Journal articles: 'Pretoria Art Museum collection'

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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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de Kamper, GC. "The University of Pretoria Art Collection." de arte 42, no. 76 (January 2007): 65–69. http://dx.doi.org/10.1080/00043389.2007.11877083.

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Alexander, Lucy, Marion Arnold, Deborah Bell, Valerie Bester, Joey de Jager, Keith Dietrich, Leon du Plessis, et al. "Exhibition—Unisa Lecturers—Pretoria Art Museum 7 May—1 June 1986." de arte 21, no. 34 (April 1986): 24–30. http://dx.doi.org/10.1080/00043389.1986.11761033.

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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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van Schalkwyk, J. A. "The anthropology and archaeology collection of the National Cultural History Museum, Pretoria." de arte 35, no. 61 (April 2000): 83–91. http://dx.doi.org/10.1080/00043389.2000.11761307.

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Board, Editorial. "Cover Art." Public Voices 2, no. 1 (April 11, 2017): 6. http://dx.doi.org/10.22140/pv.419.

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Jasińska, Anna, and Artur Jasiński. "SUSCH MUSEUM." Muzealnictwo 61 (April 2, 2020): 27–38. http://dx.doi.org/10.5604/01.3001.0014.0805.

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Opened in January 2019, the Museum Susch crowned the collecting efforts of Grażyna Kulczyk, who, following her failed attempts at establishing a contemporary art Museum in Poznan and Warsaw, finally found home for her collection in a small Swiss village located between two Alps resorts: Sankt Moritz and Davos. The combination of both spectacular mountainous landscape and the edifices of an old convent into which the display has been built, as well as the purposefully created art pieces, contribute to creating a peculiar atmosphere of the place. Nature, architecture, and art have all merged into one total work here, namely into a contemporary Gesamtkunstwerk. Poland is echoed in the Museum: e.g. the genuine name of the institution: ‘Muzeum Susch’ is a combination of Polish and German words; furthermore, the pieces presented in the collection are to a great extent made up of works by contemporary Polish artists; wooden walls of the Museum Café are decorated with prints showing the Zakopane ‘Under Fir Trees’ (Pod Jedlami) Villa. The question whether Grażyna Kulczyk’s collection has found its final home here, or whether it is still possible for it to return to Poland, continues open. The collector herself does not provide an unambiguous answer to this.

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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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Barkan, Elazar. "Royal Art of Benin: The Perls Collection in The Metropolitan Museum of Art:Royal Art of Benin: The Perls Collection in The Metropolitan Museum of Art." Museum Anthropology 18, no. 1 (February 1994): 58–60. http://dx.doi.org/10.1525/mua.1994.18.1.58.

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Fagerström, Linda, and Elisabet Haglund. "Mexican Art in Lund’s Museum of Sketches, Sweden." Art and Architecture, no. 42 (2010): 34–43. http://dx.doi.org/10.52200/42.a.2j2whvgo.

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The Mexican collection at Lund’s Museum of Sketches in is an unusual and valuable collection both from a Mexican and from an international perspective: the collection was built by Gunnar Bråhammar in the late 1960s, and counts works by David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco and Juan O’Gorman but also Francisco Eppens, Rufino Tamayo, González Camarena, Raul Angiano, Leopoldo Méndez and Desiderio Xochitiotzin. The article discusses especially “the New Deal” by Rivera, “the Image of Mexico” at the Museo Nacional de Antropología e Historia in Mexico City by Morado Chavez, and “El Pájaro Amarillo” by Goertiz, and the great stone mosaic at the Central Library of the National Autonomous University of Mexico by O’Gorman.

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries

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Thompson, Barbara. "The African Collection at the Hood Museum of Art." African Arts 37, no. 2 (July 1, 2004): 14–93. http://dx.doi.org/10.1162/afar.2004.37.2.14.

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Kugusheva, Alexandra Yu. "The lost prewar collection of the Simferopol Art Gallery (1937–1941)." Issues of Museology 12, no. 1 (2021): 28–34. http://dx.doi.org/10.21638/spbu27.2021.103.

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The article highlights the history of the prewar collection of the Simferopol Art Museum in 1937–1941 and notes the most important works of art lost. The events that accompanied the loss of the collection during the Great Patriotic War were repeatedly covered by the museum in publications. According to official data, during the evacuation in October 1941, the boxes with the exhibits and the museum archive were transported to Kerch where they were burnt during a fire in the port caused by the bombing of enemy aircraft. For many years, the museum’s employees Galina I. Fedotova, Natalya D. Dyachenko and Natalya F. Grishchenko studied documents in the Simferopol, Moscow and St. Petersburg archives to restore the list of exhibits from the prewar collection. The result of their work was an extensive “Catalog of the values of the Simferopol Art Museum, lost during the Second World War” (2002), which is presented in the documentary archive of the museum. The main sections of the permanent exhibition of the prewar collection of the Simferopol Art Gallery are marked in the catalog. This information is of great importance for Russian museum science: many items transferred in 1937–1941 to the Simferopol collection were previously included in the funds of the State Russian Museum, the Tretyakov Gallery, the Hermitage and other major museum collections.

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Nancarrow, Jane-Heloise. "Democratizing the Digital Collection." Museum Worlds 4, no. 1 (July 1, 2016): 63–77. http://dx.doi.org/10.3167/armw.2016.040106.

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ABSTRACTThree-dimensional modeling and printing of museum artifacts have a growing role in public engagement and teaching—introducing new cultural heritage stakeholders and potentially allowing more democratic access to museum collections. This destabilizes traditional relationships between museums, collections, researchers, teachers and students, while offering dynamic new ways of experiencing objects of the past. Museum events and partnerships such as the Metropolitan Museum of Art “Hackathon”; the MicroPasts initiative; and Sketchfab for Museums and Cultural Heritage, encourage non-traditional methods of crowd-sourcing and software collaboration outside the heritage sector. The wider distribution properties of digitized museum artifacts also have repercussions for object-based and kinesthetic learning at all levels, as well as for experiential and culturally sensitive aspects of indigenous heritage. This article follows the existing workflow from model creation to classroom: considering the processes, problems, and applications of emerging digital visualization technologies from both a museum and pedagogical perspective.

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Sunaryo, Sunaryo. "PERANAN MUSEUM DALAM BIDANG KESENIRUPAAN." Perspektif Ilmu Pendidikan 24, no. XV (October 31, 2011): 188–203. http://dx.doi.org/10.21009/pip.242.8.

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Museum is one of public facilities preserving a collection of cultural heritage from the past to the present time which can be also used for learning purposes. This research aims at knowing and describing how a museum can be benefitted as a learning resource. The research was conducted at Museum Fatahillah in Kota Tua, Jakarta. This museum contains a number of prehistoric collection. Three questions were raised in this research: how the Museum organizes the art works, how is the quality and the quantity of the works on the display, and how the museum can be used as a learning resource. The data was collected by using observation, interview, document study techniques and was analyzed qualitatively to answer the research questions. The research findings indicate the Museum has a variety of art collection well organized on display, the collection has cultural value and can be benefitted as a learning resource.

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Weibel, Peter. "Music, Machines, Media and the Museum." Organised Sound 14, no. 3 (December 2009): 231–35. http://dx.doi.org/10.1017/s1355771809990197.

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The ZKM|Center for Art and Media in Karlsruhe is called Center because it is a museum and more than a museum. As a museum it has a classical museological function as a support and distribution system: Collection and archive, exhibitions and events. But in addition to it, the ZKM has two institutes for research, development and production (Institute for Music and Acoustics and Institute for Visual Media). The ZKM is a center for all media and for all art forms created in the 20th century. The machine based moving image has shifted the image from the classical position as space based art to time based art. Therefore the ZKM is the only museum of the world that integrated the mother of time based art, namely music, in his permanent collection and in its temporary exhibitions. This article describes the logic in the evolution of modern art, which is followed by the mission statement of the ZKM.

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Dark, Philip J. C., and Kate Ezra. "Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art." African Arts 26, no. 1 (January 1993): 95. http://dx.doi.org/10.2307/3337120.

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Blackmun, Barbara W., and Bryna Freyer. "Royal Benin Art: In the Collection of the National Museum of African Art." African Arts 21, no. 3 (May 1988): 14. http://dx.doi.org/10.2307/3336437.

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Lampens, Dieter, Ingrid De Pourcq, and Peter Rogiest. "Collection development and management in the art library of the Koninklijk Museum voor Schone Kunsten Antwerpen." Art Libraries Journal 33, no. 3 (2008): 12–18. http://dx.doi.org/10.1017/s030747220001542x.

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As stated in its collection policy, the library of the Koninklijk Museum voor Schone Kunsten Antwerpen supports the goals of the museum through collecting, indexing and providing access to documentary information to support art historical research within and outside the institution. The library’s collection development has a double focus: the exhaustive collecting and indexing of collection documentation, and the collecting of information about Western art history from the 13th century up to and including the 20th century (in analogy with the museum collection). While very specialised in content and in its in-depth indexing system, the library scans a broader scope to satisfy the fluctuating information needs of the museum staff. Today, collection development and management is becoming more and more co-operative, through various partnerships in Antwerp and also those with similar art libraries, especially where online access to datasets and electronic resources is concerned.

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Lee, Seunghye. "Korea's First Museum and the Categorization of “Buddhist Statues”." Sungkyun Journal of East Asian Studies 21, no. 1 (May 1, 2021): 51–81. http://dx.doi.org/10.1215/15982661-8873892.

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Abstract The establishment of a museum in the precinct of Ch'anggyŏnggung Palace in 1909 marked an important moment in the historiography of Korean art. Although recent studies have examined the founding, organization, and financing of the first Korean museum, the formation of its Buddhist art collection and its historical implications remain unexamined. Given that not a single Buddhist temple was allowed to exist within the capital city, the entry of these objects into the palace demonstrates a radical paradigm shift in the royal court's relation to Buddhist icons. The museum's Buddhist art collection reveals what was available in the art market of the time and what was considered worthy of being collected in a royal museum. Through close examination of Korea's first museum and its collection, this study traces the recontextualization of religious icons into art objects and the historical implications behind the category of “Buddhist statues.”

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Stone, Lisa. "Playing House/Museum." Public Historian 37, no. 2 (May 1, 2015): 27–41. http://dx.doi.org/10.1525/tph.2015.37.2.27.

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What happens when a historic house museum is owned and operated by an art school, much of the work is done by students, and it is used as a stage for contemporary practices and experimentation? The Roger Brown Study Collection, an instructional resource of the School of the Art Institute of Chicago (SAIC), has operated as an “artists’ museum” for the SAIC community and the public since 1997. Our project has been to rewrite the rules of playing house/museum, to allow the histories of a nineteenth-century building and a twentieth-century artist to perform fully in the twenty-first century.

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Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (November 2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University Art Museum. In January 2012 it was announced that some fragments from the Bothmer collection would be returned to Italy, because they fitted vases that had already been repatriated from North American collections. The Euaion painter fragments are considered against the phenomenon of collecting and donating fractured pots.

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Aydın Altay, Suna Canan. "Art Nouveau Yıldız Porcelains Exhibited at Ankara Ethnography Museum Collection." Journal of Ankara Studies 2, no. 2 (2014): 236–45. http://dx.doi.org/10.5505/jas.2014.02886.

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Helfand, William H., and John Ittmann. "The Ars Medica Collection at the Philadelphia Museum of Art." Annals of Internal Medicine 133, no. 1 (July 4, 2000): 76. http://dx.doi.org/10.7326/0003-4819-133-1-200007040-00020.

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de Waal, Lydia M. "The art collection of the University Museum, University of Stellenbosch." de arte 40, no. 71 (January 2005): 60–66. http://dx.doi.org/10.1080/00043389.2005.11877038.

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Mackenzie, Margaret. "Jolika Collection of New Guinea Art, de Young Museum (review)." Contemporary Pacific 19, no. 1 (2007): 345–51. http://dx.doi.org/10.1353/cp.2007.0024.

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Chagnon, Michael. "Persian Ceramics From the Collection of the Asian Art Museum." Iranian Studies 43, no. 5 (December 2010): 743–47. http://dx.doi.org/10.1080/00210862.2010.518589.

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Toth, Georgina Gy. "THE WENDY AND EMERY REVES COLLECTION: DALLAS MUSEUM OF ART." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 4 (December 1986): 185. http://dx.doi.org/10.1086/adx.5.4.27947689.

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Batyreva, Svetlana Garrievna. "MUSEUM COLLECTION IN CREATING THE SCIENTIFIC BASIS OF ART RESEARCH." Вестник Восточно-Сибирского государственного института культуры 176, no. 3 (November 25, 2019): 145–57. http://dx.doi.org/10.31443/2541-8874-2019-3-11-145-157.

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Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (July 1, 2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.

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Pawlikowska-Gwiazda, Aleksandra. "Terracotta oil-lamps from Egypt's Theban region in the collection of the Metropolitan Museum of Arts, New York." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 31, 2019): 641–57. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.28.

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The group of 17 oil lamps now in the Islamic Art Department collection of the Metropolitan Museum of Art (New York) was excavated in West Thebes in Upper Egypt by the Metropolitan Museum of Art expedition at the beginning of the 20th century. The assemblage was never fully published (apart from being included in the online MeT Collection database). The present paper documents the material in full, examining the collection and proposing in a few cases a new dating based on parallels from other sites.

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Himawan, Willy, Setiawan Sabana, and A. Rikrik Kusmara. "Representasi Identitas Bali Pada Koleksi Tetap Museum Neka." Journal of Urban Society's Arts 3, no. 1 (April 29, 2016): 36–43. http://dx.doi.org/10.24821/jousa.v3i1.1475.

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Pulau Bali memiliki budaya yang unik dengan berbagai artefak. Representasi artefak budaya ditampilkan di museum. Salah satu museum yang memiliki kunjungan wisatawan tertinggi di Bali adalah Museum Neka. Museum sebagai lembaga permanen memiliki koleksi karya seni yang dipilih sesuai dengan kepentingan pemilik institusi, termasuk Museum Neka. Penelitian ini mengamati dan mengkaji representasi visual dari koleksi permanen Museum Neka dan hubungannya dengan identitas Bali. Karya-karya seni yang dikaji dibatasi untuk karya seni rupa khususnya lukisan karena Museum Neka memiliki koleksi terbesar dari lukisan, yaitu lebih dari 300 lukisan. Neka Museum juga memfokuskan pada lukisan dalam koleksi permanennya. Lukisan-lukisan tersebut dilihat melalui metode pengamatan visual, dan analisis konten visual yang menggambarkan konstruksi identitas Bali. Pendekatan hermeneutik digunakan untuk memahami makna keseluruhan presentasi. Hasil penelitian ini dapat digunakan untuk memetakan kecenderungan museum untuk membangun identitas budaya. The Representation of Balinese Identity in the Permanent Collection of Neka Museum. The island of Bali has a unique culture with various artifacts. The representation of cultural artifacts is showed in the museum. One of the museums that has the highest rate of tourist visit in Bali is the Neka Museum. The museum as a permanent institution has a collection of art works in accordance with the institution’s interest, as well as the Neka Museum. Through the works of a permanent collection, this study observes and reviews the visual representation of the permanent collection of Neka Museum and its relation with the balinese identity. The art works of that are examined are restricted to works of fine art and devoted to the paintings because of Neka Museum has the largest collection of paintings for more than 300 paintings. Neka Museum also exhibits a permanent collection focuses on paintings. In addition, the paintings can be seen through visual observation methods, the analysis of visual content that describes the construction of balinese identity. Hermeneutic approach is used to understand the overall meaning of the presentation. The results of this study can be used to map the tendency of museums to build a cultural identity.

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Freschi, Federico. "The Wits Art Museum: The continent's foremost collection of African and southern African art." de arte 44, no. 80 (January 2009): 63–69. http://dx.doi.org/10.1080/00043389.2009.11877115.

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Cobb, Kelly, and Sean Miller. "Art Museum Dust Collection: Wearing Away Museum Grounds—Dust Bunnies, White Lies, and New Measures." TEXTILE 8, no. 3 (November 2010): 286–302. http://dx.doi.org/10.2752/175183510x12868938341448.

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Wang, Michelle Chaotzu, and James Quo-Ping Lin. "The Future Museumshapes the museum future." Arts and the Market 8, no. 2 (October 1, 2018): 168–81. http://dx.doi.org/10.1108/aam-12-2017-0030.

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PurposeThe purpose of this paper is to introduce a progressive strategy of the National Palace Museum (NPM) using new media art exhibitions as a creative marketing tool to interpret its collection, generate cultural value and navigate the greater global context.Design/methodology/approachA review of museum marketing literature and the challenges presented by Taiwan’s sociopolitical situation contextualize discussions on marketing activities and the emergence of museum-commissioned new media art at the NPM within the past two decades.FindingsDemocratic potency inherent in the digital medium has enabled the NPM to transcend the conflicting cultural perceptions surrounding its collection and fulfill the function of market expansion and cultural transmission.Originality/valueSpecialized heritage museums, such as the NPM, do not traditionally create or collect contemporary artworks that engage in ongoing cultural dialogues. This paper brings into view the novelty of using the digital medium to generate cultural value as exemplified in the new media art commissioned by the NPM.

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Caragol, Taína. "Documenting Latin American art at the Museum of Modern Art Library." Art Libraries Journal 30, no. 3 (2005): 33–36. http://dx.doi.org/10.1017/s0307472200014085.

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This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.

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Bury, Stephen. "Developing NYARC: the New York Art Resources Consortium." Art Libraries Journal 36, no. 3 (2011): 25–30. http://dx.doi.org/10.1017/s0307472200017028.

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NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.

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Muliadi, I. Nyoman, and Ida Ayu Suryasih. "PENGELOLAAN MUSEUM ARMA SEBAGAI DAYA TARIK WISATA BUDAYA DI DESA UBUD." JURNAL DESTINASI PARIWISATA 4, no. 2 (December 30, 2016): 58. http://dx.doi.org/10.24843/jdepar.2016.v04.i02.p11.

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Arma Museum is a museum located in the village of Ubud. When viewed from the type collection Arma Museum categorized as museum of art. Arma Museum as a cultural tourist attraction, hopes to become a cultural center is a place for preserving art and culture, therefore the manager is expected to preserve the art of Balinese culture by means of training, education and organizing events related to art and culture of Bali. That assumption is underlying me to choose this topic for research. The topic is “Management of Arma Museum as Cultural Tourist Attraction in the village of Ubud”. The method used in this research is a research method with qualitative descriptive analysis technique to analyze management of Arma Museum . Sources of data derived from primary data and secondary data. Data collecting technique using in-depth interviews, observation and study of literature. Determination of informants from Arma Museum in this study using purposive sampling technique. This study is limited by using the concept of management, the concept of the museum, tourist attraction concept and the concept of cultural tourism. Five museums in the Ubud area has different types of categories the same collection are paintings, but in its management Arma Museum combines the museum as an institution which is a non-profit that is supported by the business unit such as a café, a coffee shop, Restaurant, and the cottages are located in the area Arma museum.. Arma Museum is able to become a cultural tourist attraction because apart from being institutions that preserve works of art, but the museum arma also able to preserve some kind of art such as dance, sculpture and traditional music.

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Ozhoha-Maslovska, Alla. "Collections of Japanese Art in Ukraine." Intercultural Relations 3, no. 2(6) (February 16, 2020): 109–23. http://dx.doi.org/10.12797/rm.02.2019.06.06.

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The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collections of The Bohdan and Varvara Khanenko National Museum of Arts in Kyiv, Odessa Museum of Western and Oriental Arts, the Chinese Palace of “Zolochiv Castle” Museum-Reserve, as well as Kharkiv Art Museum are explored. Finally, modern tendencies in the collection of Japanese art in Ukraine are determined.

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Feinberg, H. M. "Research in South Africa: To Know an Archive." History in Africa 13 (1986): 391–98. http://dx.doi.org/10.2307/3171554.

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During the first half of 1985 I visited the Republic of South Africa in order to investigate the origins of the Natives Land Act of 1913. My research, emphasizing the years 1910 to 1916, required that I work in archives and libraries in three of the four provinces (excluding Natal). In the process I went to major and minor research facilities, to a few museums, and even to a small town public library. What follows is a discussion of many of the archives in South Africa, aids to making research easier, and some of the pitfalls one may face pursuing historical research in that country.The largest and most important archive in South Africa is the Central Archives Depot in Pretoria. This functions as the national archives of South Africa as well as the Transvaal Provincial Archives. All the most important central government department records are deposited there, including the Prime Minister's collection; the records of the Department of Foreign Affairs, Justice Department, Lands Department; and, of particular interest to the Africanist, the records of the Department of Native Affairs (however variously titled between 1910 and the present). The CAD also holds a substantial number of personal paper collections, including those of Jan Smuts and J.B.M. Hertzog.The Central Archives Depot is not the easiest place in which to work. Consequently, try to plan your stay so that you can have what might seem to be more than enough time to work there.

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Hardberger, Linda, and Robert L. B. Tobin. "The Robert L.B. Tobin Collection of Theatre Arts, McNay Art Museum." Theatre Survey 38, no. 1 (May 1997): 163–68. http://dx.doi.org/10.1017/s0040557400001885.

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Freyer, Bryna M., and Christine Mullen Kreamer. "The Collection of the National Museum of African art Smithsonian Institution." Sculpture Review 59, no. 1 (March 2010): 20–27. http://dx.doi.org/10.1177/074752841005900103.

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Lilyquist, Christine. "Installation de la collection d'antiquités égyptiennes au Metropolitan Museum of Art." Museum International (Edition Francaise) 36, no. 2 (April 24, 2009): 85–91. http://dx.doi.org/10.1111/j.1755-5825.1984.tb00907.x.

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Molinaro, Mary. "AMERICAN CERAMICS: THE COLLECTION OF EVERSON MUSEUM OF ART. Barbara Perry." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 4 (December 1989): 214. http://dx.doi.org/10.1086/adx.8.4.27948156.

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Phillpot, Clive. "The Library of the Museum of Modern Art New York." Art Libraries Journal 10, no. 1 (1985): 29–36. http://dx.doi.org/10.1017/s0307472200004065.

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In the Summer of 1984 the Library of the Museum of Modern Art, New York, re-opened in a purpose-designed space, following the expansion and renovation of the Museum by Cesar Pelli. This article traces the history of the Library from its origin at the foundation of the Museum in 1929, to date, and describes the scope of the present collection and some of its particular strengths.

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Vikulova, Vera P. "First Museum in Russia Devoted to N. Gogol Opened in Moscow." Bibliotekovedenie [Russian Journal of Library Science], no. 3 (May 25, 2009): 12–14. http://dx.doi.org/10.25281/0869-608x-2009-0-3-12-14.

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One of main events of the jubilee year was the opening of Gogol’s Museum, first in Russia. Museum holds authentic historical objects and works of art as well as things belonging to Gogol. Museum Collection counts over thousand and a half items and contains unique collections of art materials, rare books and documents, staff and photo materials. Official opening of the museum was held on March 27, 2009.

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Hutama, Gusti Ngurah Kade Wahyu Ari, and I. Gusti Agung Oka Mahagangga. "Pengaruh Tanggapan Di Media Sosial Terhadap Pilihan Koleksi Bagi Pengunjung Interactive Art Museum Bali, Kota Denpasar." JURNAL DESTINASI PARIWISATA 6, no. 2 (January 1, 2019): 335. http://dx.doi.org/10.24843/jdepar.2018.v06.i02.p21.

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Interactive Art Museum Bali is the new one of tourists attraction in Denpasar City. Although classified as a new tourist attraction, but tourists visit the Interactive Art Museum Bali is always increasing every month. Based on that situation, the research is conducted for analyzing the influence of responses in social media on the collection options for visitors at the tourist attraction of Interactive Art Museum Bali, Denpasar City. The data used in this research is quantitative data. Data analysis techniques used in this study are correlation analysis. The collected data in this study through observation, literature study, questionnaire, and visual material.Informant determination technique used is convenience sampling techniquewith the number of samples determined by the Slovin formula. The results of this study obtained that the social media used by visitors who come to visit the Interactive Art Museum Bali is Instagram.The influence of responses in social media on collection options for visitors is seen from 3 classifications.First, according to the observing senses, has a correlation analysis of 0653 and 0.598.The second classification is according to the occurrence of having correlation analysis results of 0.627 and 0.668.The third characteristic is according to the environment has the result of correlation analysis of 0.564 and 0.585. Keywords: Social Media, Response, Visitor, Collection, Interactive Art Museum Bali

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Fitriana, Rina, Nurima Rahmitasari, and Marcelina Yoseli. "Analisis Motivasi Pengunjung Museum Macan Jakarta." Jurnal Ilmiah Pariwisata 25, no. 1 (March 31, 2020): 76. http://dx.doi.org/10.30647/jip.v25i1.1362.

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MACAN Museum (Museum of Modern and Contemporary Art in Nusantara) has a wide collection of modern and contemporary Indonesian arts up to the first international scale in Indonesia, and is one of the tourist attractions in Jakarta that is preferred by various circles. The collection is packaged with the concept of art shows and exhibitions that can be enjoyed by every visitor. This research aims to analyze the motivation of visitors coming to the museum using quantitative descriptive methods. Unit of analysis is the visitors of MACAN museum, meanwhile the independent variable is the visitors’ motivation. Data was taken by giving questionnaire to 100 respondents, having observation, and doing structured interviews. The data were analyzed by excel and presented in the frequency table and pie chart. The results showed that of the four motivations, cultural motivation obtained the highest value as the most motivating factor for visitors with a value of 4.19, and the average total value of the four motivations is 3.84 which states that visitors are motivated to visit the MACAN museum. Keywords: MACAN Museum, Visitor Motivation, MICE, Contemporary Art

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Kheleniuk, Anastasia. "MIRTALA PYLYPENKO’S COLLECTION IN THE MUSEUM OF HISTORY OF THE NATIONAL UNIVERSITY OF OSTROH ACADEMY." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 232–39. http://dx.doi.org/10.25264/2409-6806-2020-31-232-239.

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Special attention in this article is paid to the analysis of art collection of the Ukrainian artist from abroad Mirtala Pylypenko at the Museum of Ostroh Academy. In 1997 the Museum of history of the Ostroh Academy was founded. A great contribution to its development process was made by Ukrainians from abroad. They supported the museum, sent interesting exhibits, and joined in museum projects. Nowadays the museum has valuable art collections, among which sculptures of the well-known Ukrainian artist Mirtala Pylypenko. Mirtala Pylypenko was born in Ukraine. During World War II she emigrated, and since 1947 she has been living and working in the USA. She graduated from the Boston Museum’s Art School and Tufts University in Boston. Mirtala’s sculptures are not just artworks, but a profound philosophical and original vision of the world. She showed her talent not only in sculpture and art photography, but also in poetry – her poetic collections “Verses”, “Rainbow Bridge”, “Road to Oneself” have been published in various languages. Mirtala received acclaim in the US and Europe in the 1970s – 1980s. Since the early 1990s her works have been known in Ukraine, where the artist held a series of solo exhibits and presentations. Mirtala presented one collection of her works to the National University of Ostroh Academy. Now it is one of the most valuable collections in the university museum. As a sculptor with a long exhibiting career, Mirtala has combined images of her sculptures with her poems, creating a single whole, which is greater than its parts. Mirtala’s collection of sculptures is monumental, philosophic and gracious. However, at the same time, it is sunny and brings back the life-asserting symbols of eternal space and time. The artist has spent most of her life across the ocean (in the USA), but her soul remains tied to Ukraine. Mirtala Pylypenko is an extraordinary figure in the Ukrainian art. And now, many generations of university students have an opportunity to get acquainted with her unique talent. It is important that sooner or later, Ukraine reveals its artists. Therefore, the museum tries to return and represent the Ukrainian diaspora art and history in museum collections in order to create a single Ukrainian cultural space.

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Fokin, Pavel, and Maria Zusmanovich. "F. M. Dostoevsky: Biography in Photographs." Неизвестный Достоевский 7, no. 3 (September 2020): 114–48. http://dx.doi.org/10.15393/j9.art.2020.4802.

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The collection of photographic materials of The Vladimir Dahl State Museum of the History of Russian Literature, related to the life and work of F. M. Dostoevsky, is the largest such collection and currently includes 2540 items. The collection of photographs is based on the memorial collection of A. G. Dostoevskaya from the Memorial Museum of F. M. Dostoevsky. In the 1930s, it was transferred to the F. M. Dostoevsky Museum, established in Moscow in 1928, and after its merge with the State Literary Museum in 1940 (since 2017 — The Vladimir Dahl State Museum of the History of Russian Literature), it became a part of its photography collection. The compendium of photographs related to the life and work of Fedor Dostoevsky continued to grow in the following years. The article provides a comprehensive description of the collection of photos based on two main criteria: by the type of material — original photos, reshot photos, duplicate photos; by genre and thematic content of the images — portraits of F. M. Dostoevsky, portraits of relatives, portraits of children of F. M. Dostoevsky, nephews, descendants, portraits of friends, acquaintances, сontemporaries, sights of places related to the biography of F. M. Dostoevsky. The article analyzes the accompanying inscriptions and autographs on the photographs, specifies the dating and location of the images, which allows to make corrections and additions to the Chronicle of the life and work of F. M. Dostoevsky. Based on a comparative analysis of the translator’s gift autograph on his photo, the facts of F. M. Dostoevsky’s biography, and the analysis of F. M. Dostoevsky’s letter to an unidentified person dated December 5, 1863, an assumption is made that the addressee of the letter is W. Wolfzon.

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Journal articles on the topic 'Pretoria Art Museum collection'

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