The birds of America : prints from the collection of the Illinois State museum /

"This exhibition has been funded in part by the Division of Resource Protection and Stewardship, Illinois Department of Natural Resources, and the United States Forest Service."--P. 2.

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of Grand Atrium Hall, Permanent Collection Gallery and Changing Exhibition Gallery. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

The Murmur of Surfaces: An art collection in perspective exhibition

The Murmur of Surfaces presents the creative outcomes of my PhD research Thesis, Surface Materials and Aspects of Care. As a perspective exhibition at Caboolture Regional Gallery, it also provided me the opportunity to evaluate this more recent body of work alongside earlier work that was formally distinct, highlighting in some ways, a shift from the primacy of form to the agency of matter. The installation of works led the discussion of surfaces to one of space.

Catalogue des Tableaux modernes... tableaux anciens, objets d'art... oeuvres d'art du Japon et de la Chine... provenant de la collection V. (Vitta) Vente Hotel Drouot les 27 et 28 juni 1924

[Vente (Art). 1924-06-27 - 1924-06-28. Paris]

Oeuvres choisies [I]. Les Amours, l'Art d'aimer, les Cosmétiques, Héroïdes. Nouvelle édition, revue avec le plus grand soin par M. Félix Lemaistre et précédée d'une nouvelle étude sur Ovide par Jules Janin. Traduction de la collection Panckoucke

Comprend : Étude sur Ovide

Catalogue d'objets d'art... collection de M. d'A***,... Vente 31 janv. 1846...

[Vente (Art). 1846-01-31. Paris]

Making it "click": collaborative perceptions of creative practice in art education /

Making it "Click": Collaborative Perceptions ofCreative Practice in Art Education examined the teaching practice of 6 art educators who conducted their work through the Niagara Falls Art Gallery's (NFAG) in-schools and Children's Museum programmes. These community resources service the elementary levels of participatory Public, Catholic and French schools in the Niagara Peninsula. The goal of this research was to find ways in which these teachers could explore their creative potential as art educators. The "click," a term introduced by participants indicating the coming together of all positive factors towards creativity, became the central theme behind this study. Research revealed that the effective creative process was not merely a singular phase, but rather a series of 4 processes: 1 , gathering knowledge; 2, intuitive and experiential; 3, the informal presentation of information in which creativity as a process was explored; and 4, formal presentation that took the analysis of information to a deeper, holistic level. To examine the ways in which experience and knowledge could be shared and brought together through a collaborative process, this study employed data collection that used literature research, interviews, focus group discussions, and personal journal entries. Follow-up discussions that assessed the effectiveness of action research, took place VA months after the initial meetings. It is hoped that this study might assist in creative educational practices, for myself as a member of the NFAG teaching team, for colleagues in the art programmes, art educators, and other teachers in the broader disciplines of education.

Seagram Museum Collection

The Seagram Museum was opened on May 16th, 1984 by the Honourable William G. Davis, Premier of Ontario. The museum was devoted to the history and technology of the wine and spirit industry. The museum focused on wine-making and distillation, as well as barrel-making and cork manufacturing. The museum was located adjacent to the Seagram Distillery in Waterloo, Ontario. In 1997, the museum closed due to lack of funds.

Art québécois moderne (depuis 1940) au musée : regard sur la mise en scène permanente des collections

Ce mémoire comprend deux tomes : le premier consiste du texte et des figures, le deuxième consiste des annexes. Le tout est regroupé dans le document électronique présent.

Le rôle des collections dans la légitimation de l'art marginal : le cas de la collection d'art pathologique Prinzhorn

Au 20e siècle en France et en Allemagne, l’art moderne prend son essor. Certains, comme Francastel, qualifient cet art de destruction d’un espace plastique classique. Cette destruction devient un vecteur de création chez plusieurs artistes qui, suite aux deux grandes guerres, remettent en question leur état « civilisé » et se tournent vers le « primitif » pour offrir une autre voie, loin de tout processus civilisateur. Cette admiration pour les peuples primitifs ainsi que pour les productions artistiques d’enfants, d’amateurs et de « fous » est visible chez plusieurs collectionneurs d’art. En constituant des collections d’art marginal, ces derniers défendaient une idéologie qui propose une autre forme de culture en remplacement d’une civilisation dépassée. Grâce à leurs collections, la libre expression se positionna contre le rationalisme occidental. On compte, parmi ces collectionneurs, le psychiatre Hans Prinzhorn, le marchand d’art Wilhelm Udhe et les artistes André Breton, Jean Dubuffet et Arnulf Rainer. Chacun d’eux a eu un impact sur la construction du récit de l’art moderne et de l’art contemporain. Leurs collections ont chacune sa spécificité et offrent des vocabulaires différents pour parler de productions artistiques marginales, c’est-à-dire se développant « hors culture ». C’est par l’analyse des terminologies employées par les collectionneurs, principalement la dénomination d’art pathologique, que nous tracerons un portrait de la construction historique de l’art marginal en lien avec l’art moderne

Universal Museum - universal language? Art historian - curator

Marshal McLuhan’s prophetic vision of the global village is about to be realized. If we are aware of the fact that mass communication reduces the dimensions of our world and makes it more unified and universal, we should take this into consideration when planning the Universal Museum and the language that should be used in it. As curators, educators and museum staff we should not ignore the fact that the spectator/viewer is drawn to the exhibits not only by their own merit, but also guided and assisted by verbal messages, i. e. Labels, brochures. Catalogues etc. Hence, the crucial question is what we, the museologists, use as a means of communication when preparing for a Universal Museum. Should we use pictorial semiotics? This may be a partial solution, which is mainly restricted to objects that can be manipulated and moved by the visitor, as is the case in most of the technological museums. But since the range of objects on display at museums is vast and varied - fine art, archaeological finds, ethnographic objects etc., it may not be the answer to the whole spectrum of exhibits. Dr. Ludwig Lazarus Zamenhof, being an optimist, hoped that by introducing Esperanto to the multi-lingual world population, humanity would be able to bridge and diminish the gap of linguistic differences, thus creating a better understanding between the international communities. Unfortunately this vision was not realized. Esperanto was and still is an utopian and esoteric phenomenon. The barriers between nations still exist although, as mentioned earlier, mass media do help, in some ways, to reduce them.

Catalogue of the type material of Neriidae (Diptera, Schizophora) in the collection of the Museum fur Naturkunde Berlin, Germany

The Diptera collection of the Natural History Museum Berlin holds one of the most important collections of Neriidae. In this paper, the type specimens (holotypes, lectotypes, paratypes, paralectotypes, syntypes) of this historical collection are listed. 28 species-group taxa are dealt with. A lectotype designation is made for the species Brachantichir purpusianus Enderlein, 1922 in order to fix the identity of the name. Holotypes are recognized by monotypy of the species Chaetomeristes bullatus Enderlein, 1922; Chaetomeristes peruanus Enderlein, 1922; Derocephalus angusticollis Enderlein, 1922; Glyphidops limbatus Enderlein, 1922; Longina abdominalis Wiedemann, 1830; Loxozus clavicornis Enderlein, 1922; Oncopsia mexicana Enderlein, 1922; Paranerius fibulatus Enderlein, 1922; Telostylinus dahli Enderlein, 1922; Telostylus latibrachium Enderlein, 1922; and Telostylinus luridus Enderlein, 1922. Syntypes are labelled and listed for Brachantichir robusta Enderlein, 1922; Nerius terebratus Enderlein, 1922; Odontoloxozus punctulatus Enderlein, 1922; Telostylinus apicalis Enderlein, 1922; Telostylinus obscuratus Enderlein, 1922; and Telostylinus ornatipennis Enderlein, 1922. The account concludes with geographic and taxonomic summaries; an appendix listing the abbreviations, localities, and collectors cited in the text; and a bibliography. ((c) 2012 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim)

A catalogue of the types of Bolitophilidae and Ditomyiidae (Diptera, Bibionomorpha) in the collection of the Museum national d'Histoire naturelle, Paris

An annotated list is provided of the type specimens of seven species of Bolitophilidae Winnertz, 1863 and Ditomyiidae Keilin, 1919 (Diptera, Bibionomorpha) the Museum national d' Histoire naturelle (Paris).