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Journal articles on the topic 'Collection art'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Rademeyer, Alta. "Telkom art collection." de arte 33, no. 58 (September 1998): 44–47. http://dx.doi.org/10.1080/00043389.1998.11761277.

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2

Klyukanova, Larisa G. "Private Art Collecting as a Present­Day Culture Phenomenon." Observatory of Culture, no. 2 (April 28, 2015): 73–77. http://dx.doi.org/10.25281/2072-3156-2015-0-2-73-77.

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Analyses collecting as a type of cultural activity, its institutional and substantive aspects. The author investigates mechanisms of private collection functioning including formation of collections and storage, systematisation, and exhibition of artifacts. The importance of representing the cultural value and symbolic significance embodied in the collection items is highlighted.
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3

Di Benedetto, Claudio. "The Uffizi Library: a collection that documents collections." Art Libraries Journal 35, no. 2 (2010): 4–7. http://dx.doi.org/10.1017/s0307472200016321.

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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In addition it contains major works on art history, artists, public and private art collections, exhibitions and many related topics. The Library holds 77,000 printed books and more than 440 manuscripts; its catalogue is shared with the IRIS consortium of art history and humanities libraries and contributes to artlibraries.net through this shared bibliographic database. Several digitisation projects have already been completed or are currently in progress.
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4

Romero, Martha. "The JAPS Library: A collection about art." Art Libraries Journal 48, no. 1 (January 2023): 2–9. http://dx.doi.org/10.1017/alj.2022.22.

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AbstractJuan Antonio Pérez Simón has built one of the most extensive art collections in Mexico and it is well-known around the world. One of the least known facets of Juan Antonio Pérez Simón's collecting is that of a bibliophile, a facet that has led him to form one of the richest private libraries specializing in art in Mexico, known for its great expanse and diversity of themes, as well as for the importance of the works that comprise it. The Juan Antonio Pérez Simón (JAPS) Library is the custodian of Pérez Simón's book collection and strives to manage, research, and preserve the collection in order to strengthen and enrich it.
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5

Danowitz, Erica Swenson. "Art Magazine Collection Archive." Charleston Advisor 23, no. 3 (January 1, 2022): 5–9. http://dx.doi.org/10.5260/chara.23.3.5.

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This resource provides full-text access to the digital archives of three significant art publications, ARTnews, Art in America, and The Magazine ANTIQUES. The 3,950 issues found in this database appear in digital format in their entirety as originally published. This database also includes the original advertisements found in these periodicals. These advertisements have been indexed and are searchable. This archive provides an extensive chronicle of art collecting, fine arts, art history, interior design, decorative arts, folk art, antiquing, and architecture in the twentieth and early twenty-first century. It also supports the study and research of the contemporary art movements of the twentieth century, the history of collecting, and the history of the art market.
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6

Rebora, Carrie. "Robert Fulton's Art Collection." American Art Journal 22, no. 3 (1990): 40. http://dx.doi.org/10.2307/1594565.

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7

Royo Naranjo, Lourdes. "Art Collection Neue Börse." Boletín de Arte, no. 25 (April 2, 2018): 851–55. http://dx.doi.org/10.24310/bolarte.2004.v0i25.4647.

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Bajo el título Art Collection Neue Börse se expuso en el Centro de ArteContemporáneo de Málaga la muestra de un total de treinta y cuatro fotografías de gran formato seleccionadas de la colección de Arte de la Bolsa de Alemania (Deutsche Béirse) entre los días 23 de febrero y 25 de mayo de 2003. Una novedad tanto en el ámbito nacional como internacional, puesto que era la primera vez que la colección Deutsche Börse abandonaba su sede habitual de Francfurtk para ser expuesta.
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8

Hundt, Stefan. "The Sanlam Art Collection." de arte 40, no. 72 (January 2005): 67–75. http://dx.doi.org/10.1080/00043389.2005.11877047.

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9

Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.
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10

Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein." de arte 37, no. 65 (January 2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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11

Sackler, EA. "The ethics of collecting." International Journal of Cultural Property 7, no. 1 (January 1998): 132–40. http://dx.doi.org/10.1017/s0940739198770122.

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The author questions the concepts underlying ethnological collections of art and artifacts in the context of the Native American Graves Protection and Repatriation Act (NAGPRA). Alternatives to traditional Western anthropological and art historical methods of collection and display of sacred Native American material are found in traditional Native American philosophy and practice. The contemporary fashion among curators for contextualization of displayed objects from Indigenous cultures is critiqued in the light of broader ethical concerns regarding the appropriateness of collecting sacred objects from living Indigenous Peoples.
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12

Krajczar, N. F. "Art Collection Yields Unexpected Dividends." Journal of Visual Impairment & Blindness 80, no. 8 (October 1986): 885–87. http://dx.doi.org/10.1177/0145482x8608000805.

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13

Havens, Carolyn. "Cataloging a Special Art Collection." Cataloging & Classification Quarterly 9, no. 4 (May 16, 1989): 27–49. http://dx.doi.org/10.1300/j104v09n04_03.

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14

Findley, Marcia. "Using the OCLC/AMIGOS Collection Analysis Compact Disk to Evaluate Art and Art History Collections." Technical Services Quarterly 10, no. 3 (June 21, 1993): 1–15. http://dx.doi.org/10.1300/j124v10n03_01.

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15

Harris, Neil, and JUDITH ZILCZER. "American Art Collecting: THE DISPERSAL OF THE JOHN QUINN COLLECTION." Archives of American Art Journal 49, no. 1/2 (April 2010): 54–65. http://dx.doi.org/10.1086/aaa.49.1_2.23025801.

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16

Bouwer, Garton. "Inventing a world: Reference Material and the Small Art Library." Art Libraries Journal 20, no. 4 (1995): 8–12. http://dx.doi.org/10.1017/s030747220000955x.

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The case of the Central Art Library in the Cape Town City Libraries illustrates the role of an art reference collection within a lending library. Such a collection should be wide ranging in scope, catering for the needs of students, professionals, and the general public, and must be built up by means of careful and informed selection, with the needs of the local community in mind. Representation of art worldwide should be complemented with documentation of the arts of the library’s own locality and nation. The Central Art Library’s reference section includes two student collections, and a number of special collections, including a collection devoted to African art, a comics collection, an image bank, and a collection of pamphlets and ephemera. Expanding the reference collection can be an effective strategy for serving the needs of the public despite a standstill or shrinking budget.
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17

Liu, Cary Y. "Asian Art Collection: From Exotica to Art and History." Record of the Art Museum, Princeton University 55, no. 1/2 (1996): 125. http://dx.doi.org/10.2307/3774783.

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18

Johnston, Tiffany L. "American Dionysus: Carl W. Hamilton (1886–1967), collector of Italian Renaissance art." Journal of the History of Collections 31, no. 2 (October 31, 2018): 411–30. http://dx.doi.org/10.1093/jhc/fhy026.

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Abstract For nearly a decade Carl W. Hamilton was in possession of one of the most important private collections of Italian Renaissance painting in America. A self-made millionaire from humble beginnings, the young Hamilton captivated the art dealer Joseph Duveen and Duveen’s foremost experts in Italian Renaissance painting, Bernard and Mary Berenson. By inspiring and instructing Hamilton, Duveen and the Berensons hoped to focus his wealth and ambition to create a great collection and thereby profit by both him and the glory of his achievement. Though Hamilton’s personal collection proved ephemeral, many of his most important works of art nevertheless found their way into American public collections. Furthermore, Hamilton’s formative collecting experience – which developed his prejudices and preferences, sharpened his keen negotiating skills and solidified his zeal for collecting – helped to shape two significant collections of Old Masters in the Carolinas: the Museum & Gallery at Bob Jones University and the North Carolina Museum of Art.
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19

Ozhoha-Maslovska, Alla. "Collections of Japanese Art in Ukraine." Intercultural Relations 3, no. 2(6) (February 16, 2020): 109–23. http://dx.doi.org/10.12797/rm.02.2019.06.06.

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The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collections of The Bohdan and Varvara Khanenko National Museum of Arts in Kyiv, Odessa Museum of Western and Oriental Arts, the Chinese Palace of “Zolochiv Castle” Museum-Reserve, as well as Kharkiv Art Museum are explored. Finally, modern tendencies in the collection of Japanese art in Ukraine are determined.
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20

Montero, Gustavo Grandal. "Video as art: collecting artists’ moving image in academic art libraries." Art Libraries Journal 34, no. 3 (2009): 5–10. http://dx.doi.org/10.1017/s0307472200015947.

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Video collections have been part of library holdings for several decades, but developing and managing these collections presents a number of challenges. This is the case particularly for artists’ film and video, and this article attempts to identify the issues involved and to offer some practical guidance, drawing on the experience of collection development and management at Chelsea College of Art and Design Library, and across the libraries of University of the Arts London and elsewhere.
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21

Naumova, Vera. "Antiquity in the Razumovskys’ Art Collection." Actual Problems of Theory and History of Art 5 (2015): 563–73. http://dx.doi.org/10.18688/aa155-6-61.

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22

Roy, Christopher D. "African Art from the Bareiss Collection." African Arts 32, no. 2 (1999): 52. http://dx.doi.org/10.2307/3337603.

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23

Brown, Carol. "An Art Collection for a Stadium." African Arts 44, no. 2 (June 2011): 56–67. http://dx.doi.org/10.1162/afar.2011.44.2.56.

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24

Alexander, Lucy. "Unisa art collection: new acquisitions, 1986." de arte 22, no. 36 (September 1987): 69–82. http://dx.doi.org/10.1080/00043389.1987.11761055.

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25

de Kamper, GC. "The University of Pretoria Art Collection." de arte 42, no. 76 (January 2007): 65–69. http://dx.doi.org/10.1080/00043389.2007.11877083.

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26

Crowley, Daniel J. "Ethiopian Folk Art: The Leavitt Collection." Journal of American Folklore 111, no. 439 (1998): 57. http://dx.doi.org/10.2307/541320.

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27

ORFILA, JORGELINA. "ART COLLECTING IN AMERICA DURING THE INTERWAR PERIOD: THE CHESTER DALE COLLECTION OF MODERN FRENCH ART." Archives of American Art Journal 50, no. 1/2 (April 2011): 48–61. http://dx.doi.org/10.1086/aaa.50.1_2.23025823.

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28

Abdallah, Monia. "Stories of Continuity. Contemporary Art and Collection of Islamic Art." Revista VIS: Revista do Programa de Pós-Graduação em Arte 16, no. 1 (June 26, 2017): 8–21. http://dx.doi.org/10.26512/vis.v16i1.20454.

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Nos últimos trinta anos, o Islã, entendido como civilização islâmica, tem sido, em vários sentidos, crescentemente associado à noção de arte contemporânea. Por exemplo, muitos grandes museus no mundo incluem, em suas coleções de arte islâmica histórica, trabalhos pertencentes a suas coleções de arte contemporânea originárias do Oriente Médio. Essa associação entre artecontemporânea e arte islâmica levou à noção de Arte Islâmica Contemporânea, que se baseia na ideia de permanência da arte islâmica. Assim, a arte islâmica pode ser vista como um “umanacronismo de uma arte medieval que nunca morreu” (Amy Goldin) e recebe a atribuição de um caráter trans-histórico: arte, produzida hoje em países muçulmanos ou por artistas ligados ao Islã por seus lugares de nascimento ou por ascendência, é compreendida como prolongamento da arte islâmica hoje. Essa interpretação também funda-se na ideia de permanência da civilização islâmica e em uma concepção ahistórica do tempo. Esse artigo analisará essa concepção alternativa de periodização da arte islâmica estudando o caso do British Museum erelacionando-a ao discurso de vários historiadores e autores não-ocidentais. O tema em questão vai além do campo da arte: esse renascimento da arte islâmica é um meio de estabelecer,através da arte, a continuidade cultural da civilização islâmica.
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29

Kollia, P. "At the crossroads of art and law: international art collection." Journal of Intellectual Property Law & Practice 9, no. 3 (February 13, 2014): 246. http://dx.doi.org/10.1093/jiplp/jpt245.

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30

Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (November 2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University Art Museum. In January 2012 it was announced that some fragments from the Bothmer collection would be returned to Italy, because they fitted vases that had already been repatriated from North American collections. The Euaion painter fragments are considered against the phenomenon of collecting and donating fractured pots.
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31

Artamonova, Svetlana. "Art Collections of the Russian State Library." Art Libraries Journal 17, no. 2 (1992): 27–28. http://dx.doi.org/10.1017/s0307472200007793.

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The former Lenin State Library in Moscow, now the Russian State Library, holds extensive collections of graphic and photographic materials, Russian and foreign, dating from the 15th century to the present day. These include a collection of some 434,000 posters, of which film and political posters form the largest subsections; a smaller number of pre-Revolutionary posters is of special interest. The collection of engravings totals some 93,000 items, and includes both works of European masters and Russian popular prints. There are also collections of postcards, “albums”, and manuscripts.
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32

Skorupa, Ewa. "Literary Narratives on Collections." Tematy i Konteksty specjalny 1(2020) (2020): 166–79. http://dx.doi.org/10.15584/tik.spec.eng.2020.9.

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The article deals with collections and collecting as a literary theme. Research on this issue should be undertaken by literary scholars, as collections support the features of literary characters and give protagonists their identity. The work analysed from this angle is “Money” by Andrzej Strug from 1914. It interprets and describes three different collections and three different collectors: the eccentric Lyttons and their museum of stones, Lucy Slazenger’s precious jewellery collection and the art collection of Osias Murway, an enthusiast of antiquities.
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33

Kember, Pamela, Chantal Wong, Claire Hsu, and Hammad Nasar. "Asia Art Archive." Art Libraries Journal 39, no. 2 (2014): 5–9. http://dx.doi.org/10.1017/s0307472200018241.

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Asia Art Archive was established in 2000 in Hong Kong to document and secure the multiple recent histories of contemporary art in the region. Built through a systematic programme of research and information gathering, it is widely regarded as one of the world’s leading public collections of primary and secondary source material about contemporary art in Asia, comprising hundreds of thousands of physical and digital items, searchable via its online catalogue. A growing selection of digitised material is now also available in the Collection Online.
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34

Stevens, Craig, Gabby O’Connor, and Natalie Robinson. "The connections between art and science in Antarctica: Activating Science*Art." Polar Record 55, no. 4 (May 23, 2019): 289–96. http://dx.doi.org/10.1017/s0032247419000093.

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AbstractArt may be made as a guide to understanding sense of place, and also as a pathway to understanding and valuing scientific ideas. Here we consider this connection in the context of a selected history of artists working in Antarctica, from early explorers to the modern era. This provides a parallel trajectory for the nature, realisation and purpose of the art. We then consider the interaction between art and science and the nature of interdisciplinary work by looking at work produced in a sea ice-based science field camp by an artist collecting data – both scientific and art focused. The artist participated in two field campaigns a year apart, allowing comparison of the evolution of both the artistic practice and the science data collection. Furthermore, the collection of data that served both needs provides a unique point of connection between two fields of endeavour, which are typically considered as separate.
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35

Srinivasamurthy, Ajay, Sankalp Gulati, Rafael Caro Repetto, and Xavier Serra. "Saraga: Open Datasets for Research on Indian Art Music." Empirical Musicology Review 16, no. 1 (December 10, 2021): 85–98. http://dx.doi.org/10.18061/emr.v16i1.7641.

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We introduce two large open data collections of Indian Art Music, both its Carnatic and Hindustani traditions, comprising audio from vocal concerts, editorial metadata, and time-aligned melody, rhythm, and structure annotations. Shared under Creative Commons licenses, they currently form the largest annotated data collections available for computational analysis of Indian Art Music. The collections are intended to provide audio and ground truth for several music information research tasks and large-scale data-driven analysis in musicological studies. A part of the Saraga Carnatic collection also has multitrack recordings, making it a valuable collection for research on melody extraction, source separation, automatic mixing, and performance analysis. We describe the tenets and the process of collection, annotation, and organization of the data. We provide easy access to the audio, metadata, and the annotations in the collections through an API, along with a companion website that has example scripts to facilitate access and use of the data. To sustain and grow the collections, we provide a mechanism for both the research and music community to contribute additional data and annotations to the collections. We also present applications with the collections for music education, understanding, exploration, and discovery.
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Bromage, Sarah. "Making Our Collections Visible." Art Libraries Journal 45, no. 2 (April 2020): 68–72. http://dx.doi.org/10.1017/alj.2020.5.

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This article details the process involved in making the collections of the University of Stirling Archives and Art Collection available online. Our new online catalogue http://collections.stir.ac.uk allows researchers to search across our CALM for archives catalogue and our Art Collection Adlib catalogue to uncover the depth and breadth of the cultural collections on offer at the University of Stirling.
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37

von Veh, Karen. "The MTN Art Collection: Is a ‘working collection’ a good investment?" de arte 44, no. 79 (January 2009): 41–48. http://dx.doi.org/10.1080/00043389.2009.11877106.

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38

Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (July 1, 2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.
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39

Lampens, Dieter, Ingrid De Pourcq, and Peter Rogiest. "Collection development and management in the art library of the Koninklijk Museum voor Schone Kunsten Antwerpen." Art Libraries Journal 33, no. 3 (2008): 12–18. http://dx.doi.org/10.1017/s030747220001542x.

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As stated in its collection policy, the library of the Koninklijk Museum voor Schone Kunsten Antwerpen supports the goals of the museum through collecting, indexing and providing access to documentary information to support art historical research within and outside the institution. The library’s collection development has a double focus: the exhaustive collecting and indexing of collection documentation, and the collecting of information about Western art history from the 13th century up to and including the 20th century (in analogy with the museum collection). While very specialised in content and in its in-depth indexing system, the library scans a broader scope to satisfy the fluctuating information needs of the museum staff. Today, collection development and management is becoming more and more co-operative, through various partnerships in Antwerp and also those with similar art libraries, especially where online access to datasets and electronic resources is concerned.
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40

Goetzmann, William N., C. R. Smith, and Richard H. Saunders. "Collecting the West: The C. R. Smith Collection of Western American Art." Western Historical Quarterly 21, no. 1 (February 1990): 104. http://dx.doi.org/10.2307/969009.

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41

Thurmann-Jajes, Anne. "Collecting collections: The Research Centre for Artists’ Publications." Art Libraries Journal 38, no. 3 (2013): 30–35. http://dx.doi.org/10.1017/s0307472200018654.

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Established in 1999 within the Weserburg Museum of Modern Art, in Bremen, the Studienzentrum für Künstlerpublikationen (Research Centre for Artists’ Publications) is today one of the most significant institutions worldwide in the field of artists’ publications, with holdings of more than 200,000 items, and important programmes of exhibitions and publications. The Research Centre traces its roots to the Archive for Small Press & Communication (ASPC), founded in 1974 by Anne Marsily and Guy Schraenen, and incorporates more than 40 individual archives and special collections, including the PLG Friesländer’s Mail Art Archive, the Klaus Groh Collection and the Kunstradio Archive.
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42

Bernand, Alexandre. "Macanas: the art of clubs from Amazonia." CRATER, Arte e Historia, no. 2 (2022): 1–21. http://dx.doi.org/10.12795/crater.2022.i02.01.

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Wooden clubs from Amazonia, called macanas, have been identified and valued by Europeans since the Conquest and quickly became essential additions to Wunderkammern. However surviving pieces often lack a detailed collection history, as they have been brought to Europe over a period of five hundred years by various kinds of visitors with different goals and sets of mind. The first section reviews the early reports and descriptions mentioning those pieces, whether in situ (e.g. chronicles of Columbus voyages or later travelers), or in European collections. We present in the second part a nonexhaustive selection of eleven types of clubs from Amazonia that belong to European (mostly public) collections, and we try to connect these types to the abovementioned historical sources. The aim of this paper is to show the diversity of shapes and also the historical depth of the club tradition in Amazonia.
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43

Godfrey, Jenny. "The DACS Slide Collection Licensing Scheme." Art Libraries Journal 26, no. 4 (2001): 10–17. http://dx.doi.org/10.1017/s030747220001244x.

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For many years slide libraries in higher education institutions in the UK grew steadily in size as they accommodated the needs of new and expanding art and design courses. Although some slide librarians acquired new slides by photographing works of art in museums and art galleries, and most bought slides of the traditional art history canon from commercial publishers and art galleries, the largest proportion of these ever growing slide collections was made up of slides produced by copy photography, using slide film to photograph images taken from books, journals and exhibition catalogues. Changes in UK copyright law in 1988 made this illegal and jeopardised the ability of lecturers to present the visual material they needed for their courses. Slide librarians were forced to consider ways of getting around the law. A licence scheme ultimately emerged as the answer, but one that has its detractors and critics.
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44

Yartseva, O. A. "Коллекция Пегги Гуггенхайм." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.

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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.
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Gowans, Linda. "King Arthur in Cornwall: a reprint collection." Arthuriana 12, no. 2 (2002): 152–54. http://dx.doi.org/10.1353/art.2002.0036.

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Andres, Hanna, and Mariia Lutska. "Features of Private Art Collecting in Ukraine in 1990s–2000s." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 66–71. http://dx.doi.org/10.33838/naoma.29.2020.66-71.

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The article analyzes private art collecting in 1990s–2000s in Ukraine. It is important to mention that collecting works of art in Ukraine of the time indicated in the article does not have comprehensive coverage. The complexity of the study of this issue is also due to the closeness and limitation of access to private collections. The collapse of the USSR, the transition from a totalitarian regime to democracy and the establishment of a market economy in Ukraine contributed to the formation and creation of private collections of artistic works. At this time, three main branches of non-state collecting begin to form: private collections, corporate collections of institutions (banks, insurance companies) and foundations. In the early 1990s the practice of collecting works by banks came to Ukraine from the West. Ukrincombank, Southern Bank, Gradobank, etc. were involved in that work. The interest of private individuals in forming their own collections also begins with Ukraine’s acquisition of Independence, but gains momentum in the early 2000s. The art collections were represented by E. Dymshyts, L. Bereznitsky, A. Adamovsky, I. Voronov, V. Pinchuk and others. One of the most important collections began to be initiated by Boris and Tatiana Hrynyov family of in 1996. Their idea of the collection arose from the concept of Kharkiv artists. In the circle of their interests — the art of Soviet nonconformists and Ukrainian contemporary art. Foundations of art appeared in Ukraine after the proclamation of Independence in 1991. These are non-governmental and non-profit organizations, established by private or corporate enti- ties. Important foundations in Ukraine, that have their own collections of art, are Soviart, Alexander Feldman Foundation, Stedley Art Foundation etc. The collections of the 1990s and 2000s are very important for the history of Ukrainian art and collecting. The collectors of this period have played a key role in preserving the artistic heritage of Independent Ukraine.
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Korzenik, Diana. "Intramuralia: Korzenik Collection of Art Education Materials." Huntington Library Quarterly 61, no. 3/4 (January 1998): 553–63. http://dx.doi.org/10.2307/3817781.

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Apostolos-Cappadona, Diane. "Vatican museums: collection of modern religious art." Material Religion 2, no. 2 (July 2006): 251–53. http://dx.doi.org/10.2752/174322006778053672.

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Murayama, Nina. "Reinventing Art Collection in Airports: JFK International." International Journal of Social, Political and Community Agendas in the Arts 14, no. 3 (2019): 39–54. http://dx.doi.org/10.18848/2326-9960/cgp/v14i03/39-54.

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Davis, Whitney. "Homoerotic Art Collection from 1750 to 1920." Art History 24, no. 2 (April 2001): 247–77. http://dx.doi.org/10.1111/1467-8365.00263.

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