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Journal articles on the topic 'Minnesota Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Taylor, Cathy. "Exhibition Review: Fashion Lives, Fashion Lives. The Goldstein: A Museum of Design, University of Minnesota." Fashion Theory 5, no. 4 (November 2001): 465–74. http://dx.doi.org/10.2752/136270401778998891.

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2

Ilahiane, Hsain. "Imagined Museums: Art and Modernity in Postcolonial Morocco. KatarzynaPieprzak. Minneapolis: university of minnesota press, 2010. 280 pp." Museum Anthropology 35, no. 2 (September 18, 2012): 185–87. http://dx.doi.org/10.1111/j.1548-1379.2012.01131.x.

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3

Bonde, Sheila, and Clark Maines. "Shaping Community: The Art and Archaeology of Monasticism. Papers from a Symposium Held at the Frederick R. Weisman Museum, University of Minnesota, March 10-12, 2000. Sheila McNally." Speculum 79, no. 2 (April 2004): 524–26. http://dx.doi.org/10.1017/s0038713400088400.

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4

Morey, G. "Newton Horace Winchell, The George Armstrong Custer Expedition of 1874, and the "Discovery" of Gold in the Black Hills, Dakota Territory, U.S.A." Earth Sciences History 18, no. 1 (January 1, 1999): 78–90. http://dx.doi.org/10.17704/eshi.18.1.t0281688171970mk.

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Rumors circulated for years about the fabulous wealth to be found in the Black Hills, an area in Dakota Territory, U.S.A., ceded to the Sioux Nation in 1868. Although the Sioux Nation was determined to keep all outsiders out, the U.S. government decided to send an expedition into the hills during the summer of 1874, partly to map them for military purposes and partly to quell rumors about gold and other economic commodities. The expedition was led by Lieutenant Colonel George A. Custer (1839-1876) of the U.S. Seventh Cavalry. Newton Horace Winchell (1839-1914), director of the Geological and Natural History Survey of Minnesota, was invited to join as chief geologist. His official reason for participating was to collect geologic specimens together with skins of animals for a newly formed Museum of Natural History. Prospectors also accompanying the expedition purportedly found gold at several places. Their finds were described in official dispatches written by Custer and in unofficial accounts prepared by newspaper reporters accompanying the expedition. Upon his return from the field, Custer emphasised the discoveries and their economic potential. At about the same time Winchell told reporters that the reports and the newspaper accounts were greatly exaggerated and that he had personally seen no trace of gold. Controversy continued over the next several months, mainly in the newspapers. In late 1874, Custer suggested that Winchell never saw gold because he never looked for it. Custer's view prevailed as pressure mounted to open the Black Hills to exploration. In the summer of 1875, the government sent a second expedition to the hills primarily to resolve the differing views of Custer and Winchell. That expedition found considerable evidence for economic quantities of gold, an act that further inflamed the Sioux. Consequently, many fled the reservation for parts of Montana and in January 1876 the Army was ordered to force the Native Americans back onto the reservation. That campaign led to the Battle of the Little Big Horn and to the death of Custer and his Seventh Cavalry on 21 June 1876. Although Winchell continued to serve as Minnesota State Geologist for 28 years and lived until 1914, he never again mentioned his role in the discovery of gold in the Black Hills.

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5

Smoley, John. "Review: Mill City Museum. Minnesota Historical Society." Public Historian 34, no. 2 (2012): 100–103. http://dx.doi.org/10.1525/tph.2012.34.2.100.

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6

Johnson, Diana. "From Field to Frame: The Fine Art of Crop Art." Gastronomica 2, no. 2 (2002): 11–13. http://dx.doi.org/10.1525/gfc.2002.2.2.11.

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The annual seed art competition at the Minnesota State Fair evokes the heritage of an agriculture-based economy. But portraits of middle-American icons rendered in the seeds of Minnesota crops, exemplified by the work of old-timer Lilian Colton, rub shoulders with a more contemporary view of Minnesota's place in society presented by urban crop artists like Cathy Camper.

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7

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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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15

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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16

Wagon, Stan. "Team Minnesota Sculpts Winning Mathematical Art." Math Horizons 14, no. 4 (April 2007): 2. http://dx.doi.org/10.1080/10724117.2007.11974703.

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17

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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18

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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19

ERLER, MARY C. "Shaping community. The art and archaeology of monasticism. Papers from a symposium held at the Frederick R. Weisman Museum, University of Minnesota, March 10–12, 2000. Edited by Sheila McNally. (BAR International Series, 941.) Pp. viii+189 incl. 1 map and 125 figs. Oxford: Archaeopress, 2001. £32 (paper). 1 84171 233 7." Journal of Ecclesiastical History 54, no. 4 (October 2003): 732–33. http://dx.doi.org/10.1017/s0022046903258085.

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20

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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21

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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22

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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23

Senelick, Laurence. "On the Edge of Your Seat: Popular Theater and Film in Early Twentieth-Century American Art. By Patricia McDonnell with contributions by Robert C. Allen, C. Lance Brockman, Leo Charney, Walter Murch, David Nasaw, Robert Silberman, Laural Weintraub, Sylvia Yount and Rebecca Zurier. New Haven and London: Yale University Press in association with the Frederick R. Weisman Art Museum, University of Minnesota, 2002. Pp. xii + 219 + illus. $45/£35 Hb." Theatre Research International 28, no. 1 (February 17, 2003): 96–121. http://dx.doi.org/10.1017/s0307883303410171.

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24

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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25

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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26

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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27

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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28

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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29

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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30

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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31

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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32

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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33

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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34

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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35

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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36

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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37

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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38

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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39

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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40

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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41

Newton, Douglas. "The Museum of Primitive Art." African Arts 18, no. 3 (May 1985): 8. http://dx.doi.org/10.2307/3336346.

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42

Carrier, David, and Didier Maleuvre. "Museum Memories. History, Technology, Art." Journal of Aesthetic Education 35, no. 2 (2001): 122. http://dx.doi.org/10.2307/3333680.

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43

Dillon, Paul. "The Rose Art Museum crisis." New Directions for Higher Education 2010, no. 151 (September 24, 2010): 83–92. http://dx.doi.org/10.1002/he.403.

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44

Hacker, Inge. "The Philadelphia Museum of Art." Rivista di Neuroradiologia 11, no. 1_suppl (May 1998): 31–32. http://dx.doi.org/10.1177/19714009980110s119.

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45

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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46

Smith, Donna B. "National Museum of American Art9839National Museum of American Art." Electronic Resources Review 2, no. 4 (April 1998): 43–44. http://dx.doi.org/10.1108/err.1998.2.4.43.39.

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47

Sepessy, Joan, and William B. Walker. "MUSEUM TOL: Librarians in The Metropolitan Museum of Art." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (October 1986): 125. http://dx.doi.org/10.1086/adx.5.3.27947625.

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48

Koszarski, Richard. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)." Film History: An International Journal 18, no. 3 (2006): 350–51. http://dx.doi.org/10.1353/fih.2006.0027.

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49

Keil, Charlie. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)." University of Toronto Quarterly 76, no. 1 (2007): 535–37. http://dx.doi.org/10.1353/utq.2007.0138.

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50

Selznick, Barbara. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)." Moving Image 6, no. 2 (2006): 136–38. http://dx.doi.org/10.1353/mov.2007.0015.

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