Artykuły w czasopismach: „Art gallery”

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Alexander, Olga. "Art Gallery". Frontiers: A Journal of Women Studies 43, nr 2 (2022): 202–7. http://dx.doi.org/10.1353/fro.2022.0020.

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Burbano, Andrés, Ernest Edmonds, Daniel Cardoso Llach, Skawennati, Nā ‘Anae Mahiki, Amy Fredeen, Dima Veryovka i in. "Art Gallery". Leonardo 51, nr 4 (sierpień 2018): 426–45. http://dx.doi.org/10.1162/leon_a_01694.

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Stradling, Bob. "Art gallery". Critical Perspectives on Accounting 15, nr 4-5 (maj 2004): 542. http://dx.doi.org/10.1016/j.cpa.2003.11.003.

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Neethling, Lynnda. "The Johannesburg Art Gallery Library: Looking to the Future". Art Libraries Journal 20, nr 4 (1995): 16–18. http://dx.doi.org/10.1017/s0307472200009573.

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The Johannesburg Art Gallery opened in 1915. A collection of books intended for the Gallery, but housed elsewhere pending the completion of the building, became the separate Michaelis Art Library; the Gallery gradually formed its own library, for the use of the curators. In 1986 the Gallery Library was accommodated in a new wing. Selection for the Library has reflected the Gallery’s diverse collecting activities. Latterly, the Library has worked closely with the Gallery’s education department, and as a result its resources have been made available to the wider community. In 1994 the Library was given a major art slide collection by the Rand Afrikaans University; in the same year, it received funding for the computerisation of its catalogue, which will be accessible through SABINET. Work is in progress on an index of South African art.

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Tulloch, Pamela. "Integrating art – a Glasgow style". Art Libraries Journal 28, nr 3 (2003): 42–46. http://dx.doi.org/10.1017/s0307472200013237.

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Glasgow’s Mitchell Library is one of the largest public reference libraries in Europe. Recently, the City Council’s Cultural and Leisure Services staff have implemented an innovative approach to providing art information for the general public in the ‘Library @ GoMA – the learning gallery’, which opened in 2002 within the Gallery of Modern Art. In addition to the support the library offers to the Gallery’s activities, an ambitious programme of digitisation is under way to enable access to more of the Mitchell’s treasures.

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Bennett, James. "Islamic Art at The Art Gallery of South Australia". SUHUF 2, nr 2 (21.11.2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVERÂ the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country.Â Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Galleryâ€™s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent

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Jaiswal, Abhilasha. "ONLINE ART GALLERY". International Journal of Research -GRANTHAALAYAH 6, nr 6 (30.06.2018): 403–6. http://dx.doi.org/10.29121/granthaalayah.v6.i6.2018.1386.

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An online art gallery is new concept of selling and purchasing art works, both digital prints and traditional paintings are available on online sites. Basically, it is a user interface kind of web page on which buyer and seller both gets a platform for their jobs. Online art gallery is a time, energy and money saving web site concept. By this artist also can host their works and art curator can arrange auctions for art works.

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Wolfe, Rosalee J., Jodi Giroux-Lang, Lynn Pocock i Karen Sullivan. "Student art Gallery". ACM SIGGRAPH Computer Graphics 32, nr 1 (luty 1998): 30–33. http://dx.doi.org/10.1145/279389.564624.

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Wolfe, Rosalee J., Jodi Giroux, Lynn Pocock i Karen Sullivan. "Student art gallery". ACM SIGGRAPH Computer Graphics 32, nr 3 (sierpień 1998): 32–34. http://dx.doi.org/10.1145/281278.564627.

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Bila, Vonani. "Baloyi's art gallery". New England Review 38, nr 4 (2017): 11–12. http://dx.doi.org/10.1353/ner.2017.0088.

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Merkel, Jayne. "Yale Art Gallery". Architectural Design 77, nr 3 (2007): 110–15. http://dx.doi.org/10.1002/ad.469.

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O’Reilly, Chiara. "Collecting French art in the late 1800s at the Art Gallery of New South Wales". Journal of the History of Collections 32, nr 2 (18.03.2019): 313–25. http://dx.doi.org/10.1093/jhc/fhz006.

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Abstract From the nineteenth century, Sydney’s Art Gallery of New South Wales has been a marker of cultural ambition in Australia. This paper critically considers five large French paintings purchased at the end of the nineteenth century at significant expense by the gallery. Feted by contemporaries as examples of the French academic style, they formed part of plans to develop a representative collection to further understanding of art in the colony and, over time, they have taken on a rich role in the collective cultural memory. Through close examination of these paintings, their historical reception, criticism, reproduction and traces in the gallery’s archives this article reveals a history of taste, class and the formation of the cultural value of art. Using an object-based approach, it positions these works as evidence of changing cultural ideas within the context of a state collection to offer new insight into their status, the gallery itself, and the multiple roles of public art collections.

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Murdoch, John W. "Aberdeen Art Gallery image database project: A Prototype Low-Cost Art Image Database". Art Libraries Journal 21, nr 1 (1996): 23–28. http://dx.doi.org/10.1017/s030747220000972x.

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As a pilot project, a low-cost image database of selected works in the Aberdeen Art Gallery has been created. The database is available to members of the public in the Gallery’s library. It is hoped that the project can be developed further, with a CD-ROM as a possible outcome.

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Brucker-Cohen, Jonah, Tine Bech, Anthony Rowe, Gaz Bushell, Liam Birtles, Chris Bennewith, Oliver Bown i in. "Data Materialities Art Gallery: Introduction and Gallery". Leonardo 49, nr 4 (sierpień 2016): 352–74. http://dx.doi.org/10.1162/leon_a_01289.

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Anastasiei, Iolanda. "Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the Plan B Gallery". Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (20.11.2020): 145–57. http://dx.doi.org/10.24193/subbphil.2020.spiss.11.

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"Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the “Plan B” Gallery. In this paper I focus on a case study concerning the Cristi Rusu exhibition, The Only Thing I Am Sure about in This Life Lies above My Head, from the Plan B Gallery in Berlin (March 6 – April 11 2020). By integrating some interventions specific to land art in the gallery space (and, therefore, transforming it), Cristi Rusu manages to transgress the conventional limits imposed by the idea of a white cube gallery neutral space. The art gallery’s space functions as a medium for developing artistic discourse as the project tries to detach from the tradition and ideologies already incorporated in a certain place and time, in search for the sublime. Keywords: Plan B Gallery, Cristi Rusu, sublime, the archive, “profane space”, non-site "

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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi i in. "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, nr 2 (28.12.2020): 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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Toledo, Tamara. "Sur Gallery". Latin American and Latinx Visual Culture 4, nr 1 (1.01.2022): 110–21. http://dx.doi.org/10.1525/lavc.2022.4.1.110.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.

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Cushing, Deborah. "Art in Dispute at the Beaverbrook Art Gallery". International Journal of Cultural Property 15, nr 3 (sierpień 2008): 297–320. http://dx.doi.org/10.1017/s094073910808017x.

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AbstractA long-running dispute between the Beaverbrook Art Gallery and its benefactor foundations illustrates the need for documentation of gifts or loans of artwork. At issue in this dispute is ownership of over 200 of the paintings on display at the gallery valued at up to $200 million. None of the parties to the dispute has been able to produce records to establish that the paintings were either a gift or on loan to the Beaverbrook. Instead the parties have had to rely on newspaper and magazine articles, speeches, gallery catalogues, and export documents to substantiate their positions. Central to the dispute has been the role of the First Lord Beaverbrook and whether his actions amounted to a breach of his fiduciary duty to the gallery. This article examines the particulars of the parties' claims as well as the decisions that have been made to date. Final resolution of the dispute is not expected until all appeals have been decided.

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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 (30.11.2017): 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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Kats, L. M. "Приморская государственная картинная галерея как центр художественного пространства Дальнего Востока". Iskusstvo Evrazii [The Art of Eurasia], nr 4(19) (30.12.2020): 68–83. http://dx.doi.org/10.46748/arteuras.2020.04.006.

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The article is devoted to the last decade of exposition and exhibition activity of the Primorye State Art Gallery. The focus is on art projects that have become the result of increasingly strong inter-Museum contacts: “guest”, exchange and joint exhibitions. They are born as a result of searches for interested partners and sponsors, agreements with the heads of various institutions at forums and seminars. The patronage of Central museums is of great importance: the State Hermitage Museum, the state Tretyakov Gallery, the State Russian Museum, and others. The Primorye State Art Gallery organizes international exhibitions in order to promote Far Eastern fine art in the countries of the Asia-Pacific region, to open new names for these territories in the artistic sphere of the region and the district. The experience of the the Primorye State Art Gallery can be useful for museum workers in the Far Eastern and Siberian regions, and the information obtained can become an incentive for establishing new inter-museum contacts. The Primorye State Art Gallery is a relatively young museum formed in 1966 on the basis of the art collection of the Primorsky Regional Museum of Local Lore (now the Museum of the History of the Far East named after V. K. Arsenyev). Over five and a half decades, the gallery's funds have grown immeasurably, and it has become a methodological center for art museums in the Far East: the State Hermitage Museum has held six master classes on restoration and conservation of works of art in the gallery, and specialists from the State Russian Museum have been conducting scientific and practical seminars for the Far Eastern Federal district in recent years here. Статья посвящена последнему десятилетию экспозиционно-выставочной деятельности Приморской государственной картинной галереи. В центре внимания — арт-проекты, ставшие результатом все более крепнущих межмузейных контактов: «гостевые», обменные и совместные выставки. Рождаются они как итог поисков заинтересованных партнеров и спонсоров, договоренностей с руководителями различных институций на форумах и семинарах. Большое значение имеет шефское внимание центральных музеев: Государственного Эрмитажа, Государственной Третьяковской галереи, Государственного Русского музея и других. Международные выставки Приморская картинная галерея организует с целью продвижения дальневосточного изобразительного искусства в страны Азиатско-Тихоокеанского региона, открытия для этих территорий новых имен в художественной сфере края и округа. Опыт Приморской государственной картинной галереи может быть полезным для музейных работников Дальневосточного и Сибирского регионов, а полученная информация — стать побудительным импульсом для установления новых межмузейных контактов. Приморская государственная картинная галерея — сравнительно молодой музей, образовавшийся в 1966 году на основе художественной коллекции Приморского краевого краеведческого музея им. В.К. Арсеньева (ныне Музей истории Дальнего Востока им. В.К. Арсеньева). За пять с половиной десятилетий неизмеримо выросли фонды галереи, она превратилась в методический центр для художественных музеев Дальнего Востока: Государственный Эрмитаж провел в стенах картинной галереи Владивостока шесть мастер-классов по реставрации и консервации произведений искусства, специалисты Государственного Русского музея в последние годы выезжают с научно-практическими семинарами для зоны Дальневосточного федерального округа.

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Wardani, Dena Putri, Pretty Zinta Sinurat, Hana Murtiningsih, Salsabila Hidayat, Syahda Siti Syahiffah, Rama Wijaya Abdul Rozak i Erry Sukriah. "Potensi Art Gallery Sebagai Wisata Edukasi dan Sarana Terapi Mental Disorder". Journal of Tourism and Creativity 7, nr 2 (24.08.2023): 67. http://dx.doi.org/10.19184/jtc.v7i2.38687.

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Indonesia memiliki banyak kasus mental disorder, tetapi dari sekian banyak kasus tersebut, hanya beberapa saja yang memilih untuk melakukan konsultasi ke psikolog. Dengan melihat banyaknya art gallery yang terdapat di Bandung, peneliti ingin melihat potensi art gallery dalam mengatasi mental disorder serta melihat potensinya sebagai wisata edukasi yang berperan dalam peningkatan khazanah pengetahuan pengunjung. Metode yang digunakan dalam penelitian ini menggunakan pendekatan kuantitaif, dengan pengumpulan data melalui kuesioner dan observasi. Ditemukan bahwa beberapa pengunjung art gallery memiliki gejala mental disorder dan menjadikan art gallery sebagai sarana untuk mengekspresikan diri mereka, serta menjadi sarana terapi dalam mengatasi gejala mental disorder tanpa harus mengunjungi psikolog. Art gallery terbukti dapat memberikan ketenangan kepada pengunjung dan menjadi sarana untuk menyalurkan emosi pengunjung saat mengunjungi art gallery. Kemampuan dalam mengekspresikan diri dapat membuat individu menjadi lebih tenang sehingga dapat mengurangi gejala depresi. Peran art gallery sebagai wisata edukasi terbukti memberikan pengetahuan mengenai seni kepada pengunjung, selain itu art gallery juga memberikan kesempatan kepada pengunjung untuk mengekspresikan dan menciptakan karya seninya sendiri.

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Варламова, Л. И. "The history of the opening of the first exhibition from the Republic of Korea in the Primorye State Art Gallery". Iskusstvo Evrazii [The Art of Eurasia], nr 4(23) (29.12.2021): 74–85. http://dx.doi.org/10.46748/arteuras.2021.04.006.

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Статья посвящена истории открытия персональной выставки художника Ким Кён Ёл (Kim Kyong Yeoul) из Республики Корея в Приморской картинной галерее в 1997 году и ее значению для развития российско-корейских культурных связей. В основу исследования положены материалы из коллекции и архива Приморской государственной картинной галереи. Primorye State Art Gallery The article is devoted to the history of the opening of the exhibition of Korean artist Kim Kyong Yeoul (Seoul, Pepublic of Korea) in the Primorye State Art Gallery in 1997 and to its significance for the Russian-Korean cultural relations. This research is based on the Primorye State Art Gallery‘s collection and archive.

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Dudkiewicz, Margot, i Uliana Havryliv. "Experiencing art in city space on the example of the environment of the Galeria Labirynt in Lublin". Przestrzeń Urbanistyka Architektura 2022, nr 2 (grudzień 2022): 49–66. http://dx.doi.org/10.37705/pua/2/2022/04.

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Art in public space is still untapped potential. The garden at ‘Labirynt’ Gallery is an opportunity to publish a work of art and a place for a wide range of artistic activities. Here, access to works will be free and universal, and the art exhibited in public space will enter into a dialogue with the viewer. The design concept was influenced by the terrain, the existing vegetation, and the gallery building style. A new communication system, elements of small architecture, plantings, and illuminations were designed. The design of the Gallery’s surroundings was to make the facility recognizable and friendly.

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Lydon, Andrea. "The right space: 150 years of housing a national gallery's library and archive collection". Art Libraries Journal 43, nr 1 (8.12.2017): 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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Jurėnienė, Virginija, i Dovilė Peseckienė. "Art Gallery Visitors’ Motivations". Informacijos mokslai 89 (5.06.2020): 17–33. http://dx.doi.org/10.15388/im.2020.89.37.

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The article discusses the motivational factors of visual art institution consumers. Analysis includes Falk’s identity-related theory of motivation for visiting art institutions that discusses how visitors’ experience begins before visiting a museum and is focused on the consumer’s attitude (identity) validation. Consumers’ motivation to visit an art institution depends on not only the proposals provided by the institution and their value to the consumer, but also on accessibility, the environment, and the personnel’s communication. The article introduces the motivations, expectations of consumers of the services provided by Kaunas Picture Gallery as well as evaluation of the services and infrastructure provided by the organisation obtained during study Visitors’ Expectations in Visual Art Institutions.

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Blair, Jennifer. "Art Museum Image Gallery". Charleston Advisor 21, nr 3 (1.01.2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

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Tucker, Alan. "The Art Gallery Problem". Math Horizons 1, nr 2 (marzec 1994): 24–26. http://dx.doi.org/10.1080/10724117.1994.11974883.

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Murdoch, Antoinette. "The Johannesburg Art Gallery". de arte 46, nr 83 (styczeń 2011): 77–82. http://dx.doi.org/10.1080/00043389.2011.11877145.

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Wong, John, Jieliang Luo, Weidi Zhang, Brigitta Zics, Özge Samanci, Adam Snyder, Gabriel Caniglia i in. "SIGGRAPH 2019 Art Gallery". Leonardo 52, nr 4 (sierpień 2019): 400–422. http://dx.doi.org/10.1162/leon_a_01783.

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Art Gallery, Ateneo. "Ateneo Art Gallery Retrospective". Perspectives in the Arts and Humanities Asia 4, nr 1 (28.03.2014): 156. http://dx.doi.org/10.13185/1857.

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Smith, Sarah-Neel. "The Semiperipheral Art Gallery". Third Text 34, nr 2 (3.03.2020): 271–90. http://dx.doi.org/10.1080/09528822.2020.1757239.

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Bolotova, Alexandra I. "The Tretyakov Gallery Library". Art Libraries Journal 17, nr 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.

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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.

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Shih, Tsui-Yii, i Zhi-An Liu. "Wrong Gallery". Journal of Cases on Information Technology 18, nr 3 (lipiec 2016): 13–28. http://dx.doi.org/10.4018/jcit.2016070102.

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This case gives a depiction of how the founder of Wrong Gallery, Ron, when facing the competition and operational mode of the traditional art gallery industry in Taiwan, capitalizes on the latest trend of emergent social media, and leads his team to break through the shackles or consumers' stereotypical impression. Ron has set up a brand-new age of art space with the brand thinking and innovative approaches, becoming a practical case in regard of the new-pattern art space. In an era where the total value of output from cultural and creative industries worldwide is rapidly increasing, this case's rich materials give readers a better understanding of the operation of an art gallery amongst the cultural and creative industries. This case allows readers to understand how an innovative enterprise's founder starts by analyzing industry situations, incorporates his/her personal strengths, and further determines the strategy application and implementation for the company's market position and business operation model.

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Brison, Jeffrey, i Lynda Jessup. "Cold War “Cultural Safaris”: Canadian Art, Cultural Diplomacy, and the Asian Commonwealth Tour". Journal of Canadian Studies 58, nr 1 (1.03.2024): 159–93. http://dx.doi.org/10.3138/jcs-2023-0005.

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In 1955, the National Gallery of Canada circulated an exhibition of Canadian art to the “Asian commonwealth”—Pakistan, India, and Ceylon (now Sri Lanka). Developed in tandem with Canada’s involvement in the Colombo Plan for Co-operative Economic Development in South and Southeast Asia, the tour was part of a wide-angled strategy of cultural engagement that, despite its humanitarian trappings, was grounded in Cold War politics. Featuring a small display of relatively unimportant works in venues of limited interest to the National Gallery, the tour nonetheless marks a significant juncture in the development of the Canadian cultural state—a turning point in the relationship between the gallery and Canada’s Department of External Affairs, which in the immediate postwar decades sought to coordinate with the National Gallery in pursuit of an active role in the information brokering and cultural work it identified in the gallery’s promotion of Canadian art abroad. In this article, we position the Asian commonwealth tour as a case study that reveals the inherent tension in the relationship between the cultural and policy spheres of the state that informed Cold War mobilization of the liberal values art was thought to express.

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Honoris, Robby, i Andalucia . "Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)". International Journal of Architecture and Urbanism 1, nr 1 (15.11.2017): 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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Gollifer, Sue. "Art Space: ACM SIGGRAPH Art Gallery 2014". Digital Creativity 25, nr 4 (2.10.2014): 360–68. http://dx.doi.org/10.1080/14626268.2014.972060.

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Tirohl, Blu. "@art electronic gallery http://gertrude.art.uiuc.edu/@art/gallery.html". Convergence: The International Journal of Research into New Media Technologies 1, nr 1 (marzec 1995): 133–34. http://dx.doi.org/10.1177/135485659500100114.

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Kaye, Peter. "International Jurisdiction over Companies. When is an Art Gallery not an Art Gallery?" International Journal of Cultural Property 1, nr 1 (styczeń 1992): 185–92. http://dx.doi.org/10.1017/s0940739192000146.

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Chalas, Agnieszka. "Toward Evaluating Art Museum Education at the Art Gallery of Ontario". Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, nr 1 (17.10.2016): 121. http://dx.doi.org/10.26443/crae.v43i1.21.

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Abstract: Over the past three decades, the museum education field has seen a rise in the frequency of program evaluation. In this paper, I convey little known information about program evaluation at the Art Gallery of Ontario by presenting my findings from an interview I conducted with Judy Koke, the gallery’s Chief of Public Programming and Learning. Our discussion highlights both the barriers the AGO has faced on their journey toward evaluating programmatic value and the strategies the gallery has employed in an effort to enhance its internal evaluation efforts. A brief overview of program evaluation in museums provides the background to this discussion. KEYWORDS: Art museum education; Program evaluationRésumé: Le domaine de la pédagogie muséale a connu au cours des trois dernières décennies un essor quant au nombre d’évaluations de programmes. Je transmets ici le peu de renseignements connus sur l’évaluation des programmes au Musée des beaux-arts de l’Ontario (AGO), au terme d’une entrevue que j’ai menée avec Judy Koke, directrice de l’apprentissage et de la programmation à l’intention du public au Musée. Notre discussion met en évidence tant les obstacles rencontrés par l’AGO dans le cadre de l’évaluation de la valeur des programmes que les stratégies utilisées par le musée pour rehausser ses activités internes d’évaluation. Un bref aperçu de l’évaluation des programmes dans les musées met notre discussion en contexte.MOTS CLES: Éducation musée d'art; évaluation du programme.

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Metzger-Šober, Branko. "Nikada dovršena igra oko osnivanja Galerije moderne umjetnosti u Rijeci u međuratnome razdoblju". Ars Adriatica 9 (28.02.2020): 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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Sitorus, Nova, Juliana Juliana i Chaterine Kho. "ANALYSIS OF MARKETING ASPECT IN FEASIBILITY STUDY OF ASIAN CULTURE GALLERY IN WEST JAKARTA". JELAJAH: Journal of Tourism and Hospitality 3, nr 1 (6.08.2021): 58–67. http://dx.doi.org/10.33830/jelajah.v3i1.1864.

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Based on the data and explanation above, the writer decided to make a business feasibility study from the marketing aspect of an art gallery. The art gallery that will be discussed in this business feasibility study is entitled Asian Culture Gallery. The Asian Culture Gallery, located in West Jakarta, is an art gallery that displays various paintings and explanations of traditional culture, such as traditional dances, special foods, official languages and also traditional clothing from various countries in Asia. These countries include South Korea, Japan, Indonesia, India and the Middle East. In order to produce supporting data, reliable data sets and sources are needed. Therefore, the data obtained must be valid and reliable data. The business feasibility study of the Asian Culture Gallery located in West Jakarta collects data using scientific methods, namely primary data and secondary data. This art gallery will also display some examples of paintings, information and products from the country concerned. The Asian Culture Gallery questionnaire has been distributed online to 153 respondents to find out market interest and responses to questions or statements given. From a market perspective, this gallery is worth running. Keyword: Market, Feasibikity, Gallery, Business

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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, nr 1 (28.01.2019): 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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Wong, Neng Lee. "THE SIGNIFICANCE OF A PUBLIC ART GALLERY AS AN EDUCATION CENTRE IN KUCHING, SARAWAK". International Journal of Applied and Creative Arts 1, nr 1 (29.06.2018): 42–56. http://dx.doi.org/10.33736/ijaca.839.2018.

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Building a Public Art Gallery is a dream of many individuals in Kuching, Sarawak. Kuching possesses colourful multicultural identities and has been producing different types of art that reflect the uniqueness of these identities. However, until now no public art gallery serves as a platform for Sarawakian artists, particularly in Kuching, to display their artworks and crafts and at the same time educate the community. This paper compiles the literature review on the importance of a public art gallery as an education centre for the society. The data was collected using the qualitative method, focusing on in-depth interviews to identify and analyse why a public art gallery is vital in Kuching, Sarawak, like a lot of other states in Malaysia. The informants were selected by purposive sampling and then analysed using Data Analysis Lamnek. This paper analyses the informants’ perceptions. It concludes with a suggestion of a temporary public art gallery in Kuching, Sarawak and some future studies.

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Fazra Risky Nasution i Morida Siagian. "Contemporary Art Gallery (Expressionism Architecture)". International Journal of Architecture and Urbanism 4, nr 2 (27.08.2020): 174–80. http://dx.doi.org/10.32734/ijau.v4i2.4520.

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Some issues prove that the development of art in Medan is relatively slow and does not become a concern of the public because of the availability of minimal and inadequate space, while Medan is a multicultural city in terms of art, many artists in the city of Medan have great potential. The construction of contemporary art gallery aims to meet the needs and facilities of art activities in the city of Medan because Medan does not yet have a decent art gallery for art activities, from exhibitions, artwork making space, to fine arts training venues and also as a center for art development likeness of the City of Medan. This gallery plans to be a productive place or place to introduce and provide attractive insights or knowledge to local people and tourists and to be able to preserve and preserve the fine arts in the city of Medan. The methodology used in this project is by collecting data through from literature review and by doing a site surveys. This building design uses the theme of expressionism architecture, where this building can express the meaning of art that it can be enjoyed visually.

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Bull, Hank. "Radio Art in a Gallery?" TDR (1988-) 37, nr 1 (1993): 161. http://dx.doi.org/10.2307/1146277.

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Gurian, Elaine Heumann. "Kelvingrove Art Gallery and Museum". Curator: The Museum Journal 50, nr 3 (lipiec 2007): 358–61. http://dx.doi.org/10.1111/j.2151-6952.2007.tb00278.x.

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Pocock, Lynn. "The SIGGRAPH 98 art gallery". ACM SIGGRAPH Computer Graphics 32, nr 4 (listopad 1998): 20–21. http://dx.doi.org/10.1145/307710.307717.

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Martino, Jacquelyn. "The SIGGRAPH 95 art gallery". ACM SIGGRAPH Computer Graphics 29, nr 4 (listopad 1995): 56. http://dx.doi.org/10.1145/216876.216891.

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Zoran, Amit. "Hybrid Craft: Art Gallery Curator". Leonardo 48, nr 4 (sierpień 2015): 382–83. http://dx.doi.org/10.1162/leon_a_01092.

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Eber, Dena Elisabeth. "The SIGGRAPH 2002 art gallery". ACM SIGGRAPH Computer Graphics 36, nr 3 (sierpień 2002): 33–39. http://dx.doi.org/10.1145/570332.570347.

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