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Journal articles on the topic 'Fuller Museum of Art'

Author: Grafiati

Published: 28 February 2023

Last updated: 31 July 2025

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1

Worrall, Mary. "A Fuller View of China: Chinese Art in the Seattle Art Museum (Yiu)." Museum Anthropology Review 10, no. 1 (2015): 58. http://dx.doi.org/10.14434/mar.v10i1.20601.

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2

Kont, Hanna-Liis. "Kunstiga kiusamise vastu. Kiusuennetustunni eesmärk ja ülesehitus Kadrioru kunstimuuseumi ja Tartu Kunstimuuseumi näitel." Eesti Rahva Muuseumi aastaraamat 62, no. 2 (2019): 45–72. http://dx.doi.org/10.33302/ermar-2019-003.

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With the shift of focus on the part of museums towards a fuller consideration of the audience’s needs, a number of museums around the world have begun to contribute more actively and consciously to people’s welfare, including their physical and mental health and the inclusion of more vulnerable and marginalised social groups. Several museums in Estonia have joined in these efforts over the past few years. A specific example of such a museum innovation is the work that has been done with bullying prevention. To date, studies have shown that one in five children attending a school in Estonia is

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3

McGill, Lyndsay. "Scottish heart brooches." Proceedings of the Society of Antiquaries of Scotland 151 (November 30, 2022): 223–34. http://dx.doi.org/10.9750/psas.151.1342.

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This article presents a study of Scottish heart brooches, primarily from the 18th century, using the collections of the National Museums Scotland, Inverness Museum and Art Gallery, the Highland Folk Museum and those reported to the Treasure Trove Unit. By researching over 350 heart brooches it has been possible to gain a fuller understanding of their purpose and meaning, their various styles and their production centres. A re-evaluation of these objects is important because an understanding of them exists that may not be wholly accurate, such as their connection to Edinburgh through the locked

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4

Theiler, Esther. "Valentin de Boulogne’s Portraits of Raffaello Menicucci: The Buffoon Count of Monte San Savino." Studiolo 13, no. 1 (2016): 130–45. http://dx.doi.org/10.3406/studi.2016.1034.

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This article contributes new material to current understanding of a portrait of Raffaello Menicucci by the French artist, Valentin de Boulogne, painted in Rome c1630, and now in the Indianapolis Museum of Art. Menicucci was a middle-aged man from the Tuscan city of Monte San Savino who left to become a buffoon in the court of the Grand Duke of Tuscany and later of Urban VIII in Rome. This painting will be travelling to the major exhibition of the work of Valentin de Boulogne to held later in 2016 at the MET and the Louvre. I offer here a fuller picture of Raffaello Menicucci – based on researc

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Холодкова, Нина Викторовна. "From the history of the Tsar's chambers at Trinity-Sergius Lavra during Soviet times." Церковный историк, no. 2(2) (August 15, 2019): 47–70. http://dx.doi.org/10.31802/chist.2019.2.2.003.

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Статья посвящена истории существования здания Царских чертогов Троице-Сергиевой Лавры в советский период - с момента национализации Лавры (1918 г.) до полной передачи его в ведение Московской Патриархии (1954 г.). За это время сооружение занимали самые различные организации: музей, военное ведомство, педагогический техникум, учительский институт, госпиталь, Академия художеств, городской театр, художественно-ремесленное училище. Данная статья - это первая попытка наиболее полно осветить бытование этих организаций в уникальном памятнике. Рассказ основан на документальных материалах с привлечение

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KITLV, Redactie. "Book reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 168, no. 2-3 (2012): 337–75. http://dx.doi.org/10.1163/22134379-90003565.

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Andrea Acri, Helen Creese, and Arlo Griffiths (eds), From La&#7749;kā Eastwards: The Rāmāya&#7751;a in the literature and visual arts of Indonesia (Dick van der Meij) Michael Arthur Aung-Thwin and Kenneth R. Hall (eds), New perspectives on the history and historiography of Southeast Asia: Continuing explorations (David Henley) Steven Farram, A short-lived enthusiasm: The Australian consulate in Portuguese Timor (Hans Hägerdal) R. Michael Feener, Patrick Daly and Anthony Reid (eds), Mapping the Acehnese past (William Bradley Horton) Geoffrey C. Gunn, History without borders: The making

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7

Henig, Martin. "A Jeweller's Die from Alchester; Oxfordshire." Antiquaries Journal 79 (September 1999): 388–89. http://dx.doi.org/10.1017/s0003581500044589.

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A small lump of copper alloy, roughly ovoid in shape and measuring 45mm in length, 28mm in breadth and 10mm thick (fig I a), was excavated at Alchester in 1927 beneath the courtyard of a building just inside the east gateway, apparently associated with mid second-century pottery. In his report, published in our Journal, J H Iliffe calls it merely an ‘irregular lump of bronze, flat on the back’. It was presented to the Ashmolean Museum, Oxford together with other finds by the Alchester Excavation Committee and the Accession register carries a somewhat fuller description: ‘Bronze object of uncer

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8

Cook, John R. "The Country Boy: Investigating the Dennis Potter Archive, Forest of Dean, England." Journal of Screenwriting 14, no. 1 (2023): 45–58. http://dx.doi.org/10.1386/josc_00114_1.

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This article presents scholarship relating to work conducted in the Dennis Potter Archive, Dean Heritage Centre, Dean Museum Trust, England. It argues that the Dennis Potter Archive is a significant archive consisting of handwritten manuscripts and notebook drafts of virtually all of the work of famed writer Dennis Potter (1935–94), allowing us unique access to the engine room of his creativity. The article focuses on the ‘discovery’ of Potter works previously unknown and/or inaccessible, including completed drafts of unproduced television plays and unproduced film screenplays. It also sheds n

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9

Merrillees, Robert Stuart. "Towards a fuller history of the Cyprus Museum." Cahiers du Centre d'Etudes Chypriotes 35, no. 1 (2005): 191–214. http://dx.doi.org/10.3406/cchyp.2005.1482.

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10

Guarino, Regina. "The Art Museum." McNeese Review 60, no. 1 (2023): 121–25. http://dx.doi.org/10.1353/mcn.2023.a925635.

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11

Masetti, Marcela. "Loïe Fuller." la boya, no. 2 (November 1, 2023): e0022. https://doi.org/10.14409/lb.2.2.e0022.

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Este artículo presenta un recorrido por la vida y obra de la artista Loïe Fuller, una creadora fuera de las normas de la época. Su innovación marca un quiebre con el ballet narrativo e irrumpe con una potente poética de la imagen, donde se conjuga un vestuario particular con los efectos lumínicos y musicales que contribuyen a la creación de una práctica artística inclasificable. Proveniente del teatro y el vodevil, su producción se sitúa en el área de la danza, pero propone algo por fuera de las narrativas del ballet y del virtuosismo técnico del cuerpo, omnipresente en la danza clásica. Desar

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12

Tsvietkova, Larysa. "Scientific and Technical Dimension of European Dance Art of the Late 19th – early 20th Century (on the Example of Loie Fuller's creative activity)." Dance Studies 4, no. 1 (2021): 78–86. https://doi.org/10.31866/2616-7646.4.1.2021.236230.

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The purpose of the article is to reveal the influence specifics of scientific and technical achievements on the dance art of the late 19th – early 20th centuries on the example of Loy Fuller’s work. Methodology. Based on the analysis of scientific literature and sources, the use of comparative, chronological, comparative methods, a scientifically substantiated study was carried out. Scientific novelty. For the first time in Art Studies, the creative work of L. Fuller, the modern dance representative of the late 19th – early 20th century, is considered

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13

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

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan

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14

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

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

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15

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

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16

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

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17

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

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18

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

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass s

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19

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

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20

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

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21

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

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22

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

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23

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

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24

Lee, Jungwon. "Why a Contemporary Art Museum?: The Museum Experience through Contemporary Art Exhibition." International Journal of the Inclusive Museum 17, no. 2 (2024): 51–71. http://dx.doi.org/10.18848/1835-2014/cgp/v17i02/51-71.

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25

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

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

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26

Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, G

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27

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

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28

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

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29

Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the m

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30

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

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

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32

Rasmussen, Briley. "Museum as Métier: Victor D'Amico and the Museum of Modern Art." Journal of Aesthetic Education 57, no. 4 (2023): 60–75. http://dx.doi.org/10.5406/15437809.57.4.04.

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Abstract Although Victor D'Amico's pedagogy and legacy are well known within the field of art education, discussions of his work often disregard the context in which he worked for over thirty years—The Museum of Modern Art. This essay examines D'Amico's key projects, considering how they were supported by and in collaboration with his museum colleagues. The result was a unique legacy steeped in a pedagogy of modern art and museum education. As a conclusion, this essay looks at the training of art educators and museum educators as requiring different kinds of foundational work and an acknowledg

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33

Jones, Andrew Meirion. "The Art of Assemblage: Styling Neolithic Art." Cambridge Archaeological Journal 27, no. 1 (2017): 85–94. http://dx.doi.org/10.1017/s0959774316000561.

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The art of Neolithic Britain and Ireland consists of a variety of curvilinear and geometric motifs pecked into stone (in open-air rock art or passage tombs) or carved into portable artefacts of chalk, stone or antler. Because of its abstract nature the art has proved problematic for archaeologists. Initially archaeologists assumed the art was representational; now most scholars have abandoned this view, and simply approach the art stylistically. Here I argue that stylistic analysis is insufficient to understand this art: instead the process of making provides a fuller understanding of this art

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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metrop

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35

Hall, Joshua M. "Rechoreographing Homonymous Partners: Rancière's Dance Education from Loïe Fuller." Journal of Aesthetic Education 56, no. 3 (2022): 44–62. http://dx.doi.org/10.5406/15437809.56.3.03.

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Abstract Contemporary philosopher Jacques Rancière has been criticized for a conception of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in the most recent Rancière book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills's reading exacerbates an “homonymy” (Rancière's term) in Rancière's use of the word “inscription,” which means for him either a vicious literal carving on living bodies or else

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36

Umralieva, L. M., and A. K. Sabyrova. "Application of the Virtual Museum Method in the Process of Analyzing Applied Art and Creative Works." Iasaýı ýnıversıtetіnіń habarshysy 127, no. 1 (2023): 35–363. http://dx.doi.org/10.47526/2023-1/2664-0686.29.

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The article presents the results of the research and the art history, educational possibilities of the virtual museum method. The exhibits of art in the museum are classified depending on consumer, technical, form, machine-tool features. For residents and students living away from the centers of the Museum of Art, the art history opportunities and needs of the virtual museum are open. The features of the art exhibits in the museum, criteria and methods of their analysis, content, program, methods of presentation of works of art to future teachers are presented. The virtual museum is recognized

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Bračun Sova, Rajka. "Art Appreciation as a Learned Competence: A Museum-based Qualitative Study of Adult Art Specialist and Art Non-Specialist Visitors." Center for Educational Policy Studies Journal 5, no. 4 (2015): 141–57. http://dx.doi.org/10.26529/cepsj.121.

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Since Bourdieu, it has been argued that art appreciation requires “knowledge”. The focus of this qualitative study was to examine art appreciation as a learned competence by exploring two different groups of museum visitors: art specialists and art non-specialists. The research was conducted at Moderna galerija in Ljubljana. Twenty-three adults were recruited and accompanied during their visit to the museum. Participants were requested to “think out loud”, which meant to talk about what they saw, thought, and felt about the artworks. There was a short interview conducted with each participant

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Murtinho, Vitor, and Joana Maia. "Dymaxion House by Buckminster Fuller, a dream machine." Metálica, no. 26 (December 31, 2022): 14–21. http://dx.doi.org/10.30779/cmm_metalica_mi26_03.

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Richard Buckminster Fuller saw his name immortalized in the world of architecture by signing the authorship of the famous geodesic dome in steel and acrylic, whose diameter of 76 m defined the volume of the pavilion of the United States of America in the context of Expo 67 in Quebec, Canada. After some historical vicissitudes, the pavilion, known as La Biosphère de Montreal, located in Jean Drapeau Park on the island of Saint Helena, is an emblematic ensemble that today takes on the function of an environmental museum.

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Petrosyan, Lusine. "MONUMENTAL ART IN MUSEUM DESIGN." JOURNAL FOR ARMENIAN STUDIES 3, no. 66 (2025): 175–91. https://doi.org/10.24234/journalforarmenianstudies.v3i66.130.

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As a result of the conducted research, it can be asserted that the use of monumental art in museums unites various art forms - mural, mosaic, sculpture, and others that integrate into the architectural environment and create a unified, powerful aesthetic and ideological impact. It also serves educational and ideological purposes, especially in the preservation of cultural values and historical memory among the public. The application of monumental art in museum design highlights our cultural heritage and history, making them impressive and educational. The design of museums through monumental

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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Rea

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Wasielewski, Amanda. "The Museum in Quarantine: Architecture, Experience and the Virtual Museum." Journal of Curatorial Studies 11, no. 1 (2022): 4–24. http://dx.doi.org/10.1386/jcs_00053_1.

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The effects of the COVID-19 pandemic, beginning in early 2020, were felt across all industries and public institutions, including art museums. Shuttered art museums sought to maintain public interest in their collections and exhibitions by promoting existing online tools, such as the virtual art museum tours hosted by Google Arts & Culture. This article analyses these tours from the perspective of museology and architecture and argues that, rather than a form of virtual reality, these tours are a peculiar kind of image database. As such, they are part of Google’s growing efforts towards ma

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42

Yang, Yeon Kyoung. "A Study of Art Museums Convergence Education Guidelines Model for Social Improvement and Talents Development of Mild Autism Spectrum Disability." Korea Institute of Design Research Society 8, no. 1 (2023): 164–77. http://dx.doi.org/10.46248/kidrs.2023.1.164.

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In order to establish an effective museum convergence education guide and model, this study first sought ways to redefine the local and social role of art museums for the people with autism developmental disabilities. Second, the effectiveness of art enjoyment, mental recovery, and self-exploration were analyzed, and through the participation of family guardians in art museum programs. Third, various attempts and new role implications were derived to expand the social convergence platform of art museum exhibition-linked education. Fourth, an integrated model such as communication, healing, emp

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43

Rewakowicz, Ana. "Anti-entropic Role of Art." Leonardo 47, no. 1 (2014): 76–77. http://dx.doi.org/10.1162/leon_a_00685.

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This article explores an anti-entropic role of art in the service of designing a better world. The vehicle for this journey is art and the steering wheel a concept of design-science developed by Buckminster Fuller. Using the example of her recently produced piece entitled “The Cloud,” the author demonstrates a collaborative spirit of art and science through the process of creation.

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44

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

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45

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

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46

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

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47

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

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48

Graham, Stephen Valambras. "Discovering art online: Digitising university art museum collections." Humanities Research XX, no. 1 (2024): 201–21. http://dx.doi.org/10.22459/hr.xx.01.2024.13.

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

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

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