Journal articles on the topic 'Museum of Old and New Art (Tas.)'
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Fillis, Ian, Kim Lehman, and Morgan P. Miles. "The museum of old and new art." Journal of Vacation Marketing 23, no. 1 (August 1, 2016): 85–96. http://dx.doi.org/10.1177/1356766716634153.
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Entrepreneurial marketing is used to understand new venture creation in the vacation tourism sector through a case study of private art museum in Tasmania that has become a tourist destination of major international significance. The Museum of Old and New Art (MONA) has emerged as a major driver of tourism in the region. Interrogation of the arts and cultural tourism literature sets up a key research proposition – in arts and cultural tourism, the unique artistic tastes of the entrepreneur often trump customer needs and preferences by shaping the visitor’s experience through creative artistic innovation. The findings support our proposition, with additional grounding through the impact of the owner/manager and associated entrepreneurial marketing and effectuation impacts.
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Franklin, Adrian, and Nikos Papastergiadis. "Engaging with the anti-museum? Visitors to the Museum of Old and New Art." Journal of Sociology 53, no. 3 (June 6, 2017): 670–86. http://dx.doi.org/10.1177/1440783317712866.
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Hailed as the most important cultural event since the opening of the Sydney Opera House, the Museum of Old and New Art (Mona) in Tasmania seemingly made very substantial changes to visitor experiences of an art gallery, catalysed a significant cultural florescence in Hobart and achieved tourism-led urban and regional regeneration on a par with the Guggenheim Museum Bilbao. Drawing on a large survey of visitors this article illuminates the origins, social aims and impacts of successful attempts to push art museums beyond what Hanquinet and Savage call ‘educative leisure’. It contributes to our knowledge of the processes by which traditional forms of ‘highbrow’ cultural experience associated with the dominance of the classical and historical canon are being eclipsed by newer, performative, emotional and sensual forms of cultural taste.
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Blessing, Patricia. "Presenting Islamic Art: Reflections on Old and New Museum Displays." Review of Middle East Studies 52, no. 1 (April 2018): 147–52. http://dx.doi.org/10.1017/rms.2018.12.
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AbstractThis essay presents a reflection on a selection of collections of Islamic art in Europe and the Middle East, focusing on new installations that emerged in the last decade. While various approaches have been discussed in the context of new installations, chronological narratives still prevail. Perhaps, these are indeed the best way to introduce audiences unfamiliar with the material to its complex historical and cultural contexts. The overarching goal of many of these displays may be to create positive public engagement with Islamic art in a global context where Islam is often associated with war and destruction.
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Booth, Kate, and Justin O’Connor. "Planning for creative effects: the Museum of Old and New Art." Australian Planner 55, no. 2 (April 3, 2018): 65–72. http://dx.doi.org/10.1080/07293682.2018.1518250.
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Sinitsyna, Olga. "Old and new problems of Russian art libraries." Art Libraries Journal 17, no. 4 (1992): 23–26. http://dx.doi.org/10.1017/s0307472200008063.
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As a result of the momentous changes taking place in Russia, people and institutions have acquired a new freedom which they have not been prepared for. Art libraries can offer opportunities for people to use their freedom well, but their collections are inadequate and they are desperately short of money. At the same time, prices of books have risen sharply, and the introduction of charges for inter-library lending is inhibiting smaller libraries from borrowing material for their users. Library collections are being depleted by theft, sometimes perpetrated by hard-up librarians. Cooperation between art libraries could help, but libraries accustomed to a rigid centralized system scarcely know how to begin to cooperate voluntarily; nonetheless, some first steps have been taken by a number of Moscow’s art libraries. Russian art libraries are of several kinds, notably museum libraries, serving their own institutions in the first instance, and art departments of large public libraries, but there is no national art library to serve as the focal point of a network; in the absence of cooperation and networking, collection development and stock-editing are guided only by the immediate needs of particular libraries. Russian libraries, not least the Library of Foreign Literature, desperately need not only to develop networking at home, but also to establish links with libraries abroad.
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Roden, Rosemary. "CING 2. The Fraser Collection, Wolverhampton Museum." Geological Curator 4, no. 6 (July 1986): 349. http://dx.doi.org/10.55468/gc276.
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The final phase of the current Fraser collection Rescue Project (started autumn 1984) is now going ahead with the planned opening of a Fraser Geological Gallery at Wolverhampton Museum and Art Gallery. In March 1984 there was much rejoicing in the Art Gallery when the go-ahead was given for the new museum extension. Work started early in December 1985 and the alterations of the old red Polytechnic building into the new galleries is expected to take a year. The plans include a small separate gallery for the Fraser collection, which links thematically with the adjoining local history displays; so after an absence of fifty years, these fine fossils will be on view to the public again,...
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Chibikova, I. Yu. "PARTICULARITIES OF THE FORMATION OF MUSEUM COLLECTIONS OF OLD RUSSIAN AND CHURCH ART IN THE LATE XIXTH – EARLY XXTH CENTURY IN SAMARA." Arts education and science 3, no. 32 (2022): 95–100. http://dx.doi.org/10.36871/hon.202203011.
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The article is devoted to the culturological analysis of the initial stage of museum development in Samara region and, in particular, the identification of specific features of the church art collection formation in the Samara Public Museum. This museum was the first in the Middle Volga region and was the only large central museum of the province. In the article, the author studies the main stages in the development of the public museum and the organization of its stock activities, explores the ways to replenish the stock collections, as well as the sources of new exhibits and designs of the exposition. Having studied a number of historiographical sources, the author draws a conclusion about traditional approaches and methods of creating museum collections at the initial stage, typical for many Russian regions in the late XIXth – early XXth centuries, at the same time revealing the peculiarities of building a collection of Old Russian and church art in Samara. Along with other items of church heritage (sculptures, old printed and handwritten books, articles of arts and crafts), icon painting originally occupied one of the central places in the exposition area of the Samara Public Museum, being for the visitors, on the one hand, a window into the museum space itself, and on the other, a translation of complex and deep concepts of spiritual reality through a specific symbolic artistic language of art.
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Horowitz, W., and W. G. Lambert. "A new exemplar of Ludlul bēl nēmeqi Tablet I from Birmingham." Iraq 64 (2002): 237–45. http://dx.doi.org/10.1017/s0021088900003715.
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In the early 1980s a group of cuneiform tablets formerly in the collection of Sir Henry Wellcome housed at the Wellcome Historical Medical Museum arrived at the Birmingham City Museum and Art Gallery. The majority of these tablets were Ur III administrative texts that were published in Birmingham Cuneiform Tablets I–II. Other tablets in the collection included Old Akkadian, Old Babylonian and Late Babylonian documents, a Shulgi plaque, clay cones, inscribed bricks, a small group of astronomical texts, and a few unidentified miscellaneous tablets and fragments. One of these unidentified fragments turned out to be a hitherto unknown exemplar of Ludlul Bēl Nēmeqi Tablet I, and is the occasion of the current study.
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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
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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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Rodgers, Christine Love. "New initiatives to solve old problems: collecting exhibition catalogues at the National Art Library." Art Libraries Journal 24, no. 2 (1999): 8–11. http://dx.doi.org/10.1017/s0307472200019416.
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Exhibition catalogues are a key resource for art and design research, but smaller and more ephemeral catalogues are difficult for art librarians to collect. In the late 1980s and early 1990s a period of interest in the UK in the problems of collecting and cataloguing exhibition catalogues sparked off research into fresh approaches to the problem. In line with the resulting recommendations the National Art Library, at the Victoria & Albert Museum in London, has developed two key initiatives. These are the Exhibition Catalogues Programme and a joint project with the British Library to increase access to smaller exhibition catalogues. Both are showing clear benefits for national access to published exhibition documentation.
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Biryukova, Marina V. "Modern and Contemporary Art in the Russian Museum Context." Muzeológia a kultúrne dedičstvo 8, no. 3 (September 2020): 63–74. http://dx.doi.org/10.46284/mkd.2020.8.3.3.
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The article considers contemporary and modern art in Russia as reflected in museum curatorial projects. The concepts of large-scale museum exhibitions are based on certain categories that correspond to following qualities: the connection with the centuries-old tradition, myth-making, ludic aspects and internationality – openness to the perception of other cultures. The article analyses exhibition projects in the beginning of the twentieth century, in which contemporary art is demonstrated in the space of tradition, the media context, the everyday context and the context of cultural myths and symbols. The problem of determination of the aesthetic value of contemporary art is stressed in the space of the museum, and represented artworks receive a bigger expressiveness in the neighborhood of works of traditional art. Exhibition curators effectively use aesthetic and formal contrasts; sometimes classical artworks themselves suggest new ways of understanding meanings, hypothetically included in contemporary art – as seen in the projects at the Hermitage, the State Russian Museum and the State Tretyakov Gallery, where curators can unite or contrast tradition and modernity.
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Franklin, Adrian. "Where "Art Meets Life"." Journal of Festive Studies 1, no. 1 (May 13, 2019): 106–27. http://dx.doi.org/10.33823/jfs.2019.1.1.27.
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In Hobart, a litany of winter festivals flopped and failed until the arrival of Mona (Museum of Old and New Art), a private museum owned by mathematician, successful online gambler, and autodidact David Walsh. Since 2013, its new festival, Dark Mofo, not only has reignited long-somnolent traditions of midwinter festival imaginaries among its postcolonial society but also has proved to be an effective vehicle for galvanizing an all-of-community form of urban activation, engagement, and regeneration. It has also completely overwhelmed the city with visitors keen to participate in a no-holds-barred ritual week with major global artists and musicians keen to be on its carnivalesque platforms. While Mona has explored grotesque realism themes of sex, death, and the body in its darkened, labyrinthine and subterranean levels, Dark Mofo has permitted their mix of carnivalesque and Dionysian metaphors and embodied practices/politics to take over the entire city in a week of programmatic mischief and misrule at midwinter. Research by an Australian Research Council–funded study of Mona and its festive register will be used to account for its origins and innovation as well as its social, cultural, and economic composition and impact.
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Károly, László. "Old Uigur medical fragment in Syriac script." Orientalia Suecana 73 (April 3, 2024): 28–37. http://dx.doi.org/10.33063/os.v73.525.
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The Museum of Asian Art in Berlin holds a single-folio fragment (shelf-mark M 152) of an Old Uigur medical text written in the Syriac script. It is the only known manuscript in the entire collection of Old Uigur texts of the Church of the East that deals with medicine. The present article provides a new edition of the fragment including a transliteration, transcription, English translation, commentary and glossary.
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Gladston, Paul, and Lynne Howarth-Gladston. "Tasmania’s Museum of Old and New Art and the Intertextual Traces of English Romanticism." Journal of Curatorial Studies 12, no. 1 (April 1, 2023): 48–79. http://dx.doi.org/10.1386/jcs_00080_1.
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Displays at the Museum of Old and New Art (MONA) in Hobart, Tasmania have been presented and received as an innovative democratizing departure from currently dominant curatorial paradigms. Attention is drawn in this article to multiple material similarities as well as resonances of signified meaning and affect between MONA and four sites of sublimely aestheticized experience/display constructed for socially elite audiences during the eighteenth and early nineteenth centuries as part of English romanticism. Viewed in this light, MONA can be understood to recast visual practices and aesthetic affects whose residual intertextual traces deconstructively qualify the museum’s existing presentation and reception.
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Karczewski, Leszek. "Distributed Community. Participatory Actions and Organizational Culture of a Museum Institution." Nauki o Wychowaniu. Studia Interdyscyplinarne 18, no. 1 (June 30, 2024): 155–63. http://dx.doi.org/10.18778/2450-4491.18.12.
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The article discusses the consequences of participatory actions in a museum exemplified by the Find Art exhibition presented at the Muzeum Sztuki Lodz in 2017. It focuses on the transformative impact of participatory projects on museum culture and organizational structure. Museums have shifted from collection-driven entities to audience-oriented institutions, blurring lines between entertainment, education, and cultural heritage. The author highlights the changing paradigm of museums from old to new museology, critiquing power structures within museums. Based on the analysis of the Find Art exhibition the author argues that participatory projects reconfigure a museum institution, creating a Protean community of multi-functional collaborations that challenge conventional museum roles. He suggests a post-critical approach, defining a “distributed museum,” where networks of dependencies redefine the museum’s role beyond traditional boundaries. The author acknowledges the diverse contributions within the distributed museum, encompassing both formal and informal entities and addresses potential implications of exploitation within this dynamic community.
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Kelly, Piers. "Australian message sticks: Old questions, new directions." Journal of Material Culture 25, no. 2 (July 4, 2019): 133–52. http://dx.doi.org/10.1177/1359183519858375.
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Message sticks are tools of graphic communication, once used across the Australian continent. While their styles vary, a typical message stick is a flattened or cylindrical length of wood with motifs engraved on all sides. Carried by special messengers over long distances, their motifs were intended to complement a verbally produced communication such as an invitation, a declaration of war, or news of a death. It was only in the late 1880s that message sticks first became a subject of formal anthropological enquiry at a time when the practice was already in steep transition; very little original research has been published in the 20th century and beyond. In this article, the author reviews colonial efforts to understand these objects, as recorded in documentary and museum archives, and describes transformations of message stick communication in contemporary settings. He summarizes the state-of-the-art in message stick research and identifies the still unanswered questions concerning their origins, adaptations and significance.
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Walker, Georgina. "A Twenty-first-century Wunderkammer: Museum of Old and New Art (MONA) Hobart, Tasmania, Australia." International Journal of the Inclusive Museum 9, no. 2 (2016): 1–17. http://dx.doi.org/10.18848/1835-2014/cgp/v09i02/1-17.
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Korpysz, Ewa. "MUSEUM CURATOR BY VOCATION. CANON MIROSŁAW NOWAK PHD (1961–2021): DIRECTOR OF THE WARSAW ARCHDIOCESE MUSEUM." Muzealnictwo 62 (August 6, 2021): 173–78. http://dx.doi.org/10.5604/01.3001.0015.0682.
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Having fought a long and tough battle against COVID-19, on 11 April 2021, Mirosław Nowak PhD, a theologian, art historian, museum curator, Archdiocese Conservator, and the Director of the Warsaw Archdiocese Museum, passed away. In 1982–1987, Fr. Mirosław studied art history at the History Department of the University of Warsaw, at the same time studying philosophy and theology at the Higher Metropolitan Seminary in Warsaw. Having taken holy orders in 1990, throughout his life he was able to successfully harmonize his ministry with the profession of an art historian. With his research focused on Baroque art, in 2006, he defended his doctoral dissertation on the Chapel of Blessed Ceslaus in the Wrocław church of the Dominicans. Fr. Mirosław Nowak performed many Diocese-wide functions, with 2013 being for him breakthrough: it was then that he became Director of the Warsaw Archdiocese Museum. Under him, the Museum was moved to a new extensive home in the centre of Warsaw’s Old Town; he mounted a permanent exhibition, and created an energetic cultural centre of high impact. At the Museum, he organized lectures, shows, authors’ presentations, concerts, and conferences. Fr. Nowak established contacts with other museums in Poland and abroad; he organized around 40 temporary exhibitions, among which the biggest and most interesting was that dedicated to the Silesian master of the Baroque Michael Willmann, The Warsaw Archdiocese Museum will painfully miss a good human and an excellent director.
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Kukkonen, Heidi. "“Can I go into the artwork?” Material–relational situations with abstract art." Journal for Research in Arts and Sports Education 6, no. 3 (August 30, 2022): 76–95. http://dx.doi.org/10.23865/jased.v6.3554.
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The purpose of this article is to study museum educational situations, where 5–7-year-old children encounter abstract art, from a new materialist perspective. The children visit an exhibition curated by me, where abstract modernist art is mediated, with an emphasis on multisensory experiences and experimentation. The visits were recorded with stationary and action cameras. By focusing on material–relational situations, I investigate how learning takes place when the children engage with the museum educational setting. A girl asks a surprising question that challenges the takenfor-granted beliefs about what art can be. The children break rational and logical patterns by creating abstract art, and “aesthetic-intuitive order” takes place in the compositions. A child and an adult relate differently to the agential “teaching matter.” Embodied and material pedagogy with abstract art indicates how “making sense” of the world is not only done in verbal and logical ways but also by experimenting with bodies and senses with teaching matter.
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Booth, Kate, Justin O'Connor, Adrian Franklin, and Nikos Papastergiadis. "It's a Museum, But Not as We Know It: Issues for Local Residents Accessing the Museum of Old and New Art." Visitor Studies 20, no. 1 (January 2, 2017): 10–32. http://dx.doi.org/10.1080/10645578.2017.1297121.
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Ryan, Louise. "Re-branding Tasmania: MONA and the altering of local reputation and identity." Tourist Studies 16, no. 4 (July 31, 2016): 422–45. http://dx.doi.org/10.1177/1468797615618097.
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This article investigates the Museum of Old and New Art in Hobart, Tasmania focussing on the relationship between the residents of a place and their principal tourist attraction. Called the ‘Getty of the Antipodes’, the museum mounts a permanent collection, special exhibitions and music/art festivals intended to shock conventional moral sensibilities. Yet, the conservative people of the community embrace their purposefully provocative attraction for having put them on the world map. This article raises a number of questions. Does creating an attraction and the arrival of tourists change local thought and practice in any fundamental ways? Or is it all a masquerade for the golden horde? Is understanding one’s own locality as an attraction-for-others changing the locals’ perception of where and how they live? And of one another? Ultimately, how sustainable are these new cultural ventures in boosting economies, maintaining new cultural identities and engaging visitor interest in the long term?
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Du, Haiming. "The Promotion of Regional Cultural Resources and the Integration of Visual Art Education—Take Haihunhou Culture as an Example." Learning & Education 9, no. 2 (November 10, 2020): 94. http://dx.doi.org/10.18282/l-e.v9i2.1412.
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In the development of the big data era, major changes are taking place in many fields in the world, and the field of visual art education is no exception. Breaking through the old style of aesthetic education, transforming from art education to visual art education, and achieving interdisciplinary teaching is a major challenge and opportunity for art educators. This article takes Jiangxi’s regional culture—Haihunhou culture as the research base, integrates museum research, network interactive experience, local teaching materials and other methods to conduct junior high school art teaching, making full use of the rich cultural and social resources at present, There is a new breakthrough in art classroom education, which more representatively reflects the inheritance, innovation and comprehensiveness of the integration of regional cultural resources and visual art education.
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Grzybkowska, Teresa. "PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)." Muzealnictwo 58, no. 1 (February 13, 2017): 2–13. http://dx.doi.org/10.5604/01.3001.0009.5602.
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Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.
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Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.
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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.
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Kugusheva, Alexandra Yu. "Documentary archive of Alexander Gaush (1873–1947) in the Simferopol Art Museum collection. Letters of Igor Grabar." Issues of Museology 14, no. 1 (2023): 78–90. http://dx.doi.org/10.21638/spbu27.2023.106.
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This article classifies the archive of Alexander Gaush in the Simferopol Art Museum funds and studies the texts of individual documents. Alexander Gaush (1873–1947) was an artist and graphic artist, participant of exhibitions of the Academy of Arts and the World of Art artistic movement, one of the founders of the New Society of Artists, curator of the Museum of Old Saint Petersburg, professor of painting, a talented teacher. A number of archive documents were previously studied by the chief curator of museum funds Leonarda Rybnikova, the Crimean art critic Sergey Pushkarev; individual pages of the artist’s biography were illuminated by the employee of the State Museum of Saint Petersburg History Lyudmila Aksenova. The archive documents can be classified into two sections: the first includes letters and handwritten documents authored by Alexander Gaush; the second includes letters addressed to A.Gaush and various documents related to the life and work of the artist and his wife Lyubov Gaush (1873–1943). Among A.Gaush’s correspondents are prominent artists: Eugene Demmeni (1898–1969), Nikolay Root (1870–1960), Alfred Eberling (1872–1951), Igor Grabar (1871–1960). The letters of Igor Grabar, sent in 1946–1947, allow us to see a picture of the artistic life of this time. The text of these letters sheds light on the history of the portrait, which A.Gaush, with the assistance of Igor Grabar, tried to transfer to the Russian Museum through the Leningrad Purchasing Commission. A number of facts suggest that this work of art was the Portrait of Lyubov Gaush created by Alexander Sokolov, which was transferred by A.Gaush for temporary storage to the Simferopol Art Gallery in 1946 and accepted into the main fund in 1949.
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Milojkovic, Aleksandar, and Marko Nikolic. "Museum architecture and conversion: From paradigm to institutionalization of anti-museum." Facta universitatis - series: Architecture and Civil Engineering 10, no. 1 (2012): 69–83. http://dx.doi.org/10.2298/fuace1201069m.
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The majority of art museums all over the world have found their accommodation in buildings whose primary function and service, at the time of construction, was completely different. Conversion was more a rule than an exception during (not so long) museum history, and it is unambiguous that typological structure of renaissance and baroque palaces have had dominant influence on museum organization and structure. The further important step forward, considering museum accommodation in historical buildings, happened after the Second World War, with reevaluation and representation of old artistic works by means of new architectonic tools. During the late seventies, reaction of artists to contemporary prevailing trends in museum architecture resulted in creation of numerous unconventional museums, placed in abandoned industrial facilities, warehouses, powerplants, on the margins of official culture, as a contrast to the overdesigned museums as sites of luxury and entertainment. Not long afterwards, the network of museum institutions has accepted the vital elements of this "parallel cultural system" concept and reaffirmed conversion as an equally worthy solution for collection accommodation and temporary exhibition space. In this paper, we have presented the history of conversion as a part of museum architectural typology evolution, advantages and disadvantages of conversion, as well as the contribution of conversion to the sustainable urban development.
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Lehman, Kim, Ian Ronald Fillis, and Morgan Miles. "The art of entrepreneurial market creation." Journal of Research in Marketing and Entrepreneurship 16, no. 2 (October 14, 2014): 163–82. http://dx.doi.org/10.1108/jrme-09-2013-0024.
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Purpose – The purpose of this paper is to use the case of the Museum of Old and New Art (MONA) in Hobart, Tasmania, to investigate the role of entrepreneurial marketing (EM) in shaping an arts enterprise. It draws on the notion of effectuation and the process of EM in explaining new venture creation and assesses the part played by David Walsh, the entrepreneurial owner/manager. Design/methodology/approach – This case study analysis enables an in-depth appraisal of the impact of EM and effectuation within the growing domain of arts marketing. Findings – The paper offers a glimpse into how creativity and business interact in the creation of new markets. It demonstrates how formal methods of marketing are bypassed in the search for owner/manager constructed versions of situational marketing. In addition, it provides insight into dominance of entrepreneur-centrism vs customer-centrism in entrepreneurship marketing. An additional contribution to knowledge is the use of effectuation to assist in better understanding of the role of EM in the market creation process. Originality/value – The research carried out here builds on a growing body of work adopting the EM lens to better understand arts marketing and new venture creation.
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Ford, Simon. "The disorder of things: the postmodern art library." Art Libraries Journal 18, no. 3 (1993): 10–24. http://dx.doi.org/10.1017/s0307472200008403.
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Postmodernism has stimulated a ‘new art history’, which challenged, and then displaced, the highly selective canon of the ‘Old Masters’ and ‘Modern art’ with a broader approach, recognising a wider range of art and interested in investigating both the contexts of art, and the nature of art history itself. The new art history is represented on the shelves of art libraries, but a ‘new art librarianship’ must do more than passively reflect this cultural shift. A new art librarianship will expect of art librarians that they should be aware of the ways in which art libraries legitimise certain books and artworks, thus reinforcing the hegemony of the dominant culture, and that they should be prepared to use the power of art libraries knowingly and productively. Instead of imposing order through inflexible classification schemes, the new art librarianship will embrace the ‘disorder’ of a vast complex of knowledge seen from multiple viewpoints, accommodated by hypertext, for example. It is possible that electronic networking will eventually liberate information from the custody of libraries; the new art librarianship will not resist this, but will in parallel with such developments re-value art books, and books as art, as historical artefacts, reviving a more museum-like function from the history of librarianship, while continuing to serve as a manifest symbol of the wealth of human knowledge.
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Kuznetsova, Marfa V. "The Kozma Soldatenkov Art Collection at the Rumyantsev Museum: History and Characteristics of Museumization." Observatory of Culture 20, no. 3 (July 14, 2023): 291–300. http://dx.doi.org/10.25281/2072-3156-2023-20-3-291-300.
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The article analyzes the role of the art collection of the Moscow Old Believer merchant, publisher and textile manufacturer Kozma Terentyevich Soldatenkov (1818-1901) in the formation of the Moscow Public and Rumyantsev Museums. One of the earliest Moscow collections was assembled by Soldatenkov for nearly 50 years, and was exhibited in his mansion on Myasnitskaya Street. It included works of Russian and Western European art of the mid- and second half of the 19th century. After the collector died in 1901, in accordance with his will, the collection was transferred to the Moscow Public and Rumyantsev Museums. However, the collector’s desire to exhibit his collection in the same room was not achieved due to a lack of space in the museum: the collection was divided into two parts. This continued despite the construction of a separate building for the Museum’s art gallery on Starovagankovsky Pereulok. Although the Soldatenkov Collection was a significant part of Moscow’s art culture during the period in question, its owner was well known in the second half of the 19th century thanks to his publishing activity and patronage of art, and took part in the foundation of the Rumyantsev Museum. Archive materials, including the collection’s catalogues, and documents from the manuscript department of the Pushkin State Museum of Fine Arts, allow us to conclude that the staff of the Rumyantsev Museum was interested in the scientific grouping and classification of works according to aesthetic and chronological categories. Thus, the museumization of the collection was a new stage in its history and contributed to the formation of the attitude towards Soldatenkov’s collection in subsequent years as a significant phenomenon in Moscow’s art culture, including the scientific community.
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Kuleva, Margarita I. "Turning the Pushkin Museum into a ‘Russian Tate’: Informal creative labour in a transitional cultural economy (the case of privately funded Moscow art centres)." International Journal of Cultural Studies 22, no. 2 (January 30, 2019): 281–97. http://dx.doi.org/10.1177/1367877918821236.
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This article investigates the creative work that is now taking place in newly established cultural institutions in Moscow, the non-governmental museums of contemporary art (MoCAs). The exploration of creative work in Russian art centres is of particular interest because it promises to record the transition of the contemporary art market from the Soviet-era cultural monopoly to the market economy, during the real-time formation of new, informal standards of cultural production. The present article evaluates what informality means within these new standards of the organization of creative work: while standing for culture ‘in a new and innovative way’, the new art centres preserve many residues of the ‘old system’, such as the practices of blat, favour-swapping and clientelism. The article is based on an empirical study conducted in 2016 which included 25 in-depth interviews with cultural workers employed full-time, and 20 live observations in offices and exhibition areas of the art centres.
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Van Bockhaven, Vicky. "Decolonising the Royal Museum for Central Africa in Belgium's Second Museum Age." Antiquity 93, no. 370 (July 8, 2019): 1082–87. http://dx.doi.org/10.15184/aqy.2019.83.
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In December 2018, the Royal Museum for Central Africa (RMCA) in Tervuren, Belgium, reopened its doors after a renovation project that started nearly 20 years ago. Founded by the infamous King Leopold II, the RMCA contains cultural and natural history collections from Belgium's former colonies of Congo, Rwanda and Burundi, as well as other parts of Africa and beyond. Today, a new ‘Welcome pavilion’ leads the visitor through a monumental subterranean corridor to the historic building's basement and to an introduction to the history of the collections. The exhibition halls on the ground level have been refurbished, including the old colonial maps painted on the walls, while in the Crocodile Room, the original display has been retained as a reminder of the museum's own history. The largest halls now present displays linked to the scientific disciplines and themes within the museum's research remit (Figure 1): ‘Rituals and Ceremonies’ (anthropology), ‘Languages and Music’ (linguistics and ethnomusicology), ‘Unrivalled art’, ‘Natural History’ (biology), ‘Natural resources’ (biology, geology) and ‘Colonial History and Independence’ (history, political science). Eye-catching developments include: a room featuring some of the statues of a racist style and subject matter, which were formerly exhibited throughout the museum, and are now collected together in a kind of ‘graveyard’ (although this symbolic rejection is not properly explained); a new Afropea room focusing on diaspora history; a section on ‘Propaganda and representation’ (Imagery), a Rumba studio and a Taxolab. In place of racist statues, and occupying a central position in the Rotunda, is a new sculpture by Aimé Mpane named ‘New breath, or burgeoning Congo’. The accompanying label states that this piece “provides a firm answer” to the remaining allegorical colonial sculptures in the Rotunda by “looking at a prosperous future”. Alas, this answer is not as clear as is claimed and its message may be lost on many visitors.
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Zotova, Elena Ya. "Subscription copper-cast plastic from the collection of the Museum of Russian Icon. New discoveries." Russian Journal of Church History 3, no. 1S (March 22, 2022): 130–44. http://dx.doi.org/10.15829/2686-973x-2022-92.
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At the exhibition dedicated to the history and culture of the Old Believers in the Museum of Russian Icon, a number of objects of copper artistic casting expanding our understanding of the development of this type of applied art were presented. During the pre-exhibition research three signed and dated objects were identified as a part of the complex of Moscow Old Believers plastics. Among them one can find a rare triptych “Deesis, with selected saints” of 1798/1799. The date (from the creation of the world) was engraved on the lower end.The image of the “Mother of God and Child” (“Kazansksya”) 1809/1810 from the museum collection belongs to the same group of dated monuments. These two items are the works created by master Mikhail Gupkin. His career started in Moscow at the end of the 18th century and then continued in Kaluga. Two signed and dated items from the collection of the Museum of Russian Icon appear to be a valuable addition to the complex of copper-cast plastic made by the master in his Kaluga period.The Moscow group of subscription copper casting is supplemented with an icon made after the model of master Ignat Timofeev. This image of the “Mother of God and Child” (“Kazanskaya”) is distinguished by the inscription on the upper smooth frame of the centerpiece: “S IK KA IG TI”. These first letters of five words can be deciphered as followed: “Siya Ikona Kazanskaya IGnata Timofeeva” (“This Kasanskaya icon made by Ignat Timoeev”). Later the works of this master, who carried out orders from the Preobrazhenskaya Old Believers community became the basis of Moscow copper workshops’ range of products.
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Cox, Jason. "Documenting Larp as an Art of Experience." International Journal of Role-Playing, no. 9 (December 28, 2018): 24–30. http://dx.doi.org/10.33063/ijrp.vi9.267.
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Larp documentation and representation has proven difficult for a variety of reasons. I contend that one way to meet this challenge is to foreground player experiences over the narrative created by the designers. Player-created artifacts from larps utilize a range of senses to create a kind of assemblage of documentation that more closely approximates both the feel and the meaning of the experience, providing a more complete picture of what the larp was and what it felt like. They can represent the collaboration between the players, the context, and the system, through an amalgam of the “memories, stories, photographs and old props now serving as souvenirs from alternate realities” (Stenros, Montola, & Belarbi 2010). These artifacts become social objects (Engeström 2005, cited in Simon 2010) that describe experiences from multiple perspectives, with the intent of surrounding the experience (Sullivan 2010) to allow for an examination of relationships that are simultaneously immediate and distant. The realizations that emerge from this engagement evoke Art-educator Elliot Eisner’s (2002) dictum that “meaning is not limited to what words can express” (p.230).Some may argue that this approach constitutes the musealization of larp, but the movement towards the model described by Museum Director and scholar Nina Simon in The Participatory Museum (2010) would not only be a more accurate rendering of larp experiences, but also would encourage an audience to engage with the material “as cultural participants, not passive consumers.” Participants are encouraged to use the social objects as a locus point around which they can create, share, and connect to one another. In effect, the exhibit communicates experience by being an interactive-experience that considers physical, social, and personal contexts at play (Falk and Dierking 2016). These concepts are given form in The Magischola Museum (Cox 2017) website that I designed to house artifacts from Learn Larp LLC’s New World Magischola series.
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Schuhmann, Leslie, and Christine Chagnon. "Collections Support Services (CSS) - 25 Years of Improving Access and Care to our Nation’s Collections." Biodiversity Information Science and Standards 2 (June 13, 2018): e25889. http://dx.doi.org/10.3897/biss.2.25889.
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Originally formed in the early 1980s as the Move Crew to move museum collections to the newly opened state of the art Smithsonian Institution’s Museum Support Center, Collections Support Services has evolved into a team of highly skilled museum professionals recognized as trusted experts, innovators, project managers, and problem solvers in all aspects of collections stewardship. We have packed, moved, and stored MILLIONS of objects across Smithsonian museums including the National Museum of Natural History and several of our art museums; the Freer Sackler Gallery, Hirshhorn Museum and Sculpture Garden, and National Museum of African Art. Our vast experience with Natural History collections has been with objects ranging from microscopic invertebrates, fragile bird eggs, 40’ war canoes, whale skulls, giant squids and EVERYTHING in between! Many of these collections came from overcrowded and dusty attics, basements, and warehouses prone to flooding, pest infestation, and poor climate control. We have spent the last 25 years moving these collections into our climate controlled storage pods furnished with new metal cabinets designed for long term preservation. Some of the unique packing and transportation methods we will highlight in this presentation are “airbags” that encompass fragile bird skeletons and uniform shipping containers made of ethafoam planks and old wooden drawers. In addition, we have designed and constructed aluminum pallets for oversized collections, specialized elephant skull pallets, and plaster jackets for paleo fossil specimens. These storage solutions have greatly improved access to collections by allowing researchers to study specimens with minimal handling necessary. This presentation will specifically demonstrate these and other dramatic improvements that we have made as well as highlight innovative solutions we developed to safely transport, store, and provide better access to our Natural History collections for future generations.
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Podlubnova, Yu S. "“To the Keeper of the Ufimian Museum...” The Letter by D. D. Burlyuk to A. A. Cherdantsev August 3, 1923. New York." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 199–206. http://dx.doi.org/10.25205/2410-7883-2019-1-199-206.
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The letter from the poet, the founder of Russian futurism David Davidovich Burliuk (1882– 1967) was written on August 3 of 1923. His addressee was Aleksander Alekseevich Cherdantsev (1871–1943). The letter is kept in the collection of the writer, local historian and a collector of documentary materials Alexander Kuzmich Scharts (1906–1986) in the Ural Writers Museum. The content of the letter is associated with a famous episode of the biography of David Burliuk, his lfe in 1915–1918 in the village of Buzdak near Ufa. Here he created more than 200 paintings. Also he was the active member of the Ufa art circle (1913–1918) at the provincial museum (he communicated with local artists, organized exhibitions). In 1918 Burliuk traveled from Siberia, then emigrated first to Japan (1920) and then to the USA (1922). His paintings remained in Buzdyak. Some of them after 1918 ended up in museums (mainly the Ufa Art Museum) while the other part was scattered. The fate of the abandoned paintings was worried Burliuk. He established correspondence with A. A. Cherdantsev and then replaced him as director of the museum Ylius Yulievich Blumenthal (“My dear, old, but forever young friend, David Burliuk!” Moscow, 2018). Obviously this letter was only a bit in the correspondence which was conducted in 1923. The letter is important for determining the degree of involving of the poet and the emigrant artist in the cultural life of Ufa and more broadly the Soviet Union in the 1920s. This demonstrates his attitude to his own artistic heritage. The letter in an allows to reconstruct some contexts that were not disclosed in the previously published correspondence of Burliuk.
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Hamer, Naomi. "The hybrid exhibits of the story museum: The child as creative artist and the limits to hands-on participation." Museum and Society 17, no. 3 (November 29, 2019): 390–403. http://dx.doi.org/10.29311/mas.v17i3.3256.
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Since the Brooklyn Children’s Museum opened in 1899, the concept of the children’s museum has evolved internationally as a non-profit public institution focused on informal family-centred education and interactive play environments (Acosta 2000; Allen 2004). The majority of these museums highlight science education; however, over the past decade, a new specialized institution has emerged in the form of the children’s story museum that concentrates on children’s literature, storytelling, and picture book illustration. These story museums feature childhood artifacts through the curatorial and display conventions of museums and art galleries, in combination with the active play environments and learning stations of science-oriented children’s museums. These exhibits also reflect the changing place of the museum as an institution in the age of the “participatory museum”: a movement away from collections towards interactive curatorial practices across physical and digital archives (Simon 2010; Janes 2011). Framed by cross-disciplinary theoretical and methodological approaches from critical children’s museology, picture book theory, and children’s culture studies, this analysis draws upon selected examples (2014-2018) of curatorial practices, exhibits, and the spatial/ architectural design from Seven Stories: National Centre for Children’s Books (Newcastle, UK), the Hans Christian Andersen Haus/Tinderbox (Odense, Denmark), and The Eric Carle Museum of Picture Book Art (Amherst, MA, USA). These institutions provide distinctive venues to examine the tensions between discourses of museums as institutions that house collections of material artifacts including children’s literature texts, discourses of the creative child and ‘hands-on’ engagement (Ogata 2013); and discourses of critical engagement and participatory museums. While these exhibits affirm idealized representations of childhood to some extent, participatory engagements across old and new media within these spaces have significant potential for critical and subversive dialogue with ideological constructions and representations of gender, race, socio-economic class, mobility and nationalism rooted in the children’s literature texts.
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Skriver, Jens B. "Det Historiske Museum i Århus – gennem 100 år." Kuml 52, no. 52 (December 14, 2003): 81–123. http://dx.doi.org/10.7146/kuml.v52i52.102640.
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The Historical Museum in ÅrhusThe Age of Enlightenment resulted in museums coming into existence all over Europe. Their purpose was to preserve exceptional items for posterity and to promote knowledge associated with these items. The museum idea fused with the national movements current at that time. In Århus a Society of History and Antiquities was formed in 1861. The purpose of the society was to promote knowledge of antiquities by creating a collection, and to inform the public about the past through presentations and lectures. The society was led by an honorary committee which was in charge of the scholarly work. The collection was housed in the town hall (fig. 3).Over the years, the museum experienced fluctuations in its development as different people influenced its work. In the beginning, the cause met great support, but public interest was lost during the war with Germany in 1864, and interest was not re-established until later. The greatest scholarly authority of the museum, Edvard Erslev, left town, and others took over (fig. 2). Around 1870, the museum thrived again under the strong influence of Vilhelm Boye, a former employee of the Old Nordic Museum in Copenhagen, who was able to impart great scholarly expertise to the Århus museum. When he moved away from the town, the museum languished again. Around this time, a large new museum was built. However, most of its space was taken up by the art collection, whereas the historical collection was limited to a box-room-like area in the attic (figs. 5 and 10). Christian Kjær, a lawyer, came to the rescue. Although engaged in many other forms of business, he managed to make a constructive contribution to the running of the museum (fig. 6). He maintained good relations with the Old Nordic Museum – or the National Museum as it had been renamed – and he succeeded in raising a considerable government grant for a planned extension to the museum (fig. 7). At the same time, the society was changed into an independent institution under the supervision of the National Museum. The name was changed into The Historical Department of Århus Museum. The scholarly work now secured higher priority, and the museum began to undertake archaeological excavations on a larger scale. The next persons to represent the museum were Captain Smith (fig. 8) and lawyer Reeh, who were both recognised for their professional skills. By the early 1900s, the museum faced a dilemma: the funds were insufficient for working with anything but prehistory, but interest in recent cultural history had grown, and the need to include this in the museum work was pressing. The result was that P. Holm (fig. 12) left the museum committee to found ´Den Gamle By, Danmarks Købstadsmuseum´ (The Old Town, Denmark’s Municipal Town Museum). In the 1920s the two museums began to cooperate, and the historical museum deposited its collections from the Middle Ages and later times in ‘Den Gamle By’. Now the Historical Department of Århus Museum consisted of a prehistoric collection and a coin collection. Librarian Eiler Haugsted (fig. 13) headed the museum and improved the exhibition of the reduced collections.Everyone agreed that the museum and the university would benefit from closer cooperation. The extensive collection of plaster casts of antique works of art was moved to the university’s Department of Classical Archaeology and became the nucleus of its study collection. This resulted in much better space in the museum building. P. V. Glob was appointed Professor of Prehistoric Archaeology and leader of the museum. The engagement of a permanently employed, skilled leader resulted in marked changes in the museum, which now concentrated on Prehistoric Archaeology and Ethnography and soon achieved a special position within these fields. Within a few years – from being a museum run almost completely by volunteers – the museum had developed into a big institution with a large, professional staff. Jens SkriverMoesgård MuseumTranslated by Annette Lerche Trolle
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Wróblewska-Trochimiuk, Ewa. "Displaying society." Narodna umjetnost 56, no. 1 (July 2, 2019): 41–54. http://dx.doi.org/10.15176/vol56no103.
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The aim of the paper is to present selected Croatian museum and gallery exhibitions in the light of the phenomenon of museum transformation from the pedagogical into the performative model. Contemporary museums and art galleries initiate new forms of activity. In the old pedagogical model (dominant in the nineteenth and early twentieth centuries) art institutions pretended to be neutral and specified education as their main task. This model has been replaced by a performative one which emphasizes cultural relativism, and focuses on the sensory aspect of perception, highlighting the role of the embodied and the sensual. This paper focuses on examples of three Croatian exhibitions: “Socijalizam i modernost. Umjetnost, kultura, politika 1950–1974” (Socialism and modernity. Art, culture, politics 1950–1974) (2011–2012), “Kome treba poduzeće? Slučaj Borovo 1988–1991” (Who needs a company? The case of Borovo 1988–1991) (2016), “Kako živi narod – izvještaj o pasivnosti” (How the people live – a report on passivity) (2016). I intend to show that in spite of widespread opinions to the contrary, museums have not moved away from their original pedagogical task. They still shape reception and they are still deeply interested in power. However, they do this by using modern performative tools – by creating a neural, haptic and multi-sensory relation between the recipient and the object.
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Hawthorne, Lucy. "MoKnow your museum: Using simple websites for internal resource-sharing." Art Libraries Journal 44, no. 3 (June 12, 2019): 151–58. http://dx.doi.org/10.1017/alj.2019.21.
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This paper will demonstrate the way low-cost WYSIWYG websites can be used as a method of storing and disseminating information in a museum context, as illustrated by the internal website – MoKnow – developed by the Museum of Old and New Art (Mona) library. Websites like Google Sites can be used to share resources with a range of in-house users – from curators to front of house staff – in an easy-to-access manner. Quick to set up, these sites can be used to share text and bibliographic information, store PDFs and other documents, and link to images, videos and websites, thereby providing users with an intuitive and quick method of accessing information relevant to the institution and its collection. As Mona library manager, Mary Lijnzaad notes, the website MoKnow, “started as a digital version of the old school vertical filing cabinets… it was simply a way of not having to store vast amounts of physical information.” However, six years after the original site's creation, the website's purpose and scope continues to evolve in response to the changing nature of online resources and the demands of the institution. The paper will also examine some of the challenges and restrictions associated with using such sites, including copyright, ownership, changing technologies, and confidentiality concerns.
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Ivanova, Nataliya. "ACTUALIZATION OF THE MUSEUM AS A CULTURAL AND EDUCATIONAL CENTER IN THE FRAMEWORK OF THE OPEN PUBLIC SPACE (On The Example of Melitopol City Local History Museum)." City History, Culture, Society, no. 3 (October 30, 2017): 123–35. http://dx.doi.org/10.15407/mics2019.03.123.
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The article reveals the ways of the museum transforming from a permanentplace of preservation of artifacts of cultural heritage into open and dynamicsocial space of social interaction on the example of the Melitopol City LocalHistory Museum over the past 5 years.The Melitopol City Local History Museum is a cultural and educationalinstitution with a 95-year old history and interesting experience. Nowadaysthe museum sees its future activity as a balance between the traditional functionsof a museum institution and advanced art technologies. The strategictasks of the museum’s staff are the promotion of such values as openness,dynamism, and modernity through the perception of the museum space as aterritory where history comes to life.In the article, author describes the separate directions and examples ofmuseum work in the field of design and research activities, the organization of educationalprograms, the introduction of the latest and updating of the content oftraditional forms of work, cooperation with public organizations at differentlevels are discussed.Among the main factors of successful museum’s being up to date authormentions several ones on:– election of the right strategic direction of development;– participation in educational activities to improve the professionalismof museum workers;– cooperation and exchange of experience with leading museums ofUkraine and the world;– activation of participation in the project activity;– introduction of innovative forms and participatory practices into theirwork;– strengthening cooperation with NGO and individual cultural and educationalinitiatives.The prospects for the further development of the museum are to preservethe contribution of previous generations to the cultural heritage of Ukraineand to seek new ways of using, popularizing and enriching it through the widestpossible involvement of the public.
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Zakharchyn, Nataliia. "Legislative regulation of museums activity in the Second Rzechpospolita Polska." Law Review of Kyiv University of Law, no. 1 (April 15, 2020): 38–41. http://dx.doi.org/10.36695/2219-5521.1.2020.05.
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The article considers the creation of the legislative basis regarding the museums’ activity in interwar (1918-1939) Poland. Temporary organization of common government authorities in 1918 suggested subordination of museums of interwar Poland to the Ministry of religion andpopular education. It also describes changes in subordination of the museums and some features of law-making process. In April 1918, the Department of Art of the Ministry processed and offered the first project of temporary law on museums. According to the legislative proposal, state politics in the museum industry had to be implementedusing the special museum abstract within Department of Art. In the draft, there were a few types of museum identified: the main ones (national) and regional, educational and special.
It was necessary to legislate on determining andidentifying main directions of the activity, to organizationally form the framework of their functioning, for the sake of museum professional work activization, controlling their activity, help with creation of new collections and support of some old ones. It is stated that his fact was understood by the representatives of the organizations that were either connected to museum industry or played a catalytic role in museum reforms in the interwar period, for instance, The Union of Museums of Poland.It was the Union that the draft law “Onthe trusteeship for the public museums” was prepared by. Apart from the draft law, the project of the implementing regulation to the bill regarding establishment and activity of the Museum State Council was adopted. In the article, the process of establishing the draft law is considered.
The article reflects the representation of modified law “On the trusteeship for the public museums” in the Parliament of Second Rzechpospolita Polska. In the parliament, the draft bill was considered as a framework, which determines the concept of a public museum. According to the bill, Minister of religion and education implemented the trusteeship and control of the activity of the public museums and approved theirstatutes. The articlealso reviews the aims and tasks of the adopted law and further implementing regulations, particularly, on the establishment of Museum State Council.
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Kaczmarska, Elżbieta. "Contemporary symbols in the space of Baku." Budownictwo i Architektura 19, no. 2 (August 28, 2020): 121–36. http://dx.doi.org/10.35784/bud-arch.2166.
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When performing even a cursory analysis of the visual image of contemporary Baku, the capital of Azerbaijan, one simply cannot ignore its ancient history, the political influence of nearby powers and the almost age-old dependence on Soviet Russia. The regaining of independence in 1991, associated with the policy of then-national leader Heydar Aliyev, stimulated the young country’s ambition to open up to the world and organise an international cultural event. The preparation for the Eurovision Song Contest in 2012 initiated another construction boom in the history of Baku, fuelled with petrodollars, and became an occasion to present a new vision of the capital. In the years 2007–2012, numerous new cultural, artistic and sports buildings were constructed and which are now a hallmark and symbol of contemporary Baku. One such building, which creates a new, futuristic city space and is presented in the article, is the Heydar Aliyev Centre, a centre of art and museum designed by Zaha Hadid. The author notes the creative intent, external appearance and structure of the building, as well as new means of expression in creating place-based ambience. Also noted were the use of contemporary art in the creation of attractive utilitarian spaces. Other presented buildings display the ages-old symbols of the ‘Land of Fire’ in a new way and are embedded into the contemporary panorama of the city
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Lin, Jenny. "Old Is the New: Immersive Explorations in Another Beautiful Country—Moving Images by Chinese American Artists." Arts 12, no. 6 (October 28, 2023): 224. http://dx.doi.org/10.3390/arts12060224.
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This article explores how diasporic Chinese video artists present familial histories and tales of cross-cultural exchange in the context of an exhibition I am curating, Another Beautiful Country: Moving Images by Chinese American Artists, at the University of Southern California (USC) Pacific Asia Museum. I discuss projects by featured artists Richard Fung and Patty Chang. These artists’ experimental documentaries and performative videos foster deep personal discoveries that defy the late-capitalist obsession with the new as defined by youth, novelty, and the next trend, providing revelatory insights through recuperative engagements with what has come before. In analyzing artworks by Fung and Chang, I also reference related texts by/about artists and historical figures including Walter Benjamin, Anna May Wong, and Zhang Ailing, who emigrated from the People’s Republic of China to the United States in the 1950s and whose special collections in the USC Libraries helped inform the exhibition’s programming. I also interweave my own related familial histories and share some (not-so-new) curatorial ideas for immersing audiences in intercultural art and reflection.
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Gržina, Ivana. "From a Private Archive to a Public Museum." Život umjetnosti, no. 111 (July 2023): 76–85. http://dx.doi.org/10.31664/zu.2022.111.06.
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This paper describes a curator’s personal experience in a museum of art with several “auxiliary” archives of museum collections, in which various photographic objects are the most numerous. The paper underlines the issue of experts’ unpreparedness within museum institutions for managing and preserving photographic material, which is especially challenging when it exists in a heterogenous documentation cluster that has been reassembled multiple times. In an effort to preserve the conceptual integrity of the new/old archive, which will as much as possible mirror all earlier uses, interventions, manipulations, etc. of the material, as a sign of its pre- and post-acquisition biography (Edwards, Morton), and equally the history of the museum, it has been resorted to a top-to-bottom archival description that will reach the level of each individual item. In this way, the archival imperative of acknowledging the provenance and original order is not being betrayed, while at the same time we are ensuring the visibility of each individual photograph, which is described both as a document and as an artifact. Taking into consideration the fact that this kind of approach is not universally applicable, all of its recognized benefits and inherent limitations are presented. Finally, the paper briefly discusses the challenges of applying the same approach to a digital context.
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Phillips, Ruth B. "The issue is moot: Decolonizing art/artifact." Journal of Material Culture 27, no. 1 (December 31, 2021): 48–70. http://dx.doi.org/10.1177/13591835211069603.
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This article seeks to step back from the long-standing debate between art and artifact—aesthetics and science-- understood as terms that reference central concerns of the quintessentially modern Western disciplines of art history and anthropology. In their landmark edited volume The Traffic in Culture: Refiguring Art and Anthropology, George Marcus and Fred Myers explored the growing convergences exhibited by the concerns and methods of practitioners of the two disciplines, both in the academy and the museum. By training our attention on contemporary artworlds—understood as systems—they illuminated the exchanges of aesthetic and conceptual ideas and forms that have brought Western and non-Western arts into shared discursive and real spaces. Yet in the quarter century since the book’s publication there has been a noticeable retreat from attempts by the proponents of visual studies and an expanded visual anthropology to actualize disciplinary convergences. The boundaries that separate art and anthropology have not been dissolved. Art historians and anthropologists continue to ask different questions and to support different regimes of value. From the author’s vantage point in a settler society currently directing considerable energies to institutional projects of decolonization the old debates have rapidly been receding as a new ‘third term’ – Indigenous Studies-- intrudes itself on the well trodden terrain. Not (yet) definable as a discipline but, rather, maintaining itself as an orientation, Indigenous Studies nevertheless renders the earlier disciplinary debates moot. Place, rather than time-based, collective rather than individual, holistic rather than either disciplinary or interdisciplinary, Indigenous Studies formulations exert decolonizing pressures on institutions that are rapidly mounting. Using Anishinaabeg: Art and Power, a show in 2017 at the Royal Ontario Museum (ROM), as a case study, this article shows how an exhibition moved representation away from the art/artifact dichotomy as well as from contested strategies of ‘inclusion’ and pro forma recognitions of ‘Indigenous ontology’ toward a genuine paradigm shift.
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Oudbashi, Omid, Federico Carò, and Jean-Francois de Lapérouse. "Noninvasive µ-XRF Analysis of Ancient Silver Object." AM&P Technical Articles 181, no. 7 (October 1, 2023): 18–21. http://dx.doi.org/10.31399/asm.amp.2023-07.p018.
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Abstract This case study details the noninvasive analysis of an 5000-year-old silver figurine from Iran, now in the collection of The Metropolitan Museum of Art. The The object of this study, a figure of a kneeling bull clothed in a robe with a stepped linear pattern and holding up a spouted vessel, is composed of 15 pieces of worked silver joined together with silver solder. The aim of the study is to apply noninvasive micro-Xray fluorescence spectroscopy (μ-XRF) analysis to characterize the silver alloy compositions and compare the new data with previously obtained results from invasive chemical analyses of samples performed by thermal neutron activation.
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Puganova, Ekaterina L. "The Russian Tradition of Publishing Illuminated Bibles." Observatory of Culture 20, no. 5 (November 2, 2023): 498–508. http://dx.doi.org/10.25281/2072-3156-2023-20-5-498-508.
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The article is devoted to the tradition of publishing engraved biblical albums in Russia (17th — early 20th centuries), made by Russian engravers after the prototypes of European engravings or after author’s drawings by graduates of the Russian Academy of Arts. Illustrated collections on the subjects of the Holy Scriptures of the Old and New Testament based on drawings by Russian artists — A.E. Egorov, A.A. Agin, M.N. Koshelevskaya, V.S. Kryukov, V.D. Fartusov — are considered. The source material for the work were copies from large collections of graphic art: the isofond of the Russian State Library, the Museum of Christian Art “Church-Archaeological Study” of the Moscow Theological Academy and the Sergiev Posad State Historical and Art Museum-Reserve, which are first introduced by the author into the scientific turnover.At present, Western European illustrated Bibles are widely studied by specialists in various fields of scientific knowledge as a large-scale phenomenon of book culture. The ways of penetration and distribution of foreign editions in the Moscow state are studied; the search, accounting and description of copies in domestic library collections are carried out; marginalia on the pages of albums and captions to images are investigated; techniques, biographies of masters, stylistics of works and methods of copying foreign samples in Russian artistic practice are studied. At the same time, the tradition of publishing Russian illuminated Bibles, created by analogy with foreign ones, remains poorly studied.Pre-revolutionary catalogues of Russian illustrated editions contain descriptions of Bible albums of the first half of the 19th century, while the vast array of illustrated printed matter of the second half of the century has not yet been systematised and catalogued.The purpose of this study is to partially fill this lacuna, to restore the chronology of the appearance of the first domestic folio Bibles, and to present an overview of lithographed editions of pictures of the Sacred History of the Old and New Testament of the second half of the 19th century.
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Berdajs, Tina. "Retracing the Footsteps." Asian Studies 9, no. 3 (September 10, 2021): 141–66. http://dx.doi.org/10.4312/as.2021.9.3.141-166.
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The paper presents preliminary research into the original scope of the Skušek Collection, based on four lists and an old museum inventory entry of the collection of Asian art collected by Ivan Skušek Jr. during his six-year stay in China between 1914 and 1920. Furthermore, it presents the cross-referencing of the mentioned documents with the first inventory record when it was formally taken over by the National Museum of Slovenia in an attempt to recreate the original scope of the collection. Through analysis and comparison of these records and with support of photographic sources this research attempts to put objects of the Skušeks’ original collection into four different groups based on provenance research. Through several case studies it gives new insights into the dynamics of the largely unknown parts of history of the collection, and the paths some of the individual objects travelled over several decades in the first half of the 20th century.