DOCSLIB.ORG

Reciprocal Benefits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Akron Art Museum Massillon Museum · Free admission to the permanent RECIPROCAL One South High Street, Akron, OH 44308 121 Lincoln Way East, Massillon, OH 44646 collection during normal museum hours. BENEFITS 330.376.9185 phone www.massillonmuseum.org A fee may be charged for access to www.akronartmuseum.org 330.833.4061 phone ticketed exhibitions and special events. CMA Members at the Reciprocal level and [email protected] higher receive reciprocal admission to more Museum of Contemporary Art · A discount on bookshop or museum than 1,000 museums throughout the US. Allen Memorial Art Museum (MOCA) Cleveland store purchases. Members who qualify receive membership Oberlin College 11400 Euclid Avenue cards with the logos of participating 87 North Main Street, Oberlin, OH 44074 Cleveland, OH 44106 Participating museums include: reciprocal programs printed on the lower- 440.775.8665 phone www.mocacleveland.org right corner of your card. To take advantage www.oberlin.edu/amam 216.421.8671 phone Albright-Knox Art Gallery of this benefit, simply present your current Buffalo, New York card at one of our partner institutions. The Butler Institute Springfield Museum of Art albrightknox.org of American Art 107 Cliff Park Road, Springfield, OH 45504 716.882.8700 CMA participates in three reciprocal 524 Wick Avenue, Youngstown, OH 44502 937.325.4673 phone programs, each with a unique and changing 330.743.1107 phone [email protected] Art Gallery of Ontario set of partners, so be sure to check with www.butlerart.com www.springfieldart.net Ontario, Canada individual museums with specific queries ago.ca when planning your trip. The Canton Museum of Art Toledo Museum of Art 877.225.4246 In the Cultural Center for the Arts 2445 Monroe Street, Toledo OH 43620 Please note: Individual museum restrictions, 1001 Market Avenue North, Canton, OH 419.255.8000 phone (TDD) The Barnes Foundation including restrictions for special ticketed 44702 800.644.6862 (TDD) Philadelphia, Pennsylvania exhibitions, may apply. Privileges are subject 330.453.7666 phone www.toledomuseum.org barnesfoundation.org to change. www.cantonart.org 215.278.7000 Cincinnati Art Museum Wexner Center for the Arts Blanton Museum of Art Ohio Museum 953 Eden Park Drive, Cincinnati, OH 45202 The Ohio State University Austin, Texas 513.721.ARTS phone 1871 North High Street, Columbus, OH blantonmuseum.org Reciprocal www.cincinnatiartmuseum.org 43210-1393 512.471.5482 614.292.3535 phone Membership The Cleveland Museum of Art www.wexarts.org Chrysler Museum of Art Program 11150 East Boulevard, Cleveland, OH Norfolk, Virginia 44106-1797 Zanesville Museum of Art chrysler.org Akron Art Museum 216.421.7350 phone; 888.CMA.0033 620 Military Road, Zanesville, OH 43701 757.664.6200 Allen Memorial Art Museum outside Cleveland 740.452.0741 phone The Butler Institute of American Art www.clevelandart.org www.zanesvilleart.org Cooper Hewitt, The Canton Museum of Art Smithsonian Design Museum Cincinnati Art Museum Contemporary Arts Center New York, New York The Cleveland Museum of Art 44 East Sixth Street, Cincinnati, OH 45202 The Art cooperhewitt.org Columbus Museum of Art 513.345.8400 phone 212.849.8400 The Contemporary Arts Center www.contemporaryartscenter.org Museum The Dayton Art Institute Reciprocal Network Crocker Art Museum Massillon Museum The Dayton Art Institute Sacramento, California Museum of Contemporary Art 456 Belmonte Park North, Dayton, OH (AMRN) crockerart.org (MOCA) Cleveland 45405–4700 916.808.7000 937.223.4ART information Springfield Museum of Art Upon presentation of a membership card 937.223.5277 administrative offices Toledo Museum of Art designating AMRN reciprocity, members www.daytonartinstitute.org Wexner Center for the Arts are entitled to the following privileges at [email protected] Zanesville Museum of Art participating museums: January 1–December 31, 2018 Hill-Stead Museum Philadelphia Museum of Art The George Washington University Museum The Art Farmington, Connecticut Philadelphia, Pennsylvania and The Textile Museum Museum hillstead.org philamuseum.org Washington, 860.677.4787 215.763.8100 District of Columbia Reciprocal Network museum.gwu.edu Isabella Stewart Gardner Museum The Phillips Collection 202.994.5200 (AMRN) (continued) Boston, Massachusetts Washington, gardnermuseum.org District of Columbia Wadsworth Atheneum The Delaware Art Museum 617.566.1401 phillipscollection.org Museum of Art Wilmington, Delaware 202.387.2151 Hartford, Connecticut delart.org Milwaukee Art Museum thewadsworth.org 866.232.3714 Milwaukee, Wisconsin Portland Museum of Art 860.278.2670 mam.org Portland, Maine Denver Art Museum 414.224.3200 portlandmuseum.org The Walters Art Museum Denver, Colorado 207.775.6148 Baltimore, Maryland denverartmuseum.org National Portrait Gallery thewalters.org 720.865.5000 Washington, District of Columbia Princeton University Art 410.547.9000 npg.si.edu/visit Princeton, New Jersey Des Moines Art Center 202.633.8300 artmuseum.princeton.edu Des Moines, Iowa 609.258.3788 desmoinesartcenter.org The Nelson-Atkins Museum of Art North American 515.277.4405 Kansas City, Missouri The Rhode Island Reciprocal Museum nelson-atkins.org School of Design Farnsworth Art Museum 816.751.1278 Museum of Art (NARM) Association® Rockland, Maine Providence, Rhode Island farnsworthmuseum.org The Newark Museum risdmuseum.org 207.596.6457 Newark, New Jersey 401.454.6500 The North American Reciprocal Museum newarkmuseum.org (NARM) Association has over 1,000 member The Frick Pittsburgh 973.596.6550 Smith College institutions. For a complete list please visit Pittsburgh, Pennsylvania New Orleans Museum of Art their website narmassociation.org thefrickpittsburgh.org Museum of Art Northampton, Massachusetts 412.371.0600 New Orleans, Louisiana smith.edu/artmuseum noma.org 413.585.2760 The Frick Collection 504.658.4100 New York, New York Smithsonian American Art Museum frick.org North Carolina and Renwick Gallery 212.288.0700 Museum of Art Washington, Raleigh, North Carolina District of Columbia Frist Center ncartmuseum.org americanart.si.edu for the Visual Arts 919.839.6262 202.633.7970 Nashville, Tennessee fristcenter.org Norton Museum of Art The Taft Museum of Art 615.244.3340 West Palm Beach, Florida Cincinnati, Ohio norton.org taftmuseum.org Georgia O’Keeffe Museum 561.832.5196 513.241.0343 Santa Fe, New Mexico okeeffemuseum.org Peabody Essex Museum 505.946.1000 Salem, Massachusetts pem.org 866.745.1876.
Recommended publications
  • Virtual Museum Scavenger Hunt

    Virtual Museum Scavenger Hunt

    Virtual Museum Scavenger Hunt Musee d’Orsay, Paris, France The French Art of the Musee d’Orsay Welcome to the Musee d’Orsay Scavenger Hunt! This museum is located in Paris, France. In its past life, it was a railway station until 1939. During World War II, the French used it as a mailing station. Today, it holds French art from 1848 to 1914. The French wanted to create a museum that had pieces that other museums did not have room for. Quick Fun Facts about the museum! This museum has the largest 35,000 Square Meters of the It is one of the largest art collection of impressionist building is made of glass museums in Europe. masterpieces It took 6 months to place all of It has more metal than the Eiffel It was the first museum in the paintings and art into the Tower France to have a photography museum exhibition Start by going to this link: https://artsandculture.google.com/partner/musee-dorsay-paris?hl=en Part One: 1. You will need to select Canvas. Find the painting titled “Self Portrait”. a. Can you tell me when the piece was painted? b. Can you tell me who painted it? 2. Return to the home page through the link above. Then select Modern Art. Find the painting called “Magpie”. a. What season is portrayed in the painting? b. Who painted it? 3. Return to the homepage through the link above. Then select France. Search for the painting called “The circle of the Rue Royale”. a. Can you count how many people are in the painting? 4.
  • Urban Megaprojects-Based Approach in Urban Planning: from Isolated Objects to Shaping the City the Case of Dubai

    Urban Megaprojects-Based Approach in Urban Planning: from Isolated Objects to Shaping the City the Case of Dubai

    Université de Liège Faculty of Applied Sciences Urban Megaprojects-based Approach in Urban Planning: From Isolated Objects to Shaping the City The Case of Dubai PHD Thesis Dissertation Presented by Oula AOUN Submission Date: March 2016 Thesis Director: Jacques TELLER, Professor, Université de Liège Jury: Mario COOLS, Professor, Université de Liège Bernard DECLEVE, Professor, Université Catholique de Louvain Robert SALIBA, Professor, American University of Beirut Eric VERDEIL, Researcher, Université Paris-Est CNRS Kevin WARD, Professor, University of Manchester ii To Henry iii iv ACKNOWLEDGMENTS My acknowledgments go first to Professor Jacques Teller, for his support and guidance. I was very lucky during these years to have you as a thesis director. Your assistance was very enlightening and is greatly appreciated. Thank you for your daily comments and help, and most of all thank you for your friendship, and your support to my little family. I would like also to thank the members of my thesis committee, Dr Eric Verdeil and Professor Bernard Declève, for guiding me during these last four years. Thank you for taking so much interest in my research work, for your encouragement and valuable comments, and thank you as well for all the travel you undertook for those committee meetings. This research owes a lot to Université de Liège, and the Non-Fria grant that I was very lucky to have. Without this funding, this research work, and my trips to UAE, would not have been possible. My acknowledgments go also to Université de Liège for funding several travels giving me the chance to participate in many international seminars and conferences.
  • Historic, Architectural, Archaeological and Cultural Resources

    Historic, Architectural, Archaeological and Cultural Resources

    Historic, Architectural, Environmental Impact Archaeological and Cultural Statement Resources (Section 106) Identify cultural resources within the Detailed Study Area Consult, as necessary, with the State Historic Preservation Officer and Tribal Historic Preservation Officer Since1949 P:\CMH\GIS_EIS_P150\GRAPHICS\7-11-06workshop\historic text.cdr Date: 6/11/06 SOMERSET GENERAL STUDY AREA NORTH EAST AUDUBON Columbus CREEKSIDE e Jefferson AUDUBON Mary Miller Patton House u !( GLEN ECHO n Gahanna e SHULL v 270 Township GLEN ECHO GLEN ECHO Mifflin A G ran PRIDE PARK ville Street y ¦¨§ MEMORIAL LINDEN d Township Glen Echo Historic District a s d s H .! a avens Corners a Ro o ad Ch C err y Road R JOAN s d e oa m Hus MOCK R FRIENDSHIP d on Street n a a w J to o CITY GATE s R GAHANNA WOODS hn Jo Her n mitage Ro o ad t l Mock R Muski i oad ngum m a e Road H u 670 n Ne RATHBURN WOODS e w burgh Drive Deniso v § n Ave y GAHANNA WOOD NATURE RESERVE ¨ n r ¦ u e bu A r te d l r d a l W eva a l e ou o n B t R n r GALLOWAY PRESERVE e k IUKA r o roo b b B Elizabeth J. & Louis C. Wallick r e d r av a a !( e Indianola Junior High School B ive FIVE ACRE WOODS PARKLAND IUKA OHIO HISTORICAL CENTER r o !( H D TAYLOR ROAD RESERVE e R d ! r . 71 u e a r Ar a gyle 1 Drive t u n o e B BRITTANY HILLS 0 e n e M n R e ¦¨§ L e v o r OHIO STATE FAIRGROUND r o r r v t A Vendo is me Dr g A ive e o .! S e n a z d MALONEY c l Ta ylor Ro h a W n e R d y R t o g a i l o 8 S a J e H AMVET VILLAGE 2 d v e Holt A l Seventeen venue C th Avenue I nternationa Pet l Gateway Cemetery e u WINDSOR n e d v a 1 o Y A d 0 PIZZURO R d a R n n BRENTNELL o o T a Airport i Y l R t Golf El AMERICAN ADDITION d a eventh Aven y t ue r o Course S u o r N T L b o W n 8 l New Indianola Historic District y u 2 d Thir raft Roa a ! S teenth Ave Clayc T CRAWFORD FARMS .
  • Arts and Culture in Columbus Creating Competitive Advantage and Community Benefit Columbus Cultural Leadership Consortium Member Organizations

    Arts and Culture in Columbus Creating Competitive Advantage and Community Benefit Columbus Cultural Leadership Consortium Member Organizations

    A COMMUNITY DISCUSSION PAPER presented by: COLUMBUS CULTURAL LEADERSHIP CONSORTIUM SEPTEMBER 21, 2006 Arts and Culture in Columbus Creating Competitive Advantage and Community Benefit Columbus Cultural Leadership Consortium Member Organizations BalletMet Center of Science and Industry (COSI) Columbus Association for the Performing Arts (CAPA) Columbus Children’s Theatre Columbus Museum of Art Columbus Symphony Orchestra Contemporary American Theatre Company (CATCO) Franklin Park Conservatory Greater Columbus Arts Council (GCAC) Jazz Arts Group The King Arts Complex Opera Columbus Phoenix Theatre ProMusica Chamber Orchestra Thurber House Wexner Center for the Arts COLUMBUS CULTURAL LEADERSHIP CONSORTIUM Table of Contents Executive Summary . 2 Introduction . 4 Purpose . 4 State of the Arts . 5 Quality Proposition . 5 Finances at a Glance . 9 Partnerships as Leverage . 11 Public Value and Community Advantage . 13 Education and Outreach . 14 Economic Development . 17 Community Building . 21 Marketing . 23 Imagining Enhanced Community Benefit . 24 Vision and Desired Outcomes . 24 Strategic Timeline for Reaching Our Vision . 28 “The Crossroads” Conclusion . 28 Table 1: CCLC Member Organization Key Products and Services . 29 Table 2: CCLC Member Organization Summary Information . 31 Table 3: CCLC Member Organization Offerings at a Glance . 34 Endnotes . 35 Bibliography . 37 Issued September 21, 2006 1 COLUMBUS CULTURAL LEADERSHIP CONSORTIUM Executive Summary Desired Outcomes Comprised of 16 organizations, the Columbus 1. Culture and arts will form a significant Cultural Leadership Consortium (CCLC, or “the differentiator for our city and contribute to its consortium”) was created early in 2006 to bring overall economic development. organization and voice to the city’s major cultural and artistic “anchor” institutions, with a focus on It is sobering to see the results of a 2005 study policy and strategy in both the short term and over conducted by the Columbus Chamber, indicating the long haul.
  • Renoir, Impressionism, and Full-Length Painting

    Renoir, Impressionism, and Full-Length Painting

    FIRST COMPREHENSIVE STUDY OF RENOIR’S FULL-LENGTH CANVASES BRINGS TOGETHER ICONIC WORKS FROM EUROPE AND THE U.S. FOR AN EXCLUSIVE NEW YORK CITY EXHIBITION RENOIR, IMPRESSIONISM, AND FULL-LENGTH PAINTING February 7 through May 13, 2012 This winter and spring The Frick Collection presents an exhibition of nine iconic Impressionist paintings by Pierre-Auguste Renoir, offering the first comprehensive study of the artist’s engagement with the full-length format. Its use was associated with the official Paris Salon from the mid-1870s to mid- 1880s, the decade that saw the emergence of a fully fledged Impressionist aesthetic. The project was inspired by Renoir’s La Promenade of 1875–76, the most significant Impressionist work in the Frick’s permanent collection. Intended for public display, the vertical grand-scale canvases in the exhibition are among the artist’s most daring and ambitious presentations of contemporary subjects and are today considered masterpieces of Impressionism. The show and accompanying catalogue draw on contemporary criticism, literature, and archival documents to explore the motivation behind Renoir’s full-length figure paintings as well as their reception by critics, peers, and the public. Recently-undertaken technical studies of the canvases will also shed new light on the artist’s working methods. Works on loan from international institutions are La Parisienne from Pierre-Auguste Renoir (1841–1919), Dance at Bougival, 1883, oil on canvas, 71 5/8 x 38 5/8 inches, Museum of Fine Arts, Boston, Picture Fund; photo: © 2012 Museum the National Museum Wales, Cardiff; The Umbrellas (Les Parapluies) from The of Fine Arts, Boston National Gallery, London (first time since 1886 on view in the United States); and Dance in the City and Dance in the Country from the Musée d’Orsay, Paris.
  • The Bourse De Commerce — Pinault Collection, a Museum Accessible to Everyone

    The Bourse De Commerce — Pinault Collection, a Museum Accessible to Everyone

    The Bourse de Commerce — Pinault Collection, a museum accessible to everyone In the heart of Paris, the Bourse de Commerce — Pinault Collection presents part of the contemporary art collection amassed by François Pinault over the past forty years. In the historic building of the former Bourse de Commerce (com- modities exchange), restored and transformed by Japanese architect Tadao Ando, a dialogue emerges between heritage and contemporary creation. Through the prism of a collector’s gaze on the art of today and in an effort to increase public awareness and understanding, the Bourse de Commerce — Pinault Collection offers regular exhibitions and hangings of contemporary art, with artist com- missions, cartes blanches and a rich programme of cultural events: lectures, screenings, concerts and performances. Open to everyone, the Bourse de Commerce — Pinault Collection strives to offer an accessible and inclusive pro- gramme of events in line with its exhibitions. Finally, the Bourse de Commerce – Pinault Collection is equip- ped with all the necessary facilities to ensure that everyone’s visit is a pleasant and stress-free experience. Certain areas of this listed building with historic monument status are subject to preservation constraints and therefore, do not feature standard accessibility norms. This booklet explains the visiting conditions and resources put at your disposal in order to facilitate your access and visit to the museum. A museum accessible to everyone / Bourse de Commerce — Pinault Collection 1 Summary Practical information
  • Libeskind's Jewish Museum Berlin

    Libeskind's Jewish Museum Berlin

    Encountering empty architecture: Libeskind’s Jewish Museum Berlin Henrik Reeh Preamble In Art Is Not What You Think It Is, Claire Farago and Donald Preziosi observe how the architecture of contemporary museums inspires active relationships between exhibitions and visitors.1 Referring to the 2006 Denver Art Museum by Daniel Libeskind, they show the potentials germinating in a particular building. When artists and curators are invited to dialog with the spaces of this museum, situations of art-in-architecture may occur which go beyond the ordinary confrontation of exhibitions and spectatorship, works and visitors. Libeskind’s museum is no neutral frame in the modernist tradition of the white cube, but a heterogeneous spatiality. These considerations by Farago and Preziosi recall the encounter with earlier museums by Libeskind. Decisive experiences particularly date back to the year 1999 when his Jewish Museum Berlin was complete as a building, long before being inaugurated as an exhibition hall in 2001. Open to the public for guided tours in the meantime, the empty museum was visited by several hundred thousand people who turned a peripheral frame of future exhibitions into the center of their sensory and mental attention. Yet, the Libeskind building was less an object of contemplation than the occasion for an intense exploration of and in space. Confirming modernity’s close connection between exhibition and architecture, Libeskind’s Jewish Museum Berlin unfolds as a strangely dynamic and fragmented process, the moments of which call for elaboration and reflection. I. Architecture/exhibition Throughout modernity, exhibitions and architecture develop in a remarkably close relationship to one another.
  • Mark Your Calendar! Committee Member

    Mark Your Calendar! Committee Member

    SPRING 2015 NEX∙US (nĕk’s s) N., 1. A MEANS OF CONNECTION; A LINK OR TIE. 2. A CONNECTED SERIES OR GROUP. 3. THE CORE OR CENTER. BIGGEST May Bonus Pool 12 EVER! 5 2 MINUTES WITH… MICHAEL P. GLIMCHER Meet our new Governing Mark Your Calendar! Committee member 3 LIVING UP TO HIS NAME Ernest Abele’s fund supports his love of nature 4 PUSHING PAST A SETBACK One-time grants provide critical support 6 FIVE NONPROFITS TO WATCH Exceptional nonprofits named for 2015 Spring 2015 GOVERNING COMMITTEE C. Robert Kidder Chairman Matthew D. Walter PRESIDENT’S Vice Chairman David P. Blom PERSPECTIVE Joseph A. Chlapaty Michael P. Glimcher Lisa A. Hinson Nancy Kramer Barbara J. Siemer Dwight E. Smith Douglas F. Kridler President and CEO Douglas F. Kridler Raymond J. Biddiscombe, CPA President and CEO Senior Vice President, CFO Lisa S. Courtice, Ph.D. Executive Vice President Colleen D. Mitchell Senior Vice President Tamera Durrence Vice President Carol M. Harmon “America’s poor kids belong to us and Vice President EDITORIAL STAFF we to them. They are our kids.” Amy Vick Nick George Carol M. Harmon Lynsey Harris OUR MISSION AVE WE LOST SIGHT OF THIS? holes in the social safety nets that used to catch Robert Putnam, the author of kids if they fell. To assist donors those statements, thinks we have, What does that have to do with us? Well, and writes about it in convincing Putnam kicked off his address to us with the and others in H fashion in his new book, Our following statement, which, coming from one strengthening Kids .
  • Pressionism," Keny Gafferfes Several Es .Their "Art of Ltalo Scanga," Riley Hawk Galleries Tim a Year Th, ·-· Ohio Artists to Gaj¼ry;.V

    Pressionism," Keny Gafferfes Several Es .Their "Art of Ltalo Scanga," Riley Hawk Galleries Tim a Year Th, ·-· Ohio Artists to Gaj¼ry;.V

    ""- ■ >) I°·" ·•\. _1 Pag_e SD tlbt<!ohnnbus IDi�•llh i j J f.'' VISUAL ARTS _,'>. Key,t,80ple , · · lost to . local art scene ■ Established·institutip!JS offered Art draws fewer- but ol{ls{anding -·· exhibi­ • tions to Columbus·ga[le ,y-goers. : '. Viewers Some of the mostsi�cant 'chiruges in the Columbus art scene in,:19?3 involved personalities. Many of the art comrrnlnity's most fu.miliar and · out of city influentialpeople have gone, · · · When those who follow the visu­ After a Jong lr.lttle against cancer, Roberta al arts in Columbus venture outside Kuhn died last summer, and her. gallery closed, the city, they've learned to point leaving many local artists wi!hmlt their mentor ' · ' theircars toward Lancaster. and the city short one' sol- In the past year, Lancaster's id, professional gallery. Hammond Gallelies - the Festival Sally Wmdels closed and the Ruthven - have heen im­ her sophisticated Short portant factors in central Ohio's cul- North gallery. Jane Con­ tural life. nell, a curator at the•·Coe In July, each gallery pulled out lumbus Museum of , Art thestops for the Lancaster Festival. and organizer of the,Eli­ Pierce The Festival Gallery joined the jah show, has. Jeft. ,. big league with "Labylinth of the And Byron Kohn, long a · Spirit," created by guest curator pillar of t.Jie local art com- ·. Rohert Stearns, former director of munity, left his welk JACQUELINE theWexner Center for the Arts. known German Village·. This thematic show was chal­ gallery for a more plivate HALL lenging, even prov.ocative, and pre­ studio and.lower profile.· : .
  • British Museum Map December 2020

    British Museum Map December 2020

    Ground foor Toilets Accessible toilet Level 2 95 67 Baby changing North Level 2 stairs Shop Level 1 33a 33 33 Café North Level 1 stairs Exit Montague Place Admissions Desk Level -1 33b M Membership Desk North Level stairs -1 & 0 Level 0 Ticket Desk 30 Down 24 to Room 26 27 Stairs West 25 (37 stairs steps) Up from East Room 25 Level 0 (37 steps) stairs Lift 20 Accessible entry to Upper floor 21 and Members’ Court Room Level access lift 18 19 Great Court Café 9 4 Level 0 Shop Level 0 1 Decision point Accessible Accessible entry to exit from Permanent collection one-way direction 22 Rooms Rooms 25, Upstairs for Egypt: 25 & 35 35 and Upper floor mummies and 18b Middle East (one-way) Special exhibition ticket holders 18 17 23 8 Collections Book 1 Turn right for Africa and 4 Shop Shop Americas (one-way) 18a M 10 7 4 1 18 15 Great Court A 14 South Grenville 13 6 stairs Room 2 12 6 3 2a Pizzeria 55 Level 0 Forecourt Entrance only Café Great Russell Street Americas Ancient Greece Middle East Themes North America and Rome Assyrian sculpture and Enlightenment Room 26 Early Greece Balawat Gates Room 1 Room 6 Mexico Room 6 Collecting the world Room 27 Greece: Minoans and Assyria: Nimrud Room 2 Room 8 Mycenaeans Living and Dying The Arthur I Fleischman Gallery Ancient Egypt The Wellcome Trust Gallery Room 12 Room 24 Egyptian sculpture Exhibitions Room 4 Greece 1050–520 BC Special exhibitions Room 13 The Sainsbury Exhibitions Gallery Greek vases Room 30 Members Members’ Room Room 14 This room is exclusively available Athens and Lycia to Members, providing the perfect Room 15 setting in which to relax in front of spectacular views of the Great Nereid Monument Court.
  • Ohio Museum Reciprocal Membership Program

    Ohio Museum Reciprocal Membership Program

    and contemporary art collection. The museum features Springfield Museum of Art Wexner Center for the Arts outstanding special exhibitions, a wide variety of 107 Cliff Park Road, Springfield, OH 45504 The Ohio State University Ohio Museum educational programs, and an interactive, family-oriented 937-325-4673 phone; 937-325-4674 fax 1871 North High Street, Columbus, OH 43210-1393 Experiencenter. The museum’s Italian Renaissance- [email protected] 614-292-3535 phone inspired building overlooks Dayton’s central business www.springfieldart.net www.wexarts.org Reciprocal district and welcomes nearly 140,000 visitors annually. Wednesday–Saturday 9:00–5:00 pm Free admission to exhibitions, openings, and public Sunday 12:30–4:30 programs Massillon Museum Closed Mondays and Tuesdays, Thanksgiving Day, Sunday, Tuesday, Wednesday 11:00–6:00 Membership 121 Lincoln Way East, Massillon, OH 44646 Christmas Eve, Christmas Day, New Year’s Eve, New Thursday–Saturday 11:00–8:00 www.massillonmuseum.org Year’s Day Galleries closed Monday, Center closed major holidays 330-833-4061 phone 10% discount in Wexner Center Store and Café Program Free admission Situated in beautiful Cliff Park, Springfield Museum of Tuesday–Saturday 9:30–5:00 Art mounts a broad array of changing exhibits featuring The Wexner Center is a vital showcase for Sunday 2:00–5:00 outstanding creations from both established and contemporary art, architecture, film, video, dance, Your Special Benefit Ohregionalities (museum shop): Open during museum emerging artists, balanced with galleries that showcase music, and theater from around the world. Tours, hours works from the museum’s superb permanent collections, lectures, workshops, and hands-on activities for Closed Mondays and major holidays including significant work by Ohio and self-taught children and families complement the changing array Akron Art Museum artists.
  • Museum Policies in Europe 1990 – 2010: Negotiating Professional and Political Utopia

    Museum Policies in Europe 1990 – 2010: Negotiating Professional and Political Utopia

    Museum Policies in Europe 1990 – 2010: Negotiating Professional and Political Utopia Lill Eilertsen & Arne Bugge Amundsen (eds) EuNaMus Report No 3 Museum Policies in Europe 1990–2010: Negotiating Professional and Political Utopia (EuNaMus Report No. 3) Lill Eilertsen & Arne Bugge Amundsen (eds) Copyright The publishers will keep this document online on the Internet – or its possible replacement – from the date of publication barring exceptional circumstances. The online availability of the document implies permanent permission for anyone to read, to download, or to print out single copies for his/her own use and to use it unchanged for noncommercial research and educational purposes. Subsequent transfers of copyright cannot revoke this permission. All other uses of the document are conditional upon the consent of the copyright owner. The publisher has taken technical and administrative measures to assure authenticity, security and accessibility. According to intellectual property law, the author has the right to be mentioned when his/her work is accessed as described above and to be protected against infringement. For additional information about Linköping University Electronic Press and its procedures for publication and for assurance of document integrity, please refer to its www home page: http://www.ep.liu.se/. Linköping University Interdisciplinary Studies, No. 15 ISSN: 1650-9625 Linköping University Electronic Press Linköping, Sweden, 2012 URL: http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-81315 Copyright © The Authors, 2012 This report has been published thanks to the support of the European Union’s Seventh Framework Programme for Research - Socio-economic Sciences and Humanities theme (contract nr 244305 – Project European National Museums: Identity Politics, the Uses of the Past and the European Citizen).