Journal articles: 'London Gallery'

1

Rubinstein, Ben. "The micro gallery at the national gallery of London." Archives and Museum Informatics 6, no. 2 (June 1992): 5–10. http://dx.doi.org/10.1007/bf02770344.

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Sloan, Dr Rachel, and Deborah Harty. "REVIEWS." Visual Inquiry 2, no. 1 (March 1, 2013): 99–103. http://dx.doi.org/10.1386/vi.2.1.99_5.

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MANTEGNA TO MATISSE: MASTER DRAWINGS FROM THE COURTAULD GALLERY The Courtauld Gallery, London, 14 June to 9 September 2012 and The Frick Collection, New York, 2 October 2012 to 27 January 2013HYPERDRAWING: BEYOND THE LINES OF CONTEMPORARY ART, TRACEY (2012) (EDITED BY PHIL SAWDON AND RUSSELL MARSHALL) London & New York: I.B. Tauris & Co Ltd. Paperback, ISBN: 978 1 78076 254 8

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Curling, Pip. "Lucian Freud: Hayward Gallery, London, 1988." de arte 23, no. 38 (September 1988): 34–35. http://dx.doi.org/10.1080/00043389.1988.11761076.

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Houlton, Tom. "Art's Unconscious Accuracy." Excursions Journal 4, no. 1 (September 13, 2019): 119–30. http://dx.doi.org/10.20919/exs.4.2013.168.

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Gómez González, Marisa. "Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art." Ge-conservacion 5 (December 22, 2013): 149–50. http://dx.doi.org/10.37558/gec.v5i0.202.

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Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art Editado por P. Jett, B. McCarty and J. G. Douglas Publicado por Archetype Publications Ltd. and Freer Gallery of Art, Smithsonian Institution. London, Los Angeles, 2012. 268 páginas, 297x210mm. ISBN. 9781904982722

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Harris, Laura. "Patriarchs, Nira Pereg, curated by James Clegg and Show Me the World Mister, Ayo Akingbade, curated by Carmen Juliá and Olivia Aherne." Moving Image Review & Art Journal (MIRAJ), The 12, no. 1 (April 1, 2023): 126–32. http://dx.doi.org/10.1386/miraj_00110_5.

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Review of: Patriarchs, Nira Pereg, curated by James Clegg and Show Me the World Mister, Ayo Akingbade, curated by Carmen Juliá and Olivia Aherne Reviewed by Laura Harris, University of Southampton Talbot Rice Gallery, Edinburgh, 29 October 2022-18 February 2023 Chisenhale Gallery, London, 10 November 2022-5 February 2023

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Patel, Raksha. "Revisiting the Decameron." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 171–79. http://dx.doi.org/10.1386/jcp_00021_7.

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Reynolds, Lucy. "Barang-Barang, Erika Tan." Moving Image Review & Art Journal (MIRAJ), The 11, no. 2 (September 1, 2022): 278–84. http://dx.doi.org/10.1386/miraj_00099_5.

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Wilson, Sarah Kate. "Insight: Week 8, Aimée Parrott." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 180–87. http://dx.doi.org/10.1386/jcp_00022_7.

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David, Karen. "Full of Days, Hermione Burton and Andy Holden." Journal of Contemporary Painting 9, no. 2 (October 1, 2023): 307–10. http://dx.doi.org/10.1386/jcp_00061_7.

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Bishop, James, and Ed Clark. "The Serpentine Gallery Pavilion 2008, London, UK." Structural Engineering International 21, no. 1 (February 2011): 30–32. http://dx.doi.org/10.2749/101686611x12910257102154.

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MacCannell, Daniel. "King Henry IX, or cardinal called York? Henry Benedict Stuart and the reality of kingship." Innes Review 58, no. 2 (November 2007): 196–209. http://dx.doi.org/10.3366/e0020157x07000066.

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A picture belonging to the National Portrait Gallery, London, attributed as of 1958 to Pompeo Batoni,1 is now listed as ‘Unknown Cardinal, formerly known as Henry Benedict Maria Clement Stuart, Cardinal York, [by the] circle of Anton Raphael Mengs’ ( Fig. 1 ).2 It is not the identity of the artist that poses the central question of this article, but of the sitter – in this, and in a very different painting: the Scottish National Portrait Gallery's Prince Charles Edward Stuart, by Maurice Quentin de La Tour ( Fig. 2 ).3

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Ojha, Hari Kumar. "Marry Shepherd Slusser: The Antiquity of Nepalese Wood Carving: A Reassessment." Himalayan Journal of Sociology and Anthropology 4 (May 9, 2011): 256–59. http://dx.doi.org/10.3126/hjsa.v4i0.4680.

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Marry Shepherd Slusser: The Antiquity of Nepalese Wood Carving: A Reassessment, Published by: University of Washington Press, Seattle and London in Association with the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution Washington DC (2010) Page: 315 xix, ISBN 978-0-295-99029-3 (hardback)DOI: http://dx.doi.org/10.3126/hjsa.v4i0.4680 Himalayan Journal of Sociology and Anthropology Vol.IV (2010) 256-259

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14

Mallinson, Helen. "Zumthor's hairy paradise." Architectural Research Quarterly 15, no. 4 (December 2011): 304–8. http://dx.doi.org/10.1017/s1359135512000061.

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Every year since the beginning of the new century, the Serpentine Gallery in London has commissioned a summer pavilion from a famous architect. This summer, a new book Ten Years Serpentine Gallery Pavilions was published by Taschen Verlag to coincide with the opening of the eleventh annual pavilion, designed by Peter Zumthor. Helen Mallinson reviews Zumthor's pavilion here, in the context of the decade-old pavilion programme.

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15

Jones, Peter. "Beyond the Streets, Roger Gastman (ed.) (2023)." Punk & Post-Punk 12, no. 3 (October 1, 2023): 403–5. http://dx.doi.org/10.1386/punk_00223_5.

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Stuart, David. "A light for life: The impact of X-rays on structural biology and its pioneers." Biochemist 32, no. 4 (August 1, 2010): 46–50. http://dx.doi.org/10.1042/bio03204046.

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In Gallery 38 of the National Portrait Gallery in London there is a portrait of Dorothy Hodgkin in her study, her desk littered with papers, and in the foreground is a model of the structure of insulin (Figure 1). The portrait is naturalistic apart from one small detail: Dorothy has four hands. Perhaps this goes some way to explaining her extraordinary achievements, which are still having a huge impact a century after her birth.

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17

Franklin, Jonathan. "Cataloguing the Library of Sir Charles Eastlake (1793–1865) at the Library of the National Gallery, London." Art Libraries Journal 42, no. 4 (September 19, 2017): 189–94. http://dx.doi.org/10.1017/alj.2017.34.

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The Library of Sir Charles Eastlake (1793–1865), the first Director of the National Gallery, London, became the founding collection of the National Gallery Library. It is now being catalogued to rare book standards, and the records will be made available to researchers as part of a wider retrospective conversion and online access project. A few highlights from the Eastlake Library are described in order to illustrate the range and depth of the collection.

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18

NIELSEN, KRISTIAN H. "‘What things mean in our daily lives’: a history of museum curating and visiting in the Science Museum's Children's Gallery from c.1929 to 1969." British Journal for the History of Science 47, no. 3 (December 18, 2013): 505–38. http://dx.doi.org/10.1017/s0007087413000940.

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AbstractThe Children's Gallery in the Science Museum in London opened in December 1931. Conceived partly as a response to the overwhelming number of children visiting the Museum and partly as a way in which to advance its educational uses, the Gallery proved to be an immediate success in terms of attendances. In the Gallery, children and adults found historical dioramas and models, all of which aimed at presenting visitors with the social, material and moral impacts of science and technology on society throughout history. Also, there were numerous working models with plenty of buttons to press, handles to turn and ropes to pull. Controversial visitor studies carried out in the 1950s revealed that the historical didacticism was more or less lost on the children who came to the Gallery. Consequently, the New Children's Gallery that opened in 1969 had to some extent abandoned the historical perspective in favour of combining instruction with pleasure in order to make the children feel that ‘science is a wonderful thing’.

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19

Beaulieu, Micheline, and Victoria Mellor. "The Micro Gallery: an evaluation of the hypertext system in The National Gallery, London." New Review of Hypermedia and Multimedia 1, no. 1 (January 1995): 233–60. http://dx.doi.org/10.1080/13614569508914669.

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20

Chulani, Chandra. "Dali Universe, County Hall Gallery, Riverside Building, London." Mental Health Practice 4, no. 4 (December 1, 2000): 29. http://dx.doi.org/10.7748/mhp.4.4.29.s17.

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21

Swords, Helen. "Ellen Gallagher, Anthony D'Offay Gallery, London, October 1996." Circa, no. 78 (1996): 61. http://dx.doi.org/10.2307/25563074.

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22

Swords, Helen. "Kathy Prendergast, Tate Gallery, London, March - May 1997." Circa, no. 80 (1997): 57. http://dx.doi.org/10.2307/25563148.

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23

Fusco, Maria. "London: "Eyes, Lies & Illusions" at Hayward Gallery." Circa, no. 111 (2005): 100. http://dx.doi.org/10.2307/25564299.

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24

Mark, Emily. "London: 'Conquering England' at the National Portrait Gallery." Circa, no. 113 (2005): 88. http://dx.doi.org/10.2307/25564351.

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25

Carelli, Francesco. "Divisionists: an exhibition at the National Gallery, London." London Journal of Primary Care 1, no. 2 (November 2008): 122. http://dx.doi.org/10.1080/17571472.2008.11493228.

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26

SMITH, CHARLES SAUMAREZ. "NARRATIVES OF DISPLAY AT THE NATIONAL GALLERY, LONDON." Art History 30, no. 4 (December 12, 2007): 611–27. http://dx.doi.org/10.1111/j.1467-8365.2007.00566.x.

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27

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

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

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28

Lee, Pooky. "Mode in Flux, Roca London Gallery, London, 1 July–27 August 2016." International Journal of Fashion Studies 3, no. 2 (October 1, 2016): 311–13. http://dx.doi.org/10.1386/infs.3.2.311_7.

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29

Marshall, David R. "Tivoli not Ariccia: Gaspard Dughet's View of ‘Ariccia’ in the National Gallery, London." Papers of the British School at Rome 71 (November 2003): 287–303. http://dx.doi.org/10.1017/s0068246200002476.

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TIVOLI E NON ARICCIA: LA VEDUTA DI ‘ARICCIA’ DI GASPARD DUGHET NELLA NATIONAL GALLERY, LONDRAIn questo articolo si identitica il soggetto principale del dipinto di Dughet conservato alla National Gallery di Londra, tradizionalmente identificato come una ‘Veduta di Ariccia’, con la Porta Sant'Angelo di Tivoli. La topografia del sito viene analizzata in relazione al dipinto di Dughet e ad altre rappresentazioni dello stesso luogo di Claude Lorrain, Gaspar van Wittel e Adriaen Honing.

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Wildgoose, Jane. "Afterlife Writing and Situation of Graves II." European Journal of Life Writing 9 (July 6, 2020): LW&D.CM1—LW&D.CM17. http://dx.doi.org/10.21827/ejlw.9.36913.

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This article discusses my practice as an artist and researcher examining the situation and significance of graves. First, in a site-specific installation at West Norwood Cemetery in South London, talking with visitors about whether it matters where human remains are deposited; secondly, in exhibitions at the Crypt Gallery St. Pancras and Lumen Crypt Gallery in Bethnal Green, presenting evidence of the historical circumstances in which human remains were appropriated from graves in the colonies, for the purposes of research into racial ‘science’ in museums during the late nineteenth century.

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Selwood, Sara, and Lillia McEnaney. "Exhibition Reviews." Museum Worlds 8, no. 1 (July 1, 2020): 216–28. http://dx.doi.org/10.3167/armw.2020.080116.

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Hogarth: Place and Progress, Sir John Soane’s Museum, London, 9 October 2019 – 5 January 2020.Place, Nations, Generations, Beings: 200 Years of Indigenous North American Art, Yale University Art Gallery, New Haven, Connecticut, 1 November 2019–28 February 2021.

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Orr, Michael, Tom Webster, and Jon Leach. "2015 Serpentine Gallery Pavilion – challenges of form and fabric." Structural Engineer 94, no. 5 (May 1, 2016): 22–31. http://dx.doi.org/10.56330/ssvv1200.

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The Serpentine Gallery Pavilion is an annual commission of a temporary installation in the lawns of Kensington Gardens, London, and aims to be a fusion of art and contemporary architecture. An internationally acclaimed architect, who is yet to complete a project within the UK, is commissioned by the Gallery to deliver an initial concept and work together with the Technical Advisers, AECOM with David Glover, and the Main Contractor, Stage One, to deliver the final product over a period of less than six months. In 2015, Spanish architects selgascano accepted the invitation of the Gallery to deliver its 15th Pavilion. This article provides a brief summary of the design-and-build process, detailing how the team developed the initial concept into the final Pavilion, which opened to the public in the summer of 2015.

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33

Brannigan, Erin. "Dance and the Gallery: Curation as Revision." Dance Research Journal 47, no. 1 (April 2015): 5–25. http://dx.doi.org/10.1017/s0149767715000054.

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… for several years now I've failed to find a solution to the London Tate Modern's demand for an exhibition of dance. … I never managed to find an adequate connection between the museum framework and dance. … We must try and solve this problem: dance is starting to be recognized as art. In the end it's as if you had to enter the museum to be legitimized! As a result, pressure to exhibit is growing.(Jérôme Bel n.d. 2014)13 Rooms, an exhibition curated by Hans Ulrich Obrist (Serpentine Gallery, London) and Klaus Biesenbach (MoMA, New York) and presented in Sydney in April 2013, included the work of choreographers and dancers as authors, performers, objects, and gallery guides. Described by its curators as an exhibition of “living sculptures” featuring “protagonists,” it raised many issues around dance-based knowledges, power relations between dance and the visual arts, art as commodity, and performer agency in performance-based works exhibited in galleries, particularly re-enacted durational works. During the course of the exhibition, a cast of around 100 performers, drawing on their own repository of physical training and “body-archive,” realized works by artists such as Marina Abramovic (Luminosity, 1997) and Joan Jonas (Mirror Check, 1970). These two works in particular required physical skills and training, and the performers were chosen on this basis. For both these pieces, the body-to-body transmission of the artists' intentions—which is so important in dance processes—was undertaken by the artists' representatives.

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

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

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35

Paine, Crispin. "Permanent gallery: the enlightenment at the british museum, london." Material Religion 1, no. 2 (July 2005): 287–88. http://dx.doi.org/10.2752/174322005778054186.

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36

Hubbard, Sue. "Daphne Wright, Frith Street Gallery, London, September/November 1998." Circa, no. 86 (1998): 52. http://dx.doi.org/10.2307/25563352.

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37

Shank, J. William, and Kenneth Clark. "100 Details from Pictures in the National Gallery London." Leonardo 25, no. 1 (1992): 104. http://dx.doi.org/10.2307/1575643.

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38

FUNNELL, PETER. "DISPLAY AT THE NATIONAL PORTRAIT GALLERY, LONDON, 1968-1975." Art History 30, no. 4 (December 12, 2007): 590–610. http://dx.doi.org/10.1111/j.1467-8365.2007.00565.x.

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39

Haapio-Kirk, Laura, and Nat Nesvaderani. "Widening the Frame." Cambridge Journal of Anthropology 42, no. 1 (March 1, 2024): 127–37. http://dx.doi.org/10.3167/cja.2024.420109.

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Nora Wuttke's Hospital Echoes Installation, Lady David Gallery, SOAS, University of London (13 April–2 May 2023 Moreshin Allahyari, dir. 2020. She Who Knows the Unknown: Kabous, the Right Witness and the Left Witness. Virtual Reality/Digital. Nazlı Dinçel, dir. 2019. Instructions on How to Make a Film. 16 mm.

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40

Orr, Michael, Jon Leach, and Amy Koerbel. "Serpentine Gallery Pavilion 2017." Structural Engineer 96, no. 11 (November 19, 2018): 18–28. http://dx.doi.org/10.56330/qcmi5074.

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The annual Summer Pavilion programme at the Serpentine Gallery in London is unique. It presents the work of an international architect, or design team, who has not completed a building in England at the time of the Gallery's invitation. The design and construction of each pavilion must be completed within six months and it remains situated on the Gallery's lawn throughout the summer for the public to explore and enjoy, before being demounted and relocated to a permanent site. The commission for the 2017 pavilion was accepted by Berlin-based Burkinabe, Francis Kéré and his practice. For the fifth year, AECOM provided technical design services including structural and civil engineering, fire engineering, specialist lighting and electrical design. The project was successfully completed on time and within budget, opening to the public in June 2017. This article describes the technical and engineering challenges of delivering Francis Kéré's vision of a floating steel-and-timber tree-like canopy over the sinuous timber walls that define the spaces inside the pavilion. Those spaces provided a temporary home to a wide range of community-based activities, ranging from cookery classes led by asylum seekers to 'Build your own pavilion' workshops, opening up the world of engineering and design to future generations. A fusion of traditional design methods combined with the very latest digital modelling technologies was used in the delivery of the pavilion. This included pioneering examples of combining augmented and virtual reality throughout the whole design and construction process, which enabled the intricate details of the pavilion to be quickly communicated and fully resolved before fabrication and construction commenced.

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41

Blair, Alice, Carolina Bartram, and Ed Clark. "Structural design of the new Exhibition Road Quarter at the Victoria & Albert Museum, London." Structural Engineer 96, no. 6 (June 1, 2018): 12–19. http://dx.doi.org/10.56330/btyq4876.

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Designing deep basements for buildings in historic city-centre locations is always a challenging proposition. The Exhibition Road Quarter project at the Victoria & Albert Museum, London – providing a new entrance, courtyard and purpose-built gallery for temporary exhibitions – was no exception. The new Sainsbury Gallery is situated in a 15m deep basement on a site bounded by Grade I and II* listed buildings with unusual and fragile facades. Artifacts sensitive to movements and vibrations are housed in these buildings, and the museum had to remain open throughout the works. The structure that supports the courtyard is the roof of the basement; this is a 'folded plate' steel structure spanning 36m across the site to create a 1100m2 column-free gallery below ground. Expressed steel transfer beams and columns support an existing museum building as the main entrance staircase passes underneath. Access to the gallery is via the porcelain tiled entrance courtyard, known as the Sackler Courtyard, the world’s first public space to be paved in this way. Sophisticated three-dimensional (3D) analysis, digital design and optimisation methods, together with early considerations of buildability and construction sequence, were important to understand the structural actions, and reduce the risks during construction, of this ambitious project. These techniques allowed the structural design to be visualised, understood and communicated in a way that enabled architects, engineers, the client and contractors to participate in its development. Working with Amanda Levete's architectural practice AL_A, Arup provided multidisciplinary design services from competition stage through to completion of construction. This article discusses the key structural engineering challenges of the project.

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42

Keehn, Nancy Luxmore. "Manet Happy Returns, Chevreul, or the Paradigm Change to Perceptual Art." Perceptual and Motor Skills 65, no. 1 (August 1987): 243–51. http://dx.doi.org/10.2466/pms.1987.65.1.243.

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The year 1986 marked the bicentenary of the birth of Michel Eugene Chevreul. By coincidence the Courtauld Institute Gallery in London mounted an exhibition showing the construction of works by Edouard Manet. The present article shows parallels between the works of Manet and the ideas of Chevreul. No implication of any direct influence is intended.

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43

Imhof, Robin. "National Portrait Gallery200442National Portrait Gallery. London: National Portrait Gallery Gratis URL: http://www.npg.org.uk/ Last visited September 2003." Reference Reviews 18, no. 1 (January 2004): 48–49. http://dx.doi.org/10.1108/09504120410513429.

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44

Klonk, Charlotte. "Mounting Vision: Charles Eastlake and the National Gallery of London." Art Bulletin 82, no. 2 (June 2000): 331. http://dx.doi.org/10.2307/3051380.

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45

McBride, Stephanie. "Objects of Desire, Hayward Gallery, London, October 1997 - January 1998." Circa, no. 82 (1997): 62. http://dx.doi.org/10.2307/25563226.

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46

Harbison, Isobel. "Daniel Figgis Doppler, Isobel Harbison, Beaconsfield Gallery, London, June 2006." Circa, no. 117 (2006): 86. http://dx.doi.org/10.2307/25564477.

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47

Sabin, Roger. "Gee Vaucher at the Horse Hospital Gallery, London, July 2001." Visual Communication 1, no. 2 (June 2002): 223–27. http://dx.doi.org/10.1177/147035720200100206.

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Vicars‐Harris, Oliver. "COLLAGE: the Corporation of London Library and Art Gallery Electronic." New Library World 100, no. 2 (April 1999): 60–64. http://dx.doi.org/10.1108/03074809910263783.

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49

Connerty, Anthony. "Art Law Dispute Resolution: Demands for the Return of National Treasures and the Disputed Ownership of the Hugh Lane Impressionist Paintings." Arbitration: The International Journal of Arbitration, Mediation and Dispute Management 87, Issue 4 (November 1, 2021): 459–83. http://dx.doi.org/10.54648/amdm2021033.

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This article looks at three matters:1. Claims for the return of national treasures and cultural objects.2. The dispute between the Dublin City Gallery and the National Gallery in London concerning the ownership of the Hugh Lane Impressionist Paintings.3. Methods for dealing with the settlement of art-related conflicts by dispute resolution systems such as arbitration and mediation.This article is based in part on an article by the author, ‘Ownership, Ethics and Non-Adversarial Settlement Methods: The Hugh Lane Bequest’: Volume 26 of the Studies in Art Law, Cultural Heritage Law and Ethics: Mapping Recent Developments: ISBN 978- 3-7255-8677-6; and on his article published by the Dispute Board Federation, ‘The Resolution of Art Disputes by Adjudication: A New Way Forward’.

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Burn, Lucilla. "Recent Acquisitions of Greek, Roman and Cypriot Antiquities at the Fitzwilliam Museum 2001–2006." Archaeological Reports 53 (November 2007): 191–97. http://dx.doi.org/10.1017/s0570608400000491.

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The Fitzwilliam Museum, founded through the bequest of Richard, 7th Viscount Fitzwilliam of Merrion (1745–1816), is the principal museum and art gallery of the University of Cambridge. The Museum's collection of Greek, Roman and Cypriot antiquities grew steadily throughout the 19th and 20th centuries by gift, bequest, excavation and purchase, and is today one of the finest such collections in the United Kingdom outside London.

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Journal articles on the topic 'London Gallery'

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