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Journal articles on the topic 'National Museum and Art Gallery (Botswana)'

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Published: 4 June 2021

Last updated: 13 February 2022

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1

BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Pic

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Prior, Nick. "Edinburgh, Romanticism and the National Gallery of Scotland." Urban History 22, no. 2 (1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.

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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope inde

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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.

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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. H

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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 und

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Woodhouse, Nicola. "The Hector Library, Museum of New Zealand Te Papa Tongarewa." Art Libraries Journal 24, no. 4 (1999): 31–38. http://dx.doi.org/10.1017/s0307472200019799.

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The Hector Library started life in 1867 as a science library with a strong geological bent. The establishment of Te Papa, New Zealand’s new national museum, in 1992 led to a merger with the erstwhile National Art Gallery Research Library, renowned for its resources on contemporary art. The enlarged Hector, with dual specialities in art and natural history, is part of the re-designed information package servicing Te Papa visitors (both in person and distant) at the Museum’s new waterfront site which opened to the public in February 1998. This paper outlines the package, focusing on the Hector’s

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Kehoe, Elisabeth. "Working hard at giving it away: Lord Duveen, the British Museum and the Elgin marbles." Historical Research 77, no. 198 (2004): 503–19. http://dx.doi.org/10.1111/j.1468-2281.2004.00220.x.

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Abstract In September 1928, just after the publication of the report of the royal commission on National Museums and Galleries, the art dealer Sir Joseph Duveen wrote to his good friend Edgar Vincent, Viscount D'Abernon, who had chaired the commission, offering to pay for a new gallery at the British Museum to house the Parthenon, or Elgin, marbles. The new gallery cost over £100,000 and took ten years to complete, during which time Duveen worked hard to impose his vision of a new gallery – a vision often at odds with that of the Museum establishment, and one that generated controversy, includ

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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,

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Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.

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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however

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Stoškutė, Neringa. "Tension Between Everyday Practice and the New Museology Theory: A Case of the National Gallery of Art in Vilnius." Art History & Criticism 13, no. 1 (2017): 76–87. http://dx.doi.org/10.1515/mik-2017-0006.

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Summary This article aims to present the main aspects of the New Museology theory and discuss the possibilities of its adaptation in Lithuanian museum practice. To date, the New Museology theory, which was formed in the 1980’s and places the emphasis on the contextual presentation of artworks and the social role museums play in public cultural life, is not widely used in Lithuanian museum practice and a comprehensive survey of art museum permanent collection displays has not been carried out in regards to this particular framework. The first part of this article presents the New Museology theo

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Conlin, Jonathan. "The public Art Museum in nineteenth-century Britain: The development of the National Gallery." Journal of the History of Collections 17, no. 2 (2005): 238–39. http://dx.doi.org/10.1093/jhc/fhi029.

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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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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.

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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 shoul

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Franklin, Jonathan. "Museum libraries and library history: joining the research conversation at the National Gallery." Art Libraries Journal 44, no. 1 (2019): 19–22. http://dx.doi.org/10.1017/alj.2018.35.

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Responding to widespread changes in the role of the museum library, the National Gallery Library is adapting to join the research conversations within the institution, as well as in the wider arenas of art history and library history. Using the historic Eastlake Library as a focus, the library has been embarking on projects on several fronts: cataloguing rare books online; selective digitisation; collaboration with the Digital Cicognara project; publishing our own research; and establishing an innovative Collaborative Doctoral Partnership as one way of creating research opportunities for other

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Mann, Deandra Rose. "To Have and To Hold … Or Not? Deaccessioning Policies, Practices, and the Question of the Public’s Interest." International Journal of Cultural Property 24, no. 2 (2017): 113–59. http://dx.doi.org/10.1017/s0940739117000091.

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Abstract:Shockwaves echoed through the media and the arts community when the Delaware Art Museum chose to deaccession pieces from its collection and when the public learned that the Detroit Institute of Arts might be forced to do the same. Further concern arose when financial troubles compelled the Corcoran Gallery of Art to merge with the National Gallery of Art and George Washington University. An examination of the climate and legal battles surrounding these events shows how these institutions chose to cope with the financial adversity that put their collections at risk and illustrates the

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Tzortzi, Kali. "The art museum as a city or a machine for showing art?" Architectural Research Quarterly 14, no. 2 (2010): 129–38. http://dx.doi.org/10.1017/s1359135510000746.

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This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–

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Shea, Michael. "Karakuri: Subtle Trickery in Device Art and Robotics Demonstrations at Miraikan." Leonardo 48, no. 1 (2015): 40–47. http://dx.doi.org/10.1162/leon_a_00936.

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Based on museological participant-observation conducted at the Miraikan National Museum of Emerging Science and Innovation in Tokyo, this article considers the role of karakuri, or subtle trickery, referring to devices that evoke a sense of awe and wonderment through concealment of their inner workings. The author critically assesses Miraikan’s Tearoom of Zero/One gallery space as well as its ASIMO demonstrations in terms of their utilization of this quality.

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Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery." Art Libraries Journal 20, no. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.

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Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SA

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Skarupsky, Petra. "“The War Brought Us Close and the Peace Will Not Divide Us”: Exhibitions of Art from Czechoslovakia in Warsaw in the Late 1940s." Ikonotheka 26 (June 26, 2017): 95–110. http://dx.doi.org/10.5604/01.3001.0010.1674.

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In his book Awangarda w cieniu Jałty (In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989), Piotr Piotrowski mentioned that Polish and Czechoslovakian artists were not working in mutual isolation and that they had opportunities to meet, for instance at the Arguments 1962 exhibition in Warsaw in 1962. The extent, nature and intensity of artistic contacts between Poland and Czechoslovakia during their coexistence within the Eastern bloc still remain valid research problems. The archives of the National Museum in Warsaw and the Zachęta – National Gallery of Art which I ha

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Ratajczak, Mirosław. "MARIUSZ HERMANSDORFER (1940–2018)." Muzealnictwo 59 (October 7, 2018): 219–22. http://dx.doi.org/10.5604/01.3001.0012.6192.

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Mariusz Hermansdorfer (1940–2018) passed away in Wrocław on the 18th of August this year. He was a director of the National Museum in Wrocław in the years 1983–2013, custodian of the contemporary art department of this museum from 1972, critic, curator of exhibitions, one of the most significant figures in Polish Culture of the past half-century. Born in Lviv, he studied art history at the University of Wrocław. While still at university, he started working for the Silesian Museum (since 1970 named the National Museum). In 1967, he moved to the branch of the Municipal Museum of Wrocław – the M

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Żelazowski, Jerzy. "WITOLD DOBROWOLSKI (1939–2019)." Muzealnictwo 61 (June 24, 2020): 90–96. http://dx.doi.org/10.5604/01.3001.0014.2476.

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The recollections of Prof. W. Dobrowolski focus mainly on his activity at the National Museum in Warsaw (1960–2011) and his scholarly accomplishments. The creator of modern Etruscology in Poland in the 1960s, he contributed greatly to promoting knowledge of Etruscan civilization among Polish society. He won his international fame with the documentation of Etruscan tombs and their painterly decoration in the modern period. Furthermore, W. Dobrowolski was an unquestioned expert in Greek pottery, particularly from the Vilnius and Gołuchów collections kept at the National Museum in Warsaw, and was

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Franklin, Jonathan. "Thinking outside the books: from printed page to web resource at the National Gallery of Canada Library and Archives." Art Libraries Journal 34, no. 1 (2009): 5–10. http://dx.doi.org/10.1017/s0307472200015698.

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How does an art museum library move into the digital arena? An account of four recent and current projects at the National Gallery of Canada Library and Archives, involving the extraction of information of value from printed matter and its re-presentation on the web, throws light on this topic. The selection of resources for digitization, and the challenges of an integrated approach, have also raised issues requiring discussion and solution.

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Valtysson, Bjarki, Sanne Lynge Nilsson, and Christine Eva Pedersen. "Reaching Out to be in Reach. Museum Communication in the Current Museum Zeitgeist." Nordisk Museologi 31, no. 1 (2021): 8. http://dx.doi.org/10.5617/nm.8821.

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This article focuses on art museums as multi-layered media- and eventmakers. By discussing the National Gallery of Denmark’s Mysteries from the Museum podcast series and the event SMK Fridays, Louisiana’s digital platform Louisiana Channel and the Glyptotek’s Slow arrangements, we scrutinise these museums’ onsite and offsite outreach techniques and strategies. These are further discussed regarding the current museum zeitgeist, and how this relates to dominant cultural policy paradigms in Denmark. The article is based on interviews with museum professionals, observations of onsite events and do

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Chercoles Asensio, Ruth, Benoît De Tapol, Ana Ordoñez, and Lourdes Domedel. "Low molecular weight varnishes. Interview to E. René de la Rie, National Gallery of Art, Washington, DC." Ge-conservacion 2 (December 7, 2011): 33–42. http://dx.doi.org/10.37558/gec.v2i2.40.

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René de la Rie has been working since 20 years on Low Molecular Resins. In February, 2011 a technical Workshop took place, organized by GEIIC (Spanish group of International Institute of Conservation) in the Reina Sofia Museum. René de la Rie, Ana Ordoñez and Lourdes Domedel were the speakers and presented the results of the research they carried out. Questions that arose at this meeting are addressed in this interview.

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Cloutier, Geneviève, Awad Ibrahim, and David Pratt. "Subversive identities at the art museum: An ESL university student’s experience at the National Gallery of Canada." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (2016): 139. http://dx.doi.org/10.26443/crae.v43i1.22.

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Abstract: Art education became interwoven with cultural mediation when a university-level English language certification class was taken on a field trip to the National Gallery of Canada. This article focuses on one ESL student who locates her subversive identity as she engages with and interprets an artwork in an interview. This student’s memorable, affective, and intimately personal thoughts and feelings, as we shall see, expose the semiotic and pedagogical importance of employing strategies that honour students’ identities and lived experiences. The authors call for more research in what th

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Pluszyńska, Anna. "Copyright Management by Contemporary Art Exhibition Institutions in Poland: Case Study of the Zachęta National Gallery of Art." Sustainability 12, no. 11 (2020): 4498. http://dx.doi.org/10.3390/su12114498.

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The mission of cultural institutions is the expression of sustainable development, which assumes a specific social order based on respect for the right of access to culture and care for the common good which is cultural heritage, in order to preserve it for future generations. To best implement its social mission, the essence of museum activities is not only collecting resources but also promoting the collection. In addition, promotion in accordance with the principle of openness and the conviction that cultural heritage is a common good, which is why it should be available to the widest possi

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Rymsza-Pawlowska, Malgorzata J. "Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience." History: Reviews of New Books 43, no. 3 (2015): 93–94. http://dx.doi.org/10.1080/03612759.2015.1032049.

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Blake, C. N. "Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience." Journal of American History 101, no. 3 (2014): 1015–16. http://dx.doi.org/10.1093/jahist/jau531.

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Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (2019): 158. http://dx.doi.org/10.3390/rel10030158.

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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the uni

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Holdsworth, Amy, Rachel Moseley, and Helen Wheatley. "Memory, Nostalgia and the Material Heritage of Children’s Television in the Museum." VIEW Journal of European Television History and Culture 8, no. 15 (2019): 111. http://dx.doi.org/10.18146/2213-0969.2019.jethc168.

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‘The Story of Children’s Television, from 1946 to Now’ was an exhibition co-conceived by the authors and colleagues from the Herbert Art Gallery and Museum in Coventry, UK, running from 2015 to 2017 through a national tour. At the exhibition, objects from children’s television history sat alongside screens showing the programmes to visitors. Our research explores how children’s television culture operates as a site of memory and nostalgia, through which we can investigate forms of (inter)generational cultural memory. This paper explores the reconnections and disconnections that emerge in encou

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Richardson, Sarah Harvey. "The Art Gallery and its Audience: Reflecting on Scale and Spatiality in Practice and Theory." Museum and Society 16, no. 2 (2018): 201–19. http://dx.doi.org/10.29311/mas.v16i2.2769.

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This paper explores scale and spatiality in the practice and theory of the art gallery. Through the example of Des Hughes: Stretch Out and Wait, an exhibition at The Hepworth Wakefield, I unpick the construction of scaled notions such as ‘local’, ‘(inter)national’ and ‘community’, in particular, a ‘local’ versus‘(inter)national’ binary; and explore how we may seek alternatives to such hierarchized thinking and practice. By testing and developing Kevin Hetherington’s approach of analyzing the topological character of the spaces of the museum (1997), I treat the space of Des Hughesas one which i

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Siegel, Jonah. "BOOK REVIEW:The Public Art Museum in Nineteenth Century Britain: The Development of the National Gallery, by Christopher Whitehead." Victorian Studies 49, no. 1 (2006): 132–33. http://dx.doi.org/10.2979/vic.2006.49.1.132.

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Kolbiarz, Artur. "From Świdnica to Bratislava: The sculpture of Christ the Saviour from the collection of the Slovak National Gallery." Muzeológia a kultúrne dedičstvo 8, no. 3 (2020): 75–93. http://dx.doi.org/10.46284/mkd.2020.8.3.4.

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Among the works that stand out in the Baroque sculpture collection of the Slovak National Gallery (SNG) is the figure of the Saviour by Georg Leonhard Weber of Świdnica. Surveys conducted in Slovak, Czech and Polish museums, combined with field studies, have made it possible to provide hitherto unexplored artistic context of the work. They have made it possible to trace the formal origins of the Bratislava Saviour as well as its later imitations. The sculpture is carved with virtuosic precision; it develops a concept derived from ancient art and is the finest example of Weber’s early oeuvre. A

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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.

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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private coll

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Romanowska-Zadrożna, Maria. "A KNIGHT IN THE SERVICE OF ART. HANNA BENESZ IN MEMORIAM (1947–2019)." Muzealnictwo 62 (March 17, 2021): 13–22. http://dx.doi.org/10.5604/01.3001.0014.8096.

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Hanna Benesz graduated from the Institutes: of Art History and of Applied Linguistics at the University of Warsaw. Her whole career launched in 1975 remained inseparably connected with the National Museum in Warsaw, where she worked at the Gallery of European Art curating the Flemish and Dutch collections. She followed all the promotion steps: from assistant to curator. Benesz strongly believed that museum curator’s job was grounded in a perfect knowledge of the collection. Thanks to her research conducted into the paintings amassed in National Museum’s storerooms, she successfully attributed

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von Poser, Alexis Th. "Craig, Barry (ed.): Living Spirits with Fixed Abodes. The Masterpieces Exhibition Papua New Guinea National Museum and Art Gallery." Anthropos 107, no. 2 (2012): 605–6. http://dx.doi.org/10.5771/0257-9774-2012-2-605.

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Nolan, Catherine, and Jonathan Ritchie. "A New Collection and Home for Oral History at the National Museum and Art Gallery of Papua New Guinea." Journal of Pacific History 55, no. 4 (2020): 534–36. http://dx.doi.org/10.1080/00223344.2020.1834491.

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Akpomuje, Paul Young. "Learning in Museums and Art Galleries in Nigeria: Exploring Arts-Based Adult Learning through Collections." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (2019): 42–61. http://dx.doi.org/10.1177/1550190619832379.

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The importance of arts-based adult education in today’s culturally diverse world cannot be overemphasized. Arts-based adult learning provides some of the important cultural contexts for informal learning. Other forms of adult learning—formal and nonformal—have also been immensely enriched by this form of adult education. Museums and art galleries are at the heart of arts-based learning. Whereas learning in the museum has gained attention in western climes, adult education researchers in Nigeria are yet to focus attention on this area of research. The aim of this study was to explore how collec

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Lorente, Jesús-Pedro. "Galleries of modern art in nineteenth-century Paris and London: their location and urban influence." Urban History 22, no. 2 (1995): 187–204. http://dx.doi.org/10.1017/s0963926800000468.

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Museums of contemporary art tend to be exclusive landmarks of great capitals. We are used to finding art galleries in the most prominent of locations, either in old palaces, or in purpose-built museum buildings. For the special case of galleries of contemporary art, however, it is also a common policy to provide space at the middle of an out-of-town park, or else into the heart of an urban renewal area, using modern arts as ‘flagships’ of city regeneration. This article strives to show that today's dilemmas and choices about the siting of galleries of art are a legacy of the nineteenth century

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Schuhmann, Leslie, and Christine Chagnon. "Collections Support Services (CSS) - 25 Years of Improving Access and Care to our Nation’s Collections." Biodiversity Information Science and Standards 2 (June 13, 2018): e25889. http://dx.doi.org/10.3897/biss.2.25889.

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Originally formed in the early 1980s as the Move Crew to move museum collections to the newly opened state of the art Smithsonian Institution’s Museum Support Center, Collections Support Services has evolved into a team of highly skilled museum professionals recognized as trusted experts, innovators, project managers, and problem solvers in all aspects of collections stewardship. We have packed, moved, and stored MILLIONS of objects across Smithsonian museums including the National Museum of Natural History and several of our art museums; the Freer Sackler Gallery, Hirshhorn Museum and Sculptu

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Megaw, J. V. S., M. Ruth Megaw, and Robert Trett. "A Late Iron Age Cast Bronze Head Probably from Chepstow." Antiquaries Journal 72 (March 1992): 54–75. http://dx.doi.org/10.1017/s0003581500071171.

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In November 1987 a bronze highly stylized animal head was shown to me in my capacity as Curator of Newport Museum (figs. 1–3). The head which appeared to be of late Iron Age date is described below. The owner agreed to lend the piece to the Museum for conservation. The investigations included two separate metal analyses, carried out independently by Dr J. P. Northover at the University of Oxford and by R. Jones at the University of Wales, Cardiff. A black bituminous substance from horn cores on the head was analysed by C. Heron also at Cardiff; these analyses are reported below (Appendices 1–3

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Coiffier, Christian. "Living Spirits with Fixed Abodes. The Masterpièces Exhibition Papua New Guinea National Museum and Art Gallery de Barry Craig (ed.)." Journal de la société des océanistes, no. 136-137 (October 15, 2013): 265–66. http://dx.doi.org/10.4000/jso.6874.

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Loustau, Marc Roscoe. "Politics of the Blessed Lady: Catholic Art in the Contemporary Hungarian Culture Industry." Religions 12, no. 8 (2021): 577. http://dx.doi.org/10.3390/rel12080577.

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I examine Hungary’s Catholic arts industry and its material practices of cultural production: the institutions and professional disciplines through which devotional material objects move as they become embedded in political processes of national construction and contestation. Ethnographic data come from thirty-six months of fieldwork in Hungary and Transylvania, and focuses on three museum and gallery exhibitions of Catholic devotional objects. Building on critiques of subjectivity- and embodiment-focused research, I highlight how the institutional legacies of state socialism in Hungary and Ro

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Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.

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Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist

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Roderick, Gareth Lloyd. "Kyffin Williams online: creating a digital resource for an art collection at the National Library of Wales." Art Libraries Journal 39, no. 1 (2014): 5–9. http://dx.doi.org/10.1017/s0307472200018113.

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When Sir Kyffin Williams, RA died in 2006 he bequeathed a large section of his estate to the National Library of Wales (NLW) – an institution with which the artist, most known for his landscape paintings of north-west Wales, had a long association. Combined with material already in the NLW’s collections, there are now over 200 works in oil, over 1200 works on paper and a comprehensive archive held at Aberystwyth. The collection’s presence in a library rather than museum or gallery raises questions of how the work can be displayed or exhibited. In this essay I will give some background to this

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Pkhakadze, V., V. Tsintsadze, M. Tsotselia, et al. "Restoration, archiving, and digitalization of the Museum collections (The case of Zoological Collections, Georgian National Museum)." Ukrainian Journal of Ecology 9, no. 3 (2019): 138–41. http://dx.doi.org/10.15421/2019_721.

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The paper presents a pilot case of scientific revision and inventory process in the zoological collection of the Georgian National Museum (Tbilisi). By the special decree of the President of Georgia, the Georgian National Museum was established in 2004. Unifying fifteen museums, the National Gallery and two scientific centers it is the largest museum complex in the country. Its zoological collection is one of the oldest in Caucasia. Among them are endemic, relict, and other rare species protected by international conventions, and many are listed as endangered or deleted species in Georgia. Con

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Haigler, Daniella. "Collections Access and Custom Storage Solutions at the Smithsonian’s Museum Support Center." Biodiversity Information Science and Standards 2 (July 17, 2018): e26223. http://dx.doi.org/10.3897/biss.2.26223.

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The National Museum of Natural History is committed to long-term stewardship of collections and to supporting their use by scientists and the general public. This stewardship role is unique among other US natural history museums. As the nation’s natural history museum, the National Museum of Natural History has a mandated commitment to conserve and protect its collections in a manner that will assure their continued accessibility by future generations and maintain the National Museum of Natural History mission. A significant number of objects from the National Museum of Natural History are per

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Leahy, Kevin, Roger Bland, Della Hooke, Alex Jones, and Elisabeth Okasha. "The Staffordshire (Ogley Hay) hoard: recovery of a treasure." Antiquity 85, no. 327 (2011): 202–20. http://dx.doi.org/10.1017/s0003598x00067545.

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The Staffordshire (Ogley Hay) hoard was found on the 5–10 July 2009 by Mr Terry Herbert while metal-detecting on arable land at a site in south Staffordshire in the English Midlands (Figure 1).Mr Herbert contacted Duncan Slarke, the Portable Antiquities Scheme's Finds Liaison Officer for Staffordshire and the West Midlands, who visited the finder at his home and prepared an initial list of 244 bags of finds. These were then taken to Birmingham Museum and HM Coroner was informed. Duncan Slarke also contacted the relevant archaeological authorities including English Heritage, the Staffordshire H

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Mačianskaitė, Vilma. "Contemporary Lithuanian Artists: Career Opportunities." Art History & Criticism 13, no. 1 (2017): 88–110. http://dx.doi.org/10.1515/mik-2017-0007.

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Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the

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Payne, Susan, David Wilcox, Tuula Pardoe, and Ninya Mikhaila. "A Seventeenth-Century Doublet from Scotland." Costume 45, no. 1 (2011): 39–62. http://dx.doi.org/10.1179/174963011x12978768537537.

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In December 2004, a local family donated a cream silk slashed doublet to Perth Museum and Art Gallery. 1 Stylistically, the doublet is given a date between 1620 and 1630, but the family story is that it was a gift to one of their ancestors about the time of the Battle of Killiecrankie in 1689. The donation stimulated a programme of investigation centred on the doublet’s conservation, curatorial research, the production of two replica suits and the mounting of an exhibition. This project won the United Kingdom Award for Conservation 2007. The Institute of Conservation, the Museums, Archives &am

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Pageot, Edith-Anne. "L’art autochtone à l’aune du discours critique dans les revues spécialisées en arts visuels au Canada. Les cas de Sakahàn et de Beat Nation." Article quatre 9, no. 1 (2018): 81–94. http://dx.doi.org/10.7202/1052629ar.

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This article offers a qualitative and quantitive analysis of the critical reception of two exhibitions, Sakahàn:International Indigenous Art (National Gallery of Canada, Ottawa 2013) and Beat Nation: Art, Hip-Hop and Aboriginial Culture (organised and circulated by the Vancouver Art Gallery, 2013-2014). The study treats articles which appeared between 2012 and 2015 in English and French visual-arts publications. The comparative analysis intends to highlight general trends, in order to identify challenges that contemporary Indigenous arts pose for art criticism. A review of the texts shows that

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