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Artykuły w czasopismach na temat "Regional art museums"
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Satubaldin, Abay, i Kunikey Sakhiyeva. "The Museum System of Modern Kazakhstan: Classification and Typology of Museums". Muzeológia a kultúrne dedičstvo 9, nr 2 (2021): 79–89. http://dx.doi.org/10.46284/mkd.2021.9.2.5.
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This article discusses the museum system of modern Kazakhstan and offers, for the first time ever, a classification and typology of the country’s museums.In recent years in independent Kazakhstan, on the basis of the Soviet system, a modern museum network has been formed which currently lists 250 museums. Among them are 17 national-level museums, 54 at the regional level, 73 at the provincial level, 103 branches of regional- and district-level museums and four private museums.The purpose of this article is to analyse the museum system of modern Kazakhstan and develop a classification and typology of the country’s museums.In the course of the study, conducted in 2017–2018, data was collected on the activities of museums at the national, regional and district levels over the past seven years. From the results of this investigation, the museums of Kazakhstan were systematized according to the subject or topic of the museum (e.g. history, art, scientific), its affiliation (national, regional district), and by size, measured by number of employees.
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Mikule, Stanislav. "Galerijní výstavy a vlastivědná muzea". Muzeum Muzejní a vlastivedná práce 58, nr 1 (2021): 38–43. http://dx.doi.org/10.37520/mmvp.2020.005.
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The paper is based on the author‘s practice in the Regional Museum in Žďár nad Sázavou. In many cities, museums and galleries are located side by side, and museums also hold gallery exhibitions. Museums of local history have considerable potential to supplement such an exhibition with the help of other museum collection objects of a non-artistic nature, such as the document of time of life and work of a given artist or related to the theme of the presented work. This makes the exhibition attractive to a wider range of visitors. The author describes art exhibitions in which collection items from various areas of human activity, realized in the Žďár Regional Museum, were connected and presents them as inspiration or a topic to reflect on colleagues from the field who do not yet use the potential of their collection items in a similar spirit.
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Шинковой, А. И. "Mongolian works of Buddhist art in the museums of Irkutsk: general characteristics of the collections". Iskusstvo Evrazii [The Art of Eurasia], nr 3(22) (30.09.2021): 126–37. http://dx.doi.org/10.46748/arteuras.2021.03.011.
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В статье дается общая характеристика монгольских буддийских коллекций в Иркутском областном художественном им. В.П. Сукачёва и Иркутском областном краеведческом музее. Показана значимость и оригинальность монгольских коллекций в музеях; приведены краткие истории их формирования и способы комплектования фондов восточными произведениями искусства. Дается сравнительный анализ коллекций; в частности, отмечается, что предметы монгольских собраний Иркутского областного художественного музея, в отличие от коллекций Иркутского областного краеведческого музея, были освящены ламами. Приводятся описания наиболее значимых монгольских экспонатов, анализируются экспонаты религиозного культа. The article provides a general description of the Mongolian Buddhist collections in the Irkutsk Regional Art Museum named after V.I. Sukachov and the Irkutsk Regional Museum of Local Lore. The significance and originality of Mongolian collections in museums is shown; brief histories of their formation and methods of acquisition of funds with oriental works of art are given. Comparative analysis of the collections is given; in particular, it is noted that the items of the Mongolian collections of the Irkutsk Regional Art Museum, in contrast to the collections of the Irkutsk Regional Museum of Local Lore, were consecrated by lamas. Descriptions of the most significant Mongolian exhibits are given; the exhibits of the religious cult are analyzed.
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Rentschler, Ruth, Kerrie Bridson i Jody Evans. "Exhibitions as sub-brands: an exploratory study". Arts Marketing: An International Journal 4, nr 1/2 (30.09.2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.
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Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand? Design/methodology/approach – Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions. Findings – The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity. Practical implications – These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective. Social implications – Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature. Originality/value – The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.
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Andžāne, Ieva. "MUSEUM AS AN OBJECT OF CHANGE". Culture Crossroads 11 (10.11.2022): 68–80. http://dx.doi.org/10.55877/cc.vol11.132.
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Over the last decades the museum sector has experienced substantial changes. The need for change has been stressed by such well-known museologists and practi- tioners as Stephen E. Weil, David Flemming and others. Moreover, the change of and within museums has arisen as one of the most important topics of several professional networks and conferences, such as “We Are Museums”, which was cre- ated in 2013 as yearly event at the intersection of culture and innovation. Thus, we can speak about paradigm of change in contemporary museums that affects their performance and future strategies. This paradigm of change in museum sector seems especially interesting if we think about the symbolic role of a museum. Traditionally a museum is an institution that keeps our heritage intact and until recently this task has been perceived as its main function. Not without reason the museum has been used as symbol for standstill, unchangeable in art and literature. Yet now we are asking for museums to change themselves and their public offer. The aim of the article is to track the development of paradigm of change in museum sector and to outline the most important fields that had been affected by change during past decades. The change of museum sector has been viewed in regional context, marking the most important trends: 1) changes in the models of museum funding; 2) changes in museum’s strategic priorities; 3) changes in our perception of a museum. Still, it is important to remember that an organization can never change just one thing – in most cases museums are subjected to more than one of these trends. The results in almost all cases are similar – growing importance of museum management.
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Pushenkova, Sofia A., i Dmitriy E. Lavrov. "Avant-garde heritage of the regions: Use and development prospects in a museum context (on the example of the museums of Saratov and Smolensk)". Issues of Museology 13, nr 1 (2022): 110–20. http://dx.doi.org/10.21638/spbu27.2022.108.
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In the wake of the growing interest in the history of the Russian avant-garde, leading Russian museums become initiators, organizers and partners of large-scale exhibition projects dedicated to both individual personalities of the avant-garde era and iconic cultural institutions. In this regard, it is also important to understand how the museum community in Russia reacts to the given trend of turning to the heritage of the avant-garde era, and how regional museums are involved in this process. The artistic avant-garde was never limited to capitals, new trends penetrated all cities of the country, one way or another leaving a mark on the appearance of the city, its history and, of course, in museum collections. This is why researchers need to see the fullest possible picture of how regions are using their avant-garde heritage. The article is devoted to the study of the experience of using the avant-garde heritage in Russian regions on the example of the Saratov State Art Museum named after A.N.Radishchev and the Art Gallery of the Smolensk State Museum-Reserve. Based on sources of museum origin, electronic catalogs of museums, texts by regional authors, Internet sources (in particular, the State Catalog of the Museum Fund of the Russian Federation, and the Constructivist Project portal), as well as local news sources the article reviews the avant-garde collections of these museums, considers cultural and educational activity of urban cultural institutions and independent curatorial projects on this topic. An important part of this study is the assessment of the development prospects in the actualization of the avant-garde heritage of the regions, as well as the role of independent cultural institutions of cities in the actualization and use of the avant-garde heritage of these regions.
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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia". Archives of Asian Art 70, nr 2 (1.10.2020): 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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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain". European Review 13, nr 4 (październik 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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Foshay, Susan M. "Grist to the mill: folk art in the Atlantic Region". Art Libraries Journal 22, nr 4 (1997): 8–11. http://dx.doi.org/10.1017/s0307472200010609.
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Literature on folk art of the Atlantic region, with few exceptions, would be nonexistent without the intervention of visual arts institutions and museums. The interest in folk art and folk art collecting by museums and galleries, and the institutions’ penchant for documentation, has generated a diversity of written and visual material on the subject, of both an historical and a contemporary nature, which unveils a regional portrait of artists and their work.
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Zakharchyn, Nataliia. "Legislative regulation of museums activity in the Second Rzechpospolita Polska". Law Review of Kyiv University of Law, nr 1 (15.04.2020): 38–41. http://dx.doi.org/10.36695/2219-5521.1.2020.05.
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The article considers the creation of the legislative basis regarding the museums’ activity in interwar (1918-1939) Poland. Temporary organization of common government authorities in 1918 suggested subordination of museums of interwar Poland to the Ministry of religion andpopular education. It also describes changes in subordination of the museums and some features of law-making process. In April 1918, the Department of Art of the Ministry processed and offered the first project of temporary law on museums. According to the legislative proposal, state politics in the museum industry had to be implementedusing the special museum abstract within Department of Art. In the draft, there were a few types of museum identified: the main ones (national) and regional, educational and special.
It was necessary to legislate on determining andidentifying main directions of the activity, to organizationally form the framework of their functioning, for the sake of museum professional work activization, controlling their activity, help with creation of new collections and support of some old ones. It is stated that his fact was understood by the representatives of the organizations that were either connected to museum industry or played a catalytic role in museum reforms in the interwar period, for instance, The Union of Museums of Poland.It was the Union that the draft law “Onthe trusteeship for the public museums” was prepared by. Apart from the draft law, the project of the implementing regulation to the bill regarding establishment and activity of the Museum State Council was adopted. In the article, the process of establishing the draft law is considered.
The article reflects the representation of modified law “On the trusteeship for the public museums” in the Parliament of Second Rzechpospolita Polska. In the parliament, the draft bill was considered as a framework, which determines the concept of a public museum. According to the bill, Minister of religion and education implemented the trusteeship and control of the activity of the public museums and approved theirstatutes. The articlealso reviews the aims and tasks of the adopted law and further implementing regulations, particularly, on the establishment of Museum State Council.
Rozprawy doktorskie na temat "Regional art museums"
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Ashmore, Nicola L. "Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010". Thesis, University of Brighton, 2011. https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e.
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This doctorate examines the redevelopment of ethnographic collections between 1997 and 2010. The collection and interpretation of ethnographic objects has been the subject of much debate between, anthropologists, museum studies scholars and curators who have sought, on the one hand, to reveal and, on the other, to resist colonial representations in contemporary museums. These debates, as well as the longstanding concern about the purpose of the museum itself, informs this research, which focuses upon the period of the New Labour administration (1997- 2010) and the impact of its cultural diversity agendas upon regional museums. It investigates how regional museums have responded to the shifting demands of cultural policies and, in particular, how specific ethnographic collections have been redisplayed and reinterpreted, and the use of art commissions and artists to do so.
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Jankauskas, Jennifer Kathleen. "Acquiring contemporary art in today's global market : collecting strategies at small, mid-sized and regional American museums". Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32246.
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Over the years, prices for contemporary works of art have continued to rise to the point that many small, mid-sized and regional American art museums have difficulties collecting in this arena. Few authors have examined this phenomenon, or the different tactics in place to combat it. This study aims to fill this gap by undertaking a detailed analysis of successful museum acquisition processes at several museums. To ground the discussion I closely examine the hierarchical systems of the art world and its subset, the art market, and investigate the ways in which particular actors, including collectors, dealers and museum curators, negotiate this realm. Despite the economic hardships that they face, many museums embark on creative strategies to compete in this global market. In order to identify and evaluate these strategies I take an ethnographic approach to the research. Participant observations were undertaken at three American art fairs to fully understand the role of key participants in the market. Furthermore, semi-structured interviews with gallery dealers, museum curators and museum directors revealed both the challenges and solutions involved in the acquisition process, and led to the examination of six key strategies currently in place at museums around the United States. An analysis of these strategies demonstrates the creativity and entrepreneurial nature necessary for continued collecting of contemporary art in a market that has outpaced acquisition budgets.
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Douglas, Craig Cameron, i n/a. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum". Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.111309.
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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.
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Douglas, Craig Cameron. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365856.
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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
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Jones, Stacey Elizabeth. "Why women's clothing? a critical history of clothing collections : a regional case study /". Connect to PDF file Connect to PDF file, 2005. http://purl.fcla.edu/fcla/etd/UFE0009404.
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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand". Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.
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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
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DIRKS, STEFANIE. "An Appalachian Arts Project: A New Model to Promote Communal Art Interaction". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211923981.
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Harrington, Kaysie Marie. "The American Studio Glass Movement: A Regional Study of its Birth in Northwest Ohio". Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1542125173303787.
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Checchia, Viviana. "Beyond the exhibition : a vessel for self-reflexive curating in the Mediterranean". Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/25048.
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This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.
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Batista, Sandro Tôrres. "Do começo ao fim: história da implantação, desdobramentos e encerramento do Salão Nacional de Arte de Goiás - Prêmio Flamboyant (Goiânia, 2001 – 2006) Bastidores e memórias de um caso no sistema artístico regional". Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6703.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research had as object the National Art Salon Goiás - Flamboyant Award held in Goiânia between 2001 and 2006; analyze the relevant facts gathered from documentary sources and depositions. The Salon was designed, built and managed throughout its realization by a group of professionals who combined the project scope in the commercial sphere and professionals in the arts, in the defense of cultural character, and coined a form and regimentation never before seen in this State and aimed to select and reward through public tender (via notice) Brazilian artists with recent production in contemporary art. In the period of the Salon, the city was featured in the Brazilian scene of the visual arts and, therefore, attracted the attention of renowned artists, curators and art critics. It was left to the researcher in his text to highlight some aspects from the data collected in the survey, particularly with regard to the analysis of competition-salon format, the impact on the local landscape and the historical and cultural legacy for the city and the state. Interviews were conducted with some of the main characters involved in the project and analyzed documents and printed primary sources of research. During the master of the period, some versions of the text results of the survey were presented in the form of communications, lectures and discussions on the topic in the history of events, arts and within the Research Group Interartes- Interartistics Processes and Systems and Performance Studies (CNPq), which the researcher was part of effective and active form since joining the PPGH UFG.
Esta pesquisa teve como objeto o Salão Nacional de Arte de Goiás – Prêmio Flamboyant que aconteceu em Goiânia entre 2001 e 2006; com o objetivo de analisar os fatos relevantes levantados a partir de fontes documentais e depoimentais. O Salão foi concebido, erigido e gerido, ao longo de sua realização, por um grupo de profissionais que mesclavam o escopo do projeto na esfera mercantil e profissionais do campo das artes, na defesa do caráter cultural, e cunhou uma forma e arregimentação nunca dantes vista neste estado e tinha como finalidade selecionar e premiar, por meio de concurso público (via edital), artistas brasileiros com produção recente em arte contemporânea. No período de realização do Salão, a cidade recebeu destaque no cenário brasileiro das artes visuais e, com isso, atraiu a atenção de reputados artistas, curadores e críticos de arte. Coube ao pesquisador em seu texto destacar alguns aspectos dentre os dados levantados em pesquisa, principalmente no tocante à análise do formato de concurso-salão, o impacto no cenário local e o legado histórico e cultural para a cidade e o estado. Foram realizadas entrevistas com alguns dos principais personagens envolvidos no projeto e analisados documentos e materiais impressos, fontes primárias de pesquisa. Durante o período do mestrado, algumas versões do texto resultado da pesquisa foram apresentadas na forma de comunicações, palestras e discussões sobre o tema em eventos de história, de artes e dentro do Grupo de Pesquisa Interartes- Processos e Sistemas Interartísticos e Estudos de Performance (CNPq), do qual o pesquisador fez parte de forma efetiva e atuante desde seu ingresso no PPGH-UFG.
Książki na temat "Regional art museums"
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Brecknock Museum and Art Gallery i Brecknock Museum Art Trust, red. Building a significant regional art collection: The visual arts at Brecknock Museum & Art Gallery 1992-2005. Wyd. 2. [Powys?]: Brecknock Museum Art Trust, 2007.
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Vic.) National Regional Galleries Summit (2nd 2001 Mildura. Dissolving distance: Papers from the 2nd National Regional Galleries Summit 2001. Australia: Global Art Projects PTY LTD, 2001.
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Laura, Millard, O'Brien Paddy 1929- i London Regional Art and Historical Museums (Ont.), red. The single tree: July 22-September 17, 2000, London Regional Art and Historical Museums. London, Ont: London Regional Art and Historical Museums, 2000.
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Wen, yan: Zhongguo qu yu bo wu guan jiao liu zhan lan wen xian ji = Collection of documents on exchange exhibitions of regional museum in China. Beijing Shi: Wen wu chu ban she, 2010.
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Tom, Smart, red. The collection, London, Canada. [London, Ont.]: London Regional Art and Historical Museums, 1990.
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London Regional Art and Historical Museums (Ont.). Pandora's box: A collection of collections. London, Ont: LRAHM, 1999.
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Popović-Živančević, Mila. Condition of the cultural and natural heritage in the Balkan Region: Proceedings of the regional conference held in Kladovo, Serbia from 23th to 27th October 2006. Belgrade: National Museum in Belgrade, 2007.
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Le classicisme français: Masterpieces of seventeenth century painting : a loan exhibition from the Louvre and French regional museums at the National Gallery of Ireland, 30 April-9 June l985. Dublin: The Gallery, 1985.
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Massachusetts Historical Society. Portraits in the Massachusetts Historical Society: An illustrated catalog with descriptive matter. Boston: The Society, 1988.
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Khoroshilov, P. V., N. I. Nikandrov i Anatoliĭ Ivanovich Vilkov. The Orlov Regional Museum of Local Lore. Redaktor Russia (Federation). Departament po sokhranenii︠u︡ kulʹturnykh t︠s︡ennosteĭ. Moscow: Ministry of Culture of the Russian Federation, Dept. of Cultural Heritage, 2002.
Znajdź pełny tekst źródłaCzęści książek na temat "Regional art museums"
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Gelfand, Laura D. "Regional Styles and Political Ambitions: Margaret of Austria’s Monastic Foundation at Brou". W Museums at the Crossroads, 193–202. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.mac-eb.3.785.
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Sadykova, Dilyara. "31 Art Works from the First Russian Art Exhibition in the Krasnodar Regional Art Museum F.A. Kovalenko". W 100 Years On: Revisiting the First Russian Art Exhibition of 1922, 204–11. Köln: Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525668.204.
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Küver, Jan. "The Politics of Shared Heritage: Contested Histories and Participatory Memory Work in the Post-Colonial Urban Landscape". W 50 Years World Heritage Convention: Shared Responsibility – Conflict & Reconciliation, 139–50. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05660-4_11.
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AbstractShared heritage is a concept that serves to address cultural ties between countries or people that emanate from colonial history, including conflicts and contestations as well as connections and commonalities. This contribution evaluates the potential of shared heritage to work as a tool for a transformative heritage management practice through exploring the post-colonial heritage landscape of Iringa, Tanzania. The historical dynamics of colonialism have left various tangible and intangible traces throughout Iringa Town and Region. Combining ethnographic and historical methods, this paper examines historical narratives of different social groups, representations of these trajectories in the regional museum, and community responses to buildings and sites of colonial origin in the cityscape. In line with UNESCO’s Historic Urban Landscape (HUL) approach, observed applied conservation activities are discussed in the light of local development processes. I argue that shared heritage can serve as a viable concept to grapple with the colonial legacy vested in the HUL while at the same time using the discursive energy provided by these conflicts to support the cultural, social, and economic development of communities.
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Christou, Prokopis A. "Tourism during the Late Modern Period (1750-1945)." W The history and evolution of tourism, 56–75. Wallingford: CABI, 2022. http://dx.doi.org/10.1079/9781800621282.0005.
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Abstract This era witnessed an upsurge of railway networks in countries such as Britain, Switzerland and India. The importance of railways for economies, as well as the travel and tourism industry, has been highlighted in several studies particularly in the last few decades. In current days, high-speed rail contributes to increased tourism arrivals in regional tourism economies of countries such as China and Japan, while technological advancements in trains may even embrace augmented reality games for passengers. In other cases, the train or/and journey itself becomes the main component of the tourist experience. In such cases, the rail experience is complemented with luxurious fittings or vintage aesthetics while travelling through scenic routes. This chapter also emphasizes the early beginning of war or dark tourism, wherein the cemeteries and/or museums related to World War I and II are starting to be part of the itineraries of travellers.
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Paschinger, Elena. "Creative travellers in Austria." W Creative tourism: activating cultural resources and engaging creative travellers, 26–29. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789243536.0003.
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Abstract Creative tourism has emerged as a global trend in cultural tourism, replacing the previous notion of cultural tourism as being a mostly passive, attraction- and museum-based activity. Creative travellers are actively seeking out opportunities to become engaged in the local cultural fabric of the place they visit, be it during a cultural festival, an opportunity to meet the locals through hands-on workshops, or by participating in an activity offered at formal institutions, such as cookery schools. This chapter presents insights about types of creative travellers in Austria. Given the author's background as project manager in the association Kreativ Reisen Österreich (Creative Tourism Austria), the remarks made here are observations based on 10 years of experience in managing, networking, and promoting creative tourism to both national and international travellers. This has been done in co-operation with such high-profile partners as the Austrian National Tourism Board as well as several regional destination management organizations across Austria.
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Finizio, Davide. "Dalla storia all’inclusione. Il racconto della comunità cinese di Prato". W Raccontare la Resistenza a scuola, 199–202. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-650-6.26.
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The contribution describes the connections between attempt in building the history of the chinese community in Prato and the inclusion process activated thanks to the Memory Train in the project of the Tuscany region. As the student Luisa Xu joined the training trip towards the statal Museum in Auschwitz, it has been carried on a project of opening and narration of Chinese people in Italian history. Young generations in the chinese community in Prato have used them as a tool for knowledge and communitarian transformation. From this point of view, processes linked to the Resistance movement have to read in the present as they are addressed to mutual knowledge and to peace.
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Gervasi, Osvaldo, Damiano Perri, Marco Simonetti i Sergio Tasso. "Strategies for the Digitalization of Cultural Heritage". W Computational Science and Its Applications – ICCSA 2022 Workshops, 486–502. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-10592-0_35.
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AbstractThe COVID-19 pandemic caused despair, poverty and, above all, pain and death across the planet. Nevertheless, there is no doubt that it has also given a strong global impetus to the digital world, asserting its importance, sustainability and richness of perspectives. With our work we intend to establish a set of best practices aimed at defining methods and technologies that will enable those fascinated by digital technologies to contribute effectively to the digitisation of cultural heritage on a large scale. Various aspects that play a crucial role in the digitisation of artifacts will be discussed, with a focus on the issues involved in the manual realisation of works using Blender and Unity software. For demonstration purposes, two very popular use cases in the Umbria region of Italy are presented: “Piazza IV Novembre” in Perugia with the magnificent “Fontana Maggiore”, the “Palazzo dei Priori” and the Duomo on one side and the Republic square in Foligno on the other, with the Duomo, the Bishop’s house and the Diocesan Museum, the Town Hall and “Palazzo Trinci”. The first realization was carried out using photogrammetry techniques, the software Blender and Unity, while the second was carried out exclusively with Blender and Unity.The theme is highly relevant in Europe, particularly Italy, where the topic is part of the post-COVID-19 National Recovery and Resilience Plan (NRRP).
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Lent, John A. "The Glimmering Glow of Comic Art amidst the Blinding Glitter of the United Arab Emirates". W Comic Art in Museums, 192–201. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0021.
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This chapter includes a 2016 essay by comics studies pioneer John A. Lent about the Cartoon Art Gallery in Dubai, United Arab Emirates. Dubai is home to the Middle East Film and Comic Con (the largest regional convention), Comicave (the largest comics related store in the region), and Majid, the most popular comics character (published since 1979). A group of dedicated young people with faith in comics as an essential form of art and communication have nurtured a small cartoon art museum and an active comics community amongst the glittering skyscrapers. Lent visited the museum, talking with the founder, Melvin Matthew, about their exhibition style and sense of community. This chapter discusses popular comics titles and cartoonists in the UAE. Images: 3 gallery photos.
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Zhdanova, N. S. "REGIONAL WORKS DECORATIVE APPLIED ART OF THE URALS AS OBJECTS OF MASTER RESEARCH". W Filosofskie, sociologičeskie i psihologo-pedagogičeskie problemy sovremennogo obrazovaniâ., 116–19. Altai State Pedagogical University, 2021. http://dx.doi.org/10.37386/2687-0576-2021-3-116-119.
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The article summarizes the experience of organizing the research work of undergraduates in the direction of training «Decorative and applied art» in the study of regional objects of arts and crafts of the Urals. There are certain advantages to such studies: students have the opportunity to interact directly with objects in local museums and in private collections. Tours to the manufacturing site where the items were made and the places where they are used to this day help students understand manufacturing and household use. The author proposes to rely on the collection of little-known regional objects of DPI and folk crafts of the Urals. Such an organization will make scientific work more interesting and more meaningful.
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Maria P., Mironenko. "The fate of the Russian archaeologist at the era-breaking time". W Traditional and innovative ways to explore social history of Russia 12th–20th centuries: Collection of articles in honor of Elena Nikolaevna Shveikovskaya, 185–93. Novyj hronograf, 2021. http://dx.doi.org/10.31168/94881-516-9.15.
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The article is devoted to the fate of an archaeologist, historian, employee of the Rumyantsev Museum, local historian, head of the section for the protection of museums and monuments of art and antiquities in Arkhangelsk, member and active participant of the Arkhangelsk Church Archaeological Committee and the Arkhangelsk Society for the Study of Russian North K.N. Lyubarsky (1886–1920). The Department of Written Sources of the State Historical Museum stores his archive, which sheds light on the history of his struggle to protect churches and other monuments of art and culture dying in the North of Russia during the revolution and civil war, for the creation of the Arkhangelsk Regional Museum.
Streszczenia konferencji na temat "Regional art museums"
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Samsoniuk, T. M. "Regional museums of Ukraine in the conditions of the war with Russia (on the example of the Rivne Regional Museum of Local Lore)". W THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-17.
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Kirana, Ayu Dipta, i Fajar Aji Jiwandono. "Indonesian Museum after New Order Regime: The Representation that Never Disappears | Museum Indonesia Selepas Orde Baru: Representasi Rezim yang Tak Pernah Hilang". W The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-33.
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Indonesia marked a new era, known as the Reformation Era, in 1998 after the downfall of Suharto, the main face of the regime called the New Order (Orde Baru) and ran the government from 1966 to 1998. This long-run government creates certain structures in many sectors, including the museum sector in Indonesia. Suharto leads the government in a totalitarian manner, his power control over many layers, including the use of museums as regime propaganda tools. The propaganda in the museums such as a standardized storyline, the use of historical versions that are approved by the government, and the representation of violence through the military tale with the nation’s great enemy is made for the majority of museums from the west to east Indonesia at that time. Thus, after almost two-decade after the downfall of the New Order regime how Indonesian museum transform into this new era? In the new democratic era, museum management is brought back to the regional government. The museums are encouraged to writing the local history and deconstruct the storyline from the previous regime. Not only just stop there, but there are alsomany new museums open to the public with new concepts or storylines to revive the audience. Even, the new museum was also erected by the late president’s family to rewrite the narration of the hero story of Suharto in Yogyakarta. This article aims to look up the change in the Indonesian museum post-New Order regime. How they adjust curatorial narration to present the storyline, is there any change to re-write the new narrative, or they actually still represent the New-Order idea along with the violence symbolic that never will deconstruct. Indonesia menandai masa baru yang dikenal sebagai masa reformasi pada tahun 1998 dengan tumbangnya Soeharto yang menjadi wajah utama rezim yang dikenal dengan sebutan Orde Baru ini. Pemerintahan Orde Baru telah berlangsung sejak tahun 1966 hingga 1998 yang mengubah banyak tatanan kehidupan, termasuk sektor permuseum di Indonesia. Corak pemerintahan Orde Baru yang condong pada kontrol dan totalitarian mengantarkan museum sebagai kendaraan propaganda rezim Soeharto. Dimulai dari narasi storyline yang seragam di seluruh museum negeri di Indonesia hingga kekerasan simbolik lewat narasi militer dan musuh besar bangsa. Lalu setelah hampir dua dekade era reformasi di Indonesia bagaimana perubahan museum di Indonesia? Pada era demokrasi yang lebih terbuka, pengelolaan museum dikembalikan kepada pemerintah daerah dan diharapkan untuk dapat menulis kembali sejarah lokal yang baru. Tak berhenti disitu, banyak museum-museum baru yang tumbuh berdiri memberikan kesegaran baru namun juga muncul museum yang berbau rezim Orde Baru turut didirikan sebagai upaya menuliskan narasi.
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Darulová, Jolana, i Katarína Koštialová. "Múzeá kultúr národnostných menšín ako súčasť špecifických foriem turizmu". W XXIII. mezinárodní kolokvium o regionálních vědách / 23rd International Colloquium on Regional Sciences. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9610-2020-47.
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The cultural heritage of a locality, region or country plays a significant role in the domestic tourist industry. Institutions of historic memory, in particular museums are concerned with specialist processing of cultural heritage elements. They register, document, administer and ultimately present these elements. The objective of this study is to characterise the importance of specialised museums of ethnic minority cultures in Slovakia, as cultural heritage intermediaries for specific forms of tourism. The study is based on ethnological field research, with updated semi-standardised interviews and participating observations. The outcome of the study determines two aspects. One of them relates to various forms of the tourist industry, which the museum network in Slovakia also participates in. The other one specifies the researched museums of ethnic minority cultures and their involvement in the development of cultural and ethnic tourism, as well as tourism of compatriots.
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Krivosheev, Vladimir A., i Marina G. Minyakova. "MUSEUM OF NATURAL HISTORY OF THE REGIONAL STATE BUDGET NON-TYPICAL EDUCATIONAL ORGANIZATION “THE PALACE OF CREATIVITY OF CHILDREN AND YOUTH” AND ITS ROLE IN THE CONTINUOUS ENVIRONMENTAL EDUCATIONAL PROCESS". W Treshnikov readings – 2022 Modern geographical global picture and technology of geographic education. Ulyanovsk State Pedagogical University named after I. N. Ulyanov, 2022. http://dx.doi.org/10.33065/978-5-907216-88-4-2022-119-120.
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The article provides data on the Museum of Natural History “Palace of Creativity for Children and Youth” and its role in the environmental education process. Museums of natural sciences are considered as a qualitatively new step in the multilevel system of environmental education at the present stage of development of society.
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Стародубцева, М. Н. "Participatory practices in the activities of the regional museum". W Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-06-2020-10.
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Tkachev, V. V. "FROM THE HISTORY OF THE CREATION OF HOME MUSEUMS OF COLLECTORS OF BAIKAL SIBERIA IN THE SECOND HALF OF THE XIX - EARLY XX CENTURIES". W Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/28.
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The work presents the history of the creation of home museums of collectors of Baikal Siberia in the second half of the XIX - early XX centuries. It is noted that the collections formed during this period by the Siberian merchants served as the basis for the opening of city galleries and museums in the Irkutsk province and the Trans-Baikal region. Acquaintance with art collections contributed to the development of public opinion about art, the work of famous masters.
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Zaytseva, A. M. "NATURAL MONUMENTS IN THE CONSERVATION OF BIOLOGICAL AND LANDSCAPE DIVERSITY (HISTORICAL AND MEMORIAL DEPARTMENT «THE HOMESTY V.P. SUKACHEVA» IRKUTSK REGIONAL ART MUSEUM)". W Prirodopol'zovanie i ohrana prirody: Ohrana pamjatnikov prirody, biologicheskogo i landshaftnogo raznoobrazija Tomskogo Priob'ja i drugih regionov Rossii. Izdatel'stvo Tomskogo gosudarstvennogo universiteta, 2020. http://dx.doi.org/10.17223/978-5-94621-954-9-2020-96.
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The problems of preserving biological and landscape diversity in the historical park of the Estate of V.P. Sukacheva. Presented are forms of work with visitors aimed at the formation of an ecological culture and the preservation of a natural monument.
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pereira, isac dos santos. "TUDO EM 45 MINUTOS: FOTOGRAFIA COMO MEMÓRIA E PRÁXIS AUTOAVALIATIVA DO ARTE/EDUCADOR". W Arte e Transmidiações - Anais do 3º Congresso Intersaberes em Arte, Museus e Inclusão; III Encontro Regional da ANPAP Nordeste e 8ª Bienal Internacional de Arte Postal. Recife, Brasil: Even3, 2020. http://dx.doi.org/10.29327/125233.1-1.
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Miranda, Atena Pontes de, i Robson Xavier da Costa. "CULTURA VISUAL NAS CAPAS DA REVISTA MARIE CLAIRE FRANCESA DE 1939". W Arte e Transmidiações - Anais do 3º Congresso Intersaberes em Arte, Museus e Inclusão; III Encontro Regional da ANPAP Nordeste e 8ª Bienal Internacional de Arte Postal. Recife, Brasil: Even3, 2020. http://dx.doi.org/10.29327/125233.1-2.
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Salvador, Francisca Emanuella, Myrella Barbosa Dantas Gico i Rodrigo dos Santos Souza. "EXPOSIÇÃO FIO TINTO: DESIGN NA COMPANHIA DE TECIDOS RIO TINTO". W Arte e Transmidiações - Anais do 3º Congresso Intersaberes em Arte, Museus e Inclusão; III Encontro Regional da ANPAP Nordeste e 8ª Bienal Internacional de Arte Postal. Recife, Brasil: Even3, 2020. http://dx.doi.org/10.29327/125233.1-3.
Pełny tekst źródłaRaporty organizacyjne na temat "Regional art museums"
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.
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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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McIntyre, Phillip, Susan Kerrigan i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.
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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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Hodnett, John, Ralph Eshelman, Nicholas Gardner i Vincent Santucci. Geology, Pleistocene paleontology, and research history of the Cumberland Bone Cave: Potomac Heritage National Scenic Trail. National Park Service, styczeń 2023. http://dx.doi.org/10.36967/2296839.
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The Cumberland Bone Cave is a public visitation stop along the Potomac Heritage National Scenic Trail renowned for its unique fossil resources that help reconstruct Appalachian middle Pleistocene life in the mid-Atlantic region of North America. This site is gated for safety and to prevent unwanted exploration and damage. Approximately 163 taxa of fossil plant and animals have been collected from Cumberland Bone Cave since 1912. Most of the fossils that have been published pertain to mammals, including many extinct or locally extirpated genera and species. Though the early excavations made by the Smithsonian Institution between 1912 and 1915 are the best known of the work at Cumberland Bone Cave, over many decades multiple institutions and paleontologists have collected and studied the fossil resources from this site up until 2012. Today, fossils from Cumberland Bone Cave are housed at various museum collections, including public displays at the National Museum of Natural History in Washington D.C. and the Allegany Museum in Cumberland, Maryland. This report summarizes the geology, fossil resources, and the history of excavation and research for Potomac Heritage Trail’s Cumberland Bone Cave.
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.
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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Hall, Mark, i Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, wrzesień 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.
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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.
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Brophy, Kenny, i Alison Sheridan, red. Neolithic Scotland: ScARF Panel Report. Society of Antiquaries of Scotland, czerwiec 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.
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The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular need of targeted research. Also, here and elsewhere in Scotland, the chronology of developments needs to be clarified, especially as regards developments in the Hebrides. Lifeways and Lifestyles: Research needs to be directed towards filling the substantial gaps in our understanding of: i) subsistence strategies; ii) landscape use (including issues of population size and distribution); iii) environmental change and its consequences – and in particular issues of sea level rise, peat formation and woodland regeneration; and iv) the nature and organisation of the places where people lived; and to track changes over time in all of these. Material Culture and Use of Resources: In addition to fine-tuning our characterisation of material culture and resource use (and its changes over the course of the Neolithic), we need to apply a wider range of analytical approaches in order to discover more about manufacture and use.Some basic questions still need to be addressed (e.g. the chronology of felsite use in Shetland; what kind of pottery was in use, c 3000–2500, in areas where Grooved Ware was not used, etc.) and are outlined in the relevant section of the document. Our knowledge of organic artefacts is very limited, so research in waterlogged contexts is desirable. Identity, Society, Belief Systems: Basic questions about the organisation of society need to be addressed: are we dealing with communities that started out as egalitarian, but (in some regions) became socially differentiated? Can we identify acculturated indigenous people? How much mobility, and what kind of mobility, was there at different times during the Neolithic? And our chronology of certain monument types and key sites (including the Ring of Brodgar, despite its recent excavation) requires to be clarified, especially since we now know that certain types of monument (including Clava cairns) were not built during the Neolithic. The way in which certain types of site (e.g. large palisaded enclosures) were used remains to be clarified. Research and methodological issues: There is still much ignorance of the results of past and current research, so more effective means of dissemination are required. Basic inventory information (e.g. the Scottish Human Remains Database) needs to be compiled, and Canmore and museum database information needs to be updated and expanded – and, where not already available online, placed online, preferably with a Scottish Neolithic e-hub that directs the enquirer to all the available sources of information. The Historic Scotland on-line radiocarbon date inventory needs to be resurrected and kept up to date. Under-used resources, including the rich aerial photography archive in the NMRS, need to have their potential fully exploited. Multi-disciplinary, collaborative research (and the application of GIS modelling to spatial data in order to process the results) is vital if we are to escape from the current ‘silo’ approach and address key research questions from a range of perspectives; and awareness of relevant research outside Scotland is essential if we are to avoid reinventing the wheel. Our perspective needs to encompass multi-scale approaches, so that ScARF Neolithic Panel Report iv developments within Scotland can be understood at a local, regional and wider level. Most importantly, the right questions need to be framed, and the right research strategies need to be developed, in order to extract the maximum amount of information about the Scottish Neolithic.