Relevant bibliographies by topics / Morris Museum of Art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Morris Museum of Art'

Author: Grafiati
Published: 25 February 2023
Last updated: 3 March 2023

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Journal articles on the topic "Morris Museum of Art"

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Weiss, Jeffrey. "Robert Morris (1931–2018)." October 168 (May 2019): 166–76. http://dx.doi.org/10.1162/octo_a_00354.

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This text, a series of reflections on the life and work of Robert Morris, draws from Jeffrey Weiss's long working relationship with the artist, which includes their collaboration on an intensive study project at the Guggenheim Museum. He gives chief consideration to two bodies of work: the Minimalist objects, conceived during the 1960s and refabricated throughout his life; and the Blind Time drawings, produced between 1973 and 2015. Weiss's account is based on a close consideration of material and technical concerns, which motivate speculations about the medium of time. Temporality is expressed in three ways: through strategic replication, which characterized the on-going production of “early” works; through the process of making, which is foregrounded in the drawings; and through the role of memory, a recurring thematic device in the practice overall.
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Busciglio-Ritter, Thomas. "‘Covetable pictures’." Journal of the History of Collections 32, no. 1 (December 13, 2018): 73–90. http://dx.doi.org/10.1093/jhc/fhy059.

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Abstract Born in 1820, John Taylor Johnston is a pivotal figure in the history of American collecting. A pioneer in transatlantic art collecting, his numerous visits to Europe helped him develop his taste, enrich his possessions, and build a reliable network of artists and dealers. He then re-injected this experience into a rising New York art market, becoming the first collector to enjoy success through the weekly public opening of a domestic art gallery. Here he displayed his highly-praised collection of European and American paintings, comprising works by Vernet, Gérôme, Meissonier, Homer and Church. Along with his brother James, Johnston also founded the very first edifice in the United States devoted entirely to housing artists – the Tenth Street Studio Building, designed by architect Richard Morris Hunt. His reputation as a collector eventually led to his appointment as first president of the newly formed Metropolitan Museum in 1871.
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Cheney, Liana De Girolami. "Edward Burne-Jones’s The Planets: Luna, A Celestial Sphere." Culture and Cosmos 21, no. 1 and 2 (2017): 283–300. http://dx.doi.org/10.46472/cc.01221.0631.

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Edward Burne-Jones (1833–98), a Pre-Raphaelite painter, was fascinated with astronomy as noted in his memorials and accounts. In 1879 he executed cartoon drawings for a cycle on the planets for the artisans of the William Morris firm, who would transform them into stained-glass windows. The commission was for the decoration of Woodlands, the Victorian home of Baron Angus Holden (1833–1912), a mayor of Bradford. Presently, seven of the cartoons – The Moon (Luna), Earth (Terra), Sol (Apollo), Venus, Jupiter, Saturn, and Evening Star) – are in the Torre Abbey Museum in Torquay, UK, while the cartoon for Mars is part of the collection of drawings at the Birmingham Museum of Art, UK, and the drawing Morning Star is located at Lady Margaret Hall in Oxford, UK. In the creation of the Planets cycle, Burne-Jones was inspired by cultural events of the time, such as British scientific astronomical discoveries and British and Italian humanistic sources in literature and visual arts portraying astronomy. This essay examines – art historically and iconographically – only one of the eight planets, the cartoon of Luna (The Moon) as an astral planetary formation and a celestial sphere. This study is composed of two sections. The first section discusses the history of the artistic commission and the second section explains some of Burne-Jones’s cultural sources for the Planets cycle and the Moon, both of which partake of heavenly and terrestrial realms.
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Polowy, Barbara. "THE NEW VISION: PHOTOGRAPHY BETWEEN THE WORLD WARS: FORD MOTOR COMPANY COLLECTION AT THE METROPOLITAN MUSEUM OF ART. Maria Morris Hambourg , Christopher Phillips." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 1 (April 1990): 31–32. http://dx.doi.org/10.1086/adx.9.1.27948186.

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Kolbas, Judith. "When Silk was Gold: Central Asian and Chinese Textiles. By James C. Y. Watt and Anne E. Wardell with an essay by Morris Rossabi. pp. x, 238, New York, The Metropolitan Museum of Art in co-operation with the Cleveland Museum of Art, 1997. £40.00." Journal of the Royal Asiatic Society 9, no. 1 (April 1999): 177–80. http://dx.doi.org/10.1017/s1356186300016163.

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López, María Gómez. "Venetia Porter with Natasha Morris and Charles Tripp: Reflections. Contemporary Art of the Middle East and North Africa. 256 pp. London: The British Museum Press, 2020. £25. ISBN 978 0 7141 1195 7." Bulletin of the School of Oriental and African Studies 84, no. 1 (February 2021): 167–69. http://dx.doi.org/10.1017/s0041977x21000161.

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KIDD, STUART. "Maria Morris Hambourg, Jeff L. Rosenheim, Douglas Eklund and Mia Fineman, Walker Evans (New York: the Metropolitan Museum of Art, New York in association with Princeton University Press, 2000). Pp. 318+xiv. ISBN 0-87099-938-9." Journal of American Studies 39, no. 2 (August 2005): 319–21. http://dx.doi.org/10.1017/s0021875805330210.

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Cannon-Brookes, P. "Museums and the holocaust: law, principles and practice, Norman Palmer, with specialist contributors Leila Anglade, Debra Morris, Emily Pocock, Ruth Redmond-Cooper and Barbara Zeitler, 210×148 mm, xviii+327 pp., with black & white illustrations. Institute of Art and Law, Leicester, 2000 (ISBN (cloth bound) 0-9531696-5-0; (paperback) 0-9531696-6-9), £25.00 (museum price). Institute of Art and Law Ltd., Bank Chambers, 121 London Road, Leicester LE2 0QT, UK." Museum Management and Curatorship 19, no. 1 (March 2001): 109–10. http://dx.doi.org/10.1016/s0260-4779(01)00031-0.

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Heywood, Andrew. "William Morris and Music. Craftsman's Art?" Musical Times 139, no. 1864 (1998): 33. http://dx.doi.org/10.2307/1003466.

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Kinna, Ruth. "William Morris: Art, Work, and Leisure." Journal of the History of Ideas 61, no. 3 (2000): 493–512. http://dx.doi.org/10.1353/jhi.2000.0027.

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Dissertations / Theses on the topic "Morris Museum of Art"

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Fossen, Pamela, and n/a. "Errol Morris and the art of history." University of Otago. Department of Media, Film and Communication, 2009. http://adt.otago.ac.nz./public/adt-NZDU20091001.154456.

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The work of documentary director Errol Morris can be approached in a variety of ways as it intersects and engages with many of the major themes of film and television scholarship - genre, authorship, and historical representation. But while his films and television episodes expose debates within film and documentary studies, they also call up major elements of postmodern debates within the historical discipline. Morris makes historical documentaries that do not simply render a (hi)story visually; he also attempts to draw viewers' attention to the conventions and construction of both visual media and of history. His work reveals both his keen awareness of postmodern historical debates, and a willingness to play, to confront basic assumptions, question boundaries, and to contribute to those debates. In 'Errol Morris and the Art of History', I argue that Morris is a visual historian; his films and television episodes draw as much from his understanding of historiographical debates as they do from his knowledge and artistic approach to visual media. All of Morris' work challenges the notion of objectivity in both documentary filmmaking and history; he attempts to illuminate the limits and conventions of visual depictions of history; he uses strategies to denaturalise historical and narrative construction, the naturalising tendencies of visual media, and the conventions of documentary practice; and he attempts to promote increased critical reflection. This thesis closely examines Morris' documentary films and television episodes to consider the structure and strategies that characterise his work, and situate it within contemporary film and historical debates. I explore Morris' methods and approach to documentary and history, showing how his work relates to postmodern history debates, to written and visual representations of history, and to documentary history and theory, including more recent factual forms like reality television.
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Tsouti-Schillinger, Assimina N. "Thematics in the art of Robert Morris." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6941/.

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This dissertation investigates thematic unities within Robert Morris's seemingly disparate body of work. It demonstrates the thematic similarities, structural continuities and formal associations used throughout his art despite the great diversity of the media employed. It departs at times from a strictly chronological approach because its primary purpose is to explore how one work begets another or one style morphs into the next. The research involved extensive archival work studying unpublished correspondence and texts, contracts, drawings and emails, along with traditional sources like books, interviews, lectures and Morris's own published criticism and texts. The author also examined many original artworks or reproductions of unavailable ones. Chapter One discusses the definition and problem of style, establishment of artistic influences, and Morris's reluctance to accept traditional boundaries. Chapter Two addresses the choreography and its task-oriented vocabulary, and Morris's minimalist sculptures, examining his ideas on process and the phenomenology of perception. Chapter Three is devoted to Morris's concept of space and exploration of the horizontal as a spatial vector. It studies his interest in structural continuity throughout his lead, mirror and felt works, and touches on both the physical space of the sculptures, and the virtual space of the mirrors, as well as the fleeting evanescent space of the steam. His elaborations on “how to make a mark” are considered, too, from the Blind Time drawings, riding on horseback and body-part imprints, to language and the natural world. Chapter Four turns to Morris's philosophical investigations, his studies of language and imagery—some apocalyptic—and his increasing concern with destructive contemporary attitudes. Chapter Five takes up the works of the last two decades, his interest in memory and his growing cultural pessimism. Finally, analyzing one of the most recent works, the Conclusion makes clear that through its recurrent timeliness, Morris's art achieves a certain sublimity which aims towards a suspension of time—a timelessness.
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Bradford, Shalen. "Children's Art Museum." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2175.

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This Thesis explores the question; Is a children’s museum a playground or a museum? Through research and visits to children’s museums I feel that many are playgrounds. They are also visually stimulating to children, but not to the guardians who bring them there. In most cases the exhibits are permanent and there is little change to the atmosphere of the space on a regular basis. An old warehouse located on North Boulevard was chosen to house this project idea of a children’s art museum. The scenario is that The Virginia Museum of Fine Arts and the Children’s Museum of Richmond would have a joint venture in creating a the Children’s Art Museum of Richmond. Thebuildings’ close proximity to these two museums make it an excellent choice for both institutions. There are interactive changing exhibits, a studio that continues the learning experience from the exhibit, and a gallery to display artwork that was created in the studio spaces. Through these three core spaces I hope to create a continuous interactive learning experience in this children’s art museum.
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Stanley, Thomas T. "Butch Morris and the art of Conduction®." College Park, Md. : University of Maryland, 2009. http://hdl.handle.net/1903/9935.

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Thesis (Ph.D.) -- University of Maryland, College Park, 2009.
Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Bingham, Glenn. "Mobile Museum of Art." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/153.

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The following internship report is an investigation of the organizational structure of the Mobile Museum of Art from January 2013 to August 2013. During the internship, I was able to work in several different capacities, from volunteer coordinating, to marketing, to programming. This report analyzes several aspects within these fields, including the organization’s brand, marketing strategies, and educational structure as they shift under new management. Based on my observations, I will offer recommendations for programming, marketing, and volunteer management, and compare the current structure to best practices of other museums and similar organizations. Through this extensive analysis I will also offer thoughts about the future of this local arts environment.
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Berger, Maurice. "Labyrinths : Robert Morris, minimalism, and the 1960s /." New York : Harper & Row, 1989. http://catalogue.bnf.fr/ark:/12148/cb355598308.

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Wong, Ngai-leung Aman, and 黃毅樑. "Museum of Guangdong folk art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B3198552X.

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Secleter, John Robert. "Duke University Museum of Art." Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/52237.

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Wong, Ngai-leung Aman. "Museum of Guangdong folk art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594552x.

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Södersten, Tove. "A Museum of Graphic art." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-175596.

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This project investigates the relations light and shape in a museum of graphic arts. The nature of daylight determines the meeting between the building and the sky. The shape of the building, therefore, distributes the light thus facilitating the meeting between the visitor and the art. The best light in art museums is neutral and avoids sharp contrasts and shadows that would otherwise detract from the experience in the museum. I studied how different shapes influence light and found a rounded shape to produce the best results, distributing light evenly thus avoiding distracting contrasts. Rounded shapes from a quadratic base with straight walls optimize the distribution of the light, facilitating the interaction between the visitor and the art.  The building of the museum is part of a “light-game” with a quadratic base. The conspicuous shapes distribute the light, guiding the visitor in the world of art. In the north, the building has a density next to the car park while it interacts with the shapes producing an intimate small-scale feeling in the south.
Projektet undersöker relationen mellan ljus och form i ett museum för grafisk konst. Ljusets natur bestämmer samspelet mellan byggnad och himmel. Byggnadens form fördelar ljuset och underlättar besökarens mötte med konsten. I konsthallar är det kontrastfria, neutrala ljuset det bästa; skuggspel och ljusförändringar stör upplevelsen. I mina studier fann jag att en välvd form fördelade ljuset jämt, störande kontraster undviks. Den välvda formen fördelade ljuset på bästa sätt och uppfyllde kravet som konsten ställer inför mötet med betraktaren. Den välva formen med en kvadratisk bas i botten och raka neutrala väggar.Byggnaden blir ett spel där formerna framstår mot en grid-baserad bas (VAD ÄR GRID-BASERAD?). Det tydliga formspråket är anslående och vägleder besökaren. Byggnaden har en ”täthet” i norr, vid bilparkeringen, och omgivningen utanför samspelar med formerna ner mot södra sidan och skapar tillsammans en småskalighet. Byggnaden går från att ha en hög densitet i norr mot bilparkeringen, till att spela med ute och inne mot dess södra sida för att även passa in i den småskaliga omgivningen.
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Books on the topic "Morris Museum of Art"

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Sotheby's (Firm). Antiquities and Islamic art. New York: Sotheby's, 2001.

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1912-1962, Louis Morris, Museum of Modern Art (New York, N.Y.), Fort Worth Art Museum, and Hirshhorn Museum and Sculpture Garden., eds. Morris Louis: The Museum of Modern Art, New York. Boston: Little, Brown, 1986.

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Upright, Diane. Morris Louis, recent acquisitions: And previous accessions : catalogue. [Fort Worth]: Fort Worth Art Museum, 1986.

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Morris Museum of Art: A decade in review, 1992-2002. Augusta, GA: Morris Museum of Art, 2002.

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Morris, Museum of Art (Augusta Ga ). 5th anniversary: Celebrating southern art. Augusta, Ga: The Museum, 1997.

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1910-, Morris Wright, Szarkowski John, and San Francisco Museum of Modern Art., eds. Wright Morris: Origin of a species : San Francisco Museum of Modern Art. San Francisco: The Museum, 1992.

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Morris Museum of Art (Augusta, Ga.). A place not forgotten: Landscapes of the South from the Morris Museum of Art. Lexington, Ky: University of Kentucky Art Museum, 1999.

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Morris Museum of Art (Augusta, Ga.), ed. Modernism in the South: Mid-twentieth-century works in the Morris Museum collection. Augusta, Ga: Morris Museum of Art, 2002.

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Morris, Museum of Art (Augusta Ga ). Light of touch: Select works on paper from the permanent collection of the Morris Museum of Art. Augusta, Ga: Morris Museum of Art, 1993.

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Elliott, Daingerfield. Victorian visionary: The art of Elliott Daingerfield. Augusta, Ga: Morris Museum of Art, 1994.

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Book chapters on the topic "Morris Museum of Art"

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Kidd, Jenny. "The transmedia museum." In Curating Art, 328–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-48.

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Ban, Shigeru. "Paper Art Museum." In Transparente Kunststoffe, 104–9. Basel: Birkhäuser Basel, 2008. http://dx.doi.org/10.1007/978-3-7643-8294-0_15.

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Ryan, Michael. "Yaroslavl Art Museum." In Revisiting Museums of Influence, 193–96. Abingdon, Oxon ; New York : Routledge, [2021]: Routledge, 2020. http://dx.doi.org/10.4324/9781003003977-44.

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Plevoets, Bie, and Koenraad Van Cleempoel. "Kolumba Art Museum." In Adaptive Reuse of the Built Heritage, 157–61. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315161440-15.

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Ezeluomba, Ndubuisi C. "The development of the exhibition of African art in American art museums." In Museum Innovation, 40–54. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003038184-4.

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Hubard, Olga. "Introduction: What Is Gallery Teaching?" In Art Museum Education, 1–6. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_1.

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Hubard, Olga. "Complete Engagement: Embodied Response and Multimodal Facilitation." In Art Museum Education, 121–37. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_10.

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Hubard, Olga. "Originals and Their Reproductions." In Art Museum Education, 138–56. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_11.

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Hubard, Olga. "Three Kinds of Dialogue about Art." In Art Museum Education, 9–21. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_2.

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Hubard, Olga. "The Structure of Open Dialogue." In Art Museum Education, 22–38. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_3.

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Conference papers on the topic "Morris Museum of Art"

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Baba, Shinsuke, Jennifer Meloon, and Stephen Duck. "K museum." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312971.

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Assis Júnior, Heitor de. "José dos Reis Carvalho: obras naturalísticas, etnográficas e naturezas mortas." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3695.

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Esta comunicação traz informações a respeito do pintor José dos Reis Carvalho e sua produção artística.Tem como linha de orientação suas relações com Debret e a Comissão Científica de Exploração. Este pintor apresenta vínculos intelectuais com Rugendas e também sofreu influências das obras de cientistas viajantes como von Martius. A confrontação de imagens permite ilustrar relações entre as obras do artista e aquelas de seus precursores. Pesquisas em diversas bibliotecas e museus permitiram encontrar evidências de sua familiaridade com o desenho científico em representações suas da flora e fauna brasileiras, ou ainda, em diversas naturezas mortas que exibem com grande fidelidade animais, flores e frutos.
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Livatino, Salvatore. "Virtual Museum of Contemporary Art." In 17th International Conference on Artificial Reality and Telexistence (ICAT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icat.2007.55.

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Zhou, Hao. "Virtual Reality in the Art Museum." In SA '19: SIGGRAPH Asia 2019. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3366344.3366441.

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Chang, Wen-Thong. "Proactive guiding with iBeacon in Art Museum." In 2017 Pacific Neighborhood Consortium Annual Conference and Joint Meetings (PNC). IEEE, 2017. http://dx.doi.org/10.23919/pnc.2017.8203530.

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Chang, Yujin. "SIMPLE LIFE (CHANG UCCHIN MUSEUM OF ART)." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.02.

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Jiang, Fei. "An Augmented Reality Art Work for Museum." In 2015 International Conference on Computer Science and Intelligent Communication. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/csic-15.2015.22.

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Stella, Stella, Eddy Supriyatna Marizar, and Maria Florencia. "Interactive Design Concept on Art: 1 New Museum and Art Space." In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.092.

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Xing, Yongkang, and Qianhong Cheng. "Interactive Future of Museum Encouraging Youth Group to Engage with Museum." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.164.

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Birchfield, David, Brandon Mechtley, Sarah Hatton, and Harvey Thornburg. "Mixed-reality learning in the art museum context." In Proceeding of the 16th ACM international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1459359.1459534.

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Reports on the topic "Morris Museum of Art"

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Westermann, Mariët, Liam Sweeney, and Roger Schonfeld. Art Museum Staff Demographic Survey 2018. Ithaka S+R, January 2019. http://dx.doi.org/10.18665/sr.310935.

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Sweeney, Liam, Deirdre Harkins, and Joanna Dressel. Art Museum Staff Demographic Survey 2022. Ithaka S+R, November 2022. http://dx.doi.org/10.18665/sr.317927.

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Sweeney, Liam, and Joanna Dressel. Art Museum Director Survey 2022: Documenting Change in Museum Strategy and Operations. Ithaka S+R, October 2022. http://dx.doi.org/10.18665/sr.317777.

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Schonfeld, Roger, and Liam Sweeney. Organizing the Work of the Art Museum. Ithaka S+R, July 2019. http://dx.doi.org/10.18665/sr.311731.

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Fox, Andrew, and Sadie Walters. North Carolina Museum of Art West Building Expansion. Landscape Architecture Foundation, 2015. http://dx.doi.org/10.31353/cs0940.

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Sweeney, Liam, and Jennifer Frederick. Ithaka S+R Art Museum Director Survey 2020. Ithaka S+R, November 2020. http://dx.doi.org/10.18665/sr.314362.

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Miller, N. J., and S. M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), June 2012. http://dx.doi.org/10.2172/1220103.

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9

Miller, Naomi J. Demonstration of LED Retrofit Lamps at the Jordan Schnitzer Museum of Art. Office of Scientific and Technical Information (OSTI), September 2011. http://dx.doi.org/10.2172/1062520.

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10

Sweeney, Liam. Reflecting Los Angeles, Decentralized and Global: Los Angeles County Museum of Art. Ithaka S+R, January 2018. http://dx.doi.org/10.18665/sr.306187.

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