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Journal articles on the topic 'Contemporary collecting'

Author: Grafiati

Published: 24 June 2021

Last updated: 29 July 2025

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1

Wilson, Margaret. "Contemporary collecting." British Dental Journal 231, no. 8 (2021): 431. http://dx.doi.org/10.1038/s41415-021-3591-x.

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Saunders, Gill. "Collecting the contemporary." Art Libraries Journal 28, no. 4 (2003): 5–11. http://dx.doi.org/10.1017/s0307472200013304.

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How do we define ‘the contemporary’, can we collect it, and if so, how should we do it? A look at some of the issues from the perspective of the Word & Image Department at the Victoria & Albert Museum in London argues for the primacy of the object over the digital surrogate, and investigates the challenges -and opportunities - involved in collecting or representing ‘boundary crossing’ art and design practice. The arguments are illustrated by a selection of recent acquisitions, ranging from book arts, multiples and ‘maps’, to prints, drawings and wallpapers.

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Turner-Pemberton, Bethany. "Collecting Innovation: Innovative Collecting, curated by Bethany Turner-Pemberton, Special Collections Museum, Manchester Metropolitan University, 14 November 2023–29 February 2024." Craft Research 15, no. 2 (2024): 331–40. http://dx.doi.org/10.1386/crre_00137_5.

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Collecting Innovation: Innovative Collecting was a temporary exhibition at the Special Collections Museum, Manchester Metropolitan University, from 14 November 2023 to 29 February 2024. The exhibition featured objects from the museum’s pioneering Material and Process Innovation Collection, a collection of contemporary craft and design objects used in teaching, research and exhibitions across the university and beyond. The exhibition investigated what innovation means in the context of this collection and for wider museum practices. Exhibited in Special Collection’s student-led space, the exhib

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Elsner, J. "Collecting in Contemporary Practice." Journal of the History of Collections 10, no. 2 (1998): 230. http://dx.doi.org/10.1093/jhc/10.2.230.

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Lurie, Nancy Oestreich. "Collecting Contemporary American Indian Art." Museum Anthropology 11, no. 4 (1987): 3–7. http://dx.doi.org/10.1525/mua.1987.11.4.3.

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Williams, Emily Rebecca. "Red Collections in Contemporary China." British Journal of Chinese Studies 11 (June 29, 2021): 71–90. http://dx.doi.org/10.51661/bjocs.v11i0.73.

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“Red Collecting” is a widespread phenomenon in contemporary China. It refers to the collecting of objects from the Chinese Communist Party’s history. Red Collecting has received only minimal treatment in English-language scholarly literature, much of which focuses on individual object categories (primarily propaganda posters and Chairman Mao badges) and overemphasises the importance of Cultural Revolution objects within the field. Because of this limited focus, the collectors’ motivations have been similarly circumscribed, described primarily in terms of either neo-Maoist nostalgia or the purs

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Gabriel, Mille. "New Futures for Old Collections - Contemporary Collecting and Community Involvement at the National Museum of Denmark." Museum and Society 14, no. 2 (2017): 275–93. http://dx.doi.org/10.29311/mas.v14i2.643.

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In recognition of altered global relations since colonial times, the Ethnographic Collections at the National Museum of Denmark have identified a need to redefine their role in society. The Ethnographic Collections explore new ways of activating old collections – ways, which include contemporary collecting, co-curation and dialogue with the communities from where the collections derive. Through three recent projects, this paper revolves around questions such as: How can we make associations between the old collections and contemporary society? How do we prioritize, when collecting the contempo

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Chippindale, Christopher, and David W. J. Gill. "Material Consequences of Contemporary Classical Collecting." American Journal of Archaeology 104, no. 3 (2000): 463. http://dx.doi.org/10.2307/507226.

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9

Alberti, Samuel J. M. M., Elsa Cox, Tacye Phillipson, and Alison Taubman. "Collecting contemporary science, technology and medicine." Museum Management and Curatorship 33, no. 5 (2018): 402–27. http://dx.doi.org/10.1080/09647775.2018.1496353.

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Exell, Karen. "Desiring the past and reimagining the present: contemporary collecting in Qatar." Museum and Society 14, no. 2 (2017): 259–74. http://dx.doi.org/10.29311/mas.v14i2.642.

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The collecting processes in Qatar at state level is intimately linked with the construction of a new Qatari identity for global consumption and national cohesion. At an individual level, collecting can be linked with the desire to preserve the disappearing present in the face of rapid development, as well as representing local traditions of authority and erudition. The national collections created for the first Qatar National Museum institutionalize this process and re-classify the objects as representing the newly constructed ‘Qatari’ identity. The Msheireb Arts Center holds the Echo Memory c

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Knell, S. J. "Collecting and Excavation in Palaeontology." Geological Curator 6, no. 2 (1994): 49–56. http://dx.doi.org/10.55468/gc486.

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Many existing collections no longer fulfil past functions due to the more sophisticated collecting requirements of contemporary science. The reassessment of collecting rigour has also been driven by conservation concerns. Yet museum collecting policy and practice often continue to reflect interests which are external to the requirements of science. In addition the nomenclature applied to the process of collecting is redefined according to collector objectives rather than social level; the role of the collector is divided into field collector and collection assembler; and palaeontological excav

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12

Sackler, EA. "The ethics of collecting." International Journal of Cultural Property 7, no. 1 (1998): 132–40. http://dx.doi.org/10.1017/s0940739198770122.

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The author questions the concepts underlying ethnological collections of art and artifacts in the context of the Native American Graves Protection and Repatriation Act (NAGPRA). Alternatives to traditional Western anthropological and art historical methods of collection and display of sacred Native American material are found in traditional Native American philosophy and practice. The contemporary fashion among curators for contextualization of displayed objects from Indigenous cultures is critiqued in the light of broader ethical concerns regarding the appropriateness of collecting sacred obj

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Andrews, Jamie. "‘LAID ASIDE’? COLLECTING CONTEMPORARY LITERARY ARCHIVES AND MANUSCRIPTS." Archives: The Journal of the British Records Association 35, no. 122 (2010): 11–20. http://dx.doi.org/10.3828/archives.2010.2.

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Абрамович, Ігор. "Contemporary Ukrainian Art and Collecting of 1991–2018." Art Research of Ukraine, no. 18 (December 19, 2018): 198–203. http://dx.doi.org/10.31500/2309-8155.18.2018.152395.

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Marselis, Randi. "Exhibiting Refugee Routes: Contemporary Collecting as Memory Politics." Museum and Society 19, no. 3 (2021): 301–16. http://dx.doi.org/10.29311/mas.v19i3.3155.

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In recent years, numerous European museums have collected objects related to refugees. This article examines the Flight for Life (På Flugt) exhibition (2017), which the National Museum of Denmark organized based on a contemporary collecting project that took place in Greece and Denmark in 2016. Alison Landsberg’s concept of prosthetic memory is made use of here to examine how the exhibition invited visitors to identify with refugees. This empathetic approach had political potential by promoting solidarity with refugees. However, it did not open up a broader contextualization of the collected o

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Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well a

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Herrada, Julie. "Collecting Anarchy: Continuing the Legacy of the Joseph A. Labadie Collection." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 2 (2007): 133–40. http://dx.doi.org/10.5860/rbm.8.2.287.

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The Joseph A. Labadie Collection at the University of Michigan is one of the oldest and most comprehensive collections of radical history in the United States, bringing together unique materials that document past as well as contemporary social protest movements. In addition to anarchism and labor movements, topics that were its original focus, the Collection today is particularly strong in civil liberties (with an emphasis on racial minorities), socialism, communism, colonialism and imperialism, American labor history through the 1930s, the Industrial Workers of the World (IWW or the Wobblies

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Hermkens, Anna-Karina, and Eric Venbrux. "Memorabilia of Colonial Violence and Death." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 179, no. 3-4 (2023): 317–52. http://dx.doi.org/10.1163/22134379-bja10054.

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Abstract Nineteenth-century, private collections of ethnographic artefacts have a bad reputation in anthropology. Appearing to comprise ‘a haphazard assemblage of junk’ (Gathercole 1978:276), anthropologists and others interested in ethnographic objects and collecting have ignored private collections for some time. While Jean Louis Henri Beijens’s collection resembles at first glance a haphazard assemblage not worthy of attention, a closer inspection reveals its historical and contemporary significance. In this article, we offer a glimpse into Beijens’s private military collection, which conta

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Cox, Debbie. "Developing and raising awareness of the zine collections at the British Library." Art Libraries Journal 43, no. 2 (2018): 77–81. http://dx.doi.org/10.1017/alj.2018.5.

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This article presents a practice-based account of collection development related to zines in the British Library. Rather than making the case for the collecting of zines, it aims to describe the process of collection building in a specific time and place, so that researchers have a better understanding of why certain resources are offered to them and others are not, and to share experiences with other librarians with zine collections. Zines form an element of the cultural memory of activists and cultural creators, and for researchers studying them it would seem useful to make transparent the m

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Rupchan, Juliana. "Case For Chapbooks." Partnership: The Canadian Journal of Library and Information Practice and Research 18, no. 2 (2024): 1–8. http://dx.doi.org/10.21083/partnership.v18i2.7560.

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Collecting contemporary poetry is often a low priority for libraries, but interest in poetry is rising, and many library patrons have the potential to become poetry readers. Building a collection of poetry chapbooks can maximize the impact of a renewed poetry collecting effort because the poetry chapbook is an accessible, high-interest, and often low-cost form that captures the cutting edge of the poetic field. I introduce the poetry chapbook and its creative and social functions and describe various avenues for building a chapbook collection, including acquisition strategies, examples of digi

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HUBBERT, JENNIFER. "(Re)collecting Mao: Memory and fetish in contemporary China." American Ethnologist 33, no. 2 (2006): 145–61. http://dx.doi.org/10.1525/ae.2006.33.2.145.

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Mullins, Paul R. "The Banality of Everyday Consumption: Collecting Contemporary Urban Materiality." Museum Anthropology 37, no. 1 (2014): 46–50. http://dx.doi.org/10.1111/muan.12047.

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Neatrour, Anna L., Jeremy Myntti, and Rachel J. Wittmann. "Documenting contemporary regional history: the Utah COVID-19 digital collection." Digital Library Perspectives 36, no. 4 (2020): 403–14. http://dx.doi.org/10.1108/dlp-04-2020-0025.

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Purpose When faced with events, such as the global pandemic of coronavirus disease 2019 (COVID-19), libraries have a unique opportunity to develop a community facing response through born-digital collections. These collections provide challenges for metadata creation, collection development policies, workflows, and digital preservation. This paper aims to provide an overview of the Utah COVID-19 digital collection, with a discussion of impact and lessons learned. Design/methodology/approach This paper provides a case study of a born-digital collection initiative undertaken at the University of

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24

De Visser, Evelien. "Collecting contemporary art in Rotterdam between 1870 and 1892: The international taste of Fop Smit Jr (1815-1892)." Oud Holland – Journal for Art of the Low Countries 136, no. 1 (2023): 49–68. http://dx.doi.org/10.1163/18750176-13601003.

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The extensive international art collection of the now virtually forgotten Rotterdam collector Fop Smit Jr (1815-1892) included as many as 240 contemporary European genre paintings and several works by renowned artists of the Barbizon School. After Smit’s death, his collection was divided among his family. The recent discovery of a two-part album containing photographs of the works of art he owned made it possible to reconstruct his collection for the first time. Based on extensive provenance and archival research, his collection is analysed and placed in the context of collecting contemporary

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Laurenson, Sarah, Calum Robertson, and Sophie Goggins. "Collecting COVID-19 at National Museums Scotland." Museum and Society 18, no. 3 (2020): 334–36. http://dx.doi.org/10.29311/mas.v18i3.3519.

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This opinion piece discusses National Museums Scotland’s first responses to collecting COVID-19. Drawing on perspectives from social history, biomedical science and military history, this short paper contextualizes COVID-related collecting within the contexts of the organization’s programme of contemporary collecting and the nation’s ongoing socio-political journey.

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Axelsson, Bodil. "The Poetics and Politics of the Swedish Model for Contemporary Collecting." Museum & Society 12, no. 1 (2015): 14–28. https://doi.org/10.29311/mas.v12i1.244.

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Between 1977 and 2011 the Swedish organization Samdok presented a nationwide programme for contemporary museum collecting, including an increasingly flexible intellectual and methodological framework. This article considers Samdok, its evolving programmes and self-presentations. It suggests that Samdok’s self-image was one of inclusive progressiveness, social engagement and equality. It also suggests that they display four major rhetorical shifts: from an economic rationale to a social and cultural approach; from studies of a welfare state based on industrial production to fieldwork concerning

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Fan, Juewei. "Reimagining Private Museums: Challenging Collecting Ethics and Shaping Public Cultural Practices in China." Journal of Modern Social Sciences 2, no. 1 (2025): 49–55. https://doi.org/10.71113/jmss.v2i1.161.

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This paper explores the private museum accompany by the collecting craze in contemporary China and examines their impact on public cultural practices. It argues that while much existing research has concentrated on revolutionary events or modern art collections, the emergence of private museums challenges traditional museum narratives and offers a new lens through which to understand the evolving political and social contexts. This study provides a new perspective for understanding the psychological and cultural motivations behind heritage collection, emphasising the importance of material cul

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Diukariev, Т. M. "THE EVOLUTION OF PRIVATE COLLECTING OF UKRAINIAN ART: FROM PATRIOTIC COLLECTIONS OF THE ARISTOCRACY TO CONTEMPORARY ART COLLECTIONS." Scientific notes of Taurida National V.I. Vernadsky University, series Historical Sciences, no. 1 (2025): 397–402. https://doi.org/10.32782/2663-5984.2025/1.55.

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Dudash, Andrew M., and John E. Russell. "Collecting Pennsylvania Political Twitter Data." Pennsylvania Libraries: Research & Practice 9, no. 1 (2021): 4–7. http://dx.doi.org/10.5195/palrap.2021.249.

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During the two most recent elections we have seen the importance of social media, and Twitter in particular, for political discourse. This paper describes the effort of an academic library to collect election-related Twitter data from Pennsylvania-specific organizational accounts and hashtags for 2018 and 2020 in the run-up and aftermath of both election cycles. Because of its importance to understanding contemporary politics and its historic value, libraries need to consider the opportunity to collect and make this data accessible to Pennsylvanians.

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Zuanni, Chiara. "Contemporary Collecting in a Pandemic: Challenges and Solutions for Documenting the COVID-19 Pandemic in Memory Organizations." Heritage 5, no. 4 (2022): 3616–27. https://doi.org/10.3390/heritage5040188.

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Heck, Brigette, and Sonja Thiel. "Collecting Corona (Corona Sammeln)." Annual Review of Museum Anthropology, no. 8 (December 29, 2021): 209–24. http://dx.doi.org/10.12775/zwam.2021.8.12.

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The coronavirus pandemic has posed major challenges to the museum landscape. Not only because their presence was not perceivable for a long period of time, but also because their social significance was re-located. "System relevance" was the characteristic that decided whether a museum was to be opened or closed in Germany. Many of my colleagues working in cultural history museums and in charge of collections got involved in this discussion constructively and used the opportunities to participate in social discourse, collection initiatives, and collegial cooperation. The article gives an overv

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Pihl Skoog, Emma. "The collector as saviour or devastator." Nordisk Museologi 37, no. 2 (2024): 22–36. https://doi.org/10.5617/nm.12075.

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This article explores the collection of archival records in the nineteenth century and its impact on historical archives. The discussion begins with archival theory’s traditional distinction between collections and archives. Where collections are broadly defined to include artifacts, books, media, documents and various materials, contrasting with the more specific categorisations within the archival community of “archives” (or “fonds”) and “artificial collections”. In the context of contemporary archival practices that increasingly embrace collecting while simultaneously questioning the object

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Zuanni, Chiara. "Contemporary Collecting in a Pandemic: Challenges and Solutions for Documenting the COVID-19 Pandemic in Memory Organizations." Heritage 5, no. 4 (2022): 3616–27. http://dx.doi.org/10.3390/heritage5040188.

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This paper draws on a survey of contemporary collecting projects aiming to document the COVID-19 pandemic in museums and other memory organizations. The survey focused on European memory organizations and investigated the practices they adopted in collecting, accessioning, recording, preserving, and displaying material and immaterial witnesses of the pandemic. This paper presents the results of the survey, with a particular attention on the challenges faced by these projects in relation to born-digital objects. It discusses how organizations were able to quickly launch initiatives aimed at col

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Vedder, Ulrike. "Autographen und ihre Faszinationsgeschichte: Von Goethe bis Stefan Zweig." Jahrbuch der Deutschen Schillergesellschaft: Internationales Organ für Neuere Deutsche Literatur 2022, no. 66 (2023): 187–210. http://dx.doi.org/10.46500/83535275-007.

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In the 19th century, collecting autographs represents a widespread fashion, but also a philologically motivated activity. The essay analyzes the literarization and popularization of autograph collecting on the basis of contemporary guidebooks and handbooks as well as on the basis of prose and poems by Goethe, Droste-Hülshoff, Lenau, James, and others. Stefan Zweig’s important autograph collection, which he commented on in several essays, is considered a highlight of this history of fascination.

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Rava, Gabriella. "The ‘dizziness’ of accumulation: how digital collecting is undermining the very meaning of collection." Punctum. International Journal of Semiotics 09, no. 01 (2023): 171–88. http://dx.doi.org/10.18680/hss.2023.0010.

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Much of the previous research on collecting focuses on the resemantization of the object/item when inserted into a series that ‘releases’ it from its functionality and makes it an extension of the subject (Baudrillard 1968; Leone 2015). Digital collecting, however, essentially undermines the relationship between the collector and their collection, especially with the potentially endless accumulation allowed by the digital medium and the possibility it provides to gather items without actually owning them. The criterion of scarcity/rarity that used to prevail in traditional collecting is now re

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Pane, Imam Faisal, and Rahmita Dewi Lubis. "Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.

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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. T

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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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SHUKER, ROY. "Beyond the ‘high fidelity’ stereotype: defining the (contemporary) record collector." Popular Music 23, no. 3 (2004): 311–30. http://dx.doi.org/10.1017/s0261143004000224.

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The popular image of record collectors is of obsessive males, whose ‘train spotting’ passion for collecting is often a substitute for ‘real’ social relationships. This image can draw on some support from academic discussions of collectors and collecting, but it represents only a partial account of record collectors. This paper draws on interviews with sixty-seven self-identified record collectors to show how they demonstrate a complex mix of characteristics: a love of music; obsessive-compulsive behaviour, accumulation and completism, selectivity and discrimination; and self-education and scho

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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline

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Haidenthaller, Ylva. "Collecting Coins and Medals in 18th-Century Sweden." Artium Quaestiones, no. 34 (December 27, 2023): 111–37. http://dx.doi.org/10.14746/aq.2023.34.4.

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During the 18th century, collections of coins and medals were familiar sights. The collectors ranged from scholars to amateurs, men and women and the collectables tempted collectors for various reasons: they signified wealth and knowledge, they rendered historical events or current politics in material form, or they were miniature artworks and financial investments. Also, the visual and material culture that involved collecting coins and medals consisted of cabinets and numismatic publications. But how were numismatic collections amassed, and how were they used? What did it mean to own a coin

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Tisdale, Rainey. "THIS TIME IT’S PERSONAL: CITY MUSEUMS AND CONTEMPORARY URBAN LIFE." City History, Culture, Society, no. 3 (October 30, 2017): 92–96. http://dx.doi.org/10.15407/mics2019.03.092.

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The CAMOC conference that took place in Berlin in 2011, with its theme“Participative Strategies in Capturing the Changing Urban World,” is partof a larger discussion that museums in general—and city museums in particular—have been having recently about our collections and whether theyare serving our current needs. We have been assessing our collections—whatwe own versus what we wish we owned—and we are noticing a disconnect.Most of our collections were formed at the turn of the twentieth century, andwe’re having a lot of trouble making them fit the stories we want to tell aboutour cities here

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Alberti, Samuel J. M. M., Stephen Allen, Xavier Dectot, and Ruth Gill. "Reflecting the Now: Project Management and Contemporary Collecting in a Multi-disciplinary Museum." Museum and Society 15, no. 3 (2018): 324–42. http://dx.doi.org/10.29311/mas.v15i3.2427.

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Nearly two million visitors a year will pass through the new permanent galleries of the National Museum of Scotland in Edinburgh. This article reflects on the planning and collecting that presaged their redevelopment in the context of twenty-first century museum practice in the UK. We focus in particular on two elements: firstly, the fundamental project management work that underpins any development of this kind. Were established methodologies and practices conducive to open-ended, outcomes-based objectives such as research? Secondly, we ask this question specifically in relation to contempora

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Sterrett, Jill. "Collecting the New: Museums and Contemporary Art: Edited by Bruce Altshuler." Curator: The Museum Journal 50, no. 2 (2007): 265–67. http://dx.doi.org/10.1111/j.2151-6952.2007.tb00270.x.

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Wali, Alaka. "Collecting Contemporary Urban Culture: An Emerging Framework for the Field Museum." Museum Anthropology 37, no. 1 (2014): 66–74. http://dx.doi.org/10.1111/muan.12044.

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Szafrański, Wojciech. "‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’ PROGRAMME. PART TWO: APPLICANTS/ COLLECTIONS AND RESULTS/EVALUATION." Muzealnictwo 63 (August 3, 2022): 87–94. http://dx.doi.org/10.5604/01.3001.0015.9451.

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The ‘National Collections of Contemporary Art’ Programme of the Ministry of Culture and National Heritage constitutes an interesting case of a systemic solution to the question of financing museum collections’ purchases. Its implementation demonstrated changeability of action (both from the point of view of the applicants, and Programme’s evaluators and organizer), while at the same time the genuine assumptions were maintained, namely the support provided to the major museums, most often newly established, whose statutory goal would be and is collecting contemporary art. Turning points in the

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Zuhirsyan, Muhammad, Nurlinda Nurlinda, Irwan Musriza, and Supaino Supaino. "PENGHIMPUNAN DANA ZAKAT MELALUI BANK KONVENSIONAL DALAM PERSPEKTIF FIKIH MUAMALAH." Jurnal Hukum Kaidah: Media Komunikasi dan Informasi Hukum dan Masyarakat 22, no. 3 (2023): 453–69. http://dx.doi.org/10.30743/jhk.v22i3.7017.

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This paper aims to analyze the problem of collecting zakat funds in the management of contemporary zakat funds through conventional banks from the perspective of muamalah fiqh. This research is a field study with data collection methods in research using observation observations with data analysis used using descriptive analysis based on the analysis of muamalah fiqh principles regarding contemporary zakat fundraising. The results of the study show that empowering Islamic banking in collecting and even managing it is a necessity that zakat managers must provide Islamic bank accounts in an effo

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Christodoulou, Perikles, Simina Bădică, Raluca Bem Neamu, and Jitka Mlsová Chmelíková. "Tomorrow’s History in the Museum. Collecting Testimonies of Current Events for the House of European History." Culture. Society. Economy. Politics 2, no. 2 (2022): 63–79. http://dx.doi.org/10.2478/csep-2022-0011.

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Abstract Contemporary collecting relies on the expertise of museum professionals. They identify, acquire, and safeguard current objects and testimonies that can illustrate and challenge history writing in the future. This paper presents the contemporary collecting endeavours of the House of European History—a museum that opened its doors in Brussels in 2017, as an academically independent project of the European Parliament. It contributes to the current discussion on best practices in collecting materials relevant to present-day society and documenting history in the making. In particular, it

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Jasińska, Anna, and Artur Jasiński. "The Starmach Gallery in Kraków: The Gallery of Contemporary Art in a Former Jewish House of Prayer." Muzeológia a kultúrne dedičstvo 13, no. 1 (2025): 67–86. https://doi.org/10.46284/mkd.2025.13.1.4.

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The adaptation of the former Jewish Zucker House of Prayer as a gallery of contemporary art is a unique phenomenon due to both the complicated history of the heritage building itself and the unique personality of the current owner. Andrzej Starmach, an art dealer and collector in one, has gathered an extraordinary collection of contemporary Polish art, managing to stay ahead of popular trends. For many years, the Starmach Gallery was a lone beacon of culture in the run-down Podgórze district, which is now flourishing, becoming a location of numerous museums. Through their recent donation of th

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Ganikhujaeva, Arofat. "CONTEMPORARY INTERACTIVE METHODS FOR TEACHING INTEGRATED SKILLS TO YOUNG LEARNERS." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 3, no. 7 (2023): 126–29. https://doi.org/10.5281/zenodo.8149101.

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The study uses a combination of qualitative and quantitative research methods. Qualitative methods involve collecting and analyzing subjective information, such as interviews and observations, to gain a deeper understanding of the effectiveness of interactive teaching techniques. Quantitative methods involve collecting and analyzing objective data, such as test scores, to measure the impact of these techniques on language proficiency.The study begins by defining professional language proficiency and identifying the specific language skills This provides a framework for selecting and designing

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Teece, Denise-Marie. "Monsoon Winds and Ming Porcelains: Chinese Ceramics and Their Reception in Early Modern South Asia." Muqarnas Online 40, no. 1 (2024): 103–53. http://dx.doi.org/10.1163/22118993_0040_006.

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Abstract This essay will explore the arrival, acquisition, and reception of Chinese ceramics within early modern South Asia, with a focus on the Mughal dynasty (r. 1526–1857) courtly context. The first step in placing South Asian ceramic collecting practices within the broader historical and geographic circulation of porcelains in the Gulf and Indian Ocean worlds is understanding the breadth and nature of South Asian collections. While the Safavid porcelain collections donated by Shah Abbas to Ardabil, and the massive Chinese porcelain collection of the Ottoman courts held today in Istanbul’s

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