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Academic literature on the topic 'Museums Victoria Archives'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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Journal articles on the topic "Museums Victoria Archives"

1

Lambert, Susan. "The National Art Library repositioned." Art Libraries Journal 27, no. 4 (2002): 5–11. http://dx.doi.org/10.1017/s0307472200012797.

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Archives, libraries and museums have for some time been trying out the advantages, for themselves and for each other, of working together and sharing long-term aims. These independent sorties were given a coercive impetus in April 2000 when the Government-funded Library & Information Commission and the Museums & Galleries Commission were replaced by the single-word Resource, to bring together ‘strategic advocacy, leadership and advice to enable museums, archives and libraries to touch people’s lives and inspire their imagination, learning and creativity’. At the Victoria and Albert Museum, the National Art Library, which already included the Museum’s Archives, has recently merged with Prints, Drawings and Paintings to form the Word & Image Department. The integration of the National Art Library with a department that has traditionally put greater emphasis on its curatorial role has suggested new paths of development for us all and, in particular, an enhanced contribution for the new Department across the full range of material culture as represented in the V&A’s collections. Thus the merger has acted as a catalyst to put into practice aspects of the Government’s agenda within a single institution. This article outlines some of the developments proposed for the Word & Image Department, with particular emphasis on implications for the National Art Library, its staff, collections and users.

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2

Suls, Dieter. "Europeana Fashion: Past, present and future." Art Libraries Journal 42, no. 3 (June 2, 2017): 123–29. http://dx.doi.org/10.1017/alj.2017.18.

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The subject of this article is Europeana Fashion, an EU-funded initiative that deals with the aggregation and online dissemination of the digital fashion heritage from the most important European collections. The project started with a consortium consisting of 22 partners from 12 European countries and included the Victoria and Albert Museum (London), Les Arts Décoratifs (Paris), MoMu (Antwerp) and many other museums. Also archives of brands, such as Missoni and Pucci were represented. The main goal of Europeana Fashion was to harvest the digital collections of fashion institutions and to re-present them in a uniform way on a specialized fashion portal. This article outlines the origins of the project, focussing on its main achievements, and offers a look into the future of europeanafashion.eu.

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3

Measday, Danielle, Sarah Babister, and Stuart Mills. "Can Lightning Strike Twice? The Reassembly of the Karnak Fulgurite at Museums Victoria." Biodiversity Information Science and Standards 2 (June 13, 2018): e27043. http://dx.doi.org/10.3897/biss.2.27043.

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In 1959, the longest recorded specimen of fulgurite in Victoria was discovered in the sandhills of Karnak in Western Victoria, Australia. Measuring 1.5 metres in vertical length, the specimen was formed by a discharge of lightning penetrating and fusing the quartz sand along its path. Considering the high number of cloud-to-ground lightning strikes, it has been estimated that up to ten fulgurites may be formed globally per second Pasek and Block 2009. Despite this, fulgurites are a rare find, particularly ones of significant length. The amorphous glass tubes created by lightning discharge are notoriously brittle and thin walled. Unequal contraction of the glass upon cooling produces fine cracks which weather over time, often resulting in the specimen breaking into segments. The Karnak fulgurite was systematically extracted from the ground segment by segment and reassembled for display in the museum, where it remained on exhibition from the early 1960s until 1990 Beasley 1964. When removed from display, the Karnak fulgurite was accidentally fractured into hundreds of pieces. For nearly 30 years it has remained fragmented and spread across multiple vials in the collection. The level of detail provided in field notes, still images and archives from the time of its collection provide a complete record of its appearance prior to the damage. The conservation and mineralogy departments of the museum collaborated on a project to return the fulgurite to its original form. This poster will track the journey of its reassembly, including mapping the original shape and dimensions of the specimen, analysis and removal of aged adhesives, and designing a mounting system for future display and storage.

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4

Wateren, J. F. van der. "Archival resources in the Victoria and Albert Museum." Art Libraries Journal 14, no. 2 (1989): 16–27. http://dx.doi.org/10.1017/s0307472200006192.

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The Victoria and Albert Museum, itself an archive of material culture, houses several collections of archival records. The Museum’s Registered Papers are divided between the Museum itself, which holds those papers relating to objects in the Museum, and the Public Record Office, where papers relating to Museum buildings and administration can be found; all papers produced since 1984 are to be housed together in a newly established V & A Archive. The quality of the archive of Registered Papers is uneven due to the lack of a controlling and unifying policy; this, and questions of conservation and administration, are being addressed as part of the current restructuring of the Museum. For the same reason the archives of the different Departments, though important, vary considerably not only in content but also in their organisation. The National Art Library, part of the V & A, includes archival collections of ephemera, comprising examples of printing and graphic design, and of manuscripts, including artists’ papers; it also includes the Archive of Art and Design, founded in 1978 to avoid the splitting up of significant archives between the Museum’s Departments.

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5

Dodds, Douglas. "From analogue to digital: preserving early computer-generated art in the V&A’s collections." Art Libraries Journal 35, no. 3 (2010): 10–16. http://dx.doi.org/10.1017/s0307472200016485.

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The Victoria and Albert Museum holds the UK’s emerging national collection of early computer-generated art and design. Many of the earliest works only survive on paper, but the V&A also holds some born-digital material. The Museum is currently involved in a project to digitise the computer art collections and to make the information available online. Artworks, books and ephemera from the Patric Prince Collection and the archives of the Computer Arts Society are included in a V&A display on the history of computer-generated art, entitled Digital pioneers. In addition, the project is contributing to the development of the Museum’s procedures for dealing with time-based media.

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6

Syperek, Pandora. "Hope in the Archive: Indexing the Natural History Museum’s Ecologies of Display." Journal of Curatorial Studies 9, no. 2 (October 1, 2020): 206–29. http://dx.doi.org/10.1386/jcs_00021_1.

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In 2017, a 25-metre-long blue whale skeleton was installed in the Central Hall of the Natural History Museum, London. ‘Hope’ became a symbol of the urgency of marine conservation, and of institutional relevance in the face of ecological devastation. However, the whale is but the latest in a series of dramatic installations of formidable specimens since the museum first opened in 1881. Originally intended as an encyclopaedia of nature, or ‘Index Museum’, the Central Hall’s history charts the intersection of exhibitionary aura and concepts of ecology. This article argues that the original Victorian framework, both institutional and ideological, continues to shape the museum’s ecological aesthetics, and therefore requires self-critical reassessment to be truly transformative.

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7

Pritchard, Jane. "Archives of the Dance (24): The Alhambra Moul Collection at the Victoria and Albert Museum." Dance Research 32, no. 2 (November 2014): 233–57. http://dx.doi.org/10.3366/drs.2014.0108.

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This article in the ‘Archives of the Dance’ series looks at one specific collection held in the Theatre & Performance Collections of the Victoria and Albert Museum, London. At first glance, the Alfred Moul Collection (THM/75) appears a small collection filling only half a dozen archive boxes plus some photographs and press cuttings books. Nevertheless its content is very revealing about the management of the Alhambra Palace of Variety, Leicester Square, during the years 1901–1914, and the ballets created there. It is not exclusively a dance archive but places the work of the theatre's ballet company in the context of variety theatre and the full range of turns presented there. The collection focuses on the final decade of the fifty years from 1864 in which the Alhambra dominated the ballet-scene in London. This final period was a time of decline and competition for the ballet company. The collection reveals the management's awareness of competition and the consequent need to embrace a wide range of genres; the word ballet was used to cover all forms of theatre dance and, as the collection reveals, the wide search for new dance stars for productions; it enhances our knowledge of dance and dancers from France, Russia, America and Denmark as well as our knowledge of dance in Britain immediately before the full impact of the Russian ballet was felt.

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8

Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.

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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.

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9

Cunningham, Colin. "The Waterhouse Collection of the RIBA and the Working of a Nineteenth-Century Office." Architectural History 49 (2006): 287–316. http://dx.doi.org/10.1017/s0066622x00002793.

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The RIBA's Waterhouse Collection can now be consulted in the RIBA Study Room at the Victoria and Albert Museum, having been transferred there from Portman Square, along with the rest of the RIBA Drawings Collection. This transfer has been of particular significance for Waterhouse's work since, in fact, it has opened up the possibility of fully consulting his drawings and archive for the very first time. With well over nine thousand drawings, representing over one hundred and sixty commissions, this forms a substantial collection, indeed one of the largest single holdings of the RIBA Drawings Collection. By a strange twist of historical circumstances, the catalogue for this collection has been completed at virtually the same time as the collection has, at last, become available to scholars. It therefore seems apposite to draw together a series of observations on this collection and its catalogue, and on how the two together can inform our understanding of the workings of a particular Victorian architect's office, and indeed, to some degree, of the ways in which Victorian architects more generally may have worked.

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10

Weber, Anke, Willem Hovestreydt, and Lea Rees. "Third Report on the Publication and Conservation of the Tomb of Ramesses III in the Valley of the Kings (KV 11)." Journal of Egyptian Archaeology 107, no. 1-2 (June 2021): 79–104. http://dx.doi.org/10.1177/03075133211060539.

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Since antiquity, the tomb of Ramesses III (KV 11) has been among the most frequently visited royal tombs in the Valley of the Kings. It was also one of the first to be described and documented in detail by European travellers in the eighteenth to nineteenth centuries. As large parts of the wall decoration of the tomb, especially in its rear, are now destroyed, the drawings, notes and squeezes of those early researchers who saw the site in its former splendour offer an invaluable resource for the reconstruction of the tomb’s unique decoration programme. The collection, revision, and publication of all relevant archive material concerning KV 11 is an important goal of The Ramesses III (KV 11) Publication and Conservation Project. The following article reports on first and preliminary results from the authors’ research in the archives of the British Library and the Victoria and Albert Museum in London, as well as the Bodleian Libraries and the Griffith Institute in Oxford, carried out in September 2019 and made possible through the Centenary Award 2019 of the Egypt Exploration Society.

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Books on the topic "Museums Victoria Archives"

1

Lomas, Elizabeth. Guide to the Archive of Art and Design, Victoria & Albert Museum. London: Fitzroy Dearborn Publishers in association with the Victoria and Albert Museum, 2001.

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2

Museum, Victoria and Albert, ed. A.W.N. Pugin and the Pugin family. London: Victoria and Albert Museum, 1985.

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3

Peterborough Centennial Museum and Archives. A Victorian snapshot: The Denne collection of old Peterborough prints. Peterborough: Peterborough Architectural Conservation Advisory Committee and Peterborough Centennial Museum and Archives, 1992.

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4

Son, Heal and. Heal's catalogues 1850-1950: In the Victoria and Albert Museum, Archive of Art and Design. Haslemere: Emmett Microform, 1985.

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5

Abraham, Thomas, and Victoria and Albert Museum, eds. Owen Jones. London: V&A Pub., 2010.

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6

Victoria and Albert museum. V&A pattern. London: V&A Pub., 2009.

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7

Guide to the Archive of Art and Design: Victoria and Albert Museum, London. Routledge, 2001.

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8

Lomas, Elizabeth. Guide to the Archive of Art and Design: Victoria and Albert Museum, London. Taylor & Francis Group, 2019.

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9

Lomas, Elizabeth. Guide to the Archive of Art and Design: Victoria and Albert Museum, London. Taylor & Francis Group, 2019.

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10

Lomas, Elizabeth. Guide to the Archive of Art and Design: Victoria and Albert Museum, London. Taylor & Francis Group, 2019.

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Book chapters on the topic "Museums Victoria Archives"

1

Jones, Mike. "Museums Victoria and the history of museum computing." In Artefacts, Archives, and Documentation in the Relational Museum, 41–63. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003092704-2-3.

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2

Parkes, Matthew Alastair. "George Victor Du Noyer’s large format paintings: Nineteenth-century lecture slides." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(12).

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ABSTRACT The National Museum of Ireland’s natural history collections include a range of large format artworks, many of paleontological subjects, which were painted by George Victor Du Noyer, the celebrated nineteenth-century geologist, antiquarian, and artist who worked for both the Ordnance Survey of Ireland and the Geological Survey of Ireland (GSI). Letterbook references in the archives of GSI indicate that most, if not all of these, were commissioned by Joseph Beete Jukes, director of the GSI, for different public lecture series. The artistic qualities of the work suggest they were done at speed. However, they also are designed to be seen from a distance within a lecture hall, so an apparently crude technique is appropriate to the purpose. In effect, the watercolor paintings in this series are the PowerPoint presentation of the 1850s.

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