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Journal articles on the topic 'Art Gallery of Alberta'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Arnal, Louise, and Corinne Schuster-Wallace. "The Virtual Water Gallery: Art as a catalyst for transforming knowledge and behaviour in water and climate." PLOS Climate 4, no. 4 (2025): e0000398. https://doi.org/10.1371/journal.pclm.0000398.

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Water is essential for life. Water-related challenges, such as droughts, floods, water quality degradation, permafrost thaw and glacier melt, exacerbated by climate change, affect everyone. It is challenging, yet of critical importance, to communicate science on such difficult highly volatile topics. Art is a more approachable medium to traditional scientific outlets, with the potential to diversify voices at the table and to lead to more wholistic solutions to these complex challenges. Launched in 2020, the Virtual Water Gallery is a transdisciplinary science and art project of the Global Wat

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2

Gregory, Helen, and Kirsty Robertson. "No Small Matter: Micromuseums as Critical Institutions." RACAR : Revue d'art canadienne 43, no. 2 (2018): 89–101. http://dx.doi.org/10.7202/1054385ar.

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En se concentrant sur trois micro-institutions canadiennes, aux mandats spécifiquement difficiles et/ou politiquement chargés, cet article examine le potentiel critique des petits espaces et musées. Il analyse comment, en raison de financement et d’espace limités, la Feminist Art Gallery de Toronto, le STAG Project Space, une galerie et résidence d’artistes de Vancouver (aujourd’hui fermée), et le Musée de la peur et des merveilles de Bergen en Alberta, convoquent de façon inventive la communauté, la marginalité, l’intervention radicale et les stratégies commissariales. Chacun de ces espaces r

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der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.

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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art,

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4

Giasson, Steve. "Grant Arnold et Karen Henry, dir., Trafic : l’art conceptuel au Canada 1965–1980, catalogue d’exposition, trad. Natalie de Blois, Eduardo Ralickas, et al., [Edmonton] : Art Gallery of Alberta; [Montréal] : Leonard & Bina Ellen Art Gallery; [Halifax] : Halifax INK; [Toronto] : Justina M. Barnicke Gallery; [Vancouver] : Vancouver Art Gallery, 2012, 174 p., 55,95 $, ISBN : 978-1-895442-89-2." RACAR : Revue d'art canadienne 40, no. 1 (2015): 100. http://dx.doi.org/10.7202/1032760ar.

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5

Beetson, Bianca. "Exhibition: Tony Albert, Visible, Queensland Art Gallery, 2 June to 7 October 2018." Queensland Review 26, no. 01 (2019): 180–83. http://dx.doi.org/10.1017/qre.2019.15.

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Santos, Raquel, Ana Claro, Ana Serrano, Maria João Ferreira, and Jessica Hallett. "Textiles, Trade & Taste—Portugal and the World: A Project on the Global Circulation of Textiles and Dyes." Textile Museum Journal 47, no. 1 (2020): 187–95. http://dx.doi.org/10.1353/tmj.2020.a932820.

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Abstract: Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network’s artistic and historical research has ranged from collating archival

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Oliver, P. Graham, Holly Morgenroth, and Andreia Salvador. "Type specimens of Mollusca described by Col. George Montagu in the Royal Albert Memorial Museum & Art Gallery, Exeter and The Natural History Museum, London." Zoosystematics and Evolution 93, no. (2) (2017): 363–412. https://doi.org/10.3897/zse.93.13073.

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A complete list of new molluscan taxa introduced by Col. George Montagu (1753–1815) is presented. The available type material of these taxa are itemised and illustrated. The majority are present in the Royal Albert Memorial Museum & Art Gallery, Exeter with a smaller number in the Natural History Museum, London. The historic background of both collections is reviewed with special reference to the many non-British species spuriously introduced into Testacea Britannica and its Supplement.

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Khadzhylii, T. O. "STRUCTURAL FEATURES OF ENGLISH PICTONYMS." Opera in Linguistica Ukrainiana, no. 31 (July 14, 2024): 151–59. http://dx.doi.org/10.18524/2414-0627.2024.31.309411.

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The article is devoted to the study of structural features of English pictonyms — proper names of paintings. Pictonym is a subclass of imageonym, which is a subclass of artionym, which, in turn, is a subclass of ideonym. Proper names of paintings are an under-researched area of onomastics that attracts the attention of many scientists because proper names play an important role in the spiritual development of society and have their own unique features that distinguish them from other onyms. The purpose of the article is to examine the structural division of English pictonyms. The object of the

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Marchand, Marie-Ève. "L’impossible « chambre des horreurs » du Museum of Ornamental Art : une archéologie du design criminel." RACAR : Revue d'art canadienne 39, no. 1 (2014): 40–51. http://dx.doi.org/10.7202/1026201ar.

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In 1852, the Museum of Ornamental Art, today the Victoria and Albert Museum, opened its doors to the public. Taking part in a general reform of the British art and design education system, the museum sought to instill what were considered good design principles. To do so, a museographic strategy that proved to be as popular as it was controversial was chosen: the exhibition gallery entitled “Decorations on False Principles,” which immediately became known as the “Chamber of Horrors.” This gallery, a dogmatic expression of the functionalist conception of ornament advocated by the museum, referr

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Marshall, P. J. "The Nehru Gallery of Indian Art 1550–1900 at the Victoria and Albert Museum." London Journal 16, no. 1 (1991): 66–68. http://dx.doi.org/10.1179/ldn.1991.16.1.66.

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Charette, Natalie, Evelyn Delgado, and Jaclyn Kozak. "Stop, collaborate and listen: Reimagining & Rebuilding the Royal Alberta Museum." Museum and Society 16, no. 3 (2018): 383–97. http://dx.doi.org/10.29311/mas.v16i3.2796.

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The field of museum education is continually examining and reconsidering how best to engage child audiences, offering child-centered experiences to complement knowledge-rich environments. The implementation of Reggio Emilia approach-based programs and activities, which embrace children’s multiple literacies and provide opportunities for free, unstructured play, are best served when complemented by documentation in order to render learning visible to all audiences. It is through documentation that we can actively demonstrate our respect and value for children’s learning and play. Play has to be

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Oliver, P. Graham, and Holly Morgenroth. "Additional type and other notable specimens of Mollusca from the Montagu Collection in the Royal Albert Memorial Museum & Art Gallery, Exeter." Zoosystematics and Evolution 94, no. 2 (2018): 281–303. http://dx.doi.org/10.3897/zse.94.24776.

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This paper completes the review of the Col. George Montagu collection of shells in the Royal Albert Memorial Museum &amp; Art Gallery, Exeter. A further twenty-one lots of type material were discovered bringing the total number of type lots to ninety-four. A number of other taxa that are of historic and potential nomenclatural significance are discussed. Specimens that relate to taxa of authors other than Montagu were isolated and consideration was given to the many non-British taxa that Montagu included in his works. To complete the study a list of all species represented in this collecti

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Oliver, P. Graham, and Holly Morgenroth. "Additional type and other notable specimens of Mollusca from the Montagu Collection in the Royal Albert Memorial Museum & Art Gallery, Exeter." Zoosystematics and Evolution 94, no. (2) (2018): 281–303. https://doi.org/10.3897/zse.94.24776.

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This paper completes the review of the Col. George Montagu collection of shells in the Royal Albert Memorial Museum & Art Gallery, Exeter. A further twenty-one lots of type material were discovered bringing the total number of type lots to ninety-four. A number of other taxa that are of historic and potential nomenclatural significance are discussed. Specimens that relate to taxa of authors other than Montagu were isolated and consideration was given to the many non-British taxa that Montagu included in his works. To complete the study a list of all species represented in this collection i

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Beaucar, Barbara, Adrienne Pruitt, and Katy Rawdon. "‘Art is no trivial matter’: the Barnes Foundation Archives and Library." Art Libraries Journal 33, no. 1 (2008): 22–27. http://dx.doi.org/10.1017/s0307472200015182.

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The Barnes Foundation is an educational institution located near Philadelphia, Pennsylvania. The Foundation’s world-renowned art collection and its twelve-acre arboretum serve its mission to promote the advancement of education and the appreciation of fine arts and horticulture, through classes and workshops held in the Gallery and the Arboretum. The staff of the Foundation’s long-neglected archives and library is in the process of organizing and cataloguing its collections, and has recently completed a major grant-funded project to create finding aids for several of them.‘[A]rt is no trivial

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15

Giannachi, Gabriella, William Barrett, Paul Farley, et al. "Time Trails: presencing digital heritage within our everyday lives." Revista Brasileira de Estudos da Presença 4, no. 1 (2014): 97–114. http://dx.doi.org/10.1590/2237-266042979.

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ABSTRACT The Time Trails project is a collaboration between the Centre for Intermedia at the University of Exeter, Royal Albert Memorial Museum and Art Gallery, 1010 Media, and Exeter City Football Club Supporters Trust (2013). It is a mobile web app to allow users to follow, annotate and create trails using text, images and videos, and to respond to them via social media. Two trails narrating the history of Exeter City Football Club and its Supporters Trust, used for mobile learning and as part of sport and cultural tourism experiences are presented. We show how Time Trails can be used as a p

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Stevenson, Rebecca, and Michaela Zöschg. "In transformation: a contemporary artist’s response to Sculpting the Renaissance." Sculpture Journal 34, no. 2 (2025): 203–11. https://doi.org/10.3828/sj.2025.34.2.07.

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From October 2022 to July 2023 sculptor Rebecca Stevenson was an artist in residence at the Victoria and Albert Museum, London. Her residency was dedicated to the theme of ‘shifting perspectives’ and developed in connection with the V&A exhibition Donatello: Sculpting the Renaissance (11 February–11 June 2023). For this project, many sculptures by Donatello and his contemporaries left their permanent home in the V&A’s Medieval and Renaissance Galleries, first travelling to Florence and Berlin, and then returning to the V&A’s temporary exhibition space. As part of her residency, Ste

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17

Raskin, Howard. "Can an art gallery thrive in a science library?: Communication through culture at Cornell University’s Albert R. Mann Library." College & Research Libraries News 70, no. 4 (2009): 226–29. http://dx.doi.org/10.5860/crln.70.4.8166.

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Di Trocchio, Paola. "Wardrobe as Collection." Fashion Highlight, SI1 (July 14, 2025): 44–50. https://doi.org/10.36253/fh-3197.

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The Italian fashion journalist, Anna Piaggi (1931-2012) offered a potential response for prosperity fashion through her singular approach to self-fashioning. Her wardrobe collection, containing approximately 3,000 garments and accessories, contained museum-quality objects which could be likened to the holdings of major museum collections such as the Victoria and Albert Museum, the Metropolitan Museum of Art and the National Gallery of Victoria. Consequently, through my PhD thesis, I have argued that the wardrobe collection can be likened to the museum collection. The positioning of the wardrob

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19

Fraser, Lyndon. "Review of the Victoria and Albert Museum, London, the Golden Age of Couture: Paris & London 1947–57, Bendigo Art Gallery." History Australia 6, no. 2 (2009): 46.1–46.2. http://dx.doi.org/10.2104/ha090046.

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20

TOYOGUCHI, Maiko. "AN ANALYSIS OF ISSUES CONCERNING EXIBITING DESIGN IN A MUSEUM : A study of the Victoria and Albert Museum and the Whitechapel Art Gallery." Journal of Architecture and Planning (Transactions of AIJ) 68, no. 564 (2003): 339–45. http://dx.doi.org/10.3130/aija.68.339.

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21

Watson, Jennifer C. "Victor Chan, ‘Leader of My Angels’: William Hayley and His Circle (exhibition catalogue). Edmonton. The Edmonton Art Gallery, in conjunction with the Canadian Society for Eighteenth-Century Studies / The University of Alberta, 1982. 89 pp., illus." RACAR : Revue d'art canadienne 12, no. 1 (1985): 80. http://dx.doi.org/10.7202/1073699ar.

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22

Oliver, P. Graham, Holly Morgenroth, and Andreia Salvador. "Type specimens of Mollusca described by Col. George Montagu in the Royal Albert Memorial Museum & Art Gallery, Exeter and The Natural History Museum, London." Zoosystematics and Evolution 93, no. 2 (2017): 363–412. http://dx.doi.org/10.3897/zse.93.13073.

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23

Perron, Mireille. "Trauma of Signification. Terms of Engagement: Averns, feldman-kiss, Stimson. 27 September to 14 December 2014, Esker Foundation, Calgary, Alberta; 18 January to 9 March 2014, Mount St-Vincent University Art Gallery, Halifax, Nova Scotia; 26 April to 10 August 2014, Agnes Etherington Art Centre, Kingston, Ontario." RACAR : Revue d'art canadienne 40, no. 1 (2015): 104. http://dx.doi.org/10.7202/1032761ar.

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24

Grigar, Dene. "Grafik Dynamo by Kate Armstrong and Michael Tippett, with essay by Joseph Tabbi. The Prairie Gallery, Alberta, Canada, 2010. 48 pp., illus. ISBN: 978-0-9780646-2-4." Leonardo 45, no. 2 (2012): 177–78. http://dx.doi.org/10.1162/leon_r_00294.

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R.W. "Rose Kerr (ed.) Chinese art and design: the T.T. Tsui Gallery of Chinese Art and Design. Texts by Rose Kerr, Verity Wilson and Craig Clunas. 255 pp. London: Victoria and Albert Museum, 1991. £19.95." Bulletin of the School of Oriental and African Studies 55, no. 2 (1992): 397. http://dx.doi.org/10.1017/s0041977x00005413.

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Biggs, Frederick M., and Thomas N. Hall. "Traditions concerning Jamnes and Mambres in Anglo-Saxon England." Anglo-Saxon England 25 (December 1996): 69–89. http://dx.doi.org/10.1017/s0263675100001940.

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In the dramatic confrontation between Moses and Pharaoh that preceded the Israelites' departure from Egypt, Pharaoh's magicians played a prominent role: they turned their rods into serpents, if only to have them devoured by Moses's serpent, and then matched the first two plagues brought down on the Egyptians before failing to perform the third (Ex. VII. 11–VIII. 19). Although not named here or elsewhere in the Old Testament, they were identified in II Timothy III.8 as ' ιανν⋯ς and ιαμβρ⋯ς (the Latin forms are usually ‘Iannes’ or ‘Iamnes’ and ‘Mambres’) in a remark that suggests that a consider

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García, Eusebio Alonso. "JAMES STIRLING Y EL PROYECTO DE LA TATE GALLERY EN ALBERT DOCK, LIVERPOOL, 1982–88 / JAMES STIRLING AND THE TATE GALLERY PROJECT IN ALBERT DOCK, LIVERPOOL, 1982–88." Proyecto, Progreso, Arquitectura, no. 19 (2018): 134–49. http://dx.doi.org/10.12795/ppa.2018.i19.08.

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Pratt, S. "Blackfoot culture and world culture: Contexts for the collection and display of the decorated shirt of Issapoomahsika (or Crowfoot) in the Royal Albert Memorial Museum and Art Gallery, Exeter." Journal of the History of Collections 18, no. 2 (2006): 237–47. http://dx.doi.org/10.1093/jhc/fhl012.

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Alexander, Olga. "Art Gallery." Frontiers: A Journal of Women Studies 43, no. 2 (2022): 202–7. http://dx.doi.org/10.1353/fro.2022.0020.

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Asia, Simone. "Art Gallery." Frontiers: A Journal of Women Studies 45, no. 2 (2024): 231–36. http://dx.doi.org/10.1353/fro.2024.a935663.

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Burbano, Andrés, Ernest Edmonds, Daniel Cardoso Llach, et al. "Art Gallery." Leonardo 51, no. 4 (2018): 426–45. http://dx.doi.org/10.1162/leon_a_01694.

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Stradling, Bob. "Art gallery." Critical Perspectives on Accounting 15, no. 4-5 (2004): 542. http://dx.doi.org/10.1016/j.cpa.2003.11.003.

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Hazarika, Maya. "Art Gallery." Frontiers: A Journal of Women Studies 45, no. 3 (2024): 209–14. https://doi.org/10.1353/fro.2024.a952262.

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34

Jaiswal, Abhilasha. "ONLINE ART GALLERY." International Journal of Research -GRANTHAALAYAH 6, no. 6 (2018): 403–6. http://dx.doi.org/10.29121/granthaalayah.v6.i6.2018.1386.

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An online art gallery is new concept of selling and purchasing art works, both digital prints and traditional paintings are available on online sites. Basically, it is a user interface kind of web page on which buyer and seller both gets a platform for their jobs. Online art gallery is a time, energy and money saving web site concept. By this artist also can host their works and art curator can arrange auctions for art works.

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Wolfe, Rosalee J., Jodi Giroux-Lang, Lynn Pocock, and Karen Sullivan. "Student art Gallery." ACM SIGGRAPH Computer Graphics 32, no. 1 (1998): 30–33. http://dx.doi.org/10.1145/279389.564624.

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Wolfe, Rosalee J., Jodi Giroux, Lynn Pocock, and Karen Sullivan. "Student art gallery." ACM SIGGRAPH Computer Graphics 32, no. 3 (1998): 32–34. http://dx.doi.org/10.1145/281278.564627.

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Bila, Vonani. "Baloyi's art gallery." New England Review 38, no. 4 (2017): 11–12. http://dx.doi.org/10.1353/ner.2017.0088.

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Merkel, Jayne. "Yale Art Gallery." Architectural Design 77, no. 3 (2007): 110–15. http://dx.doi.org/10.1002/ad.469.

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Abhilasha, Jaiswal. "ONLINE ART GALLERY." International Journal of Research - Granthaalayah 6, no. 6 (2018): 403–6. https://doi.org/10.5281/zenodo.1311028.

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An online art gallery is new concept of selling and purchasing art works, both digital prints and traditional paintings are available on online sites. Basically, it is a user interface kind of web page on which buyer and seller both gets a platform for their jobs. Online art gallery is a time, energy and money saving web site concept. By this artist also can host their works and art curator can arrange auctions for art works.

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Brucker-Cohen, Jonah, Tine Bech, Anthony Rowe, et al. "Data Materialities Art Gallery: Introduction and Gallery." Leonardo 49, no. 4 (2016): 352–74. http://dx.doi.org/10.1162/leon_a_01289.

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Toledo, Tamara. "Sur Gallery." Latin American and Latinx Visual Culture 4, no. 1 (2022): 110–21. http://dx.doi.org/10.1525/lavc.2022.4.1.110.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg

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Wardani, Dena Putri, Pretty Zinta Sinurat, Hana Murtiningsih, et al. "Potensi Art Gallery Sebagai Wisata Edukasi dan Sarana Terapi Mental Disorder." Journal of Tourism and Creativity 7, no. 2 (2023): 67. http://dx.doi.org/10.19184/jtc.v7i2.38687.

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Indonesia memiliki banyak kasus mental disorder, tetapi dari sekian banyak kasus tersebut, hanya beberapa saja yang memilih untuk melakukan konsultasi ke psikolog. Dengan melihat banyaknya art gallery yang terdapat di Bandung, peneliti ingin melihat potensi art gallery dalam mengatasi mental disorder serta melihat potensinya sebagai wisata edukasi yang berperan dalam peningkatan khazanah pengetahuan pengunjung. Metode yang digunakan dalam penelitian ini menggunakan pendekatan kuantitaif, dengan pengumpulan data melalui kuesioner dan observasi. Ditemukan bahwa beberapa pengunjung art gallery me

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Cushing, Deborah. "Art in Dispute at the Beaverbrook Art Gallery." International Journal of Cultural Property 15, no. 3 (2008): 297–320. http://dx.doi.org/10.1017/s094073910808017x.

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AbstractA long-running dispute between the Beaverbrook Art Gallery and its benefactor foundations illustrates the need for documentation of gifts or loans of artwork. At issue in this dispute is ownership of over 200 of the paintings on display at the gallery valued at up to $200 million. None of the parties to the dispute has been able to produce records to establish that the paintings were either a gift or on loan to the Beaverbrook. Instead the parties have had to rely on newspaper and magazine articles, speeches, gallery catalogues, and export documents to substantiate their positions. Cen

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Shih, Tsui-Yii, and Zhi-An Liu. "Wrong Gallery." Journal of Cases on Information Technology 18, no. 3 (2016): 13–28. http://dx.doi.org/10.4018/jcit.2016070102.

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This case gives a depiction of how the founder of Wrong Gallery, Ron, when facing the competition and operational mode of the traditional art gallery industry in Taiwan, capitalizes on the latest trend of emergent social media, and leads his team to break through the shackles or consumers' stereotypical impression. Ron has set up a brand-new age of art space with the brand thinking and innovative approaches, becoming a practical case in regard of the new-pattern art space. In an era where the total value of output from cultural and creative industries worldwide is rapidly increasing, this case

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Jurėnienė, Virginija, and Dovilė Peseckienė. "Art Gallery Visitors’ Motivations." Informacijos mokslai 89 (June 5, 2020): 17–33. http://dx.doi.org/10.15388/im.2020.89.37.

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The article discusses the motivational factors of visual art institution consumers. Analysis includes Falk’s identity-related theory of motivation for visiting art institutions that discusses how visitors’ experience begins before visiting a museum and is focused on the consumer’s attitude (identity) validation. Consumers’ motivation to visit an art institution depends on not only the proposals provided by the institution and their value to the consumer, but also on accessibility, the environment, and the personnel’s communication. The article introduces the motivations, expectations of consum

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Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass s

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Tucker, Alan. "The Art Gallery Problem." Math Horizons 1, no. 2 (1994): 24–26. http://dx.doi.org/10.1080/10724117.1994.11974883.

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Murdoch, Antoinette. "The Johannesburg Art Gallery." de arte 46, no. 83 (2011): 77–82. http://dx.doi.org/10.1080/00043389.2011.11877145.

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Wong, John, Jieliang Luo, Weidi Zhang, et al. "SIGGRAPH 2019 Art Gallery." Leonardo 52, no. 4 (2019): 400–422. http://dx.doi.org/10.1162/leon_a_01783.

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Art Gallery, Ateneo. "Ateneo Art Gallery Retrospective." Perspectives in the Arts and Humanities Asia 4, no. 1 (2014): 156. http://dx.doi.org/10.13185/1857.

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