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Artigos de revistas sobre o tema "Fountain Gallery of Art"

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Autor: Grafiati

Publicado: 25 de julho de 2024

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1

Zieliński, Jan. "Ekfraza jako pytanie o prawo do zachwytu". Colloquia Litteraria 16, n.º 1 (19 de novembro de 2014): 29. http://dx.doi.org/10.21697/cl.2014.1.02.

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Ekphrasis as a question about the right to enchantment The author discusses Fr. Janusz S. Pasierb’s poem spotkanie [meeting] from Zdejmowanie pieczęci [Removing the seal] volume (Warsaw, 1982). He treats the poem as an example of a double ekphrasis – a simultaneous reference to two works of art; one of them is Auguste Ottin’s large sculpture Polyphème surprenant Galatée dans les bras d’Acis (1866) composed into Marie de’ Medici’s fountain in Parisian Jardin du Luxembourg, the other Giovanni Lafranco’s painting Lucina e Norandino sorpresi dall’Orco (c. 1624) from the Borghese Gallery in Rome. The analysis, which evokes mythological, literary (Ariosto, Proust) and iconographical (Redon) contexts, leads to a conclusion about art’s mediating role; about art as ground that allows for enchantment over otherwise inaccessible forms of beauty.

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Alexander, Olga. "Art Gallery". Frontiers: A Journal of Women Studies 43, n.º 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 et al. "Art Gallery". Leonardo 51, n.º 4 (agosto de 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, n.º 4-5 (maio de 2004): 542. http://dx.doi.org/10.1016/j.cpa.2003.11.003.

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Jaiswal, Abhilasha. "ONLINE ART GALLERY". International Journal of Research -GRANTHAALAYAH 6, n.º 6 (30 de junho de 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 e Karen Sullivan. "Student art Gallery". ACM SIGGRAPH Computer Graphics 32, n.º 1 (fevereiro de 1998): 30–33. http://dx.doi.org/10.1145/279389.564624.

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Wolfe, Rosalee J., Jodi Giroux, Lynn Pocock e Karen Sullivan. "Student art gallery". ACM SIGGRAPH Computer Graphics 32, n.º 3 (agosto de 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, n.º 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, n.º 3 (2007): 110–15. http://dx.doi.org/10.1002/ad.469.

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

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Toledo, Tamara. "Sur Gallery". Latin American and Latinx Visual Culture 4, n.º 1 (1 de janeiro de 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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Wu, Jinghong, Qian Liu e Jian Chen. "Research on Intelligent Control System Based on Feature Recognition". Journal of Physics: Conference Series 2095, n.º 1 (1 de novembro de 2021): 012038. http://dx.doi.org/10.1088/1742-6596/2095/1/012038.

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Abstract Fountain is an important facility in modern landscape art. Ordinary fountains are regulated by water valves, which makes the water column of the fountain very high, so the height of the fountain cannot be changed flexibly, the fountain is the product of the combination of the most popular garden architecture and appreciation in recent years. In this paper, intelligent control system based on feature recognition is designed. According to the system, fountain forms and features can be recognized automatically. At the same time, the system can also be integrated with computer animation, which makes the melody, emotion, rhythm and waterscape art to realize harmonious and unified.

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Ferraris, Maurizio. "From Fountain to Moleskine". Brill Research Perspectives in Art and Law 2, n.º 4 (23 de abril de 2019): 1–87. http://dx.doi.org/10.1163/24684309-12340006.

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AbstractPhotography was invented in the mid-nineteenth century, and ever since that moment painters have been asking what they are there for. Everyone has their own strategy. Some say they do not paint what is there, but their impressions. Others paint things that are not seen in the world, and therefore cannot be photographed, because they are abstractions. Others yet exhibit urinals in art galleries. This may look like the end of art but, instead, it is the dawn of a new day, not only for painting but – this is the novelty – for every form of art, as well as for the social world in general and for industry, where repetitive tasks are left to machines and humans are required to behave like artists.

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Cushing, Deborah. "Art in Dispute at the Beaverbrook Art Gallery". International Journal of Cultural Property 15, n.º 3 (agosto de 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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Jurėnienė, Virginija, e Dovilė Peseckienė. "Art Gallery Visitors’ Motivations". Informacijos mokslai 89 (5 de junho de 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, n.º 3 (1 de janeiro de 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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17

Tucker, Alan. "The Art Gallery Problem". Math Horizons 1, n.º 2 (março de 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, n.º 83 (janeiro de 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 et al. "SIGGRAPH 2019 Art Gallery". Leonardo 52, n.º 4 (agosto de 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, n.º 1 (28 de março de 2014): 156. http://dx.doi.org/10.13185/1857.

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21

Smith, Sarah-Neel. "The Semiperipheral Art Gallery". Third Text 34, n.º 2 (3 de março de 2020): 271–90. http://dx.doi.org/10.1080/09528822.2020.1757239.

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22

Shih, Tsui-Yii, e Zhi-An Liu. "Wrong Gallery". Journal of Cases on Information Technology 18, n.º 3 (julho de 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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23

Wardani, Dena Putri, Pretty Zinta Sinurat, Hana Murtiningsih, Salsabila Hidayat, Syahda Siti Syahiffah, Rama Wijaya Abdul Rozak e Erry Sukriah. "Potensi Art Gallery Sebagai Wisata Edukasi dan Sarana Terapi Mental Disorder". Journal of Tourism and Creativity 7, n.º 2 (24 de agosto de 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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24

Gollifer, Sue. "Art Space: ACM SIGGRAPH Art Gallery 2014". Digital Creativity 25, n.º 4 (2 de outubro de 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, n.º 1 (março de 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, n.º 1 (janeiro de 1992): 185–92. http://dx.doi.org/10.1017/s0940739192000146.

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27

Bailey, Bradley. "Dada Meets Dixieland: Marcel Duchamp Explains Fountain". October, n.º 182 (2022): 61–96. http://dx.doi.org/10.1162/octo_a_00470.

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Abstract In a 1953 recorded conversation with Harriet, Carroll, and Sidney Janis that was never published, Marcel Duchamp gave his earliest and most detailed description of the origin and submission of the readymade Fountain to the first exhibition of the Society of Independent Artists in 1917. In addition to featuring several notable revelations about the Fountain episode, the interview is also remarkable for the light it sheds on another nearly contemporary account of the story of Fountain, published in 1956 in the book Modern Art USA by the art and music historian Rudi Blesh. Passionate advocates for Ragtime and the Dixieland jazz revival, Blesh and Harriet Janis were frequent writing partners, publishing several music and art books, and together founded a record label to record traditional jazz artists. Through Harriet and Sidney Janis's extensive artworld connections, Blesh became a close associate of Duchamp, whose impact on Blesh's formulation of Modern Art USA has not been given adequate consideration by scholars. This article presents an analysis of both the Janis and Blesh accounts of Fountain, which together comprise the most comprehensive narrative description of this iconic work of art from Duchamp's perspective.

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Honoris, Robby, e Andalucia . "Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)". International Journal of Architecture and Urbanism 1, n.º 1 (15 de novembro de 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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Fazra Risky Nasution e Morida Siagian. "Contemporary Art Gallery (Expressionism Architecture)". International Journal of Architecture and Urbanism 4, n.º 2 (27 de agosto de 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, n.º 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, n.º 3 (julho de 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, n.º 4 (novembro de 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, n.º 4 (novembro de 1995): 56. http://dx.doi.org/10.1145/216876.216891.

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Zoran, Amit. "Hybrid Craft: Art Gallery Curator". Leonardo 48, n.º 4 (agosto de 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, n.º 3 (agosto de 2002): 33–39. http://dx.doi.org/10.1145/570332.570347.

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Hattingh, Frieda. "New acquisitions: Unisa Art Gallery". de arte 32, n.º 55 (abril de 1997): 70–71. http://dx.doi.org/10.1080/00043389.1997.11761252.

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Kellner, Clive, Nessa Leibhammer e Khwezi Gule. "The Johannesburg Art Gallery Collections". de arte 41, n.º 74 (janeiro de 2006): 55–60. http://dx.doi.org/10.1080/00043389.2006.11877063.

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Burbano, Andrés. "Original Narratives Art Gallery: Introduction". Leonardo 51, n.º 4 (agosto de 2018): 420–21. http://dx.doi.org/10.1162/leon_a_01653.

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Padilla, Nonon. "Chabet at Finale Art Gallery". Perspectives in the Arts and Humanities Asia 1, n.º 2 (30 de setembro de 2011): 125–26. http://dx.doi.org/10.13185/ap2011.01208.

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Eber, Dena Elisabeth. "The SIGGRAPH 2003 art gallery". ACM SIGGRAPH Computer Graphics 37, n.º 3 (agosto de 2003): 20–28. http://dx.doi.org/10.1145/941572.941578.

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Fekete, Sándor P., Stephan Friedrichs, Alexander Kröller e Christiane Schmidt. "Facets for Art Gallery Problems". Algorithmica 73, n.º 2 (14 de dezembro de 2014): 411–40. http://dx.doi.org/10.1007/s00453-014-9961-x.

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T. S. Michael e Val Pinciu. "The Art Gallery Theorem, Revisited". American Mathematical Monthly 123, n.º 8 (2016): 802. http://dx.doi.org/10.4169/amer.math.monthly.123.8.802.

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Ernestus, Maximilian, Stephan Friedrichs, Michael Hemmer, Jan Kokemüller, Alexander Kröller, Mahdi Moeini e Christiane Schmidt. "Algorithms for art gallery illumination". Journal of Global Optimization 68, n.º 1 (12 de setembro de 2016): 23–45. http://dx.doi.org/10.1007/s10898-016-0452-2.

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. Ahire, Mrs Kavita N. "ArtSpace : Art and Music Gallery". INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, n.º 03 (23 de março de 2024): 1–5. http://dx.doi.org/10.55041/ijsrem29612.

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ArtSpace is a revolutionary digital platform that redefines the landscape of artistic expression, community engagement, and creative collaboration. With a mission to democratize the art world and empower artists, enthusiasts, and collectors alike, ArtSpace serves as a dynamic ecosystem where creativity knows no bounds. This abstract explores the essence of ArtSpace, delving into its key features, impact on the artistic community, and vision for the future. At its core, ArtSpace is a hub of creativity, innovation, and inspiration. Artists from diverse backgrounds and disciplines converge on the platform to showcase their work, connect with fellow creators, and engage with a global audience. Through intuitive tools and interactive features, artists can upload their artwork, curate their portfolios, and interact with enthusiasts who share their passion for art. One of the defining features of ArtSpace is its emphasis on community building and collaboration. Enthusiasts can explore a rich tapestry of artwork spanning various genres, styles, and mediums, from traditional paintings and sculptures to cutting-edge digital art and multimedia installations. Through voting mechanisms, comments sections, and social sharing options, users can actively participate in shaping the narrative of the art world, fostering a sense of belonging and camaraderie within the community. ArtSpace serves as a catalyst for discovery, exploration, and engagement, offering users an immersive experience that transcends the boundaries of traditional art galleries and museums. By harnessing the power of technology, ArtSpace leverages augmented reality, virtual exhibitions, and interactive experiences to bring artwork to life in new and exciting ways. Users can immerse themselves in virtual galleries, interact with 3D models of sculptures, and experience multimedia installations from the comfort of their homes. Moreover, ArtSpace is more than just a platform for showcasing artwork—it is a marketplace, a classroom, and a cultural hub rolled into one. Artists can monetize their creations through sales, commissions, and collaborations, while enthusiasts can discover and collect unique pieces that resonate with their tastes and preferences. Educational resources, workshops, and tutorials provide aspiring artists with the tools and knowledge they need to hone their craft and pursue their passion for art. Key Words: art, music, creative space, mobile application, gallery.

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Sitorus, Nova, Juliana Juliana e Chaterine Kho. "ANALYSIS OF MARKETING ASPECT IN FEASIBILITY STUDY OF ASIAN CULTURE GALLERY IN WEST JAKARTA". JELAJAH: Journal of Tourism and Hospitality 3, n.º 1 (6 de agosto de 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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Stegmann, Rainer, e Cristina van der Westhuyzen. "From waste to art – The IWWG Art Gallery". Waste Management 34, n.º 5 (maio de 2014): 845–47. http://dx.doi.org/10.1016/j.wasman.2014.03.001.

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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, n.º 1 (29 de junho de 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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Kugusheva, Alexandra Yu. "Saved art: Simferopol Art Gallery in evacuation (1941–1944)". Issues of Museology 13, n.º 1 (2022): 57–64. http://dx.doi.org/10.21638/spbu27.2022.104.

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The article is devoted to the evacuation of Crimean museum collections in October, 1941. The fate of the lost pre-war collection of the Simferopol Art Gallery, which did not have time to leave the Crimea and was destroyed by fire in Kerch port, is well known. At the same time, a temporary exhibition made up of the works of the Simferopol Gallery was evacuated from Feodosiya Art Gallery along with the masterpieces of the great marine painter Ivan Aivazovsky. Prominent museum figures Nikolay S.Barsamov and Jan P.Birzgal managed to send the exhibits to Novorossiysk, then to Krasnodar. Contrary to the plans of the Committee for the Arts to take these exhibits to Stalingrad, both Crimean galleries were sent to Yerevan. At the end of 1941, Birzgal compiled a list of 50 salvaged exhibits of the Simferopol Art Gallery. Soviet art of the 1920s–1930s is represented by the works of Igor E.Grabar, Mitrofan B.Grekov, Vladimir A.Eyfert, Peter P.Konchalovsky. The Russian landscape is represented by Vasiliy V.Baksheev, Pavel A.Radimov, Vasiliy V.Rozhdestvensky. From creative trips to Central Asia, Altai and Pamir, new works are brought by Peter I.Kotov and Peter N.Staronosov, Nikolay G.Kotov, Peter D.Pokarzhevsky, Sergei I.Pichugin. The work of Barsamov, the author of the portrait of the artist Bogaevsky (1940), is connected with Crimea. Among the rescued works are the works of Konstantin F.Bogaevsky himself, several of his industrial landscapes, and sketches for the panel Crimea (1921); Bakhchisarai landscapes by Alexander V.Kuprin, Sudak view by Alexander F.Gaush. In the postwar period, the museum workers established the affiliation of works by Ilya E.Repin, Joseph I.Oleshkevich, and Henri-Francois Riesener to the pre-war collection.

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Mukarommah, Amirah Salwa, e Meylani Tuti. "THE IMPACT OF LIFESTYLE, ART COLLECTION, AND HEDONIC LIVING ON VISIT INTENTION, VISIT DECISION AND REVISIT INTENTION AT THE NATIONAL GALLERY". Journal of Management : Small and Medium Enterprises (SMEs) 16, n.º 2 (1 de julho de 2023): 397–411. http://dx.doi.org/10.35508/jom.v16i2.11247.

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The National Gallery hosts several local and foreign travelers for art exhibitions and events. It is intriguing to look at the lifestyle characteristics, gallery art collections, and hedonic factors that affect tourists' decisions to visit the National Gallery. The purpose of this study was to determine the impact of Lifestyle, Art Collection, and Hedonic Living on Visit Intention, Visit Decision, and Revisit Intention in the National Gallery. Purposive sampling was used to collect data on 152 National Gallery visitors in December 2022 for this study. The analytical method employed is the Structural Equation Model, which is supported by SmartPLS software. The results demonstrate that the Hedonic influences the Visit Intention, Visit Decision, and Revisit Intention. Contrarily, the Visit Intention, Visit Decision, and Revisit Intention are unaffected by Lifestyle. The Art Collection affects Visit Intention and Revisit Intention but has no impact on Visit Decision. Finally, the Visit Decision is influenced by the Visit Intention, which in turn is influenced by the Revisit Intention. Keywords: Visit Intention; Visit Decision; Revisit Intention; Lifestyle; Art Collection; Hedonic Living; Gallery

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Pane, Imam Faisal, e Rahmita Dewi Lubis. "Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)". International Journal of Architecture and Urbanism 1, n.º 1 (15 de novembro de 2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.

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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. There are few steps made in the process of completing the design; the first one is by collecting data from the literature, books, journal, magazine, the internet, survey, and interview. And from the data collected, the design for Museum and Gallery of Contemporary Art will be produced.

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