Relevant bibliographies by topics / James A. Michener Art Museum

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'James A. Michener Art Museum'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'James A. Michener Art Museum.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "James A. Michener Art Museum"

1

Thompson, Sarah E. "Hokusai and Hiroshige: Great Japanese Prints from the James A. Michener Collection of the Honolulu Academy of Arts. By Julia M. White. Seattle and London: The Asian Art Museum of San Francisco, in association with the Honolulu Academy of Arts and University of Washington Press, 1998. 270 pp. $45.00." Journal of Asian Studies 58, no. 4 (November 1999): 1156–57. http://dx.doi.org/10.2307/2658545.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

Full text
Abstract:
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, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
APA, Harvard, Vancouver, ISO, and other styles
3

Taylor, Michael A., and John Fowles. "Lost & Found: 66 James Harrison (1819-1864)." Geological Curator 4, no. 3 (July 1985): 174. http://dx.doi.org/10.55468/gc754.

Full text
Abstract:
Dr M.A. Taylor (Area Museum Council for the South West, c/o City of Bristol Museum and Art Gallery) and John Fowles (Lyme Regis (Philpot) Museum) write: 'It is now possible to answer the query made by one of us (J.F.) concerning the whereabouts of Harrison's correspondence with pioneer palaeontologists, summarised by Lang (1947), and of Harrison's juvenile specimen of the eponymous dinosaur Scelidosaurus harrisoni, figured and described by Owen (1861). All had been bequeathed to the Museum in 1937 by Harrison's youngest daughter. Miss Mary Harrison, together with other books and fossils. John Fowles has discovered that the letters are deposited in the Lyme Regis Borough Archives at the Dorset Record Office (DRO Lyme Archives Index, p.28,...
APA, Harvard, Vancouver, ISO, and other styles
4

GUNZBURG, DARRELYN. "ART AND ARTIFACT: THE MUSEUM AS MEDIUM BY JAMES PUTNAM." Art Book 17, no. 4 (November 2010): 56–57. http://dx.doi.org/10.1111/j.1467-8357.2010.01137_9.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Anderson, Gillian B. "The Cue Sheets of James C. Bradford." Fontes Artis Musicae 71, no. 2 (April 2024): 132–66. http://dx.doi.org/10.1353/fam.2024.a933076.

Full text
Abstract:
English Abstract: A new Excel file has been created using data from 211 cue sheets at the George Eastman House, ninety-one cue sheets at the Library of Congress, and the cue sheets in The American Organist . The Museum of Modern Art, New York (MoMA) has recorded scores reconstructed from the cue sheets of compiler James C. Bradford for its restorations of the films Rosita (Ernst Lubitsch, 1923), Forbidden Paradise (Lubitsch, 1924), and The Cat and the Canary (Paul Leni, 1927). Together these developments enable us to evaluate the work of the most prolific compilers of cue sheets, James C. Bradford and to begin to understand the complex role cue sheets actually played in the accompaniment of music for 'mute' films. French Abstract: Un nouveau fichier Excel a été créé à partir des données de 211 feuilles de repérage conservées à la George Eastman House, de 91 feuilles de repérage conservées à la Library of Congress et des feuilles de repérage publiées dans The American Organist . Pour ses restaurations des films Rosita (Ernst Lubitsch, 1923), Forbidden Paradise (Lubitsch, 1924) et The Cat and the Canary (Paul Leni, 1927), le Museum of Modern Art, New York (MoMA) a enregistré des partitions reconstituées à partir des feuilles de repérage du compilateur James C. Bradford. Ces développements nous permettent d'évaluer le travail de James C. Bradford, le plus prolifique des compilateurs de feuilles de repérage, et de commencer à comprendre le rôle complexe que les feuilles de repérage ont réellement joué dans l'accompagnement de la musique des films muets. German Abstract: Eine neue Excel-Datei wurde unter Verwendung von Daten aus 211 cue sheets vom George Eastman House , 91 cue sheets der Library of Congress und den cue sheets in The American Organist erstellt. Das Museum of Modern Art, New York (MoMA) hat für seine Restaurierungen der Filme Rosita (Ernst Lubitsch, 1923), Forbidden Paradise (Lubitsch, 1924) und The Cat and the Canary (Paul Leni, 1927) Partituren erstellt, die aus den cue sheets des Zusammenstellers James C. Bradford rekonstruiert wurden. Zusammengenommen ermöglichen uns diese Vorbereitungen, die Arbeit von James C. Bradford, des produktivsten Verfassers von cue sheets , zu bewerten und damit ein Verständnis zu erlangen, welche komplexe Rolle cue sheets tatsächlich bei der Musikbegleitung für Stummfilme spielten.
APA, Harvard, Vancouver, ISO, and other styles
6

Ananiev, V. G. "J. A. Schmidt on the research departments of museum galleries." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 11–14. http://dx.doi.org/10.30725/2619-0303-2020-4-11-14.

Full text
Abstract:
One of the most topical issues in the museum history is the question of the relationship between international and national principles in museum practice and museological thought. In this article, using the example of a report read by the curator of the Hermitage Picture Gallery, James Alfredovich Schmidt (1876–1933) at the Institute of Art History in 1926, the author shows the connection between international trends and early Soviet museological thought. Schmidt’s report is based on the idea of the need to divide the collection of an art museum (picture gallery) into two parts. One part should include the most significant works and be intended for the public. The second – the research department – should be oriented to the work of experts. We find the same ideas in the most significant international research projects in museology of the era – volumes of articles «Museums: An International Study on the Reform of Public Galleries» (1931) and «Museography: Architecture and Organization of Art Museums» (1935). The author establishes a connection between these ideas and the concept of the canon, which was forming in this period, in relation to the history of art.
APA, Harvard, Vancouver, ISO, and other styles
7

Kalbermatten, Syra. "The ‘Assetization’ of Art on an Institutional Level—Fractional Ownership Implemented in the Royal Museum of Fine Arts Antwerp." Arts 13, no. 1 (January 11, 2024): 16. http://dx.doi.org/10.3390/arts13010016.

Full text
Abstract:
This article explores the innovative collaboration between the Rubey platform and the Royal Museum of Fine Arts, Antwerp. Through the tokenization of the artwork Carnaval de Binche by James Ensor, this platform made it possible for interested investors to purchase blockchain-registered Art Security Tokens within this artwork and become co-owners of it—at least from an economic perspective. Although fractional ownership platforms for art have been established before, this is the first time an art investment opportunity like this has materialized itself in an explicit partnership with a museum. The tokenized artwork will be held on public display within the Royal Museum of Fine Arts Antwerp, for a period of ten years—a significant departure from the usual practice of storing such pieces in a storage vault—before it will be sold again. This article contextualizes this practice within both the ‘assetization’ of art that has increased in recent decades and the financial challenges facing Belgian—more broadly speaking, European—public museums. Based on a limited number of interviews with the stakeholders and desk research, this article subsequently explores the more practical benefits and concerns of a collaboration like this and presents an analysis of this practice drawing upon publications within the field of economic sociology. Since we find ourselves only at the beginning of this partnership, some questions will be raised for further research.
APA, Harvard, Vancouver, ISO, and other styles
8

Peck, William H. "Luxor Museum of Ancient Egyptian Art: Catalogue. James F. Romano , Klaus Parlasca , J. Michael Rogers." Journal of Near Eastern Studies 44, no. 3 (July 1985): 232–35. http://dx.doi.org/10.1086/373139.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Fernández-Götz, Manuel. "‘Celts: art and identity’ exhibition: ‘New Celticism’ at the British Museum." Antiquity 90, no. 349 (February 2016): 237–44. http://dx.doi.org/10.15184/aqy.2015.193.

Full text
Abstract:
Controversies about the ‘Celts’ have constituted an ongoing debate over the last few decades, with postures ranging from blank scepticism and denial, to critical revisions, but also to the maintenance of more traditional approaches. After a lively and overall useful debate in the pages of Antiquity between 1996–1998 (principally with articles by Vincent and Ruth Megaw vs Simon James and John Collis), Simon James's controversial volume The Atlantic Celts. Ancient people or modern invention? (1999) attracted considerable attention, both among scholars and the wider public, encouraging discussions about the relationship—if any—between modern Celtic identities and the ancient Celts. A major milestone was reached with the publication of John Collis's monograph The Celts. Origins, myths and inventions (2003), which is probably the best historiographical review about the construction of the concept and the different sources involved from Antiquity to modern times. One of his main points is that classical sources never referred to the presence of Celts on the British Isles and that the use of the term for the populations of ancient Britain was mainly an invention of the modern era (see also Morse 2005, How the Celts came to Britain). From a rather different perspective, new approaches based mostly on linguistics emphasise the crucial role of the Atlantic façade in the development of Celtic languages (Cunliffe & Koch 2010).
APA, Harvard, Vancouver, ISO, and other styles
10

Mihailova, Mihaela. "To Dally with Dalí: Deepfake (Inter)faces in the Art Museum." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (July 26, 2021): 882–98. http://dx.doi.org/10.1177/13548565211029401.

Full text
Abstract:
This essay focuses on the nascent symbiotic relationship between deepfakes and art museums and galleries, as demonstrated by three case studies. The first one, housed at the Dalí Museum in St Petersburg, Florida, is a life-size talking avatar of the artist generated from archival footage. The second one, Warriors by James Coupe, revisits Walter Hill’s 1979 film of the same name using deepfake algorithms to insert visitors’ faces into key scenes, sorting them into gangs based on data-driven analysis of their demographic and economic markers. Finally, Gillian Wearing’s fake ad, Wearing Gillian, uses deepfake technology to enable a series of actors to appear on screen with the artist’s face as a way of interrogating questions of identity in a networked digital world. Based on these works, my article examines museums’ employment of deepfakes for advertising, audience engagement, and educational outreach, and the curatorial, ethical, and creative opportunities and challenges involved therein. While deepfake esthetics will be discussed wherever relevant, this is not a formalist analysis; my goal is not to focus on close readings of the deepfake pieces themselves, however fascinating their esthetics. Instead, I will look at the promotional and critical discourse around them in order to unpack the ways in which the acquisition of creative deepfake works by cultural institutions functions as a legitimizing force that is already shifting the narrative regarding the artistic value and social functions of this technology.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "James A. Michener Art Museum"

1

Ayres, Sara Craig. "Hidden histories and multiple meanings : the Richard Dennett collection at the Royal Albert Memorial Museum, Exeter." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1039.

Full text
Abstract:
Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "James A. Michener Art Museum"

1

Katsushika, Hokusai. Hokusai and Hiroshige: Great Japanese prints from the James A. Michener Collection, Honolulu Academy of Arts. San Francisco, Calif: Asian Art Museum of San Francisco, in association with the Honolulu Academy of Arts and University of Washington Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

James A. Michener Art Museum, ed. An independent spirit: The art and life of R.A D. Miller : James A. Michener Art Museum, Bucks County Pennsylvania, August 15, 2009 through January 3, 2010 at the Pfundt Gallery. Doylestown: Michener Art Museum, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

1941-, Kobayashi Tadashi, Link Howard A, and Honolulu Academy of Arts, eds. Prints by Utagawa Hiroshige in the James A. Michener Collection. Honolulu: Honolulu Academy of Arts, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

James, Brooks. James Brooks: The early 1950s. New York, N.Y: Berry-Hill Galleries, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

1971-, Brauneis Wolfgang, and Kölnischer Kunstverein, eds. Museum of noise: Mark Bain and James Beckett. Heidelberg: Kehrer, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

M, White Julia, Brandon Reiko Mochinaga, Woodson Yoko, Uemoto Shuzo, Asian Art Museum of San Francisco., and Honolulu Academy of Arts, eds. Hokusai and Hiroshige: Great Japanese prints from the James A. Michener Collection, Honolulu Academy of Arts. San Francisco: Asian Art Museum of San Francisco, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

James, Brooks. James Brooks: The early 1950s, October 18-November 18, 1989. New York, N.Y. (11 East 70th Street, New York, 10021): Berry-Hill Galleries, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Arts, Honolulu Academy of, and Azabu Bijutsu Kōgeikan, eds. Kabuki through the theater prints : collection of the Honolulu Academy of Arts, James A. Michener collection. [Tokyo?]: Azabu Bijutsu Kōgeikan, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

1936-, Carpenter Kenneth E., and Bowdoin College. Museum of Art., eds. The legacy of James Bowdoin III. Brunswick, Me: Bowdoin College Museum of Art, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Tyler, Ronnie C. Nature's classics: John James Audubon's birds and animals. Orange, Tex: Stark Museum of Art, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "James A. Michener Art Museum"

1

McCutchan, Ann. "James Mobberley." In The Muse that Sings, 180–90. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0019.

Full text
Abstract:
Abstract James Mobberley grew up in central Pennsylvania and spent his high school and college years in North Carolina. He credits his elementary school music teacher with instilling in him a great love of music. As a Child he took up the clarinet, then taught himself the guitar at age fourteen and, as he puts it,”hooked up with some other novice rockers in high school and college and nursed a band for seven years-all original stuff, mostly wacky songs about aliens and fast food and the Ayatollah Khomeini:’ Mobberley earned a bachelor’s degree in guitar and a master’s degree in composition at the University of North Carolina at Chapel Hill, and a doctorate at the Cleveland Institute. His teachers were Roger Hannay, Donald Erb, and Eugene O’Brien. His work, which often combines electronic and computer elements with live performance, spans many media, including film, video, theater, and dance. He has been commissioned by the St. Louis Symphony Chamber Series, the Nelson-Atkins Museum of Art, and the Cleveland Museum of Art, as well as individual performers. A CD of his orchestra music is in preparation for release in 2001.
APA, Harvard, Vancouver, ISO, and other styles
2

Freeman, Lindsey A. "James Agee and the Southern Superreal." In Bohemian South. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631677.003.0005.

Full text
Abstract:
Southern superrealism is not yet a canonized art movement, nor is it a social science. It has no self-appointed leaders or manifestos, no museum retrospectives, no scholarly journals, and it has not been established as a field of literature—at least not yet. This essay begins to imagine such a field, starting with the writer James Agee and his wild, ethnographically tinged works of fiction and nonfiction.
APA, Harvard, Vancouver, ISO, and other styles
3

"James Nixon, Portrait of a Man, 1790." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Supplement: Starr Miniatures in Other Collections. The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.4537.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"James Nixon, Portrait of a Woman, ca. 1790." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Supplement: Starr Miniatures in Other Collections. The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.4538.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

"James Nixon, Portrait of Two Sisters, ca. 1790." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Supplement: Starr Miniatures in Other Collections. The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.4760.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"John Smart, Portrait of James Fittler, 1805." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Volume 4: The World of John Smart (English, 1741–1811). The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.1628.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"James Peale, Portrait of a Man, Possibly John McCluney, 1794." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Volume 1: Continental and American. The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.3104.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Sobol, Blythe. "James Scouler, Portrait of a Man, 1778." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Volume 3: British part 2: Georgian (1714–1837; artists’ last names F–Z) Contributors:. The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.1502.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"James Scouler, Portrait of a Woman, 1778." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Volume 3: British part 2: Georgian (1714–1837; artists’ last names F–Z) Contributors:. The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.1500.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Stamy, Cynthia. "Precision, Perspective, and the Harnessing of Silence." In Marianne Moore and China, 136–63. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184607.003.0006.

Full text
Abstract:
Abstract Marianne Moore, like William Carlos Williams and Henry James, wanted in her youth to become a painter. Her poems display a penetrating and attentive visual sense augmented by a sensitivity to colour and the proximal relations and interactions of the various subjects in her compositions. Painterly verbiage appears repeatedly throughout her poetry and prose, with particular references alluding to matters of style and execution in Chinese art and art generally. Books on oriental rugs and carpets, Chinese bronzes, Chinese theories of art, museum bulletins on Chinese stele and prints, as well as gallery and auction catalogues on Chinese porcelains, jades, bronzes, textiles, fans, pottery, and sculpture make up a significant portion of Moore’s library holdings.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'James A. Michener Art Museum' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography