Journal articles on the topic 'Stark Museum of Art'

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 multireligious composition. The article traces this dynamic around the example of the non-European collections in Berlin’s Museum Island and the future Humboldt Forum, conceptualized as the world’s largest “universal museum.” The narratives through which this art is integrated into Europe’s cultural heritage are in stark contrast to those that simultaneously defined the refugees, who arrived from the same region in which the art originated, as fundamentally different and threatening. The narratives intersect in the Multaqa initiative, which offers Arab language tours of Museum Island to refugees, and in the controversy around the site of the Humboldt Forum and the colonial art it is meant to house.

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 Bestand an Basisliteratur zur bildenden Kunst und Kunstgeschichte, aber auch über Literatur zu ihren Sammlungs- und Studien-schwerpunkten. Insgesamt muß festgestellt werden, daß aufgrund der äußerst unterschiedlichen Organisationsstrukturen Fragen von allgemeinem Interesse (etwa eine zentrale Vernetzung aller Daten oder eine generelle Ausbildungs-regelung) nicht koordiniert werden und die Situation daher recht unzufriedenstellend ist. Immerhin ist aber ein Trend in Richtung länger-fristiger Kooperationen im Ansatz zu erkennen. Zu nennen wären in diesem Zusammenhang etwa der Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe (FIB) oder die ‘Kunstreferentensitzungen’, bei denen (seit 1949!) Bibliothekarlnnen aktuelle Probleme und Entwicklungen im Bibliotheksbereich diskutieren.Art libraries in Austria are basically divided into three main groups according to their specific form of institutional organisation: museum libraries, university libraries, and libraries in galleries. The latter are often situated in recently founded institutions and usually put their focus on contemporary art. Museums and university libraries traditionally have rather extensive collections of basic literature on art and art history as well as specialized literature according to the main subject of their collections. It is characteristic of the present stage of development that innovations in the organisation of these libraries (i.e. computer systems for online catalogues, specialized training, etc.) are not being co-ordinated and the results of local improvements are therefore not as rewarding as they could be. Nevertheless, the first steps towards long term cooperation are being taken, and include such initiatives as the Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe, FIB (= Association to promote the foundation of an academy for information professions), and the Kunstreferentensitzungen, an assembly of librarians who discuss current trends and problems in library organization.

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 was reconceived as an ongoing, interdisciplinary, public scholarship initiative reaching across the borders normally perceived between museums, prisons and universities. Opportunities arose for expanded forms of community building and participation that welcomed different forms of knowledge, furthering the political and aesthetic aims of the project to shift the social attachment to prisons.

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, and the historical role of cultural institutions; his ambivalent relationship with Pop, Minimalism, and Conceptual Art; and national identity and decolonization.

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.

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 researching science. The research method takes the Jehol Biota in western Liaoning Province of China as an example to explore the methods and approaches to transform museum resources into creative products. Through artificial intelligence data mining and digital reconstruction, data can be used for archaeological research but also for scientific popularization and scientific dissemination of the resources of art transformation. Research results: as the cornerstone to consolidate the digital development of society and economy, “the new infrastructure of artificial intelligence” will start a comprehensive digital transformation. Through the integration of multiple fields and disciplines, museums will change from resource dependence to focus more on market creation, which will promote museum’s industry development.

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 the final results of this phenomenon and on what will happen next. Also, emphasis should be put on the importance for each museum to define right from the start an ‘art policy’, even a complex one, but somehow structured, that may be employed at many levels according to the needs of the museum itself.

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 his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.

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 of the museum. They also contributed to the network of museums in the Mazovian region, which led to the development of cultural life in our region. Marian Sołtysiak wrote publications devoted to our museum, one based on his PhD thesis The Mazovian Museum in Płock. Its history and social functions, as well as a memoir The Secesja with petrochemistry in the background. Once he left the MMP, he held important positions in various institutions in Warsaw; for example he was the organiser and first director of the Board of Historical Garden and Palace Conservation of the National Museum, Deputy Director of the Royal Castle in Warsaw, Director of the National Museum, Curator of the Arx Regia Publishing House of the Royal Castle in Warsaw, and Managing Director of the Patrimonum Foreign Enterprise. Sołtysiak was also an academic lecturer at the Pawel Wlodkowic University College in Płock and at the Pultusk Academy of Humanities, and a member of numerous Polish and international associations, museum boards, and scientific societies devoted to culture, protection of monuments and museology. For his indefatigable work for the protection of cultural heritage, he was given the award “For the guardianship of monuments” and the Annual Award from the Minister of Culture and National Heritage.

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 their languages work at the service of each other.A dialogical interaction which is difficult (as both languages and their interpreters crave for superiority), strong (the place for communication becomes multi-channel), but necessary (in view of a systemic approach of science communication).It is necessary especially to build an all-encompassing museum to fully play a sociological role of study, interpretation and determination of human society.

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 dekanatów and Historyczne opisy kościołów. He started his collection in Radom, then continued accumulating items in Borkowice where he became a parish priest. It was there, in the parsonage, that he arranged the Museum of National Memorabilia. His exhibits were often displayed as loans outside his museum. As confirmed in written sources, Rev. Jan Wiśniewski had many contacts among collectors, antiquarians, art dealers and bibliophiles, some of them of great renown. His collection became a cornerstone of the Diocesan Museum in Sandomierz, which seems to be his intention from the start, as much as saving from demolition the historic elements of churches’ interiors. He was building his collection in order to make it public and pass on to the following generations.

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 came to the museum in Zagreb are analyzed. As previous research of the interwar art market in the Kingdom of Serbs, Croats, and Slovenes (later Kingdom of Yugoslavia) has shown that Croatian private buyers and professional antique dealers visited regularly the sales of castle and manor furnishings in interwar Slovenia, we can assume that there are more art heritage items originating from Slovenia in present-day Croatian public and private collections, awaiting an analysis of their provenance.

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 adopted different methods of organising their entries, in some cases echoing the arrangement of the collections within the museum building. Two centuries of publishing, and recent developments in editing art historical texts, suggest that there is a serious and growing need for a bibliography of museum catalogues. A few such bibliographies already exist, devoted to single institutions (such as the Louvre) or cities (Berlin, Munich), but there is no comprehensive bibliography comparable to Frits Lugt’s unique listing of auction catalogues. A start should be made on this enormous task.

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.

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, combining male and female and general mammalian features. These works were exhibited in Gerald R. Ford Museum, Grand Rapids, Michigan, USA, 2006. I continued reading my notes about the inspiring lectures by Lunine et al., resulting in making a series of fibre artworks called Lecture Notes and, finally, a series of twenty works about the origin and limitations of life. This exhibition, The way I see the Stars, felt inspired by astrobiology and has been shown in Castel Gandolfo, Rome, Italy and in Kaarina, Finland. All the works have been made using fibre techniques.

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.

“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 respectable muse of tragedy would likely reject these dubious associations, but the first actress of preeminent stature on the English stage was a symbol of female success, the subject of public scrutiny, and an emblem of ideal femininity. Siddons, who achieved celebrity status during an extraordinarily successful, forty-year career in England, Scotland, and Ireland, recently inspired a constellation of events which included not only these two art exhibitions, but a new play produced by Mark Taper Forum and an academic conference at the Huntington as well. In addition to detailing her sublime acting and renowned position in the Georgian theatre, these happenings emphasized Siddons' use of portraiture to cultivate and maintain her celebrity status.

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 intergenerational connections and jump-start new conversations between artists, community members, and the public at large. This review was prepared in partial completion of a masters-level course, and as such, the author did not have the capacity to consult with members of Kinngait community. In future writings, the author hopes to consult and collaborate alongside community members.

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 1975 Hélèn Cixous calls for women to start writing in white ink, an ink that is coloured by the experience of being born in a woman’s body. Sjöö’s painting was created a few years before and also Sjöö was, during her whole career, engaged with the idea of the “woman’s experience”. The article argues that in whichever way this painting is approached, by understanding it’s figure, it’s symbolism, or even the roughness of the placard-like material (paint on masonite), it all falls back on the political and spiritual quest of Monica Sjöö. There can be no analysis of this work without taking into account the political situation and the need for expressing the woman’s experience during the late 1960s and early 1970s. The article is a close study of this particular piece which is approached from four different points of view: the historical context of the painting within the women’s movement; the need to speak from a woman’s experience; the political and theoretical differences of representing the woman’s body in art and lastly the idea of protest presented through the painting.

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 gospel in 1783, and soon after was appointed Assistant Minister at East Kilbride, where he remained for seven years. During this time he collected material for his great work which was published after he had left East Kilbride for Newcastle.David Ure’s book was financed by public subscription, and amongst the 700 subscribers can be found many Professors from the Scottish Universities as well as the eminent geologists James Hutton and John Playfair. This was the heroic age of geology, when careful observations were leading to an understanding of basic principles. David Ure is often regarded as the "Father of Scottish Palaeontology". His book contains the first illustrations of fossils from Scotland, and is fairly unique for the period because his specimens are still preserved in the collections of the Hunterian Museum at the University of Glasgow and the City Museum and Art Gallery, Kelvingrove, Glasgow. The macrofossils are beautifully drawn, . . .

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 take his students to the Tatra mountains where he would rent an inn in Stare Kościelisko for an atelier. Cercha painted his Tatra landscapes in the period from 1849 to 1860. These are: –– Morskie Oko, oil on cardboard (31 x 23 cm), 1849; –– View from Mała Łąka, oil on canvas (38 x 31 cm), 1853; –– Mill in Chochołów, oil on cardboard (22 x 28 cm), 1853; –– Sucha Woda Valley as seen from Brzeziny, oil on cardboard (32 x 26 cm), 1857; –– View of the Giewont mountain, oil on cardboard (23 x 30 cm), c. 1860; –– “Carpathians”, watercolour (22 x 14), 1860. Except View from Mała Łąka, held by the Tatra Museum in Zakopane, all pictures belong to the family. Moreover, there are three pencil on paper drawings depicting Zakopane and Hamry from the period of 1855–1857 held by the National Museum in Kraków. Cercha, modelling on Głowacki, used to oil paint on cardboard by firstly sketching on location and then finishing the picture back in Kraków. He used to replicate the themes drew out by Głowacki, such as the view of Morskie Oko lake. He continued the Cracovian tradition of Tatra landscape painting, whic, thanks to Głowacki, Franz Steinfeld the Younger’s student, derives from the Austrian landscape painting of Biedermeier period.

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 workshop that has among its objectives the learning of mathematics. To do this, we start from the three main elements and processes set forth in van Hiele’s model: insight, reasoning levels and learning phases. The insight or student’s competence are formulated through Hoffer’s abilities, and for the development of the activities of the learning phases, the STEAM (science, technology, engineering, art and maths) strategy. Once the general proposal has been made, we use it to design a scientific workshop for learning mathematics about cryptography. Our greatest challenge was in generating activities adapted to the established requirements. It would be interesting, for future works, to design research to evaluate the effectiveness of the proposal presented. Moreover, it would be interesting to develop a proposal for assessing student learning.

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 museum of art, and shopping mall. The design of this hotel and convention hall have a concept of neo-vernacular architecture which is referred to Malay Architecture in Medan because Medan culture starts from Deli Serdang Empire which has Malay culture and architecture. Therefore, Malay Architecture is rarely visible in Medan City. Malay architecture in Medan is potential to entertain the customers and show to the local communities about the origin of Medan. The hotel design uses modern technology that mix with architecture elements in Malay Architecture. The convention hall design shows big Malay roof to be the point of view. The shape of the buildings is designed from suppression of the site shape.

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 conversion versus still unsolved regeneration.RESULTS: Former industrial city of Bilbao is nowadays a symbol of contemporary architecture featured by Guggenheim Museum and designed by Frank Ghery. It featured urban regeneration and numerous other examples of the contemporary architecture. This paper focuses as well on conversion of former wine-storage for mixed-use complex designed by Philippe Starck. The initial idea of the project was to revive the dying neighborhood because of the gentrification caused by the Guggenheim Museum. Zagreb intensive development in recent 150 years is based on industrialization process. After intensive deindustrialization, regeneration of redundant industrial complexes and technical culture buildings is segmented. Although the most prominent regenerations are significant architectural achievements winning the most prominent architectural awards, numerous complexes are awaiting for the conversions. Many of them are left to decay, or were demolished promptly, offering attractive location for new buildings that have been raised. This paper focuses on two complexes of technical culture buildings in Zagreb, presenting early conversion versus still unsolved regeneration. The first one is the avant-garde example of conversion of Tannery building for the Glypthotek of Yugoslav, i.e. Croatian Academy of Science and Art. The other example is Zagreb Fair, which realization since 1955 has initialized urbanization of late modern New Zagreb. Decay of Fair function, led to provisory or designed conversion of pavilions for new purposes, but the integral regeneration still is still missing.CONCLUSION:Urban regeneration should be considered seriously, and lead to transformation to contemporary city of 21st century.

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 paint stratigraphy and binders. Scrapings were analyzed by µ-FTIR and Raman spectroscopies; cross sections were examined with optical microscopy and analyzed with SEM-EDS. Analysis differentiated between the original paints, which contain Prussian blue, parachlor red, chrome yellow, and the many layers of overpaint, which contain titanium white, molybdate orange, a variety of β-Naphthol reds, red lead, and ultramarine. A model for Man-Eater, Mobile with 14 Flags, is also part of the museum’s collection, and was first considered as a point of reference for the original colors. Similar analysis, however, indicates that the maquette was painted after the Man-Eater was first installed, therefore is not representative of the original colors. In addition to investigating an early primary palette for Calder’s outdoor sculptures, this study helped develop the plan for the restoration of the original color scheme of Man-Eater.

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 Workers’ Party, Hun. MDP) cared less for “providing guidance for the arts”, as they were preoccupied with other, more troublesome problems. In the winter/spring after the revolution started on 23 October and crushed on 4 November the echelon of the HSWP (Hungarian Socialist Workers’ Party, Hun. MSzMP) had not decided yet whether to strike a league with extreme leftist artistic groups or to pay heed to Memos Makris (Hun. Makrisz Agamemnon), the ministerial commissioner designing the reform of the artists’ association and organizing the Spring Exhibition and to leave the artists – so-far forced into the strait-jacket of socialist realism – alone. I found some documents which shed bright light on the narrow-mindedness of the dogmatic artistic policy trying to bend the artists toward its goals now with the whip, now with milk cake.I start the series of recovered documents with a ministerial file dated summer 1956 on the decision to purchase Kondor’s diploma work (the Dózsa cycle). The next piece of good news is a record of the committee meeting in February 1957 awarding Kondor a Derkovits scholarship. This is followed by ministerial letters – mirrors of the new artistic policy – by a changed, truly partyist scholarship committee which apparently revel in lecturing talented Kondor who was not willing to give up his sovereignty, so his works were often refused to be bought on state funds for museums.In addition to whip-lashing documents, I also present a few which offered some milk cake: a letter inviting him to a book illustrating competition called by the Petőfi Literary Museum and one commissioning him to make the sheets on the Heves county part of a “liberation album”.Next, I put forth a group of illumining documents – long known but never published in details: the files revealing the story of the large panels designed for the walls of the “Uranium city” kindergarten in Pécs and those revealing the preparations for the exhibition in Fényes Adolf gallery in 1960 and the causes of the concurrent tensions – including texts on decisions to hinder the publication of Lajos Németh’s catalogue introduction.The last group includes futile efforts by architects to get Kondor commissions for murals. They give information on three possible works. Another for Pécs again (this time with Tibor Csernus), for works for a “men’s hostel” and on the failure of the possibility. The other is about works for Kecskemét’s Aranyhomok Hotel, another failure. The third is about a glass window competition for a new modern hotel to be built in Salgótarján, to which Kondor was also invited, but the jury did not find his work satisfactory in spite of the fact that the officials representing the city’s “party and council” organs, and the powerful head of the county and town, the president of the county committee of the HSWP all were in favour of commissioning him.Mind you, the architects’ efforts to provide the handful of modern artists with orders for “abstract” works caused headache for the masterminds of controlled art policy, too. On the one hand, they also tried to get rid of the rigidity of the ideologically dogmatic period in line with “who is not against us, is with us”, the motto spreading with political détente, and to give room to these genres qualified as “decoration”. On the other hand, they did not want to give up the figurative works of socialist contents, which the architects wanted to keep away from their modern buildings. A compromise was born: Cultural Affairs and the Art Fund remained supporters of figurative works, and the “decorative” modern murals, mosaics and sculptures were allowed inside the buildings at the cost of the builders.Apart from architects, naturally there were other spokesmen in favour of Kondor (and Csernus and the rest of the shelved artists). In an essay in Új Irás in summer 1961 Lajos Németh simply branded it a waste to deprive Kondor of all channels except book illustration, while anonymous colleagues of the National Gallery guided an American curator to him who organized an exhibition of Kondor’s graphic works he had packed into his suitcase in the Museum of Modern Art in Miami.From the early 1963 – as the rest of the explored documents reveal – better times began in Hungarian internal and cultural politics, hence in Béla Kondor’s life, too. The beginning is marked by a – still “exclusive” – exhibition he could hold in the Young Artists’ Studio in January, followed by a long propitiatory article urging for publicity for Kondor by a young journalist of Magyar Nemzet, Attila Kristóf. Then, in December Kondor became the Grand Prix winner of the second Graphic Biennial of Miskolc.From then on, the documents are no longer about incomprehensible prohibitions or at time self-satisfying wickedness, but about exhibitions (the first in King Stephen Museum, Székesfehérvár), prizes (including the Munkácsy Prize in April 1965), purchases, the marvellous panel for the Grand Hotel on Margaret Island, the preparations for the Venice Biennale of 1968, the exhibition in Art Hall/Műcsarnok in 1970 and its success, and Kondor’s second Munkácsy Prize.Finally, I chanced upon a group of startling and sofar wholly unknown notes which reveals that Béla Kondor was being among the nominees for the 1973 Kossuth Prize. News of his death on 12 December 1972, documents about the museum deposition of his posthumous works and the above group of files close the account of his life.I wrote a detailed study to accompany the documents. My intention was not to explain them – as they speak for themselves – but to insert them in the life-story of Kondor, trying to find out which and how, to what extent contributed to the veering of his life-course and to possibilities of publicity for his works. I obviously included several further facts, partly in the main body of the text, and partly in footnotes. Without presenting them here, let me just pick one or two.Events around the 1960 exhibition kindled the attention not only of the deputy minister of culture György Aczél, but also of the Ministry of the Interior: as Anikó B. Nagy dug out, they asked for an agent’s report on who Kondor was, what role he was playing among young writers, architects, artists, the circle around Vigilia and the intellectuals in general. Also: what role did human cowardice play in banning the panels for the Pécs kindergarten, and how wicked it was – with regulations cited – to ask back the advance money from an artist already hardly making a living with the termination of the Der ko vits scholarship. Again: what turn did modern Hungarian architecture undergo in the early sixties to dare and challenge the still prevalent culture political red tape? It was also a special experience to track down and describe the preparations for the Hungarian exhibition of the Venice Biennial of 1968 and to see how much caution and manoeuvring was needed even in those milder years to get permission for Béla Kondor (in the company of Tibor Vilt and Ignác Kokas) to feature in the pavilion. Finally, it was informative to follow the routes of Kondor’s estate as state acquisitions and museum deposits after his death which foiled his Kossuth Prize.

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 the changes these underwent between 1795 and 1816. Royal decrees and other documents of the period 1814- 16 in particular giae a clearer picture of whal look place. 0n 18 January 1795 William V (Fig. 2) left the Netherlands and fled to England. On 22 January the Dutch Republic was occupied by French armies. Since France had declared war on the stadholder, the ownership of all his propergy in the Netherlands, passed to France, in accordance with the laws of war of the time. His famous art collections on the Builerth of in. The Hague were taken to Paris, but the remaining art objects, distributed over his various houses, remained in the Netherlands. On 16 May 1795 the French concluded a treaty with the Batavian Republic, recognizing it as an independent power. All the properties of William v in the Netehrlands but not those taken to France, were made over to the Republic (Note 14), which proceeded to sell objects from the collections, at least seven sales taking place until 1798 (Note 15). A plan was then evolved to bring the remaining treasures together in a museum in emulation of the French. On the initiative of J. A. Gogel, the Nationale Konst-Galerij', the first national museum in the .Netherlands, was estahlished in The Hague and opened to the public on ,31 May 1800. Nothing was ever sold from lhe former stadholder's library and in 1798 a Nationale Bibliotheek was founded as well. In 1796, quite soon after the French had carried off the Stadholder, possessions to Paris or made them over to the Batavian Republic, indemnification was already mentioned (Note 19). However, only in the Trealy of Amiens of 180 and a subaequent agreement, between France ararl Prussia of 1 802, in which the Prince of Orarage renounced his and his heirs' rights in the Netherlands, did Prussia provide a certain compensation in the form of l.artds in Weslphalia and Swabia (Note 24) - William v left the management of these areas to the hereditary prince , who had already been involved in the problems oncerning his father's former possessions. In 1804 the Balavian Republic offered a sum of five million guilders 10 plenipotentiaries of the prince as compensation for the sequestrated titles and goods, including furniture, paintings, books and rarities'. This was accepted (Notes 27, 28), but the agreement was never carried out as the Batavian Republic failed to ratify the payment. In the meantime the Nationale Bibliolkeek and the Nationale Konst-Galerij had begun to develop, albeit at first on a small scale. The advent of Louis Napoleon as King of Hollarad in 1806 brought great changes. He made a start on a structured art policy. In 1806 the library, now called `Royal', was moved to the Mauritshuis and in 1808 the collectiorts in The Hague were transferred to Amsterdam, where a Koninklijk Museum was founded, which was housed in the former town hall. This collection was subsequertly to remain in Amsterdam, forming the nucleus of the later Rijksmuseum. The library too was intended to be transferred to Amsterdam, but this never happened and it remained in the Mauritshuis until 1819. Both institutions underwent a great expansion in the period 1806-10, the library's holdings increasing from around 10,000 to over 45,000 books and objects, while the museum acquired a number of paintings, the most important being Rembrandt's Night Watch and Syndics, which were placed in the new museum by the City of Amsterdam in 1808 (Note 44). In 1810 the Netherlands was incorporated into France. In the art field there was now a complete standstill and in 1812 books and in particular prints (around 11,000 of them) were again taken from The Hague to Paris. In November 1813 the French dominion was ended and on 2 December the hereditary prince, William Frederick, was declared sovereign ruler. He was inaugurated as constitutional monarch on 30 March 1814. On January 3rd the provisional council of The Hague had already declared that the city was in (unlawful' possession of a library, a collection of paintings, prints and other objects of art and science and requested the king tot take them back. The war was over and what had been confiscated from William under the laws of war could now be given back, but this never happened. By Royal Decree of 14 January 1814 Mr. ( later Baron) A. J. C. Lampsins (Fig. I ) was commissioned to come to an understanding with the burgomaster of The Hague over this transfer, to bring out a report on the condition of the objects and to formulate a proposal on the measures to be taken (Note 48). On 17 January Lampsins submitted a memorandum on the taking over of the Library as the private property of His Royal Highness the Sovereign of the United Netherlartds'. Although Lampsins was granted the right to bear the title 'Interim Director of the Royal Library' by a Royal Decree of 9 February 1814, William I did not propose to pay The costs himself ; they were to be carried by the Home Office (Note 52). Thus he left the question of ownership undecided. On 18 April Lampsins brought out a detailed report on all the measures to be taken (Appendix IIa ) . His suggestion was that the objects, formerly belonging to the stadholder should be removed from the former royal museum, now the Rijksmuseum, in Amsterdam and to return the 'Library', as the collectiort of books, paintings and prints in The Hague was called, to the place where they had been in 1795. Once again the king's reaction was not very clear. Among other things, he said that he wanted to wait until it was known how extensive the restitution of objects from Paris would be and to consider in zvhich scholarly context the collections would best, fit (Note 54) . While the ownership of the former collections of Prince William I was thus left undecided, a ruling had already been enacted in respect of the immovable property. By the Constitution of 1814, which came into effect on 30 March, the king was granted a high income, partly to make up for the losses he had sulfered. A Royal Decree of 22 January 1815 does, however, imply that William had renounced the right to his, father's collections, for he let it be known that he had not only accepted the situation that had developed in the Netherlands since 1795, but also wished it to be continued (Note 62). The restitution of the collections carried off to France could only be considered in its entirety after the defeat of Napoleon at the Battle of Waterloo on 18 June 1815- This was no simple matter, but in the end most, though not all, of the former possessions of William V were returned to the Netherlands. What was not or could not be recovered then (inc.uding 66 paintings, for example) is still in France today (Note 71)- On 20 November 1815 127 paintings, including Paulus Potter's Young Bull (Fig. 15), made a ceremonial entry into The Hague. But on 6 October, before anything had actually been returned, it had already been stipulated by Royal Decree that the control of the objects would hence forlh be in the hands of the State (Note 72). Thus William I no longer regarded his father's collections as the private property of the House of Orange, but he did retain the right to decide on the fulure destiny of the... painting.s and objects of art and science'. For the time being the paintings were replaced in the Gallery on the Buitenhof, from which they had been removed in 1795 (Note 73). In November 1815 the natural history collection was made the property of Leiden University (Note 74), becoming the basis for the Rijksmuseum voor Natuurlijke Historie, The print collection, part of the Royal Library in The Hague, was exchanged in May 1816 for the national collectiort of coins and medals, part of the Rijksmuseum. As of 1 Jufy 1816 directors were appointed for four different institutions in The Hague, the Koninklijke Bibliotheek (with the Koninklijk Penningkabinet ) , the Koninklijk Kabinet van Schilderijen and the Yoninklijk Kabinet van Zeldzaamheden (Note 80) . From that time these institutions led independenl lives. The king continued to lake a keen interest in them and not merely in respect of collecting Their accommodation in The Hague was already too cramped in 1816. By a Royal Decree of 18 May 1819 the Hotel Huguetan, the former palace of the. crown prince on Lange Voorhout, was earmarked for the Koninklijke Bibliotheek and the Koninklijk Penningkabinet (Note 87) . while at the king's behest the Mauritshuis, which had been rented up to then, was bought by the State on 27 March 1820 and on IO July allotted to the Koninklijk Kabinet van Schilderijen and the Koninklijk Kabinet van Zeldzaamheden (Note 88). Only the Koninklijk Kabinet van Schilderijen is still in the place assigned to it by William and the collection has meanwhile become so identified with its home that it is generally known as the Mauritshui.s'. William i's most important gift was made in July 1816,just after the foundation of the four royal institutions, when he had deposited most of the objects that his father had taken first to England and later to Oranienstein in the Koninklijk Kabinet van Zeldzaamheden. The rarities (Fig. 17), curios (Fig. 18) and paintings (Fig. 19), remained there (Note 84), while the other art objects were sorted and divided between the Koninklijke Bibliotheek (the manuscripts and books) and the koninklijk Penningkabinet (the cameos and gems) (Note 85). In 1819 and 182 the king also gave the Koninklijke Bibliotheek an important part of the Nassau Library from the castle at Dillenburg. Clearly he is one of the European monarchs who in the second half of the 18th and the 19th century made their collectiorts accessible to the public, and thus laid the foundatinns of many of today's museums. But William 1 also made purchases on behalf of the institutions he had created. For the Koninklijke Bibliotheek, for example, he had the 'Tweede Historiebijbel', made in Utrecht around 1430, bought in Louvain in 1829 for 1, 134 guilders (Pigs.30,3 I, Note 92). For the Koninkijk Penningkabinet he bought a collection of 62 gems and four cameos , for ,50,000 guilders in 1819. This had belonged to the philosopher Frans Hemsterhuis, the keeper of his father's cabinet of antiquities (Note 95) . The most spectacular acquisition. for the Penninukabinet., however, was a cameo carved in onyx, a late Roman work with the Triumph of Claudius, which the king bought in 1823 for 50,000 guilders, an enormous sum in those days. The Koninklijk Kabinet van Zeldzaamhedert also received princely gifts. In 1821- the so-called doll's house of Tzar Peter was bought out of the king's special funds for 2.800 guilders (Figs.33, 34, ,Note 97) , while even in 1838, when no more money was available for art, unnecessary expenditure on luxury' the Von Siebold ethnographical collection was bought at the king's behest for over 55,000 guilders (Note 98). The Koninklijk Kabinel van Schilderyen must have been close to the hearl of the king, who regarded it as an extension of the palace (Notes 99, 100) . The old master paintings he acquzred for it are among the most important in the collection (the modern pictures, not dealt with here, were transferred to the Paviljoen Welgelegen in Haarlem in 1838, Note 104). For instance, in 1820 he bought a portrait of Johan Maurice of Nassau (Fig.35)., while in 1822, against the advice of the then director, he bought Vermeer' s View of Delft for 2,900 guilders (Fig.36, Note 105) and in 1827 it was made known, from Brussels that His Majesty had recommended the purchase of Rogier van der Weyden's Lamentation (Fig.37) . The most spectacular example of the king's love for 'his' museum, however, is the purchase in 1828 of Rembrandt's Anatomy Lesson of Dr. Nicolaes Tulp for 32,000 guilders. The director of the Rijksmuseum, C. Apostool, cortsidered this Rembrandt'sfinest painting and had already drawn attention to it in 1817, At the king'.s behest the picture, the purchase of which had been financed in part by the sale of a number of painlings from. the Rijksmuseum, was placed in the Koninklijk Kabinet van Schilderijen in The Hague. On his accession King William I had left the art objects which had become state propery after being ceded by the French to the Batavian Republic in 1795 as they were. He reclaimed the collections carried off to France as his own property, but it can be deduced from the Royal Decrees of 1815 and 1816 that it Was his wish that they should be made over to the State, including those paintings that form the nucleus of the collection in the Mauritshuis. In addition, in 1816 he handed over many art objects which his father had taken with him into exile. His son, William II, later accepted this, after having the matter investigated (Note 107 and Appendix IV). Thus William I'S munificence proves to have been much more extensive than has ever been realized.

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.

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 similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

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 prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.

With one exception Dutch art museum libraries date from the second half of the 19th century or later. In general, museum libraries reflect the scope of the museum they serve and exist primarily for the use of museum staff although the public are also admitted. Most now use the same cataloguing rules; manual catalogues are still commonplace but are likely to be displaced by the computer.