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Journal articles on the topic 'National Art Gallery'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.

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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017

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2

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

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

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3

Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (December 28, 2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.

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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.

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4

Cannon, Catríona. "The National Gallery of Ireland Library." Art Libraries Journal 25, no. 3 (2000): 21–24. http://dx.doi.org/10.1017/s030747220001172x.

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The National Gallery of Ireland Library has recently re-opened to internal and external readers after a number of years. The concentration so far has been on reader services, while a major revision of the cataloguing and classification procedures is being undertaken. New projects to organise the Gallery’s Archives and make them more accessible for research, and to open a sponsored Centre for the Study of Irish Art in 2002-3, show the Library’s revived interest in reaching its potential users.

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5

Prior, Nick. "Edinburgh, Romanticism and the National Gallery of Scotland." Urban History 22, no. 2 (August 1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.

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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope indexed the security of bourgeois power by the 1830s. But its own role was to act as a catalyst in the formation of collection-oriented and professional art institutions, and of a gallery going public in the capital.

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6

Honoris, Robby, and Andalucia . "Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 91–99. http://dx.doi.org/10.32734/ijau.v1i1.266.

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The purpose of this Art Gallery designing is for giving space for the local artist to place and promote their art products. It’s because Medan city has not decent gallery according to the national standard. The surplus of this art gallery out of showing fine art is giving room experience impression to support fine art showcase. The theme of the building is a metaphor of water ripple to represent Babura river, so the art installation to the building is using water concept that gives unique aspect to building and can be art identity of Medan city. This gallery building is hoped to fulfill gallery estimation which is decent in national and international rank because Medan is the third biggest town in Indonesia where been visited by so many foreign tourists.

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7

Horman, Mary M. "National Gallery of Art ‐ The Collection0047National Gallery of Art. National Gallery of Art ‐ The Collection. 1997 to date; updated weekly. http://www.nga.gov/collection/collect.htm No charge." Electronic Resources Review 4, no. 5 (April 2000): 51. http://dx.doi.org/10.1108/err.2000.4.5.51.47.

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8

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

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

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9

Glinsman, L., and D. Barbour. "Science and art converge at the National Gallery of Art." JOM 49, no. 1 (January 1997): 14–17. http://dx.doi.org/10.1007/bf02914620.

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10

Walsh-Piper, Kathleen, and Ellyn Berk. "Teacher Programs at the National Gallery of Art." Journal of Museum Education 19, no. 3 (September 1994): 19–21. http://dx.doi.org/10.1080/10598650.1994.11510276.

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11

Chiwara, Davison. "Documentation: A Security Tool for the Identification and Repatriation of Illicitly Trafficked Objects from Museums with Particular Reference to the National Gallery of Zimbabwe." Heritage 2, no. 1 (January 28, 2019): 390–99. http://dx.doi.org/10.3390/heritage2010027.

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The aim of the study was to ascertain how documentation assisted in the recovery of stolen and illicitly trafficked objects at the National Gallery of Zimbabwe. The research objectives were to: Assess the adequacy of the gallery’s documentation system; appraise the documentation elements that were key in the tracking and repatriation of stolen objects to the gallery; analyze the gallery’s networks on the documentation and safeguarding of objects against theft; and ascertain challenges faced by the gallery in documenting its objects. Research results indicated that the gallery’s documentation system encompassed both manual and electronic documentation, which addressed vital aspects that have been prescribed by Object ID Standards for the identification and recovery of stolen objects. These include photographs, provenance, and name of objects. This, coupled with networks with key institutions involved in the fight against theft and illicit trafficking of objects, has enabled the gallery to recover its stolen objects from Poland. However, lack of state-of-the-art cameras has led to the production of poor photographs, which compromised the gallery’s claim to its stolen objects. Additionally, lack of ideal software for the gallery’s database is hampering effective documentation efforts. The research recommends that the gallery should acquire appropriate cameras for quality documentation of its objects and purchase database software with backup support for software upgrades to prevent loss of information on its objects.

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12

Waddington, Murray. "The national role of the Library of the National Gallery of Canada." Art Libraries Journal 19, no. 1 (1994): 27–29. http://dx.doi.org/10.1017/s0307472200008671.

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The financial situation of cultural institutions is becoming increasingly perilous, and two years into its new national mandate the Library of the National Gallery of Canada finds its resources absorbed by internal needs and local use. To sustain a vital presence in the community of art information specialists the Library must restrict its contributions to those which have modest or no resource imperatives: generously shared collections; well conceived services which are publicized and accessible; strengthened cataloguing to be shared; attention to preservation; development of expertise to be shared with colleagues and students; initiation and promotion of collaborative projects. As a federal body the National Gallery of Canada is excluded from funding sources available to others, but will support the projects of others. A national task force is needed to outline and develop a Canadian strategic plan for art libraries.

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13

Bardi, Augustine Okola. "7. Universal Studios of Art: Professionalization and Contributions to Art Education in Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 175–85. http://dx.doi.org/10.1515/rae-2017-0023.

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Abstract During the 2nd Black World and African Festival of Arts and Culture (FESTAC) in 1977, a lot of novel, creative and artistic events took place in Lagos. One of these was the construction of a monument, the National Arts Theatre, which also accommodated the National Gallery of Art. Invariably, the presence of the Gallery made the Arts Theatre management allocate the premises of the Theatre to some notable Nigerian artists for use as Artists in Residence. The premises eventually, by 1980, became an institutional and inspirational workshop for budding Nigerian artists. The activities of the artists were so professionally accepted that it was named the National Studios of Art. However, at the time the Studio had become the centre of sound informal art training, it was given a relocation order which caused serious controversy between the Gallery and the artists. The artists eventually accepted the relocation order, and this, necessarily, led to changing the name to the Universal Studios of Art (USA). As the professional artists became globally known, the USA also became a tourist centre for both local and foreign visitors and artists. Till today, the activities of the USA continue to attract national and international attention. Very as unfortunately, no scholarly study of the Universal Studios of Art has been carried out, despite its outstanding professional qualities.. For many years, the artists have developed valuable art forms and art styles that have contributed to the advancement of modern Nigerian art. It is the objective of this article, therefore, to document the artists of the Universal Studios of Art.

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14

Simon, Sherry. "Reflections on Translation Studies: Past and Present." TTR 30, no. 1-2 (May 31, 2019): 61–78. http://dx.doi.org/10.7202/1060018ar.

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This article is a reflection on translation studies and a suggestion for new directions in further research. The case study is that of the new labelling in the National Gallery of Canada which includes labelling in Indigenous languages.In June of 2017, the National Gallery opened newly renovated galleries with a special exhibition of Canadian and Indigenous Art. The translations which are part of this exhibition are important in redefining the identity of Canadian art.

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15

O'Donovan, Conn, Marie Burke, and Síghle Bhreathnach-Lynch. "Discover Irish Art at the National Gallery of Ireland." Circa, no. 91 (2000): 53. http://dx.doi.org/10.2307/25563559.

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16

Tippett, Maria. "The National Gallery of Canada: Ideas, Art, Architecture (review)." Canadian Historical Review 85, no. 3 (2004): 561–64. http://dx.doi.org/10.1353/can.2004.0141.

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17

Quin, J. "Art: Ron Mueck: Making Sculpture at the National Gallery." BMJ 326, no. 7392 (April 5, 2003): 769. http://dx.doi.org/10.1136/bmj.326.7392.769.

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18

Mallick, Jerry M. "National Gallery of Art: Photographic Archives' List of Holdings." Visual Resources 10, no. 2 (January 1994): 135–39. http://dx.doi.org/10.1080/01973762.1994.9658277.

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19

Armstrong, Drew. "The National Gallery of Canada: Ideas, Art, Architecture (review)." University of Toronto Quarterly 74, no. 1 (2004): 354–56. http://dx.doi.org/10.1353/utq.2005.0005.

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20

Metzger-Šober, Branko. "Nikada dovršena igra oko osnivanja Galerije moderne umjetnosti u Rijeci u međuratnome razdoblju." Ars Adriatica 9 (February 28, 2020): 173–92. http://dx.doi.org/10.15291/ars.2930.

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Based on the archival documentation from the interwar period in Rijeka, from 1934 to 1943, and an analysis of the published historical data, the author has presented the series of attempts to establish the Gallery of Modern Art in Rijeka at the time when Rijeka and Kvarner were annexed to the Kingdom of Italy, thus becoming its new province. Owing to the initiative of Guido Asveri Bottussi, an agile resident of Milan originating from Rijeka, the idea of founding a Gallery of Modern Art in Rijeka was born, as a very prominent institution that would exhibit works of Italian art from the 19th and 20th centuries. The first holdings of the Gallery were collected through donations made by Italian academics and a donation of three paintings and one sculpture made by King Victor Emmanuel III of Italy to support the initiative and set an example for other potential donators. All donated works were first deposited in Milan with Bottussi. Due to Rijeka’s geostrategic position, the act of establishing such an institution became a matter of national interest for Italy, which saw it as a way to spread its culture beyond its borders, to the Kingdom of SHS and other Danubian countries. Started as Bottussi’s private initiative, with time the Gallery would turn into an initiative of Rijeka’s city administration and other state institutions based in Rome. Due to the war circumstances, the artworks donated for the Gallery’s initial collection never reached Rijeka, which now lacked the conditions for its full establishment.

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21

McNaughton, Esther Helen. "Art Gallery Education in New Zealand during COVID-19." Museum Worlds 8, no. 1 (July 1, 2020): 135–48. http://dx.doi.org/10.3167/armw.2020.080110.

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This article describes the unprecedented coming together of New Zealand art gallery educators to respond to the challenges of the 2020 COVID-19 pandemic. This newly formed community of practice met virtually three times at critical points. At each stage, new concerns were discussed and understandings evolved. The gallery educators were able to approach shared issues cooperatively, enabling mutual support to a degree that had hitherto not been possible. By the end of these meetings, gallery educators were reestablishing their regular teaching practice with the integration of many of the innovations of the period. Additionally, the meetings fulfilled a preexisting desire for closer contact and professional support, and thus proved to be the foundation of an ongoing national professional group for New Zealand art gallery educators.

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22

Hoffman, Sheila K., Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim. "Exhibition Reviews." Museum Worlds 9, no. 1 (July 1, 2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.

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Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim

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23

Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (April 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.

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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however, was feeling less light-hearted about the demise of what Smith describes as a “useful bit of art-world indicator…[and] an indispensable constant creatively deployed by artists, avidly cherished by the ephemera-obsessed and devotedly archived by museums.”

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24

Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.

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25

Carr, Angela. "Ord, Douglas. The National Gallery of Canada: Ideas, Art, Architecture." Urban History Review 33, no. 1 (September 2004): 55–56. http://dx.doi.org/10.7202/1015678ar.

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26

Corwin, Sylvia K., and Ruth R. Perlin. "A Videodisc Resource for Interdisciplinary Learning: American Art from the National Gallery of Art." Art Education 48, no. 3 (May 1995): 17. http://dx.doi.org/10.2307/3193518.

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27

Smith, Tyler Jo. "Power and Pathos: Bronze Sculpture of the Hellenistic World." Museum Anthropology Review 10, no. 2 (December 31, 2016): 120–21. http://dx.doi.org/10.14434/v10i2.23066.

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28

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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29

Bailey, Quentin. "William Hazlitt, the National Gallery, and the “Fairy Vision” of Art." Nineteenth Century Studies 26, no. 1 (January 1, 2012): 49–62. http://dx.doi.org/10.5325/ninecentstud.26.2012.0049.

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30

Scott, David W. "Le nouveau bâtiment de la National Gallery of Art, Washington, D.C." Museum International (Edition Francaise) 31, no. 2 (April 24, 2009): 112–17. http://dx.doi.org/10.1111/j.1755-5825.1979.tb01505.x.

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31

Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.

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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.

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32

Dohe, Sebastian, and Malve Anna Falk. "Out of sight, out of mind." Journal of the History of Collections 32, no. 3 (October 18, 2019): 491–502. http://dx.doi.org/10.1093/jhc/fhz031.

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Abstract The grand-ducal gallery of Oldenburg is a forgotten collection today, though once it enjoyed international fame. In less than a century, the dukes of Oldenburg in Lower Saxony collected an exemplary gallery of Old Masters that attracted the attention and the praise of international connoisseurs and art historians like Wilhelm Bode, Abraham Bredius and Tancred Borenius. Then, after the end of the First World War, the collection fell apart. In 1919, it was disassembled and its masterpieces were sold, once again generating international attention, this time from art dealers, museums and collectors eager to have their share of the plunder. The protests over this sell-out added impetus to the passing of a Kulturgutschutzgesetz, the first German law aimed at the protection of works of art of national value. This article reviews the history of the gallery and presents the results of a recent research project.

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33

Beglo, Jo Nordley, and Cyndie Campbell. "Artists in Canada: a national resource1." Art Libraries Journal 26, no. 2 (2001): 38–42. http://dx.doi.org/10.1017/s0307472200012189.

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Artists in Canada is a bilingual union list of documentation files on Canadian artists held by the National Gallery of Canada Library, and by 22 libraries and art galleries across the country. More than 42,700 artists are represented, with biographical information as well as locations for files. Originally compiled manually, Artists in Canada has been automated since the late 1970s and, as well as appearing in print format, has been accessible internationally on the World Wide Web since 1995.

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34

Marschalek, Douglas. "The National Gallery of Art Laserdisk and Accompanying Database: A Means to Enhance Art Instruction." Art Education 44, no. 3 (May 1991): 48. http://dx.doi.org/10.2307/3193255.

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35

Isomäki, Irmeli. "Documenting art in Finland." Art Libraries Journal 13, no. 1 (1988): 20–22. http://dx.doi.org/10.1017/s0307472200005514.

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Literature on Finnish art can be sought via the national bibliography and periodicals indexes and a bibliography of Finnish history; these bibliographies are available as databases as well as in printed form and on microfiche. A working party on art libraries is looking into ways of widening bibliographical control of art literature. The publications themselves, and unpublished information, can be found in libraries and archives of several kinds, from the Library of Helsinki University to the libraries and archives of colleges of art and architecture, museums, and artists’ associations. Many of these organisations are active in gathering and publishing information. The Fine Arts Academy of Finland administers the Art Musum of the Ateneum, Finland’s national gallery, and maintains extensive collections of visual resources, exhibition catalogues, periodicals, and press clippings.

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36

Lindgren, Liisa. "The monitoring and documenting of contemporary art at the Central Archives in Helsinki." Art Libraries Journal 27, no. 2 (2002): 28–31. http://dx.doi.org/10.1017/s0307472200012670.

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The Central Art Archives, founded in 1990 as a documentation and research institution within the Finnish National Gallery, have attempted to accept the challenges that contemporary art presents to archiving by realising extensive documentation projects covering conceptual, performance, land and environmental art in Finland. The corpus of documentary material includes photographs, slides, videos, interview transcripts, exhibition catalogues, etc. Currently the Central Art Archives is working together with the Museum of Contemporary Art Kiasma on a media art project.

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37

Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.

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Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.

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38

Smith, Charles Saumarez. "THE INSTITUTIONALISATION OF ART IN EARLY VICTORIAN ENGLAND." Transactions of the Royal Historical Society 20 (November 5, 2010): 113–25. http://dx.doi.org/10.1017/s0080440110000071.

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ABSTRACTThis article explores the political and intellectual circumstances which led to the efflorescence of cultural institutions between the foundation of the National Gallery in 1824 and the National Portrait Gallery in 1856: the transformation of institutions of public culture from haphazard and rather amateurish institutions to ones which were well organised, with a strong sense of social mission, and professionally managed. This transformation was in part owing to a group of exceptionally talented individuals, including Charles Eastlake, Henry Cole and George Scharf, accepting appointment in institutions to foster the public understanding of art. But it was not simply a matter of individual agency, but also of coordinated action by parliament, led by a group of MPs, including the Philosophical Radicals. It was much influenced by the example of Germany, filtered through extensive translation of German art historical writings and visits by writers and politicians to Berlin and Munich. It was also closely related to the philosophy of the utilitarians, who had a strong belief in the political and social benefits of the study of art. Only the Royal Academy refused the embrace of state control.

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Andersen, Josephine, and Nozuko Mjoli. "Beyond the walls: taking the art library to the community." Art Libraries Journal 20, no. 4 (1995): 22–24. http://dx.doi.org/10.1017/s0307472200009597.

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The South African National Gallery (SANG) Library has been making its resources available to school teachers since 1992. Now a new outreach project, which has been in a planning stage for some months, has been started with the loan of material to libraries situated at some distance from the centre of Cape Town.

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SHIPWAY, ALAN. "Artist Rooms: The Anthony d'Offay Collection, Scottish National Gallery of Modern Art." Art Book 17, no. 2 (May 2010): 68–69. http://dx.doi.org/10.1111/j.1467-8357.2010.01103.x.

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Gibbs, Andrea, and Pat Stevens. "MARC and the Computerization of the National Gallery of Art Photographic Archives." Visual Resources 3, no. 3 (September 1986): 185–208. http://dx.doi.org/10.1080/01973762.1986.9659087.

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May, Sally K., Jillian Huntley, Melissa Marshall, Emily Miller, John A. Hayward, Andrea Jalandoni, Joakim Goldhahn, et al. "New Insights into the Rock Art of Anbangbang Gallery, Kakadu National Park." Journal of Field Archaeology 45, no. 2 (January 1, 2020): 120–34. http://dx.doi.org/10.1080/00934690.2019.1698883.

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Lydon, Andrea. "Source – Uncovering Stories of Art in Ireland: digitizing Irish art research collections in the National Gallery of Ireland." Art Libraries Journal 45, no. 2 (April 2020): 55–60. http://dx.doi.org/10.1017/alj.2020.3.

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In 2017 the National Gallery of Ireland was awarded funding from the Department of Culture, Heritage and the Gaeltacht (DCHG) for the development of an online resource, focusing on its Irish art research collections. Entitled Source – Uncovering Stories of Art in Ireland, this multi-annual project aims to catalogue and digitise the collections in the ESB CSIA and ensure that these valuable collections relating to Ireland's artistic history and memory are preserved and can be easily accessed by researchers. Now in its penultimate year, Source will be launched in 2021.

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Arnadottir, Arndis S. "Art and libraries in Iceland." Art Libraries Journal 12, no. 2 (1987): 18–20. http://dx.doi.org/10.1017/s0307472200005149.

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Iceland’s cultural heritage dates back to the Vikings. While crafts have always been important to the Icelandic way of life, the country has become much more art and design conscious with the development of educational and cultural institutions in the last hundred years. The National Library receives copies of all Icelandic publications and publishes the Icelandic national bibliography (which includes art but omits some exhibition catalogues); in addition the Library of the National Gallery collects all published literature on Icelandic art. There is a major art collection in the University Library and a specialist art library at the Icelandic College of Arts and Crafts. The Nordic House at Reykjavίk accommodates an artotek. Because of its isolation, Iceland is unusually dependent on libraries for knowledge of world art, and much work remains to be done on the bibliography of Icelandic art. However, art librarianship has made substantial progress since the 1970s, and training in art librarianship is available.

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Kehoe, Elisabeth. "Working hard at giving it away: Lord Duveen, the British Museum and the Elgin marbles." Historical Research 77, no. 198 (October 28, 2004): 503–19. http://dx.doi.org/10.1111/j.1468-2281.2004.00220.x.

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Abstract In September 1928, just after the publication of the report of the royal commission on National Museums and Galleries, the art dealer Sir Joseph Duveen wrote to his good friend Edgar Vincent, Viscount D'Abernon, who had chaired the commission, offering to pay for a new gallery at the British Museum to house the Parthenon, or Elgin, marbles. The new gallery cost over £100,000 and took ten years to complete, during which time Duveen worked hard to impose his vision of a new gallery – a vision often at odds with that of the Museum establishment, and one that generated controversy, including the unauthorized cleaning of the marbles.

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Harvey, Alice. "Arty choke: a response." Art Libraries Journal 41, no. 2 (April 2016): 78–87. http://dx.doi.org/10.1017/alj.2016.5.

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Definitions, uses and management of ephemera are explored in this article, a response to the pioneering ‘Arty choke: acquisition and ephemera’ by Nik Pollard, published in the 1977 winter issue of Art Libraries Journal. The author, in conversation with the Librarian of the Scottish National Gallery of Modern Art, discusses key ideas put forward in the original text and assess their relevance in relation to current art ephemera collections in UK libraries.

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Volker, Joye, and Jennifer Coombes. "The art of life online: creating artists’ biographies on the web." Art Libraries Journal 34, no. 1 (2009): 12–16. http://dx.doi.org/10.1017/s0307472200015704.

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The World Wide Web has created significant changes in how cultural institutions, including galleries, communicate their role as custodians of cultural content and research. In this paper we discuss a number of initiatives involving the Research Library and curatorial sections at the National Gallery of Australia to bring information about Australian visual arts to an online audience.

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der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.

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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art, especially the fine and decorative arts, in the major European languages. Some sources for obtaining new publications from India are noted.

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Blessing, Peta Jane, and Simon Underschultz. "Expanding our reach: Special Collections and Archives of the NGA Research Library." Art Libraries Journal 44, no. 3 (June 12, 2019): 139–46. http://dx.doi.org/10.1017/alj.2019.19.

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The National Gallery of Australia Research Library and Archives (NGARL&A) offers unique collections and provides vital services within the contemporary Australian art world, but there has been a seismic shift in their users and use. This paper will explore the impact this change has had on our roles as art archivists and provide insight into new ways these collections are being used.

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Pane, J. B., J. Rilatupa, and S. Simatupang. "The development of an arts centre with the application of futuristic architecture." IOP Conference Series: Earth and Environmental Science 878, no. 1 (October 1, 2021): 012029. http://dx.doi.org/10.1088/1755-1315/878/1/012029.

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Abstract Art is a culture that was born from human freedom of expression. One type is contemporary art, which is the development of art that is affected by the impact of modernization, but contemporary and modern are two different things, because contemporary continues to keep up with the times. Appreciation for art in Indonesia has recently been appreciated both at the national and international levels, art appreciation is shown by the many art activities held, this has resulted in many artists being required to hold their work so they need a place such as an art gallery building so that the public can understand the activities contained therein. and can enjoy the art exhibition. The Contemporary Art Gallery was built to help artists show their work. This building was built with a futuristic architectural design, namely a building style whose planning does not look to the past but to the future, this can be seen from the shape and materials used which have high hi-tech. The appearance of the building is made expressive as the hearts of the artists can be seen from the spatial processing, forms and games of building facades.

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