Sentences with phrase «ethnographic collections»

The Stedelijk Museum Bureau Amsterdam presents A Sign of Autumn — Vincent Vulsma a solo - exhibition on view 15 October — 27 November 2011, By employing strategies of spatio - temporal montage, Vulsma brings together objects and patterns taken from their contexts in ethnographic collections and the canons of modernist design and photography, deliberately moving back and forth along the lines between what is classified as commodity, art or ethnographic object.

Her research into belief systems and ethnographic collections informs her practice, notably her installation about one of the first large uprisings on the African continent, Rumours that Maji was a lie... (2014), first shown at the Jeu de Paume in Paris last year, and later developed as a new project, Kinjeketile Suite, which was exhibited this year at the South London Gallery.

Art from anywhere but Europe and America has historically found its home in museums or ethnographic collections, rather than major galleries.

Take the time to discover St Mary's Cathedral, a gothic monument listed as World Heritage Site by UNESCO, as well as the Basque Museum, containing France's largest ethnographic collection about the history of the Basque country.

In 2012, the designers participated in the museum's residency program, the Weltkulturen Labor, where they were able to explore the ethnographic collection, drawing on the museum's anthropological expertise to inform their new creations — videos, multi-media works and prototypes for clothing and accessories.

Not exact matches

Today, our collections number approximately 50,000, including ethnographic artifacts and natural history specimens.

I value and use both qualitative and quantitative data collection and analysis methods including «hybrid» methods such as ethnographic content analysis.

ETHNOGRAPHY Holdings include the world's foremost collection of rare Chumash basketry and fiberwork consisting of some 100 archaeological specimens and 44 ethnographic pieces.

The Museum collection comprises ethnographic, historic, archaeological and archival material of the northern Vancouver Island area, specifically from Oyster River east to Desolation Sound and north to Rivers Inlet, including off - shore islands; west to Gold River and beyond to the outer coast at Estevan Point, and north to the tip of Vancouver Island.

Her collection, which leans heavily toward geometric abstraction produced between the 1940s and 1990s, also includes 19th - century traveler artists to Latin America, Amazonian ethnographic objects, colonial art and objects from Latin America, and contemporary art.

Beginning with the acquisition of ethnographic curiosities around 1796, the collection has grown to nearly 2,000 objects that reflect all regions of the African continent and diaspora, and represent canonical and historical art forms and styles as well as modern and contemporary works in a variety of media.

The collection is comprised of a diverse, encyclopedic group of fine art and ethnographic objects by international makers and represents styles and time periods from pre-history to the present.

For a show at the Hammer Museum in L.A. last year, she took obscure ethnographic objects from the collection of the Fowler Museum at U.C.L.A., all of which had been categorized as «unidentified» — including textile scraps and broken pottery — things that had effectively been deemed originless and valueless, divorced from their history and the history of those who made them.

1999 «The World Imagines,» Clarksville - Montgomery County Museum, Clarksville, TN, an exhibition of ethnographic objects from all over the world, on loan from the Cheekwood Museum and local collections; co-curated, with Janelle Strandburg (on the museum staff).

Viewers can see themselves mirrored in the glass, which could be read either as an intentional provocation — implicating viewers into the postcolonial quagmire — or an ironic update on the gilded expositions of ethnographic fairs and 18th - century aristocratic art collections.

The collection, amassed entirely through donations, includes artworks from the past three centuries as well as ethnographic objects such as helmets, masks and weapons from Africa, Oceania and the Americas.

Ybarra likes to play with the idea of the museum, using galleries as spaces in which to assemble personal collections that stand in some ironic relation to the sorts of dioramas and vitrines ordinarily found in ethnographic or natural history exhibits.

Alasdair McLuckie has been exposed to antique art and craft traditions from a young age: his father was an amateur anthropologist who has a collection of ethnographic artefacts derived largely from North America.

His current installation, Oak Effect, at the Bloomberg Space, London, sees the gallery transformed into a fantastical showroom window housing a collection of ethnographic and design objects from the Tyne and Wear Archives and Museums Collection, displayed within a framework comprised of dining tables, worktops and nesting tables.

Commenting on this new work Ross Keane, Director of the Irish Film Institute said; «The Village is a fascinating ethnographic documentary looking at how modernisation affected the inhabitants of Dún Chaoin and their relationship with the unpopulated Blasket Islands, and we are delighted that Duncan Campbell found inspiration for his latest work from this film and through his research into our collection at the IFI Irish Film Archive.»

The most recent additions to the Film collection are amongst the most exciting, including copies of TV programs from CAAMA and Imparja TV, because they are created and produced by Indigenous Australians featuring local languages as well as earlier ethnographic footage.

The South Australian Museum's collection of Australian ethnographic material is the largest and most representative in the world.

The collection contains early published works of ethnographic, anthropological and historical importance, including works containing sensitive cultural information.