Art Gallery Project Report Pdf Download

The presentation of the data aims as far as is possible to present objectively, facts relevant to the long and complex history of the transatlantic slave trade. From the information provided, users will be able to determine for themselves the nature and extent of these connections.

All data has been reviewed by Dr Draper, and we received advice on appropriate terminology from Marenka Thompson-Odlum, Research Associate at the Pitt Rivers Museum and doctoral candidate at the University of Glasgow, whose thesis explores Scotland and the transatlantic slave trade through material culture.

Dr Draper is now retired from LBS but continues to work with us on this project and has completed a detailed report on Angerstein, the slave trade and marine insurance, which is available on the UCL website for the Centre for the Study of the Legacies of British Slavery. A second report, which focuses on Angerstein and slave-ownership, has been written by Rachel Lang of the Centre for the Study of the Legacies of British Slavery, UCL. This is also available on the UCL website.

We are now embarking on phase III of this research project, which will cover our trustees and donors from 1880 to 1920; thereafter, we will begin phase IV, which aims to cover past picture owners as far back as 1640.

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The GINI project investigates the dynamics of inequality among populations over the long term by synthesising global archaeological housing data. This project brings archaeologists together from around the world to assess hypotheses concerning the causes and consequences of inequality that are of relevance to contemporary societies globally.

This terrestrial and underwater archaeological research project around a Mediterranean islet identifies that it was a commercial centre during the fifth century AD. The results shed light on Late Roman island occupation dynamics.

Plant domestication represents a major turning point in human history, resulting in the shift from a hunting/gathering/fishing-based economy to food production. Combining the analysis of ground stone tools and dental calculus, the PATH project aims to investigate dynamics of plant consumption, and the knowledge and toolkits involved in their processing.

How did the Roman Empire supply and maintain its frontier garrisons? What was the impact on populations and landscapes of conquered territories? The Feeding the Roman Army in Britain project will answer these questions by establishing how soldiers were provisioned and how frontiers operated as economic as well as militarised zones.

An archaeological field project designed to investigate Palaeolithic occupation is being undertaken in Mardin Province, south-east Turkey. New sites have been identified and recorded systematically, including kefta Elobrahimo Cave. Together, these provide ample evidence for hominin presence in this area since the Middle Palaeolithic.

Research is central to the mission of the Center for Advanced Study in the Visual Arts. In addition to the studies carried out by the professors and fellows in residence, each of the three deans undertakes a long-term project that is meant not only to advance scholarship, but also to serve as a resource for the discipline. Research associates, usually recent PhDs on term appointments, provide key support for these projects. The following represent current projects and some of the past projects inaugurated since 1979.

This project was directed by Joanne Pillsbury, formerly assistant dean of the Center and now Andrall E. Pearson Curator in the department of the arts of Africa, Oceania, and the Americas at the Metropolitan Museum of Art. The three-volume reference work, published in 2008, supports research on the pre-Hispanic, viceregal, and early republican periods of the Andean region of South America. The work is intended for scholars in anthropology, history, archaeology, art history, and related disciplines. It includes 29 thematic essays and 186 biographical and bibliographical entries reflecting contributions from 125 scholars in 19 countries. Copublished by the National Gallery of Art and the University of Oklahoma Press, the guide addresses key texts of the sixteenth through the nineteenth centuries concerning the region defined by the extent of the Inca Empire (modern Peru, Bolivia, Ecuador, and parts of Colombia, Argentina, and Chile).

The Ailsa Mellon Bruce National Gallery of Art Sabbatical Fellowship is open to permanent members of the National Gallery of Art staff. The fellowship provides for full-time independent research of two to four months in duration. It is intended to relieve members of the staff of their departmental and other National Gallery responsibilities in order to pursue independent study, research, or publication not directly related to a National Gallery project.

Art libraries play a vital role in supporting art scholarship, but COVID-19 pandemic impacts have strained budgets to make sustainability challenges more acute than ever. To respond to these challenges and build institutional sustainability, art libraries can look to innovative partnerships and collaborations as one way forward. Operationalizing the Art Research Collective Collection (OpArt) is an OCLC Research project exploring opportunities for collaboration between art, academic, and independent research libraries. This project aims to help art libraries identify opportunities for beneficial partnerships around their collections, build effective collaborative structures to support these partnerships, and navigate the practical challenges involved in making collaborations sustainable and successful.

The work of the project brings together quantitative and qualitative analyses to consider opportunities and models for collaboration. The project team used collective collections and resource sharing activity analyses to explore the potential value art research libraries can bring to and might draw from a collaboration. Since prospective valuable partnerships can only become reality through the hard work of building and maintaining a collaboration, the project also offers lessons learned and recommendations drawn from a set of case studies of partnerships involving art libraires. The case studies share the experiences of participants involved in originating, building, and sustaining the partnerships. .

The concept for this project originated in a discussion between Research Library Partnership (RLP) members and OCLC Research at the 2019 Art Libraries Society of North America Conference, focusing on an acute lack of space at art research libraries, difficulties in arranging for offsite storage of art research print collections, a lack of knowledge regarding the library collections of peer institutions, and the perceived value of art libraries partnering with other types of libraries on the shared management of print collections.

Dennis Massie, Chela Scott Weber, Mercy Procaccini, Brian Lavoie This report shares recommendations for building successful collaborations and identifies typical challenges library partnerships navigate based on case study research of current art library collaborations.

Brian Lavoie, Dennis Massie, Chela Scott Weber This report explores collaboration opportunities between art, academic, and independent research libraries by analyzing WorldCat bibliographic and holdings data and WorldShare interlibrary loan transaction data.

I am currently in the process of making a project report app for the Project Management Department of our company. I used a gallery to display the project list and the date of project updates. Users will input and submit their data in the project updates part of the app and everyone can view all the project details and updates in the project reports part of the app. The users log sensitive data in the app that goes straight to a sharepoint list. It is crucial that other users are not able to view the data that other users log in the app.

Is there a way that users can only view their own project data that they input in the app? Also, project managers can view all the data for monitoring purposes. This needs to be a 100% secure solution.

There are two ways depending on your data source. If SharePoint you can set this in List Settings, where the user can only access records they create. The other way is to have their name or email in the record and filter any gallery they can see with a match to User().FullName or User().Email.

5C Projects

5C and/or member counties coordinate numerous fish passage improvement, sediment reduction, habitat enhancement, and water quality improvement projects in the Program's area in collaboration with 5C partners. Listed below are projects (completed, in progress, and future). They are labeled Fish Passage Improvement Projects (FPIP) and/or Sediment Reduction (SedRed). Listings with no comments are in development and pending. Visit our Project Gallery for photos of projects in each county. Click on links in projects lists for more details.

Although the program lasted less than one year, it had employed 3,749 artists, who produced 15,663 works of art.[4][5] In an art exhibition that featured 451 paintings commissioned by the PWAP, 30 percent of the artists featured were in their twenties, and 25 percent were first-generation immigrants.[5] The PWAP served as way to employ artists, while having competent representatives of the profession create work for display work in a public setting.[4] According to one news report at the PWAP show at MoMA, "The artists selected for the program were chosen on the basis of their artistic qualifications and their need of employment. The subject assigned to them was the American scene in all its phases."[6]

The purpose of the Public Works of Art Project was "to give work to artists by arranging to have competent representatives of the profession embellish public buildings."[7] Artworks from the project were shown or incorporated into a variety of locations, including the White House and the House of Representatives.[7] Artists were paid an average of $75.59 per artwork, and the PWAP used a total of $1,184,400 to pay artists for their work.[8] Participants were required to be professional artists, and in total, 3,749 artists were hired, and 15,663 works were produced:[8] 7,000 easel paintings; 700 mural projects; 750 sculptures; and 2500 works of graphic art were commissioned by the PWAP.[9] e24fc04721