like William Carlos Williams and Henry James, wanted in her youth to become a painter. Her poems display a penetrating and attentive visual sense augmented by a sensitivity to colour and the proximal relations and interactions of the various subjects in her compositions. Painterly verbiage appears repeatedly throughout her poetry and prose, with particular references alluding to matters of style and execution in Chinese art and art generally. Books on oriental rugs and carpets, Chinese bronzes, Chinese theories of art, museum bulletins on Chinese stele and prints, as well as gallery and auction catalogues on Chinese porcelains, jades, bronzes, textiles, fans, pottery, and sculpture make up a significant portion of Moore’s library holdings.

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Rublack, Ulinka. "The Age of Maximilian I." In Dürer's Lost Masterpiece, 343—C32F1. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198873105.003.0033.

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Abstract Few in the German lands aggressively furthered confessional strive like Maximilian I of Bavaria, Wilhelm’s son. This chapter introduces the ruler and his priorities as collector. It reflects on the duke’s library acquistions and analyses Hainhofer’s assessment of the duke’s personality when he visited the Munich court. Hainhofer’s minute observations of his visit offer an unparalleled source of information about courtly protocol and change in a new age of financial austerity and Wittelsbach power politics. Soon, Maximilian began to systematically hunt Dürers for his private art gallery. Dürer’s Heller altarpiece topped the list of works he most wanted to own.

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Woodward, C. Vann. "The Man on the Cliff." In The Strange Career of Jim Crow, 111–47. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195146899.003.0005.

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Abstract In the second year of the First World War, Maurice S. Evans, an Englishman who made his home in South Africa, wrote a book on race relations in the South that, according to the subtitle, was written ‘From a South African Point of View.’ He found conditions in the South ‘strikingly similar’ to those he had left behind at home. ‘The separation of the races in all social matters,’ he wrote, ‘is as distinct in South Africa as in the South¬ern States. There are separate railway cars . . . and no black man enters hotel, theatre, public library or art gallery.’

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"SAN MARINO, CA, HUNTINGTON LIBRARY AND ART GALLERY, MS ELLESMERE 26 A 17 (LONG KNOWN AS THE ‘STAFFORD GOWER’, LATER BELONGED TO THE EARL OF ELLESMERE)." In A Descriptive Catalogue of the English Manuscripts of John Gower's <em>Confessio Amantis</em>, 326–32. Boydell & Brewer Ltd, 2021. http://dx.doi.org/10.2307/j.ctv24tr7r0.56.

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Conference papers on the topic "Canajoharie Library and Art Gallery"

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Platonova, Maria A. "Art gallery in the scientific library providing cultural and recreation activities." In Twenty Fifth International Conference and Exhibition «LIBCOM-2021». Russian National Public Library for Science and Technology, 2022. http://dx.doi.org/10.33186/978-5-85638-247-0-2022-47-49.

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The cultural and recreation activities in the scientific libraries enable to build new functional spaces and widen their possibilities. By organizing art exhibitions (picture galleries), the libraries offer users to enjoy beauty and introduce them to cultural values. The author provides examples of art spaces in regional science libraries and describes the art gallery at RNPLS&T.

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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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