From private to civic: the diverse origins of the municipal art gallery movement

Author(s):  
James Moore

While early regional galleries were the product of private initiative, the growth of municipal government in the 1840s encouraged several towns to develop art galleries as both mass educational tools and symbols of their political independence and cultural sophistication. In the 1850s the Salford Museum and Art Gallery was so successful its visitor numbers rivalled those of the British Museum and it was an initiative soon copied by neighbouring towns of Warrington and Stockport. This chapter explores the people and ideologies behind these pioneering galleries and how their values were reflected in exhibitions and patterns of collecting. It also reveals how they became quickly outdated as fashions and popular culture changed.

1978 ◽  
Vol 3 (2) ◽  
pp. 46-49
Author(s):  
Vera Kaden

The Bibliography of Museum and Art Gallery Publications and audio-visual aids in Great Britain and Ireland, edited by Jean Lambert (Cambridge: Chadwyck-Healey; Teanack, N.J.: Somerset House, 1977. £28) encourages me to consider some recent museum publications: publications for the most part that are catalogues of holdings in some way. But first a brief look at the Chadwyck-Healey publication. It describes itself as ‘a comprehensive biennial list of all types of material published and distributed by museums, art galleries and related institutions in Great Britain and Ireland’. It includes only material which is currently available for sale, loan or reference. It was compiled by questionnaire which leads to a certain lack of uniformity: some institutions, for instance, did not consider it necessary to include dates of publications. More than eight hundred institutions are included. The bibliography is divided into four sections: main entry, in which publications are listed alphabetically under their institutions; author index; title index; subject index. The snag of the last three, and particularly of the author index, is that the reader is referred only to the institution in which the author appears. This works quite well where a museum or gallery has published fairly little, but when faced with 12 pages of British Museum publications, or even 5 pages of Vaughan Williams Memorial Library publications, the job of scanning columns of small print and dense layout to find the required entry becomes daunting. Careful reading shows that many museums are still without available catalogues of their basic holdings. All the more interesting, therefore, to look at some of the catalogues that have been published recently.


1970 ◽  
pp. 53
Author(s):  
John Millard

Many people will not visit art galleries because they think they are boring, and that art is not meant for them. In Britain, and I believe in Nordic countries as well, art has been made the preserve of an educated elite and the majority feel excluded from its mysteries. Distrust of art and lack of interest in art galleries has even been encouraged by art curators and art historians. It is as if we have conspired to ensure that art galleries are unpopular, and this is a situation which is of course wholly unacceptable to someone like me who is paid by a local council and who believes that art has an important role to play in peoples lives. As curator of the city art gallery, I do not work for an educated elite but for all the people of Newcastle. 


1973 ◽  
Vol 7 (3) ◽  
pp. 389-441 ◽  
Author(s):  
Francis Robinson

British rule cut down Muslim power in the United Provinces. Between 1868 and 1916, municipalities and councils acts tempered the rule of officials, many of whom were Muslims, with the rule of the people, few of whom were Muslims. Up to 1916, Muslims felt this loss of power most severely in the towns. But, because the municipalities were electorates for the provincial councils, this decline of Muslim power in the towns was reflected in the province as a whole. UP Muslims directed their politics towards compensating for this loss. They aimed for a protected share of power. This essay analyses the local origins of this Muslim demand.


2002 ◽  
Vol 3 (2/3) ◽  
Author(s):  
Ela Beaumont

The routine use of CCTV surveillance in new art galleries in the UK presents an opportunity for researchers to harness its potential as a powerful observational tool in visitor studies, and recent developments in video technology have created new possibilities for observational research. Recent studies using video observation methods in the UK, France and the US have demonstrated how powerful film data can be, but have also shown the difficulties in operationalising studies that use these techniques. The analysis of video data is in its infancy in the field of art gallery visitor studies, and this paper contributes to the theoretical, ethical and practical debate by discussing a recent observational visitor study using in-house CCTV cameras in the New Art Gallery, Walsall. The study demonstrates significant advances on previous observational visitor studies that have gathered 'covert observational data'. It show how CCTV footage can be used to gather naturally occurring visitor activities in a highly structured way, without disrupting the gallery with extra cameras or microphones and yielding increasingly detailed, useful information. It opens up the prospect of a wider ideological debate about the use of CCTV in art galleries, and contributes to work in progress on a code of ethics for video observation in visitor studies.


2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Natalie Stravens

This piece discusses the online and offline discourses on the lives and bodies of Black femme and nonbinary individuals and the harm that is so casually inflicted upon us. Through popular stories of harm performed around famous Black women, such as with rapper Megan Thee Stallion, I connect the history of Black women in popular culture to current online spaces that continue to minimize and trivialize our trauma. I seek to highlight that these stories are not an anomaly, but rather sentiments rooted in the misogynoir that is so entrenched in western culture and have been expanded and weaponized within the online sphere. In addition, the piece challenges the universality of the Black Lives Matter (BLM) movement in its implementation, criticizing its propensity to forget its feminine victims. It is important to emphasize where it has failed and where it needs to be intentional about the people it has overlooked, as this is a movement that began online, where this harm is currently taking place, and at the hands and energies of Black femmes, the very people getting hurt. This piece has manifested from many conversations already occurring in online Black feminist spaces about our treatment and our needs. It invites others into the fold and seeks to encourage individuals to critically reflect on how Black femme and non-binary individuals are presented on their timeline in-between the numerous BLM posts that claim to protect them.


Author(s):  
Di Wang

This chapter brings out conflicts among neighbors, examines the role of the Residential Committee in the neighborhood, observes the responses of the municipal government and official media concerning the city’s image. Mahjong brings us face to face with changes in daily life and popular culture at the turn of the current century, as daily life moves away from communist control and “socialist morality.” It also serves my argument that these changes reflect a much broader political, economic, social, and cultural transformation in which conflicts between individual rights and the collective interests have become prominent.


2003 ◽  
Vol 176 ◽  
pp. 1100-1102
Author(s):  
Thomas Moran

The dozen chapters in this book, based on papers for a 1999 conference, comprise an interdisciplinary glimpse into the increasingly diverse and contradictory world of Chinese popular culture. A theme of Popular China is representation: most of the chapters examine the way in which group and individual identity is represented (in newspapers, magazines, popular sayings, and advertisements, and in the stories people tell about their lives). Many of the authors draw on surveys and interviews – of young basketball fans, rural women, home owners in Shanghai, migrant workers, and entrepreneurs – allowing the people of China to speak for themselves. The book contains nothing that is revelatory (especially for anyone who visits China regularly and reads Chinese), but it provides a detailed, informed look at each of several phenomena often noted only in passing.


2019 ◽  
Vol 22 (5-6) ◽  
pp. 942-957 ◽  
Author(s):  
Burak Özçetin

This article explores the relationship between populism, media and popular culture in Turkey by focusing on a phenomenal historical television series, Diriliş: Ertuğrul, and the discursive spaces opened by the show. The author relies on a symptomatic analysis of populism which conceptualizes the term as an anti-status quo discourse that simplifies the political space by symbolically dividing the society between ‘the people’ and its other, more specifically ‘the elites’. Diriliş is promoted by the Justice and Development Party ( Adalet ve Kalkınma Partisi) elite and pro-government media as ‘the show of the people’, and as a cultural artifact belonging to the people. The show has been embraced as an alternative to morally degenerate cultural products of alienated Westernist/Kemalist cultural elites. The Justice and Development Party elites used every opportunity to incorporate the series into its populist political program. The article focuses on a specific crisis moment, ‘The Golden Butterfly Awards 2016’, and the ensuing debates to show how media discourse can resonate with the populist political discourse of a political party.


2010 ◽  
Vol 35 (4) ◽  
pp. 24-28 ◽  
Author(s):  
David Pulford

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.


2014 ◽  
Vol 39 (3) ◽  
pp. 34-41 ◽  
Author(s):  
Sarah Anne Hughes

Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.


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