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Artículos de revistas sobre el tema "National Art Gallery"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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1

Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.

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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017

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2

Lydon, Andrea. "The right space: 150 years of housing a national gallery's library and archive collection." Art Libraries Journal 43, no. 1 (December 8, 2017): 24–30. http://dx.doi.org/10.1017/alj.2017.44.

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The National Gallery of Ireland is the country's premier art institution. It houses the nation's collection of fine art in addition to a collection of library and archive material relating to the visual arts. The library and archive collections play an invaluable role supporting the work of the gallery and are regularly consulted by external researchers. Surprisingly, for more than a century there was no dedicated library space allocated to this collection. This article explores the development of the collection and the space it has occupied within the Gallery over the last 150 years, chronicl

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3

Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (December 28, 2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.

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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a

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4

Cannon, Catríona. "The National Gallery of Ireland Library." Art Libraries Journal 25, no. 3 (2000): 21–24. http://dx.doi.org/10.1017/s030747220001172x.

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The National Gallery of Ireland Library has recently re-opened to internal and external readers after a number of years. The concentration so far has been on reader services, while a major revision of the cataloguing and classification procedures is being undertaken. New projects to organise the Gallery’s Archives and make them more accessible for research, and to open a sponsored Centre for the Study of Irish Art in 2002-3, show the Library’s revived interest in reaching its potential users.

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5

Prior, Nick. "Edinburgh, Romanticism and the National Gallery of Scotland." Urban History 22, no. 2 (August 1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.

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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope inde

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6

Honoris, Robby, and Andalucia . "Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 91–99. http://dx.doi.org/10.32734/ijau.v1i1.266.

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The purpose of this Art Gallery designing is for giving space for the local artist to place and promote their art products. It’s because Medan city has not decent gallery according to the national standard. The surplus of this art gallery out of showing fine art is giving room experience impression to support fine art showcase. The theme of the building is a metaphor of water ripple to represent Babura river, so the art installation to the building is using water concept that gives unique aspect to building and can be art identity of Medan city. This gallery building is hoped to fulfill galler

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7

Horman, Mary M. "National Gallery of Art ‐ The Collection0047National Gallery of Art. National Gallery of Art ‐ The Collection. 1997 to date; updated weekly. http://www.nga.gov/collection/collect.htm No charge." Electronic Resources Review 4, no. 5 (April 2000): 51. http://dx.doi.org/10.1108/err.2000.4.5.51.47.

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8

Hava, Jarmila. "The Library at the National Gallery of Zimbabwe." Art Libraries Journal 11, no. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.

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The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often cont

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9

Glinsman, L., and D. Barbour. "Science and art converge at the National Gallery of Art." JOM 49, no. 1 (January 1997): 14–17. http://dx.doi.org/10.1007/bf02914620.

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10

Walsh-Piper, Kathleen, and Ellyn Berk. "Teacher Programs at the National Gallery of Art." Journal of Museum Education 19, no. 3 (September 1994): 19–21. http://dx.doi.org/10.1080/10598650.1994.11510276.

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11

Chiwara, Davison. "Documentation: A Security Tool for the Identification and Repatriation of Illicitly Trafficked Objects from Museums with Particular Reference to the National Gallery of Zimbabwe." Heritage 2, no. 1 (January 28, 2019): 390–99. http://dx.doi.org/10.3390/heritage2010027.

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The aim of the study was to ascertain how documentation assisted in the recovery of stolen and illicitly trafficked objects at the National Gallery of Zimbabwe. The research objectives were to: Assess the adequacy of the gallery’s documentation system; appraise the documentation elements that were key in the tracking and repatriation of stolen objects to the gallery; analyze the gallery’s networks on the documentation and safeguarding of objects against theft; and ascertain challenges faced by the gallery in documenting its objects. Research results indicated that the gallery’s documentation s

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12

Waddington, Murray. "The national role of the Library of the National Gallery of Canada." Art Libraries Journal 19, no. 1 (1994): 27–29. http://dx.doi.org/10.1017/s0307472200008671.

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The financial situation of cultural institutions is becoming increasingly perilous, and two years into its new national mandate the Library of the National Gallery of Canada finds its resources absorbed by internal needs and local use. To sustain a vital presence in the community of art information specialists the Library must restrict its contributions to those which have modest or no resource imperatives: generously shared collections; well conceived services which are publicized and accessible; strengthened cataloguing to be shared; attention to preservation; development of expertise to be

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13

Bardi, Augustine Okola. "7. Universal Studios of Art: Professionalization and Contributions to Art Education in Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 175–85. http://dx.doi.org/10.1515/rae-2017-0023.

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Abstract During the 2nd Black World and African Festival of Arts and Culture (FESTAC) in 1977, a lot of novel, creative and artistic events took place in Lagos. One of these was the construction of a monument, the National Arts Theatre, which also accommodated the National Gallery of Art. Invariably, the presence of the Gallery made the Arts Theatre management allocate the premises of the Theatre to some notable Nigerian artists for use as Artists in Residence. The premises eventually, by 1980, became an institutional and inspirational workshop for budding Nigerian artists. The activities of t

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14

Simon, Sherry. "Reflections on Translation Studies: Past and Present." TTR 30, no. 1-2 (May 31, 2019): 61–78. http://dx.doi.org/10.7202/1060018ar.

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This article is a reflection on translation studies and a suggestion for new directions in further research. The case study is that of the new labelling in the National Gallery of Canada which includes labelling in Indigenous languages.In June of 2017, the National Gallery opened newly renovated galleries with a special exhibition of Canadian and Indigenous Art. The translations which are part of this exhibition are important in redefining the identity of Canadian art.

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15

O'Donovan, Conn, Marie Burke, and Síghle Bhreathnach-Lynch. "Discover Irish Art at the National Gallery of Ireland." Circa, no. 91 (2000): 53. http://dx.doi.org/10.2307/25563559.

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16

Tippett, Maria. "The National Gallery of Canada: Ideas, Art, Architecture (review)." Canadian Historical Review 85, no. 3 (2004): 561–64. http://dx.doi.org/10.1353/can.2004.0141.

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17

Quin, J. "Art: Ron Mueck: Making Sculpture at the National Gallery." BMJ 326, no. 7392 (April 5, 2003): 769. http://dx.doi.org/10.1136/bmj.326.7392.769.

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18

Mallick, Jerry M. "National Gallery of Art: Photographic Archives' List of Holdings." Visual Resources 10, no. 2 (January 1994): 135–39. http://dx.doi.org/10.1080/01973762.1994.9658277.

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19

Armstrong, Drew. "The National Gallery of Canada: Ideas, Art, Architecture (review)." University of Toronto Quarterly 74, no. 1 (2004): 354–56. http://dx.doi.org/10.1353/utq.2005.0005.

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20

Metzger-Šober, Branko. "Nikada dovršena igra oko osnivanja Galerije moderne umjetnosti u Rijeci u međuratnome razdoblju." Ars Adriatica 9 (February 28, 2020): 173–92. http://dx.doi.org/10.15291/ars.2930.

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Based on the archival documentation from the interwar period in Rijeka, from 1934 to 1943, and an analysis of the published historical data, the author has presented the series of attempts to establish the Gallery of Modern Art in Rijeka at the time when Rijeka and Kvarner were annexed to the Kingdom of Italy, thus becoming its new province. Owing to the initiative of Guido Asveri Bottussi, an agile resident of Milan originating from Rijeka, the idea of founding a Gallery of Modern Art in Rijeka was born, as a very prominent institution that would exhibit works of Italian art from the 19th and

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21

McNaughton, Esther Helen. "Art Gallery Education in New Zealand during COVID-19." Museum Worlds 8, no. 1 (July 1, 2020): 135–48. http://dx.doi.org/10.3167/armw.2020.080110.

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This article describes the unprecedented coming together of New Zealand art gallery educators to respond to the challenges of the 2020 COVID-19 pandemic. This newly formed community of practice met virtually three times at critical points. At each stage, new concerns were discussed and understandings evolved. The gallery educators were able to approach shared issues cooperatively, enabling mutual support to a degree that had hitherto not been possible. By the end of these meetings, gallery educators were reestablishing their regular teaching practice with the integration of many of the innovat

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22

Hoffman, Sheila K., Aya Tanaka, Bai Xue, Ni Na Camellia Ng, Mingyuan Jiang, Ashleigh McLarin, Sandra Kearney, Riria Hotere-Barnes, and Sumi Kim. "Exhibition Reviews." Museum Worlds 9, no. 1 (July 1, 2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.

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Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by

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23

Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (April 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.

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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however

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24

Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Inclu

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25

Carr, Angela. "Ord, Douglas. The National Gallery of Canada: Ideas, Art, Architecture." Urban History Review 33, no. 1 (September 2004): 55–56. http://dx.doi.org/10.7202/1015678ar.

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26

Corwin, Sylvia K., and Ruth R. Perlin. "A Videodisc Resource for Interdisciplinary Learning: American Art from the National Gallery of Art." Art Education 48, no. 3 (May 1995): 17. http://dx.doi.org/10.2307/3193518.

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27

Smith, Tyler Jo. "Power and Pathos: Bronze Sculpture of the Hellenistic World." Museum Anthropology Review 10, no. 2 (December 31, 2016): 120–21. http://dx.doi.org/10.14434/v10i2.23066.

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28

BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Pic

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29

Bailey, Quentin. "William Hazlitt, the National Gallery, and the “Fairy Vision” of Art." Nineteenth Century Studies 26, no. 1 (January 1, 2012): 49–62. http://dx.doi.org/10.5325/ninecentstud.26.2012.0049.

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30

Scott, David W. "Le nouveau bâtiment de la National Gallery of Art, Washington, D.C." Museum International (Edition Francaise) 31, no. 2 (April 24, 2009): 112–17. http://dx.doi.org/10.1111/j.1755-5825.1979.tb01505.x.

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31

Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.

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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. H

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32

Dohe, Sebastian, and Malve Anna Falk. "Out of sight, out of mind." Journal of the History of Collections 32, no. 3 (October 18, 2019): 491–502. http://dx.doi.org/10.1093/jhc/fhz031.

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Abstract The grand-ducal gallery of Oldenburg is a forgotten collection today, though once it enjoyed international fame. In less than a century, the dukes of Oldenburg in Lower Saxony collected an exemplary gallery of Old Masters that attracted the attention and the praise of international connoisseurs and art historians like Wilhelm Bode, Abraham Bredius and Tancred Borenius. Then, after the end of the First World War, the collection fell apart. In 1919, it was disassembled and its masterpieces were sold, once again generating international attention, this time from art dealers, museums and

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33

Beglo, Jo Nordley, and Cyndie Campbell. "Artists in Canada: a national resource1." Art Libraries Journal 26, no. 2 (2001): 38–42. http://dx.doi.org/10.1017/s0307472200012189.

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Artists in Canada is a bilingual union list of documentation files on Canadian artists held by the National Gallery of Canada Library, and by 22 libraries and art galleries across the country. More than 42,700 artists are represented, with biographical information as well as locations for files. Originally compiled manually, Artists in Canada has been automated since the late 1970s and, as well as appearing in print format, has been accessible internationally on the World Wide Web since 1995.

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34

Marschalek, Douglas. "The National Gallery of Art Laserdisk and Accompanying Database: A Means to Enhance Art Instruction." Art Education 44, no. 3 (May 1991): 48. http://dx.doi.org/10.2307/3193255.

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35

Isomäki, Irmeli. "Documenting art in Finland." Art Libraries Journal 13, no. 1 (1988): 20–22. http://dx.doi.org/10.1017/s0307472200005514.

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Literature on Finnish art can be sought via the national bibliography and periodicals indexes and a bibliography of Finnish history; these bibliographies are available as databases as well as in printed form and on microfiche. A working party on art libraries is looking into ways of widening bibliographical control of art literature. The publications themselves, and unpublished information, can be found in libraries and archives of several kinds, from the Library of Helsinki University to the libraries and archives of colleges of art and architecture, museums, and artists’ associations. Many o

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36

Lindgren, Liisa. "The monitoring and documenting of contemporary art at the Central Archives in Helsinki." Art Libraries Journal 27, no. 2 (2002): 28–31. http://dx.doi.org/10.1017/s0307472200012670.

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The Central Art Archives, founded in 1990 as a documentation and research institution within the Finnish National Gallery, have attempted to accept the challenges that contemporary art presents to archiving by realising extensive documentation projects covering conceptual, performance, land and environmental art in Finland. The corpus of documentary material includes photographs, slides, videos, interview transcripts, exhibition catalogues, etc. Currently the Central Art Archives is working together with the Museum of Contemporary Art Kiasma on a media art project.

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37

Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.

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Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial

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38

Smith, Charles Saumarez. "THE INSTITUTIONALISATION OF ART IN EARLY VICTORIAN ENGLAND." Transactions of the Royal Historical Society 20 (November 5, 2010): 113–25. http://dx.doi.org/10.1017/s0080440110000071.

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ABSTRACTThis article explores the political and intellectual circumstances which led to the efflorescence of cultural institutions between the foundation of the National Gallery in 1824 and the National Portrait Gallery in 1856: the transformation of institutions of public culture from haphazard and rather amateurish institutions to ones which were well organised, with a strong sense of social mission, and professionally managed. This transformation was in part owing to a group of exceptionally talented individuals, including Charles Eastlake, Henry Cole and George Scharf, accepting appointmen

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39

Andersen, Josephine, and Nozuko Mjoli. "Beyond the walls: taking the art library to the community." Art Libraries Journal 20, no. 4 (1995): 22–24. http://dx.doi.org/10.1017/s0307472200009597.

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The South African National Gallery (SANG) Library has been making its resources available to school teachers since 1992. Now a new outreach project, which has been in a planning stage for some months, has been started with the loan of material to libraries situated at some distance from the centre of Cape Town.

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40

SHIPWAY, ALAN. "Artist Rooms: The Anthony d'Offay Collection, Scottish National Gallery of Modern Art." Art Book 17, no. 2 (May 2010): 68–69. http://dx.doi.org/10.1111/j.1467-8357.2010.01103.x.

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41

Gibbs, Andrea, and Pat Stevens. "MARC and the Computerization of the National Gallery of Art Photographic Archives." Visual Resources 3, no. 3 (September 1986): 185–208. http://dx.doi.org/10.1080/01973762.1986.9659087.

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42

May, Sally K., Jillian Huntley, Melissa Marshall, Emily Miller, John A. Hayward, Andrea Jalandoni, Joakim Goldhahn, et al. "New Insights into the Rock Art of Anbangbang Gallery, Kakadu National Park." Journal of Field Archaeology 45, no. 2 (January 1, 2020): 120–34. http://dx.doi.org/10.1080/00934690.2019.1698883.

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43

Lydon, Andrea. "Source – Uncovering Stories of Art in Ireland: digitizing Irish art research collections in the National Gallery of Ireland." Art Libraries Journal 45, no. 2 (April 2020): 55–60. http://dx.doi.org/10.1017/alj.2020.3.

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In 2017 the National Gallery of Ireland was awarded funding from the Department of Culture, Heritage and the Gaeltacht (DCHG) for the development of an online resource, focusing on its Irish art research collections. Entitled Source – Uncovering Stories of Art in Ireland, this multi-annual project aims to catalogue and digitise the collections in the ESB CSIA and ensure that these valuable collections relating to Ireland's artistic history and memory are preserved and can be easily accessed by researchers. Now in its penultimate year, Source will be launched in 2021.

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44

Arnadottir, Arndis S. "Art and libraries in Iceland." Art Libraries Journal 12, no. 2 (1987): 18–20. http://dx.doi.org/10.1017/s0307472200005149.

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Iceland’s cultural heritage dates back to the Vikings. While crafts have always been important to the Icelandic way of life, the country has become much more art and design conscious with the development of educational and cultural institutions in the last hundred years. The National Library receives copies of all Icelandic publications and publishes the Icelandic national bibliography (which includes art but omits some exhibition catalogues); in addition the Library of the National Gallery collects all published literature on Icelandic art. There is a major art collection in the University Li

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45

Kehoe, Elisabeth. "Working hard at giving it away: Lord Duveen, the British Museum and the Elgin marbles." Historical Research 77, no. 198 (October 28, 2004): 503–19. http://dx.doi.org/10.1111/j.1468-2281.2004.00220.x.

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Abstract In September 1928, just after the publication of the report of the royal commission on National Museums and Galleries, the art dealer Sir Joseph Duveen wrote to his good friend Edgar Vincent, Viscount D'Abernon, who had chaired the commission, offering to pay for a new gallery at the British Museum to house the Parthenon, or Elgin, marbles. The new gallery cost over £100,000 and took ten years to complete, during which time Duveen worked hard to impose his vision of a new gallery – a vision often at odds with that of the Museum establishment, and one that generated controversy, includ

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46

Harvey, Alice. "Arty choke: a response." Art Libraries Journal 41, no. 2 (April 2016): 78–87. http://dx.doi.org/10.1017/alj.2016.5.

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Definitions, uses and management of ephemera are explored in this article, a response to the pioneering ‘Arty choke: acquisition and ephemera’ by Nik Pollard, published in the 1977 winter issue of Art Libraries Journal. The author, in conversation with the Librarian of the Scottish National Gallery of Modern Art, discusses key ideas put forward in the original text and assess their relevance in relation to current art ephemera collections in UK libraries.

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47

Volker, Joye, and Jennifer Coombes. "The art of life online: creating artists’ biographies on the web." Art Libraries Journal 34, no. 1 (2009): 12–16. http://dx.doi.org/10.1017/s0307472200015704.

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The World Wide Web has created significant changes in how cultural institutions, including galleries, communicate their role as custodians of cultural content and research. In this paper we discuss a number of initiatives involving the Research Library and curatorial sections at the National Gallery of Australia to bring information about Australian visual arts to an online audience.

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der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.

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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art,

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49

Blessing, Peta Jane, and Simon Underschultz. "Expanding our reach: Special Collections and Archives of the NGA Research Library." Art Libraries Journal 44, no. 3 (June 12, 2019): 139–46. http://dx.doi.org/10.1017/alj.2019.19.

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The National Gallery of Australia Research Library and Archives (NGARL&A) offers unique collections and provides vital services within the contemporary Australian art world, but there has been a seismic shift in their users and use. This paper will explore the impact this change has had on our roles as art archivists and provide insight into new ways these collections are being used.

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50

Pane, J. B., J. Rilatupa, and S. Simatupang. "The development of an arts centre with the application of futuristic architecture." IOP Conference Series: Earth and Environmental Science 878, no. 1 (October 1, 2021): 012029. http://dx.doi.org/10.1088/1755-1315/878/1/012029.

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Abstract Art is a culture that was born from human freedom of expression. One type is contemporary art, which is the development of art that is affected by the impact of modernization, but contemporary and modern are two different things, because contemporary continues to keep up with the times. Appreciation for art in Indonesia has recently been appreciated both at the national and international levels, art appreciation is shown by the many art activities held, this has resulted in many artists being required to hold their work so they need a place such as an art gallery building so that the

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