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Journal articles on the topic 'Indianapolis Museum of Art'

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Published: 4 June 2021
Last updated: 27 January 2023

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1

Petridis, Constantine, and Kirstin Krause Gotway. "Art of Central Africa at the Indianapolis Museum of Art." African Arts 51, no. 4 (November 2018): 34–47. http://dx.doi.org/10.1162/afar_a_00431.

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2

Columbia, M. R., G. D. Smith, C. Hoevel, and P. Messier. "The Application of Microfadeometric Testing to Mounted Photographs at the Indianapolis Museum of Art." Microscopy and Microanalysis 19, S2 (August 2013): 1412–13. http://dx.doi.org/10.1017/s1431927613009057.

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3

Gaskell, Ivan. "Sacred spain: art and belief in the spanish world exhibition at the indianapolis museum of art, 2009–2010." Material Religion 6, no. 2 (July 2010): 263–65. http://dx.doi.org/10.2752/175183410x12731403773354.

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4

Court, Elsbeth. "Africa - Theodore Celenko ed. and curator: Egypt in Africa: 134 pp. Indianapolis, IN: Indianapolis Museum of Art in cooperation with Indiana University Press." Bulletin of the School of Oriental and African Studies 62, no. 3 (October 1999): 609–10. http://dx.doi.org/10.1017/s0041977x0001911x.

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5

Klieman, K. A. "Book Reviews : Theodore Celenko, (Ed.), Egypt in Africa. (Indianapolis and Bloomington, IN: Indianapolis Museum of Art, Indiana University Press, 1996), 134 pp. Price not stated." Journal of Asian and African Studies 34, no. 3 (January 1, 1999): 354–56. http://dx.doi.org/10.1177/002190969903400316.

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6

Vendelin, Carmen. "Conversations: Eiteljorg Contemporary Art Fellowship 2015 (catalogue). Jennifer ComploMcNutt and AshleyHolland (Cherokee Nation), eds. Indianapolis: Eiteljorg Museum, 2015. 136 pp ." Museum Anthropology 40, no. 2 (September 2017): 181–82. http://dx.doi.org/10.1111/muan.12158.

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7

Lukavic, John P. "We Are Here: The Eiteljorg Contemporary Art Fellowship 2011. Jennifer ComploMcNutt and AshleyHolland, eds. indianapolis: eiteljorg museum of american indians and western art, 2011. 103pp." Museum Anthropology 36, no. 2 (September 2013): 159–60. http://dx.doi.org/10.1111/muan.12037.

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8

Dempsey, Charles. "Ronda Kasl, ed. Giovanni Bellini and the Art of Devotion. Indianapolis: Indianapolis Museum of Art, 2004. xiv + 169 pp. tbls. bibl. $65 (cl), $45 (pbk). ISBN: 0-936260-80-7 (cl), 0-936260-79–3 (pbk)." Renaissance Quarterly 58, no. 4 (2005): 1318–19. http://dx.doi.org/10.1353/ren.2008.0909.

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9

McGovern, Justine, Theresa Caplan, Peter V. Sterling, Tom R. Kennedy, and Ronald Gibson. "Folk, Fantasy and Play: Selections from the Caplan Collection of the Children's Museum of Indianapolis." Journal of American Folklore 106, no. 421 (1993): 370. http://dx.doi.org/10.2307/541441.

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10

Medley, Margaret. "Ice and green clouds: traditions of Chinese celadon. By Yutaka Mino and Katherine R. Tsiang. pp. 240, illus. in col. and b. and w., map. Indianapolis, Indianapolis Museum of Art in co-operation with Indiana University Press, 1986. £25.00." Journal of the Royal Asiatic Society of Great Britain & Ireland 120, no. 1 (January 1988): 256–57. http://dx.doi.org/10.1017/s0035869x00164949.

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11

Neill, Mary Gardner. "Beauty and Tranquility: The Eli Lilly Collection of Chinese Art. By Yutaka Mino and James Robinson. Indianapolis: Indianapolis Museum of Art, 1983. 368 pp. 32 Color Plates and 380 Black-and-White Illustrations. Chronological Table of Chinese Dynasties, Map of China, Selected Bibliography, Index of Chinese and Japanese Characters, Pronunciation Guide, Technical Appendix. $45 (cloth); $35 (paper)." Journal of Asian Studies 45, no. 1 (November 1985): 123–24. http://dx.doi.org/10.2307/2056839.

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12

Ahmed, F., and D. Sykes. "Micro-Computed Tomography in a Museum Environment." Microscopy and Microanalysis 19, S2 (August 2013): 626–27. http://dx.doi.org/10.1017/s1431927613005126.

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13

Waters, Mary Lou, and Alice Bostwick. "Gifted Kids Create a Large Scale Museum Exhibit: In Indianapolis." Gifted Child Today Magazine 12, no. 5 (September 1989): 24–26. http://dx.doi.org/10.1177/107621758901200514.

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14

Ortíz Triviño, Jorge Eduardo, and Rodolfo Cipagauta. "A virtual art museum." Ingeniería e Investigación 26, no. 3 (September 1, 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 (March 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 (April 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 (April 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 (January 1, 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 similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.
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19

Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (April 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 (April 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 (June 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 (November 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 (October 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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24

McGee-Lockhart, Olivia, Kisha Tandy, and Andrea Copeland. "Three Journeys: One Project." ENGAGE! Co-created Knowledge Serving the City 1, no. 1 (May 23, 2019): 32–44. http://dx.doi.org/10.18060/22812.

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The Bethel Project is about the history of Indianapolis’ oldest black church, archival records, preservation technologies, virtual experiences, and collaboration and co-creation among many different departments, heritage institutions and community members. This paper provides three perspectives on this project from individuals who’ve worked closely together over the past four years. This may seem like a long while to work on one project but for those whose research is community-based it seems about right. Three unique voices will be presented with each telling their own narrative of what she thought when the project started and how her thinking has changed until now. Andrea Copeland is an associate professor in the School of Informatics and Computing whose research focuses specifically on public libraries, community collections, and engagement. Kisha Tandy is the associate curator of social history at the Indiana State Museum who researches African American history and culture. At the center of the project is Olivia McGee Lockhart: Bethel AME Church of Indianapolis’ Keeper of History, Indianapolis native, and an Indianapolis Public Schools educator for nearly four decades.
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25

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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26

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 (December 1987): 168–69. http://dx.doi.org/10.1086/adx.6.4.27947827.

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27

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 (June 30, 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 prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.
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28

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 (January 2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.

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29

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

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30

Hatzistergos, M. S., M. Hopstaken, E. Kim, L. Vanamurthy, and J. F. Shaffer. "Characterization of 3D Dopant Distribution in State of the Art FinFET Structures." Microscopy and Microanalysis 19, S2 (August 2013): 960–61. http://dx.doi.org/10.1017/s143192761300679x.

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31

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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32

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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33

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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34

Lee, Eunjeok. "Art Museum Education to Form Art Subject Competencies." Korean Association For Learner-Centered Curriculum And Instruction 18, no. 9 (May 5, 2018): 955–77. http://dx.doi.org/10.22251/jlcci.2018.18.9.955.

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35

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

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36

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

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37

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

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38

Moomaw, Kate. "Collecting participatory art at the Denver Art Museum." Studies in Conservation 61, sup2 (June 2016): 130–36. http://dx.doi.org/10.1080/00393630.2016.1190904.

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39

Barbosa, Ana Mae Tavares Bastos. "Art education in a museum of contemporary art." Museum International 41, no. 1 (March 1989): 45–49. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00757.x.

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40

Darish, Patricia J. "African Art at the Indiana University Art Museum." African Arts 20, no. 3 (May 1987): 30. http://dx.doi.org/10.2307/3336475.

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41

Glesne, Corrine E. "Museum Art in Everyday Life." LEARNing Landscapes 5, no. 2 (May 2, 2012): 99–116. http://dx.doi.org/10.36510/learnland.v5i2.555.

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Art museums engage diverse audiences in multiple forms of learning. Based on qualitative research at seven academic institutions, this article focuses on the role academic art museums play in the everyday life of students and faculty, on how people become interested in art and art museums, and on possible contributions of campus art museums beyond use in classes and research.
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42

Gaber, Tammy. "Islamic Art and the Museum." American Journal of Islam and Society 31, no. 2 (April 1, 2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.

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This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...
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43

Camilla Jalving. "Utopia at the Art Museum:." Utopian Studies 22, no. 2 (2011): 360. http://dx.doi.org/10.5325/utopianstudies.22.2.0360.

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44

Gurian, Elaine Heumann. "Kelvingrove Art Gallery and Museum." Curator: The Museum Journal 50, no. 3 (July 2007): 358–61. http://dx.doi.org/10.1111/j.2151-6952.2007.tb00278.x.

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45

Železnik, Adeia. "Art Museum Education in Transition." Journal of Museum Education 37, no. 3 (September 2012): 31–42. http://dx.doi.org/10.1080/10598650.2012.11510740.

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46

Persaud, R. "Art: The Museum of Emotions." BMJ 320, no. 7246 (May 20, 2000): 1413. http://dx.doi.org/10.1136/bmj.320.7246.1413.

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47

Foden-Lenahan, Erica. "Viewpoint: educating art museum librarians?" Art Libraries Journal 33, no. 1 (2008): 3–4. http://dx.doi.org/10.1017/s0307472200015145.

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48

Dale, Daniel A., and Brenae L. Bailey. "Physics in the Art Museum." Physics Teacher 41, no. 2 (February 2003): 82–83. http://dx.doi.org/10.1119/1.1542042.

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49

Campbell, Siobhan. "Kamasan Art in Museum Collections." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 170, no. 2-3 (January 1, 2014): 250–80. http://dx.doi.org/10.1163/22134379-17002001.

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50

Harney, Elizabeth. "National Museum of African Art." African Arts 35, no. 4 (December 1, 2002): 89. http://dx.doi.org/10.1162/afar.2002.35.4.89.

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