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Books on the topic 'Trace (Gallery)'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Moffatt, Tracey. Tracey Moffatt: City Gallery Wellington. Wellington, NZ: City Gallery Wellington, 2002.

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2

1958-, Brand Michael, ed. Traditions of Asian art: Traced through the collection of the National Gallery of Australia. Canberra: The Gallery, 1995.

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3

Smith, Keir. The dreaming track: Sculpture and drawings, catalogue of an exhibition, Laing Art Gallery, 1989. [Newcastle]: Tyne and Wear Museums Service, 1989.

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4

Praze, Národní muzeum v. Czech modern art 1900 1960: The National Gallery in Prague : modern art collection, the Trade Fair Palace. Prague: The Gallery, 1995.

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5

Ken, Teague. Mr. Horniman and the tea trade: A permanent display in the South Hall Gallery of the Horniman Museum. London: Horniman Museum and Gardens, 1993.

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6

Pontevedra, Museo de, ed. El traje gallego: Catalogación arqueológica y artística de Galicia del Museo de Pontevedra. La Coruña, España: Fundación Pedro Barrié de la Maza, 1985.

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7

Carswell, John. Blue and white: Chinese porcelain and its impact on the western world : catalogue of an exhibition at the David and Alfred Smart Gallery, the University of Chicago, October 3-December 1, 1985. Chicago: The Gallery, 1985.

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8

Chemical Management & Resources Association. Meeting. Trade agreements in the Americas: Their effects on the chemical industry : February 28-March 2, 1994 : Westin Oaks Galleria Hotel, Houston, TX. [Staten Island, N.Y.] (60 Bay St., Suite 702, Staten Island 10301): Chemical Management & Resources Association, 1994.

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9

City of Bristol Museum and Art Gallery. Bristol & transatlantic slavery: Catalogue of the exhibition A Respectable Trade? Bristol & Transatlantic Slavery at the City Museum & Art Gallery, Bristol 6 March - 2 September 1999, with additional material. Bristol: Bristol Museums & Art Gallery, 2000.

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10

Madge, Dresser, Giles Sue, and City of Bristol Museum and Art Gallery., eds. Bristol & transatlantic slavery: Catalogue of the exhibition A Respectable Trade? Bristol & Transatlantic Slavery at the City Museum & Art Gallery, Bristol 6 March - 2 September 1999, with additional material. Bristol: Bristol Museums & Art Gallery, 2000.

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11

Gallery, Winnipeg Art. Catalogue of the paintings and water color drawings exhibited in the Winnipeg loan collection held in the Art Gallery, Board of Trade building, Winnipeg, March fifteenth to April third, 1920. [Winnipeg?: s.n., 1996.

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12

Galleria d'arte moderna (Florence, Italy). Quartiere borbonico o Nuovo Palatino: Sale restaurate : cultura toscana dell'Unità (1859-1870) e primi cenacoli dei Macchiaioli : le collezioni Banti e Martelli ; Sala da ballo del Quartiere da inverno : collezioni del Novecento : intorno a Rosai : tracce per un percorso dell'arte toscana. Livorno [Italy]: Sillabe, 1995.

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13

Dia del Galleon Anniversary Commemoration (2nd 2011 University of San Carlos). Probing Philippine-Spanish connections in history: Selected papers, Philippine-Spanish Friendship Day 2011, 2nd Dia Del Galleon Anniversary Commemoration "A return to our Hispanic roots, revisiting the galleon trade", University of San Carlos, Cebu City, 6-8 October 2011. Ermita, Manila, Philippines: National Historical Commission of the Philippines, 2012.

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14

1881-1968, Leech William John, National Gallery of Ireland, Quimper (France). Musée des beaux-arts., and Ulster Museum, eds. William John Leech: An Irish painter abroad. Dublin: National Gallery of Ireland, 1996.

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15

Betsy, Fahlman, and Schruers Eric Jon, eds. Wonders of work and labor: The Steidle collection of American industrial art. University Park, Pa: Earth and Mineral Sciences Museum & Art Gallery, 2008.

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16

Pennsylvania State University. EMS Museum & Art Gallery. Wonders of work and labor: The Steidle collection of American industrial art. University Park, Pa: Earth and Mineral Sciences Museum & Art Gallery, 2008.

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17

Elliott, Debra J. Love On A Whirlwind. Philadelphia, PA USA: Xlibris Corporation, 2007.

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18

Gallery of Heroes (Trace & Color). Golden books, 1997.

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19

1958-, Stitt André, ed. Trace: Installaction artspace Cardiff : 00-05. Bridgend: Seren, 2006.

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20

Trace: Installaction Artspace Cardiff '00-'05. Seren, 2006.

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21

Daniel, Brandely, Marjanov Wasa, Rheinsberg Raffael 1943-, and Ikon Gallery, eds. Traces: Ikon Gallery, October 17-November 14 1987. Birmingham: Ikon Gallery, 1987.

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22

Track 16 Gallery and Mainspace (Corporate Author) and Robert Berman Gallery (Corporate Author), eds. Man Ray: Paris-LA (Smart Art Press (Series), V. 2., No. 17.). Smart Art Press, 1996.

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23

June, Freeman, Great Britain Crafts Council, Lincolnshire and Humberside Arts, and Usher Gallery (Lincoln England), eds. The Sugared imagination: An art and a trade : an Usher Gallery exhibition. Lincoln: Lincolnshire County Council, 1989.

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24

Wilson, T. K. Killing Strangers. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863502.001.0001.

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A bewildering feature of so much contemporary political violence is its stunning impersonality. Every major city centre becomes a potential shooting gallery; and every metro system a potential bomb alley. Victims just happen, as the saying goes, to ‘be in the wrong place at the wrong time’. Killing Strangers tackles the question of how such violence became ‘unchained’ from inter-personal relationships. It traces the rise of such impersonal violence by examining violence in conjunction with changing social and political realities across Western Europe and North America since the late eighteenth century. In particular, it traces both ‘push’ and ‘pull’ factors. On the one hand, the rise of the modern state with its titanic bureaucratic resources of monitoring and coercion forced the violence of opponents into niche forms. On the other hand, social and technological changes offered fresh opportunities to cause mayhem in startlingly new ways. Both forces are necessary for any understanding of why contemporary political violence takes the forms that it does.

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25

Crump, Simon. Simon Crump & Tracey Holland at the Winchester Gallery 18 July - 31 August 1990. Winchester Gallery, 1990.

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26

(Editor), Michael Brand, and National Gallery of Australia (Corporate Author), eds. Traditions of Asian Art: Traced Through the Collection of the National Gallery of Australia (Studies in Asian Art, No 3). Thames & Hudson, 1996.

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27

Impacto en el sector pesquero gallego de las nuevas tendencias comerciales. Santiago: Fundación Caixa Galicia, 1997.

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28

Art Gallery of Hamilton (Ont.), ed. Besant de-composition: Finding traces among the fragments : Art Gallery of Hamilton, Jan. 18-Feb. 18, 1990. Hamilton, Ont: The Gallery, 1990.

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29

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

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

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30

Buschmann, Rainer F. The pacific Ocean Basin to 1850. Edited by Jerry H. Bentley. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199235810.013.0032.

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The Pacific Ocean is the world's largest and deepest ocean, spanning about one-third of the earth's surface. Despite its size, the Pacific has received only scant global historical attention when compared to the Atlantic and the Indian Oceans. However, the Pacific has played a prominent role intermittently in world history, highlighted by Austronesian expansion, Manila Galleon trade, eighteenth-century European exploration, and the intense island-hopping military campaigns of World War II. At the same time, such historical interest did not translate into a familiar timeline integrating this watery geographical feature into a larger world historical framework. This article argues that there is more discontinuity than continuity to this ocean, and its history is best broken down by three distinct periods of exploration and settlement.

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31

Rood, Steven. The Philippines. Oxford University Press, 2019. http://dx.doi.org/10.1093/wentk/9780190920609.001.0001.

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Since the colonization of the Philippines by Spain in the sixteenth century, the island chain has been at the center of global trade flows, imperial rivalries, and the globalization process. From its role as the main base of Spain’s Pacific Galleon trade to its conquest centuries later by the United States and Japan, the Philippines has been a focal point of economic and military rivalry. Decolonized in 1946, the Philippines is growing economically after years of stagnation, is ruled today by a modern populist, President Rodrigo Duterte, and is embroiled in disputes with the East Asia region’s rising superpower, China. In The Philippines: What Everyone Needs to Know®, Steven Rood draws from more than 30 years of residence in and study of the Philippines in order to provide a concise overview of the nation. Arranged in a question-and-answer format, this guide shares concise, nuanced analysis and helps readers find exactly what they seek to learn about Filipino geography and geology, history, culture, economy, politics through the ages, and prospects for the future. This book is an ideal primer on an enormously diverse country that has been and will likely remain a key site in world affairs.

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32

Tina, Pang, Shang William, and University of Hong Kong. University Museum and Art Gallery., eds. Picturing Cathay: Maritime and cultural images of the China trade. Hong Kong: University Museum and Art Gallery, University of Hong Kong, 2003.

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33

W, Crawford Harriet E., and Rice Michael 1928-, eds. Traces of paradise: The archaeology of Bahrain 2500 BC-300 AD : an exhibition at the Brunei Gallery, Thornhaugh Street, London WC1, 12 July-15 September 2000. London: Dilmun Committee, 2000.

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34

University College, London. Institute of Archaeology., Brunei Gallery, Bahrain. Ministry of Cabinet Affairs and Information., and Matḥaf al-Baḥrayn al-Waṭanī, eds. Traces of paradise: The archaeology of Bahrain, 2500BC-300AD : an exhibition at at [sic] the Brunei Gallery, Thornhaugh Street, London WC1 : 12 July-15 September 2000. London: UCL, 2000.

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35

André, Jammes, ed. Jean Hugues, libraire-éditeur: Le Point cardinal. Paris: Cendres, 2004.

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36

Gallery, Winnipeg Art. Catalogue of an Exhibition of Paintings "Canadian Art Today": In the Art Gallery, Board of Trade Building, From Saturday, October the Fifteenth, to ... Hundred and Twenty-One (Classic Reprint). Forgotten Books, 2018.

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37

W, Crawford Harriet E., University of London. School of Oriental and African Studies., and "Traces of Paradise" (2000 : SOAS, London)., eds. The archaeology of Bahrain: The British contribution ; proceedings of a seminar held on Monday 24th July 2000 to mark the exhibition 'Traces of Paradise' at the Brunei gallery, SOAS, London. Oxford: Archeopress, 2003.

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38

Leech, William John, and Denise Ferran. William John Leech: An Irish Painter Abroad. Merrell Holberton, 1997.

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39

Leech, William John, and Denise Ferran. William John Leech: An Irish Painter Abroad. National Gallery of Ireland, 1997.

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