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Journal articles on the topic 'Stark Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

El-Tayeb, Fatima. "The Universal Museum." Nka Journal of Contemporary African Art 2020, no. 46 (2020): 72–82. http://dx.doi.org/10.1215/10757163-8308198.

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This article addresses the long-term impact of colonialism on Europe’s internal structures and on its self-positioning in a global context. Using the 2015 refugee crisis as a focal point and centering the German example, the author explores the complex relationship between memory discourses and visions of Germany’s and Europe’s postunification future. The author argues that the erasure of colonial violence from the continent’s collective memory has a direct, negative impact on its ability to let go of a racialized identity that is in increasing tension with Europe’s actual multiracial and mult

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Pacher, Jeanette. "Art libraries in Austria." Art Libraries Journal 21, no. 4 (1996): 27–30. http://dx.doi.org/10.1017/s0307472200010087.

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Kunstbibliotheken in Österreich können gemäß ihrer jeweiligen institutionellen Verankerung in drei Gruppen unterteilt werden: in Museums- und Universitätsbibliotheken sowie in Bibliotheken, die in anderen Austellungs-institutionen, Galerien und Kunsthallen untergebracht sind. Gerade in jüngster Vergangenheit ist die Zahl der ‘alternativen’ Ausstellungsräume stark gewachsen, die vorwiegend internationale Gegenwartskunst präsentieren und in ihren Bibliotheken und Archiven grundlegende Materialien dazu sammeln. Museums- und Universitätsbibliotheken verfügen hingegen meist über einen umfangreichen

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Borja-Villel, Manuel, Benjamin H. D. Buchloh, Christophe Cherix, Rachel Haidu, Rosalind Krauss, and Trevor Stark. "The Moment of Marcel Broodthaers? A Conversation." October 155 (January 2016): 111–50. http://dx.doi.org/10.1162/octo_a_00245.

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On the occasion of Marcel Broodthaers's first retrospective in New York at the Museum of Modern Art and forty years after his death in 1976, October presents a roundtable discussion on the Belgian artist's career and legacy. Exhibition curators Christophe Cherix and Manuel Borja-Villel join Benjamin H. D. Buchloh, Rachel Haidu, Rosalind Krauss, and Trevor Stark for a conversation on Broodthaers's work, his artistic development, and his reception. Topics include the indeterminacy between language and visuality; the status of film in his work; his meditations on the commodity, the art market, an

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Moore, Alexandra, and Rachel Nelson. "Barring Freedom: Art, Abolition and the Museum in Pandemic Times." Journal of Curatorial Studies 11, no. 1 (2022): 52–71. http://dx.doi.org/10.1386/jcs_00055_1.

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Barring Freedom, a travelling exhibition featuring artworks engaging the histories and current conditions of prisons and policing in the United States, was to open in April 2020. While COVID-19 disrupted that plan, the realities of inequity in the United States placed into stark relief by the pandemic and the uprisings of summer 2020 brought urgency to rethinking the curatorial vision of the exhibition to reach audiences beyond the gallery walls. Buoyed by the idea that, in the words of Angela Davis, art can ‘propel people towards social emancipation’, the exhibition and related programming wa

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Goodlander, Georgina, and Michael Mansfield. "Press Start: Video Games in an Art Museum." Journal of Interactive Humanities 1, no. 1 (2014): 37–41. http://dx.doi.org/10.14448/jih.01.0004.

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Zvonkine, E. "Conserve, Show, Restage, Revivify. The Film as (Trans)portable and Projectable Museum." Garage Journal, no. 04 (November 30, 2021): 138–54. https://doi.org/10.35074/gj.2021.77.92.011.

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This text examines two cases in order to start outlining the aspects of a specific relationship between cinema, on the one hand, and museum and exhibition spaces, on the other. It studies two films (Assa by Sergei Solovyov and Jean-Luc Godard, The Disorder Exposed by Céline Gailleurd and Olivier Bohler) as models of cinematic conservation and curating invisible and ephemeral museal art forms. These films aim at making visible a work of art made invisible by censorship and the socio-political system in place, or by its public failure, on the one hand, and its brevity, on the other. The author s

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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

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Steward, Donald I. "CING 24. Cheltenham Art Gallery and Museum." Geological Curator 4, no. 8 (1987): 520. http://dx.doi.org/10.55468/gc849.

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Cheltenham Art Gallery and Museum allocated £1000 towards the care of their geological collection in 1986-1987, aided by a 45% grant from the Area Museum Council for the South West, following a survey and report by the AMCSW Geological Officer, Mike Taylor. George Breeze, the Director of the Art Gallery and Museum, accepted the recommendation that priority be given to making a start on the basic documentation and registration of the collection, thus eliminating the risk of specimens being dissociated from their labels, and sorting out those which have been. Sylvia Humphrey, who has worked as a

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Yan, Guo, and Hong Xin. "Practical Research on Artificial Intelligence Algorithms, Paleontology, Data Mining, and Digital Restoration of Public Information." Computational Intelligence and Neuroscience 2022 (September 28, 2022): 1–7. http://dx.doi.org/10.1155/2022/3068686.

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This paper discusses the method of fossil digitization combining paleontology and art by using data mining. The aim of the study is to increase the creativity and vitality of museum exhibits and promote scientific exchange. The purpose of the study is to discuss how the interdisciplinary approach will benefit the communication of science and to realize the cooperative development of creative science popularization, art science popularization, dialogue science popularization, and communication science popularization through the cooperation between museums and institutions disseminating and rese

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Drioli, Alessandra. "Science centres around the world see unrest for art and science in society." Journal of Science Communication 08, no. 02 (2009): C01. http://dx.doi.org/10.22323/2.08020301.

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In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on

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Grzybkowska, Teresa. "PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)." Muzealnictwo 58, no. 1 (2017): 2–13. http://dx.doi.org/10.5604/01.3001.0009.5602.

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Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with

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Sobieraj, Leonard. "IN MEMORY OF MARIAN SOŁTYSIAK." Muzealnictwo 58, no. 1 (2017): 0. http://dx.doi.org/10.5604/01.3001.0010.1578.

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Marian Sołtysiak, PhD, director of the Mazovian Museum in Płock (MMP) from 1961 to 1977, passed away on 20 November 2016. During his office, the museum was transformed into a supraregional institution, extended its collections, expanded its scientific and popularising activity, established contacts with academic and artistic circles, and acquired a new building in the Castle of the Mazovian Dukes. The most significant decision which set the institution’s further course was to start collecting Art Nouveau works, which now form the largest collection of Art Nouveau in Poland and is a showpiece o

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AB RAHMAN, SYAKIR AMIR, MUHAMMAD IRHAM MOHMAD ZAKIR, ALIAS ABDULLAH, et al. "AN INVESTIGATION OF TOURISTS SATISFACTION IN MAAYSIA CULTURAL MUSEUM: ENTRANCE SPACE EXPERIENCE." Quantum Journal of Social Sciences and Humanities 5, no. 2 (2024): 59–69. http://dx.doi.org/10.55197/qjssh.v5i2.345.

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Malaysia is known with its rich and diverse cultural heritage. Therefore, a number of cultural museums which display Malaysia’s multifarious history, traditions, and art forms has established. However, there is a decreasing trend of visitor visiting the cultural museum in Malaysia. This trend is highly influenced by the tourists’ experience gained during their visit to the museum. This study aims to study the tourist satisfaction in the entrance space of Malaysia cultural museum. This study analyses the data gathered from 381 respondents through a questionnaire survey. The statement in the sur

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Fruguglietti, Salvatore. "The theatre, (art) and science: between amazement and applause!" Journal of Science Communication 08, no. 02 (2009): C07. http://dx.doi.org/10.22323/2.08020307.

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There have been countless innovations in the realm of science museology after the foundation of the Exploratorium of San Francisco and of the Ontario Science Center of Toronto with, among other things, the introduction of the exhibits hands-on, the use of new technologies and the arrival of virtuality.But most of all a new dialogue was launched, also as a form of transformation of reality. And what is drama but fiction and transformation of reality?This statement is the basis for the belief that museums and the theatre should continue, if not even start, a path to move closer, so as to make th

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Stępień, Urszula. "BUILDING A COLLECTION BY REV. JAN WIŚNIEWSKI, A GREAT DONOR OF THE DIOCESAN MUSEUM IN SANDOMIERZ." Muzealnictwo 59 (August 1, 2018): 132–39. http://dx.doi.org/10.5604/01.3001.0012.2260.

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The article is an attempt to show collecting achievements of Rev. Jan Wiśniewski (1876–1943), who after building an unusual, astonishingly vast and versatile collection of art and national memorabilia, donated it to the Diocesan Museum in Sandomierz. His collecting was rooted in the 19th century, in the spirit of growing patriotic awareness and interests in the history of one’s own country, resulted from the lack of independence. Apart from collecting, Rev. Wiśniewski conducted comprehensive research. As an amateur historian, he edited and published at his own cost 15 volumes of the Monografia

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Komič Marn, Renata. "Saint Joseph and Baby Jesus by Valentin Metzinger and Other Paintings from the Strahl Collection in the Museum of Arts and Crafts in Zagreb." Radovi Instituta za povijest umjetnosti, no. 42 (January 2019): 141–52. http://dx.doi.org/10.31664/ripu.2018.42.10.

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Karl Ritter von Strahl (1850−1929) was the last owner of the renowned collection of paintings and art objects kept in his castle of Stara Loka (Altenlack) near Škofja Loka in Carniola. In 1929, Strahl sold 32 paintings to Stanko Senečić, an antique dealer from Nova Ves in Zagreb. In the Museum of Arts and Crafts in Zagreb, there are five paintings of hitherto unknown provenance, which undoubtedly originate from the Strahl Collection. The paper discusses the circumstances of Senečić’ s purchase and the earlier provenance of the five paintings. Furthermore, different paths by which the paintings

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Сухоруков, C. А. "Тегеранский музей современного искусства (TMoCA): развитие в борьбе". Scientific Papers of St Petersburg Academy of Fine Arts, № 71 (30 грудня 2024): 209–17. https://doi.org/10.62625/2782-1889.2024.71.71.014.

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Статья посвящена Тегеранскому музею современного искусства и его деятельности после Иранской революции 1979 г. Проект музея был создан и реализован за год до начала радикальных преобразований в Иране. Уникальное здание с глубоко символичными формами, которые относят как к традициям, так и новациям, сумело за очень короткое время стать местом хранения и демонстрации коллекции, включающей в себя высококлассные работы художников мирового уровня. С приходом новой власти основной задачей стало не только сохранить музей с уникальными произведениями как место доступа к искусству XX в., но и поддержив

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Keers, Frits. "Preliminaries for a bibliography of museum collection catalogues: Some Historical Observations on a Hitherto Neglected Aspect of Museum History." Art Libraries Journal 22, no. 2 (1997): 26–34. http://dx.doi.org/10.1017/s0307472200010397.

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Catalogues of 18th century private and municipal collections are the precursors of museum catalogues. But museum catalogues proper date from the establishment of the Musée du Louvre and the publication of its first catalogue in 1793. In this catalogue can be found the essential features of the museum catalogue: a printed list of objects in the collection, in systematic order, and including descriptions which facilitate identification of the objects by the public. From the Louvre catalogue of 1793 a continuing line of development leads to the present day, although different catalogues have adop

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Vogel, Melanie. "P.J.H. Cuypers’ Art Library in the Rijksmuseum Amsterdam: a room dedicated to arts and science." Art Libraries Journal 37, no. 1 (2012): 46–49. http://dx.doi.org/10.1017/s030747220001734x.

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With the construction of the Rijksmuseum by Cuypers in 1885, the art museum acquired its first rooms solely dedicated as a reference library. This was a direct consequence of the growing demand for scientific libraries in the 19th century. In contrast to established concepts of that time, the room for the books – usually a rather plain stack room – was sumptuously decorated. This expresses the idea that arts and knowledge should be regarded as one unity.

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Cerro, N. A., J. G. Cuesta, and S. G. Molinero. "Lesbian princesses and other oddities. Art and art education as a tool for decostructing gender stereotypes." Afluir, no. 4 (February 29, 2024): 43–65. http://dx.doi.org/10.48260/ralf.extra4.177.

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El Museo Pedagógico de Arte Infantil (MuPAI), se inauguró en 1981 en la Facultad de Bellas Artes de la UCM, bajo la dirección de Manuel Sánchez Méndez. Este museo especializado en la expresión plástica, visual y audiovisual de niños, niñas y adolescentes tuvo, desde su nacimiento, el objetivo de difundir los resultados de esta expresión y el favorecer la relación de las personas con el arte, ya fuera a través de formación a formadores, investigaciones o actividades destinadas a todo tipo de público (MuPAI, 2012). Después de un periodo en el que el museo físico estuvo cerrado al público (pero a

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Nolasco-Rozsas, L., and Y. Hofmann. "The Museum as a Cognitive System of Human and Non-Human Actors." Garage Journal, no. 03 (September 24, 2021): 1–15. https://doi.org/10.35074/gj.2021.87.92.003.

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The essay introduces a new line of research at the ZKM | Center for Art and Media Karlsruhe that examines the role and experiments with museum applications of information technology, specifically artificial intelligence (AI) and extended reality technologies (e.g., augmented, mixed, and virtual realities). Currently, two projects at the ZKM have taken up the initiative to start practice-based research: Beyond Matter and intelligent.museum. These projects are discussed in this essay with the aim of demonstrating that the museum is being successively transformed into a cognitive system of human

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Markkula, Merja. "The Way I See the Stars: Fibre Art Inspired by Astrobiology." Culture and Cosmos 16, no. 1 and 2 (2012): 413–20. http://dx.doi.org/10.46472/cc.01216.0267.

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Throughout my life I have studied edges, borderlines, signs determining inside and outside, insider and outsider, seeking to understand the differences – or similarities – between scientific and artistic ways of appreciating life. In 2005 I had a special opportunity to follow the lectures of the Vatican summer school of astrobiology, and expand my understanding of the origin and limiting factors of life. Inspired by this, I made the strongly hairy, three-dimensional, black felt Dark Matter and Extraterrestrial art works, expressing something between known and foreign, visible and hidden, combi

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Holmer, Nicholas A., Nicholas Clement, Kaitlyn Dehart, et al. "El Laboratorio de Virtualización 3D de Idaho." Virtual Archaeology Review 5, no. 10 (2014): 21. http://dx.doi.org/10.4995/var.2014.4208.

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Three dimensional (3D) virtualization and visualization is an important component of industry, art, museum curation and cultural heritage, yet the step by step process of 3D virtualization has been little discussed. Here we review the Idaho Virtualization Laboratory’s (IVL) process of virtualizing a cultural heritage item (artifact) from start to finish. Each step is thoroughly explained and illustrated including how the object and its metadata are digitally preserved and ultimately distributed to the world.

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Wang, Wenrui. "The Ways that Digital Technologies Inform Visitor's Engagement with Cultural Heritage Sites: Informal Learning in the Digital Era." GATR Global Journal of Business Social Sciences Review 10, no. 4 (2022): 237–48. http://dx.doi.org/10.35609/gjbssr.2022.10.4(3).

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1. Alivizatou, M. (2019). Digital intangible heritage: Inventories, virtual learning and participation. Heritage & Society, 12(2–3), 116–135. 2. Billett, S. (2009). Conceptualizing learning experiences: Contributions and mediations of the social, personal, and brute. Mind, Culture, and Activity, 16(1), 32–47. 3. Bonilla, C. M. (2014). Racial Counternarratives and L atina Epistemologies in Relational Organizing. Anthropology & Education Quarterly, 45(4), 391–408. 4. Britain, T. (2007). How We Are: Photographing Britain. 5. Brodie, R. J., Hollebeek, L. D., Jurić, B., & Ilić, A. (2011

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Lensing, Jorge. "The future of audio-visual designers with a focus on sound." International Journal of Film and Media Arts 8, no. 3 (2023): 38–58. http://dx.doi.org/10.24140/ijfma.v8.n3.03.

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Sound designers have historically been associated primarily with the realm of films, TV-movies, and series production. However, the scope of their influence is expanding significantly beyond these domains. Notably, professionals in the fields of museum curation, festivals, theatres, and planetariums are increasingly recognizing the transformative potential of incorporating audio-visual elements into their presentations, thereby enhancing the overall quality of audience engagement. Traditionally, many museums have relied on subpar audio guides and monotonous recordings played through inadequate

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Lensing, J. "The future of audio-visual designers with a focus on sound." International Journal of Film and Media Arts 8, no. 3 (2023): 38–58. https://doi.org/10.24140/ijfma.v8.n3.03.

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Sound designers have historically been associated primarily with the realm of films, TV-movies, and series production. However, the scope of their influence is expanding significantly beyond these domains. Notably, professionals in the fields of museum curation, festivals, theatres, and planetariums are increasingly recognizing the transformative potential of incorporating audio-visual elements into their presentations, thereby enhancing the overall quality of audience engagement. Traditionally, many museums have relied on subpar audio guides and monotonous recordings played through inadequate

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Michalak, Michał. "Visored Bascinets in Iconography from The Teutonic Order’s State in Prussia." Porta Aurea, no. 22 (December 29, 2023): 7–29. http://dx.doi.org/10.26881/porta.2023.22.01.

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The article analyses armament presented in gothic art from the last quarter of 14th cen‑ tury and the beginning of 15th century in Teutonic Prussia, introducing late medieval visored bascinets. Among examined pieces of art are: no longer existing altar panels from the All Saints Chapel in St. Mary’s Basilica in Gdańsk; Poliptych of Grudziądz from the National Museum in Warsaw, lost Retabulum painting from Frombork and also lost Reliquary from Kwidzyn. Furthermore author of the article analyses a piece of gothic silversmithing from Gdańsk area, called ciborium. This particular piece originated

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Dudley, Lauren. "Alexandra Stara, The Museum of French Monuments in Paris 1795–1816: ‘Killing Art to Make History’ (Farnham: Ashgate, 2013)." Cultural History 4, no. 2 (2015): 219–21. http://dx.doi.org/10.3366/cult.2015.0101.

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Ngan, Quincy. "The New Emperor's Clothes." Archives of Asian Art 73, no. 1 (2023): 1–23. http://dx.doi.org/10.1215/00666637-10329547.

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Abstract This article contextualizes the visual intrigue that was created by the fifteenth-century Chinese poet and painter Sun Ai (ca. 1452–1536) when he broke from convention by using indigo blue to color the leaves of a cotton plant and a mulberry branch in a pair of paintings now in the Palace Museum, Beijing. The key to the meaning of this unique coloration lies in the poems inscribed by Shen Zhou (1427–1509) and Qian Renfu (1446–1526), as well as the socioeconomic connotations of silk, cotton, and indigo in those scholars' regions. It is argued that these paintings were made shortly afte

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Nipe, Christine. "Mrs. Siddons' Currency." Theatre Survey 40, no. 2 (1999): 71–77. http://dx.doi.org/10.1017/s0040557400003562.

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“At last, Hollywood publicists and their high-profile clients have a chance to pay homage to their patron saint, Sarah Siddons,” claimed the August 17–23 issue of The Hollywood Reporter in its story on the concurrent exhibits of portraits of Sarah Siddons this summer at the J. Paul Getty Museum and he Huntington Art Collection (27 July-19 September). Also characterizing Siddons as calculating media mogul, the Los Angeles Times of July 25 compared the fame of the historical tragic actress (1755–1831) to that of current stars like Madonna, O.J., Diana, and even Monica. England's highly respectab

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Freeman, Na’ama. "Printed Textiles from Kinngait Studios." Public 32, no. 63 (2021): 122–25. http://dx.doi.org/10.1386/public_00063_4.

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Printed Textiles from Kinngait Studios, curated by Roxane Shaughnessy of the Textile Museum of Canada in consultation with independent curator Nakasuq Alariaq, examines the legacy of newly-discovered textile prints from Kinngait Studios and their contribution to art history on both national and global scales. The exhibition shares and preserves a little-known history, drawing connections to contemporary Inuit artistic production and centers Inuit voices in telling this story. At its core, Printed Textiles fromKinngait Studios highlights the powerful way in which visual language can inspire int

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Wadstein MacLeod, Katarina. "Att måla med det vita bläcket - Monica Sjöö och Kosmos inom hennes livmoder." Tidskrift för genusvetenskap 33, no. 4 (2022): 105–28. http://dx.doi.org/10.55870/tgv.v33i4.3472.

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The article grapples with the painting Cosmos in her Womb from 1971, by the Swedish artist and British resident Monica Sjöö (1938-2005), which was recently acquired by the Museum of Modern Art in Stockholm. Sjöö is an artist that is both at the centre of feminist art history and somewhat kept to one side; her work is often included in larger surveys of feminist art, yet rarely interpreted. The article argues that in order to approach the painting, one has to look at it from within its own time and the women’s movement in the 1970’s in which the artist was heavily involved. In her article from

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Keen, Michael C. "David Ure and the first illustrations of British fossil Ostracoda." Journal of Micropalaeontology 12, no. 1 (1993): 8. http://dx.doi.org/10.1144/jm.12.1.8.

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Abstract. 1993 is the bicenntenary of the publication of David Ure’s classic work, The History of Rutherglen and East-Kilbride, published with a view to promote the study of antiquity and natural history, and with it the start of studies in Britain of fossil ostracods. To commemorate this occasion, the 2nd. European Ostracodologists Meeting was held in the University of Glasgow July 23–27th, 1993.David Ure was born in 1750 the son of a weaver, a product of the Scottish enlightenment, who studied at Glagow Grammar School and then at the University of Glasgow. He was licensed to preach the gospe

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Śnieżyńska-Stolot, Ewa. "Maksymilian Cercha malarz Tatr. Z cyklu „Zapomniani mieszkańcy Krakowa”." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 131–39. http://dx.doi.org/10.4467/25440500rbn.20.009.14168.

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Maksymilian Cercha a Painter of the Tatras. From the “Forgotten Citizens of Kraków” Series Maksymilian Cercha (1818–1907), whose life was linked to Kraków, was born in an assimilated Italian family and is known as a drawer, cataloguer of gravestones in the churches of Kraków and a co-author of a publication titled the Monuments of Kraków. In this paper however, his Tatra-themed paintings are discussed, which are yet to be included in the Art History. Cercha was Jan Nepomucen Głowacki’s student, who established Tatra mountains themed landscape painting in Kraków. In the summertime, he used to t

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Choi, Inyoung, Hieyong Jeong, and Choonsung Shin. "A Study on Wearable Augmented Reality-Based Experiential Content: Focusing on Ar Stone Tower Content." Korean Institute of Smart Media 13, no. 4 (2024): 114–23. http://dx.doi.org/10.30693/smj.2024.13.4.114.

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This paper proposes AR stone tower content, an experiential content based on wearable augmented reality (AR). Although wearable augmented reality is gaining attention, the acceptance of the technology is still focused on specialized applications such as industrial sites. On the other hand, the proposed AR stone tower content is based on the material of 'stone tower' so that general users can relate to it and easily participate in it, and it is organized to utilize space in a moving environment and find and stack stones based on natural hand gestures. The proposed AR stone tower content was imp

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Hardick, Stefanie. "Blumen_Büchsen_Beat." merz | medien + erziehung 56, no. 5 (2012): 84–85. http://dx.doi.org/10.21240/merz/2012.5.21.

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Die jüngsten Besucherinnen und Besucher eines Museums sind oft die anspruchsvollsten. Ein Museum, dessen Besuch nicht als langweilig empfunden wird, hat daher grundsätzlich schon viele Dinge richtig gemacht. Das Jüdische Museum Berlin ist seit seiner Eröffnung im Jahr 2001 bei Kindern außerordentlich beliebt. Allein im Jahr 2011 besuchten 60.000 Kinder und Jugendliche das Museum, ohne zum Beispiel als Schulklasse an einer Führung teilzunehmen. Kinder mögen es, den Granatapfelbaum zu erklimmen, der sie am Anfang der Dauerausstellung empfängt, lieben die geheimen Tunnel, in die ihnen kein Erwach

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Pane, Imam Faisal, and James . "Business Hotel and Convention Hall Selayang." International Journal of Architecture and Urbanism 2, no. 1 (2018): 29–38. http://dx.doi.org/10.32734/ijau.v2i1.294.

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Business Hotel and Convention Hall Selayang design start with looks of the business improvement in Medan Ring Road. Medan Ring Road has several new shopping malls and another business center. Medan Selayang District becomes the location of design because it is not located too far from the downtown and the ring road. The site refers to RDTR (Detailed Spatial Plan) Kota Medan 2035 is a commercial area which suitable to design hotel and convention hall as a commercial building. The site is located in a master plan which contains other several commercial buildings; they are a youth center, a museu

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Roldán-Zafra, Juan, and Carmen Perea. "Math Learning in a Science Museum—Proposal for a Workshop Design Based on STEAM Strategy to Learn Mathematics. The Case of the Cryptography Workshop." Mathematics 10, no. 22 (2022): 4335. http://dx.doi.org/10.3390/math10224335.

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In mathematics teaching, great efforts are made, and diverse teaching strategies are employed in order to facilitate students’ learning process. Informal environments have proven to be conducive and motivating spaces for science learning. In particular, science museums can be used as a complement and collaborate in order to leverage each of their strengths to motivate mathematics learning. Educational models give a global explanation to the learning process. Taking into account all these aspects and considering van Hiele’s model as didactic reference, we propose the design of a general worksho

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Barišić Marenić, Zrinka, and Mia Andrašević. "Regeneration of Brownfield Area and Redundant Technical Culture Buildings to Symbols of Contemporary City." South East European Journal of Architecture and Design 2016 (February 13, 2016): 1–9. http://dx.doi.org/10.3889/seejad.2016.10014.

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BACKGROUND: Industrial complexes and technical culture complexes are significant morphological elements of the city.AIM: This paper focuses on the two European towns and showcases: Bilbao in Spain and Zagreb in Croatia.MATERIAL AND METHODS: The extravagant project of Gehry’s started the reformation of the Bilbao with growth of tourism and profit in general. Beside the urban regeneration, it started the trend of star-architects building their masterpieces one next to another along the river Nervion. This paper focuses on two complexes of technical culture buildings in Zagreb, presenting early c

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Haddad, Abed, Megan Randall, Lynda Zycherman, and Ana Martins. "Reviving Alexander Calder’s Man-Eater with Pennants: A Technical Examination of the Original Paint Palette." Heritage 4, no. 3 (2021): 1920–37. http://dx.doi.org/10.3390/heritage4030109.

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Mat-Eater with Pennants, a rarely exhibited sculpture in Alexander Calder’s oeuvre, was commissioned by The Museum of Modern Art (MoMA) and installed in 1945. To exhibit the large standing mobile in Alexander Calder: Modern from the Start (2021), the derelict sculpture had to be remediated; this initiated a collaborative investigation with conservation scientists, conservators, curators, and the Calder Foundation into the original paint colors hidden beneath layers of repaint. XRF analysis was carried out to elucidate the paints’ composition, followed by sampling for analysis to assess the pai

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György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.

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In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Wor

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Hartkamp, Arthur, and Beatrijs Brenninkmeyer-De Rooij. "Oranje's erfgoed in het Mauritshuis." Oud Holland - Quarterly for Dutch Art History 102, no. 3 (1988): 181–232. http://dx.doi.org/10.1163/187501788x00401.

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AbstractThe nucleus of the collection of paintings in the Mauritshuis around 130 pictures - came from the hereditary stadholder Prince William v. It is widely believed to have become, the property of the State at the beginning of the 19th century, but how this happened is still. unclear. A hand-written notebook on this subject, compiled in 1876 by - the director Jonkheer J. K. L. de Jonge is in the archives of the Mauritshuis Note 4). On this basis a clnsor systematic and chronological investigation has been carried out into the stadholder's. property rights in respect of his collectcons and t

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Moschkovich, Diego. "‘Everything Now is Lost’: Stanislavsky’s Last Class at the Opera-Dramatic Studio." New Theatre Quarterly 39, no. 2 (2023): 85–91. http://dx.doi.org/10.1017/s0266464x23000039.

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On 22 May 1938, Stanislavsky gathered his group of eleven assistant-pedagogues at the Opera-Dramatic Studio for a last collective class. The Studio was already free for the summer vacation after the tumultuous first show of Chekhov’s Three Sisters, opened only to a small number of guests a week before. Mikhail Kedrov had rehearsed the performance with the students for the preceding three years, and it was doomed to become the first public presentation of the so-called ‘method of physical actions’. Nevertheless, the presentation brought nothing more than doubts about the work done, and Stanisla

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Guarino, Regina. "The Art Museum." McNeese Review 60, no. 1 (2023): 121–25. http://dx.doi.org/10.1353/mcn.2023.a925635.

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Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan

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Ortíz Triviño, Jorge Eduardo, and Rodolfo Cipagauta. "A virtual art museum." Ingeniería e Investigación 26, no. 3 (2006): 78–84. http://dx.doi.org/10.15446/ing.investig.v26n3.14754.

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This paper presents some indispensable technical aspects for designing an art museum based on virtual reality (VR) technology. A VR setting can be produced which is able to submerge users having a basic immersion level in a didactic, entertaining, cultural and artistic experience. Specialised tools, object-orientated programming language and low-cost peripheral equipment are suggested so that the VR experience can be developed and executed on reasonably-priced computers. The VR concept, characteristics, components, application and systems are analysed, as is the design for implementing it.

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Tollfree, Eleanor. "Art and the Museum." Art Book 8, no. 2 (2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.

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Carrier, David. "The Art Museum Today." Curator: The Museum Journal 54, no. 2 (2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.

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Guffey, Elizabeth. "The Disabling Art Museum." Journal of Visual Culture 14, no. 1 (2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.

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Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass s

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