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Littérature scientifique sur le sujet « Jacksonville Museum of Modern Art »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Jacksonville Museum of Modern Art"

Emerald, Serena, and Sinta Paramita. "Marketing Public Relations dalam Mempopulerkan Seni Modern dan Kontemporer di Museum." Prologia 8, no. 1 (2024): 160–69. http://dx.doi.org/10.24912/pr.v8i1.27575.

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The tourism industry is a growing economic sector worldwide. Art museums are one of the tourism attractions in Indonesia. Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) is the first museum in Indonesia to display a collection of modern art from Indonesia and around the world. Modern and contemporary art is still relatively new for the Indonesian public. This poses as a challenge for Museum MACAN to introduce itself and communicate modern and contemporary art to the public. As the industrial landscape evolves and competition becomes fiercer the fields of marketing and public

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Zalman, Sandra. "Modern Art, Inc.: The Museum of Modern Art v. Huntington Hartford." Grey Room 53 (October 2013): 32–59. http://dx.doi.org/10.1162/grey_a_00126.

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Lauter, Rolf. "The museum of modern art, Frankfurt." International Journal of Museum Management and Curatorship 5, no. 1 (1986): 27–31. http://dx.doi.org/10.1080/09647778609515002.

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Lauter, R. "The Museum of Modern Art, Frankfurt." Museum Management and Curatorship 5, no. 1 (1986): 27–38. http://dx.doi.org/10.1016/0260-4779(86)90006-3.

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Rasmussen, Briley. "Museum as Métier: Victor D'Amico and the Museum of Modern Art." Journal of Aesthetic Education 57, no. 4 (2023): 60–75. http://dx.doi.org/10.5406/15437809.57.4.04.

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Abstract Although Victor D'Amico's pedagogy and legacy are well known within the field of art education, discussions of his work often disregard the context in which he worked for over thirty years—The Museum of Modern Art. This essay examines D'Amico's key projects, considering how they were supported by and in collaboration with his museum colleagues. The result was a unique legacy steeped in a pedagogy of modern art and museum education. As a conclusion, this essay looks at the training of art educators and museum educators as requiring different kinds of foundational work and an acknowledg

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Eskilson, S. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." Journal of American History 93, no. 1 (2006): 267–68. http://dx.doi.org/10.2307/4486181.

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Woodson-Boulton, Amy. "The art of compromise: the founding of the National Gallery of British, Art, 1890-1892." Museum and Society 1, no. 3 (2033): 147–69. https://doi.org/10.29311/mas.v1i3.41.

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This article argues that the press played a key role in defining the Tate Gallery by facilitating a national debate about the siting, nature, and purpose of the proposed National Gallery of British Art. Art critics, politicians, journalists and a variety of newspaper editors weighed in on whether Britain should create a museum of modern art, a museum of national art, or both. The understanding of British art as quintessentially modern at the time of the founding of the Gallery meant that from the beginning the Tate Gallery was founded as both the National Gallery of British Art and a museum of

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Aulia, Rahma, Zairin Zain, and Valentinus Pebriano. "MUSEUM SENI RUPA MODERN DI PONTIANAK." JMARS: Jurnal Mosaik Arsitektur 9, no. 1 (2021): 270. http://dx.doi.org/10.26418/jmars.v9i1.45157.

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Museums in general are used to store, maintain, secure and utilize museum collections in the form of cultural heritage objects. Fine arts museums are appreciated through visions with visible media and have a physical form or simply presented as a show. The city of Pontianak does not yet have a place to carry out the function of this fine art museum. The museum collection focuses on modern fine art with long-term loans to the museum. There are some art enthusiasts in Pontianak but there is no place to channel this interest. The design method uses three stages. The first stage, data collection b

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Xuanzhua, Helle. "Uncompleted Symphony: In Search For 3 2 1!" Museological Review, no. 27 (January 24, 2025): 279–80. https://doi.org/10.29311/mr.vi27.4906.

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In the ongoing and everlasting place-making process, art museums in Shanghai coexist with the most complex urban structures, marked by unequal socioeconomic distribution and living conditions. In Uncompleted Symphony: In Search For 3 2 1 ! , I have assembled six photos that were taken in the Shanghai Duolun Museum of Modern Art, four photos of its surroundings, and a symbolic photo of tree. Shanghai Duolun Museum of Modern Art is Shanghai’s first state-owned museum dedicated solely to contemporary art. The museum is almost enclosed by construction sites and commercial shopping streets.

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Scott, David A. "Modern Antiquities: The Looted and the Faked." International Journal of Cultural Property 20, no. 1 (2013): 49–75. http://dx.doi.org/10.1017/s0940739112000471.

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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the v

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Thèses sur le sujet "Jacksonville Museum of Modern Art"

Alamsjah, Winnie 1974. "Rethinking the modern : imagining the future of the Museum of Modern Art, New York." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62954.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.<br>Includes bibliographical references (p. 103-105).<br>The thesis seeks to explore the implications of the emergence of the digital media as a new art form on the museum space. The museum as an institution has faced some ideological and philosophical contradictions in recent times. Economically, heightened competition for dwindling funds has begun to shape programming decisions. Philosophically, the museum's perceived authoritarian role clashes with the critiques of cultural hegemony that are so much a part

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Rasmussen, Briley. "Pedagogy for the modern : Victor D'Amico and the Museum of Modern Art, 1929-1969." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/42851.

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This thesis explores the history of the educational mission and programs of the Museum of Modern Art, New York (MoMA) from 1929 to 1969, interrogating how education programs were critical to the museum’s presentation, definition, and dissemination of modern art in this period. It centers on the work of Victor D’Amico, the first director of education at MoMA, and follows the course of his tenure at MoMA from 1937 to his retirement in 1969. The first two chapters of this thesis address the philosophical roots of the museum and its education program. It begins with an examination of the progressi

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Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.

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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning

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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.

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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the mus

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Nicolescu, Gabriela. "Art, politics and the museum : tales of continuity and rupture in modern Romania." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12491/.

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This thesis provides an exploration of moments of abrupt political change in modern Romania through an analysis of the multiple transformations that have occurred in the National Museum of the Romanian Peasant (NMRP). It traces the paradoxical process by which a museum, perceived as an ‘immutable institution’ not only reflected, but also became a stage for supporting the shift from monarchy to communism and the ensuing of the post-communist order. It reveals how the present-day NMRP is a mixture of institutions, fragments and deletions, a problematic assemblage of people and practices. This mi

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Johansson, Michael. "Bildhuggaren, soldaten, och modern : Ivar Johnssons ”Arbete och livsbejakelse” (1939)." Thesis, Linköpings universitet, Avdelningen för kulturvetenskaper, KVA, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-124698.

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Denna uppsats har berört Ivar Johnssons verk ”Arbete och Livsbejakelse” (1939) som finns placerad på fasaden av Östergötlands museum. Uppsatsens syfte är att beskriva verkets tillkomsthistoria samt undersöka dess relation till arbetartematiken och ideologi. Tillkomsthistorien har kunnat skrivas genom en redogörande genomgång av museibyggnadskommitteens protokoll samt samtida press. För undersökningen av verkets innehåll och motivbild har en analys gjorts med utgångspunkt från Erwin Panofskys och Jan- Gunnar Sjölins metoder. En diskussion görs efter analysen och resultatet visar

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Gray, Campbell Bruce. "Recent design of the modern art museum in London : dissonance in theory and phenomenology." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240406.

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Wright, Lesley. "Surviving in New York : an exploration of development at the Museum of Modern Art." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/85.

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Uzumyemezoglu, Victoria Stephanie <1992&gt. "Istanbul Modern Museum: storia e analisi di un’istituzione museale moderna e contemporanea in Oriente." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13043.

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Il presente lavoro espone una panoramica sull’arte moderna e contemporanea in Turchia e si occupa in particolare di analizzare l'attività dell'Istanbul Modern Museum, nato nel 2004, che è il primo museo di arte moderna e contemporanea della città; città che a sua volta è stata una metropoli caratterizzata da un prezioso patrimonio culturale e artistico. Il lavoro si apre analizzando il sistema dell’arte in Turchia, le correnti artistiche, la storia della stessa città di Istanbul e il suo contesto culturale. Viene presentato poi uno studio dettagliato sul Museo Moderno di Istanbul: la storia d

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Wasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.

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Livres sur le sujet "Jacksonville Museum of Modern Art"

Jacksonville Museum of Modern Art. The Jacksonville Museum of Modern Art at the Times Union Center for the Performing Arts. Jacksonville Museum of Modern Art?, 1999.

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Museum, Jacksonville Art, ed. Andrew Wyeth: Southeastern collections : Jacksonville Art Museum, January 19, 1992-April 19, 1992. The Museum, 1992.

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Zugasti, Carlos Etxepare. Irish Museum of Modern Art. Kutxa, 2007.

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editor, Airoumian Zara, and Igitʻian, Henrik, writer of foreword, eds. Modern Art Museum of Armenia. Tigran Mets Publishing House, 2017.

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James, Wines, Muschamp Herbert, Architectural Association, and SITE, eds. Museum of Modern Art, Frankfurt. Architectural Association, 1985.

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Wines, James. Museum of Modern Art, Frankfurt. Architectural Association, 1985.

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Henrik, Igitʻian, Airoumian Zara, Kʻochʻar Vahan, Khachaturov Vladimir, and Ēmin Artashes, eds. Modern Art Museum of Armenian. Tigran Mets Publishing House, 2012.

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Li︠u︡dvig, Muzeĭ. Muzeĭ Li︠u︡dviga v Russkom muzee =: Ludwig Museum in the Russian Museum = Museum Ludwig im Russischen Museum. Palace Editions, 1998.

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Sotheby's (Firm). Impressionist & modern art. Sotheby's, 2003.

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1944-, Lane John R., and San Francisco Museum of Modern Art., eds. The making of a modern museum: San Francisco Museum of Modern Art. San Francisco Museum of Modern Art, 1994.

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Chapitres de livres sur le sujet "Jacksonville Museum of Modern Art"

Brown, Michelle P. "The Modern Medieval Museum." In A Companion to Medieval Art. John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch39.

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Negri, Massimo. "Louisiana Museum of Modern Art." In Revisiting Museums of Influence. Routledge, 2020. http://dx.doi.org/10.4324/9781003003977-4.

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Hay, Bruce L. "Schoeps v. Museum of Modern Art." In Nazi-Looted Art and the Law. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64967-2_11.

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Hay, Bruce L. "Grosz v. Museum of Modern Art." In Nazi-Looted Art and the Law. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64967-2_8.

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MacLeod, Suzanne. "Louisiana Museum of Modern Art, Denmark, 1958." In Museums and Design for Creative Lives. Routledge, 2020. http://dx.doi.org/10.4324/9780429398698-23.

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Bewer, Francesca G. "Experiments in a Teaching Museum." In Histories of Conservation and Art History in Modern Europe. Routledge, 2022. http://dx.doi.org/10.4324/9781003127369-11.

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Klöpfer, Thorsten, and Oliver Kauselmann. "MOMAK — Museum of Modern Art Kabul http://www.momak.org." In Berichte des German Chapter of the ACM. Vieweg+Teubner Verlag, 2003. http://dx.doi.org/10.1007/978-3-322-80058-9_56.

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Basilio Gaztambide, Miriam M. "A “Missing Link”." In Latin American Art at The Museum of Modern Art. Routledge, 2025. https://doi.org/10.4324/9780203754122-5.

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Basilio Gaztambide, Miriam M. "Revising Modernism? The Place of Latin American Art in MoMA's Collection Galleries, 2004–2023." In Latin American Art at The Museum of Modern Art. Routledge, 2025. https://doi.org/10.4324/9780203754122-6.

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Basilio Gaztambide, Miriam M. "“An Evolutionary Pedigree”." In Latin American Art at The Museum of Modern Art. Routledge, 2025. https://doi.org/10.4324/9780203754122-2.

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Actes de conférences sur le sujet "Jacksonville Museum of Modern Art"

Dobranszky, Diana de Abreu. "Beaumont Newhall e o Museum of Modern Art de Nova York." In Encontro da História da Arte. Universidade Estadual de Campinas, 2007. http://dx.doi.org/10.20396/eha.3.2007.3682.

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Widharini, Febrika, and Dorien Kartikawangi. "Integrated Marketing Communication at Museum MACAN: Modern and Contemporary Art in Nusantara." In The 2nd International Conference on Inclusive Business in the Changing World. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008433205200529.

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Quinn, Terence J. "Making the Absent Object Present: Towards a holographic museum of modern art (hMoMA)." In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.29.

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Арутюнян, Ю. И. "Romanesque Monumental Art of Catalonia: Modern Approaches to Visual Recreating the Integrity of the Monument." In Сохранение культурного наследия. Изобразительные искусства. Исследования и реставрация. Материалы V Международной научно-практической конференции. Crossref, 2024. https://doi.org/10.62625/4848.2024.99.73.020.

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В Национальном музее каталонского искусства в Барселоне разработана схема восстановления визуальной целостности романских памятников, убранство которых было утрачено. Музейные технологии, использующие принципы виртуальной и дополненной реальности, позволяют погрузить зрителя в восприятие памятника в его художественном единстве. Наиболее значимым примером является воссоздание комплекса деревянной скульптуры из Эрил-ла Валл, отдельные фигуры которого ныне находятся в разных музеях. Росписи апсиды Сан-Клименте в Таулле, перенесенные в музей в Барселоне, были виртуально реконструированы Альбертом

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BUDAK, V. P., I. R. GALLIAMOV, and D. A. KISELEV. "VIRTUAL LABORATORY FOR ANALYZING MUSEUM LIGHTING." In GRAPHICON 2024. Omsk State Technicl University, 2024. http://dx.doi.org/10.25206/978-5-8149-3873-2-2024-105-122.

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Lighting plays a key role in the perception of works of art. This is a really important issue, which for a long time was not interested in, because there were strict regulations on how to light, formulated back in the USSR, but time flies forward and recommendations and requirements should keep up and keep up with modern trends and technological capabilities. For effective perception of works of art it is important to choose the right lighting. It should accentuate the shape, texture and color of the object, as well as create natural shadows and atmosphere to help the viewer better understand

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Subroto, Dwina, and Arga Hananto. "The Influence of Experiential Quality, Excitement, Museum Image, and Experiential Satisfaction toward Revisit Intention (The Empirical Study at Modern and Contemporary Art Museum in Jakarta)." In Proceedings of the 2nd International Conference of Business, Accounting and Economics, ICBAE 2020, 5 - 6 August 2020, Purwokerto, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.5-8-2020.2301091.

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Bîzgu, Tatiana. "The art of traditional vests — recovery of treasure." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.29.

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Leather, fur and textile vests are part of the traditional costume of Transcarpathia and not only. This article presents the results of the analysis of vests from the collection of the National Museum of Ethnography and Natural History in Chisinau. The task was to analyze the materials, cut, decoration techniques of the studied exhibits. After a comparative analysis of this collection, was created a gallery with the most remarkable exhibits according to the studied parameters. The growing interest in traditional clothing among designers and artists contributes to the preservation and inclusion

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Вертяшкина, Анастасия Валентиновна, and Андрей Анатольевич Ярцев. "MUSEUM COMPLEX “FRIEDLAND GATE”: HISTORY OF 20 YEARS OF MUSEUM IFICATION OF FORTIFICATIONS." In Международная научно-практическая конференция «Музеефикация фортификационных сооружений. проблемы и пути их решения». Crossref, 2023. http://dx.doi.org/10.54016/svitok.2023.22.91.001.

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Статья посвящена процессу музеефикации Фридландских ворот Кенигсбергской крепости. Задачей любой музеефикации является установление, раскрытие и сохранение исторической, научной, культурной, воспитательной, художественной, эстетической значимости объекта. За 20 лет прошедших с момента придания Фридландским воротам статуса музея было решено множество проблем. При этом в его состав были включены близлежащие крепостные постройки, что позволило увеличить объем экспозиционного пространства и рабочей территории. На сегодняшний день комплекс представляет ценность и как памятник фортификационного иску

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Барсукова, Н. И., and С. В. Дейнека. "SOUVENIR AS AN ELEMENT OF THE MUSEUM’S CORPORATE IDENTITY." In Образ, знак и символ сувенира. Crossref, 2025. https://doi.org/10.54874/9785605245704.2024.10.02.

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Анализируются основные тенденции в области сувенирной продукции современных художественных музеев. На примере проектируемого Музея искусств юга России (МИЮР) рассматривается его сувенир как элемент фирменного стиля. Музейный сувенир несет в себе часть музейной культуры, является ее лицом, а также монетизированным подспорьем. В контексте современного развития туристической индустрии регионов России, музей может стать брендом региона, а сувенирная продукция — его материализованным образом. The main trends of souvenirs of art museums of our time are analyzed. Using the example of the projected MI

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Stăvilă, Tudor. "Scenographic art in interwar Bessarabia." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.01.

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Th e history of scenographic art in the Republic of Moldova coincides with the appearance of the National Th eater founded in Chisinau in 1921. Testimonies in this regard are the works of Bessarabian artists that are preserved in the collections of the National Museum of Art of Moldova. An impetus for the emergence of modern Bessarabian scenography was the Russian emigrant Georges Pojedaeff , who appeared in Chisinau in 1920 and befriended. Auguste Baillayre, who organized the personal exhibition of the scenographer at the School of Fine Arts on the borders of 1920-1921. Th anks to Auguste Bai

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Rapports d'organisations sur le sujet "Jacksonville Museum of Modern Art"

Design in 20th Century Barcelona: From Gaudí to the Olympic Games. Inter-American Development Bank, 1997. http://dx.doi.org/10.18235/0006404.

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Fifty objects, from original bronzes and maquettes by Antoni Gaudí, to modern furniture and appliances, and Cobi, Javier Mariscal's design adopted for the mascot of the Olympic Games in 1992. The exhibit was developed with Barcelona architects Juli Capella and Quim Larrea, and presented in honor of the 38th Annual Meeting of the IDB Board of Governors held in March, 1997 in Barcelona. Most of the important 20th century Catalonian designers were represented, including Monegal, Sert, Bonet, Ricard, Tusquets, Lluscà, and Tresserra. Works were loaned from the Gaudí Museum at the Temple of the Holy

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