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Journal articles on the topic 'Department of Art History'
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1
Petricioli, Ivo. "Department of Art History, University of Zadar, Croatia." Ars Adriatica, no. 3 (January 1, 2013): 111. http://dx.doi.org/10.15291/ars.464.
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Kotliarov, Petro. "On the Fifth Anniversary since the Founding of the Department of Art History." Text and Image: Essential Problems in Art History, no. 2 (2020): 6–14. http://dx.doi.org/10.17721/2519-4801.2020.2.01.
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In 2020, we celebrate the fifth anniversary since the founding of the Department of Art History of Taras Shevchenko National University of Kyiv. In this essay, I highlight the Department’s most important features and achievements. Interdisciplinary and cultural-historical approaches are without doubts the basis for the Department’s teaching and research activities. Interdisciplinarity means involvement of theory and methods of semiotics, structural anthropology, psychology, iconology etc. I shortly describe the curriculum of our Bachelor and Master’s programmes. The former is built around the main stages of Ukrainian and Western art history while the latter is almost entirely dedicated to contemporary art and curatorial practice. Apart from these programmes, we offer a unique possibility to meet specialists from different fields through the series of lectures titled ‘Work in art’. Curators, art managers, museum professionals are invited to share their experience and answer the questions of all lectures’ attendees. Students, too, have the possibility to work in the museums and galleries of Kyiv and to visit annually the most important collections in Italy and Austria. Research and teaching activities have definitely resulted in the creation of a dynamic and stimulating academic milieu at the Department. Moreover, the fact that our alumni fruitfully work in the arts is the best recommendation for the Department’s strategy of development.
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Burke, Peter. "Art and History, 1969–2019." Journal of Interdisciplinary History 50, no. 4 (February 2020): 567–86. http://dx.doi.org/10.1162/jinh_a_01486.
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The 1960s and 1970s marked a turning point in the encounters between generalist historians and art historians regarding the study of art. Before that moment, art history, from its very inception as an independent department in universities, had been entirely distinct from the discipline of generalist history. However, three case studies—art and the Reformation, the rise of the art market, and the proliferation of political monuments—reveal the convergence between the two disciplines that has unfolded during the last half-century, culminating in recent discussions of agency and attempts to answer the question, What is Art?
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Stelmashchuk, Halyna. "Department of history and theory of art of the Lviv national Academy of arts: the role of academician of the Yakym Zapasko in the creation of the Department of history of art and the dissertation Council, history, achievements, perspectives." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 4–18. http://dx.doi.org/10.37131/2524-0943-2019-39-01.
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The article is devoted to the history, achievements and prospects of the Department of history and theory of arts of Lviv National Academy of Arts. Emphasis is placed on the role of the doctor of arts, Professor, academician of Yakуm Zapasko in the creation of the graduate school, graduate Department of Historу and Theory of Art and the dissertation Committee LNAM. The publication has an informative value.
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Polli, Kadi. "Autumn School of The University of Tartu’s Department of Art History: Art and Beauty." Baltic Journal of Art History 8 (December 30, 2014): 198. http://dx.doi.org/10.12697/bjah.2014.8.06.
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Scalissi, Nicole, Alison Langmead, Terry Smith, Dan Byers, and Cynthia Morton. "Curatorial Practice as Production of Visual & Spatial Knowledge: Panel Discussion, October 4, 2014." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 143–57. http://dx.doi.org/10.5195/contemp.2015.151.
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The following is a transcription of a conversation between curators of art, science, and digital data about how their practice creates knowledge in their respective fields. Drawn from Pittsburgh’s rich institutional resources, the panelists include Dan Byers, (then) Richard Armstrong Curator of Contemporary Art, Carnegie Museum of Art; Dr. Alison Langmead, Director, Visual Media Workshop, Department of History of Art and Architecture, and Assistant Professor, School of Information Scienes, University of Pittsburgh; Dr. Cynthia Morton, Associate Curator of Botany, Carnegie Museum of Natural History; and Dr. Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh. Moderated by Nicole Scalissi, PhD candidate, Department of History of Art and Architecture, University of Pittsburgh. The panel took place as a part of Debating Visual Knowledge, a symposium organized by graduate students in Information Science and History of Art and Architecture at the University of Pittsburgh, October 3-5, 2014. The transcription has been edited for clarity.Curatorial Practice as Production of Visual & Spatial Knowledge
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Rajavee, Holger. "Myth. Genius. Art: The Autumn School of Department of Art History of the University of Tartu." Baltic Journal of Art History 10 (December 28, 2015): 167. http://dx.doi.org/10.12697/bjah.2015.10.08.
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Smith, Terry, and Saloni Mathur. "Contemporary Art: World Currents in Transition Beyond Globalization." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 163–73. http://dx.doi.org/10.5195/contemp.2014.112.
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An edited transcript of a colloquium between Terry Smith, Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, and Saloni Mathur, Associate Professor of the History of Art, University of California, Los Angeles, held at the Department of the History of Art and Architecture, University of Pittsburgh, on October 17, 2012.
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Garay, Kathleen, and Madeleine Jeay. "McMaster University." Florilegium 20, no. 1 (January 2003): 99–101. http://dx.doi.org/10.3138/flor.20.027.
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Medieval studies are an established part of the curriculum in the Departments of English, French and History at McMaster University. The Middle Ages also figure in courses offered by the Department of Religious Studies. Unfortunately, however, the medieval period is not specifically addressed in the Departments of Philosophy, Music and Art History where the discipline is limited to mentions in survey courses. Overall, we do not have great reason to complain about the present situation. However, we have certainly experienced a loss of scholars over recent years, a loss which is especially marked in the Department of English. We have no assurance that existing positions will be filled when several of the incumbents retire within the next five years.
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Valiev, Niiaz, Vladimir Propp, and Aleksandr Vandyshev. "The 100th Anniversary of the Department of Mining Engineering of UrSMU." Izvestiya vysshikh uchebnykh zavedenii Gornyi zhurnal 1, no. 8 (December 21, 2020): 130–43. http://dx.doi.org/10.21440/0536-1028-2020-8-130-143.
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The article is dedicated to the history of the Department of Mining Engineering establishment and development. The Department of Mining Arts used to be its original name. The department has been reformed several times over its centennial history. In 1931 the country was in urgent need in engineers with narrow specializations and the department was divided into 6 departments: sheet deposits development, ore mining, mine construction, mine aeration and work safety, mine transport, and industrial management. Each of the departments still exists making its contribution to high-skilled mining engineers training. The departments of sheet deposits development and ore mining were an exception, as soon as they amalgamated 78 years later to establish the Department of Mining Engineering in 2009. Over the entire period of its existence, the departments of mining art-mining engineering have trained more than 10 thousand mining engineers, including 52 thousand specialists for foreign countries. The graduates have been working successfully in all regions of the Soviet Union and still work for mining enterprises in Russia and abroad. There are 2 academicians, 18 Doctors of Science, more than 60 PhDs, 3 Lenin and State Prize laureates, 6 Heroes of Socialist Labour, 2 Deputy Ministers of the Government of the Russian Federation, local Government Chairmen, and Governors of the regions of the Russian Federation among the graduates of the department.
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Oh, Younjung. "Oriental Taste in Imperial Japan: The Exhibition and Sale of Asian Art and Artifacts by Japanese Department Stores from the 1920s through the Early 1940s." Journal of Asian Studies 78, no. 1 (February 2019): 45–74. http://dx.doi.org/10.1017/s0021911818002498.
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From the 1920s to the early 1940s, Japanese department stores provided Japanese urban middle-class households with art and artifacts from China, Korea, Taiwan, and Southeast Asia. The department stores not merely sold art and artifacts from Japan's Asian neighbors but also promoted the cultural confidence to appreciate and collect them. At the same time, aspiring middle-class customers satisfied their desire to emulate the historical elite's taste for Chinese and other Asian objects by shopping at the department stores. The aesthetic consumption of Asian art and artifacts formulated a privileged position for Japan in the imperial order and presented the new middle class with the cultural capital vital to the negotiation of its social status. This article examines the ways in which department stores marketed “tōyō shumi” (Oriental taste), which played a significant role in the formation of identity for both the imperial state and the new middle class in 1920s and 1930s Japan.
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Maiste, Juhan, and Kadri Asmer. "Looking Back at the Roots of University of Tartu’s Department of Art History." Baltic Journal of Art History 20 (December 27, 2020): 5–7. http://dx.doi.org/10.12697/bjah.2020.20.00.
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Lipoglavšek, Marjana. "Art libraries in Slovenia." Art Libraries Journal 20, no. 1 (1995): 22–23. http://dx.doi.org/10.1017/s0307472200009202.
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Present day Slovenia has inherited a number of historic libraries and collections, one of which provided the foundations of the National and University Library at Ljubljana, the major library for arts and humanities. There are also a number of specialised art libraries within and outside the University of Ljubljana, including the library of the University’s Department of Art History, the Library of the Academy of Fine Arts, and the libraries of the National Museum, the Museum of Modern Art, and the Museum of Architecture, all in Ljubljana. Slovenian libraries have been or are being automated and linked together through the COBISS network; most of the academic libraries are connected to the Internet. Library training programmes are available at degree level, and students can study another subject, such as art history, as well. More art librarians are needed, as is an association of art libraries and art librarians.
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Friedman, Robert Marc. "Tolerance and integrity at Johns Hopkins." Historical Studies in the Physical and Biological Sciences 37, no. 2 (March 1, 2007): 463–74. http://dx.doi.org/10.1525/hsps.2007.37.2.463.
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The Department of History of Science at Johns Hopkins shaped by Harry Woolf and Robert H. Kargon brought together diverse scholars who nevertheless shared a basic outlook. Historical questions and scholarly craft took precedent over theo-retical or historiographic positioning. At the same time, students were allowed great freedom to explore and develop new perspectives for analyzing science historically. When Russell McCormmach arrived in Baltimore in the fall of 1972, he joined a departmental culture of intellectual tolerance and forthright expres-sion. In paying homage to Russ and the department I illuminate the departmental culture into which Russ entered, Russ's seminars and academic mentoring, and .nally Russ's vision for combining art and scholarship. Russ shared a deep affection for solid conceptual history of physics while supporting our ventures into new historiographic terrain.
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Beniakh, Nataliia. "Glass Art Department at Lviv National Academy of Arts: unique centre of contemporary glassmaking." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 53–56. http://dx.doi.org/10.37131/2524-0943-2019-41-04.
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The preconditions for the emergence of professional art education in the field of art glass in Lviv and Galicia are considered. The history of artistic glass and its influence on the development of the modern center in Lviv on the basis of the Lviv National Academy of Arts is analyzed. The history of the Department began in 1961 with an experiment, when at Lviv State Institute of Applied and Decorative Art (today Lviv National Academy of Arts) a small department of plastic and glass art was opened. Full formation of the unit took place in 1963–1964 and corresponded to the needs of provision with the specialists of experimental workshop of glass art of Lviv Experimental Ceramic and Sculpture Factory of those times. The curriculum of basic art disciplines is formed in accordance with the specificity of the material – glass art and is focused on consideration of the importance of imaginative or constructive thinking, according to selected specialized direction. For decades, the staff of the Glass Department keep contact with glass artists in the whole world, participates in organization of international symposiums and exhibitions, meetings with students, lectures, workshops with the participation of the most famous artists in the world. Since 1989, the teachers and staff of the Department have been actively participating in the organization of International Symposiums of Blown Glass that are the most long-lasting continuous forums of glass artists in the world nowadays. On the base of the Department, mini-symposiums for students took place, and in 2013 and 2016, a scientific and creative workshop (glass-melting furnace) became the main base for the work of famous glass artists from different countries of the world. Every three years the students have an opportunity to observe the work of the most world well-known glass artists from various countries, participate in workshops and lectures. The purpose of the article is to analyze the activities of the Department of Art Glass of the Lviv National Academy of Arts in the modern studio movement.
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Walton, Neil. "The Journal Block and Its Art School Context." Arts 7, no. 4 (November 5, 2018): 74. http://dx.doi.org/10.3390/arts7040074.
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This paper examines an important moment in the recent history of UK art education by examining the magazine Block, a radical and interdisciplinary publication produced from within the art history department of an art school in the late 1970s and 1980s. Block was created and edited by a small group of lecturers at Middlesex Polytechnic, most of whom were art school educated; it was formed by, and in turn influenced, the milieu of studio-based art education in the UK. Despite the small scale of its operation, the magazine had a wide distribution in art colleges and was avidly read by lecturers looking for ways to incorporate new theoretical, often Marxist, feminist, poststructuralist, perspectives into their teaching.
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Belting, Hans. "The Museum of Modern Art and the History of Modernism." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.
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Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, since its curators were tempted to exhibit its own collection, so unique up until the sixties, in the new exhibition halls. This launched a dilemma for MoMA, as it became a place for past art with little space for new art. In an in-depth analysis of what constitutes “modern” art in the context of the preeminent questions circulating in the art world during this time—When was modern art? and Where was modern art?—the author presents a focused chronology of the administration of MoMA under the museum’s first director, Alfred Hamilton Barr Jr. (1929–43), and, later, William Rubin, director of the Department of Painting and Sculpture (1968–88), with regard to their influence on the museum’s mission, exhibitions, and international profile. The author concludes with commentary on contemporary changes in art geography and contemplation on the effect on artists of the emergence of a global art market.
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McWebb, Christine. "University of Alberta." Florilegium 20, no. 1 (January 2003): 59–61. http://dx.doi.org/10.3138/flor.20.015.
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Apart from numerous survey courses such as the Histories of Medicine, of Technology, of Art, and the Literature of the European Tradition—all of which span several centuries including the Middle Ages, and are offered by various departments of the Faculty of Arts, there is a fairly strong contingent of special topics courses in medieval studies at the University of Alberta. For example, Martin Tweedale of the Department of Philosophy offers an undergraduate course on early medieval philosophy. There are currently three medievalists in the Department of History and Classics. Andrew Gow regularly teaches courses on late medieval and early modern Europe. John Kitchen is a specialist in medieval religion, medieval intellectual history, the history of Christian holy women and medieval Latin literature. Kitchen currently teaches an undergraduate course on early medieval Europe. Thirdly, J.L. Langdon, a specialist in British Medieval history, teaches a course on the formation of England in which he covers the political, social, economic and religious developments of England from the fifth to the twelfth century.
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Packer, Randall. "Artist as Mediator: The History of the US Department of Art & Technology (2000–2005)." Leonardo 41, no. 4 (August 2008): 324–31. http://dx.doi.org/10.1162/leon.2008.41.4.324.
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I moved to Washington, DC, at the turn of the millennium. Shortly after September 11th, I found myself with a job to do, an artist in the center of power during times of crisis. I held a desire to engage, not as a passive observer, but with an active role—the artist's role, one who sees, listens, analyzes, translates and illuminates the dangerous mechanisms of the unfolding political situation in America. This resulted in the founding of the US Department of Art & Technology. The following narrative account is a portrait of the artist as mediator “between a strange, hostile world and the human spirit.”
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Lydon, Andrea. "Source – Uncovering Stories of Art in Ireland: digitizing Irish art research collections in the National Gallery of Ireland." Art Libraries Journal 45, no. 2 (April 2020): 55–60. http://dx.doi.org/10.1017/alj.2020.3.
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In 2017 the National Gallery of Ireland was awarded funding from the Department of Culture, Heritage and the Gaeltacht (DCHG) for the development of an online resource, focusing on its Irish art research collections. Entitled Source – Uncovering Stories of Art in Ireland, this multi-annual project aims to catalogue and digitise the collections in the ESB CSIA and ensure that these valuable collections relating to Ireland's artistic history and memory are preserved and can be easily accessed by researchers. Now in its penultimate year, Source will be launched in 2021.
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Ananiev, V. G. "J. A. Schmidt on the research departments of museum galleries." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 11–14. http://dx.doi.org/10.30725/2619-0303-2020-4-11-14.
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One of the most topical issues in the museum history is the question of the relationship between international and national principles in museum practice and museological thought. In this article, using the example of a report read by the curator of the Hermitage Picture Gallery, James Alfredovich Schmidt (1876–1933) at the Institute of Art History in 1926, the author shows the connection between international trends and early Soviet museological thought. Schmidt’s report is based on the idea of the need to divide the collection of an art museum (picture gallery) into two parts. One part should include the most significant works and be intended for the public. The second – the research department – should be oriented to the work of experts. We find the same ideas in the most significant international research projects in museology of the era – volumes of articles «Museums: An International Study on the Reform of Public Galleries» (1931) and «Museography: Architecture and Organization of Art Museums» (1935). The author establishes a connection between these ideas and the concept of the canon, which was forming in this period, in relation to the history of art.
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Nash, Margaret A. "A Means of Honorable Support: Art and Music in Women's Education in the Mid-Nineteenth Century." History of Education Quarterly 53, no. 1 (February 2013): 45–63. http://dx.doi.org/10.1111/hoeq.12002.
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“The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment,” stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare “pupils for Teachers and Practical Artists.” This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, all were aspects of the impetus for music and art education. Preparing young women for occupations, whether as teachers of art and music or as commercial artists or musicians, was a particularly prominent component of education for women in the mid-nineteenth-century United States.
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Hammond, Catherine. "Escaping the digital black hole: e-ephemera at two Auckland art libraries." Art Libraries Journal 41, no. 2 (April 2016): 107–14. http://dx.doi.org/10.1017/alj.2016.10.
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The collections of e-ephemera of two Auckland art libraries are discussed here: the E H McCormick Research Library at Auckland Art Gallery Toi o Tāmaki, a specialist art library within one of New Zealand's major public art galleries, and the Fine Arts Library Te Herenga Toi at the University of Auckland which supports the research and teaching needs of the Elam School of Fine Arts and the Department of Art History. While there are differences in approach both institutions see the value in preserving print and e-ephemera and are looking to make this material more accessible to users, despite numerous challenges.
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Ananiev, V. G. "F.I. Shmit at Leningrad University at the Turn of the 1920s and 1930s." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 3 (2021): 67–74. http://dx.doi.org/10.26907/2541-7738.2021.3.67-74.
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This paper discusses an episode from the academic biography of Fyodor Ivanovich Shmit (1877–1937), a prominent Russian art historian and art theorist, museologist. The history of F.I. Shmit’s teaching at Leningrad State University during the 1920s and 1930s was covered. The scholar was an alumnus of the university and renewed the relationship with the alma mater following his return from Ukraine to Leningrad in the mid-1920s. Until 1932, F.I. Shmit taught here various disciplines of art history and theory. Since 1930, he had worked as the head of the Department of General History of Art and taught here such courses as History of Byzantine Art, History of Art in Feudal Europe, History of Ancient Art, History of Western European Art of the Age of Primitive Accumulation of Capital. He actively presented the results of his research in the form of academic reports. The analysis of F.I. Shmit’s curricula shows that, on the one hand, he tried to adapt them to the needs of the changing time, but, on the other one, he tried to preserve the traditional academic content. In many ways, his activities during this period helped to uphold the traditions of the St. Petersburg-Petrograd School of Art History. However, F.I. Shmit was deprived of the opportunity to continue his teaching due to the changes in the structure of higher education, which were typical for that period, as well as because of the growing pressure of the totalitarian state. In 1933, he was arrested, expelled from Leningrad, and murdered.
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Girvan, Margaret. "Art and design in the local history collection." Art Libraries Journal 10, no. 2 (1985): 74–79. http://dx.doi.org/10.1017/s030747220000420x.
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A consideration of the public library local history and archives departments as a potential resource for information on art and design topics, with special reference to the collections of Wesminster City Libraries.
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Gavin, Sergey V., and Zoya A. Tanshina. "Tapestry art in Mordovia today." Finno-Ugric World 11, no. 1 (August 12, 2019): 86–92. http://dx.doi.org/10.15507/2076-2577.011.2019.01.086-092.
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The article discussed the role of contemporary tapestry art in modern culture, the history of the formation and growth of national decorative-applied and monumental art schools in the Republics of former Soviet Union, the importance of both group and personal tapestry exhibitions organized by regional creative organizations of the Union of Artists and the Russian Union of Artists as well as the state Museum-Reserve “Tsaritsyno”. It emphasizes the importance of using richest traditions of folk art, stories and legends of the people living in multiethnic Russia. The works of teachers and graduates of the Department “Folk Art Culture and Contemporary Art” of the Institute of National Culture of Ogarev Mordovia State University have been demonstrated as an example of those who apply modern tapestry in architectural space design. The paper also defines prospects for the development of tapestry art in the works of young artists.
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Fox, Claire F. "The Documentary Films of José Gómez Sicre and the Pan American Union Visual Arts Department." ARTMargins 7, no. 3 (November 2018): 34–56. http://dx.doi.org/10.1162/artm_a_00217.
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During the 1960s and 1970s, the Visual Arts Department of the Pan American Union, headquarters of the Organization of American States (OAS) in Washington, D.C., produced nearly fifty 16mm documentary short films on topics ranging from contemporary art to heritage sites and OAS member countries. This article focuses on a cluster of three titles about Peru directed by curator and critic José Gómez Sicre between approximately 1964 and 1968. Produced with funding from an international affiliate of Esso Standard Oil, the films were shot on location and demonstrate careful attention to the contexts of art production within an emerging cultural policy framework that cast art and heritage as engines of regional cultural development. The films further assert that the antiquities and modern art markets might be synchronized to become a generational taste formation, insofar as they identify classes of affordable artifacts that were finding their way to collectors relatively recently, and which had also inspired the work of postwar Peruvian artists. As an ensemble, the films reveal unexplored interactions between contemporary art movements, the development of heritage districts and site museums, and emergent cultural policies that continue to impact hemispheric American locations.
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Galina, Benjamin J. "Whither critique in the world language department?" Arts and Humanities in Higher Education 16, no. 3 (July 13, 2016): 305–19. http://dx.doi.org/10.1177/1474022216652769.
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Language departments have long confronted a disciplinary divide between the study of literature and language. This divide in tenure lines and course content has engendered a similarly deep-seated divide in pedagogical practices. In world language departments, critique often seems confined, for reasons both epistemological and historic, to literature courses. Conversely, in language courses, instructors commonly utilize corrective feedback to train students to think like disciplinary experts. Is it possible then to define a signature pedagogy of the world language department? This article seeks to answer this question by locating a common disciplinary belief in the centrality of language to human experience. Examining the history of critique in teaching and learning in world language departments, the author traces this belief in order to propose a resolution to the departmental divide in the form of a “bilingual critique” that combines elements from both sides.
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Knight, Carley. "Dictionary of Art Historians2011335Edited by Lee R. Sorensen. Dictionary of Art Historians. Duke University, Department of Art, Art History and Visual Studies, 2002‐. Gratis URL: www.dictionaryofarthistorians.org Last visited May 2011." Reference Reviews 25, no. 7 (September 20, 2011): 46. http://dx.doi.org/10.1108/09504121111168721.
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Konson, Grigoriy R. "Art History in the Context of Other Sciences: Challenges of Modernity." Observatory of Culture 16, no. 4 (September 13, 2019): 418–33. http://dx.doi.org/10.25281/2072-3156-2019-16-4-418-433.
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The interview reveals modern art history’s main trends identified within the framework of the conference “Art History in the Context of Other Sciences in the Modern World. Parallels and Interactions”. The Russian State Library and the scientific journal “Observatory of Culture” were partners in organizing the conference in 2019. The method of academic interviewing used in this publication provides an opportunity to reveal the personal vision of the conference project’s author and co-chairman of the Organizing Committee, chairman of the Program Committee, head of the Department of Humanities and Social Sciences of the Institute of Contemporary Art, chief researcher of the GITR Film & Television School, expert of the Times Higher Education World University Rankings, member of the Russian Expert Council (ASEP/Scopus), D.Sc. (Art History), professor Grigoriy R. Konson. In fact, the interview is a quintessence of the author’s policy document on the development of culture, science and education in modern society.The academic forum was a socially significant event of international scale, characterized by the latest scientific and educational trends in Russia and foreign countries, as well as by art studies integration into the context of interdisciplinary research located at the intersection of art history, philology, linguistics, philosophy, cultural studies and psychology. As a result, there are prospects for reaching the level of cross-sectoral conceptualization of research generalizations. The interview reveals the topical issues of science functioning in the modern international society. There is concluded that the scientific integration characterizing the conference “Art History in the Context of Other Sciences in the Modern World. Parallels and Interactions” is a progressive method in understanding the essence of art, permeated by multi-vector trends in the global humanitarian process. Therefore, the joint efforts of scientists here contribute to the development of an antidote to destructive trends in the socio-cultural life of modern society.
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Štivičić, Štefan. "Ivan Josipović, Pridraga u zaleđu Zadra." Miscellanea Hadriatica et Mediterranea 6, no. 1 (January 20, 2020): 249–54. http://dx.doi.org/10.15291/misc.2918.
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The book Pridraga in the hinterland of Zadar was written by the art historian and university professor from the Department of Art History of the University of Zadar Ivan Josipović. The research enterprise published in this book is the result of a lengthy study of early Christian and pre-Romanesque reliefs found at the archaeological sites in Pridraga near Zadar. Comprehensive and detailed presentation of all early Christian and pre-Romanesque reliefs found in the Pridraga region until the year 2018 reflects importance of this book as a unique and systematic research project. Since Josipović earned his doctoral degree with the theme of pre-Romanesque reliefs,1 research work and analysis of reliefs from Pridraga were a part of his knowledge of the early medieval Croatian art. Pridraga in the hinterland of Zadar is a contribution not only to the art history but also to the history of the Early Middle Ages.
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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.
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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.
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Schwartz, Laura. "When life becomes art: A librarian’s experience acting the part." College & Research Libraries News 78, no. 6 (June 6, 2017): 319. http://dx.doi.org/10.5860/crln.78.6.319.
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In fall 2014, I was approached by a theater/dance undergraduate student who wanted to put on a play in the Fine Arts Library (FAL) at the University of Texas (UT)-Austin. Because we had done a variety of performing arts programming in our magnificent space, I was inclined to say yes. She had written and was directing a play that took place in a library. Being the liaison to the Art and Art History Department, I thought it prudent to bring the theater/dance librarian into the discussion.
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Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA." Jurnal Budaya Nusantara 3, no. 1 (October 23, 2019): 46–51. http://dx.doi.org/10.36456/b.nusantara.vol3.no1.a2114.
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Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.
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Gorbunov, I. V. "A. F. Kovalev – Belarusian artist, sculptor, designer, teacher." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 3 (August 6, 2020): 336–44. http://dx.doi.org/10.29235/2524-2369-2020-65-3-336-344.
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The biography of the Belarusian artist, sculptor, designer, teacher, professor Anatoly Fedorovich Kovalev is considered. A. F. Kovalev was one of the organizers of Belarusian education in the field of fine and decorative arts. He was the author of the first design dissertation in the BSSR, a member of the Union of Artists of theUSSRand Belarusian Union of Artists, a veteran of the Great Patriotic War. During his long career he transferred knowledge and a huge professional experience to more than one generation of talented students, including workers of culture and art ofBelarus– V. K. Lebedko, M. Sakhuto, G. F. Shauro, V. I. Prokoptsov. In1965 A. F. Kovalev, being the head of the department of decorative and applied art of the art and graphic department of the Vitebsk State Pedagogical Institute named after S. M. Kirov (now Vitebsk State University named after P. M. Masherov), made a lot of efforts to transfer technical work into the artwork channel based on traditional techniques of decorative processing of materials, and also influenced the development of history and design theory at the initial stage of its formation. The contribution of A. F. Kovalev to the sphere of culture and art of theRepublicofBelaruswas marked by many state awards.The article is addressed to young designers, artists, sculptors, teachers of the humanities and technical disciplines, research scientists who are interested in the history of design.
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Mokhirieva, Yu. "OUTSTANDING MASTERS OF UKRAINIAN FOLK ART: BIOGRAPHICAL NARRATIVES." Aesthetics and Ethics of Pedagogical Action, no. 22 (December 27, 2020): 80–95. http://dx.doi.org/10.33989/2226-4051.2020.22.221998.
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The article considers the problems of creating a semantic component of the pedagogical narrative (based on biographical studies of prominent personalities of Ukrainian national art) as an effective method of professional-pedagogical education of teachers of fine arts. Among the most representative phenomena of Ukrainian culture are the works by Hanna Sobachko-Shostak, Kateryna Bilokur, Oleksandr and Nadiia Babenko, the Piliuhin family. As a result of the research, the individual features of our selected outstanding masters of Ukrainian folk art were clarified, the influence of the social environment and the family on the formation and creative development of outstanding Ukrainian folk artists was determined.The Department of Fine Arts of Poltava V. G. Korolenko National Pedagogical University has developed biographical narratives about outstanding masters of Ukrainian traditional folk art, which are used in teaching the following subjects: "History of Ukrainian Fine Arts", "History of Decorative and Applied Arts", "Basics of Decorative Composition". The study proved the effectiveness and feasibility of introducing biographical narratives in the training of future teachers of fine arts.
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Head, Raymond. "Obituary Dr Mildred Archer OBE, MA(OXON), D.Litt (1911–2005)." Journal of the Royal Asiatic Society 15, no. 3 (November 2005): 351–54. http://dx.doi.org/10.1017/s1356186305005316.
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AbstractDr Mildred Archer who died on February 4th 2005 aged 93 was the wife of Dr William “Bill” Archer OBE, MA (Cantab), D.Litt who died in 1979. For several decades she had been Curator of the Prints and Drawings Department at the old India Office Library before it amalgamated with the British Library. It was through her pioneering work on cataloguing those diverse and unknown collections that a new branch of art history came into being, an art form she called “Company” painting; art that had been drawn by European or Indian artists during the time of the East India Company.
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Langmead, Alison, and Paulina Pardo Gaviria. "Data (after)Lives at the University of Pittsburgh: A Constellations Exhibition in the University Art Gallery." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 36–42. http://dx.doi.org/10.5195/contemp.2017.220.
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This brief essay presents the exhibition Data (after)Lives, which was held in the University Art Gallery at the University of Pittsburgh from September 8 to October 14, 2016. This show was the culmination of a year’s work between the Department of History of Art and Architecture (HAA) and several outside collaborators. It was produced within the Constellations model of research and teaching that is fundamental to the workings of the HAA department as well as to the Visual Media Workshop, the digital humanities lab directed by Alison Langmead (https://haa.pitt.edu/visual-media-workshop), the lead curator of Data (after)Lives. This essay gathers together a few texts produced for the exhibition and presents the experience of working on the show, which was produced by an exceptional group of people, all of whom brought fantastic insight and energy to the project. The online exhibition of Data (after)Lives: The Persistence of Encoded Identity is currently on view at the University Art Gallery website (http://uag.pitt.edu).
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Arbat, Shivani, Brian T. Forschler, Annelies M. Mondi, and Ajay Sharma. "The Case History of an Insect Infestation Revealed Using X-ray Computed Tomography and Implications for Museum Collections Management Decisions." Heritage 4, no. 3 (June 22, 2021): 1016–25. http://dx.doi.org/10.3390/heritage4030056.
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The protection of cultural heritage and property is a significant and critical task that requires collaboration and expertise in a variety of disciplines. Of the many risk factors, insect infestation is one cause of deterioration and loss. At a large, state university, disparate departments, ranging from Facilities Management to the Entomology Department and Veterinary Medicine, assisted the university museum in identifying a drywood termite infestation, determining the extent of loss and developing a plan to prevent or mitigate future infestations. Our group was able to determine the extent and severity of a drywood termite infestation in the museum storage vault through visual inspection and X-ray computed tomography (CT). This paper describes the process and heuristics of identifying and estimating the amount of active/inactive termite infestations in the art frames as well as visualizing a 3-dimensional structure to learn the extent of infestation. This interdisciplinary collaboration and effectual use of tomography enabled our group to determine the condition of several art frames through non-invasive means and develop a plan of action to identify and prevent future insect incursions within the museum.
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Sofilkanych, Marina. "OUT-OF-SCHOOL ESTABLISHMENTS OF TRANSCARPATHIA AND THEIR ROLE IN THE SYSTEM OF ART EDUCATION." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 203–9. http://dx.doi.org/10.36550/2415-7988-2021-1-192-203-209.
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The retrospective analysis of emergence of out-of-school art education of the region is made in the article, organization and role of extracurricular education in Ukraine, its organizers and researchers in this field. The emergence and development of art school of Transcarpathia in the twentieth century led to the formation of new generations of artists and the creation of art education. Out-of-school educational establishments of artistic and aesthetic direction were created for young children of the first school age, the first of which was a studio of fine arts under the direction of Zoltan Bakonii. Following the example of this studio in Transcarpathia in the second half of the twentieth century. opened children's art schools with the department of fine arts in the cities of Mukachevo, Uzhhorod, Khust, Vynohradiv, v.Chynadiyevo, etc., where teachers were mostly graduates of Transcarpathian art educational establishments. The development of art education in Transcarpathia and the extracurricular education of the region was studied by Nebesnyk I. I., Voloshchuk A .V, Mochan T. M, Rosul T. I. In the system of art education in Transcarpathia, founded by Adalbert Erdeli and Joseph Boksai, such well-known teachers as V. Skakandii, I. Masniuk, N. Ponomarenko, M. Syrohman, L. Prymych, V. Manailo, E. Roman, T. Bartosh, H. Homoki, V. Dorosh, A. StasIuk and others studied and worked there. Important role in the development of regional extracurricular education of artistic and aesthetic orientation belongs to such well-known pedagogues-educators as V. Burch and V. Tsibere. They played a major role in the creation of Mukachevo Children's ArtSchool named after M. Munkachi. This school of arts, after Z. Bakonii's studio, is one of the first art schools in the field where fine arts is taught. Later the art departments were based on children's music schools. The fine arts department at Uzhhorod Children's School of Arts started its activity in 1984. Most of the teachers came to Zoltan Bakonii's schools: V. Vovchok, O. Sidoruk, G. Kramarenko, E. Roman (head of the department of fine art) and others. Over 200 students study at the fine arts department of named school. During the 1990s, Transcarpathian extracurricular institutions were stagnant and even have undergone a numerical reduction. Since the beginning of 2000, as a result of the successful management of local administrations and their successful policies, their activities have been normalized and coordinated with the work of leading educational establishments of the art education of the region, in particular the College of Arts named after A. Erdeli and the Transcarpathian Academy of Arts. The joint actions and events, workshops for the students of art schools of the region, as well as training courses and seminars for teachers are held. Therefore, in the system of continuous art education (school, college, academy), extra-curricular institutions play an important role. At the School of Arts children learn the basics of fine literacy, academic drawing, painting, composition and get acquainted with examples of the world's best art at the Art history lessons. It is at the School of Arts that the artistic and aesthetic tastes and sensations of beauty are formed, the aesthetic education of young people, its professional orientation, and the formation of artistic environment of the region. In the field of art education, this three-stages system is important, because it solves its sectoral tasks and is a very important link and system of continuous art education in Transcarpathia.
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Waters, Susannah. "Historical resources and creative education at Glasgow School of Art." Art Libraries Journal 37, no. 3 (2012): 15–19. http://dx.doi.org/10.1017/s0307472200017557.
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The Glasgow School of Art (established 1845) has a long history of collecting publications and artefacts to support its teaching of fine art, design and architecture. The School now owns a rich resource of historical material, spread across its library, archive and museum collections and overseen by its Learning Resources department. Can this material continue to support learning and teaching in the creative disciplines in the 21st century? And what are the potential benefits for students? Over the last five years Learning Resources staff have explored these questions and developed a programme of activities to promote knowledge of this material and understanding of its potential use in fine art, design and architecture education.
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Abbott, Randy L. "Art Images for College Teaching2007237Allan T. Kohl. Art Images for College Teaching. Department of Art History, University of Minnesota, Last visited January 2007. Gratis http://arthist.cla.umn.edu/aict/html/index.html." Reference Reviews 21, no. 5 (June 19, 2007): 44. http://dx.doi.org/10.1108/09504120710755653.
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Reddy, David P., Angela V. Klaus, Renée Recker, and William K. Barnett. "Web Site Development at a Museum Microscopy Laboratory." Microscopy Today 7, no. 3 (April 1999): 12–15. http://dx.doi.org/10.1017/s1551929500064051.
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The Interdepartmental Laboratories (IDL) is the core microscopy and scientific visualization research facility for the American Museum of Natural History (AMNH), Its purpose is to operate and maintain facilities that have broad application within the Museum and would be either too costly for the individual research departments to maintain or which would be underused in a typical department setting, The IDL currently maintains two state-of-the-art analytical/imaging microscopes, as well as resources for visualization, webaccessible databases, and networked image scanning, archiving, and printing. The IDL is overseen by Bill Barnett, the IDL Director, and staffed by Angela Klaus, the Laboratory Manager, and David Reddy, the Scientific Visualization and Informatics Manager.
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Kolbiarz Chmelinová, Katarina. "University Art History in Slovakia after WWII and its Sovietization in 1950s." Artium Quaestiones, no. 30 (December 20, 2019): 161–90. http://dx.doi.org/10.14746/aq.2019.30.8.
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In post-WWII Slovakia, art history was available only as a university field of study at Bratislava University (in 1954 regaining its name Comenius University) at the Seminár pre dejiny umenia / Seminar of Art History, a separate part of the Faculty of Arts of the university, where art history had been taught as an independent discipline since 1923 before its conversion to a department. Post-war changes in state structures and the new political system radically affected Slovak society and the education system in the country. This article is the very first attempt to present in detail the extent and character of changes in university art history instruction in the part of the socialist era of the Czechoslovak Republic. It is based on the study and comparison of previously unprocessed sources from various university and state archives and their classification in the context of known historical facts. This contribution represents an in-depth probe into the post-war efforts to build a new university foundation and system of art history instruction in Slovakia within the Czechoslovak Republic, and its Sovietization as well. The text analyzes the university environment, the curriculum, the study program of art history and the relevant changes resulting from political pressure from 1945 to 1960. They were the consequence of two directly related, significant moments in the history of Slovakia: the establishment of the Third Czechoslovak Republic in 1945 and the communist coup in 1948, which was followed by the most totalitarian period in the history of the state. The article also discusses the personal changes in the art history staff forced by the political situation (J. Dubnický, V. Wagner, V. Mencl, A. Güntherová-Mayerová, R. Matuštík, T. Štrauss, K. Kahoun). After a brief presentation of the situation in Czechoslovakia at the time, the article first deals with the ad hoc activities and efforts of scientists seeking to maintain art history studies in Slovakia at the university level immediately after the end of the war. The central issue in the article is the changes in the way of teaching resulting from the political upheaval in February 1948. Against the background of political and social changes, the new law on higher education (Act No. 58/1950), which forces significant organizational transformations, is discussed. As part of the process of Sovietization of university education in Slovakia, the modified Seminar of Art History lost its independent status for a long time, and its staff was largely replaced. At the same time, throughout this period, there was a visible tendency to stabilize the teaching system and attempts to become independent again and to develop discipline, undertaken contrary to the imposed system. The 1950s, with their new rhetoric and propaganda optimism, appear to be a decade devoid of internal consistency. It started the most totalitarian period, which lasted until Stalin’s death in 1953, but was followed by a short thaw and then by a new wave of repression after 1957, which chose victims even at the beginning of the next decade. The article focuses on two sides of the 1950s – centralization and the dominant ideological control of the Communist Party, on one hand, and on the other, the obvious effort to unify and professionalize the teaching of the discipline. The factual material presented here shows the scale of changes interpreted in the context of the political and social changes of that time. The case study provides an analysis of system efforts made in the 1940s and 1950s to establish new principles of university teaching for the history of art in Slovakia as part of the Czechoslovak Republic. It aims to broaden the factual basis and existing overview of knowledge of art history in Slovakia and supplement existing studies on the history of art history in the country (J. Bakoš, I. Ciulisová, B. Koklesová).
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Seth, Manvi. "International Seminar on Museums and the Changing Cultural Landscape, Ladakh." Museum Worlds 1, no. 1 (July 1, 2013): 204–5. http://dx.doi.org/10.3167/armw.2013.010113.
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The international seminar on Museums and the Changing Cultural Landscape, coordinated by Dr. Manvi Seth, was organized by the department of museology in the National Museum Institute of History of Art, Conservation and Museology in collaboration with the Ladakh Autonomous Hill Development Council (LAHDC) from 2–4 September 2012 at the Central Institute of Buddhist Studies (CIBS), Leh, Ladakh, India.
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Липовецкий, П. Е. "The defence of PhD theses completed at the Department of Ecclesiastical History, Moscow Theological Academy." Церковный историк, no. 1(1) (June 15, 2019): 284–87. http://dx.doi.org/10.31802/chist.2019.1.1.022.
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С января 2017 года в Московской духовной академии по Благословению Его Святейшества Святейшего Патриарха Московского И Всея Руси Кирилла начали работу два кандидатских диссертационных совета. Специализация диссертационного совета №2 объединяет дисциплины кафедр церковной истории, церковно-практических дисциплин, истории и теории церковного искусства, а также славянской филологии. За истекший год в диссертационном совете успешно прошли защиту и были утверждены в степени Святейшим Патриархом Московским И Всея Руси Кириллом три кандидатские диссертации. In January 2017, two PhD dissertation councils began their work at the Moscow Theological Academy with the blessing of His Holiness, His Holiness Patriarch Kirill of Moscow and All Russia. Dissertation Council #2 is made up of the disciplines of the Departments of Church History, Church Studies, History and Theory of Church Art, and Slavic Philology. During the past year, three PhD theses were successfully defended in the Dissertation Council and approved by His Holiness Patriarch Kirill of Moscow and All Russia.
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DATTA, ANN. "Alwyne (Wyn) Cooper Wheeler (1929–2005) and the libraries of the Natural History Museum, London." Archives of Natural History 36, no. 1 (April 2009): 70–76. http://dx.doi.org/10.3366/e0260954108000648.
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As a senior scientist working in the Fish Section of the Department of Zoology at the Natural History Museum, Alwyne (Wyn) Wheeler was a regular library user and well-known to library staff. Always amiable and helpful, and possessing a broad general knowledge of natural history as well as expertise on fishes, Wyn interacted with library staff at all levels. A close working relationship developed where he contributed to section library management and collection building. He also published catalogues of some of the library's most important art collections. This paper celebrates the collaboration between Museum scientist Wyn Wheeler and librarians at the Natural History Museum.
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SWINNEY, G. N. "Reporting on the museum: the annual reports of the Edinburgh Museum of Science and Art." Archives of Natural History 29, no. 1 (February 2002): 99–108. http://dx.doi.org/10.3366/anh.2002.29.1.99.
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The production, in the latter half of the nineteenth century and the early years of the twentieth century, of the annual reports of the government-funded museum in Edinburgh in several different formats has led to problems in citing these documents in bibliographies. A brief history of the Edinburgh Museum of Science and Art and its method of accountability from its foundation in 1854 to 1905 (the period during which it was administered by the Department of Science and Art and the years immediately following the handover to the Committee of the Council on Education in Scotland) is presented along with a concordance table for the different forms of the reports.
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Waye, Laurie. "Acknowledgments." Arbutus Review 5, no. 1 (October 31, 2014): i—iii. http://dx.doi.org/10.18357/tar51201413304.
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In addition to the hard work of the authors, we would like to thank the following people.The supporting instructorsDr. Caroline Fox, Department of GeographyDr. Alexandrine Boudreault-Fournier, Department of AnthropologyProf. Colin J. Bennett, Department of Political ScienceDr. Brian Thom, Department of AnthropologyDr. Chris Auld, EconomicsDr. Gord Miller, School of Child and Youth CareDr. Marie Vautier, Department of FrenchDr. Allan Antliff, Department of Art History and Visual StudiesDr. Charlotte Reading, School of Public Health and Social PolicyEmily Avray (PhD cand.), Department of EnglishThe peer reviewersBehn Skovgaard AndersenBrian ColemanBryan Eric BennerCaroline WinterCarrie HillChelsea WilsonChristina SuzanneChristine TwerdoclibConstance SobseCori ThompsonEmma HughesFanie CollardeauFelipe de Lucia LoboGlenn BeauvaisHolly HoffmannJeff RapochJodi RempelJudy WalshKatie BullenKatherine BurnettKeith CherryKimberlee Graham-KnightLeslie BraggNatalia YangNatasha FosterOmolara IsiolaotanPamela SavageRamsay MalangeRobyn JoyceSarah HutchisonSusan KarimTeboho MakalimaTimothy PalmerVictoria DomonkosThe Arbutus Review teamLaurie Waye, Managing Editor of the journal and the Associate Director (Student Academic Success), Learning and Teaching CentreDan Lett, Guest Editor, Designer, and Typesetterwith support fromTeresa Dawson, Director of the Learning and Teaching CentreInba Kehoe, Scholarly Communications and Copyright Officer of the Library
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Anisimova, Margarita Vyacheslavovna. "The section of history and everyday life in the Russian Museum: establishment, development, and liquidation." Исторический журнал: научные исследования, no. 4 (April 2020): 108–17. http://dx.doi.org/10.7256/2454-0609.2020.4.33047.
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The subject of this research is activity of the section of history and everyday life of the State Russian Museum established in 1918. The department devised a new theme – history of everyday life and its visualization in museum expositions, which was natural development of the Russian historical science. Intended to preserve and actualize the history of everyday life of different social classes, it shared fate of multiple national museums of everyday life: exhibitions that tool place in the 1920s were cancelled; in the late 1930s, the collections were transferred to museums of different categories, such as the State Museum of Revolution, the State Museum of Ethnography of the Peoples of the USSR. However, the section of history and everyday life did not cease to exist, and in 1941 merged into the State Hermitage Museum as an independent structural department of the history of Russian culture. Leaning on the new archival sources, an attempt was made to elucidate the work of the department of history and everyday life along with its branches in conditions of difficult political situation in the country during the 1920s – 1930s. Initially, the primary task of the department consisted procurement of the funds with the items from nationalized manor houses; later in consisted in exposition of the collection; and then due to the absence of the unified state institution for regulation of questions of preservation of historical and cultural heritage, the activity was focused on preventing scattering of the collections. After the First Museum Congress in 1930, the museums were recognized as the means of political-educational propaganda, which let to countrywide stagnation of expositional and exhibition activity of the museums. The museums of history and everyday life, being the mixed type museums, were incapable of resisting new realities, and thus re-specialized into museums of history and art or liquidated completely.