Relevant bibliographies by topics / National Gallery Of Art - Exhibition Catalogs

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Academic literature on the topic 'National Gallery Of Art - Exhibition Catalogs'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 February 2023

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Journal articles on the topic "National Gallery Of Art - Exhibition Catalogs"

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Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.

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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017
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Hughes, Sarah Anne. "Contemporary publishing by national museums and art galleries in the UK and its future." Art Libraries Journal 39, no. 3 (2014): 34–41. http://dx.doi.org/10.1017/s0307472200018423.

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Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.
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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
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Lindgren, Liisa. "The monitoring and documenting of contemporary art at the Central Archives in Helsinki." Art Libraries Journal 27, no. 2 (2002): 28–31. http://dx.doi.org/10.1017/s0307472200012670.

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The Central Art Archives, founded in 1990 as a documentation and research institution within the Finnish National Gallery, have attempted to accept the challenges that contemporary art presents to archiving by realising extensive documentation projects covering conceptual, performance, land and environmental art in Finland. The corpus of documentary material includes photographs, slides, videos, interview transcripts, exhibition catalogues, etc. Currently the Central Art Archives is working together with the Museum of Contemporary Art Kiasma on a media art project.
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Karlinsky, Amy. "Art exhibition catalogues. BOUCHARD, Marie, 2002 Marion Tuu’luq, Exhibition catalogue, Ottawa, National Gallery of Ottawa, 110 pages. WIGHT, Darlene, 2003 Rankin Inlet Ceramics, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 64 pages. WIGHT, Darlene, 2004 The Jerry Twomey Collection, Exhibition catalogue, Winnipeg, The Winnipeg Art Gallery, 128 pages." Études/Inuit/Studies 28, no. 1 (2004): 161. http://dx.doi.org/10.7202/012645ar.

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Isomäki, Irmeli. "Documenting art in Finland." Art Libraries Journal 13, no. 1 (1988): 20–22. http://dx.doi.org/10.1017/s0307472200005514.

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Literature on Finnish art can be sought via the national bibliography and periodicals indexes and a bibliography of Finnish history; these bibliographies are available as databases as well as in printed form and on microfiche. A working party on art libraries is looking into ways of widening bibliographical control of art literature. The publications themselves, and unpublished information, can be found in libraries and archives of several kinds, from the Library of Helsinki University to the libraries and archives of colleges of art and architecture, museums, and artists’ associations. Many of these organisations are active in gathering and publishing information. The Fine Arts Academy of Finland administers the Art Musum of the Ateneum, Finland’s national gallery, and maintains extensive collections of visual resources, exhibition catalogues, periodicals, and press clippings.
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der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.

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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art, especially the fine and decorative arts, in the major European languages. Some sources for obtaining new publications from India are noted.
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Arnadottir, Arndis S. "Art and libraries in Iceland." Art Libraries Journal 12, no. 2 (1987): 18–20. http://dx.doi.org/10.1017/s0307472200005149.

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Iceland’s cultural heritage dates back to the Vikings. While crafts have always been important to the Icelandic way of life, the country has become much more art and design conscious with the development of educational and cultural institutions in the last hundred years. The National Library receives copies of all Icelandic publications and publishes the Icelandic national bibliography (which includes art but omits some exhibition catalogues); in addition the Library of the National Gallery collects all published literature on Icelandic art. There is a major art collection in the University Library and a specialist art library at the Icelandic College of Arts and Crafts. The Nordic House at Reykjavίk accommodates an artotek. Because of its isolation, Iceland is unusually dependent on libraries for knowledge of world art, and much work remains to be done on the bibliography of Icelandic art. However, art librarianship has made substantial progress since the 1970s, and training in art librarianship is available.
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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.

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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.
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Lewis-Jones, Huw W. G. "‘Heroism displayed’: revisiting the Franklin Gallery at the Royal Naval Exhibition, 1891." Polar Record 41, no. 3 (July 2005): 185–203. http://dx.doi.org/10.1017/s0032247405004432.

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The Royal Naval Exhibition (RNE) of 1891 offers an important entry point for the study of naval mythmaking. Scrutinising one part of the RNE showcase, ‘The Franklin Gallery,’ highlights the imaginative potential of the polar regions as a resource for imperial visions. This paper provides a review of the RNE and, more closely, considers the ideology of polar exploration in the context of political debate and naval reforms. The utility of images of the Arctic presented at the RNE is discussed, in particular, its role in displaying the ‘heroic martyrdom’ of Sir John Franklin (1786–1847). The paper draws upon an extensive study of late nineteenth-century newspapers, illustrated weeklies, periodical reviews, popular adult and juvenile literature, art, poetry, pamphlets, exhibition catalogues and handbooks, and associated ephemera. It argues that the RNE played a central part in the construction and enshrining of narratives of naval and national achievement in the late-Victorian period and in reviving a British commitment to the exploration of the polar regions.
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Books on the topic "National Gallery Of Art - Exhibition Catalogs"

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1967-, Baker Christopher, and Henry Tom, eds. The National Gallery complete illustrated catalogue. London: National Gallery Co., 2001.

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Britain), National Gallery (Great. The National Gallery complete illustrated catalogue. London: National Gallery Publications, 1995.

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Raymond, Keaveney, ed. National Gallery of Ireland. London: Scala Books, 1990.

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Raymond, Keaveney, ed. National Gallery of Ireland. London: Scala Books, 1998.

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National Gallery of Art (U.S.). New programs: National Gallery of Art extension programs catalogue supplement. [Washington, D.C.]: The Gallery, 1990.

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National Gallery of Art (U.S.). New programs: National Gallery of Art extension programs catalogue supplement. [Washington, D.C.]: The Gallery, 1990.

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), National Gallery of Art (U S. New programs: National Gallery of Art extension programs catalogue supplement. [Washington, D.C.]: The Gallery, 1990.

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Britain), National Gallery (Great. Dutch painting: The National Gallery. London: National Gallery, 2007.

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E, Wieseman Marjorie, and Greer Elena J, eds. Dutch Painting: The National Gallery. London: National Gallery, 2007.

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Britain), National Gallery (Great. Dutch painting: The National Gallery. London: National Gallery, 2007.

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Book chapters on the topic "National Gallery Of Art - Exhibition Catalogs"

1

McWilliam, Rohan. "Curiosity." In London's West End, 84–104. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.003.0006.

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‘Curiosity’ explores the varied world of exhibitions in the West End. The district became home to a variety of popular exhibitions that stood side-by-side with sites of ‘official’ art and culture such as the new National Gallery in Trafalgar Square. The West End visitor could enjoy spectacular panoramas, which dazzled the eye, or poses plastiques where models made classical paintings come to life. There were also freak shows and events where non-white peoples were placed on exhibition. These included the Hottentot Venus and the Aztec Lilliputians. Exhibition-mania was particularly centred on Leicester Square but could also be found on Piccadilly, site of the Egyptian Hall, that offered curiosities, art works, popular lectures, dioramas, and automata. Pleasure districts abounded with what were seen as distorted bodies. This gave them the quality of what Michel Foucault terms ‘heterotopias’ which draw upon, but disturb, the culture at large.
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2

Noë, Alva. "Reproductions in the Age of Originality." In Learning to Look, 120–24. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190928216.003.0032.

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This chapter evaluates the reproductions of Michelangelo's and Sebastiano's works of art, which was on display as part of the “Michelangelo and Sebastiano” exhibition at the National Gallery in 2017. The show's high point is a remarkable new reproduction of the Borgherini Chapel in the church of San Pietro in Montorio, in Rome. In the “copy cultures” of the past, works of art lived in and through their copies. The transition from a copy culture to a cult of original production is one that seems to have taken place in Michelangelo's day. So it is somehow fitting that the curators of the exhibition have made free use of copies. In doing so, and in doing so with such a light touch, they cast illumination on the fact that in the age of Michelangelo and Sebastiano, the status of a copy would have been uncertain and problematic.
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Phillips, Ruth B. "Swings and roundabouts: pluralism and the politics of change in Canada’s national museums." In Curatopia, 143–58. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0010.

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If you are standing on the shores of the Ottawa River looking at the Canadian Museum of History, the national library and archives and other national repositories of Aboriginal heritage, you might well despair at the comprehensive losses of curatorial expertise, programs of research, and will to work collaboratively with Aboriginal people which befell these institutions under the government of Prime Minister Stephen Harper. Looking harder, however, neither the shifting political ideologies nor the era of financial constraint that began with the global financial crisis of 2008 seems to have thrown processes of decolonisation and pluralist representation that began to take root in Canada during the 1990s into reverse. Two exhibition projects that unfolded during that same period provide evidence of that the changes in historical consciousness of settler-indigenous relationships and the acceptance of cultural pluralism have provided a counterweight to the intentions of a right wing government to restore old historical narratives. This chapter discusses them as evidence of this deep and, seemingly, irreversible shift in Canadian public’s expectation s of museum representation. The first involves plans for the new exhibition of Canadian history being developed for the 150th anniversary of Canadian confederation in 2017, specifically a fishing boat named the Nisga’a Girl which was presented by a west coast First Nation to mark the successful resolution of its land claim. The second is the Sakahan exhibition of global indigenous art shown in 2013 at the National Gallery of Canada and which marked a notable departure from its past scope. While utopia has by no means been achieved, neither, surprisingly, was dystopia realised during the years of conservative reaction.
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Dalivalle, Margaret, Martin Kemp, and Robert B. Simon. "The Discovery of a Masterpiece." In Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts, 5–50. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813835.003.0002.

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Chapter 1 presents a first-person account of the discovery of the Salvator Mundi, from its appearance as a copy at an American auction to its establishment as the lost original painting by Leonardo da Vinci. Robert Simon presents a chronological account of his involvement with the acquisition, research, conservation, and scholarly verification of the work over the period from 2005 to 2011, when the painting was included in the landmark exhibition at the National Gallery, Leonardo da Vinci Painter at the Court of Milan. The modern provenance of the painting is reviewed, focusing on its tenure in the Cook Collection of Richmond, its sale in 1958, and its reappearance in New Orleans. The conservation of the painting by Dianne Dwyer Modestini is discussed, as well as the research process, and the introduction of the painting to art historians, Leonardo specialists, the press, and, eventually, the public.
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Hopkins, Claudia, and Iain Boyd Whyte. "Radislav Matuštík, “New American Painting: Notes on the Exhibition Painting in the United States since 1945 in the Slovak National Gallery, Bratislava,” translated from Slovak by John Minahane, originally published as “Nové americké maliarstvo: Poznámky k výstave Maliarstvo USA po roku 1945 v SNG v Bratislave,” in Výtvarný život 14, no. 10 (1969): 22–29 (excerpt)." In Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990, 422–28. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-10392.

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