Journal articles: 'Art Art Schreiner Art Collection'

1

Macleod, Dianne Sachko. "Art Collecting As Play: Lady Charlotte Schreiber (1812–1895)." Visual Resources 27, no. 1 (2011): 18–31. http://dx.doi.org/10.1080/01973762.2011.542350.

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Rademeyer, Alta. "Telkom art collection." de arte 33, no. 58 (1998): 44–47. http://dx.doi.org/10.1080/00043389.1998.11761277.

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Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein." de arte 37, no. 65 (2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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Liu, Cary Y. "Asian Art Collection: From Exotica to Art and History." Record of the Art Museum, Princeton University 55, no. 1/2 (1996): 125. http://dx.doi.org/10.2307/3774783.

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Rebora, Carrie. "Robert Fulton's Art Collection." American Art Journal 22, no. 3 (1990): 40. http://dx.doi.org/10.2307/1594565.

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Royo Naranjo, Lourdes. "Art Collection Neue Börse." Boletín de Arte, no. 25 (April 2, 2018): 851–55. http://dx.doi.org/10.24310/bolarte.2004.v0i25.4647.

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Bajo el título Art Collection Neue Börse se expuso en el Centro de ArteContemporáneo de Málaga la muestra de un total de treinta y cuatro fotografías de gran formato seleccionadas de la colección de Arte de la Bolsa de Alemania (Deutsche Béirse) entre los días 23 de febrero y 25 de mayo de 2003. Una novedad tanto en el ámbito nacional como internacional, puesto que era la primera vez que la colección Deutsche Börse abandonaba su sede habitual de Francfurtk para ser expuesta.

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Hundt, Stefan. "The Sanlam Art Collection." de arte 40, no. 72 (2005): 67–75. http://dx.doi.org/10.1080/00043389.2005.11877047.

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Board, Editorial. "Cover Art." Public Voices 2, no. 1 (2017): 6. http://dx.doi.org/10.22140/pv.419.

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Kollia, P. "At the crossroads of art and law: international art collection." Journal of Intellectual Property Law & Practice 9, no. 3 (2014): 246. http://dx.doi.org/10.1093/jiplp/jpt245.

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Abdallah, Monia. "Stories of Continuity. Contemporary Art and Collection of Islamic Art." Revista VIS: Revista do Programa de Pós-Graduação em Arte 16, no. 1 (2017): 8–21. http://dx.doi.org/10.26512/vis.v16i1.20454.

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Nos últimos trinta anos, o Islã, entendido como civilização islâmica, tem sido, em vários sentidos, crescentemente associado à noção de arte contemporânea. Por exemplo, muitos grandes museus no mundo incluem, em suas coleções de arte islâmica histórica, trabalhos pertencentes a suas coleções de arte contemporânea originárias do Oriente Médio. Essa associação entre artecontemporânea e arte islâmica levou à noção de Arte Islâmica Contemporânea, que se baseia na ideia de permanência da arte islâmica. Assim, a arte islâmica pode ser vista como um “umanacronismo de uma arte medieval que nunca morreu” (Amy Goldin) e recebe a atribuição de um caráter trans-histórico: arte, produzida hoje em países muçulmanos ou por artistas ligados ao Islã por seus lugares de nascimento ou por ascendência, é compreendida como prolongamento da arte islâmica hoje. Essa interpretação também funda-se na ideia de permanência da civilização islâmica e em uma concepção ahistórica do tempo. Esse artigo analisará essa concepção alternativa de periodização da arte islâmica estudando o caso do British Museum erelacionando-a ao discurso de vários historiadores e autores não-ocidentais. O tema em questão vai além do campo da arte: esse renascimento da arte islâmica é um meio de estabelecer,através da arte, a continuidade cultural da civilização islâmica.

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Havens, Carolyn. "Cataloging a Special Art Collection." Cataloging & Classification Quarterly 9, no. 4 (1989): 27–49. http://dx.doi.org/10.1300/j104v09n04_03.

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Krajczar, N. F. "Art Collection Yields Unexpected Dividends." Journal of Visual Impairment & Blindness 80, no. 8 (1986): 885–87. http://dx.doi.org/10.1177/0145482x8608000805.

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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries

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Chanda, Jacqueline, and Dele Jegede. "Art by Metamorphosis: Selections of African Art from the Spelman College Collection." African Arts 23, no. 4 (1990): 92. http://dx.doi.org/10.2307/3336958.

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Schneider, Elizabeth Ann. "Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art." African Arts 25, no. 4 (1992): 91. http://dx.doi.org/10.2307/3336973.

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Chatterjee, Apurba. "Fashioning a national art. Baroda’s royal collection and art institutions (1875–1924)." South Asian History and Culture 9, no. 4 (2018): 463–65. http://dx.doi.org/10.1080/19472498.2018.1535553.

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Brotton, Jerry. "When Art Meets History: The Sale of King Charles I's Art Collection." Historically Speaking 7, no. 6 (2006): 11–13. http://dx.doi.org/10.1353/hsp.2006.0040.

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Kember, Pamela, Chantal Wong, Claire Hsu, and Hammad Nasar. "Asia Art Archive." Art Libraries Journal 39, no. 2 (2014): 5–9. http://dx.doi.org/10.1017/s0307472200018241.

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Asia Art Archive was established in 2000 in Hong Kong to document and secure the multiple recent histories of contemporary art in the region. Built through a systematic programme of research and information gathering, it is widely regarded as one of the world’s leading public collections of primary and secondary source material about contemporary art in Asia, comprising hundreds of thousands of physical and digital items, searchable via its online catalogue. A growing selection of digitised material is now also available in the Collection Online.

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Lukošiûnienë, Laimë Gabrielë. "Art libraries of Lithuania." Art Libraries Journal 26, no. 1 (2001): 17–21. http://dx.doi.org/10.1017/s0307472200011998.

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Of the numerous libraries dealing with art documentation in Lithuania, it is the National Library which holds the most significant collection. The exhibition programme of its Arts Department is particularly noteworthy: displays of items from the collection travel all over the country and beyond its borders to foreign lands, including the United Kingdom, France, Austria, Germany, Ireland and Finland. The enthusiasm generated has encouraged similar activities in other libraries, as is described in the directory of Lithuanian art libraries which concludes this article.

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Stevens, Craig, Gabby O’Connor, and Natalie Robinson. "The connections between art and science in Antarctica: Activating Science*Art." Polar Record 55, no. 4 (2019): 289–96. http://dx.doi.org/10.1017/s0032247419000093.

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AbstractArt may be made as a guide to understanding sense of place, and also as a pathway to understanding and valuing scientific ideas. Here we consider this connection in the context of a selected history of artists working in Antarctica, from early explorers to the modern era. This provides a parallel trajectory for the nature, realisation and purpose of the art. We then consider the interaction between art and science and the nature of interdisciplinary work by looking at work produced in a sea ice-based science field camp by an artist collecting data – both scientific and art focused. The artist participated in two field campaigns a year apart, allowing comparison of the evolution of both the artistic practice and the science data collection. Furthermore, the collection of data that served both needs provides a unique point of connection between two fields of endeavour, which are typically considered as separate.

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22

Kiss, Virág. "Reflections on drawings in art pedagogy and art therapy." Visual Inquiry 2, no. 1 (2013): 55–68. http://dx.doi.org/10.1386/vi.2.1.55_1.

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Drawing is a highly subjective means of self-expression in which personal content is revealed. In art education and art therapy, reflection on drawings influences the motivations of students and clients. I have collected evaluative and non-evaluative forms of reflection from the fields of both art pedagogy and art therapy. Most kinds of formative and summative evaluations are reflections, but there are non-evaluative means of assessment, and therefore, I prefer the term 'reflection' over 'evaluation'. As an art teacher working on the border of two fields, I have found it best to respond to students' drawings mainly in non-evaluative ways, or by giving positive feedback, in order to get them involved in art activities. As a researcher with insight into both the educational and therapeutic realms, I have collected a variety of reflections and systematized them. My intention is to share my collection and to offer methodological alternatives for reflecting on the drawings of students/clients.

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23

Roy, Christopher D. "African Art from the Bareiss Collection." African Arts 32, no. 2 (1999): 52. http://dx.doi.org/10.2307/3337603.

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24

Naumova, Vera. "Antiquity in the Razumovskys’ Art Collection." Actual Problems of Theory and History of Art 5 (2015): 563–73. http://dx.doi.org/10.18688/aa155-6-61.

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25

Alexander, Lucy. "Unisa art collection: new acquisitions, 1986." de arte 22, no. 36 (1987): 69–82. http://dx.doi.org/10.1080/00043389.1987.11761055.

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de Kamper, GC. "The University of Pretoria Art Collection." de arte 42, no. 76 (2007): 65–69. http://dx.doi.org/10.1080/00043389.2007.11877083.

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27

Brown, Carol. "An Art Collection for a Stadium." African Arts 44, no. 2 (2011): 56–67. http://dx.doi.org/10.1162/afar.2011.44.2.56.

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Crowley, Daniel J. "Ethiopian Folk Art: The Leavitt Collection." Journal of American Folklore 111, no. 439 (1998): 57. http://dx.doi.org/10.2307/541320.

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Montero, Gustavo Grandal. "Video as art: collecting artists’ moving image in academic art libraries." Art Libraries Journal 34, no. 3 (2009): 5–10. http://dx.doi.org/10.1017/s0307472200015947.

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Video collections have been part of library holdings for several decades, but developing and managing these collections presents a number of challenges. This is the case particularly for artists’ film and video, and this article attempts to identify the issues involved and to offer some practical guidance, drawing on the experience of collection development and management at Chelsea College of Art and Design Library, and across the libraries of University of the Arts London and elsewhere.

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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

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Dark, Philip J. C., and Kate Ezra. "Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art." African Arts 26, no. 1 (1993): 95. http://dx.doi.org/10.2307/3337120.

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32

Alexander, Karen. "A History of the Ancient Art Collection at The Art Institute of Chicago." Art Institute of Chicago Museum Studies 20, no. 1 (1994): 6. http://dx.doi.org/10.2307/4112948.

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33

Wawro, Richard. "VISUAL RESOURCES SIG: Using Art Slide Collection Documentation To Find Art Reproduction Sources." Art Documentation: Journal of the Art Libraries Society of North America 7, no. 3 (1988): 106–7. http://dx.doi.org/10.1086/adx.7.3.27947923.

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34

Wooley, David. "Patterns of Art, Patterns of Life: The Rahr Collection of Native American Art." American Indian Quarterly 14, no. 3 (1990): 341. http://dx.doi.org/10.2307/1185691.

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Blackmun, Barbara W., and Bryna Freyer. "Royal Benin Art: In the Collection of the National Museum of African Art." African Arts 21, no. 3 (1988): 14. http://dx.doi.org/10.2307/3336437.

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Trevelyan, Amelia, and Barbara A. Hail. "Patterns of Life, Patterns of Art: The Rahr Collection of Native American Art." African Arts 21, no. 2 (1988): 91. http://dx.doi.org/10.2307/3336545.

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37

Gedo, John E. "Art Alone Endures." Journal of the American Psychoanalytic Association 40, no. 2 (1992): 501–16. http://dx.doi.org/10.1177/000306519204000209.

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Sigmund Freud, a passionate collector of antiquities, often treated these objects as animate beings. He described such blurring of boundaries between persons and things in the protagonist of W. Jensen's novella, Gradiva. Freud began collecting when his father died, but his unusual attitude toward artefacts was established much earlier, presumably as a consequence of repeated early disappointments in human caretakers. It is postulated that this adaptive maneuver was not simply a displacement of love and hate, but a turning away from vulnerability in relationships, toward attachments over which he might retain effective control. The Freud Collection is largely focused on Greco-Roman and Egyptian objects. Freud's profound interest in classical civilization was established in childhood; he was particularly concerned with the struggle between Aryan Rome and Semitic Carthage, a conflict in which he identified with both sides. This ambivalence reflected growing up within a marginal Jewish family in a Germanic environment. Commitment to classical ideals represented an optimal manner of bridging these contrasting worlds. Egyptian artefacts were, for Freud, links to the prehistory of the Jewish people; they also represent an era when maternal deities found their proper place in man's pantheon—an echo of Freud's prehistoric past.

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38

Caragol, Taína. "Documenting Latin American art at the Museum of Modern Art Library." Art Libraries Journal 30, no. 3 (2005): 33–36. http://dx.doi.org/10.1017/s0307472200014085.

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This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.

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Cognetta-Rieke, Cheristi. "The Art of Story." Creative Nursing 20, no. 3 (2014): 153–58. http://dx.doi.org/10.1891/1078-4535.20.3.153.

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Story is an intimate human resource to describe our being within the world. This article demonstrates the use of this human resource within a patient- and family-centered care initiative developed with and for the pediatric patient population. It describes the purpose, objectives, and design of the MyStory initiative as well as its impact on patient satisfaction scores. Finally, this article challenges current methods of data collection and assessment to include patient stories in order to involve children in care planning and decision making to ensure whole-person care.

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40

Mathews, Peter D. "Embodied Art: A Reading of A. S. Byatt’s ‘Body Art’." English: Journal of the English Association 68, no. 263 (2019): 344–63. http://dx.doi.org/10.1093/english/efz033.

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Abstract This article examines the idea of an embodied art in A. S. Byatt’s short story ‘Body Art’. In order to contextualize this concept, the essay begins with a survey of Byatt’s earlier explorations of the link between mind and body, as well as an analysis of the small amount of secondary material relating to ‘Body Art’, a text that has received little critical attention. The article then explores the story’s ties to Dutch vanitas painting, a tradition that is intimately linked to the study of anatomy. The vanitas tradition shows how medicine and art were once a unified field, and explores the consequences of their modern division. This leads to a consideration of the influence of theological debates about mind and body and their effect, in particular, on Renaissance humanist art. The next section examines the shifting meaning of the archival collection, particularly in its significance for modern formations of subjectivity. This idea is particularly important in the context of the story’s allusions to Joseph Beuys, who views the artist’s body as a locus of creativity. Like Beuys, Byatt is interested in art that draws on the imaginative power of religious storytelling and imagery while rejecting its supernatural elements. Byatt draws together all of these elements in her story in order to articulate her vision of an embodied art, one that draws together the conceptual and the physical.

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41

Freschi, Federico. "The Wits Art Museum: The continent's foremost collection of African and southern African art." de arte 44, no. 80 (2009): 63–69. http://dx.doi.org/10.1080/00043389.2009.11877115.

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42

Barkan, Elazar. "Royal Art of Benin: The Perls Collection in The Metropolitan Museum of Art:Royal Art of Benin: The Perls Collection in The Metropolitan Museum of Art." Museum Anthropology 18, no. 1 (1994): 58–60. http://dx.doi.org/10.1525/mua.1994.18.1.58.

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43

Grillone, Gregory A., and George Charpied. "Voice Evaluation: State of the Art." Otolaryngology–Head and Neck Surgery 112, no. 5 (1995): P147. http://dx.doi.org/10.1016/s0194-5998(05)80387-0.

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Educational objectives: To perform a collection of patient information, videolaryngoscopy, videolaryngostroboscopy, and acoustic data using a rigorous data collection scheme and to use a computerized interface for digitizing acoustic, video and patient data into a multimedia database for archiving and retrieval.

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Murayama, Nina. "Reinventing Art Collection in Airports: JFK International." International Journal of Social, Political and Community Agendas in the Arts 14, no. 3 (2019): 39–54. http://dx.doi.org/10.18848/2326-9960/cgp/v14i03/39-54.

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Marini, Pamela. "Pre‐Columbian art in the Bliss Collection." Historian 55, no. 1 (1992): 31–36. http://dx.doi.org/10.1111/j.1540-6563.1992.tb00883.x.

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Korzenik, Diana. "Intramuralia: Korzenik Collection of Art Education Materials." Huntington Library Quarterly 61, no. 3/4 (1998): 553–63. http://dx.doi.org/10.2307/3817781.

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Hessling, Gabriele. "Madness and art in the Prinzhorn collection." Lancet 358, no. 9296 (2001): 1913. http://dx.doi.org/10.1016/s0140-6736(01)06868-4.

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48

Wood, Jiyeon. "SOAS Library: Chinese art and archaeology collection." Art Libraries Journal 39, no. 2 (2014): 27–32. http://dx.doi.org/10.1017/s0307472200018289.

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Chinese art has always been well-represented within SOAS Library. This article provides an overview of the Chinese art and archaeology collection, highlighting materials that make it unique, from rare books to literati paintings and woodblock prints. As the Library approaches its centenary, some of the issues that have influenced its past, such as limitations of space, are still informing its future. With increasing attention paid to modern and contemporary Chinese art, efforts have been made to build the collection to reflect this emphasis. As it has throughout SOAS’s history, the Library and the Chinese art and archeology collection continue to evolve to reflect new research interests, academic courses and the needs of its users.

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Apostolos-Cappadona, Diane. "Vatican museums: collection of modern religious art." Material Religion 2, no. 2 (2006): 251–53. http://dx.doi.org/10.2752/174322006778053672.

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Reed, Victoria. "The Eugene Garbáty Collection of European Art." Collections 10, no. 3 (2014): 321–30. http://dx.doi.org/10.1177/155019061401000311.

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Journal articles on the topic 'Art Art Schreiner Art Collection'

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