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Journal articles on the topic 'Collection of Tampa Museum of Art'

Author: Grafiati

Published: 28 February 2023

Last updated: 31 July 2025

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1

jarrett, loran, and Vjollca Hysenlika. "GLAZER CHILDREN’S MUSEUM Dream it. Be it." Muma Case Review 4 (2019): 001–19. http://dx.doi.org/10.28945/4384.

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In May 2016, Jennifer Stancil, the new president and chief executive officer (CEO) of Glazer Children’s Museum in Tampa, Florida was considering further steps to take toward her goal of making the downtown museum an educational and entertainment destination for children and their families. The CEO had been hired on November 23, 2015 with a mandate to rebrand the museum as a world-class learning environment for children and families. A winner of Tampa Bay Business Journal’s 2012 Nonprofit Organization of the Year, the museum was well respected, yet it faced challenges in attempting to increase

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IBRAHIM, SHAFA ARMELIA, and ARI WIDYATI PURWANTIASNING. "KAJIAN KONSEP ARSITEKTUR METAFORA PADA GUGGENHEIM BILBAO MUSEUM, SPANYOL." PURWARUPA Jurnal Arsitektur 8, no. 1 (2024): 75. http://dx.doi.org/10.24853/purwarupa.8.1.75-82.

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ABSTRAK. Arsitektur metafora merupakan salah satu konsep yang menggunakan simbol-simbol atau cerita untuk menyampaikan pesan, makna, dan nilai yang lebih dalam tentang bangunan itu sendiri kepada penggunanya. Penerapan konsep ini banyak digunakan pada bangunan-bangunan, terutama pada bangunan yang mempunyai arti penting dan sejarah dalam pembentukannya. Arsitektur metafora dibagi menjadi tiga jenis: metafora abstrak, metafora konkrit, dan metafora gabungan. Penerapan konsep arsitektur metafora pada desain museum dapat memungkinkan museum menyampaikan cerita dan makna secara lebih mendalam, men

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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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Lee, Kyunghwa. "Art Collector of Colonial Korea: Pak Yŏngch’ŏl’s Art Collecting and Museum." Korean Journal of Art History 321 (March 31, 2024): 39–68. http://dx.doi.org/10.31065/kjah.321.202403.002.

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Pak Yŏngch’ŏl (1879-1939) was a high-ranking government official, businessman and prominent art collector during the modern period. After Pak’s passing in 1940, his family donated Tasan mun’go (the Tasan Collection) to Keijō Imperial University in accordance with his will. The collection was comprised of 115 artworks, which included calligraphy, paintings, and craft items, along with a fund of 20,000 won. Pak’s financial support laid the foundation for the establishment of the Keijō Imperial University Museum two years later. Both the donation of his collection and the subsequent founding of t

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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metrop

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Kapina, Tatyana. "The Art Collection of the Oriental Countries of the Mikhail V. Nesterov Bashkir State Art Museum (History of the Collection, Research Issues, Discoveries)." Oriental Courier, no. 4 (2022): 189. http://dx.doi.org/10.18254/s268684310023808-6.

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The art collection of the Oriental countries is one of the unique in the Mikhail V. Nesterov Bashkir State Art Museum. It includes artifacts of such countries as China, Japan, Mauritanian Spain, Iran and Turkey. The history of the Bashkir State Art Museum began with the collection of Russian Art of the 19th and early 20th centuries gifted by Mikhail V. Nesterov. Thanks to active object donations from various sources in the 1920s and 1930s, the structure of the Nesterov museum collection became much broader than just the art of Russia. It is precisely in those years that the collection of Orien

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Board, Editorial. "Cover Art." Public Voices 2, no. 1 (2017): 6. http://dx.doi.org/10.22140/pv.419.

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Jasińska, Anna, and Artur Jasiński. "SUSCH MUSEUM." Muzealnictwo 61 (April 2, 2020): 27–38. http://dx.doi.org/10.5604/01.3001.0014.0805.

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Opened in January 2019, the Museum Susch crowned the collecting efforts of Grażyna Kulczyk, who, following her failed attempts at establishing a contemporary art Museum in Poznan and Warsaw, finally found home for her collection in a small Swiss village located between two Alps resorts: Sankt Moritz and Davos. The combination of both spectacular mountainous landscape and the edifices of an old convent into which the display has been built, as well as the purposefully created art pieces, contribute to creating a peculiar atmosphere of the place. Nature, architecture, and art have all merged int

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Haskell, Heather R. "The Horace Smith Collection of Plaster Casts." Sculpture Review 51, no. 4 (2002): 14–17. http://dx.doi.org/10.1002/j.2632-3494.2002.tb00202.x.

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The George Walter Vincent Smith Art Museum opened to the citizens of Springfield, Massachusetts, in 1896. The museum, modeled after an Italian palazzo, houses the large decorative arts collection of George Walter Vincent Smith (1832–1923) and his wife, Belle Townsley (1845–1928). Smith served as the museum's first curator and combined his vast, diverse collection into consciously assembled still‐life arrangements. Over the years, one gallery within the museum remained devoted to a single art form—the plaster cast.

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Kugusheva, Alexandra Yu. "The lost prewar collection of the Simferopol Art Gallery (1937–1941)." Issues of Museology 12, no. 1 (2021): 28–34. http://dx.doi.org/10.21638/spbu27.2021.103.

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The article highlights the history of the prewar collection of the Simferopol Art Museum in 1937–1941 and notes the most important works of art lost. The events that accompanied the loss of the collection during the Great Patriotic War were repeatedly covered by the museum in publications. According to official data, during the evacuation in October 1941, the boxes with the exhibits and the museum archive were transported to Kerch where they were burnt during a fire in the port caused by the bombing of enemy aircraft. For many years, the museum’s employees Galina I. Fedotova, Natalya D. Dyache

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Lee, Seunghye. "Korea's First Museum and the Categorization of “Buddhist Statues”." Sungkyun Journal of East Asian Studies 21, no. 1 (2021): 51–81. http://dx.doi.org/10.1215/15982661-8873892.

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Abstract The establishment of a museum in the precinct of Ch'anggyŏnggung Palace in 1909 marked an important moment in the historiography of Korean art. Although recent studies have examined the founding, organization, and financing of the first Korean museum, the formation of its Buddhist art collection and its historical implications remain unexamined. Given that not a single Buddhist temple was allowed to exist within the capital city, the entry of these objects into the palace demonstrates a radical paradigm shift in the royal court's relation to Buddhist icons. The museum's Buddhist art c

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Lampens, Dieter, Ingrid De Pourcq, and Peter Rogiest. "Collection development and management in the art library of the Koninklijk Museum voor Schone Kunsten Antwerpen." Art Libraries Journal 33, no. 3 (2008): 12–18. http://dx.doi.org/10.1017/s030747220001542x.

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As stated in its collection policy, the library of the Koninklijk Museum voor Schone Kunsten Antwerpen supports the goals of the museum through collecting, indexing and providing access to documentary information to support art historical research within and outside the institution. The library’s collection development has a double focus: the exhaustive collecting and indexing of collection documentation, and the collecting of information about Western art history from the 13th century up to and including the 20th century (in analogy with the museum collection). While very specialised in conte

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Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the m

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Sunaryo, Sunaryo. "PERANAN MUSEUM DALAM BIDANG KESENIRUPAAN." Perspektif Ilmu Pendidikan 24, no. XV (2011): 188–203. http://dx.doi.org/10.21009/pip.242.8.

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Museum is one of public facilities preserving a collection of cultural heritage from the past to the present time which can be also used for learning purposes. This research aims at knowing and describing how a museum can be benefitted as a learning resource. The research was conducted at Museum Fatahillah in Kota Tua, Jakarta. This museum contains a number of prehistoric collection. Three questions were raised in this research: how the Museum organizes the art works, how is the quality and the quantity of the works on the display, and how the museum can be used as a learning resource. The dat

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Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University

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

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

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Gorzelany-Nowak, Dorota. "Przypadkowa kolekcja starożytności. Muzeum Narodowew Krakowie i jego darczyńcy." Opuscula Musealia 29 (2023): 47–60. http://dx.doi.org/10.4467/20843852.om.22.003.18097.

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The information on collectors responsible for the museum collections is dominated by those who have donated the largest number of or the most spectacular works of art. The collection of ancient art in the National Museum in Krakow (MNK) is mostly known for the museum pieces from the Princes Czartoryski Museum, which had been established by Prince Władysław Czartoryski in 1876, three years before the National Museum in Krakow was opened. It overshadows the collections of the National Museum in Krakow, which were created accidentally thanks to numerous people who, for personal reasons, often wis

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Qafarova, Gunay N. "Azerbaijan National Museum of Art: On the history of foundation." Issues of Museology 13, no. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.

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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibit

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Holii, Roman. "Photographic clichés from the collection of the former Museum of the Lubomirski Princes, which are collected in the Research Institute for Art Library Resources of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 378–91. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-22.

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Vasyl Stefanyk National Scientific Library of Ukraine in Lviv contains a collection of clichés of the Museum of the Lubomirski Princes, liquidated in January 1940. The collection numbered 2910 units, of which 2864 clichés were identified. The dating of the collection covers about a hundred years before 1940. Most of the negatives contain images of art monuments. Therefore, the collection was founded to produce positive photographic and printed images. Probable tasks of the collection: to preserve photographic images of art objects that were in the Museum of the Lubomirski Princes; to save phot

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Himawan, Willy, Setiawan Sabana, and A. Rikrik Kusmara. "Representasi Identitas Bali Pada Koleksi Tetap Museum Neka." Journal of Urban Society's Arts 3, no. 1 (2016): 36–43. http://dx.doi.org/10.24821/jousa.v3i1.1475.

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Pulau Bali memiliki budaya yang unik dengan berbagai artefak. Representasi artefak budaya ditampilkan di museum. Salah satu museum yang memiliki kunjungan wisatawan tertinggi di Bali adalah Museum Neka. Museum sebagai lembaga permanen memiliki koleksi karya seni yang dipilih sesuai dengan kepentingan pemilik institusi, termasuk Museum Neka. Penelitian ini mengamati dan mengkaji representasi visual dari koleksi permanen Museum Neka dan hubungannya dengan identitas Bali. Karya-karya seni yang dikaji dibatasi untuk karya seni rupa khususnya lukisan karena Museum Neka memiliki koleksi terbesar dar

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Bagapova, Nadezhda V. "COLLECTIONS OF ART CAST IRON KUSA IN THE MUSEUMS OF THE URALS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 55 (2024): 249–59. https://doi.org/10.17223/22220836/55/20.

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The paper examines the decorative and applied arts cultural heritage of the Urals – Kusa cast iron art, which existed in the 1860s–2004. The art’s stylistic features and the range were defined in its high period in pre-revolution time. The fact that Kusa plant presented fine art products at major national and international science and art exhibitions promoted the recognition of Kusa cast iron art. This study is aimed at identifying art products in Ural museum collections, presenting Kusa cast iron art as a unique artistic phenomenon, and demonstrating the variety of styles, themes, stylistic a

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Weibel, Peter. "Music, Machines, Media and the Museum." Organised Sound 14, no. 3 (2009): 231–35. http://dx.doi.org/10.1017/s1355771809990197.

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The ZKM|Center for Art and Media in Karlsruhe is called Center because it is a museum and more than a museum. As a museum it has a classical museological function as a support and distribution system: Collection and archive, exhibitions and events. But in addition to it, the ZKM has two institutes for research, development and production (Institute for Music and Acoustics and Institute for Visual Media). The ZKM is a center for all media and for all art forms created in the 20th century. The machine based moving image has shifted the image from the classical position as space based art to time

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Pawlikowska-Gwiazda, Aleksandra. "Terracotta oil-lamps from Egypt's Theban region in the collection of the Metropolitan Museum of Arts, New York." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 31, 2019): 641–57. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.28.

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The group of 17 oil lamps now in the Islamic Art Department collection of the Metropolitan Museum of Art (New York) was excavated in West Thebes in Upper Egypt by the Metropolitan Museum of Art expedition at the beginning of the 20th century. The assemblage was never fully published (apart from being included in the online MeT Collection database). The present paper documents the material in full, examining the collection and proposing in a few cases a new dating based on parallels from other sites.

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Nancarrow, Jane-Heloise. "Democratizing the Digital Collection." Museum Worlds 4, no. 1 (2016): 63–77. http://dx.doi.org/10.3167/armw.2016.040106.

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ABSTRACTThree-dimensional modeling and printing of museum artifacts have a growing role in public engagement and teaching—introducing new cultural heritage stakeholders and potentially allowing more democratic access to museum collections. This destabilizes traditional relationships between museums, collections, researchers, teachers and students, while offering dynamic new ways of experiencing objects of the past. Museum events and partnerships such as the Metropolitan Museum of Art “Hackathon”; the MicroPasts initiative; and Sketchfab for Museums and Cultural Heritage, encourage non-traditio

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Barashkov, V. V. "Collection of Contemporary Christian Art in the Yenisei Historical and Architectural Museum-Reserve named after A. I. Kytmanov: History of Formation and Development Prospects." Concept: philosophy, religion, culture 7, no. 1 (2023): 121–34. http://dx.doi.org/10.24833/2541-8831-2023-1-25-121-134.

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The subject of this study is the works of modern Christian painting, graphics and sculpture on the example of the collection that became part of the Yenisei Museum-Reserve in 2021. The relevance lies in the clarification of a number of theoretical aspects of the dialogue between contemporary art and religion on the example of the interaction of the priest Andrei Yurevich with Siberian artists. The novelty lies in the description of the socio-cultural context of the formation of the collection in the 2000s. In order to identify the main trends in Christian art, the typology method was applied,

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Muliadi, I. Nyoman, and Ida Ayu Suryasih. "PENGELOLAAN MUSEUM ARMA SEBAGAI DAYA TARIK WISATA BUDAYA DI DESA UBUD." JURNAL DESTINASI PARIWISATA 4, no. 2 (2016): 58. http://dx.doi.org/10.24843/jdepar.2016.v04.i02.p11.

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Arma Museum is a museum located in the village of Ubud. When viewed from the type collection Arma Museum categorized as museum of art. Arma Museum as a cultural tourist attraction, hopes to become a cultural center is a place for preserving art and culture, therefore the manager is expected to preserve the art of Balinese culture by means of training, education and organizing events related to art and culture of Bali. That assumption is underlying me to choose this topic for research. The topic is “Management of Arma Museum as Cultural Tourist Attraction in the village of Ubud”. The method use

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Steward, Donald I. "CING 24. Cheltenham Art Gallery and Museum." Geological Curator 4, no. 8 (1987): 520. http://dx.doi.org/10.55468/gc849.

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Cheltenham Art Gallery and Museum allocated £1000 towards the care of their geological collection in 1986-1987, aided by a 45% grant from the Area Museum Council for the South West, following a survey and report by the AMCSW Geological Officer, Mike Taylor. George Breeze, the Director of the Art Gallery and Museum, accepted the recommendation that priority be given to making a start on the basic documentation and registration of the collection, thus eliminating the risk of specimens being dissociated from their labels, and sorting out those which have been. Sylvia Humphrey, who has worked as a

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Dziuban, Roman. "Moving of the сollections of the Lubomirsky museum in 1940". Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, № 13(29) (2021): 264–91. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-16.

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Relevance and purpose. The purpose of the article is to include in the scientific circulation a collection of newly discovered acts and lists of individual collections of the Lubomirsky Museum, which since May 1940 have been submitted to the Lviv Museum Institutions. We believe that these documents deserve further scrutiny and will help identify individual exhibits in the collections of Lviv (and not only Lviv) museums, as well as help locate exhibits that are now considered lost. Research methodology. In order to achieve this, a descriptive method is generally employed. The historical source

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Roden, Rosemary. "CING 2. The Fraser Collection, Wolverhampton Museum." Geological Curator 4, no. 6 (1986): 349. http://dx.doi.org/10.55468/gc276.

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The final phase of the current Fraser collection Rescue Project (started autumn 1984) is now going ahead with the planned opening of a Fraser Geological Gallery at Wolverhampton Museum and Art Gallery. In March 1984 there was much rejoicing in the Art Gallery when the go-ahead was given for the new museum extension. Work started early in December 1985 and the alterations of the old red Polytechnic building into the new galleries is expected to take a year. The plans include a small separate gallery for the Fraser collection, which links thematically with the adjoining local history displays; s

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Balaban, Tatyana S. "Collection of the Chelyabinsk Regional Art Gallery of the 1930s–1940s: Documentary evidence about the fate of the first collection." Issues of Museology 15, no. 1 (2024): 143–68. http://dx.doi.org/10.21638/spbu27.2024.113.

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The article examines the history of the collection of the Chelyabinsk Regional Art Gallery in the period from 1938 to 1947. The collection was formed in the late 1930s and early 1940s in three ways: through the acquisition of works of art from private individuals, through the city’s existing collection of paintings from traveling exhibitions, and through transfers from major art museums (in particular, from the State Russian Museum). Thus, by the beginning of the Great Patriotic War, the fund of the Chelyabinsk Art Gallery consisted of works of domestic and Western European painting and graphi

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Cybelle, Lima. "Fashion in the Museum: The Patrimonialization of the Textile Art Collection of the São Paulo Museum of Art (MASP)." Art Style, Art & Culture International Magazine 12, no. 12 (2023): 75–98. https://doi.org/10.5281/zenodo.8309997.

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Art Style | Art & Culture International Magazine Abstract This paper presents the importance of the collections of clothing and textile artistic artifacts patrimonialized in museum spaces and, therefore, their representations, simultaneously, as vectors for the dissemination of art and fashion culture. This paper describes the research results on the significance of the clothing collection at the São Paulo Museum of Art Assis Chateaubriand (MASP). The focus is on the textile artifacts displayed in the museum, which serve as important means of disseminating art and fashion cultu

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Fagerström, Linda, and Elisabet Haglund. "Mexican Art in Lund’s Museum of Sketches, Sweden." Art and Architecture, no. 42 (2010): 34–43. http://dx.doi.org/10.52200/42.a.2j2whvgo.

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The Mexican collection at Lund’s Museum of Sketches in is an unusual and valuable collection both from a Mexican and from an international perspective: the collection was built by Gunnar Bråhammar in the late 1960s, and counts works by David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco and Juan O’Gorman but also Francisco Eppens, Rufino Tamayo, González Camarena, Raul Angiano, Leopoldo Méndez and Desiderio Xochitiotzin. The article discusses especially “the New Deal” by Rivera, “the Image of Mexico” at the Museo Nacional de Antropología e Historia in Mexico City by Morado Chavez, and “

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Taylor, Michael A. "CING 92. Newport Museum and Art Gallery. Gwent." Geological Curator 5, no. 3 (1989): 110. http://dx.doi.org/10.55468/gc619.

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Geological public service: permanent display; access to reserve collection by appointment to students and researchers; part-time specialist curator; identification service; not a NSGSD record centre. Geological collections: c.1000-5000 specimens; 90% local fossils with some local rocks and minerals; condition of 90% of collection good; unsystematically stored in drawers and cardboard boxes; mostly registered. 1987....

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Vikulova, Vera P. "First Museum in Russia Devoted to N. Gogol Opened in Moscow." Bibliotekovedenie [Russian Journal of Library Science], no. 3 (May 25, 2009): 12–14. http://dx.doi.org/10.25281/0869-608x-2009-0-3-12-14.

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One of main events of the jubilee year was the opening of Gogol’s Museum, first in Russia. Museum holds authentic historical objects and works of art as well as things belonging to Gogol. Museum Collection counts over thousand and a half items and contains unique collections of art materials, rare books and documents, staff and photo materials. Official opening of the museum was held on March 27, 2009.

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Stone, Lisa. "Playing House/Museum." Public Historian 37, no. 2 (2015): 27–41. http://dx.doi.org/10.1525/tph.2015.37.2.27.

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What happens when a historic house museum is owned and operated by an art school, much of the work is done by students, and it is used as a stage for contemporary practices and experimentation? The Roger Brown Study Collection, an instructional resource of the School of the Art Institute of Chicago (SAIC), has operated as an “artists’ museum” for the SAIC community and the public since 1997. Our project has been to rewrite the rules of playing house/museum, to allow the histories of a nineteenth-century building and a twentieth-century artist to perform fully in the twenty-first century.

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Hutama, Gusti Ngurah Kade Wahyu Ari, and I. Gusti Agung Oka Mahagangga. "Pengaruh Tanggapan Di Media Sosial Terhadap Pilihan Koleksi Bagi Pengunjung Interactive Art Museum Bali, Kota Denpasar." JURNAL DESTINASI PARIWISATA 6, no. 2 (2019): 335. http://dx.doi.org/10.24843/jdepar.2018.v06.i02.p21.

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Interactive Art Museum Bali is the new one of tourists attraction in Denpasar City. Although classified as a new tourist attraction, but tourists visit the Interactive Art Museum Bali is always increasing every month. Based on that situation, the research is conducted for analyzing the influence of responses in social media on the collection options for visitors at the tourist attraction of Interactive Art Museum Bali, Denpasar City.  The data used in this research is quantitative data. Data analysis techniques used in this study are correlation analysis. The collected data in this study

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Steward, Donald I. "CING 54. Leicestershire Museum and Art Gallery, Leicester." Geological Curator 5, no. 1 (1988): 23. http://dx.doi.org/10.55468/gc562.

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Geological public service: permanent display, two galleries; access to reserve collection by appointment; five geological staff; identification service; NSGSD record centre for Leicestershire. Geological collections: c.85,000 specimens; good local and general coverage of rocks, minerals and fossils, also maps, manuscripts, personalia and photographs; condition 90% good; systematically stored and most of collection registered; major strengths in Precambrian fossils and Jurassic vertebrates; type, figured and cited material. July 1986....

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Strelnikova, Maria V. "Artworks by Russian street artists in the collection of the Russian Museum." Vestnik of Saint Petersburg State University of Culture, no. 2 (59) (2024): 132–38. http://dx.doi.org/10.30725/2619-0303-2024-2-132-138.

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The institutionalization of street art goes back more than fifty years and the interest of art institutions in it is only growing. This is due to the expansion of the artistic tools of the representatives of the "street wave" and the significant contribution of the pioneers of street art to the world artistic process. Collecting and representing this trend of contemporary art has become an integral part of covering current artistic trends. The Russian Museum is the first domestic institution to present the work of American graffiti artists in its exhibition in 1995. The Russian street art scen

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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Ar

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Zalozhnykh, Yulia Sergeevna. "The main sources of acquisition of works by the Itinerants in the collection of the Kaluga Museum of Fine Arts." Vestnik of Saint Petersburg State University of Culture, no. 1 (62) (2025): 77–82. https://doi.org/10.30725/2619-0303-2025-1-77-82.

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The article is devoted to one of the fundamental areas of museum activity – the process of acquisition of funds. This issue is considered as the example of the formation of a collection of works by artists of the "Association of Traveling Art Exhibitions" in the Kaluga Museum of Fine Arts from 1918 to the beginning of the 21st century. Based on the study of archival documents and documents of internal museum records, four main sources of receipt of items from the collection of artists of the "Association of Traveling Art Exhibitions" to the collection of the Kaluga Museum of Fine Arts, the per

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Kuznetsova, Marfa V. "The Kozma Soldatenkov Art Collection at the Rumyantsev Museum: History and Characteristics of Museumization." Observatory of Culture 20, no. 3 (2023): 291–300. http://dx.doi.org/10.25281/2072-3156-2023-20-3-291-300.

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The article analyzes the role of the art collection of the Moscow Old Believer merchant, publisher and textile manufacturer Kozma Terentyevich Soldatenkov (1818-1901) in the formation of the Moscow Public and Rumyantsev Museums. One of the earliest Moscow collections was assembled by Soldatenkov for nearly 50 years, and was exhibited in his mansion on Myasnitskaya Street. It included works of Russian and Western European art of the mid- and second half of the 19th century. After the collector died in 1901, in accordance with his will, the collection was transferred to the Moscow Public and Rum

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Barkan, Elazar. "Royal Art of Benin: The Perls Collection in The Metropolitan Museum of Art:Royal Art of Benin: The Perls Collection in The Metropolitan Museum of Art." Museum Anthropology 18, no. 1 (1994): 58–60. http://dx.doi.org/10.1525/mua.1994.18.1.58.

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Rodríguez, Cámara Esther. "L'Italia nel Davison Art Center." Wescrive III, Spring 2017 (2017): 10–11. https://doi.org/10.5281/zenodo.3338339.

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This article is about the representations of Italy and the works by Italian artists in the collection of the Davison Art Center, the museum of Wesleyan University in Middletown, Connecticut (USA).

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnograph

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Карлова, Анастасия Ивановна. "Современное искусство в Русском музее: к вопросу об особенностях комплектования фондов". Actual Problems of Theory and History of Art 14 (11 жовтня 2024): 634–43. https://doi.org/10.18688/aa2414-9-53.

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The research is devoted to the problem of the replenishing the collection of contemporary art at the State Russian Museum. The objective was to trace the main stages of the collection’s development from the end of the 19th century (when the museum was founded) until now and to identify the basic features and characteristics of contemporary museum practice in this field. The theoretical understanding of these stages, as presented in the article, allowed to consider the phenomenon of collecting contemporary art in a historical perspective. An examination of the accounting and storage documentati

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Bury, Stephen. "Developing NYARC: the New York Art Resources Consortium." Art Libraries Journal 36, no. 3 (2011): 25–30. http://dx.doi.org/10.1017/s0307472200017028.

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NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.

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Thompson, Barbara. "The African Collection at the Hood Museum of Art." African Arts 37, no. 2 (2004): 14–93. http://dx.doi.org/10.1162/afar.2004.37.2.14.

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Honjo, Michiyo. "How to connect: joining up the archives at Musashino Art University Museum & Library." Art Libraries Journal 38, no. 2 (2013): 17–20. http://dx.doi.org/10.1017/s0307472200017983.

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The Musashino Art University Museum & Library is run in a unique way that has allowed it to function as library and museum in one, ever since its inception. The contents of the digital archives being created at this 50-year-old, multifunctional museum and library are highly diverse, ranging from rare books, held in the library, to design collections, visual resources, and material on folk art, held in the art museum. Together with the University’s Research Center for Art and Design, the Museum & Library is currently creating an integrated database of its holdings, and digitising its ar

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Pudov, Gleb A. "About the works from the collection of architect V. A. Tauber in the department of folk art of the State Russian Museum." Issues of Museology 15, no. 1 (2024): 85–96. http://dx.doi.org/10.21638/spbu27.2024.108.

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The existence of his personal collection is confirmed already in 1925, when he donated to the museum six boxes with disassembled parts of various copper church utensils. After the architect’s death, when being accepted for temporary storage in the Russian museum in 1944, the items were distributed among several departments. Today, some of them are in the folk art department. A variety of metal products from the collection of V. A. Tauber (candles, wedding crowns, keys, locks, candleholder, caskets called “teremki”, brackets, bratina, mace) have not previously been the subject of special resear

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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Pic

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