VASES FROM SWEDEN - (M.) Blomberg, (G.) Nordquist, (P.) Roos, (E.) Rystedt, (L.) Werkström Corpus Vasorum Antiquorum. Sweden. Gustavianum – Uppsala University Museum, The Historical Museum at Lund University, The Cultural Museum of Southern Sweden, Lund, Malmö Art Museum. (Sweden Fascicule 5.) Pp. 82, ills, b/w & colour pls. Stockholm: The Royal Swedish Academy of Letters, History and Antiquities, 2020. Cased, SEK233. ISBN: 978-91-88763-03-7.

2021 ◽  
pp. 1-3
Author(s):  
R. Gül Gürtekİn-Demİr
Author(s):  
Bryna Bobick

This chapter examines the partnership between an urban art museum and a university. It involves museum educators, art education faculty, and undergraduate students. It specifically explores the development of hands-on museum activities for elementary students created by the university participants. The chapter is written from a higher education perspective. It provides a description of all facets of the partnership from its planning to the completion of the museum activities. The partnership provided the university students authentic museum experiences and ways to make professional connections with museum professionals. Recommendations for those who wish to develop university/museum partnerships are shared.


2013 ◽  
Vol 38 (2) ◽  
pp. 17-20
Author(s):  
Michiyo Honjo

The Musashino Art University Museum & Library is run in a unique way that has allowed it to function as library and museum in one, ever since its inception. The contents of the digital archives being created at this 50-year-old, multifunctional museum and library are highly diverse, ranging from rare books, held in the library, to design collections, visual resources, and material on folk art, held in the art museum. Together with the University’s Research Center for Art and Design, the Museum & Library is currently creating an integrated database of its holdings, and digitising its archive collections. The aim is to offer multifaceted information networks that can be interrogated simultaneously for all intellectual information relating to specific artists or artworks as well as to the art collection of the museum. The common challenge in creating these digital archives is the systematisation, sharing and visualisation of a multiplicity of research resources.


Author(s):  
Jeffery S. Girard

Dr. Montroville Wilson Dickeson, born in Philadelphia in 1810, was a medical doctor, taxidermist and avid collector of fossils. Between 1837 and 1844 he pursued another interest—excavating Indian burial mounds in the Ohio and Mississippi River valleys. He claimed to have “opened up” more than a thousand mounds and collected more than 40,000 objects. He also made drawings of the mounds and later provided these to an artist by the name of John J. Egan, who, about 1850, converted the drawings into a series of large paintings on huge canvases. Dickeson toured the country in 1852 allowing the public to view the canvasses and his artifact collections for a fee of 25 cents. The panorama, titled “Monumental Grandeur of the Mississippi Valley”, was nine feet high, 400 feet long, and consisted of 27 scenes. The canvasses later were curated at the University Museum, University of Pennsylvania until 1953 when purchased by the St. Louis Art Museum where they remain today. Dickeson’s lecture notes refer to Scene 21 as follows: “The following picture shows a group of connected mounds in Caddo Parish, in Northwestern Louisiana, with some of the aboriginal inhabitants of the region . . .” The scene depicts a cluster of nine mounds, some of which are connected by low earthen walls. In the background are mountains, and a group of Indians with elaborate headdresses are shown in front of tents. Similar mountains and the same Indian scene appear in other segments of the Mississippi Panorama and are understandable in light of the Romantic artistic style of the times, as well as the fact that the panorama was part of a show intended to evoke wonder and awe in its audience. Today we know of only one place in Caddo Parish where there is a cluster of at least nine mounds. Located on the western side of the Red River, north of the present city of Shreveport, is the Mounds Plantation Site (16CD12), the single largest Caddo ceremonial center in northwestern Louisiana. It seems fitting that the earliest reference that we have to a prehistoric site in northwest Louisiana likely pertains to Mounds Plantation, a place of primary importance to its ancient Caddo inhabitants, as well as to modern archaeological research.


1970 ◽  
pp. 84
Author(s):  
Charis Gullickson ◽  
Hermina Wei-Hsin Din

Sámi Stories. Art and Identity of an Arctic People is an exhibition created and curated by the Northern Norway Art Museum and Tromsø University Museum to commemorate the bicentennial celebrations of the Norwegian Constitution. The exhibition debuted at the Northern Norway Art Museum in Tromsø, Norway, before traveling to New York City and Anchorage, Alaska. This paper shares stories to demonstrate the roles that museums can play in the interpretation and representation of Sámi cultures. Additionally, the shared discussion will advance educational outreach in Alaska and elsewhere concerning similarities and di erences surrounding the adoption of indigenous concepts, practices, values and worldviews. 


2022 ◽  
pp. 1156-1173
Author(s):  
Bryna Bobick

This chapter examines the partnership between an urban art museum and a university. It involves museum educators, art education faculty, and undergraduate students. It specifically explores the development of hands-on museum activities for elementary students created by the university participants. The chapter is written from a higher education perspective. It provides a description of all facets of the partnership from its planning to the completion of the museum activities. The partnership provided the university students authentic museum experiences and ways to make professional connections with museum professionals. Recommendations for those who wish to develop university/museum partnerships are shared.


2019 ◽  
Vol 9 (4) ◽  
pp. 193-198
Author(s):  
Lyudmila S. Timofeeva ◽  
Albina R. Akhmetova ◽  
Liliya R. Galimzyanova ◽  
Roman R. Nizaev ◽  
Svetlana E. Nikitina

Abstract The article studies the existence experience of historical cities as centers of tourism development as in the case of Elabuga. The city of Elabuga is among the historical cities of Russia. The major role in the development of the city as a tourist center is played by the Elabuga State Historical-Architectural and Art Museum-Reserve. The object of the research in the article is Elabuga as a medium-size historical city. The subject of the research is the activity of the museum-reserve which contributes to the preservation and development of the historical look of Elabuga and increases its attractiveness to tourists. The tourism attractiveness of Elabuga is obtained primarily through the presence of the perfectly preserved historical center of the city with the blocks of integral buildings of the 19th century. The Elabuga State Historical-Architectural and Art Museum-Reserve, which emerged in 1989, is currently an object of historical and cultural heritage of federal importance. Museum-reserves with their significant territories and rich historical, cultural and natural heritage have unique resources for the implementation of large partnership projects. Such projects are not only aimed at attracting a wide range of tourists, but also stimulate interest in the reserve from the business elite, municipal and regional authorities. The most famous example is the Spasskaya Fair which revived in 2008 in Elabuga. It was held in the city since the second half of the 19th century, and was widely known throughout Russia. The process of the revival and successful development of the fair can be viewed as the creation of a special tourist event contributing to the formation of new and currently important tourism products.


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