Relevant bibliographies by topics / Collection of art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Collection of art'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Collection of art"

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Rademeyer, Alta. "Telkom art collection." de arte 33, no. 58 (1998): 44–47. http://dx.doi.org/10.1080/00043389.1998.11761277.

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

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Analyses collecting as a type of cultural activity, its institutional and substantive aspects. The author investigates mechanisms of private collection functioning including formation of collections and storage, systematisation, and exhibition of artifacts. The importance of representing the cultural value and symbolic significance embodied in the collection items is highlighted.
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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.
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Rebora, Carrie. "Robert Fulton's Art Collection." American Art Journal 22, no. 3 (1990): 40. http://dx.doi.org/10.2307/1594565.

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Royo Naranjo, Lourdes. "Art Collection Neue Börse." Boletín de Arte, no. 25 (April 2, 2018): 851–55. http://dx.doi.org/10.24310/bolarte.2004.v0i25.4647.

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Bajo el título Art Collection Neue Börse se expuso en el Centro de ArteContemporáneo de Málaga la muestra de un total de treinta y cuatro fotografías de gran formato seleccionadas de la colección de Arte de la Bolsa de Alemania (Deutsche Béirse) entre los días 23 de febrero y 25 de mayo de 2003. Una novedad tanto en el ámbito nacional como internacional, puesto que era la primera vez que la colección Deutsche Börse abandonaba su sede habitual de Francfurtk para ser expuesta.
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Hundt, Stefan. "The Sanlam Art Collection." de arte 40, no. 72 (2005): 67–75. http://dx.doi.org/10.1080/00043389.2005.11877047.

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

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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In addition it contains major works on art history, artists, public and private art collections, exhibitions and many related topics. The Library holds 77,000 printed books and more than 440 manuscripts; its catalogue is shared with the IRIS consortium of art history and humanities libraries and contributes to artlibraries.net through this shared bibliographic database. Several digitisation projects have already been completed or are currently in progress.
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Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein." de arte 37, no. 65 (2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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Havens, Carolyn. "Cataloging a Special Art Collection." Cataloging & Classification Quarterly 9, no. 4 (1989): 27–49. http://dx.doi.org/10.1300/j104v09n04_03.

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Krajczar, N. F. "Art Collection Yields Unexpected Dividends." Journal of Visual Impairment & Blindness 80, no. 8 (1986): 885–87. http://dx.doi.org/10.1177/0145482x8608000805.

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Dissertations / Theses on the topic "Collection of art"

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Haight, Sarah M. "American Art Lending, 1895-1975." Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/344.

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This paper documents the range of art lending in the United States to individuals by libraries, museums, and other cultural institutions from roughly 1895-1975. The historical analysis includes the reasons and motivations behind the creation of each kind of lending scheme and what its proponents hoped to accomplish, as well as how these collections fit into the broader goals of each type of institution. Loans of originals and reproductions are discussed.
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Brogan, Devin. "Art in Wichita instruction, collection and innovation /." Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t024.pdf.

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Summerfield, Angela. "Interventions : twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth-century British art in Britain." Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17420/.

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In the twentieth century, collecting became a core activity of local authority art galleries and museums in Britain. A key feature of these art collections was the representation of Twentieth Century British Art. The aim of this study is to examine, for the first time, this development as abroad cultural phenomenon, through the distinctive roles played by central government-funded, and independent national and provincial art collection schemes. The central government-funded art collection schemes are the V. & A Purchase Grant Fund, War Artists' Advisory Committee and the National Heritage Memorial Fund; and the national loan and exhibition schemes offered by the Tate Gallery and the Arts Council. Independent schemes are more numerous and varied. These were administered by the National Art Collections Fund (now the Art Fund), Contemporary Art Society, Scottish Modem Arts Association, Contemporary Art Society for Wales, Henry Moore Foundation and Gulbenkian Foundation. In addition, there were the independent national loan and exhibition schemes offered by the Museums Association, Peter Stuyvesant Foundation and Alistair McAlpine and provincial schemes based in Manchester (Charles Rutherston Loan Scheme), Cardiff (National Museum of Wales Loan Scheme), Liverpool ('John Moores' competition-exhibitions) and Bradford ('International Print Biennale' competition-exhibitions). Given the geographical coverage, historical scope and focus of this study, a substantial body of published and unpublished literature was consulted. The wide-range of sources examined included institutional histories, biographies and studies of Twentieth-Century British Art; permanent collection and exhibition catalogues; newspaper, journal and magazine articles, curatorial records and correspondence; institutional records and correspondence; archival material and reports; and . correspondence and interviews. This entailed the discovery of much new material and the collation of substantial random data held by the Contemporary Art Society and the Gulbenkian Foundation This research seeks to show that local authority collecting of Twentieth-Century British Art was part of a nation-wide cultural pattern determined by certain ideas, theories and policies. Within this context, Section 1 identifies and discusses the nature and purpose of public art galleries, muscums and their art collections from 1845-1945. This momentous period in the museum movement in Britain, it is argued, sustained and generated ideas, theories and policies which encompassed national institutional hierarchies and their models of collecting, high art aesthetic standards and scholarship linked connoisseurship; the organic structure of museums; and multifaceted education. It concludes that during this formative period, an enduring cultural framework was established, from which emerged key collecting impetuses which are art history, patronage and heritage. Sections 2 and 3 examine the roles played by central government-funded and independent schemes, as a response to these issues, which also engendered and reinforced the collecting of specific types of Twentieth Century British Art. Section'4 surveys the local authority collections, which participated in the schemes, and concludes that 1957-79 was a crucial period in post-war collecting, which was both facilitated by the emergence of a considerable and dynamic network of commercial art galleries, and enhanced by national and provincial measures to decentralize the arts. A principal conclusion is that the future of modem (twentieth-century) and contemporary (twenty-first- century) British art collecting, by local authority art galleries and museums, lies in its perception as part of a collective cultural enterprise, in which the intervention of collection schemes will, as in the past, play a fundamental role. Finally, there is also a strong argument for provincial institutions to feed into a national debate as to what is selected to represent both modem and contemporary British art practice in public collections in general.
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Salmons, John Andrew. "Adopting an Orphaned Collection." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64789.

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"Architecture itself is linked not only to other arts but also to the broader context of life; it is only on that scale that we may understand its specific contribution to the formation of the communicative space of culture."* - Dailbor Vesely 2004 Architects have explored Art Galleries as a medium throughout the ages. In 2014, the Corcoran was sold, dismantled and divided between the National Gallery of Art and George Washington University signaling the end of an era of art display in the Nation's Capital. This transformation of a major DC art collection was the impetus for this thesis: to mark the end of an era and to create a new home for the Corcoran Collection. To house this orphaned collection, I have studied similar elements that earlier architects have studied such as light, shadow, and reflection, taking into account the dawn of the next generation of art galleries. The role of this museum is to educate and facilitate information about the collection and the art. Contemporary art galleries that have been built recently included additional areas of services that were originally not part of the Corcoran Museum's building program, such as the role of conservation of historical objects including paintings and works on paper. Another area of my research was the relationship between the viewer and the building. The Corcoran has an extensive collection of American art and art directly from D.C. and it is important to allow direct access for the community and accommodate enough wall space to give context to the art. With the setting of the contemporary art gallery framed, we return back to the research to really question how each of those elements were thought about moving forward. We need light to see, but what had been seen and depicted on great Master's canvases should be protected from light. Should natural light be brought into the gallery spaces even though it damages works on canvas and paper? Can gallery spaces change over time to mirror the objects that they hold? Can the building reflect the area around the gallery but also act as a space of meditation and self-reflection? To adopt means to take another's child, but it can also mean to embrace an idea. In this case we are adopting the collection of William Corcoran and combining it with newer elements found in modern museums. On further evaluation of the gallery it has strong ties to historic D.C. because of its collection and its community outreach however its weakness was due in part of turning its back on the same community that made it strong. I propose moving the collection into the heart of Washington D.C. and combining it with newer ideas of light and gallery services. This process will allow the Corcoran to continue its evolution as a great American collection. *Dailbor Vesely, "Architecture in the Age of Divided Representation." (Cambridge: The MIT Press, 2004), 88-89.<br>Master of Architecture
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Quito, Anne. "Art at work potential contributions of an art collection to non-profit organizations /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/456296265/viewonline.

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Walker, Jessica E. "Unexpected Reflection Collection." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253634229.

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Baker, Laura. "The New Orleans Museum of Art: Managing the Collection." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/173.

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An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.
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Wilson, Janelle. "Accessioning and Managing the Petersburg Area Art League Collection." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2296.

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Since the 1960s, the Petersburg Area Art League (PAAL) has obtained works of art for its permanent collection through purchases, private donations, and through the local art show, the Poplar Lawn Art Festival, later known as Artfest. Recently, however, the organization has decided to become a non-collecting institution in order to focus on its mission to promote the arts in Petersburg through gallery shows for local artists and educational programs. While PAAL’s staff members share a love of art and a dedication to the local community, they have not been trained in professional standards for handling museum collections as outlined by the American Association of Museums (AAM). Consequently, the PAAL collection had not been adequately documented or stored in a manner that protected the works from potential damage or degradation. This museums project was designed to help the Petersburg Area Art League meet AAM standards. During the summer of 2010, the collection of 150 artworks was accessioned; its storage facility was reorganized; a database was created; and a collections management policy that would ensure the continued care of the collection after the completion of this project was written and approved. This paper describes challenges encountered and resolved during the two-month project and provides a reference for those who wish to take on similar projects in the future.
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Lucas, Jean-Jacques. "Les territoires imaginés de la collection, récits individuels et collectifs : les collections et les collectionneurs d'oeuvres d'art, d'archéologie, d'arts décoratifs et appliqués dans le Centre-Ouest Atlantique entre 1870 et 1983." Poitiers, 2010. http://www.theses.fr/2010POIT5007.

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Le collectionnisme d'œuvres d'art depuis le milieu du XIXème siècle , lisible tout au long de cette période au travers des expositions régionales, des dons et legs aux musées locaux, inscrit des valeurs de repères. Ces situations supposent l'enchâssement de plusieurs territoires imaginaires, temporels et spatiaux. L'objet pouvant prétendre à une durée que le corps n'atteindra pas, la collection le présente à une admiration durable. Elle est monument marquant l'appropriation de son assembleur, par une fonction ligamentaire, avec son territoire généalogique réel ou reconstruit. La translation dans la collection publique garantit à perpétuité le dépassement de soi et la pérennisation d'un modèle social fondateur et édifiant. La nature des collections d'œuvres d'art, issues aussi de l'archéologie, des arts décoratifs ou d'ethnographie, questionne sur les systèmes de références du monde poitevin. Le temps et l'espace géographique les concernant relèvent de territoires mythogènes rendus visitables dans l'espace du musée. Ces constructions circonscrivent ici des contours spatio-temporels imaginés ou vécus. L'étude de ces collections, de leur mouvance et mouvements renvoie aux valeurs identitaires de leurs auteurs et à celles assurant la cohérence d'un groupe. L'espace géographique de l'étude correspond à trois départements actuels : Vienne, Deux-Sèvres, et la Vendée, historiquement associée au Bas-Poitou pour sa plus grande partie. Le cadre chronologique est fixé entre l'entrée du legs Charbonnel au musée de Poitiers en 1870 et l'arrivée d'un nouvel acteur institutionnel missionné pour collectionner l'art de son temps, le Fonds Régional d'Art Contemporain<br>Art collecting since the mid-nineteenth century, understandable throughout this period through regional exhibitions, donations and legacies to local museums, recorded landmark values. These situations involve the embedding of several imaginary, temporal and spatial fields. The object aspiring a duration which the body will not reach, will be presented to lasting admiration in a collection. It is a monument marking the ownership of its collector, by a ligamentary function, with its real or reconstructed genealogical territory. The transfer to the public collection guarantees everlasting self surpassing and the perpetuation of a founding and edifying social. The nature of the collections of works of art, also from archaeology, decorative arts, or ethnography questions about the reference systems of the world from Poitou. Their time and geographical space come from mythogène territories for visitors to see in the space of the museum. These constructions define imagined or experienced contours in time and space. The study of these collections, their movement and sphere of influence refers to the identity values of their authors and to those ensuring the coherence of a group. The geographical area of study corresponds to three existing departments : Vienne, Deux-Sevres, and Vendee, for the most part historically associated with the Bas Poitou. The chronological frame is set between the entrance of the Charbonnel legacy to the Poitiers museum in 1870 and the arrival of a new institutional actor commissioned to collect the art of its time, le Fonds Régional d’Art Contemporain
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Donkor, Kimathi. "Africana unmasked : fugitive signs of Africa in Tate's British Collection." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12019/.

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Through painting, drawing, photography and digital design, I have investigated the relationship between, on the one hand, my fine art practice—with its interest in postcolonial African and diaspora identities (or, ‘Africana’)—and on the other hand, works at The Tate Gallery—with its remit to hold the National Collection of British Art. By interrogating iconological ‘conditions of existence’ for works by Fehr, Sargent and Brock, I created new artworks that indicated hidden (or, ‘fugitive’) African connections with the intention of disrupting complacent assumptions and reimagining unacknowledged (or, ‘masked’) themes. I considered concepts of Africa: described by Mudimbe as ‘discursive formations’ (after Foucault) and embodying postcolonial, transracial identities; in addition, I addressed the problematics of Tate’s British Art collection as a post-imperial brand of ‘cultural capital’. Unmasking fugitive Africana was a practical methodology designed to produce artworks. So,while aware of many theoretical interlocutors, I pursued a convoluted, sometimes intuitive path through the creative process by making drawings, digital designs, photographs and paintings. Nonetheless, Stuart Hall’s framework of an ‘oppositional code’ was key and so I suggest that, as practiced by artists, ‘unmasking Africana’ might be an inherently counter-hegemonic,critical project. My investigation embodied technical and conceptual problematics of critical enquiry as a mode of studio practice. I explored unmasking methodologies through reading, observation,reflection and painterly, synthesised appropriations—also witnessing an evolution in my imagery, from iconographically layered compositions to works in which identities and motifs seemed to fuse. As well as the studio investigation and writing, my project had a pedagogic element. In a series of seminars, I taught MA students at C.C.W. Graduate School the preliminary findings of my research. My interviews with students produced evaluations about their learning, which I later disseminated as part of UAL’s programme to reduce disparities between white and B.A.M.E. British undergraduate students.
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Books on the topic "Collection of art"

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1974-, Ilham Khoiri R., and Gautama Candra, eds. Art and collecting art: A collection of writings. Kepustakaan Populer Gramedia in cooperation with OHD Museum and Djarum Foundation, 2012.

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Sykes, Marie. Sugar art collection. Child & Associates, 1989.

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University of Lethbridge. Art Gallery. The art collection. University of Lethbridge Art Gallery, 2003.

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Barzel, Amnon. Light art: Targetti Light Art Collection. Skira, 2006.

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Gallery, Art Circle. [Art Circle Gallery art book collection]. Art Circle Gallery, 2010.

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Methodist Ladies' College (Kew, Vic.). Contemporary art collection 2009: Methodist Ladies' College Contemporary Art Collection. Bounce Books, 2009.

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Collection remixed. Bronx Museum of the Arts, 2005.

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Ronte, Dieter. Hess collection. H.N. Abrams, 1989.

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Ronte, Dieter. Hess Collection. P. Haupt, 1989.

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Spander, Art. The Art Spander collection. Taylor Pub., 1989.

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Book chapters on the topic "Collection of art"

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Gomes, Noémia Herdade, Elisa Noronha, Filipe Silva, Alexandre Matos, and Mário Vairinhos. "The Drawing Collection." In Art and Technology. SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-863-1_7.

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Robson, Jonathan. "Popular Art, Bad Art, and the Data of Philosophical Aesthetics." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_17.

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McAllister, James W. "Art and Science: A Tangled Relation." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_1.

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Aiken, Nancy E. "Figurines and the Origin of Art." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_18.

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Kappraff, Jay. "Complexity and Chaos Theory in Art." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_9.

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Raghunath, Ghosh. "Art as an Aid to Resolve Tension." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_21.

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El-Bizri, Nader. "Art and Science: Historical Confluences and Modern Dialectics." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_2.

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Cohen, Mark Daniel. "Art, Science, and the Nature of the Meritorious." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_3.

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Altieri, Charles F. "Aesthetic Agency: Why Art Might Matter to Philosophy." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_4.

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Verstegen, Ian. "Art and Science in the Thinking of Rudolf Arnheim." In The Frontiers Collection. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_7.

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Conference papers on the topic "Collection of art"

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Coulter, Daniel R., Steven A. Macenka, Mark T. Stier, and Roger A. Paquin. "ITTT: a state-of-the-art ultralightweight all-Be telescope." In Critical Review Collection. SPIE, 1997. http://dx.doi.org/10.1117/12.279810.

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"[Cover art]." In 2008 WOMBAT Workshop on Information Security Threats Data Collection and Sharing (WISTDCS). IEEE, 2008. http://dx.doi.org/10.1109/wistdcs.2008.17.

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Graham, Beryl S. "Museums, New Media Art, Documentation and Collection." In Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.37.

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Chen, Zhiqian. "Chinese Art Appreciation and Collection Under Aesthetical Perspective." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.423.

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Qiao, Xiuqiang. "Art Appreciation and Collection from the Perspective of Aesthetics." In Proceedings of the 2018 8th International Conference on Management, Education and Information (MEICI 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/meici-18.2018.124.

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Carletti, Laura, Dominic Price, Gabriella Giannachi, Rebecca Sinker, Derek McAuley, and John M. Stack. "Art Maps - Putting the Tate Collection on the Map." In Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.17.

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Marr, Stefan, and Benoit Daloze. "Few versatile vs. many specialized collections: how to design a collection library for exploratory programming?" In 2018: 2nd International Conference on the Art, Science, and Engineering of Programming 2018. ACM, 2018. http://dx.doi.org/10.1145/3191697.3214334.

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De las Heras Molina, Javier, Juan Gómez Sánchez, and José Manuel Vassallo Magro. "Electronic Toll Collection Systems and their Interoperability: The State of Art." In CIT2016. Congreso de Ingeniería del Transporte. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/cit2016.2016.3186.

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The European Electronic Toll Service (EETS) was created in 2004 with the aim of ensuring interoperability among the existing electronic toll collection (ETC) systems in Europe. However, the lack of cooperation between groups of stakeholders has not made possible to achieve this goal ten years later. The purpose of this research is to determine the better way to achieve interoperability among the different ETC systems in Europe. Our study develops a review of the six main ETC systems available worldwide: Automatic Number Plate Recognition (ANPR), Dedicated Short-Range Communications (DSRC), Radio Frequency Identification (RFID), Satellite systems (GNSS), Tachograph, and Mobile communications tolling systems. The research also provides some insight on different emerging technologies. By focusing on different operational and strategic aspects offered by each technology, we identify their main strengths, weaknesses, opportunities and threats and makes different recommendations to improve the current framework. The research concludes that given the diversity of advantages and inconveniences offered by each system, the selection of a certain ETC technology should also take into account its potential to overcome the weaknesses in the current ETC framework. In this line, different policy recommendations are proposed to improve the present ETC strategy at the EU.DOI: http://dx.doi.org/10.4995/CIT2016.2016.3186
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Purnama, Ika Yuni, Setiawan Sabana, Triyanto Triyanto, and Tjetjep Rohendi Rohidi. "The Value of Art Education at Yogyakarta Presidential Museum: Showroom Theme on the Collection of Art Objects Aesthetic." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.103.

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Wahira, Wahira, Ika Yuni Purnama, Setiawan Sabana, Triyanto Triyanto, and Tjetjep Rohendi Rohidi. "The Value of Art Education at Yogyakarta Presidential Museum: Showroom Theme on the Collection of Art Objects Aesthetic." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.49.

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Reports on the topic "Collection of art"

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Healey, Patrick. The Social Sculpture in Practice: Joseph Beuys, Waldo Bien and the Free International University World Art Collection, A Report. Edited by Gerhard Bruyns. FIUWAC, 2020. http://dx.doi.org/10.31182/001.

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2

Zhang, Ling, Chunhui Xiang, and Eulanda A. Sanders. Testing Chinese Ink as a Natural Dyestuff on Silk and Cotton Fabrics: The Foundation for a Collection of Wearable Art. Iowa State University, Digital Repository, 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-131.

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3

Bates, C. Richards, Melanie Chocholek, Clive Fox, John Howe, and Neil Jones. Scottish Inshore Fisheries Integrated Data System (SIFIDS): Work package (3) final report development of a novel, automated mechanism for the collection of scallop stock data. Edited by Mark James and Hannah Ladd-Jones. Marine Alliance for Science and Technology for Scotland (MASTS), 2019. http://dx.doi.org/10.15664/10023.23449.

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[Extract from Executive Summary] This project, aimed at the development of a novel, automated mechanism for the collection of scallop stock data was a sub-part of the Scottish Inshore Fisheries Integrated Data Systems (SIFIDS) project. The project reviewed the state-of-the-art remote sensing (geophysical and camera-based) technologies available from industry and compared these to inexpensive, off-the -shelf equipment. Sea trials were conducted on scallop dredge sites and also hand-dived scallop sites. Data was analysed manually, and tests conducted with automated processing methods. It was concluded that geophysical acoustic technologies cannot presently detect individual scallop but the remote sensing technologies can be used for broad scale habitat mapping of scallop harvest areas. Further, the techniques allow for monitoring these areas in terms of scallop dredging impact. Camera (video and still) imagery is effective for scallop count and provide data that compares favourably with diver-based ground truth information for recording scallop density. Deployment of cameras is possible through inexpensive drop-down camera frames which it is recommended be deployed on a wide area basis for further trials. In addition, implementation of a ‘citizen science’ approach to wide area recording is suggested to increase the stock assessment across the widest possible variety of seafloor types around Scotland. Armed with such data a full, statistical analysis could be completed and data used with automated processing routines for future long-term monitoring of stock.
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4

Simas, Molly. The Skins We Have Shed and Where They Are Buried: A Collection. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.6371.

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5

Hamudi, Simbarashe. Perception of Taxpayers and Tax Administrators Towards Value Added Withholding Tax in Zimbabwe. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/ictd.2021.013.

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Value added tax is a key tax for generating revenue in Zimbabwe and all African states, and for financing the budget in African countries. VAT revenue has an essential role in budgetary policymaking. Every year revenue authorities are not collecting large amounts of VAT for various reasons, including ineffective administration and tax evasion. This brings the question of the reform of the VAT system to the forefront. In Zimbabwe, attempts to improve VAT revenue collection have been made over several years. Hopes were pinned on the use of fiscalisation and audits of VAT refunds.1 However, traders continue to evade VAT – and this has led to the introduction of value added withholding tax to improve VAT revenue collection.
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6

Wetmore, Alan, and Thomas DeFelice. ARL Support and Analysis to the Army Public Health Command Kabul Air Quality Data Collection (Spring 2014). Defense Technical Information Center, 2016. http://dx.doi.org/10.21236/ad1011920.

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7

Borders, Elizabeth. Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.188.

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8

Syamsuddin, Neldysavrino, Komarudin H., and Siagian Y. Are community aspirations being accommodated in development plans?: a lesson from collective action in Jambi. Center for International Forestry Research (CIFOR), 2007. http://dx.doi.org/10.17528/cifor/002240.

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9

Diprose, Rachael, Amalinda Savirani, Ken M. P. Setiawan, and Naomi Francis. Women’s Collective Action and the Village Law: How Women are Driving Change and Shaping Pathways for Gender-inclusive Development in Rural Indonesia. University of Melbourne with Universitas Gadjah Mada and MAMPU, 2020. http://dx.doi.org/10.46580/124326.

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This study on Women’s Collective Action and the Village Law seeks to understand in what contexts, to what extent and through what mechanisms has local collective action by women influenced the implementation of the Village Law. And, what has been the role for CSOs in this process. The study draws on research conducted in nine provinces, 12 districts, and 14 villages—from Sumatra, to Java, to Kalimantan, Sulawesi, and East and West Nusa Tenggara.
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Diprose, Rachael, Amalinda Savirani, Ken M. P. Setiawan, and Naomi Francis. Women’s Collective Action and the Village Law: How Women are Driving Change and Shaping Pathways for Gender-inclusive Development in Rural Indonesia. University of Melbourne with Universitas Gadjah Mada and MAMPU, 2020. http://dx.doi.org/10.46580/124326.

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This study on Women’s Collective Action and the Village Law seeks to understand in what contexts, to what extent and through what mechanisms has local collective action by women influenced the implementation of the Village Law. And, what has been the role for CSOs in this process. The study draws on research conducted in nine provinces, 12 districts, and 14 villages—from Sumatra, to Java, to Kalimantan, Sulawesi, and East and West Nusa Tenggara.
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