Suchergebnisse

Digital tools offer new possibilities for visual research, and such tools can provide methods for revitalising our understanding of the field of culture. Despite the importance of the visual as an element of culture, it is only in the last decade that the visual as a phenomenon of seeing has been a major feature of theoretical and methodological approaches to Southeast Asia. The long traditions of art history, anthropology and related fields in Southeast Asian studies have hitherto been focused on empirical documentation. In studying one aspect of the visual archive created by the polymath Gregory Bateson during his partnership with Margaret Mead, I will draw on methodologies that have their origins in Bateson's writings. These methodologies find fresh conditions in digital environments, in ways that allow us to bring into play a variety of theories of the visible.

This study is the first to investigate the use of Aboriginal art for marketing purposes. Over 2000 major enterprises in Europe and North America collect art, but in Australia relatively few do. Research has established that art collections contribute to corporate identity, but this has not been studied in Australia. Using a qualitative case study approach, this exploratory study investigates how art collections are used to support the work of three Australian banking and law firms whose collections include Aboriginal art. We asked respondents from each firm how and why they collected Aboriginal art and their perception of the role of art in symbolizing their firm's values and culture. Aboriginal art was found to contribute to a firm's identity and corporate social responsibility, especially when collections included the work of emerging artists and more challenging political content. It also presented a friendly face to Aboriginal clients. For firms in overseas markets, Aboriginal art served to signal a firm's Australianness.

A characteristic feature of the artistic life of Russia at the turn of the 19th—20th centuries was the growth in the number of private art collections and the expansion of the social composition of collectors due to the addition of industrialists, merchants and intellectuals. After the Russian Revolution of 1917, these collections became one of the important sources in the formation of art collections of metropolitan and provincial museums of Russia. The article is devoted to one of the most interesting private collections of the Kazan province — the collection of A.F. Mantel, formed at the beginning of the 20th century from paintings and graphics by the leading masters of the World of Art association: A.N. Benois, I.Ya. Bilibin, A.F. Gaush, B.M. Kustodiev, D.I. Mitrokhin, G.I. Narbut, N.K. Roerich and others. The article reveals the fates of once famous works of the artists from the World of Art association, which were shown at the association's exhibitions and published in well-known books, magazines and almanacs such as Apollo, Libra, Rosehip, At Dawn and others. A.F. Mantel's collection played an important role in the formation of museums in several cities of the Volga region — Kazan, Tetyushi, Kozmodemyansk — becoming one of the sources of contemporary national art collections. Due to various reasons, the most of the collection, including the part received by museums, was lost in the late 1910s — 1930s. Relying on archival and literary sources and museum collections, the author, for the first time, managed to restore, with a high degree of accuracy, the composition of the part of A.F. Mantel's collection that was purchased for museums of Tetyushi and Kozmodemyansk, and to clarify the composition of the Kazan Museum's collection.

The aim of this article is to introduce a fine and representative, but little-known, collection of Persian woven fabrics in the Montreal Museum of Fine Arts. These superb specimens reflect both the chronological and technical range of textile production in Islamic Iran, from the provocative fabrics found at Rayy to the myriad of sumptuous weavings produced on Safavid looms.The greatest number of these textiles entered the Museum's collection through the active efforts of a single person, F. Cleveland Morgan. A pioneering and avid collector, true connoisseur and art lover, Morgan founded the Museum's Decorative Arts department in 1917 and, during his fifty years' association with the Museum, many objects found their way into the Montreal collection. Not only did he himself contribute many objects to develop then little appreciated fields, such as Islamic art, but he also encouraged other donors and advised potential patrons to follow his example. In a final act of generosity, Morgan bequeathed his own collection to the Museum, thus further enriching the department which he himself had created.

Purpose
The purpose of this paper is to provide secondary social studies practitioners with a research-based adaptable lesson plan aligned with the National Council for the Social Studies Thematic Strands and its C3 Framework incorporating the digitized collection of the National Gallery of Art and Visual Thinking Strategies to foster historical understanding through a student-driven process of online gallery curation.


Design/methodology/approach
The author describes the connections between constructivist learning and technology integration in the classroom, linking technological, visual, and social studies literacy. The internet mediates student experience. It is both text-based and image-saturated; therefore, it is important for students to develop fluency with the written word and visual literacy. To remain technologically relevant, teachers must harness the potential of the internet to aid students with the development of their analytic and evaluative skills. The paper outlines an adaptable method for incorporating technology and art into social studies classroom practice in order to build visual literacy, historical understanding, and skills in evidence-based research.


Findings
The National Council for the Social Studies has outlined various analytic, communicative, and evaluative skills that students should acquire for social studies literacy. This paper provides insight as to how utilizing digitized collections of artwork has the potential to engage students in active, constructivist learning in order to acquire social studies literacy.


Originality/value
The paper is of value to secondary practitioners who wish to incorporate visual art, technology, and constructivist learning techniques in their classrooms.

The article analyzes the role of the art collection of the Moscow Old Believer merchant, publisher and textile manufacturer Kozma Terentyevich Soldatenkov (1818-1901) in the formation of the Moscow Public and Rumyantsev Museums. One of the earliest Moscow collections was assembled by Soldatenkov for nearly 50 years, and was exhibited in his mansion on Myasnitskaya Street. It included works of Russian and Western European art of the mid- and second half of the 19th century. After the collector died in 1901, in accordance with his will, the collection was transferred to the Moscow Public and Rumyantsev Museums. However, the collector's desire to exhibit his collection in the same room was not achieved due to a lack of space in the museum: the collection was divided into two parts. This continued despite the construction of a separate building for the Museum's art gallery on Starovagankovsky Pereulok. Although the Soldatenkov Collection was a significant part of Moscow's art culture during the period in question, its owner was well known in the second half of the 19th century thanks to his publishing activity and patronage of art, and took part in the foundation of the Rumyantsev Museum. Archive materials, including the collection's catalogues, and documents from the manuscript department of the Pushkin State Museum of Fine Arts, allow us to conclude that the staff of the Rumyantsev Museum was interested in the scientific grouping and classification of works according to aesthetic and chronological categories. Thus, the museumization of the collection was a new stage in its history and contributed to the formation of the attitude towards Soldatenkov's collection in subsequent years as a significant phenomenon in Moscow's art culture, including the scientific community.