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Journal articles on the topic 'Dallas Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

Toth, Georgina Gy. "THE WENDY AND EMERY REVES COLLECTION: DALLAS MUSEUM OF ART." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 4 (December 1986): 185. http://dx.doi.org/10.1086/adx.5.4.27947689.

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2

Gnisci, Jacopo. "Crosses from Ethiopia at the Dallas Museum of Art: An Overview." African Arts 51, no. 4 (November 2018): 48–55. http://dx.doi.org/10.1162/afar_a_00432.

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3

ROELL, TALITA, VALÉRIE A. LEMAÎTRE, MICHAEL D. WEBB, and LUIZ A. CAMPOS. "An annotated and illustrated Type Catalogue of the predacious Shieldbugs (Hemiptera: Heteroptera: Pentatomidae: Asopinae) in the Collection of the Natural History Museum, London." Zootaxa 5232, no. 1 (February 3, 2023): 1–102. http://dx.doi.org/10.11646/zootaxa.5232.1.1.

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We present an annotated and illustrated type catalogue of the predacious shieldbugs (Hemiptera: Heteroptera: Pentatomidae: Asopinae), housed in the collection of the Natural History Museum, London. This work involves recognising types and their status, recording their label data and providing images of both the types and their labels. Although we personally refrain from designating lectotypes as the International Code of Zoological Nomenclature recommends that it should be done “as part of a revisionary or other taxonomic work” (ICZN 1999: Recommendation 74G), we have nevertheless accepted that lectotypes were designated before 2000 (see ICZN 1999: Art. 74 §§ 5 and 6), for the following 43 species: by Distant (1880) for Apateticus halys Dallas, Arma fuscescens Dallas, Arma modesta Dallas, Arma tincta Dallas, Oplomus rutilus Dallas, Oplomus ventralis Dallas, Stiretrus ornatus Dallas, Stiretrus ruficeps Dallas; by Synave (1969) for Mecosoma floridum Distant and Podisus volxemi Distant; by Thomas (1992) for Arma ampla Walker, Arma grandis Dallas, Arma lateralis Walker, Arma nigrispina Dallas, Arma obscura Dallas, Mormidea semialba Walker, Oplomus equestris Distant, Oplomus festivus Dallas, Oplomus nigripennis Dallas, Oplomus pulcher Dallas, Oplomus stellatus Distant, Oplomus violaceus Dallas, Platynopus conspersus Walker, Podisus amulae Distant, Podisus falcatus Distant, Podisus gaumeri Distant, Podisus insignis Distant, Podisus nigriventris Distant, Podisus sculptus Distant, Podisus smithi Distant, Stiretrus annulatus Distant, Stiretrus caeruleus Dallas, Supputius typicus Distant, Tynacantha marginata Dallas, Tynacantha splendens Distant, Zicrona cuprea Dallas and Zicrona marginella Dallas; and by Thomas (1994) for Anasida funebris Distant, Damarius bicolor Distant, Neoglypsus opulentus Distant, Neoglypsus viridicatus Distant, Incitatus primus Distant, and Jalloides versicolor Distant. We have also found out that Synave (1969) had designated the lectotype of Glypsus erubescens Distant before Linnavuori (1975). A syntype of Oplomus distinctus Distant, 1880 is located and Thomas’s (1992: 57) synonymy of this species with O. catena (Drury, 1782) is confirmed. Informations regarding labels used by the first five curators of Hemiptera at the Natural History Museum, London (Adam White, William S. Dallas, Francis Walker, William L. Distant and William E. China) are provided. In total, we list herein 248 specimens examined in NHMUK (49 holotypes, 41 lectotypes, 84 syntypes, 17 paratypes, 25 paralectotypes, and 32 non-types which are historical specimens), representing 149 nominal species or 104 currently valid species (ca. 34% of the just over 300 valid Asopinae species worldwide).

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4

SIMPSON, E. "Ancient Gold Jewelry at the Dallas Museum of Art * Ancient Jewelry and Archaeology." Journal of Design History 12, no. 3 (January 1, 1999): 293–97. http://dx.doi.org/10.1093/jdh/12.3.293.

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5

Pico, Ramón. "AERIAL ART, THE NEW LANDSCAPE OF ROBERT SMITHSON." JOURNAL OF ARCHITECTURE AND URBANISM 43, no. 2 (January 15, 2020): 181–91. http://dx.doi.org/10.3846/jau.2019.10354.

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Aircraft were to play a decisive role in the short career of Robert Smithson. In 1969, when he published his article Aerial Art, Walther Prokosch, an architect specializing in aviation, put him in contact with TAMS engineering. This gave rise to his involvement in a land altering operation as vertiginous and brutal as the construction of Dallas Fort-Worth International Airport. At that point Smithson became aware of the human capacity to transform Mother Earth and the importance of contemplation from the air. He incorporated these interests into his artistic creation, thus paving the way for earthwork, crucial to the evolution of Land Art. The study of the documents included among Robert Smithson’s Papers at the Smithsonian Museum of American Art allows us to reconstruct a history that shared interests and concerns with Moholy-Nagy’s New Vision or Le Corbusier’s Loi du Méandre.

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6

Rosa, John. "Small Numbers/Big City: Innovative Presentations of Pacific Islander Art and Culture in Phoenix, Arizona." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 59–78. http://dx.doi.org/10.36650/nexus5.1_59-78_rosa.

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This resource paper provides an overview of how the small but growing Pacific Islander and Asian American community in Phoenix has sustained, developed, and preserved its culture and art in the absence of a permanent AAPI art or cultural museum. This article gives examples of such alternative formats and includes details on dance, music, and other folk cultural practices. Metropolitan statistical areas with AAPI populations comparable to Phoenix include Minneapolis, Atlanta, and Dallas. Phoenix community groups use small, temporary displays at annual AAPI cultural festivals. One approach is a ?museum on wheels? ? a used tour bus filled with certified reproductions of artifacts on loan from the Bishop Museum in Honolulu. Native Hawaiians also collaborate with the more numerous Native American organizations that can provide venues for indigenous arts. Universities and state humanities councils are frequent sources of funding for AAPI artists. MSAs with Pacific Islander populations most comparable to Phoenix (in the range of 10,000 to 15,000) are the U.S. Southwestern cities of Las Vegas and Salt Lake City. Pacific Islanders in these cities might be most likely to employ display formats and strategies similar to those used in Phoenix.

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7

Chen, Si, Zi Long Ma, and Lei Cao. "Analysis of Peter Walker’s Modern-Classical Landscape Design Method." Applied Mechanics and Materials 209-211 (October 2012): 341–45. http://dx.doi.org/10.4028/www.scientific.net/amm.209-211.341.

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Influenced by Le Notre Garden, Peter Walker’s works brought forward the landscape architectural modernism movement while embracing classical elements. Most of his works have geometric and symmetrical layout with axis and specifics to sites. Modern materials, dynamic and static waterscape, geometric shaped plants and sculptures are common elements of his design. This paper analyzed the innovative style and features of Peter Walker’s five modern-classical landscape works: Burnett Park (Fort Worth, Texas, USA), Garden of Kempinski Hotel (München, German), Toyota City Museum of Art (Toyota City, Aichi, Japan), IBM Solana (Dallas, Texas, USA) and Cambridge Center Roof Garden (Cambridge, Massachusetts, USA).

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8

DiTillio, Jessi. "The Power of Gold: Asante Royal Regalia from Ghana, curated by Roslyn A. Walker, Dallas Museum of Art, Dallas, TX April 15–August 12, 2018." African Arts 52, no. 2 (June 2019): 87–89. http://dx.doi.org/10.1162/afar_r_00467.

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9

Rodríguez-Negrón, Iraida. "“A true Patron without any pretense of being one”: William H. Stewart, His Album, and His Friends from the Modern Spanish School in Nineteenth-Century Paris." Nineteenth Century Studies 33, no. 1 (December 1, 2021): 217–41. http://dx.doi.org/10.5325/ninecentstud.33.0217.

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Abstract The art collection of William H. Stewart (1820–97), an American expatriate who lived in Paris during the second half of the nineteenth century, comprised more than two hundred paintings by contemporary American and European artists and was lauded as the most outstanding compilation of works by artists of the modern Spanish school. Following the collection’s dispersal at auction in 1898, Stewart’s reputation as a patron began to diminish. This essay aims to rehabilitate Stewart, further the appreciation of his contributions, and shed light on the connections he established with some of the most popular artists of the period, especially those of Spanish origin living in Paris. These relationships are highlighted in “The Stewart Album,” now in the collection of the Meadows Museum in Dallas, Texas. This extraordinary compendium of primary sources is a testament to Stewart’s connoisseurship and taste and the important place he occupied in the international art scene during the last four decades of the nineteenth century. By considering the material within the album together with other contemporary sources, a clearer picture of a formidable artistic patron emerges, one who not only developed personal relationships with artists but also promoted Spanish art and culture among his American friends.

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10

Pace, Tom. "Assassination and Commemoration: JFK, Dallas, and the Sixth Floor Museum at Dealey Plaza StephenFagin. Norman: University of Oklahoma Press, 2013." Journal of American Culture 39, no. 1 (March 2016): 82–83. http://dx.doi.org/10.1111/jacc.12451.

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11

Imperato, Pascal James. "Roslyn Adele Walker. The Arts of Africa at the Dallas Museum. New Haven and London: Dallas Museum of Art/Yale University Press, 2010. 320 pp. Map. Color and Black-and-White Photographs. Bibliography. Index. $75.00. Cloth. - Frederick John Lamp, Amanda M. Maples, and Laura M. Smalligan. With Essays by Michael Kan and Susan Vogel. Accumulating Histories: African Art from the Charles B. Benenson Collection at the Yale University Art Gallery. New Haven: Yale University Art Gallery, 2012. 326 pp. Color and Black-and-White Photographs. Index of Cultures, Index of Provenance, and Index of Exhibitions. Sources. $75.00. Cloth." African Studies Review 55, no. 3 (December 2012): 198–99. http://dx.doi.org/10.1017/s0002020600007332.

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12

Jung, Jacqueline. "Bryan C. Keene and Alexandra Kaczenski, Sacred Landscapes: Nature in Renaissance Manuscripts. Los Angeles: J. Paul Getty Museum 2017. Pp. 111; many color figures. $24.95. ISBN: 978-1-6060-6564-4. Nicole R. Myers, ed., Art and Nature in the Middle Ages, with contributions by Michel Pastoureau, Elisabeth Taburet-Delahaye, and Michel Zink. New Haven: Yale University Press for the Dallas Museum of Art, 2016. Paper. Pp. 134; many color figures. $35. ISBN: 978-0-3002-2705-5." Speculum 95, no. 2 (April 1, 2020): 578–81. http://dx.doi.org/10.1086/708631.

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13

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

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

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14

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

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15

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

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16

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

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17

Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

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18

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

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19

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

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20

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

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21

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

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22

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

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23

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

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24

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

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25

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

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

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26

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

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27

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

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28

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

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

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29

Duncum, Paul. "What, Even Dallas? Popular Culture within the Art Curriculum." Studies in Art Education 29, no. 1 (1987): 6. http://dx.doi.org/10.2307/1320452.

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30

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

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31

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

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32

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

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33

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

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34

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

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35

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

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36

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

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37

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

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38

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

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39

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

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

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40

Gaber, Tammy. "Islamic Art and the Museum." American Journal of Islam and Society 31, no. 2 (April 1, 2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.

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This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...

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41

Camilla Jalving. "Utopia at the Art Museum:." Utopian Studies 22, no. 2 (2011): 360. http://dx.doi.org/10.5325/utopianstudies.22.2.0360.

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42

Gurian, Elaine Heumann. "Kelvingrove Art Gallery and Museum." Curator: The Museum Journal 50, no. 3 (July 2007): 358–61. http://dx.doi.org/10.1111/j.2151-6952.2007.tb00278.x.

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43

Železnik, Adeia. "Art Museum Education in Transition." Journal of Museum Education 37, no. 3 (September 2012): 31–42. http://dx.doi.org/10.1080/10598650.2012.11510740.

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44

Persaud, R. "Art: The Museum of Emotions." BMJ 320, no. 7246 (May 20, 2000): 1413. http://dx.doi.org/10.1136/bmj.320.7246.1413.

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45

Foden-Lenahan, Erica. "Viewpoint: educating art museum librarians?" Art Libraries Journal 33, no. 1 (2008): 3–4. http://dx.doi.org/10.1017/s0307472200015145.

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46

Dale, Daniel A., and Brenae L. Bailey. "Physics in the Art Museum." Physics Teacher 41, no. 2 (February 2003): 82–83. http://dx.doi.org/10.1119/1.1542042.

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47

Campbell, Siobhan. "Kamasan Art in Museum Collections." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 170, no. 2-3 (January 1, 2014): 250–80. http://dx.doi.org/10.1163/22134379-17002001.

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48

Harney, Elizabeth. "National Museum of African Art." African Arts 35, no. 4 (December 1, 2002): 89. http://dx.doi.org/10.1162/afar.2002.35.4.89.

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49

"Gods, men, and heroes: ancient art at the Dallas Museum of Art." Choice Reviews Online 35, no. 03 (November 1, 1997): 35–1309. http://dx.doi.org/10.5860/choice.35-1309.

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50

"The arts of Africa at the Dallas Museum of Art." Choice Reviews Online 47, no. 10 (June 1, 2010): 47–5436. http://dx.doi.org/10.5860/choice.47-5436.

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