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Artykuły w czasopismach na temat „Canajoharie Library and Art Gallery”

Autor: Grafiati

Data publikacji: 26 lipca 2024

Data aktualizacji: 31 lipca 2025

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1

Bolotova, Alexandra I. "The Tretyakov Gallery Library." Art Libraries Journal 17, no. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.

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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as b

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2

Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Ar

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3

Neethling, Lynnda. "The Johannesburg Art Gallery Library: Looking to the Future." Art Libraries Journal 20, no. 4 (1995): 16–18. http://dx.doi.org/10.1017/s0307472200009573.

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The Johannesburg Art Gallery opened in 1915. A collection of books intended for the Gallery, but housed elsewhere pending the completion of the building, became the separate Michaelis Art Library; the Gallery gradually formed its own library, for the use of the curators. In 1986 the Gallery Library was accommodated in a new wing. Selection for the Library has reflected the Gallery’s diverse collecting activities. Latterly, the Library has worked closely with the Gallery’s education department, and as a result its resources have been made available to the wider community. In 1994 the Library wa

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4

Massis, Bruce. "Art galleries in the library." Information and Learning Science 118, no. 9/10 (2017): 566–68. http://dx.doi.org/10.1108/ils-08-2017-0083.

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Purpose The purpose of this study is to report that the library has recognized the benefit to the community of including art gallery space in the library. Design/methodology/approach This paper is a literature review and commentary on this topic that has been addressed by professionals, researchers and practitioners. Findings Exposure to art in the library can open and expand worlds that might never have been available to some and can provide the populace with greater access directly in their own community. Originality/value The value in exploring this topic is to provide libraries that may no

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5

Tulloch, Pamela. "Integrating art – a Glasgow style." Art Libraries Journal 28, no. 3 (2003): 42–46. http://dx.doi.org/10.1017/s0307472200013237.

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Glasgow’s Mitchell Library is one of the largest public reference libraries in Europe. Recently, the City Council’s Cultural and Leisure Services staff have implemented an innovative approach to providing art information for the general public in the ‘Library @ GoMA – the learning gallery’, which opened in 2002 within the Gallery of Modern Art. In addition to the support the library offers to the Gallery’s activities, an ambitious programme of digitisation is under way to enable access to more of the Mitchell’s treasures.

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6

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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7

Shu, Yue, and Reiko Yoshimura. "The Chinese Collection of the Freer Gallery of Art | Arthur M. Sackler Gallery Library." Art Libraries Journal 39, no. 2 (2014): 33–38. http://dx.doi.org/10.1017/s0307472200018290.

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The library of the Freer Gallery of Art | Arthur M. Sackler Gallery is considered one of the finest East Asian art research collections in the United States. The development and progress of the library’s Chinese Collection has mirrored the historical changes in the field of Chinese art studies in the last one hundred years. Today, the library collection has more than 90,000 volumes, including 17,437 Chinese language monographs and 836 serials in over 25,000 volumes. In a landscape of changing scholarship, technology and user demands, the library is balancing the use of printed materials and di

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8

Dogu, Hikmet. "Exhibiting library books in an art gallery." College & Research Libraries News 50, no. 3 (1989): 210–12. http://dx.doi.org/10.5860/crln.50.3.210.

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9

Lydon, Andrea. "The right space: 150 years of housing a national gallery's library and archive collection." Art Libraries Journal 43, no. 1 (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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10

Schnell, Hayley. "The Technikon Natal Art Library: An overview." Art Libraries Journal 20, no. 4 (1995): 19–21. http://dx.doi.org/10.1017/s0307472200009585.

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The Fine Art Department at Technikon Natal is supported by the Library’s art section, and by the Technikon art gallery. Within the library, the art collection, which is the responsibility of a subject librarian, is an integral part of a multi-disciplinary resource. The scope of the collection is broad, but special efforts are being made to collect documentation of South African art.

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11

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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12

Ochigbo, Best, and Ime Ukim. "Achieving Excellence in Art Gallery Management in a Global Pandemic." Asian Journal of Interdisciplinary Research 5, no. 1 (2022): 19–25. http://dx.doi.org/10.54392/ajir2213.

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The recent global pandemic, Covid-19, has crippled the activities of virtually all sectors of the world’s economy, including art. This has resulted in low patronage and, in some cases, a total shutdown of art galleries in the world. Managing an art gallery has, therefore, become a herculean task. This discourse, therefore, takes a look at achieving excellence in art gallery management in a global pandemic. Its objectives are to find ways of achieving excellence in art gallery management in a global pandemic; advance possible ways or means of creating innovative management strategies, and ascer

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13

Pulford, David. "The Library of the Barber Institute of Fine Arts at the University of Birmingham." Art Libraries Journal 35, no. 4 (2010): 24–28. http://dx.doi.org/10.1017/s0307472200016631.

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The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.

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14

Frost, Jonathan. "The Michaelis Art Library: Thirty Years in a Changing City." Art Libraries Journal 20, no. 4 (1995): 13–15. http://dx.doi.org/10.1017/s0307472200009561.

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The Michaelis Art Library, part of the Reference Division of the Johannesburg Public Library Service, originated with a collection of books purchased for the planned Johannesburg Art Gallery in the 1920s. Temporarily and then permanently housed in the Public Library, the collection became the nucleus of a growing art library, the largest public art library in South Africa. In recent years usage of the library declined as a result of political tensions, but then increased in parallel with a surge of vitality in the arts which heralded the end of apartheid and the emergence of democracy. During

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15

Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (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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16

Murdoch, John W. "Aberdeen Art Gallery image database project: A Prototype Low-Cost Art Image Database." Art Libraries Journal 21, no. 1 (1996): 23–28. http://dx.doi.org/10.1017/s030747220000972x.

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As a pilot project, a low-cost image database of selected works in the Aberdeen Art Gallery has been created. The database is available to members of the public in the Gallery’s library. It is hoped that the project can be developed further, with a CD-ROM as a possible outcome.

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17

Tinsley, Philippa. "Admusing adventures at Wolverhampton Art Gallery." VINE 27, no. 4 (1997): 47–50. http://dx.doi.org/10.1108/eb040655.

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18

Hammond, Catherine. "Escaping the digital black hole: e-ephemera at two Auckland art libraries." Art Libraries Journal 41, no. 2 (2016): 107–14. http://dx.doi.org/10.1017/alj.2016.10.

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The collections of e-ephemera of two Auckland art libraries are discussed here: the E H McCormick Research Library at Auckland Art Gallery Toi o Tāmaki, a specialist art library within one of New Zealand's major public art galleries, and the Fine Arts Library Te Herenga Toi at the University of Auckland which supports the research and teaching needs of the Elam School of Fine Arts and the Department of Art History. While there are differences in approach both institutions see the value in preserving print and e-ephemera and are looking to make this material more accessible to users, despite nu

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19

Vicars-Harris, Oliver. "COLLAGE “the Corporation of London Library & Art Gallery Electronic”." Art Libraries Journal 24, no. 1 (1999): 48–51. http://dx.doi.org/10.1017/s0307472200019349.

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The Corporation of London (the local authority for the City) recently launched COLLAGE, a powerful custom-designed visual information system, whose aim is to transform public accessibility to the extensive visual collections held in its libraries and galleries. Over a period of eighteen months a dedicated team of staff photographed, digitised and indexed over 30,000 works of art as the result of an intensive data imaging project. So far the works are drawn from the Guildhall Library and Guildhall Art Gallery - collections particularly renowned for their strength in material relating to London,

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20

Vicars‐Harris, Oliver. "COLLAGE: the Corporation of London Library and Art Gallery Electronic." New Library World 100, no. 2 (1999): 60–64. http://dx.doi.org/10.1108/03074809910263783.

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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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22

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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23

Woodhouse, Nicola. "The Hector Library, Museum of New Zealand Te Papa Tongarewa." Art Libraries Journal 24, no. 4 (1999): 31–38. http://dx.doi.org/10.1017/s0307472200019799.

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The Hector Library started life in 1867 as a science library with a strong geological bent. The establishment of Te Papa, New Zealand’s new national museum, in 1992 led to a merger with the erstwhile National Art Gallery Research Library, renowned for its resources on contemporary art. The enlarged Hector, with dual specialities in art and natural history, is part of the re-designed information package servicing Te Papa visitors (both in person and distant) at the Museum’s new waterfront site which opened to the public in February 1998. This paper outlines the package, focusing on the Hector’s

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24

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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25

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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26

Blessing, Peta Jane, and Simon Underschultz. "Expanding our reach: Special Collections and Archives of the NGA Research Library." Art Libraries Journal 44, no. 3 (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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Dwyer, Melva J. "Fine arts libraries in British Columbia: culture on the West Coast of Canada." Art Libraries Journal 24, no. 3 (1999): 5–7. http://dx.doi.org/10.1017/s0307472200019556.

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Fine arts and culture have existed in British Columbia from the time that the First Peoples came to the North Pacific coast of Canada. Vancouver’s first fine arts library was established in 1930 at the Vancouver Public Library; significant collections have subsequently been developed at the Vancouver Art Gallery, Emily Carr Institute of Art & Design and the University of British Columbia. They serve a diverse clientele: students, artists and researchers. Outlook, a province-wide network, provides access via the Internet to library catalogues of public, college and institution libraries thr

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Franklin, Jonathan. "Going, going, gone: art auction catalogues from 19th-century Canada." Art Libraries Journal 24, no. 4 (1999): 44–48. http://dx.doi.org/10.1017/s0307472200019817.

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The art auction trade flourished in Canada as the 19th century progressed, pitting local artists against importers of European art; yet today there are relatively few preserved catalogues to show for all this activity. The National Gallery of Canada Library has been documenting the survivors, creating records in the SCIPIO database and arranging for microfilming. Individual lots have also been indexed (some of the idiosyncracies of auction catalogue entries are described below) and a Library Occasional Paper is to be published with a bibliographical listing and historical essay on the art auct

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29

Basagni, Carla. "Introducing our secondary school students to an important art library: Internships at the Uffizi Prints and Drawings Library." Art Libraries Journal 42, no. 4 (2017): 195–97. http://dx.doi.org/10.1017/alj.2017.35.

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How can we entice adolescents into a “behind- the- scenes” world of an art library? The internship project at the Prints and Drawings Library is now in its 7th successful year. Young Florentine students are introduced to the working of the bibliographic research done by the librarians and are given the opportunity to carry out their own projects. At the end of the week they visit the masterpieces on show in the Uffizi Gallery.

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Franklin, Jonathan. "Museum libraries and library history: joining the research conversation at the National Gallery." Art Libraries Journal 44, no. 1 (2019): 19–22. http://dx.doi.org/10.1017/alj.2018.35.

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Responding to widespread changes in the role of the museum library, the National Gallery Library is adapting to join the research conversations within the institution, as well as in the wider arenas of art history and library history. Using the historic Eastlake Library as a focus, the library has been embarking on projects on several fronts: cataloguing rare books online; selective digitisation; collaboration with the Digital Cicognara project; publishing our own research; and establishing an innovative Collaborative Doctoral Partnership as one way of creating research opportunities for other

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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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Cieszkowski, Krzysztof Z. "Heresy and the pleasures of the hunt." Art Libraries Journal 16, no. 01 (1991): 20–24. http://dx.doi.org/10.1017/s0307472200018927.

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This conversation between the distinguished art historian, Professor Sir Ernst Gombrich, and Krzysztof Z. Cieszkowski of the Tate Gallery Library, took place in Professor Gombrich’s home late in 1990. Professor Gombrich recalls making use of a number of libraries, and offers some thoughts — from an art historian’s point of view — on librarians, who, it is suggested, tend to make too much of professional skills at the expense of knowledge.

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Young, Jacklyn. "Allied forces: libraries and museums collaborating on World War II provenance research." Art Libraries Journal 29, no. 2 (2004): 33–36. http://dx.doi.org/10.1017/s0307472200013596.

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In recent years museums and galleries have come under scrutiny following claims that artworks confiscated or looted during the Second World War, and still unaccounted for, have made their way into public collections. In response, many such institutions worldwide have been endeavouring to reaffirm the integrity of their collections. The Queensland Art Gallery has established a Provenance Research Team to complete its records for artworks of European origin which have missing provenance details during the period 1933-1945. This paper highlights the role the Gallery Library is taking in supportin

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Franklin, Jonathan. "Thinking outside the books: from printed page to web resource at the National Gallery of Canada Library and Archives." Art Libraries Journal 34, no. 1 (2009): 5–10. http://dx.doi.org/10.1017/s0307472200015698.

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How does an art museum library move into the digital arena? An account of four recent and current projects at the National Gallery of Canada Library and Archives, involving the extraction of information of value from printed matter and its re-presentation on the web, throws light on this topic. The selection of resources for digitization, and the challenges of an integrated approach, have also raised issues requiring discussion and solution.

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Sorensen, Lee, and Irene Avens. "ACADEMIC TOL: On Running a Small Art Gallery in an Academic Library." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 3 (1987): 121–23. http://dx.doi.org/10.1086/adx.6.3.27947785.

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Cronquist, Carol. "An Ohio librarian makes a ‘find’." Art Libraries Journal 18, no. 4 (1993): 24–27. http://dx.doi.org/10.1017/s030747220000852x.

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In the course of researching the life and work of a 19th century British artist, Henry Courtney Selous, several London museums and libraries were visited during 1993. The Royal Academy and the National Portrait Gallery yielded some information, but at the Guildhall Library the author’s attention was drawn to a diary held at the National Art Library which on perusal seemed undoubtedly to have been compiled by Selous. The Library has subsequently revised the diary’s catalogue entry to incorporate this attribution.

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Houghton, Beth. "The Hyman Kreitman Research Centre for the Tate Library and Archive." Art Libraries Journal 27, no. 4 (2002): 19–24. http://dx.doi.org/10.1017/s0307472200012815.

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The Hyman Kreitman Research Centre for the Tate Library and Archive opened at Tate Britain in May 2002. The Library (covering those areas collected by the Gallery) and the Archive (covering British art since 1900) together constitute a centre of excellence for the study of modern art, particularly British. The new Centre, comprising storage for up to 20 years and reading rooms for around 40 people, has been built in a refurbished area of Tate Britain. The design aimed to comply with BS5454 and issues of compact storage, security, reading rooms without daylight, fire and flood hazards have been

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38

Derillo, Eyob. "Exhibiting the Maqdala Manuscripts: African Scribes: Manuscript Culture of Ethiopia." African Research & Documentation 135 (2019): 102–16. http://dx.doi.org/10.1017/s0305862x0002392x.

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The major purpose of this article is to document the exhibition “African Scribes: Manuscript Culture of Ethiopia” (hereafter “African Scribes”), which opened on 6 February 2018 in the Sir John Ritblat Treasures of the British Library Gallery in London.Items in the Sir John Ritblat Treasures of the British Library Gallery range from the 4th century Codex Sinaiticus to John Lennon's letters. The display tells the I literary history of Europe, Asia and the Middle East. Out of the 240 items on permanent display, there are only two items from Ethiopia representing Africa.The main objectives of the

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Di Benedetto, Claudio. "The Uffizi Library: a collection that documents collections." Art Libraries Journal 35, no. 2 (2010): 4–7. http://dx.doi.org/10.1017/s0307472200016321.

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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In ad

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40

Beglo, Jo. "Today is for tomorrow: the National Gallery of canada Library collection policy in context." Art Libraries Journal 19, no. 1 (1994): 13–15. http://dx.doi.org/10.1017/s0307472200008634.

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Art librarians in Canada find themselves in the position of Janus, who simultaneously turns one face to the past and the other toward the future. They have the responsibility to care for collections from the past; at the same time they face a future of continuous change, escalating costs, dwindling resources and institutional agendas. Long-range planning is essential, and an up-to-date collection development policy is fundamental for identifying strengths and weaknesses, confirming commitments and setting priorities. The National Gallery of Canada Library (NGCL) has recently developed a draft

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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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Phillpot, Clive. "Three acronyms, two opportunities, one millenium: ruminations on the present and future states of art Librarianship in Britain, occasioned by the 25th birthday of ARLIS/UK & Ireland." Art Libraries Journal 20, no. 1 (1995): 4–6. http://dx.doi.org/10.1017/s0307472200009159.

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ARLIS/UK & Ireland can be proud of the achievements of its first 25 years, but might benefit both from re-examining its objectives and by broadening its constituency. The fact that the National Art Library (NAL) is now fulfilling a role commensurate with that title is welcome indeed, but art libraries should be wary of depending too much on the leadership of a national library. The Visual Arts Library and Information Plan (VALIP) offers a not-to-be-missed opportunity for ARLIS and the NAL together to ensure the continuing development of art librarianship in Britain into the foreseeable fut

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Schmocker, Susan. "Strengths and weaknesses in the international library exchange programme at the Art Gallery of New South Wales." Art Libraries Journal 13, no. 4 (1988): 24–25. http://dx.doi.org/10.1017/s0307472200005952.

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Since the 1970’s the international Exchange Programme at the Art Gallery of New South Wales has become more demanding. Consequently attention has been focussed on the strengths and weaknesses of various aspects of the programme. While some, though not all, of these weaknesses may be capable of being overcome, they are in any case outweighed by the benefits of exchange.

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Farmer, Thomas. "Christopher de Hamel, The Medieval World at Our Fingertips: Manuscript Illuminations from the Collection of Sandra Hindman. London: Harvey Miller Publishers, 2018, 264 pp., 270 color illus." Mediaevistik 31, no. 1 (2018): 453–54. http://dx.doi.org/10.3726/med012018_453.

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Sandra Hindman has enjoyed a distinguished career as an art historian: She taught at Northwestern University (1984–2002), published numerous books and articles, served on the Board of Trustees of the Newberry Library (2003–14), and founded the gallery Les Enluminures, which purchases medieval manuscripts and miniatures. To honor her scholarship, from January 27 to May 28, 2018, the Art Institute of Chicago mounted an exhibition of thirty manuscript miniatures from Hindman’s personal collection, seven of which she had donated to the Art Institute. The Medieval World at Our Fingertips is the cat

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Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery." Art Libraries Journal 20, no. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.

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Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SA

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Sari, Desy Novita, and Rahmi Rahmi. "National Gallery of Indonesia’s Website Evaluation Using WebQual 4.0." Paradigma - Jurnal Komputer dan Informatika 25, no. 2 (2023): 71–80. http://dx.doi.org/10.31294/p.v25i2.2022.

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Although there is a lot of research on websites, there is very little research on art gallery websites in Indonesia. As a result, this study examines the quality of the National Gallery of Indonesia’s (commonly referred to as Galnas) website as a source providing information about the gallery by analyzing end-user perceptions through methods such as WebQual 4.0, importance–performance analysis, and customer satisfaction index (CSI). Fifty undergraduate and postgraduate college students in the Library and Information Science (LIS) program of the Faculty of Humanities at the University of Indone

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Reed, Robyn, and Julie Lohnes. "Tripping the Black fantastic at a PWI: Or how Afrofuturist exhibitions in an academic library changed everything." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (2019): 116–29. http://dx.doi.org/10.1177/0955749019876383.

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There is diversity in our stacks and cultural collections. How might an academic library present these differently from a museum or art gallery to create dynamic and inclusive exhibitions? This case study will examine the use of our library’s spaces to showcase its collections and art, which are often more representative of diverse populations than the campus at large, to present a theoretical and practical framework with which other libraries might exhibit their rich resources. As part of our theoretical discussion, we will take up such practical issues as displaying cultural work in a non-mu

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Beaucar, Barbara, Adrienne Pruitt, and Katy Rawdon. "‘Art is no trivial matter’: the Barnes Foundation Archives and Library." Art Libraries Journal 33, no. 1 (2008): 22–27. http://dx.doi.org/10.1017/s0307472200015182.

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The Barnes Foundation is an educational institution located near Philadelphia, Pennsylvania. The Foundation’s world-renowned art collection and its twelve-acre arboretum serve its mission to promote the advancement of education and the appreciation of fine arts and horticulture, through classes and workshops held in the Gallery and the Arboretum. The staff of the Foundation’s long-neglected archives and library is in the process of organizing and cataloguing its collections, and has recently completed a major grant-funded project to create finding aids for several of them.‘[A]rt is no trivial

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Koot, Geert-Jan. "From research library to research services: Stories of change at the Rijksmuseum." Art Libraries Journal 43, no. 1 (2017): 2–8. http://dx.doi.org/10.1017/alj.2017.41.

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The Rijksmuseum project in Amsterdam began in 1999 with a government plan to celebrate the millennium in the Netherlands with a series of grand cultural projects. It was recognized that the museum building had been neglected, and urgently needed modernizing. Following a European search, the Spanish architects of Cruz y Ortiz Arquitectos won the competition in 2001. The renovation would also focus on new spaces for the entrance hall and a pavilion for Asian art. The main art gallery and the library were selected as places to receive an especially thorough renovation and restauration. The Cuyper

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Zalewski, Leanne M. "Pioneering print collector: Samuel Putnam Avery (1822–1904)." Journal of the History of Collections 31, no. 2 (2018): 403–10. http://dx.doi.org/10.1093/jhc/fhy034.

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Abstract Pioneering print collector and curator, Samuel P. Avery (1822–1904), donated a collection of 17,775 prints, including works by Cassatt, Whistler, Turner and Manet, to establish the Print Collection of the New York Public Library in 1900. Prior to his donation, Avery curated print exhibitions at the Library, Metropolitan Museum of Art, Grolier Club, and Union League Club. Through an examination of Avery’s persistent efforts to exhibit exemplary prints in museum and gallery settings – including an unusual collection of prints by women – this article provides evidence that Avery’s ground

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