Academic literature on the topic 'Everson Museum of Art Catalogs'
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Journal articles on the topic "Everson Museum of Art Catalogs"
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Molinaro, Mary. "AMERICAN CERAMICS: THE COLLECTION OF EVERSON MUSEUM OF ART. Barbara Perry." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 4 (December 1989): 214. http://dx.doi.org/10.1086/adx.8.4.27948156.
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Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Lidogoster, Tina, and Andrea Puccio. "Catalogs with a Global Reach: Collecting PDF Contemporary Gallery Catalogs at the Thomas J. Watson Library, The Metropolitan Museum of Art." Art Documentation: Journal of the Art Libraries Society of North America 35, no. 2 (September 2016): 296–304. http://dx.doi.org/10.1086/688729.
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Lang, Sabine, and Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods." Arts 7, no. 4 (October 9, 2018): 64. http://dx.doi.org/10.3390/arts7040064.
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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases, available to public audiences and scholars. While a manual analysis has proved to be insufficient, because of the sheer number of available data, computational approaches and tools allowed for a greater access. The following article describes how digital images of exhibitions, as released by the New York Museum of Modern Art in the fall of 2016, are studied with a retrieval system to analyze in which artistic contexts selected artworks were presented in exhibits.
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Pai, Hyung Il. "Monumentalizing the Ruins of Korean Antiquity: Early Travel Photography and Itinerary of Seoul’s Heritage Destinations." International Journal of Cultural Property 21, no. 3 (August 2014): 331–47. http://dx.doi.org/10.1017/s0940739114000228.
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Abstract:This study introduces the oldest photographs of Seoul’s ruins, which have been recycled for more than a century in a wide variety of print sources, such as travelogues, postcards, museum catalogs, and guidebooks. Regardless of the medium, the aesthetic, disciplinary, and cultural biases practiced by the first generation of globe-trotters, diplomats, and commercial photographers to arrive in the Korean peninsula resulted in the mass distribution of the most “picturesque” monuments, such as Buddhist art and architecture, palaces, and fortress gates targeting the “tourist gaze.” By analyzing a select number of stock images of architectural landscapes, which have served as the “scenic” backdrop for framing “native types,” currently part of museum collections and photographic archives, the article will illustrate how such exoticized and romanticized visions of the conquered “Hermit Kingdom” trapped in time and space have continued to impact the trajectory of heritage management policies and the hierarchical ranking system of national treasures and famous places in postwar South Korea.
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Tikhonov, Dmitrii, and Elena Tikhonova. "Lyre shaped motif and its origins." Siberian Research 2, no. 2 (December 1, 2019): 74–84. http://dx.doi.org/10.33384/26587270.2019.02.009e.
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Lyre shaped ornament is a common motif of ornamental and folklore applied art. But, unfortunately, the origins of the lyre shaped motif are still not well investigated. In the paper we review the literature devoted to the study of the emergence and spread of a lyre shaped motif and analyze museum exhibits from catalogs and published sources. The aim of the study is to define the сenters of the lyre motif origin and the paths of its distribution. Material and methods. Article analyzes lyre shaped motifs in museum artifacts, folk arts and crafts using materials presented in published literature and catalogs of museum exhibits. A spiral motif originated in Egypt. The origins of the lyre motif in ancient Egypt are probably connected with the iconography of the Egyptian god of Hathor, who was depicted as a woman with a headdress decorated with lyre shaped horns and a solar disk between them. It should be noted that the tradition of depicting a human face with cow horns has connections with the Neolithic period of the Nile Valley, where cattle breeding arose in the 6-5th millennium BC. The first cases of using a lyre shaped motif occured in scarab-like seals of Egypt and Minoan culture. Artifacts with a lyre shaped motif were observed related, dating from the Minoan and Mycenaean periods, during to the period of classical Hellenistic Greece. A lyre shaped motif was spread along trade routes from Crete to the Danube, the Elbe, the shores of the Baltic Sea and, together with the Celts, penetrated into Britain, from the Greek colonies of the Black Sea to the Scythians. In the Asian part of the Eurasian steppes, this motif symbolized the image of the eagle totem animal depicted like a griffin, especially in the early Scythian and Hunnic period. The origins of the lyre shaped motif in the Asian steppe, apparently, were the ancient motifs “taotie” in China and “masks” in the Russian Far East. The popularity of the lyre shaped motif in the folk arts and crafts of the Turkic peoples was probably due to the spread of this motif within the Scythian community, when there was a cult of the eagle-like griffin and totem.
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Fedorak, Volodymyr. "Ethnographic and Artistic Museums of the Galician Gutsulshchyna in Ethno-Tourism Sphere: State and Prospects of the Development." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, no. 46 (December 20, 2017): 105–11. http://dx.doi.org/10.31861/hj2017.46.105-111.
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The activity of ethnographic and artistic museums of the Galician Hutsulshchyna, their contribution to the development of the ethno-tourism sphere of Ivano-Frankivsk oblast are described in the article. The development of museologyin the Precarpathian region in the context of ethno-tourism activity is regulated by the regional comprehensive program “Culture of Ivano-Frankivsk region”. Priority directions in museum work are: preservation of historical monuments of the region; the latest information technologies introduction into the activity of museums; enlargement of the material, technical and restoration bases; promotion of the international cooperation of museums; realization of repair and restoration work; provision of scientific acquisition of museum funds; activization of publishing activity: albums, catalogs, booklets, guides, scientific collections; usage of new information technologies in accounting and cataloging.
The Hutsul topicality is leading in the museology of the Precarpathian region. The network of museums on the territory of the Galician Hutsulshchyna is the most important for ethno-tourism in Ivano-Frankivsk region. In most cases, they are included in the tour operator's activity and constitute logical chains of tourist excursions and routes and are centers for providing services in the region. There are over thirty state and public museums that attract visitors in this region. Employees of these establishments carry out excursions providing ethnographic information about the region.
The focus is on the characteristics of work of the most famous museums in the Galician Hutsulshchyna. Particularly noticeable is the activity of the National Museum of Folk Art of Hutsulshchyna and Pokuttia named after Yo. Kobrynsky in Kolomyia, which is the only Ukrainian institution of this type, listed in the Royal Encyclopedia of Great Britain as a museum of world masterpieces.
The author states that the authentic color of life of local inhabitants is brightly represented in the museum institutions of this historical and ethnographic region. A number of museums of the Galician Hutsulshchyna provide high-quality cognitive tourism services, because they have preserved customs and traditions of crafts and handicrafts and everyday ritual activity.
Keywords: museum, ethno-tourism, Galician Hutsulshchyna, exposition, exhibition
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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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Chrzanovski, Laurent. "The Forcart Collection of lamps from Fayum." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 30, 2019): 555–639. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.27.
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The Forcart collection of Ptolemaic, Roman and Late Roman lamps from Fayum is today the largest single-collector Egyptian lychnological corpus owned by a Swiss public institution, the Geneva Museum of Art and History, which acquired it in 1923. The importance of the 145 lamps in this collection is twofold. Firstly, all the artifacts were offered to Max Kurt Forcart by the different directors of excavations operating legally in the Fayum area during the first two decades of the 20th century, giving us a clear—even if generic—finding area, contrary to collections purchased from the various antiquaries. And secondly, even if incomplete compared to the richness and diversity of the Fayum workshops, the chronological and typological range it covers makes it a perfect companion to the only two published and illustrated lamp catalogs of regular excavations made in the area: the early 1900s work of W.M.F. Petrie at Ehnasya and the later investigations by the University of Michigan team at Karanis. Also highlighted are the unique Fayum fashions and approaches to the importation, adoption or rejection of common types found in the Nile Delta, as well as the emergence of typically microregional subtypes as discussed by John W. Hayes.
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Wijayanto, Heri. "Seniman sebagai Pemilik Galeri Studi Komparasi antara Tiga Manajemen Galeri Swasta di Yogyakarta." JURNAL TATA KELOLA SENI 2, no. 2 (December 21, 2017): 97–111. http://dx.doi.org/10.24821/jtks.v2i2.1854.
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Penelitian ini bertujuan untuk mengetahui perbedaan manajemen galeri swasta di Yogyakarta dan peran pemilik galeri yang berprofesi sebagai seniman, masing-masing galeri memiliki ciri khas yang membedakan dengan galeri lainnya. Manfaat penelitan ini menjelaskan tentang manajemen dalam galeri swasta, antara lain: “Museum Dan Tanah Liat”, “Kersan Art Studio” dan “Sangkring Art Space”. Seniman yang ingin berpameran setidaknya mengerti akan pentingnya jaringan pertemanan dan lebih memahami akan karakter galeri yang menjadi tujuan pameran. Metode yang digunakan dalam penelitian ini menggunakan metode kualitatif deskriptif dengan menggunakan data primer sebagaimana peneliti lakukan melalui wawancara kepada pemilik galeri dan manajemen galeri, sedangkan data sekunder digunakan untuk mendukung penelitian dengan mengumpulkan dokumen seperti katalog, poster dan media promosi yang digunakan dalam internet. Membandingkan hasil peneltian yang didapat dengan mencari perbedaan pada peran pemilik dan manajemen dalam galeri. Hasil penelitian ini menunjukkan bahwa setiap pemilik galeri memiliki peran masing-masing terhadap manajemen. Kurator dalam sebuah manajemen memiliki peran yang sangat penting untuk menafsirkan karya seni rupa dan mematangkan sebuah konsep kegiatan pameran. Jaringan pertemanan menjadi paling penting dalam sebuah galeri, karena setiap galeri yang memamerkan karya seni tidak jauh dari pertemanan tersebut. Direktur atau General Manager sebagai pengendali utama dalam manajemen, galeri rata-rata tidak memiliki latar belakang pendidikan manajemen, meski demikian, manajemen galeri menerapkan teori fungsi manajemen mengenai; 1) Perencanaan dan penyusunan strategi, 2) Pengorganisasian, 3) Pengendalian, 4) Memimpin dan mengembangkan karyawan. This study aims to determine the differences between private gallery management in Yogyakarta and the role of gallery owners who work as artists. Each gallery has distinctive characteristics that differentiate it from others. The benefit of this research explains about the management of private galleries: "Museum dan Tanah Liat", "Kersan Art Studio" and "Sangkring Art Space". Artists who want to exhibit their artworks should at least understand the importance of friendship networking and better understand the character of the gallery in which the exhibition is held. The method used in this study is descriptive qualitative in which primary data was obtained by interviewing gallery owners and gallery management, while secondary data was used to support research by collecting documents such as catalogs, posters and promotional media in the internet. Then, the data was processed by coding the indicator that became the result of the interview and analysis. The result of the analysis is to compare the three galleries with the differences in each of the galleries. There is a difference in the role of gallery owners to the management, program activities and criteria of the artworks exhibited in each gallery. The results of this study indicate that each gallery owner has their own respective roles toward management. The curator in a management has a very important role to interpret the artworks and finalize a concept of exhibition activity. Friendships are the most important in a gallery because every gallery exhibit artworks which are not far from that friendship. Evenly, directors or general managers as the main controller in management does not have management education background, however, the gallery management implements the management function theory regarding; 1) strategic planning and preparation, 2) organizing, 3) controlling, 4) leading and developing employees.
Dissertations / Theses on the topic "Everson Museum of Art Catalogs"
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Taylor, Joyce Geneva. "Art exhibition catalogs an exploratory study of their accessibility to patrons in selected academic, museum, and art school libraries /." 1993. http://books.google.com/books?id=kv7gAAAAMAAJ.
Full textBooks on the topic "Everson Museum of Art Catalogs"
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Art, Everson Museum of. American art pottery: From the collection of Everson Museum of Art. New York: Harry N. Abrams, 1997.
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Barbara, Perry, ed. American ceramics: The collection of Everson Museum of Art. New York: Rizzoli, 1989.
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(1986), Everson Biennial. The 1986 Everson Biennial: September 19-November 9, 1986. Syracuse, N.Y: Everson Museum of Art, 1986.
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Museum, Smithsonian American Art. America's art, Smithsonian American Art Museum. Washington, DC: Smithsonian American Art Museum, 2005.
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Alexandru, Măciucă, ed. The Art Collections Museum: The National Museum of Art of Romania. Bucharest: The National Museum of Art of Romania, 2013.
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J, Slowik Theresa, ed. America's art, Smithsonian American Art Museum. New York: Abrams, 2006.
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Stephan, Wolohojian, ed. Harvard Art Museum handbook. Cambridge, Mass: Harvard Art Museum, 2008.
Find full textBook chapters on the topic "Everson Museum of Art Catalogs"
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Yaşdağ, Meltem. "Orientalist Museum Exhibitions in UK as a New Media at the Turn of the 21st Century." In Advances in Media, Entertainment, and the Arts, 268–82. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch017.
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In this chapter, the author examined the orientalist themed museum exhibitions totally held in Britain after 2000 to understand the real intention behind their thematic artifact selection and their effect on people as becoming media tool. These were “Turks: A Journey of a Thousand Years, 600-1600” in 2005, “The Lure of the East: British Orientalist Painting” in 2008, and recent “Inspired by the East: How the Islamic World Influenced Western Art” in 2019, respectively. The author analyzed the criticisms in newspapers and magazines as well as curators' interviews and catalogs for the museum exhibitions organized in United Kingdom. In this way, the author also discussed the effects of the exhibition created with the media.