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Relevant bibliographies by topics / Pennsylvania Museum of Art

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Academic literature on the topic 'Pennsylvania Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Pennsylvania Museum of Art"

1

Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (July 1, 2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

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Cymbala, Amy. "Editorial Notes: Exhibition Complex: Displaying People, Identity, and Culture." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 96–97. http://dx.doi.org/10.5195/contemp.2014.116.

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Editorial Notes on section relating to submissions from the symposium Exhibition Complex: Displaying People, Identity, and Culture held October 18-20, 2012 at the Carnegie Museum of Art, Pittsburgh, Pennsylvania.

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Gyllenhaal, Ed. "Glencairn museum, bryn athyn, pennsylvania." Material Religion 2, no. 1 (March 2006): 132–36. http://dx.doi.org/10.2752/174322006778053942.

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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.

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Cort, John E. "Eastern Religions Come to Western Pennsylvania: University Museum and Kipp Gallery, Indiana Museum of Pennsylvania." Material Religion: The Journal of Objects, Art and Belief 2, no. 3 (November 1, 2006): 394–96. http://dx.doi.org/10.2752/174322006778815207.

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Cort, John E. "Eastern religions come to western pennsylvania university museum and kipp gallery, indiana museum of pennsylvania." Material Religion 2, no. 3 (November 2006): 394–96. http://dx.doi.org/10.1080/17432200.2006.11423071.

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Kletchka, Dana Carlisle. "Instructional Resources: The Art of Red Grooms: Selections from the Palmer Museum of Art the Pennsylvania State University." Art Education 55, no. 4 (July 2002): 25. http://dx.doi.org/10.2307/3193965.

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Tostões, Ana. "David B. Brownlee interviewed by Ana Tostões." Louis I. Kahn – The Permanence, no. 58 (2018): 60–62. http://dx.doi.org/10.52200/58.a.2rykcqpi.

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In February 2018, Ana Tostões interviewed David Brownlee, pioneer researcher on Louis I. Kahn and an historian of modern architecture and professor of the history of art at the University of Pennsylvania, in order to debate Kahn’s realm of ideas and their contemporary significance. David Brownlee was guest curator of the exhibition Louis I. Kahn: In the Realm of Architecture (Museum of Modern Art, New York, 1992), and is co-author of the homonymous book (with David G. De Long, New York, 1991, translated into four other languages) that stands as the first worldwide comprehensive publication on Louis I. Kahn.

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Anderson, Martha, and Allen Wardwell. "African Sculpture from the University Museum, University of Pennsylvania." African Arts 22, no. 1 (November 1988): 22. http://dx.doi.org/10.2307/3336685.

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Dyson, Robert H. "The Achaemenid painted pottery of Hasanlu IIIA." Anatolian Studies 49 (December 1999): 101–10. http://dx.doi.org/10.2307/3643065.

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This paper presents data on the painted pottery of Hasanlu II/IIIA from an analysis of field records. The excavation programme at Tepe Hasanlu was carried out between 1956 and 1977 for the University of Pennsylvania Museum, the Metropolitan Museum of Art, and the Archaeological Service of Iran. Period II/IIIA, the final pre-Islamic occupation of the site, dates to the Late Achaemenid-Early Hellenistic period. The painted pottery includes Western Triangle Ware, Cream-slipped Bichrome Ware, Brown-line Ware, and Classic Triangle Ware.Site and sequenceHasanlu is one of several large Iron Age mounds in the Qadar River valley at the southern end of Lake Urmia in western Azerbaijan, Iran. It consists of a central Citadel Mound (25m above the plain and about 200m in diameter) surrounded by an Outer Town. It was occupied from about 5500 BC to about 280 BC and again in Islamic times.

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

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Schwartz, Rachel. "Edwin Atlee Barber collecting Pennsylvania, defining America /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 34 p, 2007. http://proquest.umi.com/pqdweb?did=1691249371&sid=7&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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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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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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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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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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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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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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Tartoni, Nicole M. "ART WORKS the creation of a contemporary art center in Johnstown, Pennsylvania /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1179760479.

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Conway, Chelsea. "Participatory Activities and the Art Museum: A Case Study of the Columbus Museum of Art." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493982670620671.

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Lange, Andreas. "The Surreal Museum: An Intervention for the Cincinnati Art Museum." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179159972.

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Thesis (Master of Architecture)--University of Cincinnati, 2007.
Title from electronic theses title page (viewed July 12, 2007). Includes abstract. Keywords: Cincinnati Art Museum; Addition; Intervention; Surrealism; unheimlich; museum; Architecture Includes bibliographic references.

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Books on the topic "Pennsylvania Museum of Art"

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A, Chew Paul, Crum Robin Eadie, and Sakal John A, eds. Southwestern Pennsylvania painters: Collection of Westmoreland Museum of Art. Greensburg, Pa: The Museum, 1989.

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Glencairn (Museum : Bryn Athyn, Pa.). Catalogue of the classical collections of the Glencairn Museum, Academy of the New Church, Bryn Athyn, Pennsylvania. Bryn Athyn, Pa: Glencairn Museum, Academy of the New Church, 1999.

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1936-, Hill Matthew H., ed. From Pennsylvania to Waterloo: Pennsylvania-German folk culture in transition. Kitchener, Ont., Canada: J. Schneider Haus, 1991.

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Ousterhout, Robert G. Osman Hamdi Bey & Amerikalılar: Arkeoloji, diplomasi sanat = Osman Hamdi Bey & the Americans : archaeology, diplomacy, art. İstanbul: Pera Müzesi, 2011.

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Hellerstedt, Kahren. Gardens of earthly delight: Sixteenth and seventeenth-century Netherlandish gardens : the Frick Art Museum, Pittsburg, Pennsylvania, April 3, 1986 - May 18, 1986. Pittsburgh, Pa: Frick Art Museum, 1986.

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US GOVERNMENT. Pennsylvania Battlefields Protection Act of 1999. [Washington, D.C: U.S. G.P.O., 1999.

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University of Pennsylvania. University Museum. The Hilprecht collection of Greek, Italic, and Roman bronzes in the University of Pennsylvania Museum. Philadelphia: University Museum, University of Pennsylvania, 1997.

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missing], [name. Continuity, innovation, and connoisseurship: Old Master paintings at the Palmer Museum of Art ; proceedings of an international symposium ... 1995 ; organized in conjunction with the exhibition ... University Park, PA: Palmer Museum of Art (Pennsylvania State University), 2003.

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Art, Pennsylvania Academy of the Fine Arts Museum of American. American sculpture in the Museum of American Art of the Pennsylvania Academy of the Fine Arts. Philadelphia, PA: Museum of American Art of the Pennsylvania Academy of the Fine Arts, 1997.

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S, Dunn Richard, Carter Edward Carlos 1928-, Saunders Richard H, and Philadelphia Museum of Art, eds. Worldly goods: The arts of early Pennsylvania, 1680-1758. Philadelphia, PA: Philadelphia Museum of Art, 1999.

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Book chapters on the topic "Pennsylvania Museum of Art"

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Wilson, Dreck Spurlock. "Pennsylvania Museum of Art." In Julian Abele, 108–21. New York: Routledge, 2019. | Series: Minorities in: Routledge, 2019. http://dx.doi.org/10.4324/9781351021661-11.

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Wilson, Dreck Spurlock. "Pennsylvania Museum and School of Industrial Art." In Julian Abele, 18–22. New York: Routledge, 2019. | Series: Minorities in: Routledge, 2019. http://dx.doi.org/10.4324/9781351021661-3.

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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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Conference papers on the topic "Pennsylvania Museum of Art"

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Kollar, Albert D. "The Pentelic Marble in the Carnegie Museum of Art Hall of Sculpture, Pittsburgh, Pennsylvania." In XI International Conference of ASMOSIA. University of Split, Arts Academy in Split; University of Split, Faculty of Civil Engineering, Architecture and Geodesy, 2018. http://dx.doi.org/10.31534/xi.asmosia.2015/02.33.

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Celik, Emine. "Interactive Ram Pump Display Project." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-87473.

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During a senior level thermal system design class given at York College of Pennsylvania, a customer-based design project has been implemented. This project provides the students with the opportunity to apply the knowledge that they learned in class and allows them to think creatively to achieve the given task. For this project, students are required to prepare a project proposal based on the needs of the customer and deliver a written report at the end of the semester. The main purpose of the project is to design an interactive museum display to show the working principle of a ram pump for the York County Heritage Trust Museum. The hydraulic ram pump utilizes the power of flowing water to operate without the use of electricity. The project requires students to apply energy and cost analysis. This paper presents the details of the design requirements, procedures and the final design. Examples of student work and the assessment of the work are also provided.

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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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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, 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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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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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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Reports on the topic "Pennsylvania 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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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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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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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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Miller, Naomi J., and Scott M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian American Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), June 2012. http://dx.doi.org/10.2172/1044507.

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