Relevant bibliographies by topics / Birmingham Museum of Art (Birmingham, Ala.)

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  1. Journal articles
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  3. Book chapters

Academic literature on the topic 'Birmingham Museum of Art (Birmingham, Ala.)'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Birmingham Museum of Art (Birmingham, Ala.)"

1

Birchall, Heather. "Review of Birmingham Museum and Art Gallery'sPre-Raphaelite Online Resource(Birmingham Museum and Art Gallery, 2009)." Journal of Victorian Culture 16, no. 3 (2011): 421–25. http://dx.doi.org/10.1080/13555502.2011.611701.

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Pak, Youngsook. "John H. Seto and others: Handbook of the Oriental Collection, Birmingham Museum of Art. 224 pp. Birmingham, Alabama: Museum of Art, Birmingham. [1989]. $22.50." Bulletin of the School of Oriental and African Studies 54, no. 2 (1991): 425. http://dx.doi.org/10.1017/s0041977x00015421.

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3

Everitt, Sian. "Archives or Museum—Does it Matter?" Collections: A Journal for Museum and Archives Professionals 3, no. 2 (2007): 135–54. http://dx.doi.org/10.1177/155019060700300204.

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This paper presents the recent experience of UCE Birmingham Institute of Art and Design Archives in documenting and managing its diverse collections. The collections range in size from under 50 to over 40,000 items and cover the fields of art and design education, museology and public art. By their nature, these collections contain a richness and diversity of materials including bibliographic and photographic materials, paper records, artworks and artefacts. The challenge has been not so much that the collections are cross-domain, as between the domains, falling in the gaps. The paper evaluates the differences in collection management philosophies and practices between museums and archives in the United Kingdom. It describes the decisions faced by UCE Birmingham Institute of Art and Design Archives in negotiating a path through these complexities.
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Elsas, Ellen F. "Scheinberg Lecture in African Art at the Birmingham Museum of Art." African Arts 25, no. 4 (1992): 103. http://dx.doi.org/10.2307/3336977.

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5

Leahy, Kevin, Roger Bland, Della Hooke, Alex Jones, and Elisabeth Okasha. "The Staffordshire (Ogley Hay) hoard: recovery of a treasure." Antiquity 85, no. 327 (2011): 202–20. http://dx.doi.org/10.1017/s0003598x00067545.

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The Staffordshire (Ogley Hay) hoard was found on the 5–10 July 2009 by Mr Terry Herbert while metal-detecting on arable land at a site in south Staffordshire in the English Midlands (Figure 1).Mr Herbert contacted Duncan Slarke, the Portable Antiquities Scheme's Finds Liaison Officer for Staffordshire and the West Midlands, who visited the finder at his home and prepared an initial list of 244 bags of finds. These were then taken to Birmingham Museum and HM Coroner was informed. Duncan Slarke also contacted the relevant archaeological authorities including English Heritage, the Staffordshire Historic Environment Record, the Potteries Museum, Stoke-on-Trent, Birmingham Museum & Art Gallery and the Portable Antiquities & Treasure Department at the British Museum. A meeting was held in Birmingham on 21 July at which it was agreed that the controlled recovery of the remaining objects of the hoard and an archaeological investigation of the findspot was a priority. It was also agreed that one of the Portable Antiquities Scheme's National Advisors, Dr Kevin Leahy, should compile a hand-list of finds in preparation for the Coroner's Inquest.
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6

Horowitz, W., and W. G. Lambert. "A new exemplar of Ludlul bēl nēmeqi Tablet I from Birmingham." Iraq 64 (2002): 237–45. http://dx.doi.org/10.1017/s0021088900003715.

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In the early 1980s a group of cuneiform tablets formerly in the collection of Sir Henry Wellcome housed at the Wellcome Historical Medical Museum arrived at the Birmingham City Museum and Art Gallery. The majority of these tablets were Ur III administrative texts that were published in Birmingham Cuneiform Tablets I–II. Other tablets in the collection included Old Akkadian, Old Babylonian and Late Babylonian documents, a Shulgi plaque, clay cones, inscribed bricks, a small group of astronomical texts, and a few unidentified miscellaneous tablets and fragments. One of these unidentified fragments turned out to be a hitherto unknown exemplar of Ludlul Bēl Nēmeqi Tablet I, and is the occasion of the current study.
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7

Symons, David. "Museum Supplement: Acquisitions by the City of Birmingham Museum and Art Gallery 1966–1986." Journal of Hellenic Studies 107 (November 1987): 278–80. http://dx.doi.org/10.2307/630184.

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8

Proctor, Ann. "Dragons and Lotus Blossoms: Vietnamese Ceramics from the Birmingham Museum of Art." Asian Studies Review 39, no. 1 (2014): 176–77. http://dx.doi.org/10.1080/10357823.2015.992062.

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9

Bianchi, Robert Steven, and Donald Spanel. "Through Ancient Eyes: Egyptian Portraiture. An Exhibition Organized for the Birmingham Museum of Art, Birmingham, Alabama, April 21-July 31, 1988." American Journal of Archaeology 93, no. 4 (1989): 610. http://dx.doi.org/10.2307/505341.

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10

Jursa, Von Michael. "Neu- und spätbabylonische Texte aus den Sammlungen der Birmingham Museums and Art Gallery." Iraq 59 (1997): 97–174. http://dx.doi.org/10.1017/s0021088900003399.

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Die vorliegende Arbeit setzt die von Philip Watson begonnene Edition der 1982 in die Birmingham Museums and Art Gallery gekommenen Texte aus der Wellcome-Sammlung fort. Ich danke Philip Watson für die Publikationserlaubnis und ihm und seinen Kollegen und Mitarbeitern, voran David Symons, für die freundliche Aufnahme im Department of Antiquities des Museums und die Bewirtung mit vielen Tassen Tee. Den Trustees des British Museum danke ich für die Erlaubnis, unpublizierte Texte aus den Sammlungen dieses Museums zitieren zu dürfen. H. Baker, A. Bongenaar und M. Weszeli bin ich für ihre Hinweise verpflichtet.Die folgende Liste bietet die hier behandelten neubabylonischen Texte in der Birmingham-Sammlung, geordnet nach Museumsnummern, mit Angabe der Nummer in der vorliegenden Publikation, der ehemaligen Wellcome-Nummer und sonstigen Informationen über die Herkunft der Tafeln, insbesondere über Händler oder Sammlung, aus der die Texte ursprünglich gekommen sind. In eckigen Klammern steht entsprechende Information, die nicht aus dem Museumsregister stammt.
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Books on the topic "Birmingham Museum of Art (Birmingham, Ala.)"

1

Alan, Wood Donald, and Atkinson Alan G, eds. Asian art in the Birmingham Museum of Art. Birmingham Museum of Art, 2000.

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2

Sotheby's (Firm). Fine Americana. Sotheby's, 2004.

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3

Masterpieces East & West: From the collection of the Birmingham Museum of Art. The Museum, 1993.

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4

1903-1985, Beeson Dwight Moody, Beeson Lucille Stewart 1905-, and Adams E. Bryding, eds. The Dwight and Lucille Beeson Wedgwood collection at the Birmingham Museum of Art, Birmingham, Alabama. Birmingham Museum of Art, 1992.

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5

Rebecca, Dobrinski, Devlin Erin Krutko, Williams Lauren, and Birmingham Museum of Art (Birmingham, Ala.), eds. Etched in collective history. Birmingham Museum of Art, 2013.

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6

Gallery, Birmingham Museums and Art. Birmingham Museum & Art Gallery. Birmingham Museums and Art Gallery, 1991.

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7

Birmingham Museums & Art Gallery., ed. BM&AG: Birmingham Museum & Art Gallery. BM&AG, 2002.

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8

1949-, Seto John H., and Gosling Betty, eds. Handbook of the oriental collection, Birmingham Museum of Art. The Museum, 1988.

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9

J, Watson P., ed. Catalogue of cuneiform tablets in Birmingham City Museum. Aris & Phillips, 1986.

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10

Johnson, Antoinette Spanos. Vision of the West: The art of Will Crawford : 24 August-19 October 1986, Birmingham Museum of Art, Birmingham, Alabama. The Museum, 1986.

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Book chapters on the topic "Birmingham Museum of Art (Birmingham, Ala.)"

1

MacLeod, Suzanne. "The Past Is Now: Birmingham and the British Empire, Birmingham Museum and Art Gallery, UK, 2017." In Museums and Design for Creative Lives. Routledge, 2020. http://dx.doi.org/10.4324/9780429398698-33.

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MacLeod, Suzanne. "Talking About … Disability & Art, Birmingham Museum and Art Gallery, UK, 2006–8." In Museums and Design for Creative Lives. Routledge, 2020. http://dx.doi.org/10.4324/9780429398698-32.

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3

Allchin, Douglas. "The Peppered Moths, A Study in Black and White." In Sacred Bovines. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190490362.003.0028.

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Organisms seem exquisitely adapted—like the peppered moths (Biston betularia), camouflaged to avoid predation (Figure 20.1). The story behind their cryptic coloration and pattern is easy to appreciate when looking at both black and mottled white moths set against contrasting backgrounds: one black, one mottled white, like the moths themselves. What half-witted bird would not prey on the obvious moth? This would clearly change the genetic make-up of a population. This popular pair of photos explains natural selection in an instant. The images are so widely reproduced, in biology textbooks and elsewhere, that everyone seems to know the case of the peppered moth. The case gained renown through Bernard Kettlewell. In the 1950s he investigated the survival rates of the moths in the contrasting forests of Birmingham and Dorset (ostensibly portrayed in Figure 20.1). But Kettlewell’s landmark publication, The Evolution of Melanism, also included another image (Figure 20.2). On the top right, it displays the two familiar forms of the moth: typica, the once-common “peppered” form (no. 2), and carbonaria, the nearly black form that proliferated later (no. 1). Arrayed on the left, however, are five other specimens of the same species, each exhibiting an intermediate darkness. Together, they constitute a third form, known as insularia. That is, a series of relatively unknown light and dark forms fills the gap between the two well-known extremes. Do the insularia moths matter? How might simplifying the wide range of forms to just two shape an image of natural selection? Or of nature, generally? In what ways does the difference between the simple story and a more complex reality ultimately affect our thinking? Perhaps we should challenge the implicit assumption (yet another sacred bovine) that nature, and science too, can effectively be reduced to black and white. One easily finds specimens of insularia in museum collections, Kettlewell noted. And he included them in his field studies. Having recruited observers from around Britain, Kettlewell catalogued the relative frequencies of all three forms in various locations. The incidence of insularia was sometimes 40% or more.
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