Relevant bibliographies by topics / Sheffield City Art Galleries

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Academic literature on the topic 'Sheffield City Art Galleries'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Sheffield City Art Galleries"

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Lovell, Vivien. "Artists and the Public Spaces of the City." Built Environment 46, no. 2 (2020): 54–68. http://dx.doi.org/10.2148/benv.46.2.214.

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The paper presents the variety of ways in which contemporary artists and curators are engaging with the city today. Public art, in its many manifestations, from monument to ephemeral sculpture, forms our mental image and memory of a city. Artists are contributing to the vibrancy of the city right across the public realm, from development, transport, health, sport, education and faith, and finding ways of engaging the public meaningfully in the creative process. Focusing on London, a sample of formal and informal commissioning practices in 'public art' is presented, from its procurement through the planning process to non-commissioned 'guerilla' street art. The role of artists on design teams and the value of one-off installations and temporary programmes of sculpture and light will be explored, alongside the range of patronage of public art today. Aff ordable studio spaces for artists are a continual issue in a city with rising property values: the paper cites models for retaining artists' homes and studios as well as problems encountered by creatives being forced ever further from now peripheral areas. Many contemporary art galleries are also finding themselves 'priced out' of the centre, bar the more established international galleries. Since artists and galleries have been responsible for regenerating entire districts, can their presence be safeguarded through planning regulations?
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Kalinina, Irina, and Polina Maksimova. "Analysis of the Modern Gallery Activities as an Element of the Tourism Infrastructure of the City." Bulletin of Baikal State University 29, no. 4 (2019): 552–59. http://dx.doi.org/10.17150/2500-2759.2019.29(4).552-559.

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Nowadays, due to the insufficiently developed theoretical background of gallery business, gallery owners mainly rely on their intuition, analysis of the art market, and numerous sketchy theoretical works and tips. The article presents a comparative analysis and characteristics of the art galleries of the city of Irkutsk, not mentioned previously in the literature. A list of resources necessary for the formation and promotion of attractiveness of art galleries for tourists has been developed. It was created on the basis of the analysis of the activities of Russian and foreign galleries in terms of their tourism attractiveness and cooperation with tourist companies. At the same time, it is mentioned that measures aimed at developing of the tourism attractiveness of the gallery, which are quite often commercial by their nature, should promote the brand of the territory where the gallery is located, preserving its uniqueness. They should in no way turn the art gallery into a gift shop selling art souvenirs.
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Meiklejohn, Heather M. "Dress in History: Studies and Approaches." Costume 32, no. 1 (1998): 102–3. http://dx.doi.org/10.1179/cos.1998.32.1.102.

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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, recalling the lively controversies concerning the urban setting of the Parisian Musée des Artistes Vivants and its London equivalents. The different national cases are explored, to reveal several distinct models of gallery formation.
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Williams, Lorraine. "Russian art in a British public library." Art Libraries Journal 17, no. 2 (1992): 37–40. http://dx.doi.org/10.1017/s0307472200007823.

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The City of Westminster Libraries provide library services in a unique area of central London which includes a number of art galleries and most of London’s theatres. Users of the Library, among them many with professional or other interests in the arts, are served by collections which include a wide range of material on Russian art.
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Bahri, Samsul, and Febby Khafilwara. "Kualanamu Art Gallery & Exhibition Center (Structure as Elements of Aesthetics)." International Journal of Architecture and Urbanism 2, no. 2 (2018): 115–21. http://dx.doi.org/10.32734/ijau.v2i2.395.

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Medan is the third largest city in Indonesia, so it has considerable potential in the field of Art. A lot of potential and human resources that could be developed in the city of Medan. The city characterized by the culture of various Ethnic this hope was able to preserve the culture of each ethnic group. Art galleries and exhibition is expected to become a new tourism venue in the city of Medan and the iconic place of the development of works of art in the city of Medan. With the approach of the structure as elements of aesthetic in architecture
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Molho, Jeremie. "Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong." Arts 10, no. 2 (2021): 28. http://dx.doi.org/10.3390/arts10020028.

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The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.
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Vicars-Harris, Oliver. "COLLAGE “the Corporation of London Library & Art Gallery Electronic”." Art Libraries Journal 24, no. 1 (1999): 48–51. http://dx.doi.org/10.1017/s0307472200019349.

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The Corporation of London (the local authority for the City) recently launched COLLAGE, a powerful custom-designed visual information system, whose aim is to transform public accessibility to the extensive visual collections held in its libraries and galleries. Over a period of eighteen months a dedicated team of staff photographed, digitised and indexed over 30,000 works of art as the result of an intensive data imaging project. So far the works are drawn from the Guildhall Library and Guildhall Art Gallery - collections particularly renowned for their strength in material relating to London, which is now widely and easily accessible on dedicated workstations in the City, as well as via the Internet.
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Taylor, Nora A. "Vietnamese Anti-art and Anti-Vietnamese Artists: Experimental Performance Culture in Hà Nội’s Alternative Exhibition Spaces". Journal of Vietnamese Studies 2, № 2 (2007): 108–28. http://dx.doi.org/10.1525/vs.2007.2.2.108.

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Since 1995, artists in Vietnam have been staging performance art events in alternative art spaces around Hàà Nôôi and Hôô Chíí Minh City, often defying government restrictions on public gatherings. That they take place outside of the ordinary venues for art, such as galleries and museums, gives these performances an illicit flavor that both attracts and deflects attention. This paper will argue that these art forms originate in a local culture of ritualized displays of emotion and are freeing artists from the constraints of the mainstream art world.
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MOLOTCH, HARVEY, and MARK TRESKON. "Changing Art: SoHo, Chelsea and the Dynamic Geography of Galleries in New York City." International Journal of Urban and Regional Research 33, no. 2 (2009): 517–41. http://dx.doi.org/10.1111/j.1468-2427.2009.00866.x.

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Dissertations / Theses on the topic "Sheffield City Art Galleries"

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Wu, Hui-fang, and 吳慧芳. "The Changes and Impact of Art Galleries in Kaohsiung City,1990-1999." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/87592285806224556586.

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碩士<br>國立中山大學<br>藝術管理研究所<br>94<br>Not until the 60’s did art galleries start to exist in Taiwan. However, they were mostly sporadic, short-lived and weak in operation. It is only in the 80’s when the art gallery industry in Taiwan started to take shape. Different from galleries back in the 60’s and before the lift of Martial Law, galleries mushroomed in the late 80’s and the 90’s. In addition to the growing number of galleries, all the other factors, such as the return of a generation of young artists from Europe and the U.S. back to Taiwan, rising importance of museum establishment, fast expansion of media after the lift of Martial Law and newspaper restrictions as well as rapid changes in the economic and social environments, also helped bring about the unprecedented prosperity of the arts development in Kaohsiung. This prosperity was extremely valuable for Kaohsiung which had been wrongly ridiculed as a “Cultural Desert” back then. This research focuses on the development and transition of the art galleries in the 90’s with a view to keeping a record of the golden period of the art market in Kaohsiung. There are five chapters in this thesis. Chapter 1 is the introduction to the motivation, goal, scope, limitations, research methods and process of this study. Chapter 2 discusses the interactions and relationships among artists, collectors, art media and museums. Chapter 3 attempts to provide a historical review of art galleries in Kaohsiung and discuss their operations by dividing the history of art galleries in Kaohsiung into five stages: the “Foundation Period” before the 70’s, the “Taking-off Period” from the 80’s to the lift of Martial Law, the “Prime Period” after the lift of Marital Law and before the inauguration of the Kaohsiung Museum of Fine Arts (KMFA), the “Waning Period” after the inauguration of the KMFA to the outbreak of SARS, and the “Stagnation Period” after the SARS outbreak up to now. Chapter 4 focuses on the “Prime Period” of Kaohsiung’s art gallery industry in the 90’s and its impacts on the art market in Kaohsiung. Chapter 5 is the conclusion. The research methods adopted in this study are literature review, in-depth interview and observation. Through data collection, comparison, review and cross-analysis, this study helps reconstruct the history of Kaohsiung’s art galleries and provides an observation of the changes and impacts of the industry in the 90’s as well as its current development so as to help predict the future of art galleries in Kaohsiung. Even though Taiwan is not a large island, the two largest cities in its north and south are actually quite different in their population compositions and city characteristics. The purpose of this study is to break the stereotypical belief in the visual arts industry that “Taipei is the only representative city of Taiwan.” and to explore from a local viewpoint the history and operations of the art galleries in Kaohsiung and their impacts on the art market in southern Taiwan. Hopefully, this study can provide references for working and future art gallery managers in their operations as well as for related governmental departments in helping healthy development of local art galleries.
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Abbott, Janet Gail. "The Barnett Aden Gallery : a home for diversity in a segregated city /." 2008. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-3323/index.html.

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Custoza, Linda Morando di. "The contemporary art market at the beginning of the third millennium : focus on the impact of the 2008 economic crisis in the city of Lisbon." Master's thesis, 2021. http://hdl.handle.net/10400.14/34284.

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This research proposes a brief historical analysis of the art market following the economic crisis of 2008, taking into account the socio-cultural context of the post-modern period. Within the first chapter of this dissertation, a brief introduction will be given regarding the historical and cultural evolution of the contemporary neo-liberal society, presenting the key concepts of the contemporary art market in which, with the beginning of the new millennium, globalization has played a fundamental role. Following the analysis of the new neo-liberal principles of the market and the art market, the main factors that led to the recession following the economic crisis of 2008 will be presented. Through the analysis of the effects of the economic crisis, we will focus on the Portuguese experiment, which has become a positive example of economic recovery within European countries. The last chapter will focus on the situation of the Portuguese art market, highlighting the main periods of change and international development in Portuguese contemporary art. A chronological list of new art galleries developed since the 1990s in Lisbon will be presented, highlighting a greater development since 2016, thanks to the participation of important art fairs such as Art Basel1. The internationalization of the city of Lisbon, which also includes the art market, becomes a fundamental element in terms of development and economic recovery. As will be highlighted in the third chapter of this dissertation, the Portuguese art market, as well as the international one, has undergone continuous changes since the 1990s, leading Lisbon's art galleries to invest more and more in international art fairs, thus helping national and international artists. The investments made by the Portuguese government in the tourism sector have led to an increase in capital and a consequent growth in purchasing power, influencing the field of culture, including works of art.
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Books on the topic "Sheffield City Art Galleries"

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Gallery, Manchester City Art. Pre-Raphaelite paintings from Manchester City Art Galleries. 2nd ed. Manchester City Art Gallery, 1993.

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Treuherz, Julian. Pre-Raphaelite paintings from the Manchester City Art Galleries. 2nd ed. Manchester City Art Gallery, 1993.

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Gallery, FerensArt. Hull maritime paintings: From Ferens Art Gallery, Hull City Museums & Art Galleries. Ferens Art Gallery, 1985.

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City of Edinburgh Museums and Art Galleries. Museums and galleries month [May] 2004. The City of Edinburgh Council, Culture and Leisure, 2004.

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Singer, &. Friedlander/Sunday Times Watercolour Compettition Exhibition (6th 1993 London Leeds and Birmingham). Sixth Watercolour Competition Exhibition: ...Leeds City Art Gallery, The Headrow, Leeds, 1-30 October 1993.... Singer & Friedlander, 1993.

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Galleries, Leeds Art. Watercolours from Leeds City Art Gallery: One hundred watercolours from the collections of Leeds City Art Galleries. Leeds City Art Galleries, 1995.

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Spalding, Julian. Modern art: A picture book based on the collections of Manchester City Art Galleries. Manchester City Art Galleries, 1986.

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Spalding, Julian. Modern art: A picture book based on the collections of Manchester City Art Galleries. Manchester City Art Galleries, 1986.

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Britain, Great. Sheffield City Polytechnic: Art and design provision : a report by HMI. Department of Education and Science, 1991.

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Oliveras, Jaume Vidal. Galerismo en Barcelona: 1877-2013 : el sistema, el arte, la ciudad = The gallery world in Barcelona : 1877-2013 : the system, the art, the city. Gobierno de España, Ministerio de Educación, Cultura y Deporte, 2013.

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Book chapters on the topic "Sheffield City Art Galleries"

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"Ruskin, Ruskinians, and City Art Galleries." In Transformative Beauty. Stanford University Press, 2012. http://dx.doi.org/10.11126/stanford/9780804778046.003.0002.

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"RUSKIN, RUSKINIANS, AND CITY ART GALLERIES." In Transformative Beauty. Stanford University Press, 2012. http://dx.doi.org/10.2307/j.ctvqsf26c.6.

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"1. Ruskin, Ruskinians, and City Art Galleries." In Transformative Beauty. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804780537-004.

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Clark, Justin T. "Transcending the Gallery." In City of Second Sight. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638737.003.0004.

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Even more effectively than outdoor vistas, indoor galleries offered reformers the ability to manipulate what urbanites saw. Embracing the arts as a form of moral instruction, late-Federal Bostonians established public exhibition spaces to divert the city’s growing middle-class from more fashionable and sensualist attractions. Yet the 1820’s public exhibition culture that emerged at the Athenaeum and elsewhere was ridden with anxiety, as moralists warned that connoisseurship concealed a shallow and fashionable sensualism. To avert this danger, art gallery patrons absorbed themselves in visions that transcended the material art object and the social imposture of their fellow viewers. These supersensory flights from the urban gallery proved a key template for Transcendentalist encounters with nature, epitomized by Emerson’s famous “transparent eyeball” metaphor.
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Moore, James. "The art of philanthropy? The formation and development of the Walker Art Gallery." In High culture and tall chimneys. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784991470.003.0006.

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The opening of Liverpool’s Walker Art Gallery provided the city with one of the country’s most modern art galleries, complementing the impressive neoclassical architecture that had emerged around the famous St. George’s Hall. Yet a gallery aimed at promoting popular art education was decidedly unpopular with many of Liverpool’s population. The partisan nature of the gift by well-known brewer and Conservative A.B. Walker was flavoured with corruption and revealed the difficulties that municipal art institutions faced when accepting financial support from controversial local donors. It also revealed that although municipalisation promised a more democratic age, financial limitations on local authorities meant that elite influence in the local art world remained strong.
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Zukin, Sharon. "How Brooklyn Became Cool." In Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.003.0007.

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It’s one o’clock in the morning on a warm October night, and the streets of northern Brooklyn are eerily deserted. The hulks of warehouses and the chimney of the old Domino sugar refinery stand guard along the waterfront, while grim industrial buildings hunker down in the shadow of the Brooklyn-Queens Expressway. Steel gates hide the windows of small plastics and metalworking shops. Nearby tenements are silent and dark. You’re wide awake, though, driving through the darkness on Kent Avenue, bumping over warped asphalt and steering around potholes. You’re circling Williamsburg, looking for the neighborhood that made Brooklyn cool. First you pass the Northside, the original center of Brooklyn’s hipster culture, a cluster of art galleries, cafés, bars, and boutiques around the subway station at North Seventh Street and Bedford Avenue. Then you pass the Southside, where French bistros and Japanese hair salons have recently joined yeshivas and bodegas, and artists and graduate students are a noticeable presence on the streets. Ahead of you stretch neighborhoods that have been predominantly black since after World War II but are now rapidly gentrifying and becoming socially and ethnically more diverse—that is, richer and whiter: Bedford-Stuyvesant, Fort Greene, Clinton Hill. The old Brooklyn Navy Yard sits vast and uninhabited just one block to the west. A few blocks beyond that, brownstone townhouses sell for a million dollars and up. Navigating solo through this dark landscape, you don’t see any sign of life. But when you turn onto the wider roadway of Flushing Avenue, you meet up with men and women walking in couples and groups of four. They are Hasidic Jews, women with heads covered in wigs and scarves, skirts below their knees, and black-hatted men wearing long black overcoats. Sabbath began at sundown. Because driving is prohibited then, any believers who are out on the street at this hour must find their way home on foot. After you pass the Hasidim, you find a few more people walking on the street; these men are wearing tight jeans and the women are in short skirts.
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Cernuda, Ramón. "The Cuban Avant-Garde and the International Art Community." In Picturing Cuba. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0006.

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Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.
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Moore, James. "A problem of scale and leadership? Manchester’s municipal ambitions and the ‘failure’ of public spirit." In High culture and tall chimneys. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784991470.003.0007.

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The 1870s and 1880s saw the Manchester art world arguably reach its cultural zenith. The rise of the proto-Impressionist ‘Manchester school’, the municipalisation of the Royal Manchester Institution building and the plans for a new city gallery produced an art community and institutional infrastructure second to nowhere in England, except London. However such progress concealed a growing disagreement about the purpose of municipal art institutions. As attendance at exhibitions fell, critics questioned the ability of large galleries to engage the public and called for more community-based art initiatives. The crisis point was reached when proposals for a new city art gallery in Piccadilly Square fell foul of Conservative and Labour opposition. At a time of economic slump, had art become an expensive luxury?
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Portinari, Stefania. "Narcissus Garden for Sale: «one piece 2 dollars»." In Storie della Biennale di Venezia. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/011.

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Things that do not exist or should not exist and ‘ghetto exhibitions’ mark some counterpoints on the presence of female artists and on first performance actions at Venice Biennale in the 1960s and the 1970s. Yayoi Kusama, who created Narcissus Garden without being invited in 1966; Marina Abramović and Ulay, invited for the first time in 1976 but in an external venue; and Paula Claire’s action, between others, at the exhibition Materializzazioni del Linguaggio curated in 1978 by Mirella Bentivoglio, mark two crucial decades of increasingly contemporary trend at the Esposizione Internazionale d’Arte of Venice. This essay connects new relationships between Yayoi Kusama presence, art galleries in New York City, Milan, Venice and other main characters in the art system of the 1960s.
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Lin, Jan. "Boulevard Transition, Hipster Aesthetics, and Anti-Gentrification Struggles in Los Angeles." In Aesthetics of Gentrification. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722032_ch10.

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I examine street-level dynamics of gentrification in Northeast Los Angeles, where artists and residential pioneers who contributed to neighbourhood revitalization have subsequently been threatened with displacement by speculator-investors and corporate developers. In the “neo-bohemia” of Northeast L.A., the aesthetics of countercultural and ethnic subcultural expression have been appropriated by hipster entrepreneurs and gentrifiers. Neoliberal urban policies like public incentives for market rate housing and transit oriented development have sparked accelerated gentrification, countered by anti-gentrification movements from Latinx protestors who view art galleries and hipster aesthetics as harbingers of gentrification. The aesthetics of art and theatre are also part of the toolkit of anti-gentrification activists as they take to the streets to claim their right to the city.
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