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Journal articles on the topic 'Harn Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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1

Smith, Fred T., and Robin Poynor. "African Art at the Harn Museum: Spirit Eyes, Human Hands." African Arts 29, no. 4 (1996): 90. http://dx.doi.org/10.2307/3337408.

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2

Cooksey, Susan. "The African Art Collection at the Samuel P. Harn Museum of Art, University of Florida." African Arts 49, no. 3 (2016): 68–83. http://dx.doi.org/10.1162/afar_a_00301.

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3

Frantz, Sara L. "Preserving Art and the Environment through Sustainable Museum Buildings." Collections: A Journal for Museum and Archives Professionals 3, no. 3 (2007): 243–70. http://dx.doi.org/10.1177/155019060700300304.

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This project analyzes the intersection between two highly specialized fields, sustainable building practices and the environmental controls crucial to art conservation maintained in art museum buildings. Art museums often cite these highly specialized light and atmospheric controls as an impediment to sustainable building. My goal is to bring these fields more closely together so that art museums can build sustainable facilities that cause less harm to the environment while simultaneously meeting art conservation needs.

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4

Abbey, Heidi N. "Does a decade make a difference? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011." Art Libraries Journal 37, no. 3 (2012): 34–40. http://dx.doi.org/10.1017/s0307472200017582.

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The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programmin

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Cooksey, Susan. "Two Works by Ghanaian Artists: The Harn Museum of Art University of Florida." African Arts 51, no. 3 (2018): 9. http://dx.doi.org/10.1162/afar_a_00412.

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6

Kehoe, Elisabeth. "Working hard at giving it away: Lord Duveen, the British Museum and the Elgin marbles." Historical Research 77, no. 198 (2004): 503–19. http://dx.doi.org/10.1111/j.1468-2281.2004.00220.x.

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Abstract In September 1928, just after the publication of the report of the royal commission on National Museums and Galleries, the art dealer Sir Joseph Duveen wrote to his good friend Edgar Vincent, Viscount D'Abernon, who had chaired the commission, offering to pay for a new gallery at the British Museum to house the Parthenon, or Elgin, marbles. The new gallery cost over £100,000 and took ten years to complete, during which time Duveen worked hard to impose his vision of a new gallery – a vision often at odds with that of the Museum establishment, and one that generated controversy, includ

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7

Gardi, Bernhard. "Africa Interweave—Textile Diasporas. Samuel P. Harn Museum of Art, University of Florida, Gainesville, February 8–May 8, 2011." African Arts 44, no. 4 (2011): 84–86. http://dx.doi.org/10.1162/afar.2011.44.4.84.

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8

Hoogwaerts, Leanne. "Museums, exchanges, and their contribution to Joseph Nye’s concept of ‘soft power’." Museum and Society 14, no. 2 (2017): 313–22. http://dx.doi.org/10.29311/mas.v14i2.645.

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This paper discusses the role that museums and art institutions have in recent years played in international relations, and their contribution to the concept of soft power, coined by Joseph Nye; referring to a country’s ability to persuade rather than coerce through elements of ‘hard’ power such as the threat of a strong military (Nye 2004). Using as examples the exchanges of the Cyrus Cylinder between Iran and the British Museum, and the loan of Picasso’s Buste de Femme (1943) from the Dutch Van Abbemuseum to the International Academy of Art Palestine, the paper argues that through their role

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Cummins, Thomas B. F. "Pre-Columbia: Wherefore Art Thou Art?" Latin American and Latinx Visual Culture 1, no. 1 (2019): 94–99. http://dx.doi.org/10.1525/lavc.2019.000007a.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Cao, Kai, Chunmei Wei, and Qiannan Liang. "Research on the "Shape" Design Method of Museum Exhibition Space under the Background of New Media Art." BCP Social Sciences & Humanities 14 (December 17, 2021): 56–71. http://dx.doi.org/10.54691/bcpssh.v14i.167.

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Traditional museum space design is generally limited to cost and engineering volume, and follows the conventional unified design process of large-scale space fixtures, isolating the design contents of space hard decoration and internal soft decoration and display, and even flood lighting intelligence, lacking unified overall consideration and response. The disjointed design in the early stage led to a large number of space contradictions in the exhibition placement and actual use and operation after the completion of the hard installation and delivery. The intervention of new media art changes

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11

Mo, Wu. "An unfinished task: Viewing the legitimization of contemporary Chinese art from the Third Shanghai Biennale." Journal of Contemporary Chinese Art 7, no. 1 (2020): 27–45. http://dx.doi.org/10.1386/jcca_00018_1.

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The Shanghai Biennale, initiated in 1996, was launched by the Shanghai Art Museum under the background of the proliferation and expansion of the biennial/triennial exhibition system outside Europe and the United States in the last decade of the twentieth century. Based on the investigations of the themes and tasks of the First and Second Shanghai Biennales, this article focuses on the Third Shanghai Biennale opened in 2000, which has made remarkable breakthroughs in its curatorial strategy. By including international curators and artists in the exhibition, the Shanghai municipal government and

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12

Prygov, V. I. "Первый и единственный в России частный музей флорентийской мозаики Б. и Л. Ошкуковых". Iskusstvo Evrazii [The Art of Eurasia], № 2(21) (30 червня 2021): 104–17. http://dx.doi.org/10.46748/arteuras.2021.02.009.

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The article is devoted to the only private museum of Florentine mosaics in Russia by B. and L. Oshkukovs. The basis of its funds was the personal collection of the founders. It represents all the main forms of mosaics using: from easel decorative panels to inserts in jewelry. The museum's exposition reflects the achievements of all the major art centers of Florentine mosaics in Russia — the works of stone-cutting masters from Khabarovsk, Ufa, St. Petersburg, Moscow, etc. The greatest artistic value is represented by mosaic paintings made both according to well-known pictorial originals, and ac

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13

Trever, Lisa. "Pre-Columbian Art History in the Age of the Wall." Latin American and Latinx Visual Culture 1, no. 1 (2019): 100–104. http://dx.doi.org/10.1525/lavc.2019.000007b.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Sinitsyna, Olga. "Old and new problems of Russian art libraries." Art Libraries Journal 17, no. 4 (1992): 23–26. http://dx.doi.org/10.1017/s0307472200008063.

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As a result of the momentous changes taking place in Russia, people and institutions have acquired a new freedom which they have not been prepared for. Art libraries can offer opportunities for people to use their freedom well, but their collections are inadequate and they are desperately short of money. At the same time, prices of books have risen sharply, and the introduction of charges for inter-library lending is inhibiting smaller libraries from borrowing material for their users. Library collections are being depleted by theft, sometimes perpetrated by hard-up librarians. Cooperation bet

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15

Dierker, Urs A. Georg. "Every stain a story: The many dirty undershirts of John McClane in Die Hard." Studies in Costume & Performance 4, no. 2 (2019): 193–205. http://dx.doi.org/10.1386/scp_00004_1.

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Men’s upper body underwear and the depiction of grime, dirt and blood on costumes have a long tradition in Hollywood films. This article explores the 34 undershirts worn by Bruce Willis and his stuntman in the 1988 action film Die Hard from the points of view of the maker, designer, actor, curator and spectator. The image of McClane and the undershirt became iconic in their depiction of a white, working-class, heroic masculinity. One of the many undershirts used in the film was donated to the Smithsonian’s National Museum of American Culture costume collection. This one artefact and the 33 ‘lo

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16

Hansen, Susan. "“Pleasure stolen from the poor”: Community discourse on the ‘theft’ of a Banksy." Crime, Media, Culture: An International Journal 12, no. 3 (2016): 289–307. http://dx.doi.org/10.1177/1741659015612880.

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The removal of street art from community walls for private auction is a morally problematic yet legal action. This paper examines community reactions to the removal of Banksy’s No Ball Games for private auction. Five hundred unique reader comments on online newspaper articles reporting this controversial event were collected and analyzed. An emerging set of urban moral codes was used to position street art as a valuable community asset rather than as an index of crime and social decay. The latter discourse informed a repertoire that depicted No Ball Games as unlawful graffiti that was rightful

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17

Velilla, Carlos. "Tal Vez no Sepa Vd. que yo también Pinto. Arnold Schönberg." Barcelona Investigación Arte Creación 6, no. 3 (2018): 235. http://dx.doi.org/10.17583/brac.2018.3364.

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This article is about the work of Arnold Schönberg1 (1874-1951) as a painter, a little-known facet, but a skill which has shown in excellent art expositions, both in life and posthumously. The last Arnold Schönberg. Peintre l’âme in the MahJ Museum (le musée d’art et d’histoire du Judaïsme) in París in 2016. In Barcelona in 1992: Arnold SchönbergPaintings and drawings. The collection of art work, an exhibition that came from Vienna, Cologne, Manchester, Berlin and Milan. Schönberg answers the first letter from Wassily Kandinsky (1866-1944), and tells him he was apainter, too, and wanted to spe

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Widjaya, Samuel Axel, and Nina Carina. "Wadah Seni Kolektif Senen." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 2, no. 2 (2020): 1341. http://dx.doi.org/10.24912/stupa.v2i2.8511.

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A 3rd place acts as an vital place in our daily life, aside from home as the 1st place or workplace as the 2nd place. 3rd place is a neutral public space, often seen as an alternative for some people. Everyone is welcome to visit and to do lots of activities on it. A 3rd place doesn’t have a fixed form, it can be anything the community around it needs it to be.Kawasan Senen was known as the centre of trade and art since forever. It can be seen from its history that became the birthplace of some of the finest artists in Indonesia. When Taman Ismail Marzuki was built on November 10th, 1968, the

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Green, Rebecca L. Skinner. "Africa Interweave: Textile Diasporas. edited by Susan Cooksey, Gainesville, FL: Samuel P. Harn Museum of Art, University of Florida, 2011. 160 pp., 124 color ill., 15 b/w ill., 1 map. $29.95 paper." African Arts 46, no. 3 (2013): 95–96. http://dx.doi.org/10.1162/afar_r_00096.

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20

Marvella, Bianca, and Andi Surya Kurnia. "GALERI SENI INTERAKTIF." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 2 (2020): 929. http://dx.doi.org/10.24912/stupa.v1i2.4421.

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Millennials are the generation that lives among advance technology. The use of digital technology is inseparable from the millennial generation. This claim are proven by how technology sink in a lot aspects of life, social aspect as one of them. Today, with digital technology, social media becomes a tool to communicate that can connect people without the limitation of time and place. Millennials, as a generation who use digital technology the most today, open themselves up by showing moments, experiences, and pleasures through art. As a form of expressing oneself, art is no longer limited to a

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21

Robb, Matthew H. "Lords of the Underworld—and of Sipán: Comments on the University Museum and the Study of Ancient American Art and Archaeology." Latin American and Latinx Visual Culture 1, no. 1 (2019): 115–20. http://dx.doi.org/10.1525/lavc.2019.000007e.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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22

Börner, Katy, Adam Maltese, Russell Nelson Balliet, and Joe Heimlich. "Investigating aspects of data visualization literacy using 20 information visualizations and 273 science museum visitors." Information Visualization 15, no. 3 (2015): 198–213. http://dx.doi.org/10.1177/1473871615594652.

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In the information age, a person’s ability to read and make data visualizations is nearly as important as being able to read and write text. This article reports the results of a multi-phase study conducted in informal learning environments in three US science museums. The goal of the study was to determine the familiarity of youth and adult museum visitors with different visualization types. To address this, a total of 273 visitors were shown 5 out of 20 different visualizations that included two charts, five maps, eight graphs, and five network layouts. They were asked to judge the familiari

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23

Skelly, Julia. "The Phantasmagoric World of Thierry Mugler." Fashion Studies 2, no. 1 (2019): 1–13. http://dx.doi.org/10.38055/fs020108.

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This review of Thierry Mugler: Couturissime approaches the exhibition through a feminist art-historical lens and attends to the various ways that both Mugler’s clothing and the Montreal Museum of Fine Arts’ curatorial team has framed and constructed the powerful, threatening woman as a complex figure who is hard, cold, sensual, strong, hard-working, and spectacular, among many other valences. The exhibition, which had its world premiere at the MMFA in March 2019, is organized as a fashion opera in six acts, and each room illuminates disparate yet interconnected parts of Mugler’s body of work:

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Chodyński, Antoni Romuald. "WAR LOSSES: A THREE-VOLUME PUBLICATION OF THE MUSEUM OF GDAŃSK." Muzealnictwo 62 (June 16, 2021): 93–99. http://dx.doi.org/10.5604/01.3001.0014.9355.

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Released in three separate volumes, the publication continues the Polish museology series published for several years now and related to the losses incurred as a result of WW II within the borders of today’s Republic of Poland. The Preface to Volume I on the war losses of the Town Hall of the Main City of Gdańsk by the Director of the Museum in Gdańsk Waldemar Ossowski, contains reflections essential for the discussed issue. The three-volume series opens with the War Losses of the Town Hall of the Main City of Gdańsk (Vol. I). Briefly, the most essential facts have been highlighted in the stor

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Smith, Adam, Al Jayson Songcuan, Nathan Cook, Rachelle Brown, Kailash Cook, and Reuben Richardson. "Engineering, Ecological and Social Monitoring of the Largest Underwater Sculpture in the World at John Brewer Reef, Australia." Journal of Marine Science and Engineering 10, no. 11 (2022): 1617. http://dx.doi.org/10.3390/jmse10111617.

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The largest underwater sculpture in the world, the ‘Coral Greenhouse’ by artist Jason deCaires Taylor, was commissioned by the Museum of Underwater Art and installed at John Brewer Reef, Australia, in December 2019. The planning process required certified engineering design drawings associated with design life, durability and suitability of materials, and baseline ecological surveys. Following approval, the operational phase required annual monitoring of substrate, ecology, social values, and marine debris. We geo-referenced three permanent transects and designed a before/after rapid monitorin

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Kudelska, Dorota. "What the Polish Mother Does Not Say. Zbylut Grzywacz Against the Myth." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (2019): 103–23. http://dx.doi.org/10.18290/rh.2019.68.4-5en.

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The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 4 (2014). The article presents the art of Zbylut Grzywacz in the context of his post-mortem exhibition in the Kraków National Museum in 2009. The subjects of the analysis are his paintings from the 1970s and 1980s, presenting women through a simple rough treatment of human body form, without an academic idealization. The destruction of the form conforms to the deconstruction of the myth of a Polish Mother. It is due to the change of a social position of the figures whom Grzywacz gives the roles of gu

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Apollonio, Fabrizio Ivan, Riccardo Foschi, Marco Gaiani, and Simone Garagnani. "How to Analyze, Preserve, and Communicate Leonardo's Drawing? A Solution to Visualize in RTR Fine Art Graphics Established from “the Best Sense”." Journal on Computing and Cultural Heritage 14, no. 3 (2021): 1–30. http://dx.doi.org/10.1145/3433606.

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Original hand drawings by Leonardo are astonishing collections of knowledge, superb representations of the artist's way of working, which proves the technical and cultural peak of the Renaissance era. However, due to their delicate and fragile nature, they are hard to manipulate and compulsory to preserve. To overcome this problem we developed, in a 10-year-long research program, a complete workflow to produce a system able to replace, investigate, describe and communicate ancient fine drawings through what Leonardo calls “ the best sense ” (i.e., the view), the so-called ISLe ( InSightLeonard

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Monita, Gustira. "TARI GUEL SEBAGAI IDENTITAS MASYARAKAT GAYO." Joged 17, no. 1 (2021): 30–41. http://dx.doi.org/10.24821/joged.v17i1.5601.

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ABSTRAKTari Guel dipahami sebagai sebuah simbolis gerak yang memberikan interaksi dinamis pada penontonnya, yaitu tentang pembentukan makna dalam realitas kehidupan sehari-hari oleh-orang-orang Gayo. Dalam memahami bentuk keseluruhan ataupun makna yang terkandug di dalamnya Tari Guel lebih mengutamakan rasa. Tari Guel juga dipandang sebagai museum gerak tak benda yang menyimpan banyak sejarah masyarakat Gayo. Guel adalah identitas penting suku Gayo, menyimpan banyak simbol sejarah yang sudah sepatutnya dipecahkan dan diungkapkan. Agar suku Gayo dan keberadaannya tidak hilang terbawa arus moder

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Walter, Philippe. "Chemical Analysis and Painted Colours: the Mystery of Leonardo's Sfumato." European Review 21, no. 2 (2013): 175–89. http://dx.doi.org/10.1017/s1062798712000348.

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At the end of the 15th century, Italian painters explored the new effects made possible by the use of the oil medium. They created a sense of depth and relief by following the Flemish technique of glazes, which allowed the spreading of very thin and translucent layers, rich in medium and with low pigment content. A striking example is given by the realization of the shadows in the paintings of Leonardo da Vinci: the Master used the so-called ‘sfumato’ technique based on the use of glazes to obtain a ‘smoky’ aspect for the creation of flesh tones, with very subtle contours that seem to have no

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30

Blakesley, Rosalind P. "Exuberance of Meaning: The Art Patronage of Catherine the Great (17621796). By Asen Kirin, with contributions by Liana Paredes, Kristen Regina, and Scott Ruby. Athens: Georgia Museum of Art, University of Georgia, 2013. 230 pp. Notes. Bibliography. Chronology. Plates. $50.00, hard bound." Slavic Review 74, no. 2 (2015): 411–12. http://dx.doi.org/10.1017/s0037677900001807.

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31

Elya, Elya. "MEMBANGUN BUDAYA SEKOLAH MELALUI PENGEMBANGAN PENDIDIKAN AGAMA ISLAM DI SMA NEGERI 3 PALU." IBTIDAI'Y DATOKARAMA: JURNAL PENDIDIKAN DASAR 1, no. 2 (2020): 15–28. http://dx.doi.org/10.24239/ibtidaiy.vol1.iss2.22.

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This study discusses how to build a school culture through the development of Islamic religious education in SMA Negeri 3 Palu. This study aims to develop and preserve the school culture (school culture) that is characterized and strong. The specific target achieved is how all school members can participate and apply religious culture, work team culture and leadership culture in interacting both in the classroom and outside the classroom with various programs that have been arranged by the school. The research method used is descriptive qualitative, data obtained through observations, intervie

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32

Sawczuk, Magdalena. "Stakeholder Salience Model in the Practices of Public Museum Management." Cultural Management: Science and Education 5, no. 2 (2021): 95–110. http://dx.doi.org/10.30819/cmse.5-2.07.

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Stakeholder theory is extensively explored. On the one hand, previously pointed issues are deepened and reconsidered; on the second, new research contexts emerge. When it comes to museums, due to the changing environmental situation, they have to modify their way of functioning by combining tradi-tional museum duties with managerial perspective and necessity to be effective. Although discussions about museum management include stakeholders, yet such exploration is quite general. Hence, the aim of this article is to look at the stakeholder salience model in the context of the specificity and th

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Nielsen, Jesper. "Crossing Borders? A Cross-Disciplinary Perspective on the Study of Mesoamerican Visual Culture." Latin American and Latinx Visual Culture 1, no. 1 (2019): 105–10. http://dx.doi.org/10.1525/lavc.2019.000007c.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Baquedano, Elizabeth. "Visual Culture: Ancient Mexico’s Heritage." Latin American and Latinx Visual Culture 1, no. 1 (2019): 111–14. http://dx.doi.org/10.1525/lavc.2019.000007d.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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35

Pillsbury, Joanne. "Pre-Columbian: Perspectives and Prospects." Latin American and Latinx Visual Culture 1, no. 1 (2019): 121–27. http://dx.doi.org/10.1525/lavc.2019.000007f.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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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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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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38

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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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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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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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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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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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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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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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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Kornetchuk, Elena. "Art of the Baltics: The Struggle for Freedom of Artistic Expression under the Soviets, 1945-1991. Ed. Alla Rosenfeld and Norton T. Dodge. Dodge Soviet Nonconformist Art Publication Series. New Brunswick: Rutgers University Press and The Jane Voorhees Zimmerli Art Museum, 2002. xi, 476 pp. Appendixes. Notes. Bibliography. Chronology. Glossary. Index. Illustrations. Plates. Photographs. Tables. $110.00, hard bound." Slavic Review 63, no. 1 (2004): 173–74. http://dx.doi.org/10.2307/1520299.

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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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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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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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Abstract:

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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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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