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Books on the topic 'Reading Public Museum and Art Gallery'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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1

Reading Public Museum and Art Gallery (Pa.). The Reading Public Museum and Art Gallery: Selections from the permanent collection. Reading, Pa. (500 Museum Rd., Reading 19611-1425): The Museum, 1986.

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2

Sanctis, M. De. The Bayeux tapestry: The City of Bayeux Tapestry and the Reading Museum and Art Gallery facsimile. Farnborough: Norton, 1993.

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3

Galleries, Ontario Association of Art. Ontario Association of Art Galleries' human resources package: For the recruitment, hiring and management of the executive director in a public art gallery. [Toronto]: The Association, 1994.

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4

The National Gallery of Canada: Ideas, art, architecture. Montreal: McGill-Queen's University Press, 2003.

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5

Sichel, Kim. Philip Guston, 1975-1980: Private and public battles. Boston: Boston University Art Gallery, 1994.

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6

Borza, Pace Maria. Issues of national identity and the changing perception of identity in irish public art collection and display in the 20th century: Case studies : The Republic of Ireland Hugh Lane Municipal Gallery, Dublin Irish Museum of Modern Art, Dublin. (s.l: The Author), 2004.

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7

Papua New Guinea. National Parliament. Public Accounts Committee. Public Accounts Committee report to Parliament on the inquiry into the National Museum and Art Gallery and the sale and export of the Swamp Ghost aircraft. [Papua New Guinea: Public Accounts Committee], 2007.

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8

Victoria and Albert museum. Vision & accident: The story of the Victoria and Albert Museum. London: V&A Publications, 1999.

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9

1939-, Rosenfeld Lucy D., ed. Artwalks in New York: Delightful discoveries of public art and gardens in Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. New York: M. Kesend Pub., 1991.

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10

Harrison, Marina. Artwalks in New York: Delightful discoveries of public art and gardens in Manhattan, Brooklyn, Queens, the Bronx, and Staten Island. 3rd ed. New York: New York University Press, 2004.

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11

Harrison, Marina. Artwalks in New York: Delightful discoveries of public art and gardens in Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. 2nd ed. New York: M. Kesend, 1994.

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12

Caygill, Marjorie L. A survey of visitors to the British Museum (1992-3). London: British Museum, 1994.

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13

Anne, Farrell, Venturi Robert, and Onorato Ronald J, eds. Learning from La Jolla: Robert Venturi remakes a museum in the precinct of Irving Gill. [San Diego]: Museum of Contemporary Art, San Diego, 1996.

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14

Huntington, Elfie. A woman's view: The photography of Elfie Huntington, 1868-1949 : Springville Museum of Art, February 12-March 10, 1988 : Atrium Gallery, S.L.C. Public Library, April 15-May 17, 1988. [Utah]: The Association, 1988.

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15

Wright, Christopher. Masterpieces of reality: French 17th century painting : a loan exhibition from public and private collections in Britain and Ireland : the Leicestershire Museum and Art Gallery, New Walk, Leicester, 23 October 1985-2 February 1986. Leicester: The Museum, 1985.

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16

Temple of invention: History of a national landmark. Washington, DC: Scala for the Smithsonian American Art Museum and the National Portrait Gallery, 2006.

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17

Buck-Morss, Susan. Ground control: Technology and utopia. [London]: Black Dog Publishing, 1997.

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18

Freedman Gallery (Reading, Pa.) and Gallery 400, eds. Sites and solutions: Recent public art : October 12-November 18, 1984, Freedman Gallery, Albright College, Reading, Pennsylvania, January 9-February 2, 1985, Gallery 400, College of Architecture, Art, and Urban Planning, the University of Illinois at Chicago. Reading, Pa: Freedman Gallery, Albright College, 1985.

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19

The Public Art Museum in Nineteenth Century Britain: The Development of the National Gallery (Perspectives on Collecting). Ashgate Publishing, 2005.

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20

Sanctis, M. De. Bayeux Tapestry and the Facsimile: City of Bayeux Tapestry and the Reading Museum and Art Gallery Facsimile. Norton, 1992.

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21

Moshenska, Gabriel. Key Concepts in Public Archaeology. UCL Press, 2017.

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22

Holl, Steven, Vito Acconci, and Arno Ritter. Vito Acconci/Steven Holl: Storefront Gallery. Hatje Cantz Publishers, 2001.

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23

McInnes, Mary Drach, Kim Sickel, Kim Sichel, and Philip Guston. Philip Guston' 1975-1980: Private and Public Battles. Univ of Washington Pr, 1995.

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24

A Survey of Visitors to the British Museum, 1992-1993 (British Museum Occasional Papers). British Museum Press, 1995.

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25

1940-, Acconci Vito, Holl Steven, Ritter Arno, Storefront Gallery for Art and Architecture., and Kunsthaus Bregenz. Archiv Kunst Architektur., eds. Acconci, Holl: Storefront for Art and Architecture. Bergenz: Kunsthaus Bregenz, Archiv Kunst Architektur, 2000.

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26

Rosenfeld, Lucy, and Marina Harrison. Artwalks in New York: Delightful Discoveries of Public Art and Gardens in Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. 3rd ed. NYU Press, 2004.

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27

Davies, Hugh, and Laurie Ann Farrell. Learning from La Jolla: Robert Venturi Remakes a Museum in the Precinct of Irving Gill. Museum of Contemporary Art San Diego, 1998.

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28

Burton, Anthony. Vision & Accident. Victoria & Albert Museum, 1999.

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29

Jablonskiene, Lolita, Duncan McCorquodale, and Julian Stallabrass. Ground Control. Trolly, 2002.

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30

Anderson, Maxwell L. Antiquities. Oxford University Press, 2017. http://dx.doi.org/10.1093/wentk/9780190614928.001.0001.

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The destruction of ancient monuments and artworks by the Taliban in Afghanistan and the Islamic State in Iraq and Syria has shocked observers worldwide. Yet iconoclastic erasures of the past date back at least to the mid-1300s BCE, during the Amarna Period of ancient Egypt’s 18th dynasty. Far more damage to the past has been inflicted by natural disasters, looters, and public works. Art historian Maxwell Anderson’s Antiquities: What Everyone Needs to Know® analyzes continuing threats to our heritage, and offers a balanced account of treaties and laws governing the circulation of objects; the history of collecting antiquities; how forgeries are made and detected; how authentic works are documented, stored, dispersed, and displayed; the politics of sending antiquities back to their countries of origin; and the outlook for an expanded legal market. Anderson provides a summary of challenges ahead, including the future of underwater archaeology, the use of drones, remote sensing, and how invisible markings on antiquities will allow them to be traced. Written in question-and-answer format, the book equips readers with a nuanced understanding of the legal, practical, and moral choices that face us all when confronting antiquities in a museum gallery, shop window, or for sale on the Internet.
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31

Australia's Fossil Heritage. CSIRO Publishing, 2012. http://dx.doi.org/10.1071/9780643101784.

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The National Heritage List was created in January 2004 to recognise, celebrate and protect places of outstanding heritage value to the nation. National heritage encompasses those places that reveal the richness of Australia's extraordinarily diverse natural, historic and Indigenous heritage. One aspect of natural heritage that has been little explored is Australia’s wealth of exceptional fossil sites. While a small number of fossil sites have risen to public prominence, there are many lesser-known sites that have important heritage values. The Australian Heritage Council engaged palaeontologists from state museums and the Northern Territory Museum and Art Gallery to compile lists of outstanding fossil sites and to document their characteristics and relative importance against a range of categories, with a view to further our understanding about Australia’s important fossil heritage. Sites that were listed for National or World Heritage values were not included in the places for consideration, with the focus being on lesser-known but still important sites. This book is an account of the palaeontologists’ findings. Some of the sites that were included in the initial lists have since been recognised through listing on the National Heritage List or the World Heritage List. Australia's Fossil Heritage provides a useful reference to the outstanding fossil sites it catalogues, and gives a clearer understanding of the heritage values of such sites. More generally, it contributes to a greater appreciation of Australia’s geological and fossil diversity and enables readers to learn more about Australia's prehistory.
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