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Relevant bibliographies by topics / Fine art

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Academic literature on the topic 'Fine art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Fine art"

1

San Choon Kim. "Fine Art? Ugly Art?" Sogang Journal of Philosophy 37, no. ll (May 2014): 9–29. http://dx.doi.org/10.17325/sgjp.2014.37..9.

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Weinstein, Nicole. "Fine art." Nursery World 2016, no. 4 (February 22, 2016): 30–31. http://dx.doi.org/10.12968/nuwa.2016.4.30.

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KHUJANIYAZOV, Rashid K. "FINE LINES IN UZBEKISTAN PAINTING ART." Art and Design: Social Science 02, no. 03 (June 1, 2022): 8–11. http://dx.doi.org/10.37547/ssa-v2-i3-03.

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This article provides a general overview of the elegant lines of artists in the art of painting in Uzbekistan on a scientific basis, detailing the appearance of the art of painting in the early stages of its formation. In addition, the restoration of historical memories by Uzbek artists, the re-observation of our artistic heritage, as well as the latest achievements of world culture in their creative research, the artist clearly demonstrates the results of this process. and observing the work from a certain distance.

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Harper, Catherine. "Damn Fine Art." Circa, no. 88 (1999): 63. http://dx.doi.org/10.2307/25563413.

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Kumar, Vinay. "Fine Art Pedagogy in India And Impact of New Media Art." Paripex - Indian Journal Of Research 3, no. 1 (January 15, 2012): 80–82. http://dx.doi.org/10.15373/22501991/jan2014/23.

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Marinković, Slobodan, Tatjana Stošić-Opinćal, and Oliver Tomić. "Radiology and Fine Art." American Journal of Roentgenology 199, no. 1 (July 2012): W24—W26. http://dx.doi.org/10.2214/ajr.11.7934.

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White, Hilary. "It's a fine art." Practical Pre-School 2008, no. 92 (September 2008): 13–14. http://dx.doi.org/10.12968/prps.2008.1.92.37971.

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ATKINSON, R. L. "Geology and fine art." Geology Today 5, no. 6 (November 1989): 198. http://dx.doi.org/10.1111/j.1365-2451.1989.tb00667.x.

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Fortnum, Rebecca, and Christine Pybus. "Challenging fine art pedagogies." Art, Design & Communication in Higher Education 13, no. 1 (April 1, 2014): 3–6. http://dx.doi.org/10.1386/adch.13.1.3_2.

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Brus, Viktor V., Marc Gluba, Jörg Rappich, Felix Lang, Pavlo D. Maryanchuk, and Norbert H. Nickel. "Fine Art of Thermoelectricity." ACS Applied Materials & Interfaces 10, no. 5 (January 28, 2018): 4737–42. http://dx.doi.org/10.1021/acsami.7b17491.

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Dissertations / Theses on the topic "Fine art"

1

Leung, Yin-ling Carol. "Academy of fine arts." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944873.

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King, Abigail Graham. "Community Art as an Interdisciplinary Challenge to Fine Art." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1123084206.

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Findlay, Judith. "Fine art as performance : a definition of the discipline (a study of the fine art world in the art school)." Thesis, University of Strathclyde, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366768.

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Morris, Simon David Chester. "Bibliomania and related fine art practice." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434240.

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Lang, Martin. "Militant art." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50237/.

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This thesis is an analysis of ‘militant art’ – a type of art activism that is prepared to break the law, use violence against people (including the artists themselves), property, or incite others to do the same, in order to realise a cause. This thesis considers militant art as a continuation of the expanded field of relational aesthetics fused with a renewed interest in 20th century avant-garde art practices and the organisational structure, politics and tactics of the Global Justice Movement – which I conceptualise as a direct response to a lingering post-political spectacular malaise. Although there has been a surge of recent writing about Socially Engaged Participatory Art practices and, to a lesser extent, art activism, the more militant forms are still under-researched. The thesis is divided into two parts: the first is an art historical, theoretical and political analysis; the second uses qualitative research methods to verify and interrogate claims made in the first. A series of ten interviews with contemporary artists (and collectives) and an ethnographical study provide new data on militant art, which are analysed fully in a dedicated chapter. The findings give us insight into the militant artists’ psychology, motivations and tactics providing a description, analysis and definition of hitherto overlooked contemporary practices.

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Michael, Michael John. "Ex Nihilo : emptiness and art." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8198.

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Includes bibliographical references (leaves 93-102).
The purpose of this document is the elaboration of a system of thought that sees art as an empty structure, in a way that is analogous to the conceptual mechanics of Buddhism. What is meant exactly by the term Buddhism will I hope, become clearer as the reader moves through it. Likewise, it is hoped that a perspective on art that sees it as sharing certain conceptual tendencies with Buddhism will emerge. What must be borne in mind for the meantime is the following; firstly, that the concept of emptiness in Buddhism is not nihilism, and this holds true for the system that I describe; it is my position that much art is empty (in a way) and necessarily so. Secondly, that both systems (though not exclusively), are ways of relating, rather than bodies of text or specific images. Wittgenstein's view of philosophy is analogous to this last point in that he insisted on seeing philosophy as a method rather than a science (Perloff 1996: 46). This tendency of mode over product, or way of relating over the thing made, is a critical underlying component of what follows in this document and in my practical production.

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Lech-Piwowarczyk, Ewa. "Language and the definition of art: Analytic and continental discussion of the nature of art." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6684.

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Art has a definite place in our culture and it plays a significant role there. Yet all the continuing efforts in analytic aesthetics to define art have failed, leading to an impasse. So, we still do not know how to define art. In order to overcome the impasse I argue that a change of philosophical perspective is necessary and I suggest a confrontation between Continental and analytic perspectives on defining art. In Part One I deal with analytic aesthetics. I single out Danto's theory of art as the paradigmatic analytic theory of art. I call attention to the fact that Danto defines art by means of language, a theory of art which is a discourse on the language of art. I show the impact of Danto's theory on the rest of analytic aesthetics. First, I present Dickie's theory of art of and show how he draws from Danto but departs from him later on. Then, I present Tilghman's critique of Danto, and I stress the point that in Tilghman's view the problem with Danto's theory is linguistic in nature. I identify Danto's understanding of language as the source of the problems recent analytic aesthetics has with the definition of art. In this way I locate the current impasse in analytic aesthetics and I claim that the underlying analytic understanding of language is too narrow in order to define art. I show the evolution of Danto's views and I discuss his attempt to enlarge his understanding of language with history. In Part Two I try to suggest a way out of the impasse. I shift the perspective and turn to phenomenology and Ingarden's theory of art. I call attention to the role of language in his philosophy and present his approach as quasi-analytical. Specifically, I interpret Ingarden as the continuator of Twardowski and not of Husserl in his understanding of language. I point to the fact that Ingarden's non-phenomenological view of language is a view that allows of seeing language not only as a container of ideas but also their shaper. I show that Ingarden attributes to language an attentional mode of being, and that he treats it as a means of communication. He exposes its cultural nature and enlarges its understanding with the notion of society. I claim that such a broader understanding of language may help analytic aesthetics overcome the present impasse. In Conclusion, I argue that supplementing the notion of language with the notion of history, as Danto does, or society, as Ingarden does, provides a fuller understanding of language, and consequently of art. Hence, it makes possible the overcoming of the impasse in analytic aesthetics. At the same time, however, I show that the very project of defining art has to be relativized in terms of understanding and responding to the significance of art.

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TEIXEIRA, GUILHERME NOBREGA. "PATTERN RECOGNITION APPLIED IN FINE ART AUTHENTICATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2002. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=2912@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Assinaturas e caligrafias foram utilizadas durante décadas como uma marca característica de cada indivíduo. Por trás dos métodos utilizados para reconhecer estas caracterísitcas está o fato que toda pessoa possui seu próprio jeito de mover a mão enquanto escreve. Sendo assim é razoável pensar que cada pintor tem uma maneira própria de atacar a tela de pintura com o seu pincel, deixando assim um padrão pessoal de acidentes geométricos, que poderiam ser utilizados para identificá-lo.A partir desse principio surge a idéia de aplicar visão computacional para reconhecer padrões específicos de cada pintor que poderiam ser utilizados no processo de autenticar quadros de arte. A dissertação aqui descrita apresenta os resultados de uma pesquisa que objetiva o desenvolvimento de um método para definir a autenticidade de quadros de arte. Um novo procedimento para segmentação de pinceladas em um quadro juntamente com uma nova técnica de medição de textura para capturar as assinaturas nas pinceladas é proposto. Além disso, o trabalho investiga a utilização de métodos não- paramétricos de classificação, para discriminar entre potenciais pintores. O método proposto é avaliado com um conjunto de experimentos cujo objetivo é discriminar entre dois pintores brasileiros muito conhecidos: Portinari e Bianco.
Signatures and hand writings were used during decades as a unique characteristic to recognize an individual. Methods to recognize these characteristics were base don the fact that each individual has an unique way to move his hand while writing. Taking that into account, it is reasonable to think that each painter has an unique way to strike the painting board with his stroke, leaving a distinguishing personal pattern, that can be used to identify him. From this principle comes the idea to apply computer vision to recognize specific patterns that could be used in the process of authentication of fine art paintings.This work shows the results of a research where the main purpose is to develop a methodology to find the authenticity of fine art paintings. A new segmentation process of strokes of a painting allied to a new technique of texture measure to get the implicit signatures in the strokes is proposed. Beyond that, this work investigates non-parametric classification methods to discriminate potential painters. The proposed method is evaluated with a set of experiments where the purpose is to discriminate between two well known Brazilian painters : Portinari and Bianco.

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Berman, Alan. "Generative adversarial networks for fine art generation." Master's thesis, University of Cape Town, 2020. http://hdl.handle.net/11427/32458.

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Generative Adversarial Networks (GANs), a generative modelling technique most commonly used for image generation, have recently been applied to the task of fine art generation. Wasserstein GANs and GANHack techniques have not been applied in GANs that generate fine art, despite their showing improved GAN results in other applications. This thesis investigates whether Wasserstein GANs and GANHack extensions to DCGANs can improve the quality of DCGAN-based fine art generation. There is also no accepted method of evaluating or comparing GANs for fine art generation. DCGAN's, Wasserstein GANs' and GANHack techniques' outputs on a modest computational budget were quantitatively and qualitatively compared to see which techniques showed improvement over DCGAN. A method for evaluating computer-generated fine art, HEART, is proposed to cover both the qualities of good human-created fine art and the shortcomings of computer-created fine art, and to include the cognitive and emotional impact as well as the visual appearance. Prominent GAN quantitative evaluation techniques were used to compare sample images these GANs produced on the MNIST, CIFAR-10 and Imagenet-1K image data sets. These results were compared with sample images these GANs produced on the above data sets, as well as on art data sets. A pilot study of HEART was performed with 20 users. Wasserstein GANs achieved higher visual quality outputs than the baseline DCGAN, as did the use of GANHacks, on all the fine art data sets and are thus recommended for use in future work on GAN-based fine art generation. The study also demonstrated that HEART can be used for the evaluation and comparison of art GANs, providing comprehensive, objective quality assessments which can be substantiated in terms of emotional and cognitive impact as well as visual appearance.

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Thomas, Vincent. "Is Fine art a viable alternative investment?" Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-134942.

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This paper will study the Art market as an investment opportunity. We will forget about the artistic characteristics of the market (history of art, aesthetic, technic...) and focus only on the business and economic aspects of the market treating art works as tradable goods. Our goal will be to determine whether or not the art market would be a suitable investment vehicle, offering some interesting outlook to investment diversification. This paper will pay a closer look at the recent financial crisis period, trying to understand the mechanism which bonds the financial industry and the Art industry. This will be the key to introduce an investment portfolio including Art as an asset class for investment. Focusing on the performance of such portfolio we will give some further recommendation on how to reach a better than expected performance.

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Books on the topic "Fine art"

1

Anne, Webb, and Association of Graduate Careers Advisory Services., eds. Fine art. Manchester: AGCAS, 1990.

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Sandy, Lynam, and Association of Graduate Careers Advisory Services., eds. Fine art. Manchester: Careers Services Trust, 1994.

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John, Hyatt, and Manchester Metropolitan University, eds. Fine art. [Manchester]: Manchester Metropolitan University, 1990.

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Charlo, B. Fine art photography. [Browning, Mont: U.S. Dept. of the Interior, Indian Arts and Crafts Board, Museum of the Plains Indian and Crafts Center, 1991.

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House, Heffel Fine Art Auction. Fine Canadian art. Toronto: Heffel, 2008.

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Ltd, Art Warehouse. Fine art focus. Bristol: Art Warehouse, 2004.

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House, Heffel Fine Art Auction. Fine Canadian art. Vancouver: Heffel Fine Art Auction House, 2007.

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Pemberton, Carole. Fine art courses. [Brighton]: Brighton Polytechnic Career Counselling Unit, 1985.

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Charlo, B. Fine art photography. [Browning, Mont: U.S. Dept. of the Interior, Indian Arts and Crafts Board, Museum of the Plains Indian and Crafts Center, 1991.

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Bienal Internacional de Graffiti Fine Art (3rd 2015 Brazil). Graffiti fine art. Edited by Ribeiro Binho curator and Museu Brasileiro da Escultura Marilisa Rathsam. Sao Paulo: SESI-SP Editora, 2015.

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Book chapters on the topic "Fine art"

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McCloskey, Mary A. "Fine Art." In Kant’s Aesthetic, 105–13. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08796-9_11.

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Mainstone-Cotton, Sonia. "Fine art." In Creativity and Wellbeing in the Early Years, 37–59. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003312710-4.

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McAndrew, Clare, and Rachel Campbell. "Art Risk." In Fine Art and High Finance, 87–116. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119204688.ch4.

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Gyorgy, Suzanne, and Clare McAndrew. "Art Banking." In Fine Art and High Finance, 117–33. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119204688.ch5.

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Eckstein, Jeremy, and Randall Willette. "Art Funds." In Fine Art and High Finance, 135–59. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119204688.ch6.

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Bleicher, Steven. "Color in Fine Art." In Contemporary Color, 185–206. 3rd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003242741-9.

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Winfield, Richard Dien. "Literature as Fine Art." In Rethinking the Arts after Hegel, 235–64. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-35542-4_11.

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Shiner, Larry. "What Was Fine Art?" In The Routledge Companion to the Philosophies of Painting and Sculpture, 103–10. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003312727-13.

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Kräussl, Roman. "Art Price Indices." In Fine Art and High Finance, 63–86. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119204688.ch3.

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Werner, Thomas. "The Art Markets." In The Business of Fine Art Photography, 27–79. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003086925-2.

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Conference papers on the topic "Fine art"

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Huang, Yue. "A Discussion on the Relationship Between Fine Art Psychology and Fine Art Education From the Perspective of Modern Fine Art Education." In 2nd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/emehss-18.2018.49.

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Paternoster, Nance, and Lyn Bishop. "Alternative digital fine art printmaking." In ACM SIGGRAPH 2013 Studio Talks. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2503673.2503692.

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Юрасовская, Н. М. "RUSSIAN TRACE IN THE FINE ART OF ART DECO." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.27.

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Декоративный стиль ар-деко, родившийся во Франции как шикарный fashion- style в 1910–1930-х гг., занял все уровни проектирования жизненной среды от моды, рекламы, дизайна интерьеров и техники — до архитектуры небоскребов, кинофильмов, музыкальных ораторий, а также произведений изобразительного искусства. Немалую роль в формировании и развитии ар-деко сыграли русские художники первой трети ХХ в. Среди них важное место занимали представители отечественной эмиграции первой волны, уехавшие в годы революции из России уже состоявшимися мастерами. Долгое время в Советском Союзе они оказывались за пределами внимания историков искусства. Art Deco decorative style, born in France as a chic fashion- style, in 1910–30-ies occupied all, levels of design of the living environment from fashion, advertising, interior design and technology — to the architecture of skyscrapers, films, musical oratorios, as well as works of fine art art. Russian artists of the fi rst third of the twentieth century played a significant role in the formation and development of Art Deco. Among them, an important place was occupied by representatives of the first wave of domestic emigration, who left Russia during the years of the revolution as already accomplished masters. For a long time in the Soviet Union they were beyond the attention of art historians.

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Bishop, Lyn, and Nance Paternoster. "Inspirations in digital fine art printmaking." In ACM SIGGRAPH 2014 Studio. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2619195.2656321.

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Stove, A. G. "Radar considered as a fine art." In 2013 International Conference on Radar. IEEE, 2013. http://dx.doi.org/10.1109/radar.2013.6652046.

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Smolka, Bogdan, Rastislav Lukac, Konstantinos N. Plataniotis, and Anastasios N. Venetsanopoulos. "Robust retrieval of fine art paintings." In Optical Metrology, edited by Renzo Salimbeni. SPIE, 2003. http://dx.doi.org/10.1117/12.504101.

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Ziljak Grsic, Jana, Lidija Tepes Golubic, and Sanda Stanacev Bajzek. "HIDDEN FINE ART WITH IR COLORANTS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.10.

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We are surrounded by video surveillance cameras that register separately in two light areas: visible to our naked eye - Red, Green Blue record and near infrared record (NIR � Z). In this article, we present quantitative data on the measurement of light absorption for fine art colorants. We expand the theory and practice of Infrared Art by giving examples of artists who paint so-called "infrared pictures" as a new, different creation of a work of art, a new expressive possibility that the artist adapts to his artistic nature, that is, to his expression, and by no means as a new technological possibility to which he will subordinate himself and his art. Infrared Art is a completely new method of creating works of art with regard to the infrared area, that is, it is a discovery and a technology that allows us to create and reproduce works of art with full control over the management of dual images and messages that can be communicated through images, via information that is visible and invisible to the eye. The increasing interest in the question of colors and colorants and their physical properties encourages us not to keep Infrared Art, that is, infrared technology, in the sphere of experiments, but to make maximum use of its applicability in all aspects of visual communication and information communication.

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Gal Drzewiecka, Iveta. "FINE-ART CREATION BY MIROSLAV CIPAR." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/6.3/s12.018.

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Bai, Rui, Huang Ling, Zhao Kai, Donglian Qi, and Qiao Wang. "Author recognition of Fine-Art paintings." In 2019 Chinese Control Conference (CCC). IEEE, 2019. http://dx.doi.org/10.23919/chicc.2019.8865492.

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Conde, Marcos V., and Kerem Turgutlu. "CLIP-Art: Contrastive Pre-training for Fine-Grained Art Classification." In 2021 IEEE/CVF Conference on Computer Vision and Pattern Recognition Workshops (CVPRW). IEEE, 2021. http://dx.doi.org/10.1109/cvprw53098.2021.00444.

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Reports on the topic "Fine art"

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Strednansky, Susan E. Balancing the Trinity: The Fine Art of Conflict Termination. Fort Belvoir, VA: Defense Technical Information Center, June 1995. http://dx.doi.org/10.21236/ada387672.

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Napier, Dillon. An Exploration of Classical Greek Dress through Fine Art and Draping Insights. Ames (Iowa): Iowa State University, May 2024. http://dx.doi.org/10.31274/cc-20240624-179.

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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.

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Irminger, Bente. Økt interesse for kreativitet åpner for nye designerroller- men skaper også behov for rolleavklaringer. Universitetet i Bergen KMD, January 2018. http://dx.doi.org/10.22501/kmd-ar.1090265.

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Irminger, Bente. A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles. Universitetet i Bergen KMD, January 2018. http://dx.doi.org/10.22501/kmd-ar.1090256.

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Bente Irminger, ‘A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles‘, Faculty of Fine Art, Music and Design, University of Bergen

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Cao, Larry. II. Natural Language Understanding, Processing, and Generation: Investment Applications. CFA Institute Research Foundation, March 2023. http://dx.doi.org/10.56227/23.1.8.

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Executives from AllianceBernstein, Two Centuries Investments, Applied AI, and Off-Script Systems share a litany of foundational and state-of-the-art natural language processing. Learn best practices for open-source models and proprietary fine tuning.

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Варданян, Марина Володимирівна, Ірина Анатоліївна Дирда, and Маргарита Вікторівна Кірєєва. Cultural memory of Chornobyl in literature and fine arts (in case of a picturebook “The Flowers beside the Fourth Reactor” by K. Mikhalitsyna and paintings by M. Prymachenko). Atlantis, May 2022. http://dx.doi.org/10.31812/123456789/7059.

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From the category “cultural memory”, the paper compares the works of different arts – a picturebook Kvity bilia chetvertoho (The Flowers beside the Fourth Reactor) by K. Mikhalitsyna and paintings of a representative of naive art, an artist M. Prymachenko. The paper explores the interaction of various arts based on Chornobyl’s issue within the comparative interpretation. The Flowers beside the Fourth Reactor by K. Mikhalitsyna narrates the life of M. Prymachenko and refers to her paintings devoted to Chornobyl. From the reception of fine arts, the writer’s picturebook raises verbilised and visualised issues of generations, memory, and nature conservation.

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Brison, Jeffrey, Sarah Smith, Elyse Bell, Antoine Devroede, Simge Erdogan, Christina Fabiani, Kyle Hammer, et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.

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Chisholm, Catherine. Acetate as a fine arts medium. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.922.

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Bloom, Nicholas, Charles Jones, John Van Reenen, and Michael Webb. Are Ideas Getting Harder to Find? Cambridge, MA: National Bureau of Economic Research, September 2017. http://dx.doi.org/10.3386/w23782.

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