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Добірка наукової літератури з теми "National Art Gallery, New Zealand"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 20 лютого 2023

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Статті в журналах з теми "National Art Gallery, New Zealand"

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

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

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Woodhouse, Nicola. "The Hector Library, Museum of New Zealand Te Papa Tongarewa." Art Libraries Journal 24, no. 4 (1999): 31–38. http://dx.doi.org/10.1017/s0307472200019799.

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The Hector Library started life in 1867 as a science library with a strong geological bent. The establishment of Te Papa, New Zealand’s new national museum, in 1992 led to a merger with the erstwhile National Art Gallery Research Library, renowned for its resources on contemporary art. The enlarged Hector, with dual specialities in art and natural history, is part of the re-designed information package servicing Te Papa visitors (both in person and distant) at the Museum’s new waterfront site which opened to the public in February 1998. This paper outlines the package, focusing on the Hector’s collections and services, and also posits the relevance of its resources in the context of global art documentation.

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Horgan, Joanne C. "Kohia Ko Taikaka Anake: An Exhibition at the National Art Gallery of New Zealand." Museum Anthropology 15, no. 4 (November 1991): 22–25. http://dx.doi.org/10.1525/mua.1991.15.4.22.

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Turner, Bryan S. "Book Reviews : WORKING MEN. By Glenn Busch. New Zealand, National Art Gallery, 1984. 115pp." Australian and New Zealand Journal of Sociology 22, no. 1 (March 1986): 149–50. http://dx.doi.org/10.1177/144078338602200117.

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Stocker, Mark. "Prophet without honour: Margaret Butler and the status of sculpture in New Zealand, 1937–40." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 73–92. http://dx.doi.org/10.24135/backstory.vi2.23.

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This article consists of two parts, an introductory text, followed by long-forgotten primary source publications from 1937 to 1940 in the Evening Post, Dominion and Art in New Zealand. Predominantly letters to the editor, they address the reputation and profile of the sculptor Margaret Butler who had returned to her native New Zealand in 1934 after a prolonged stint overseas. Their authors include the literary figures Charles Marris and Alan Mulgan. They all note the critical acclaim she achieved in Paris and Vienna, and the merits of her sculpture. The writers also ask why native artistic talent appears to be neglected by institutions such as the newly-established National Art Gallery in favour of expensive overseas art, and press for the acquisition of more of Butler’s works. No official response was recorded and in any case Butler’s sculptural career had effectively ended by the time of the last such letter, dated November 1940.

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

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

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Hoar, Peter. "Editorial." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (December 1, 2017): 2–3. http://dx.doi.org/10.24135/backstory.vi2.18.

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Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history. This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy. New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds. The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s. The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.

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Pierce, Imogen Van. "Contemporary Debates: The Hundertwasser Art Centre with Wairau Maori Art Gallery." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (December 1, 2017): 5–25. http://dx.doi.org/10.24135/backstory.vi2.16.

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What began as a humble sketch on the back of an envelope, the Hundertwasser Art Centre with Wairau Māori Art Gallery project has evolved into a unique and ambitious quest for artistic representation in Northland. The history of this controversial public art project, yet to be built, has seen a number of debates take place, locally and nationally, around the importance of art in urban and rural societies and the broader socio-economic context surrounding the development of civic architecture in New Zealand. This project has not only challenged the people of Northland to think about the role of art in their community, but it has prompted New Zealanders to question whether there is an appropriate level of investment in the arts in New Zealand.

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

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

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

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

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Дисертації з теми "National Art Gallery, New Zealand"

James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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Анотація:

This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
Doctor of Philosophy (PhD)

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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.

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Abbo, Mayer S. "Transforming and revealing a footprint of place : new National Gallery of Art Project, San Jose, Costa Rica." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/62908.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.
Includes bibliographical references (p. 293-297).
The primary focus of this investigation is the insertion of a new piece in an environment where the natural elements of site and the man-made elements of city can begin to inform the ordering systems used in the design process. The existing footprint of the ruins of La Antigua Penitenciaria, in the center of the Costa Rican capital, San Jose, is transformed in meaning and character to become a cultural center for the city. The problem presented is a contextual one of making a place in the world through a reading, cataloguing and reinterpretation of /lature, city, and culture. The .goal of the process is a building that reveals the meaning of its present time and place, set in a landscape that tells stories of its past.
by Mayer S. Abbo.
M.Arch.

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Jung, Chang Sung. "Agencification and quangocratisation of cultural organisations in the U.K. and South Korea : theory and policy." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15930.

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This research focuses on agencification and quangocratisation (AQ) through a comparison of the experiences of South Korea and the UK. Although a number of studies of AQ have been produced recently, these reforms remain inadequately understood. Since AQ involves the structural disaggregation of administrative units from existing departments, executive agencies and quangos have distinct characteristics which are quite different from ordinary core departments. There are a number of factors which influence these changes; and this thesis explores nine existing theories which are available to explain these phenomena. Case studies are presented of Tate Modern in the UK and the National Museum of Modern and Contemporary Art (MMCA), which are carefully analysed to examine the validity of those nine arguments. Although cultural agencies, which show some unique features, have become increasingly an essential part of the national economy, they have scarcely been researched from the viewpoint of public policy. This thesis endeavours to explore distinctive characteristics of this policy area; and moreover, it examines the diverse variables which have an impact on policy formation and its results through the process of comparison of arguments. The major tasks of this thesis are to investigate the applicability of the nine arguments and to weigh their merits. As a corollary of this comprehensiveness, it examines the whole public sectors of both countries, in order to show the broader picture and to understand the processes of changes and their backgrounds. More profoundly, similarities and differences between both countries are compared from both macro and micro perspectives. At the same time, the results of AQ are analysed through the comparison of outputs or outcomes before and after these changes, with a view to exploring whether their rationales are appropriate. Furthermore, it also examines the institutional constraints which influence not only the change of agencies but also their performances. Besides which, it seeks to find strategies for overcoming these constraints. This thesis adopts systematic and comprehensive approaches regarding basic concepts and data. It draws on theories of comparative research, the scope of the public sector, the classification and analysis of agencies and quangos, and theories underlying the detailed components of each argument and epistemological assumptions. Therefore, it suggests various aspects which enable us to broaden our understanding of the changes within the public sector; and to generate practical understanding to inform real world reform.

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Harris, Jennifer Anne. "The formation of the Japanese Art Collection at the Art Gallery of South Australia 1904-1940 : tangible evidence of Bunmei Kaika." Thesis, 2012. http://hdl.handle.net/2440/84054.

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The momentous signing of the Treaty of Kanagawa in 1854 marked the turning point to end Japan’s long seclusion from the West. Its subsequent ‘opening’ unveiled the refreshingly different aesthetic canon of Japanese art which was enthusiastically hailed by nineteenth century Western artists and designers. As a much sought after commodity, Japanese art was collected in unprecedented quantities throughout Europe, the British Empire and the United States. The mania for things Japanese also reached the far-flung colonies in Australia and New Zealand. This phenomenon, referred to in the English-speaking world as ‘Mikado Mania’ or the ‘Cult of Japan’, coincided with the establishment of public museums, the proliferation of international exhibitions and ease of global travel. These innovations fostered and facilitated the formation of Japanese art collections internationally. A survey of Australian and New Zealand collections and a particular examination of the Art Gallery of South Australia’s collection formed between the years 1904-1940 reveal the circumstances and personalities that shaped the nature and content of the collections. It is argued in this thesis that while nascent colonial public museums and private collectors such as those in South Australia were guided by British tastes, the genesis of which predated the nineteenth century ‘opening’ of Japan, the collecting of Japanese art in nineteenth-century Australia and New Zealand served as a signifier of international discourse and modernity. For Japan, its art became a tool to fend off foreign hegemony. Driven by the slogan bunmei kaika ‘civilisation and enlightenment’, Japan throughout the Meiji era (1868-1912) exploited the mania for its art in order to achieve status and recognition as a world power. It will be further argued that the spirit of bunmei kaika also encapsulated the cultural aspirations of the fledgling colonies in Australia and New Zealand which, by the late nineteenth century, were endeavouring to articulate their own ‘civilisation and enlightenment’ within the British Empire. Through their efforts to advance onto the world stage, the Australian colonies played a significant, though unrecognised role in Japan’s experimentation and investment in its self-promotion as a civilised country. The cause and effect of measures undertaken by the Japanese government to achieve bunmei kaika through the applied arts of ceramics, metalware, ivories and lacquer can be directly demonstrated through the very objects collected in South Australia and the other colonies. A study of their intrinsic qualities and provenance provides tangible evidence of Japan’s strategic efforts to advance its national identity through art. It also serves to shed light on the curatorial expertise and connoisseurship being exercised at the time by colonial museums and collectors. Japanese objects acquired during the formative period of Australian and New Zealand museums have long been ignored or dismissed as hybridised and inauthentic. Recently their technological ingenuity and cross-cultural aesthetic have been more generously acknowledged. They are the beacons of Japan’s quest for ‘civilisation and enlightenment’.
Thesis (Ph.D.) -- University of Adelaide, School of History & Politics, 2012

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Khalife, Lamis. "Autour des nouvelles valorisations des collections permanentes au musée : le cas de l'exposition Encounters : New Art from Old." Thèse, 2016. http://hdl.handle.net/1866/16147.

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Dans le cadre de la célébration du nouveau millénaire, la National Gallery de Londres a organisé l'exposition Encounters: New Art from Old (14 juin - 17 septembre 2000). La formule consistait à inviter vingt-cinq artistes contemporains à choisir une œuvre de la collection permanente du musée et à s'en inspirer afin d'en créer une nouvelle. Certaines des œuvres produites pour l’occasion ont été exposées près de leurs sources dans les salles historiques de la collection du musée. Ce mémoire examine comment la formule de cette exposition et son accrochage anachronique agissent de façon directe sur la temporalité de la collection historique en invitant à sa réactualisation, et à la mise en valeur de la création. Il situe cette formule dans le cadre d’un regain d’intérêt pour les collections, décortique la sélection des artistes par le musée et la sélection des œuvres de la collection par les artistes. Il propose aussi une classification des modalités par lesquelles ceux-ci ré-interprètent la tradition. Enfin, en s’appuyant sur la théorie de la réception, ce mémoire considère les réponses générées par l’exposition : celles des artistes aux œuvres de leurs prédécesseurs, celles des critiques et celles du public.
As part of the celebration of the new millennium, the National Gallery of London organized the exhibition Encounters: New Art from Old (June 14 to September 17, 2000). The concept was to invite twenty-five eminent contemporary artists to choose a painting from the permanent collection of the museum in order to create a new artwork. Some of the works produced for the occasion were displayed near the works that inspired them in the historic galleries of the museum. This dissertation examines how the anachronistic hanging of the works of art helped Encounters in shedding new light on the permanent collection of the museum and in showcasing the contemporary artists' interpretations. The dissertation seeks to situate Encounters in the context of a new interest in museum collections, to reflect on its selection of artists as well as on the selection of works chosen by the artists. It then proceeds to classify the new creations in four modalities of intervention and in conclusion addresses the reception generated by the exhibition: that embodied by the new works created and those of the press and the public.

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Книги з теми "National Art Gallery, New Zealand"

Brownson, Ron. Art toi: New Zealand art at Auckland Art Gallery Toi o Tāmaki. Auckland, N.Z: Auckland Art Gallery Toi o Tāmaki, 2011.

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National Gallery of Art (U.S.). New programs: National Gallery of Art extension programs catalogue supplement. [Washington, D.C.]: The Gallery, 1990.

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National Gallery of Art (U.S.). New programs: National Gallery of Art extension programs catalogue supplement. [Washington, D.C.]: The Gallery, 1990.

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), National Gallery of Art (U S. New programs: National Gallery of Art extension programs catalogue supplement. [Washington, D.C.]: The Gallery, 1990.

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The invention of New Zealand: Art & national identity, 1930-1970. Auckland, N.Z.: Auckland University Press, 2009.

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Pound, Francis. The invention of New Zealand: Art & national identity, 1930-1970. Auckland, N.Z: Auckland University Press, 2009.

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Gallery, Auckland Art. I spy NZ art: New Zealand art from the collection of Auckland Art Gallery Toi o Tāmaki. Auckland, N.Z: Auckland Art Gallery, 2011.

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Minson, Marian. Encounter with Eden: New Zealand 1770-1870 : paintings & drawings from the Rex Nan Kivell Collection, National Library of Australia. Wellington, N.Z: National Library of New Zealand, 1990.

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National Gallery of Art (U.S.). Art for the nation: Collecting for a new century. Washington, D.C: National Gallery of Art, 2000.

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Eoe, Soroi Marepo, and National Museum and Art Gallery (Papua New Guinea), eds. Living spirits with fixed abodes: The masterpieces exhibition : Papua New Guinea National Museum and Art Gallery. Honolulu: University of Hawai'i Press, 2010.

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Частини книг з теми "National Art Gallery, New Zealand"

Robinson, Cicely. "The apotheosis of Nelson in the National Gallery of Naval Art." In A new naval history, 151–74. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526113801.003.0008.

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The National Gallery of Naval Art was situated within the Painted Hall at Greenwich Hospital from 1824 until 1936. This collection of British naval paintings, sculptures and curiosities was the first ‘national’ collection to be acquired and exhibited for the general public, preceding the foundation of the National Gallery by a matter of months. Installed in the wake of the Revolutionary and Napoleonic Wars, the Naval Gallery, as it was more commonly known, was founded to ‘commemorate the splendid Services of the Royal Navy of England’. This paper explores how naval heroism was constructed and commemorated within the gallery space, particularly through the presentation of combat and the recognition of resulting injury, amputation or fatality. Nelson was represented at numerous points across the gallery space, providing us with the most thorough example of this heroic construct. Situated upon the same spot in the Painted Hall where the body had been laid in state in 1806, this site of naval veneration bordered on a quasi-religious mausoleum. This paper examines the role that the Naval Gallery played in the apotheosis of this national hero, establishing an initial commemorative prototype upon which a wider national Nelsonic mythology can be seen to have developed.

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Robinson, Cicely. "The apotheosis of Nelson in the National Gallery of Naval Art." In A new naval history. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526113825.00015.

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Haraha, Sebastian. "8 The Papua New Guinea National Museum and Art Gallery as a Modern Haus Tumbuna." In The Future of Indigenous Museums, 137–50. Berghahn Books, 2022. http://dx.doi.org/10.1515/9780857455727-011.

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Duncan, Grant. "The ‘soft target’ of Labour in New Zealand." In Why the Left Loses. Policy Press, 2017. http://dx.doi.org/10.1332/policypress/9781447332664.003.0005.

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This chapter focuses on the social democratic left in New Zealand. Prior to the 2008 election, a three-term Labour-led government under Prime Minister Helen Clark followed a Blairite ‘Third Way’ model. It moderated some of the policies of the more radical neoliberal years (1984–96), but the fundamentals of neoliberal reform, such as financial openness, central bank independence, and fiscal responsibility, were kept in place. Clark's Labour-led government did not satisfy all social democratic aspirations, but its dominance in the 2000s showed that it was the first to master the art of political management under the mixed-member proportional representation system in place since 1996. Defeat came in 2008, however, in an election held shortly after the global financial crisis, and John Key's National Party-led government took over the reins.

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Taçon, Paul S. C., Wayne Brennan, Graham King, Dave Pross, and Matthew Kelleher. "The contemporary cultural significance of Gallery Rock, a petroglyph complex recently found in Wollemi National Park, New South Wales, Australia." In Aesthetics, Applications, Artistry and Anarchy: Essays in Prehistoric and Contemporary Art, 71–85. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv846.10.

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Hopkins, Claudia, and Iain Boyd Whyte. "Radislav Matuštík, “New American Painting: Notes on the Exhibition Painting in the United States since 1945 in the Slovak National Gallery, Bratislava,” translated from Slovak by John Minahane, originally published as “Nové americké maliarstvo: Poznámky k výstave Maliarstvo USA po roku 1945 v SNG v Bratislave,” in Výtvarný život 14, no. 10 (1969): 22–29 (excerpt)." In Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990, 422–28. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-10392.

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Hopkins, Claudia, and Iain Boyd Whyte. "Manos Stefanidis, “American Art Today: Impasses and Perspectives, or the Painful Quest for the Artistically New,” translated from Greek by Michael Eleftheriou, originally published in “Η Αμερικάνικη Τέχνη Σήμερα: Αδιέξοδα και Προοπτικές ή η Επώδυνη Αναζήτηση του Εικαστικά Καινούργιου”, in Η Αμερικάνικη Τέχνη στα Τέλη της Δεκαετίας του '80 (Athens: National Gallery, Museum Alexandros Soutzos, 1989), 9-15." In Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990, 216–20. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-5445.

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McWilliam, Rohan. "Curiosity." In London's West End, 84–104. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.003.0006.

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‘Curiosity’ explores the varied world of exhibitions in the West End. The district became home to a variety of popular exhibitions that stood side-by-side with sites of ‘official’ art and culture such as the new National Gallery in Trafalgar Square. The West End visitor could enjoy spectacular panoramas, which dazzled the eye, or poses plastiques where models made classical paintings come to life. There were also freak shows and events where non-white peoples were placed on exhibition. These included the Hottentot Venus and the Aztec Lilliputians. Exhibition-mania was particularly centred on Leicester Square but could also be found on Piccadilly, site of the Egyptian Hall, that offered curiosities, art works, popular lectures, dioramas, and automata. Pleasure districts abounded with what were seen as distorted bodies. This gave them the quality of what Michel Foucault terms ‘heterotopias’ which draw upon, but disturb, the culture at large.

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Noë, Alva. "Reproductions in the Age of Originality." In Learning to Look, 120–24. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190928216.003.0032.

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This chapter evaluates the reproductions of Michelangelo's and Sebastiano's works of art, which was on display as part of the “Michelangelo and Sebastiano” exhibition at the National Gallery in 2017. The show's high point is a remarkable new reproduction of the Borgherini Chapel in the church of San Pietro in Montorio, in Rome. In the “copy cultures” of the past, works of art lived in and through their copies. The transition from a copy culture to a cult of original production is one that seems to have taken place in Michelangelo's day. So it is somehow fitting that the curators of the exhibition have made free use of copies. In doing so, and in doing so with such a light touch, they cast illumination on the fact that in the age of Michelangelo and Sebastiano, the status of a copy would have been uncertain and problematic.

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Phillips, Ruth B. "Swings and roundabouts: pluralism and the politics of change in Canada’s national museums." In Curatopia, 143–58. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0010.

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If you are standing on the shores of the Ottawa River looking at the Canadian Museum of History, the national library and archives and other national repositories of Aboriginal heritage, you might well despair at the comprehensive losses of curatorial expertise, programs of research, and will to work collaboratively with Aboriginal people which befell these institutions under the government of Prime Minister Stephen Harper. Looking harder, however, neither the shifting political ideologies nor the era of financial constraint that began with the global financial crisis of 2008 seems to have thrown processes of decolonisation and pluralist representation that began to take root in Canada during the 1990s into reverse. Two exhibition projects that unfolded during that same period provide evidence of that the changes in historical consciousness of settler-indigenous relationships and the acceptance of cultural pluralism have provided a counterweight to the intentions of a right wing government to restore old historical narratives. This chapter discusses them as evidence of this deep and, seemingly, irreversible shift in Canadian public’s expectation s of museum representation. The first involves plans for the new exhibition of Canadian history being developed for the 150th anniversary of Canadian confederation in 2017, specifically a fishing boat named the Nisga’a Girl which was presented by a west coast First Nation to mark the successful resolution of its land claim. The second is the Sakahan exhibition of global indigenous art shown in 2013 at the National Gallery of Canada and which marked a notable departure from its past scope. While utopia has by no means been achieved, neither, surprisingly, was dystopia realised during the years of conservative reaction.

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Тези доповідей конференцій з теми "National Art Gallery, New Zealand"

Braden, Paul, and Kaitlyn Gainer. "Application of the Shape Memory Effect to Restore Smoothness." In ASME 2015 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/smasis2015-8827.

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A major worldwide industry is the display and preservation of historical and rare documents, paintings, canvases, tapestries and other works of art. Many private collectors and museums pay large amounts, such as the $23 million for the U.S. National Gallery and $8 million for the U.S. National Archives. There is an even greater demand for many consumers who desire an affordable way to safely maintain their images in top condition for viewing and enjoyment. Another industry where the smoothness of the paper documents is important is in the shipping and delivery business. Here, many shipments are done with cylindrical tubes that cause the paper to appear bent and not flat. In some cases, this can pose a major problem for scanning and electronic devices which need a flat surface for optimal performance. A novel new alternative to traditional conservation methods is the use of Shape Memory Alloys (SMA’s) to remove wrinkles and other surface anomalies. SMA’s use a thermoelastic property called the Shape Memory Effect (SME) to recover large strains by phase transformation. In this process, the SMA is stretched until the polycrystalline microstructure is detwinned Martensite. Then, energy in the form of heat is applied to the SMA which causes the phase transformation to the more compact Austenite. Thus, a reverse method is the proposed solution for the complex problem faced by art preservation experts. Instead of using large clamps and having to wait for results, we demonstrate how embedded SMA wires in a robust picture frame can provide a continuous restorative force that maintains the picture’s smoothness. Using proper simple wiring from the SMA wires to the picture, it is possible to remove the strains in the paper and hold the picture to the proper smoothness long term. We provide experimental results and offer suggestions for the future use of SMA’s in this new field of art restoration.

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Звіти організацій з теми "National Art Gallery, New Zealand"

Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.

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