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Journal articles on the topic 'Birmingham Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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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 (December 2011): 421–25. http://dx.doi.org/10.1080/13555502.2011.611701.

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2

Everitt, Sian. "Archives or Museum—Does it Matter?" Collections: A Journal for Museum and Archives Professionals 3, no. 2 (June 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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3

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 (June 1991): 425. http://dx.doi.org/10.1017/s0041977x00015421.

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4

Elsas, Ellen F. "Scheinberg Lecture in African Art at the Birmingham Museum of Art." African Arts 25, no. 4 (October 1992): 103. http://dx.doi.org/10.2307/3336977.

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5

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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6

Leahy, Kevin, Roger Bland, Della Hooke, Alex Jones, and Elisabeth Okasha. "The Staffordshire (Ogley Hay) hoard: recovery of a treasure." Antiquity 85, no. 327 (February 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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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

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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9

Proctor, Ann. "Dragons and Lotus Blossoms: Vietnamese Ceramics from the Birmingham Museum of Art." Asian Studies Review 39, no. 1 (December 11, 2014): 176–77. http://dx.doi.org/10.1080/10357823.2015.992062.

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10

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 (October 1989): 610. http://dx.doi.org/10.2307/505341.

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11

Ness, Caroline. "‘Dressed to the Nines’, Birmingham Museum and Art Gallery, 7 December 2019–4 September 2020." Textile History 51, no. 2 (July 2, 2020): 254–57. http://dx.doi.org/10.1080/00404969.2020.1835247.

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12

Harper, Margaret Mills. "South Atlantic Modern Language Association." PMLA/Publications of the Modern Language Association of America 115, no. 4 (September 2000): 856. http://dx.doi.org/10.1632/s0030812900140325.

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SAMLA's seventieth annual convention will be held in Birmingham at the Sheraton Civic Center from 10 to 12 November. William C. Calin will present the keynote address; George Ella Lyon will give the creative address; and French, German, and Spanish plenary addresses will also be featured. Sonia Sanchez will make a special appearance, and other sessions will focus on Birmingham and Alabama writers, gender and race studies, and human rights in literature and culture. Last year's highly successful reading by contemporary writers, sponsored by the literary magazine Five Points, will be repeated. Graduate students will host a poets' circle, and a special performance of Hemingway stories will take place. Among the twenty special sessions are African Influence on Western Literatures; The Holocaust in Literature and Film; Rhetorics, Rhetoricians, and the Teaching of Rhetoric; Early Modern Women of Spain; and Epics and Literature at the Millennium. During the varied program (over 140 sessions), the convention will feature issues of technology, pedagogy, and professional concerns and will offer a number of opportunities to meet and socialize. Cash bars will be held for faculty members in two-year colleges, Feministas Unidas, and gay and lesbian studies. Side trips are planned to the Birmingham Civil Rights Institute and the Birmingham Museum of Art. A full copy of the program will be available on the SAMLA Web site in July.

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13

Baldock, Janine. "Science is... at the Birmingham Museum of Science and Industry." Public Understanding of Science 4, no. 3 (July 1995): 285–98. http://dx.doi.org/10.1088/0963-6625/4/3/006.

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Science interpretation in museums has, until now, largely focused on the products of science—the technological artefacts of our scientific past and the scientific phenomena presented in hands-on galleries. Little, if anything, is said about the process of science—what it is, how it's done, who does it, and why. For this reason, the Birmingham Museum of Science and Industry is planning a new gallery based on science itself. Science is... will interpret science from a cultural perspective by looking at how culture affects science, and how changes in scientific thought have changed our own views of ourselves and the world around us. The objectives of the exhibition are: to raise awareness that science is a key part of our culture; to increase understanding of the method, history and philosophy of science and the scientific community; and to promote realistic images of science and scientists. Using the example of the Copernican Revolution, part of the gallery will focus on changing ideas in science, how change is affected by culture, and the consequences of accepting new scientific theories.

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14

Diem, Allison I. "Vietnam. Dragons and lotus blossoms: Vietnamese ceramics from the Birmingham Museum of Art. By John A. Stevenson and Donald A. Wood, with an essay by Philippe Truong. Birmingham, AL: Museum of Art, Birmingham; Seattle: University of Washington Press, 2011. Pp. 263. Map, Colour plates, Bibliography." Journal of Southeast Asian Studies 45, no. 1 (January 10, 2014): 145–47. http://dx.doi.org/10.1017/s0022463413000787.

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15

Cheney, Liana De Girolami. "Edward Burne-Jones’s The Planets: Luna, A Celestial Sphere." Culture and Cosmos 21, no. 1 and 2 (2017): 283–300. http://dx.doi.org/10.46472/cc.01221.0631.

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Edward Burne-Jones (1833–98), a Pre-Raphaelite painter, was fascinated with astronomy as noted in his memorials and accounts. In 1879 he executed cartoon drawings for a cycle on the planets for the artisans of the William Morris firm, who would transform them into stained-glass windows. The commission was for the decoration of Woodlands, the Victorian home of Baron Angus Holden (1833–1912), a mayor of Bradford. Presently, seven of the cartoons – The Moon (Luna), Earth (Terra), Sol (Apollo), Venus, Jupiter, Saturn, and Evening Star) – are in the Torre Abbey Museum in Torquay, UK, while the cartoon for Mars is part of the collection of drawings at the Birmingham Museum of Art, UK, and the drawing Morning Star is located at Lady Margaret Hall in Oxford, UK. In the creation of the Planets cycle, Burne-Jones was inspired by cultural events of the time, such as British scientific astronomical discoveries and British and Italian humanistic sources in literature and visual arts portraying astronomy. This essay examines – art historically and iconographically – only one of the eight planets, the cartoon of Luna (The Moon) as an astral planetary formation and a celestial sphere. This study is composed of two sections. The first section discusses the history of the artistic commission and the second section explains some of Burne-Jones’s cultural sources for the Planets cycle and the Moon, both of which partake of heavenly and terrestrial realms.

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16

Jursa, Michael. "Neu- und spätbabylonische Texte aus den Sammlungen der Birmingham Museums and Art Gallery." Iraq 59 (1997): 97. http://dx.doi.org/10.2307/4200441.

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17

Watson, William. "Handbook of the Oriental Collection, Birmingham Museum of Art. By John H. Seto with contributions by Betty Gosling, Bryding Adams Henley, Pratapaditya Pal and Donald A. Wood. pp. 224, front., 182 illus. in col. and bl. and wh. Birmingham, Alabama, Birmingham Museum of Art. Distributed by University of Washington Press, Seattle and London, 1988. US $22.50." Journal of the Royal Asiatic Society of Great Britain & Ireland 122, no. 2 (April 1990): 430–31. http://dx.doi.org/10.1017/s0035869x00109062.

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18

Cohen, Mark E., and P. J. Watson. "Catalogue of Cuneiform Tablets in Birmingham City Museum, Vol. 2: Neo-Sumerian Texts from Umma and Other Sites." Journal of the American Oriental Society 116, no. 1 (January 1996): 148. http://dx.doi.org/10.2307/606399.

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19

Biggs, Robert D. "Catalogue of Cuneiform Tablets in Birmingham City Museum. Vol. 1. Neo-Sumerian Texts from Drehem. P. J. Watson." Journal of Near Eastern Studies 47, no. 4 (October 1988): 310–11. http://dx.doi.org/10.1086/373339.

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20

Van Thiel, Pieter J. J. "Het portret van Jacobus Hendriksz. Zaffius door Frans Hals." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 84–96. http://dx.doi.org/10.1163/187501793x00126.

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AbstractThe bust of Jacobus Zaffius (figs. 1 and 2) in Haarlem's Frans Hals Museum was discovered in 1919. Since that time it has been regarded as a fragment of a large portrait of Zaffius painted by Hals in 1611 and believed to be lost. Jan van de Velde made a print of the missing portrait in 1630 (fig. 3). Recently it emerged that the panel on which the bust is painted is bevelled all round, and that the ground and paint continue over the edges. This means that it cannot be a fragment. The theory that Hals himself painted the copy is untenable. The weak design and indifferent pictorial quality suggest that the painting is a contemporary anonymous copy. An attempt to identify the companion portraits of a man and a woman in Birmingham and Chatsworth (figs. 4 and 5), variously dated as 1610/11 and 1617/18, with a view to establishing their true dates, has failed. It was hoped that if discovered to have been painted in or around 1611, they might have served as material for a stylistic comparison. The investigation yielded only a few supplementary heraldic (fig. 6) and genealogical data. Research in the Haarlem municipal archives uncovered new information pertaining to Zaffius' financial capital and family connections. As archdeacon of the diocese of Haarlem and provost of the Haarlem chapter, Jacobus Hendriksz. Zaffius (Amsterdam 1534-1618 Haarlem) experienced the turbulent history of the Dutch Catholic church during the birth of the Republic. Towards the end of his life he added a few houses to a recently founded bofje of almshouses (fig. 9). Van de Velde's print was made in 1630, when Catholicism had established itself in the Dutch archdiocese and embarked on the documentation of its own history in the form of, among others, portraits of prominent figures of the past.

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21

Whipps, Stuart. "Public Art: Birmingham." Art & the Public Sphere 6, no. 1 (September 1, 2017): 95–102. http://dx.doi.org/10.1386/aps.6.1-2.95_7.

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22

Volti, Rudi. "The National Motorcycle Museum, Birmingham, England." Technology and Culture 28, no. 1 (January 1987): 96. http://dx.doi.org/10.2307/3105480.

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23

Ortíz Triviño, Jorge Eduardo, and Rodolfo Cipagauta. "A virtual art museum." Ingeniería e Investigación 26, no. 3 (September 1, 2006): 78–84. http://dx.doi.org/10.15446/ing.investig.v26n3.14754.

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This paper presents some indispensable technical aspects for designing an art museum based on virtual reality (VR) technology. A VR setting can be produced which is able to submerge users having a basic immersion level in a didactic, entertaining, cultural and artistic experience. Specialised tools, object-orientated programming language and low-cost peripheral equipment are suggested so that the VR experience can be developed and executed on reasonably-priced computers. The VR concept, characteristics, components, application and systems are analysed, as is the design for implementing it.

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24

Tollfree, Eleanor. "Art and the Museum." Art Book 8, no. 2 (March 2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.

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25

Carrier, David. "The Art Museum Today." Curator: The Museum Journal 54, no. 2 (April 2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.

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26

Guffey, Elizabeth. "The Disabling Art Museum." Journal of Visual Culture 14, no. 1 (April 2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.

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27

Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 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 similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

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28

Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (April 1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.

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29

van Deventer, Anriet. "The Pietersburg Art Museum." de arte 33, no. 57 (April 1998): 61–62. http://dx.doi.org/10.1080/00043389.1998.11761270.

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30

Stylianou-Lambert, Theopisti. "Perceiving the art museum." Museum Management and Curatorship 24, no. 2 (June 2009): 139–58. http://dx.doi.org/10.1080/09647770902731783.

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31

Hebb, Timothy Tore. "Kalmar Museum of Art." Architectural Design 78, no. 6 (November 2008): 134–35. http://dx.doi.org/10.1002/ad.791.

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32

Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (October 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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33

Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

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34

Miller, Jack, and Laurie B. Reese. "MUSEUM TOL: Confessions of an Art Museum Librarian." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 4 (December 1987): 168–69. http://dx.doi.org/10.1086/adx.6.4.27947827.

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35

Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (June 30, 2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.

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36

Carrier, David. "THE ART MUSEUM AS A WORK OF ART: THE J. PAUL GETTY MUSEUM." Source: Notes in the History of Art 22, no. 2 (January 2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.

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37

Eskilson, S. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." Journal of American History 93, no. 1 (June 1, 2006): 267–68. http://dx.doi.org/10.2307/4486181.

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38

Vossen-Delbrück, Else. "Libraries of art museums." Art Libraries Journal 12, no. 1 (1987): 12–13. http://dx.doi.org/10.1017/s0307472200004983.

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With one exception Dutch art museum libraries date from the second half of the 19th century or later. In general, museum libraries reflect the scope of the museum they serve and exist primarily for the use of museum staff although the public are also admitted. Most now use the same cataloguing rules; manual catalogues are still commonplace but are likely to be displaced by the computer.

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39

Hartnell, Roy. "Art and civic culture in Birmingham in the late nineteenth century." Urban History 22, no. 2 (August 1995): 229–37. http://dx.doi.org/10.1017/s0963926800000493.

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This paper looks at Joseph Chamberlain's Birmingham and claims that George Dawson's famous ‘civic gospel’ which laid the ground for the municipal reforms was permeated by a consensus view of the moral and civic role of art. It suggests that it was this combination of philosophy in action through art which created the special Birmingham context for a vibrant civic culture which led to the political and artistic achievements of the 1870s and 1880s. For a few brief years, this combination enabled Birmingham to stand above other British cities and lay claim to the titles of ‘the best-governed city in the world’ and ‘perhaps the most artistic town in England’.

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40

Stone, Denise L. "The Secondary Art Specialist and the Art Museum." Studies in Art Education 35, no. 1 (1993): 45. http://dx.doi.org/10.2307/1320837.

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41

Nazarov, Anton Sergeevich. "ART REALM OF TODAY’S MUSEUM AND ART MEDIATION." Sphere of Culture, no. 2 (2022): 55–64. http://dx.doi.org/10.48164/2713-301x_2022_8_55.

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42

Lee, Eunjeok. "Art Museum Education to Form Art Subject Competencies." Korean Association For Learner-Centered Curriculum And Instruction 18, no. 9 (May 5, 2018): 955–77. http://dx.doi.org/10.22251/jlcci.2018.18.9.955.

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43

Stone, Denise Lauzier. "The Art Museum and the Elementary Art Specialist." Journal of Museum Education 17, no. 1 (December 1992): 9–11. http://dx.doi.org/10.1080/10598650.1992.11510190.

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44

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

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45

Jacoby, Thomas. "ETHIOPIAN ART: THE WALTERS ART MUSEUM. Kelly Holbert." Art Documentation: Journal of the Art Libraries Society of North America 21, no. 2 (October 2002): 46. http://dx.doi.org/10.1086/adx.21.2.27949210.

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46

Moomaw, Kate. "Collecting participatory art at the Denver Art Museum." Studies in Conservation 61, sup2 (June 2016): 130–36. http://dx.doi.org/10.1080/00393630.2016.1190904.

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47

Barbosa, Ana Mae Tavares Bastos. "Art education in a museum of contemporary art." Museum International 41, no. 1 (March 1989): 45–49. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00757.x.

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48

Darish, Patricia J. "African Art at the Indiana University Art Museum." African Arts 20, no. 3 (May 1987): 30. http://dx.doi.org/10.2307/3336475.

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49

Rutherford-Johnson, Tim. "Birmingham, Argyle Warehouse: Stockhausen's ‘Mittwoch’." Tempo 67, no. 263 (January 2013): 69–70. http://dx.doi.org/10.1017/s0040298212001386.

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The 2012 Cultural Olympiad contained plenty of events that might have happened quite normally without the 2012 badge. The Olympics themselves may even have contributed to a 40% drop in museum attendance over the summer, as recently reported in some newspapers. But Birmingham Opera Company's production, starting on 22 August, of Mittwoch, the ‘unstageable’ third part of Stockhausen's Licht, at the Argyle Works in Great Barr Street was a Mo Farah moment. Not only for the Olympian commitment and talent required, but also because without Olympian funding (something in the order of £1 million was rumoured) it simply would not have been possible. Director Graham Vick had co-opted the varied talents of Ex Cathedra, London Voices, Paul Brown as designer, Giuseppe di Iorio in charge of lighting, Ron Howell as choreographer, and Kathinka Pasveer as musical director.

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50

Glesne, Corrine E. "Museum Art in Everyday Life." LEARNing Landscapes 5, no. 2 (May 2, 2012): 99–116. http://dx.doi.org/10.36510/learnland.v5i2.555.

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Art museums engage diverse audiences in multiple forms of learning. Based on qualitative research at seven academic institutions, this article focuses on the role academic art museums play in the everyday life of students and faculty, on how people become interested in art and art museums, and on possible contributions of campus art museums beyond use in classes and research.

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