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Journal articles on the topic 'Morris Museum of Art'

Author: Grafiati

Published: 25 February 2023

Last updated: 3 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

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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13

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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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

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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16

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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17

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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18

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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19

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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20

Kirkham, Pat. "May Morris: Art & Life, New PerspectivesMay Morris: Arts & Crafts Designer." Journal of Design History 31, no. 3 (June 27, 2018): 286–88. http://dx.doi.org/10.1093/jdh/epy026.

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21

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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22

Mancoff, Debra N. "William Morris and King Arthur." Arthuriana 6, no. 3 (1996): 1–2. http://dx.doi.org/10.1353/art.1996.0008.

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23

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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24

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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25

Kirchhoff, Frederick. "Paradise Dislocated: Morris, Politics, Art. Jeffrey Skoblow." Nineteenth-Century Literature 49, no. 2 (September 1994): 268–69. http://dx.doi.org/10.2307/2933990.

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26

Harvey, Charles, and Jon Press. "William Morris and the Marketing of Art." Business History 28, no. 4 (October 1986): 36–54. http://dx.doi.org/10.1080/00076798600000054.

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27

Kirchhoff, Frederick. ": Paradise Dislocated: Morris, Politics, Art. . Jeffrey Skoblow." Nineteenth-Century Literature 49, no. 2 (September 1994): 268–69. http://dx.doi.org/10.1525/ncl.1994.49.2.99p0086s.

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28

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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29

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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30

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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31

Gere, Charlotte. "May Morris, Arts & Crafts Designer; May Morris: Art and Life, New Perspectives." Textile History 50, no. 1 (January 2, 2019): 115–17. http://dx.doi.org/10.1080/00404969.2019.1594731.

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32

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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33

Taurog, Joel D., and Nancy J. Olsen. "Morris Ziff, PhD, MD, 1913-2005." Arthritis & Rheumatism 52, no. 11 (2005): 3323. http://dx.doi.org/10.1002/art.21502.

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34

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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35

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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36

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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37

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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38

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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39

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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40

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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41

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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42

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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43

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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44

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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45

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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46

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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47

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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48

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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49

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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50

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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