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Journal articles on the topic 'Art collection'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

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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2

Di Benedetto, Claudio. "The Uffizi Library: a collection that documents collections." Art Libraries Journal 35, no. 2 (2010): 4–7. http://dx.doi.org/10.1017/s0307472200016321.

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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In ad

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3

Klyukanova, Larisa G. "Private Art Collecting as a PresentDay Culture Phenomenon." Observatory of Culture, no. 2 (April 28, 2015): 73–77. http://dx.doi.org/10.25281/2072-3156-2015-0-2-73-77.

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Analyses collecting as a type of cultural activity, its institutional and substantive aspects. The author investigates mechanisms of private collection functioning including formation of collections and storage, systematisation, and exhibition of artifacts. The importance of representing the cultural value and symbolic significance embodied in the collection items is highlighted.

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4

Petrashyk, Volodymyr. "Oleksandr Tulchinsky – Unknown Collector from Kyiv." Demiurge: Ideas, Technologies, Perspectives of Design 2, no. 2 (2019): 267–84. https://doi.org/10.31866/2617-7951.2.2.2019.189742.

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The aim of the article is to investigate the life and collecting experience of Oleksandr Tulchinsky, a collector from Kyiv, whose work remains unknown nowadays; to define the artistic value of the works that belong to his collection; his role and significance in the history of Ukrainian collections of the XX century. The methodology of the research. In the course of the scientific research such methods as historical and art analysis were implemented. The scientific novelty. The name of the collector from Kyiv, Oleksandr Tulchinsky was introduced for the first time into the scien

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5

Danowitz, Erica Swenson. "Art Magazine Collection Archive." Charleston Advisor 23, no. 3 (2022): 5–9. http://dx.doi.org/10.5260/chara.23.3.5.

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This resource provides full-text access to the digital archives of three significant art publications, ARTnews, Art in America, and The Magazine ANTIQUES. The 3,950 issues found in this database appear in digital format in their entirety as originally published. This database also includes the original advertisements found in these periodicals. These advertisements have been indexed and are searchable. This archive provides an extensive chronicle of art collecting, fine arts, art history, interior design, decorative arts, folk art, antiquing, and architecture in the twentieth and early twenty-

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6

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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7

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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8

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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9

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.

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10

Romero, Martha. "The JAPS Library: A collection about art." Art Libraries Journal 48, no. 1 (2023): 2–9. http://dx.doi.org/10.1017/alj.2022.22.

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AbstractJuan Antonio Pérez Simón has built one of the most extensive art collections in Mexico and it is well-known around the world. One of the least known facets of Juan Antonio Pérez Simón's collecting is that of a bibliophile, a facet that has led him to form one of the richest private libraries specializing in art in Mexico, known for its great expanse and diversity of themes, as well as for the importance of the works that comprise it. The Juan Antonio Pérez Simón (JAPS) Library is the custodian of Pérez Simón's book collection and strives to manage, research, and preserve the collection

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Salmon, Lori, and Annalise Welte. "Art library collections at research universities: IDBEA in collection development." Art Libraries Journal 50, no. 1 (2025): 33–40. https://doi.org/10.1017/alj.2025.8.

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Academic research libraries that build and steward collections in support of art research are always developing and executing strategies for their physical and virtual spaces, preservation, and access. NYU Libraries’ Institute of Fine Arts Library welcomes readers of a wide range of expertise, subject focus, and languages and works to make the library collections easier to discover and use in more creative ways in the pursuit of research, teaching, and learning. This work raises the question, whom do librarians turn to when they are responsible for subject areas or languages they may not know?

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12

Lee, Kyunghwa. "Art Collector of Colonial Korea: Pak Yŏngch’ŏl’s Art Collecting and Museum." Korean Journal of Art History 321 (March 31, 2024): 39–68. http://dx.doi.org/10.31065/kjah.321.202403.002.

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Pak Yŏngch’ŏl (1879-1939) was a high-ranking government official, businessman and prominent art collector during the modern period. After Pak’s passing in 1940, his family donated Tasan mun’go (the Tasan Collection) to Keijō Imperial University in accordance with his will. The collection was comprised of 115 artworks, which included calligraphy, paintings, and craft items, along with a fund of 20,000 won. Pak’s financial support laid the foundation for the establishment of the Keijō Imperial University Museum two years later. Both the donation of his collection and the subsequent founding of t

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13

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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14

Sackler, EA. "The ethics of collecting." International Journal of Cultural Property 7, no. 1 (1998): 132–40. http://dx.doi.org/10.1017/s0940739198770122.

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The author questions the concepts underlying ethnological collections of art and artifacts in the context of the Native American Graves Protection and Repatriation Act (NAGPRA). Alternatives to traditional Western anthropological and art historical methods of collection and display of sacred Native American material are found in traditional Native American philosophy and practice. The contemporary fashion among curators for contextualization of displayed objects from Indigenous cultures is critiqued in the light of broader ethical concerns regarding the appropriateness of collecting sacred obj

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15

Findley, Marcia. "Using the OCLC/AMIGOS Collection Analysis Compact Disk to Evaluate Art and Art History Collections." Technical Services Quarterly 10, no. 3 (1993): 1–15. http://dx.doi.org/10.1300/j124v10n03_01.

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16

Harris, Neil, and JUDITH ZILCZER. "American Art Collecting: THE DISPERSAL OF THE JOHN QUINN COLLECTION." Archives of American Art Journal 49, no. 1/2 (2010): 54–65. http://dx.doi.org/10.1086/aaa.49.1_2.23025801.

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17

Weber, Chela Scott, Mercy Procaccini, Dennis Massie, and Brian Lavoie. "Specialized and Decentralized: Stewardship of the Art Research Collective Collection." Art Libraries Journal 49, no. 3 (2024): 105–13. http://dx.doi.org/10.1017/alj.2024.15.

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Art libraries play a vital role in building, managing and sustaining collections to support art scholarship. Ensuring that these valuable collections remain available long into the future requires innovative thinking about collection development, resource sharing and stewardship. The specialized and decentralized nature of the art research collective collection suggests that multi-institutional collaboration is an important option for art libraries as they seek sustainable pathways for their collections. Findings and recommendations from the Operationalizing the Art Research Collective Collect

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18

De Visser, Evelien. "Collecting contemporary art in Rotterdam between 1870 and 1892: The international taste of Fop Smit Jr (1815-1892)." Oud Holland – Journal for Art of the Low Countries 136, no. 1 (2023): 49–68. http://dx.doi.org/10.1163/18750176-13601003.

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The extensive international art collection of the now virtually forgotten Rotterdam collector Fop Smit Jr (1815-1892) included as many as 240 contemporary European genre paintings and several works by renowned artists of the Barbizon School. After Smit’s death, his collection was divided among his family. The recent discovery of a two-part album containing photographs of the works of art he owned made it possible to reconstruct his collection for the first time. Based on extensive provenance and archival research, his collection is analysed and placed in the context of collecting contemporary

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19

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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20

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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21

Bouwer, Garton. "Inventing a world: Reference Material and the Small Art Library." Art Libraries Journal 20, no. 4 (1995): 8–12. http://dx.doi.org/10.1017/s030747220000955x.

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The case of the Central Art Library in the Cape Town City Libraries illustrates the role of an art reference collection within a lending library. Such a collection should be wide ranging in scope, catering for the needs of students, professionals, and the general public, and must be built up by means of careful and informed selection, with the needs of the local community in mind. Representation of art worldwide should be complemented with documentation of the arts of the library’s own locality and nation. The Central Art Library’s reference section includes two student collections, and a numb

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22

Johnston, Tiffany L. "American Dionysus: Carl W. Hamilton (1886–1967), collector of Italian Renaissance art." Journal of the History of Collections 31, no. 2 (2018): 411–30. http://dx.doi.org/10.1093/jhc/fhy026.

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Abstract For nearly a decade Carl W. Hamilton was in possession of one of the most important private collections of Italian Renaissance painting in America. A self-made millionaire from humble beginnings, the young Hamilton captivated the art dealer Joseph Duveen and Duveen’s foremost experts in Italian Renaissance painting, Bernard and Mary Berenson. By inspiring and instructing Hamilton, Duveen and the Berensons hoped to focus his wealth and ambition to create a great collection and thereby profit by both him and the glory of his achievement. Though Hamilton’s personal collection proved ephe

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23

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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24

Whitaker, Pamela. "Homebody: Art Therapy and the Art of Possessions." OBM Integrative and Complementary Medicine 09, no. 03 (2024): 1–11. http://dx.doi.org/10.21926/obm.icm.2403056.

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This concept paper is proposing the inclusion of the home studio as an art making location for art therapy trainees who assemble personal belongings, within the context of their domestic lives. A collection of belongings can become an installation which brings together associations to identities in juxtaposition. The material culture of art therapy trainees, the objects which they live by, is a new contribution to art therapy pedagogy, as it designates the art of personal collections as a life archive (or accumulation) that is close at hand and already available. This collection of household a

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25

Guoxin, Chen. "Digital Art in Art Museums in the New Era-Take Queensland Museum of Modern Art as an Example." International Journal of Current Science Research and Review 06, no. 04 (2023): 2388–92. https://doi.org/10.5281/zenodo.7822856.

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<strong>ABSTRACT: </strong>This paper explores the role of digital art in the Queensland Art Gallery of Modern Art (QAGOMA) in Brisbane, Australia. QAGOMA has been at the forefront of exhibiting and collecting digital art since the early 2000s, and has developed a significant collection of works in this medium. The paper examines the ways in which QAGOMA has embraced digital art, including through its exhibitions, acquisitions, and programming. It also considers the challenges of exhibiting and collecting digital art, such as technological obsolescence, preservation, and the question of authen

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26

Ozhoha-Maslovska, Alla. "Collections of Japanese Art in Ukraine." Intercultural Relations 3, no. 2(6) (2020): 109–23. http://dx.doi.org/10.12797/rm.02.2019.06.06.

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The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collection

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27

Han, Jingyao, and Kyungjin Park. ""Study on Sneaker Fever: Transition from Collection to Digital Art "." Journal of Humanities and Social sciences 21 14, no. 1 (2023): 2641–54. http://dx.doi.org/10.22143/hss21.14.1.187.

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28

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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Lurk, Tabea. "From the community, for the community: Online access to documents and collections of performance art." International Journal of Visual and Performing Arts 4, no. 2 (2022): 111–26. http://dx.doi.org/10.31763/viperarts.v4i2.811.

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The article looks at the challenges and opportunities of collecting and disseminating performance art from an art library’s perspective. Based on the collecting experience of the Mediathek at the Academy of Art and Design FHNW Basel (Switzerland), the text contextualizes its own digital collections within the Swiss performance art context. What is special about Mediathek’s collection is; (1) the fact that a remarkable number of documents of performance art are accessible for free via the internet, without login, in a structured, searchable and sustainable way. Because the policy permits, upon

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30

ORFILA, JORGELINA. "ART COLLECTING IN AMERICA DURING THE INTERWAR PERIOD: THE CHESTER DALE COLLECTION OF MODERN FRENCH ART." Archives of American Art Journal 50, no. 1/2 (2011): 48–61. http://dx.doi.org/10.1086/aaa.50.1_2.23025823.

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31

Łukasiewicz, Martyna, and Thor Mednick. "Canons and Networks. 19th-Century Danish Art in Paris." Artium Quaestiones, no. 34 (December 27, 2023): 139–59. http://dx.doi.org/10.14746/aq.2023.34.5.

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Collections of Danish Golden-Age art are quite rare outside of Scandinavia, especially when it comes to those developed in accordance with a well-thought-out strategy established through the international cooperation of scholars. An important exception is the large group of Danish drawings, oil sketches, and artists’ correspondence found in the Fondation Custodia – Collection Frits Lugt in Paris, gathered by art historian and longtime museum director Carlos van Hasselt (1929–2009). As director, van Hasselt provided an interesting model of collecting, as his pursuit was not motivated by a parti

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32

Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University

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33

Markova, N. Yu. "Collecting Drawings and Prints in Russia: From the Beginning to the Present Day. Part II." Art Studies Journal, no. 2 (June 2024): 216–65. https://doi.org/10.51678/2073-316x-2024-2-216-265.

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The article continues the historical outline of graphic art collecting in Russia and is concerned the 19th century. Over the course of this period, the circle of graphic art collectors has been significantly expanding and democratizing, with private individuals taking a leading position in this process; the graphic collections of newly established state museums and educational institutions were formed on the base of private collections. Many collectors demonstrated a decisive turn towards Russian graphics, as well as to thematic collections of prints focused on portraits, views, or book illust

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34

Korus, Olena. "Ukrainian Porcelain in the Porcelain Collection of the Dresden State Art Collections." Folk art and ethnology, no. 2 (June 30, 2023): 76–80. http://dx.doi.org/10.15407/nte2023.02.076.

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During the current russian-Ukrainian war, which has been going on since 2014, the progressive circles of Ukrainian society, in particular scholars, have been faced with the question of decolonizing and de-imperializing Ukrainian history and culture. The task of returning to the orbit of the national cultural heritage is especially acute concerning works of Ukrainian origin that are stored in museum collections abroad. It should be noted that this cultural heritage is generally labelled as «russian» in the world, regardless of the cultural and artistic environment, as well as of where and when

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35

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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36

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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37

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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38

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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40

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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41

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 morre

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42

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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43

Thurmann-Jajes, Anne. "Collecting collections: The Research Centre for Artists’ Publications." Art Libraries Journal 38, no. 3 (2013): 30–35. http://dx.doi.org/10.1017/s0307472200018654.

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Established in 1999 within the Weserburg Museum of Modern Art, in Bremen, the Studienzentrum für Künstlerpublikationen (Research Centre for Artists’ Publications) is today one of the most significant institutions worldwide in the field of artists’ publications, with holdings of more than 200,000 items, and important programmes of exhibitions and publications. The Research Centre traces its roots to the Archive for Small Press & Communication (ASPC), founded in 1974 by Anne Marsily and Guy Schraenen, and incorporates more than 40 individual archives and special collections, including the PL

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44

Yudenkova, Tatiana V. "I.A. Morozov’s art collection: the Russian context and the ways of Russian art." LOMONOSOV HISTORY JOURNAL 65, no. 4, 2024 (2025): 177–206. https://doi.org/10.55959/msu0130-0083-8-2024-65-4-177-206.

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In the context of Russian art culture, Ivan Morozov occupies a position of distinction as a prominent collector of contemporary French and Russian art. The influence of his collection on the subsequent development of Russian art, most notably on the generation of young avant-garde artists, is indisputable in the present day. However, it was not until relatively recently that the full significance of the collection and the role of I.A. Morozov in the history of Russian culture was fully recognized. The period of Morozov’s immersion in the European art market, spanning approximately ten years fr

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45

Artamonova, Svetlana. "Art Collections of the Russian State Library." Art Libraries Journal 17, no. 2 (1992): 27–28. http://dx.doi.org/10.1017/s0307472200007793.

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The former Lenin State Library in Moscow, now the Russian State Library, holds extensive collections of graphic and photographic materials, Russian and foreign, dating from the 15th century to the present day. These include a collection of some 434,000 posters, of which film and political posters form the largest subsections; a smaller number of pre-Revolutionary posters is of special interest. The collection of engravings totals some 93,000 items, and includes both works of European masters and Russian popular prints. There are also collections of postcards, “albums”, and manuscripts.

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46

Skorupa, Ewa. "Literary Narratives on Collections." Tematy i Konteksty specjalny 1(2020) (2020): 166–79. http://dx.doi.org/10.15584/tik.spec.eng.2020.9.

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The article deals with collections and collecting as a literary theme. Research on this issue should be undertaken by literary scholars, as collections support the features of literary characters and give protagonists their identity. The work analysed from this angle is “Money” by Andrzej Strug from 1914. It interprets and describes three different collections and three different collectors: the eccentric Lyttons and their museum of stones, Lucy Slazenger’s precious jewellery collection and the art collection of Osias Murway, an enthusiast of antiquities.

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Hojny, Paulina. "Art in public utility buildings – an example of a collection in an international juridical institution." Władza Sądzenia, no. 27 (December 17, 2024): 5–27. https://doi.org/10.18778/2300-1690.27.01.

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The article tries to highlight the phenomenon of integrating art collections into public buildings, focusing on the example of an international juridical institution exhibiting art from different countries. The motivation for collecting art in such spaces is often to improve the aesthetics of the building, to promote diverse perspectives and reflections through art. The creation of this unique collection in the late 1960s was a pioneering initiative undertaken 50 years ago by the European Court of Justice based in Luxembourg and has since been adopted by other international European institutio

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48

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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49

Bromage, Sarah. "Making Our Collections Visible." Art Libraries Journal 45, no. 2 (2020): 68–72. http://dx.doi.org/10.1017/alj.2020.5.

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This article details the process involved in making the collections of the University of Stirling Archives and Art Collection available online. Our new online catalogue http://collections.stir.ac.uk allows researchers to search across our CALM for archives catalogue and our Art Collection Adlib catalogue to uncover the depth and breadth of the cultural collections on offer at the University of Stirling.

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Godfrey, Jenny. "The DACS Slide Collection Licensing Scheme." Art Libraries Journal 26, no. 4 (2001): 10–17. http://dx.doi.org/10.1017/s030747220001244x.

Full text

Abstract:

For many years slide libraries in higher education institutions in the UK grew steadily in size as they accommodated the needs of new and expanding art and design courses. Although some slide librarians acquired new slides by photographing works of art in museums and art galleries, and most bought slides of the traditional art history canon from commercial publishers and art galleries, the largest proportion of these ever growing slide collections was made up of slides produced by copy photography, using slide film to photograph images taken from books, journals and exhibition catalogues. Chan

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