Journal articles: 'Artcar Museum'

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Amoako – Ohene, Kwasi, Nana Ama Pokua Arthur, and Samuel Nortey. "Museums: An institution for knowledge acquisition – A spotlight on the museum education in Ghana." International Journal of Technology and Management Research 5, no. 2 (July 11, 2020): 10–23. http://dx.doi.org/10.47127/ijtmr.v5i2.86.

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Museums, just like formal institutions of learning always have understood that conserving collections for study and exhibition can be an important part of the educational process. Since 1957, Ghana has established several museums under the Museums and Monument Board. These museums just like others are required to play a great deal of role in the social, educational, economic development of a nation. However, it is distressing to note that with the highly endowed museum assets of Ghana, such as the Cape Coast Castle Museum, Ghana National Museum, Fort Appolonia Museum of Nzema History and Culture, the Elmina Castle Museum, Ho Museum, Bolga Museum, Wa Museum, The Head of State Museum and Museum of Science and Technology both in Accra, there has been little contributions to Ghana’s Gross Domestic Product. Significantly, visitor experience and satisfaction is very low. In this view, this study sought to investigate educational activities of Ghana Museum and Monument Board (GMMB) and inquire into their educational activities. Employing qualitative approaches, the study used a triangulation of observations, interview and focus group discussion to assemble data from these museums. In conclusion, the museums provide some sort of education but there is no formalized educational framework serving as a guide. They mainly employ monotonous experience of guided and self-guided gallery tours, and occasionally, the museum curators and educators organize a oneoff programme such as an outreach to schools and special exhibitions as well as seminars. Recommendations to strengthening museum education in Ghana are addressed Citation: Kwasi Amoako – Ohene, Nana Ama Pokua Arthur, and Samuel Nortey.Museums: An institution for knowledge acquisition – A spotlight on the museum education in Ghana, 2020 5 (2): 10－23. Received: March 3, 2020 Accepted: June 30, 2020

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Ильвицкая, Светлана,, and Анна Поян. "The cultural heritage of Chisinau in 1930–1950." Arta 30, no. 1 (August 2021): 63–68. http://dx.doi.org/10.52603/arta.2021.30-1.10.

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One of the trends in the development of tourism is the appearance of open-air museums, which are the hallmark of a museum and tourist destination. On the example of the central quarters of Chisinau, the exhibits of the open-air museum can be architectural monuments of the interwar period – preserved urban villas of 1930-40, which combine the characteristic features of Art Nouveau, functionalism, modernism and Neo-Romanian architecture. As world experience shows, the best results in the popularization of historical and cultural heritage are achieved by specially protected historical territories, where new types of museums are organized – air museums or open-air museums. Such an example is the unrealized projects of the 1980s “The Ethnographic Museum of the Moldavian village” and “The Historical Quarter “Pushkinskaya Gorka”. The article examines the three-axis method of “triluchya” as a cultural heritage of urbanism, which was addressed in the post-war years (1945-1948) by the Academician of Architecture A. Shchusev when working on a project proposal - the scheme of the general plan for the development of the city of Chisinau. His idea of enriching the expressiveness of the city was to synthesize the planning traditions of historical neighborhoods while solving the problem of preserving the plasticity of the existing building and its further development.

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White, Moira. "‘Your list is certainly a formidable one’: the Rev. A.H. Voyce and the Auckland Museum." Records of the Auckland Museum 53 (December 20, 2018): 27–41. http://dx.doi.org/10.32912/ram.2018.53.3.

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The Auckland War Memorial Museum holds a large number of cultural objects, a collection of shells, and a group of butterflies, all collected by the Methodist missionary Arthur Henry Voyce during his years as a Methodist minister in Bougainville in the period 1926–1958. His relationship with museums in New Zealand, and the background to the acquisitions is described.

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Borges, Viviane. "“Salvem o Hospital!”: Sobre patrimônios dissonantes da psiquiatria no Brasil e em Portugall." Mouseion, no. 34 (January 6, 2020): 57. http://dx.doi.org/10.18316/mouseion.v0i34.5891.

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Abandonados, devolutos, subutilizados, os hospitais que tratarei aqui são patrimônios dissonantes, marcados por contradições e discordâncias quanto aos significados patrimoniais. O presente artigo parte da tessitura de dois museus: o Museu Bispo do Rosário de Arte Contemporânea, no Rio de Janeiro, e o Museu Miguel Bombarda, em Lisboa, tendo como fio condutor Arthur Bispo do Rosário e Jaime Fernandes. O objetivo é problematizar o processo de patrimonialização dos antigos hospitais psiquiátricos onde se localizam tais museus e onde viveram os personagens citados: a Colônia Juliano Moreira e o Hospital Miguel Bombarda. Assim, buscaremos perceber os sentidos históricos e patrimoniais a eles atribuídos, bem como o contraste em relação ao processo de apagamento em que se encontram no presente, problematizando o conceito de patrimônio hospitalar.

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Robertson, Kirsty. "The Disappearance of Arthur Nestor: Parafiction, Cryptozoology, Curation." Museum and Society 18, no. 2 (July 4, 2020): 98–114. http://dx.doi.org/10.29311/mas.v18i2.3083.

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This paper considers Beneath the Surface: The Archives of Arthur Nestor, a parafictional exhibition that I curated in 2014 with 16 undergraduate students at Western University, Canada. The exhibition depicted the life of Dr. Arthur Nestor, a professor of Biology who had disappeared from London (ON) in 1975, seemingly without trace. Over the summer of 2014, some of Nestor’s files and artefacts had been discovered during university renovations, and this archive was given to students in Museum Studies to organize and catalogue. As we sorted through the files, it became clear that Dr. Nestor was something of a controversial figure, a man who became an environmental activist in Southwestern Ontario because of his belief that cryptids (lake monsters) lived in Lakes Huron and Erie, and were in need of protection from human-made pollution. As the documents in his file overlapped with our research in the wider sphere, the evidence seemed to suggest that Nestor had left London to join Dr. Roy Mackal, a University of Chicago professor of cryptozoology searching for the Loch Ness Monster. This paper weaves together the tale of Arthur Nestor and the curating of Beneath the Surface with a history of the relationship between natural history museums and cryptozoology, ultimately questioning what parafiction can do in both art galleries and museums.

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Cannon-Brookes, P. "The Arthur M. Sackler museum I. James stirling's Arthur M. Sackler museum." Museum Management and Curatorship 5, no. 4 (December 1986): 319–27. http://dx.doi.org/10.1016/0260-4779(86)90015-4.

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Cannon‐Brookes, Peter. "The Arthur M. Sackler museum." International Journal of Museum Management and Curatorship 5, no. 4 (December 1986): 319–27. http://dx.doi.org/10.1080/09647778609515035.

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Magrill, Pamela. "A Minoan Alabastron in Dublin." Annual of the British School at Athens 82 (November 1987): 155–64. http://dx.doi.org/10.1017/s0068245400020402.

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The alabastron in the Classical Museum, University College, Dublin, is described. It is suggested that it was found by Sir Arthur Evans in the ‘Throne-room’ at Knossos, and presented to Dublin by D. G. Hogarth, Keeper of the Ashmolean Museum. Evidence for its discovery in the notebooks of Evans and Duncan Mackenzie is discussed.

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Braidwood, Linda. "Table of Contents: The first governor – A bicentenary symposium on Arthur Phillip." Sydney Journal 5, no. 1 (September 1, 2017): 1–2. http://dx.doi.org/10.5130/sj.v5i1.5736.

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Momigliano, Nicoletta, Laura Phillips, Michela Spataro, Nigel Meeks, and Andrew Meek. "A NEWLY DISCOVERED MINOAN FAIENCE PLAQUE FROM THE KNOSSOS TOWN MOSAIC IN THE BRISTOL CITY MUSEUM AND ART GALLERY: A TECHNOLOGICAL INSIGHT." Annual of the British School at Athens 109 (November 2014): 97–110. http://dx.doi.org/10.1017/s0068245414000094.

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This article presents the curatorial context of a newly discovered fragment of Minoan faience, now in the Bristol City Museum and Art Gallery (BCMAG), and the technological study conducted on this piece at the British Museum. It also discusses the British Museum study of comparable fragments, now in the Ashmolean Museum, belonging to the Town Mosaic from Knossos, an important and unique find brought to light during Sir Arthur Evans's excavations of the ‘Palace of Minos’ at the beginning of the twentieth century. Both the stylistic study and the analytical results suggest that the Bristol fragment is genuine, and most likely belonged to the Town Mosaic. The Bristol piece does not possess features that can advance our understanding of Crete in the Bronze Age, but its curious biography adds something to the history of collecting and the history of archaeology.

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Díaz Padrón, Matías. "Retrato de Sir Arthur Hopton y secretario del Meadows Museum restituido a Jacob van Oost." Archivo Español de Arte 82, no. 326 (June 30, 2009): 202–13. http://dx.doi.org/10.3989/aearte.2009.v82.i326.154.

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Bause, George S. "Wood’s and Guedel’s Legacies Return to the Heartland." Anesthesiology 134, no. 1 (November 5, 2020): 11–14. http://dx.doi.org/10.1097/aln.0000000000003609.

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Pioneering anesthesiologists Paul Wood, M.D., and Arthur Guedel, M.D., were Hoosiers who migrated from America’s Heartland to opposite coasts. Dr. Wood moved east to New York in 1913; Dr. Guedel, west to California in 1928. By 1962, each pioneer had been honored with a namesake anesthesia museum. Fast-forwarding 55 yr, two young anesthesia historians, California’s Jane Moon, M.D., and Pennsylvania’s Melissa Coleman, M.D., met at the 2017 International Symposium of the History of Anesthesia in Boston. Today, these women are chairs of the Wood Library-Museum’s Archives and Museum Committees, respectively. As the newest authors of “Anesthesiology Reflections,” Drs. Coleman and Moon leave their coastal states semiannually for board meetings at the Wood Library-Museum of Anesthesiology, returning as legacies of Drs. Wood and Guedel…back to the American Heartland.

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Hayward, Terry. "Alcock and Brown." Journal of Navigation 62, no. 3 (June 15, 2009): 411–16. http://dx.doi.org/10.1017/s0373463309005372.

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This year celebrates the 90th anniversary of the historic first Atlantic crossing by Alcock and Brown in their Vickers aircraft. This paper draws on the log, chart, notes and equipment held in the RAF Museum at Hendon and Sir Arthur Brown's own words to tell the story of the crossing.

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Ellis, Harold. "Sir Arthur Keith: distinguished conservator of the Hunterian Museum, London." British Journal of Hospital Medicine 77, no. 2 (February 2, 2016): 111. http://dx.doi.org/10.12968/hmed.2016.77.2.111.

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Fitch, James Marston. "Murder at the Modern." Architectural Research Quarterly 2, no. 2 (1996): 60–71. http://dx.doi.org/10.1017/s1359135500001263.

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This paper deals with a strange and isolated series of events at New York's Museum of Modern Art between 1966 and 1977, orchestrated by the Director of the Department of Architecture, the late Arthur Drexler. The events, which consisted of a series of books, exhibitions and catalogues, were all aimed at discrediting the Museum's own International Style and replacing it with Drexler's own special brand of eclectic post-modernism.

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LADO, CARLOS, and DIANA WRIGLEY DE BASANTA. "Typification of the myxomycete taxa described by the Listers and preserved at the Natural History Museum, London (BM)." Phytotaxa 341, no. 1 (March 2, 2018): 1. http://dx.doi.org/10.11646/phytotaxa.341.1.1.

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This paper describes a revision and typification of the slime mould or myxomycete taxa proposed by the Lister family, according to current nomenclatural and taxonomic criteria. It is based on the collections in the BM fungarium housed at the Natural History Museum, London, formerly called the British Museum (Natural History). Arthur Lister, and his daughter Gulielma Lister, conducted intense research between 1887–1945 on the taxonomy and description of new species of myxomycetes. Arthur Lister published one of the first monographs of the myxomycetes in the world “A monograph of the Mycetozoa” in 1894, from collections in BM. His daughter Gulielma Lister edited and revised a second (1911) and third (1925) edition of this keystone publication. The Listers maintained a strong relationship with the Museum, and so the BM holds most of the type specimens of the taxa described by them in the three editions of the monograph, and the huge number of the scientific papers they published on myxomycetes. In almost six decades of work, the Listers described 115 new taxa, and proposed more than 100 new name combinations, but some of them are of doubtful interpretation currently, and a clarification was needed of the nomenclatural position of the described species. A search was made of type material and documents housed in the Natural History Museum such as notebooks, collections of slides or personal annotated copies of the monographs. A large quantity of information was checked with the historically important notes and illustrations of the 50 personal notebooks, and 20 other books detailing collections studied or revised by these authors. Almost all of Lister’s nomenclatural novelties lacked type indication, although in some cases a herbarium identifier was given, often referring to multiple collections, and in other cases several collections were mentioned under the description of the new taxa, so a lectotypification was done. From the 115 new taxa described by the Listers, 2 holotypes have been determined, 2 neotypes and 86 lectotypes have been designated in this publication. In 2 taxa syntypes were found but the material was too poor to lectotypify. Ten taxa remain unresolved when the pertinent material was not located. The rest were illigitimate names or doubtful taxa. All the typification information has been standardized, the geographical information updated, and BM barcodes included to facilitate future work. A brief biography of Arthur and Gulielma Lister, some historical notes, and a revision of the organization and level of conservation of their collection at BM, are included. There are also appendices with doubtful and excluded taxa, all the new combinations proposed by these authors, a list of notebooks and a complete list of publications by the Listers.

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Zeller, Terry. "Arthur C. Parker: A Pioneer in American Museums." Curator: The Museum Journal 30, no. 1 (March 1987): 41–62. http://dx.doi.org/10.1111/j.2151-6952.1987.tb00645.x.

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Hildebrandt, Megan, and Megan Voeller. "Thinking with Art, or What Happens When a Critic Sees You Lose Your Hair." Departures in Critical Qualitative Research 3, no. 2 (2013): 117–43. http://dx.doi.org/10.1525/dcqr.2014.3.2.117.

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This essay explores a collaboration between a visual artist (Hildebrandt) and her museum-educator–art-critic colleague (Voeller) that led to a series of public events and an exhibition of drawings made by the artist in response to her experience with Hodgkin’s lymphoma. The artist’s narrative vignettes about her cancer experience and images of her drawings are interwoven with the educator–critic’s account of how the collaboration motivated her to reflect critically on the professional museum practices that frame how viewers should relate to art through formal, historical, and conceptual appreciation. Drawing inspiration from Arthur W. Frank’s call to “think with” illness narratives as a practice of empathic and self-reflexive engagement, the essay asks how museum education practices might facilitate empathic relationships and self-and-other awareness through and around art. A pair of public conversations among the artist, oncologists, and other participants is presented as a case study. Finally, the essay asks how the specific situation described relates to larger questions about the significance of empathy to the clinical practice of healthcare, and to conversations within the field of contemporary art about the relational dimensions of art.

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Williams, Michael. "II. Fresh‐air climate conditioning at the Arthur M. Sackler museum." International Journal of Museum Management and Curatorship 5, no. 4 (December 1986): 328–36. http://dx.doi.org/10.1080/09647778609515036.

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Williams, M. "II. Fresh-air climate conditioning at the Arthur M. Sackler Museum." Museum Management and Curatorship 5, no. 4 (December 1986): 328–36. http://dx.doi.org/10.1016/0260-4779(86)90016-6.

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Hodgkinson, Richard L., and John E. Whittaker. "Edward Heron-Allen FRS (1861–1943): a review of his scientific career, with an annotated bibliography of his foraminiferal publications." Archives of Natural History 31, no. 1 (April 2004): 6–29. http://dx.doi.org/10.3366/anh.2004.31.1.6.

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ABSTRACT: In spite of his many other interests, Edward Heron-Allen also worked for nearly 50 years as a scientist on minute shelled protists, called foraminifera, much of it in an unpaid, unofficial capacity at The Natural History Museum, London, and notably in collaboration with Arthur Earland. During this career he published more than 70 papers and obtained several fellowships, culminating in 1919 in his election to the Royal Society. Subsequently, he bequeathed his foraminiferal collections and fine library to the Museum, and both are housed today in a room named in his honour. In this paper, for the first time, an assessment of his scientific accomplishments is given, together with a full annotated bibliography of his publications held in the Heron-Allen Library. This is part of a project to produce a bibliography of his complete publications, recently initiated by the Heron-Allen Society.

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COOPER, BARRY J., and JAMES B. JAGO. "ROBERT BEDFORD (1874–1951), THE KYANCUTTA MUSEUM, AND A UNIQUE CONTRIBUTION TO INTERNATIONAL GEOLOGY." Earth Sciences History 37, no. 2 (January 1, 2018): 416–43. http://dx.doi.org/10.17704/1944-6178-37.2.416.

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Robert Bedford (1874–1951), based in the isolated community of Kyancutta in South Australia, was a unique contributor to world geology, specifically in the field of meteorites and fossil archaeocyatha. Born Robert Arthur Buddicom in Shropshire, UK, he was an Oxford graduate who worked as a scientist in Freiberg, Naples, Birmingham and Shrewsbury as well as with the Natural History Museum, Kensington and the Plymouth Museum in the United Kingdom. He was a Fellow of the Geological Society of London, 1899–1910. In 1915, Buddicom changed his surname to Bedford and relocated to South Australia. During the 1920s, Bedford expanded his geological interests with the establishment of a public museum in Kyancutta in 1929. This included material previously collected and stored in the United Kingdom before being sent to Australia. Bedford was very successful in collecting material from the distant Henbury meteorite craters in Australia's Northern Territory, during three separate trips in 1931–1933. He became an authority on meteorites with much Henbury material being sent to the British Museum in London. However, Bedford's work on, and collecting of, meteorites resulted in a serious rift with the South Australian scientific establishment. Bedford is best known amongst geologists for his five taxonomic papers on the superbly preserved lower Cambrian archaeocyath fossils from the Ajax Mine near Beltana in South Australia's Flinders Ranges with field work commencing in about 1932 and extending until World War II. This research, describing thirty new genera and ninety-nine new species, was published in the Memoirs of the Kyancutta Museum, a journal that Bedford personally established and financed in 1934. These papers are regularly referenced today in international research dealing with archaeocyaths.

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Hodgkinson, R. L. "The Heron-Allen & Earland Type Slide Collection of Foraminifera in the British Museum (Natural History)." Journal of Micropalaeontology 8, no. 2 (December 1, 1989): 149–56. http://dx.doi.org/10.1144/jm.8.2.149.

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Abstract. Heron-Allen & Earland collaborated on the study of the Foraminifera over a period of 25 years. During this partnership they amassed a large faunal reference collection (The Type Slide Collection) which was presented to the British Museum (Natural History) between 1926 and 1943. An introductory biography of Edward Heron-Allen and Arthur Earland shows that they came from very different backgrounds and had very different capabilities, but were united by a mutual interest in foraminifera; their dedication made them the foremost British foraminiferologists of the time. The appearance and content of the collection are described with background information on how these slides were prepared. Heron-Allen & Earland’s own method of curation, using a series of detailed indices (Keys), is also explained. The history of the Type Slide Collection, including its transfer from Selsey to the Museum to save it from destruction, is recounted and its importance, as a national collection, assessed.

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ZELLER, TERRY. "Arthur Parker and the Educational Mission of American Museums." Curator: The Museum Journal 32, no. 2 (June 1989): 104–22. http://dx.doi.org/10.1111/j.2151-6952.1989.tb00714.x.

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Daston, Lorraine J. "The Factual SensibilityThe Origins of Museums: The Cabinet of Curiosities in Sixteenth- and Seventeenth-Century Europe. Oliver Impey , Arthur MacGregorTradescant's Rarities: Essays on the Foundation of the Ashmolean Museum, 1683; With a Catalogue of the Surviving Early Collections. Arthur MacGregorThe Ashmolean Museum, 1683-1894. R. F. Ovenell." Isis 79, no. 3 (September 1988): 452–67. http://dx.doi.org/10.1086/354776.

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Abrahão, Bruno, Francisco Caldas, and Antonio Soares. "O ex-jogador de futebol Arthur Friedenreich em museus da cidade de São Paulo." Revista Lusófona de Estudos Culturais 7, no. 2 (December 29, 2020): 93–111. http://dx.doi.org/10.21814/rlec.2655.

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Arthur Friedenreich é um dos primeiros ídolos na memória do futebol brasileiro. No que diz respeito à escrita da história deste esporte no Brasil às voltas com os mecanismos da identidade nacional, qual leitura podemos fazer sobre a apresentação do seu principal personagem nas primeiras décadas do século XX? A fim de responder a esta pergunta, o objetivo deste artigo é analisar os escritos e as imagens sobre o ex-jogador Arthur Friedenreich em museus da cidade de São Paulo. Como fontes, utilizou-se o conteúdo de três exposições dessa cidade. Para a análise das imagens fotográficas, baseamo-nos em conceitos de sentido denotativo e conotativo presentes em uma imagem fotográfica e, para textualidades, em uma análise documental. Os resultados revelaram que estas exposições procuraram apresentar o ex-jogador como um dos heróis negros ou mulatos do futebol que, pela competência e mérito no jogo, contribuiu não só para a democratização da modalidade no país, mas também expressou a especificidade do “racismo à brasileira”. Recorrentemente rememorado pelos museus que guardam a memória do futebol brasileiro, a biografia de Friedenreich chama a atenção para o sucesso do primeiro grande ídolo como orgulho étnico e nacional do país, ao mesmo tempo em que revela as ambiguidades da identificação racial no Brasil.

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Blair, Ian, Robert Spain, Dan Swift, Tony Taylor, and Damian Goodburn. "Wells and Bucket-Chains: Unforeseen Elements of Water Supply in Early Roman London." Britannia 37 (November 2006): 1–52. http://dx.doi.org/10.3815/000000006784016666.

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ABSTRACTExcavations by MoLAS at 30 Gresham Street and 12 Arthur Street in the City of London in 2001 have led to a complete reassessment of the provision of Roman London’s water supply. Four massive first- and second-century wells contained remains of two types of mechanical water-lifting machines or bucket-chain systems. The discoveries allowed identification of a similar bucket-chain from the Cheapside Roman baths, found 50 years earlier by Ivor Noël Hume of the Guildhall Museum. Archaeological and engineering analysis has revealed the water-lifting capacity of the machines, which could have supplied a significant proportion of the town’s population with clean water.

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Robinson, M., and W. E. N. Austin. "Arthur Earland: the foraminiferal slide collection and correspondence at the University of St Andrews, Scotland." Journal of Micropalaeontology 20, no. 2 (December 1, 2001): 97–122. http://dx.doi.org/10.1144/jm.20.2.97.

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Abstract. Arthur Earland and D’Arcy Wentworth Thompson corresponded for a period of over fifty years between 1894 and 1946. During this interval Earland supplied Thompson with Foraminifera for his growing museum collection at the University of Dundee. Following Thompson’s move to the University of St Andrews in 1917, a new collection was started. The content, general state, and labelling of the 405 slides in this collection are described. Earland’s correspondence with Thompson provides a rare insight into the early twentieth century approach to scientific research by the interested amateur and sheds new light on the nature of Earland’s long working relationship with Edward Heron-Allen.

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O’Heir, Jeff, and Chehalis Hegner. "A Kinetic Sculptor." Mechanical Engineering 139, no. 04 (April 1, 2017): 42–47. http://dx.doi.org/10.1115/1.2017-apr-3.

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This article highlights different mechanical engineering works of Arthur Ganson. The fundamentals of mechanical engineering inform every piece of Arthur Ganson’s moving sculptures. Ganson, who is as much an engineer as he is an artist, works with unpolished steel, found objects, homemade gears, and roughly soldered wires. Yet he assembles them with such care that their movements create an elegant and mesmerizing beauty. His permanent installations tick, whiz, and hum at the National Inventors Hall of Fame in Ohio and at the Smithsonian Institution’s Lemelson Center for the Study of Invention and Innovation. His work has been featured at numerous museums and galleries around the world, and he has even appeared in ‘Muffy’s Art Attack,’ an episode of the children’s cartoon Arthur. While most engineers spend their careers hiding the pieces that make their machines move, Ganson reveals his. To construct each sculpture and engineer its movement, he relies on the fundamentals of mechanical engineering and physics the same way that a painter uses color theory as a guide for creating a visual effect.

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Van Duijn, Esther. "Head and Hands: Arthur van Schendel and Henricus Mertens, and Their Unique Role in the Development of the Rijksmuseum’s Paintings Restoration Studio (1930-70)." Rijksmuseum Bulletin 68, no. 3 (September 15, 2020): 253–73. http://dx.doi.org/10.52476/trb.9675.

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The unique character of a present-day conservator lies in the rare combination of working at an academic level with your head and at a craftsman level with your hands. This has not always been the case. Historically the role of a restorer was that of a technician, craftsman and artist, while that of the museum curator was that of a thinker, writer and academic. This article focuses on the relationship between the curator and later director, Arthur François Emile van Schendel, and the paintings restorer Henricus Hubertus Mertens. Both started their careers in the museum in the early nineteen-thirties. Van Schendel’s interest in restoration and technical research may have been kindled at that time, but was fanned during the war, when he worked with the museum’s two paintings restorers – Mertens and his colleague Christiaan Jenner – to preserve the paintings collection under difficult circumstances. After the war, Van Schendel continued to develop in this field and quickly became an internationally recognised authority. He was closely involved in the treatment of Rembrandt’s Night Watch, carried out by Mertens in 1946 and 1947. It brought the museum international acclaim and Mertens became known as the specialist in the restoration of Rembrandt paintings. Although the relationship between Mertens and Van Schendel became more distant as the decades progressed, the post-war paintings restoration studio grew into a renowned department with three permanent restorers and many national and international students. While Van Schendel was a key figure in the international field of restoration and technical research, for example as one of the founders of ICC, ICOM Care of Paintings and ICCROM, Mertens played a more modest role. His legacy was the paintings he left behind. His expertise was disseminated at a national and international level through his students. And so both Van Schendel and Mertens played their own unique role in bringing the restoration department of the museum internationally into view.

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Stogdill, N. "Arthur Gorges's Post-mortem Contribution to Lachrymae Musarum." Notes and Queries 60, no. 1 (January 3, 2013): 55–56. http://dx.doi.org/10.1093/notesj/gjs299.

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Thomas, B. "Hercules and the hydra. C. D. E. Fortnum, Arthur Evans and the Ashmolean Museum." Journal of the History of Collections 11, no. 2 (February 1, 1999): 159–69. http://dx.doi.org/10.1093/jhc/11.2.159.

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Ebel, Denton S., and Joseph S. Boesenberg. "The new Arthur Ross Hall of Meteorites at the American Museum of Natural History." Meteoritics & Planetary Science 39, no. 10 (October 2004): 1761–62. http://dx.doi.org/10.1111/j.1945-5100.2004.tb00072.x.

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Stevens, Scott Manning. "Collecting Haudenosaunee Art from the Modern Era." Arts 9, no. 2 (April 29, 2020): 55. http://dx.doi.org/10.3390/arts9020055.

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My essay considers the history of collecting the art of Haudenosaunee (Iroquois) artists in the twentieth century. For decades Native visual and material culture was viewed under the guise of ‘crafts.’ I look back to the work of Lewis Henry Morgan on Haudenosaunee material culture. His writings helped establish a specific notion of Haudenosaunee material culture within the scholarly field of anthropology in the nineteenth century. At that point two-dimensional arts did not play a substantial role in Haudenosaunee visual culture, even though both Tuscarora and Seneca artists had produced drawings and paintings then. I investigate the turn toward collecting two-dimensional Haudenosaunee representational art, where before there was only craft. I locate this turn at the beginning of Franklin Delano Roosevelt’s administration in the 1930s. It was at this point that Seneca anthropologist Arthur C. Parker recruited Native crafts people and painters working in two-dimensional art forms to participate in a Works Progress Administration-sponsored project known as the Seneca Arts Program. Thereafter, museum collectors began purchasing and displaying paintings by the artists: Jesse Cornplanter, Sanford Plummer, and Ernest Smith. I argue that their representation in museum collections opened the door for the contemporary Haudenosaunee to follow.

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Mantas, Pedro. "Herbert L. Kessler and Richard G. Newhauser with the assistance of Arthur J. Russell, Optics, Ethics, and Art in the Thirteenth and Fourteenth Centuries: Looking into Peter of Limoges's Moral Treatise on the Eye, Studies and Texts 209; Text Image Context:." Revista Española de Filosofía Medieval 26, no. 2 (April 1, 2020): 214–18. http://dx.doi.org/10.21071/refime.v26i2.12668.

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Early, James Counts. "“Culture [Wars]” and the African Diaspora: Challenge and Opportunity for U.S. Museums." Issue: A Journal of Opinion 24, no. 2 (1996): 31–33. http://dx.doi.org/10.1017/s0047160700502339.

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At the close of the twentieth century, we are witnessing across the globe competing, frequently cataclysmic discourses about identity. These discourses are literally erupting into activities that reshape the meaning of “national culture.” Simultaneously, many of these cultural confrontations are giving visibility and voice to transnational cultural communities. Within this world-wide context, U.S. cultural and educational institutions are at the national frontline of a related volatile, but potentially promising, debate frequently referred to as “cultural wars.” Museums in particular have become a flash point on the cultural landscape of what cultural conservatives Arthur A. Schlesinger and Patrick J. Buchanan accurately, although shrilly, formulate as “a struggle to redefine the national identity.”

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del Real, Patricio. "Architecture and Design at the Museum of Modern Art: The Arthur Drexler Years, 1951–1986." Journal of Design History 33, no. 1 (December 3, 2019): 97–99. http://dx.doi.org/10.1093/jdh/epz050.

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Kürti, László. "Review Article: “Documenting Immigrants, Boarding Houses and Ethnographers” Burdosház Amerikából – Balogh Balázs néprajzkutató nyomában ('A Boarding House from America - in the Footsteps of Ethnographer Balázs Balogh'). Directed by Dezső Zsigmond, produced by Dunatáj Alapítvány, Camera: Arthur Bálint, 2015, 50:39 minutes." Hungarian Cultural Studies 9 (October 11, 2016): 231–38. http://dx.doi.org/10.5195/ahea.2016.237.

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This review article offers a critique of Boarding House, a Hungarian ethnographically-based documentary film about a formerly Hungarian mining-settlement in Vintondale, Pennsylvania. In the film two researchers from Hungary introduce this settlement via interviews, old photographs and stories about a general store that in addition functioned as a boarding house for miners. Also featured in the film is the acquisition process of some thousand items of this store by the Open Air Museum of Szentendre, Hungary, in order to replicate the boarding house in the museum and thus illustrate some aspects of Hungarian-American immigrant life in this United States coal-region during the 1920s and 1930s.

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Finnigan, Robert. "British Writers & Paris 1830-1875 / Arthur O’Shaughnessy: A Pre-Raphaelite Poet in the British Museum." Nineteenth-Century Contexts 40, no. 2 (January 28, 2018): 205–9. http://dx.doi.org/10.1080/08905495.2018.1432261.

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Ventura Ferreira, Elaine Cristina. "A questão racial e a identidade negra na produção intelectual da Campanha de Defesa do Folclore Brasileiro: a Revista Brasileira de Folclore e o Museu da Campanha de Defesa do Folclore Brasileiro (1961-1974)." Artcultura 21, no. 39 (December 16, 2019): 173–85. http://dx.doi.org/10.14393/artc-v21-n39-2019-52034.

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O objetivo deste artigo é traçar uma reflexão sobre a questão racial na produção intelectual da Campanha de Defesa do Folclore Brasileiro (CDFB) e verificar até que ponto a identidade negra em torno das religiões de matrizes africanas foi ou não afirmada no discurso nacional. Para tanto, as fontes analisadas se basearam em alguns artigos contidos na Revista Brasileira de Folclore e nos catálogos da exposição do Museu da Campanha de Defesa do Folclore Brasileiro (MCDFB). A abordagem comparativa fundamentou a metodologia do estudo. A pesquisa permitiu identificar que, no momento em que a produção intelectual da CDFB operou a construção da identidade nacional pela via do folclore, os conflitos raciais que envolviam aquelas religiões foram ocultados, reafirmando de um modo diferente a identidade negra. Palavras-chave: Revista Brasileira de Folclore; Museu da Campanha de Defesa do Folclore Brasileiro; identidade negra.

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Mulya, Lillyana, and Trisna Pradita. "Kerja Kuratorial dalam Eksebisi Arsip di Indonesia." Khazanah: Jurnal Pengembangan Kearsipan 11, no. 1 (December 3, 2018): 36. http://dx.doi.org/10.22146/khazanah.40430.

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Mayoritas orang Indonesia saat ini melihat eksebisi sebagai praktik yang lekat dengan bidang seni dan budaya. Praktik ini kemudian diadopsi oleh bidang lain untuk konsep yang sama, yaitu sebagai media komunikasi antara produsen dan konsumen, baik dalam artian komersil maupun tidak komersil. Di era integrasi institusi memori, bidang arsip, sebagaimana juga dengan perpustakaan dan museum, menggunakan eksebisi sebagai strategi komunikasi untuk diseminasi informasi kepada masyarakat. Namun, eksebisi arsip di Indonesia masih terganjal pada pemahaman konsep kuratorial untuk menampilkan arsip dalam konteks. Kerja kuratorial menjadi fokus dalam kajian ini dengan terlebih dahulu mengajukan pertanyaan tentang gambaran eksebisi arsip di Indonesia dan persoalan kuratorial yang muncul dalam eksebisi arsip. Kajian ini memakai metode studi pustaka dan observasi lapangan untuk mendapatkan data mengenai praktik eksebisi arsip di Indonesia. Konten eksebisi kemudian dianalisis untuk kesesuaian objek dengan ide yang disampaikan. Kajian ini menyimpulkan bahwa melalui kerja kuratorial, eksebisi arsip mesti diperankan sebagai penyedia sumber-sumber reliabel sehingga mendapatkan tempat dalam produksi pengetahuan.

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Thackeray, J. Francis. "Deceiver, joker or innocent? Teilhard de Chardin and Piltdown Man." Antiquity 86, no. 331 (February 22, 2012): 228–34. http://dx.doi.org/10.1017/s0003598x0006258x.

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Arthur SmithWoodward, an expert on fossil fish and Keeper of Palaeontology at the British Museum (Natural History), made the official announcement of the discovery of Piltdown Man’ (Eoanthropus dawsoni) on 18 December 1912 at Burlington House in London. The announcement was sensational at the time and attracted interest in a purported new hominid species with a large cranium, apparently associated with an ape-like jaw. It was not until some 40 years later that Eoanthropus (Dawn man’) was discredited (Weiner et al. 1953; Weiner 1955), with Charles Dawson (a country lawyer’, as well as amateur archaeologist and palaeontologist) being identified as the probable perpetrator of a hoax in which human cranial fragments were combined artificially with the modified jaw of an ape (considered to be that of an orangutan), at Piltdown in Sussex. Despite extensive investigations and a plethora of publications, the exact circumstances surrounding the Piltdown hoax remain uncertain (Weiner et al. 1953; Weiner 1955; Spencer 1990a&b; Thomas 2002).

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Galanakis, Yannis, Efi Tsitsa, and Ute Günkel-Maschek. "THE POWER OF IMAGES: RE-EXAMINING THE WALL PAINTINGS FROM THE THRONE ROOM AT KNOSSOS." Annual of the British School at Athens 112 (October 11, 2017): 47–98. http://dx.doi.org/10.1017/s0068245417000065.

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The aim of this paper is to re-examine the painted fragments discovered by Arthur Evans and his team in the Throne Room at Knossos in 1900. We have tried to integrate systematically the extant archival data stored in the Ashmolean Museum in Oxford and the archaeological remains at Herakleion in an attempt to retrace the history of discovery of the paintings. In our view, the iconography of this programme places its execution at the onset of Late Minoan (LM) II. We see the inclusion of both ‘traditional’ (Neopalatial) and ‘innovative’ (Final Palatial) elements in the composition as suggestive of an attempt on behalf of the artist(s) and the commissioner(s) to blend artistic traditions in the creation of a new, yet still recognisable, image of power. We assess the implications stemming from this suggestion and interpret the decorative programme of the Throne Room at Knossos as part and expression of the emergence of thewanaxideology.

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Cooper, M. G., and N. E. Street. "High Altitude Hypoxia, A Mask and a Street. Donation of An Aviation BLB Oxygen Mask Apparatus from World War 2." Anaesthesia and Intensive Care 45, no. 1_suppl (July 2017): 45–48. http://dx.doi.org/10.1177/0310057x170450s107.

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The history of hypoxia prevention is closely inter-related with high altitude mountain and aviation physiology. One pioneering attempt to overcome low inspired oxygen partial pressures in aviation was the BLB mask—named after the three designers —Walter M Boothby, W Randolph Lovelace II and Arthur H Bulbulian. This mask and its variations originated just prior to World War 2 when aircraft were able to fly higher than 10,000 feet and pilot hypoxia affecting performance was an increasing problem. We give a brief description of the mask and its designers and discuss the donation of a model used by the British War Office in October 1940 and donated to the Harry Daly Museum at the Australian Society of Anaesthetists by the family of Dr Fred Street. Dr Street was a pioneering paediatric surgeon in Australia and served as a doctor in the Middle East and New Guinea in World War 2. He received the Military Cross.

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CHAN, YING-KIT. "Manly Civilization in China: Harry R. Caldwell, the ‘Blue Tiger’, and the American Museum of Natural History." Modern Asian Studies 53, no. 05 (May 21, 2019): 1381–414. http://dx.doi.org/10.1017/s0026749x17001147.

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AbstractThis article examines the transplantation of America's ‘manly’ civilization to 1920s Fujian, China, through the experiences of Harry R. Caldwell (1876–1970), a Methodist missionary whose hunting was central to his social evangelism. With his rifle, Caldwell protected Chinese villagers from man-eating tigers, taught them how to hunt tigers effectively, and enabled them to reconceptualize their relationships with tigers and nature. By engaging the American Museum of Natural History in his specimen collection and hunt for the mythical ‘Blue Tiger’, Caldwell introduced an economy of natural expeditions to the villagers who were hired to support the hunt. This article argues that Caldwell's experiences as both a missionary and a hunter in Fujian was an extension, or negotiation, of his rugged masculinity, which was fostered in his Tennessee home town. He identified as both a Christian and a hunter, and he did not see these parts of himself as distinct. A comparison between Caldwell and his contemporary, the British naturalist Arthur de Carle Sowerby (1885–1954), accentuates America's rugged masculinity by suggesting different national approaches to hunting and the growing professionalization of the naturalist.

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Panagiotaki, Marina. "The Temple Repositories of Knossos: new information from the unpublished notes of Sir Arthur Evans." Annual of the British School at Athens 88 (November 1993): 49–91. http://dx.doi.org/10.1017/s0068245400015872.

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A set of notes found in the Ashmolean Museum Archives, unknown until now, and written by Sir Arthur Evans, has provided the basis for this paper. In them, Evans made annotated drawings of the most important objects recovered from the Temple Repositories of the Palace at Knossos, as well as of the Repositories themselves. Some ideas and issues developed in Evans's subsequent publications can be traced in their first forms in these notes. It is very significant that next to each drawing Evans wrote a figure, evidently the total of similar objects—something he did not do to such an extent in the publications. The section dealing with the sealings may reveal their actual number, as well as a certain confusion between the actual impressed surfaces and the sealings themselves. Reproductions of Evans's pages, transcriptions, and the author's comments on important points make up the bulk of the article. A more complete and enlarged corpus of the objects is now feasible; here an abbreviated catalogue of the newly identified objects is appended.

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WHARTON, ANNABEL. "Doll's House/Dollhouse: Models and Agency." Journal of American Studies 53, no. 1 (June 5, 2017): 28–56. http://dx.doi.org/10.1017/s0021875817000895.

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Models – economic, mathematical, toys, manikins – are ubiquitous. This article probes one model, the Stettheimer doll's house, in order to understand all models better. The Stettheimers, three wealthy unmarried sisters living in New York in the early the twentieth century, attracted a remarkable melange of Camp artists and writers, identified by Arthur Danto as “the American Bloomsbury.” The Stettheimers were involved in many of New York's happenings, including the Harlem Renaissance and the innovative stage productions of Gertrude Stein. Androgyny, excess, racial mixing and theatricality flourished in the Stettheimer milieu. Carrie Stettheimer's doll's house, now housed in the Museum of the City of New York, captured this life. I consider this model for two related purposes. First, and more narrowly, I document the various effects this eccentric doll's house had on the artistic production of those in its vicinity, most notably on the novels of her sister Ettie and on the paintings both of her sister Florine and Marcel Duchamp. Second, I use the evidence of the doll's house's affect to discuss the agency of models in general.

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Coldstream, J. N. "Evans's Greek finds: the early Greek town of Knossos, and its encroachment on the borders of the Minoan palace." Annual of the British School at Athens 95 (November 2000): 259–99. http://dx.doi.org/10.1017/s0068245400004688.

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Among over 1800 boxes of Sir Arthur Evans's finds now stored in the Stratigraphical Museum at Knossos, at least 150 contain Greek pottery from Subminoan to Classical. A systematic study of this material, in relation to its recorded find spots, throws new light on the eastern part of the early Greek town, bordering the site of the Minoan Palace. Above the Palace itself, fresh evidence is produced, and fresh interpretation offered, for the Greek sanctuary described by Evans. In its immediate surroundings, there are signs of busy domestic and industrial life in the early Greek town above the South-West Houses, the West Court, the Theatral Area, and the Pillared Hall outside the North Entrance to the Palace. Greek occupation is also noted above the House of Frescoes, the Little Palace and the Royal Villa. A wider aim of this article is to trace the limits of the early Greek town of Knossos, both of its original Early Iron Age nucleus surviving from Late Minoan times, and of its spacious extension towards the north in the late eighth and seventh centuries BC.

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Baal, J., B. Norren, Pierre Brocheux, Andrew Turton, I. H. Enklaar, J. Verkuyl, J. Goor, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 141, no. 4 (1985): 486–502. http://dx.doi.org/10.1163/22134379-90003378.

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- J. van Baal, B. van Norren, Socio-culturele structuur en innovatie: een structuur-vergelijkend onderzoek naar adoptie van family-planning in de periode 1969-1973 door Sundanese echtparen in twee rurale gemeenschappen op West-Java. Dissertatie Landbouwhogeschool Wageningen, 1985. 533 pp. - Pierre Brocheux, Andrew Turton, History and peasant consciousness in South East Asia, Senri Ethnological studies no. 13, National Museum of Ethnology, Osaka. 1984, 420 pp., Shigeharu Tanabe (eds.) - I.H. Enklaar, J. Verkuyl, Gedenken en verwachten, mémoires, Kampen: J.H. Kok, 1983, 348 pp. - J. van Goor, D.J. Roorda, Overzicht van de Nieuwe Geschiedenis; De algemene geschiedenis van het einde der middeleeuwen tot 1870 (Groningen 1983); dez. Nieuwe Geschiedenis in teksten; Werkboek (Groningen 1984). - R. Hagesteijn, H.D. Kubitscheck, Südost Asien: Völker und Kulturen, Berlin: Akademie-Verlag, 1984. - C.H. van Nieuwenhuijsen-Riedeman, Florence Weiss, Kinder schildern ihren Alltag. Die stellung des kindes om ökonomischen System einer Dorfgemeinschaft in Papua New Guinea (Palimbei, Iatmul, Mittelsepik). [Children narrate their daily life. The child’s role in the economic system of a village community in Papua New Guinea (Palimbei, Iatmul, Middle Sepik) ],Basler Beiträge zur Ethnologie band 21, Basel: Ethnologisches Seminar der Universität und Museum für Völkerkunde, 1981. - Harry A. Poeze, Joop Morriën, `Aroen’; Jan Stam, rebel in Indonesië en Nederland, Amsterdam: Pegasus, 1984, 159 pp. - P.H. Pott, Jeanne de Loos-Haaxman, De Franse Schilder Ernest Hardouin in Batavia, Leiden: Brill, 1982, 51 pp., ills. - Harry A. Poeze, Uit het archief van Arthur Lehning, Amsterdam: Van Gennep 1984. - W.G.J. Remmelink, P.B.R. Carey, Babad Dipanagara; An account of the outbreak of the Java War (1825-1830), The Malaysian branch of the Royal Asiatic Society - Monograph No. 9, Kuala Lumpur, 1981, LXXIII + 343 pp., 2 maps, 6 illustrations.

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LOW, MARTYN E. Y., PETER K. L. NG, and PAUL F. CLARK. "Additional notes on the publication of the Narrative, Zoology and Notes from a Journal of Research into the Natural History of the Voyage of H.M.S. Samarang and its consequences for the nomenclature of decapod crustaceans and other taxa." Zootaxa 4809, no. 2 (July 7, 2020): 271–305. http://dx.doi.org/10.11646/zootaxa.4809.2.3.

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Captain Edward Belcher was instructed by the Lords of the Admiralty to conduct a Surveying Expedition of the various coasts and islands in the Eastern Seas using H.M.S. Samarang. During this voyage from 1843–1846, Assistant-Surgeon Arthur Adams, made a significant contribution to the collection of natural history specimens, and together with fellow officers J. Richards and W. Browne, he prepared numerous drawings used by Belcher to illustrate the Narrative of the voyage. Later, Adams collaborated with Adam White (an Assistant in the Zoological Branch of the British Museum) to describe the Samarang Crustacea, published jointly with Lovell Reeve on the Samarang Mollusca, edited the Zoology of the voyage of H.M.S. Samarang and was the author of Notes from a Journal of the Natural History which was published in the Narrative of the voyage by Belcher. In his Natural History, Adams provided detailed accounts on some of the crustaceans collected with formal descriptions of species new to science thereby making these names available. The history, nomenclature and validity of the crustacean species cited in this work is discussed and a list of the available names is tabulated.

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Journal articles on the topic 'Artcar Museum'

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