Public art galleries in Britain and Germany: An acquisitions policy for the 1990s An International Conference organized by the Goethe-Institut, London and the National Art Collections Fund, and held in London, at the Goethe-Institut, on 22 and 23 February 1991

1991 ◽  
Vol 10 (2) ◽  
pp. 118
Author(s):  
E Brandt
Keyword(s):  
Public Art ◽  
Art Galleries ◽  
Art Collections ◽  
International Conference

Conventions and temporal differences in painted faces: A study of posture and color distribution

2020 ◽  
Vol 2020 (11) ◽  
pp. 267-1-267-8
Author(s):  
Mitchell J.P. van Zuijlen ◽  
Sylvia C. Pont ◽  
Maarten W.A. Wijntjes
Keyword(s):  
Scientific Community ◽  
Human Face ◽  
Art Galleries ◽  
Art Collections ◽  
Color Distribution ◽  
Scientific Domain ◽  
The Face ◽  
And Gender ◽  
Changes Over Time ◽  
Over Time

The human face is a popular motif in art and depictions of faces can be found throughout history in nearly every culture. Artists have mastered the depiction of faces after employing careful experimentation using the relatively limited means of paints and oils. Many of the results of these experimentations are now available to the scientific domain due to the digitization of large art collections. In this paper we study the depiction of the face throughout history. We used an automated facial detection network to detect a set of 11,659 faces in 15,534 predominately western artworks, from 6 international, digitized art galleries. We analyzed the pose and color of these faces and related those to changes over time and gender differences. We find a number of previously known conventions, such as the convention of depicting the left cheek for females and vice versa for males, as well as unknown conventions, such as the convention of females to be depicted looking slightly down. Our set of faces will be released to the scientific community for further study.

A cataloguing manual for Australia

1981 ◽  
Vol 6 (2) ◽  
pp. 15-19 ◽  
Author(s):  
Therese Varveris
Keyword(s):  
Visual Arts ◽  
Public Art ◽  
Art Collections

A brief description of the project to computerize Australia’s public art collections and the development of Cataloguer’s Manual for the Visual Arts.

scholarly journals A Matter of Taste: the Fate of the Archdeacon Smythe Collection of British Watercolours in New Zealand

2021 ◽  
Author(s):  
Annika Sippel
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Public Art ◽  
Art Gallery ◽  
Art Collections ◽  
Research Fields ◽  
Low Profile ◽  
Private Collection ◽  
The 1950S ◽  
The Impact

<p><b>Francis Henry Dumville Smythe, a humble clergyman from England, spent a lifetime amassing his private collection of watercolours. During the 1950s, he decided to gift them to two art institutions in New Zealand – Dunedin Public Art Gallery and the National Art Gallery in Wellington. They were welcomed with open arms and celebrated as “the finest collection of water colour pictures in the Southern Hemisphere.” However, they soon fell out of favour: rarely exhibited, the collection remains poorly understood and unexplored to this day. Was their initial praise simply a matter of taste?</b></p> <p>This project looks at the rise and fall of the Smythe collection and aims to reveal the circumstances that led to its current low profile within its respective institutions. The collection itself will be analysed in depth for the first time, and the impact that changing artistic tastes have had on its status will be examined. In New Zealand’s case, these shifting tastes are symptomatic of the redefinition of national and cultural identity during the 1950s-1980s. How did this redefined national and cultural identity contribute to the continued drop in status of the Smythe collection in New Zealand? This dissertation considers the geographical contexts of both Britain and New Zealand and seeks to explore new ways of engaging with New Zealand’s public art collections, through combining the different research fields of watercolours, taste, and identity. While British watercolours are now mostly considered old fashioned, this thesis will find new ways of making them relevant again.</p>

scholarly journals ARCO 2020: The first edition of the international conference on art collections in Florence

2021 ◽  
Vol 16 (3) ◽  
Author(s):  
Stefania Viti
Keyword(s):  
Cultural Heritage ◽  
Research Team ◽  
Art Exhibitions ◽  
Research Activity ◽  
Research Project ◽  
Digital Innovation ◽  
Art Collections ◽  
International Conference ◽  
Safety Design ◽  
Working Together

The International Conference ARCO 2020 has been promoted to focus the attention on art collections, joining different issues which play a fundamental role in their valorization, such as Cultural Heritage, Safety, Design and Digital Innovation. Each of these areas have produced important contributions, becoming essential research assets. Each research, in these years, has been developed within its proper field, and presented in many specific Conferences. ARCO 2020 has been promoted with the belief that all the subjects focused on art collections should be developed jointly, or – at least – not ignoring each other. The strong awareness of the multidisciplinary value of art exhibitions has increased within the research activity developed in these last years by some of the promoters of the Conference. The research team which promoted the Conference was born in 2016, with the research project named “RESIMUS” focused on the resilience of the art collections exhibited at the Museum of Bargello of Florence. The research, promoted by Stefania Viti and Giacomo Pirazzoli, activated many studies and projects, involving many researchers belonging to different fields, which started working together and producing many relevant contributions.

Selfies in the public art gallery and copyright permissions

2021 ◽  
Vol 11 (2) ◽  
pp. 183-197
Author(s):  
Jonathan Barrett
Keyword(s):  
Public Art ◽  
Copyright Law ◽  
Art Gallery ◽  
Art Galleries ◽  
New Techniques ◽  
The Public ◽  
Cultural Phenomenon ◽  
General Society

Public art galleries have traditionally prohibited visitors from photographing exhibited artworks. Today, however, photography in the gallery is invariably permitted and commonly encouraged, including visitors taking selfies. Copyright law and practice has generally responded to new techniques of reproduction, such as etchings and photographs, and how those technologies are used in commerce and general society. The selfie is a cultural phenomenon that invites re-examination of some areas of copyright law and practice, notably, permitted acts. Has copyright law, in particular freedom of panorama, kept pace with the phenomenon of selfies in the gallery? This article seeks to answer that question and also considers whether the photography policies of leading public galleries present better ways of engaging with the selfie phenomenon than does the current law.

The rise and fall of the municipal art gallery movement? The public and private dimensions of local civic art

2018 ◽  
pp. 251-289
Author(s):  
James Moore
Keyword(s):  
Nineteenth Century ◽  
Public Art ◽  
Practical Purpose ◽  
Small Towns ◽  
Art World ◽  
Art Gallery ◽  
Public And Private ◽  
Art Collections ◽  
The Public

By 1914 most Lancashire towns, including many small towns, maintained an art gallery at municipal expense. The origins and practical purpose of these galleries were more diverse than one might imagine. Yet, by 1914, the Lancashire art world faced something of a crisis. The generation of great Lancastrian patrons seemed to be receding. Modern revisionist thinking viewed many of Lancashire’s Victorian public art collections as outdated. The grand galleries of the nineteenth century were expensive to maintain and often poorly attended. This final chapter examines the reasons for this crisis and the way some innovative thinkers attempted to respond.

Challenging ‘the ocean of mediocrity and pretence’? The alternative visions of the Whitworth and Harris galleries

2018 ◽  
pp. 221-250
Author(s):  
James Moore
Keyword(s):  
Small Group ◽  
Public Art ◽  
Cultural Significance ◽  
Art Galleries ◽  
Alternative Vision ◽  
The Future ◽  
Cultural Leaders

The Whitworth Gallery in Manchester and the Harris Museum and Gallery in Preston provided an alternative vision for the future of art galleries. Rejecting what they saw as excessive commercialism and populism these galleries defined different approaches to public art. This chapter examines these approaches and assesses both their successes and their cultural significance for the region. It also raises question about the nature of ‘public art’ – could it be genuinely inclusive, while being led by an essentially small group of cultural leaders?

Escaping the digital black hole: e-ephemera at two Auckland art libraries

2016 ◽  
Vol 41 (2) ◽  
pp. 107-114
Author(s):  
Catherine Hammond
Keyword(s):  
Black Hole ◽  
Public Art ◽  
Art History ◽  
Fine Arts ◽  
Research Library ◽  
Art Gallery ◽  
Art Galleries ◽  
Research And Teaching ◽  
The University

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 numerous challenges.

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