The Franz Mayer Museum (Spanish: Museo Franz Mayer), in Mexico City opened in 1986 to house, display and maintain Latin America’s largest collection of decorative arts. The collection was amassed by stockbroker and financial professional Franz Mayer, who collected fine artworks, books, furniture, ceramics, textiles and many other types of decorative items over fifty years of his life. A large portion comes from Europe and Asia but most comes from Mexico itself with items dating from the 15th to the 20th centuries. Many pieces in the collection are fine handcrafts, such as textiles and Talavera pottery, and they are important because they are items that often did not survive because most did not consider them worth preserving.
The museum is housed in the historic center of Mexico City in the former San Juan de Dios monastery and hospital, an 18th-century structure which was rehabilitated for the museum. In addition to displaying the items Mayer collected, of which only over a quarter is visible, the museum still makes acquisitions, hold workshops, sponsors temporary exhibits and has a café located in the center courtyard/garden.


It is located in the Plaza de la Santa Veracruz, next to the Museo Nacional de la Estampa . The building was originally built as a flour mill, then was used as a hospital for about four hundred years.  This hospital was founded by Dr. Pedro Lopez in 1582, the first medical doctor to graduate from the Royal and Pontifical University of Mexico. The hospital attended people from almost all of New Spain’s social castes and called the Hospital for the Helpless. The hospital's church was dedicated to the Three Wise Men. The hospital was run by the Lopez family then the Dominicans, than the Brothers Hospitallers of St. John of God, starting in 1604. The current structure was built over most of the 18th century with multiple adaptations and reconstructions since.  In 1620, the complex was rebuilt as a church, hospital and monastery. The church's main altarpiece was inaugurated in 1650 and the infirmaries were completed in 1673. The order continued to run the hospital for the next two hundred years despite a fire in 176 and an earthquake in 1800. The Brothers were forced to abandon the complex after Mexico's Independence in 1821. It became a school run by the nuns of the Teaching of the Indies from 1830 to 1834, than the Sisters of Charity occupied it from 1845 to 1873. It began caring for the sick again in 1865, taken over by the Public Benefits Office in 1875 with the name of Morelos Hospital. It remained a hospital under one name or another until the 1960s, when it was used to display handcrafts during the Olympic Games. It would keep this function through the 1970s but in dilapidated condition.
In the 1980s, the idea surged to make it into a museum. The Human Settlements and Public Works Ministry granted occupation of the building to the Franz Mayer Cultural Trusteeship, managed by the Bank of Mexico with the purpose of founding a museum. The current restoration dates from this time. The Franz Mayer Museum was opened to the public in 1986. The museum occupies the former hospital with three of the original rooms of the cloister: a dining hall, a storage room and a chapel restored to its colonial look.


The collection of the museum is mostly that of Franz Mayer himself, collected over the course of fifty years and is the largest collection of decorative arts in Latin America. The museum has 9,500 pieces of art, 1,400 pieces of ceramics and 10,000 books, with only 28% able to be shown at any time in the museum proper. The collection includes silverwork, ceramics, furniture, textiles, fine arts and decorations made of pre Hispanic style feather work, lacquer, ivory, shell, glass and enamel, mostly of pieces from the 16th to the 19th centuries with a variety of places of origin, materials and styles. Most of the pieces are those used in everyday life, but finely handcrafted. A number of pieces come from Europe and Asia, but Mayer acquired a very large quantity of pieces from Mexico City, Puebla and Guanajuato. The collection of textiles is one of the most important in the country for its variety with about 260 pieces from the 15th to the 20th centuries. Many of his items are those which were susceptible to disappearing as they are everyday items often not considered worth preserving.
The furniture collection is one of the richest in Mexico for its variety. The museum houses 710 pieces which date from the 16th to the 20th centuries. Most are from Mexico's colonial period although there are pieces from Europe and Asia.
The silver collection contains just under 1,300 pieces from the 15th to 19th centuries, and is recognized as one of the most important in Mexico. The pieces include repoussé work, chiseling, graffito and filigree, along with pieces set with precious and semi-precious stones and those containing enamels and others with gold. Most are pieces related to Catholic liturgy and include censers, chalices, lamps, candlesticks, ciboriums, crosses and tabernacles, but there are also non-religious pieces such as gold cigarette cases, cutlery, plays and trays.
The textile collection is one of the most varied in Mexico, standing out as one of few collections in the country with significant samples. Much of the current collection consists of recent acquisitions, but it began with Mayer collecting rebozos, then blankets from Saltillo, Flemish tapestries, shawls from Manila, dresses and liturgical garments. Mexican textiles include those from the colonial period made on backstrap as well as European pedal looms. There are also pieces with fine embroidery including the use of gold and silver thread. Many of the rugs are from Europe and Spain but with Oriental motifs.
The museum is one of the few places where European and Mexican painting is displayed together. European works date back as far as the 14th century, with those from Spain dating from the 14th to the 20th centuries. These include works by José de Ribera “El Españoleto”, Francisco de Zurbarán, and Ignacio Zuloaga. Italian art is represented by works by Lorenzo Lotto, and Alessandro Allori. Northern European painters include Jacob Grimmer and Bartholomeus Bruyn. Mexican works are mostly from the colonial period and include pieces by Juan Correa, Miguel Cabrera, Juan and Nicolás Rodríguez Juárez and others. Almost of these are religious in nature, with a few portraits from the 18th century. Post colonial works include a landscape by José María Velasco and an early painting by Diego Rivera .
In the 1920s, Mayer began collecting Talavera pottery from Puebla, one of the first collectors to do so. In Puebla, he was considered a bit crazy for buying all of the "old stuff" from the locals. The museum opened with the largest Puebla Talavera collection in the world with 726 pieces from the 17th to the 19th centuries and some 20th-century pieces by Enrique Luis Ventosa.
One important part of the museum complex is the Rogerio Casas-Alatriste H. Library, named after the first director. It is dedicated to Mayer's book collection most of which were bought to research pieces which Mayer had bought or was interested in. The library is in the cloister area, containing with over 14,000 volumes, which includes 800 different editions of Don Quixote and the Chronicles of Nuremberg, edited in 1493.  The interior of the library is a Classical design with shelving made of cedar to protect the books. The wood floor of the library was that of the Mayer's original house as well as the terrarium and the candelabra .
In 2004, anthropologist Ruth D. Lechuga donated her private collection of artifacts and personal items to the museum. The collection contained over 14,000 artifacts, 5,000 books and magazines and 1,000 personal effects documenting Lechuga's life from her family's flight from the Nazi Anschluss in her native Austria to the years dedicated to the research on Mexico's indigenous populations. Anthropologists Marta Turok and Margarita de Orellana are the co-executors of the collection, which has been shown in several exhibits. In 2016, the Ruth D. Lechuga Center for Popular Art Studies (Spanish: Centro de Estudios de Arte Popular Ruth D. Lechuga (CEAP-RDL)) opened in the basement of the Museum.


The Cygnaeus Gallery (Finnish: Cygnaeuksen galleria, Swedish: Cygnaei galleri) is an art gallery in Helsinki.
The art gallery was founded by the professor of aesthetics Fredrik Cygnaeus. It was built as a villa in 1869–1870 to designs by architect J.F.W. Mieritz. Cygnaeus donated the gallery to the Finnish nation in his testament. It opened to the public in 1882, and is today owned by the Finnish Heritage Agency. It has been claimed to be the oldest still operating art museum in Finland. The gallery contains mainly Finnish art from the 19th century, c. 200 works in total. Among artists represented are Albert Edelfelt, the Von Wright brothers, Fanny Churberg and Helene Schjerfbeck.
Apart from the permanent collections the museum also hosts temporary exhibitions and is used, among other things, as concert venue.
In 2014 it was closed down for the time being for lack of funding by the Heritage Agency.


The Salar Jung Museum is an art museum located at Dar-ul-Shifa, on the southern bank of the Musi River in the city of Hyderabad, Telangana, India. It is one of the notable National Museums of India. Originally a private art collection of the Salar Jung family, it was endowed to the nation after the death of Salar Jung III. It was inaugurated on 16 December 1951.
It has a collection of sculptures, paintings, carvings, textiles, manuscripts, ceramics, metallic artifacts, carpets, clocks, and furniture from Japan, China, Burma, Nepal, India, Persia, Egypt, Europe, and North America. It is one of the largest museums in the world.


The "Founder's Gallery" houses portraits of Salar Jung III, as well as other members of the Salar Jung family.
The Indian block includes jade-crafted daggers of Jahangir, Nur Jahan and Shah Jahan; and weapons belonging to Aurangzeb, Tipu Sultan, Muhammad Shah, Bahadur Shah and Abul Hasan Qutb Shah.
Indian miniature paintings belonging to the Mughal, Rajasthani, Thanjavur and Deccan schools are displayed. Indian sculptures from the Gandhara and Chola periods are also displayed.
The museum also has a collection of modern Indian artworks from the Bengal school. Works by Raja Ravi Varma, Abdur Rahman Chughtai, M.F. Hussain, K.K. Hebbar, Rabindranath Tagore, Abanidranath Tagore and Nandalal Bose are displayed.


The Rochdale Pioneers Museum is housed in the building where the Rochdale Equitable Pioneers Society started trading on 21 December 1844. The museum is regarded as the birthplace of the modern co-operative movement. It is located in Rochdale, Greater Manchester, England.
The museum includes a recreation of the original shop, containing its rudimentary furniture, scales, items that were sold at the store, etc. Moreover, the museum transmits the influence of the co-operative movement on issues such as women's rights, poverty, education, fair trade and social reform. The museum is owned by the Co-operative Heritage Trust, and managed by the Co-operative College.


The Musée Granet is a museum in the quartier Mazarin, Aix-en-Provence, France devoted to painting, sculpture and archeology. In 2011, the museum received 177,598 visitors.


In June 2011, the first part of the collection of the Fondation Jean et Suzanne Planque opened at the Musée Granet, containing over 180 artworks. This legacy of the Swiss painter, dealer and art collector Jean Planque, a personal friend of Pablo Picasso, has been donated to the city for an initial period of 15 years. The collection contains over 300 works of art, including paintings and drawings by Degas, Renoir. Gauguin, Monet, Cézanne, Van Gogh, Picasso, Pierre Bonnard, Paul Klee, Fernand Léger, Giacometti and Dubuffet. The full collection will be housed in a specially constructed annex in the Chapelle des Pénitents Blancs, situated nearby: the expected opening is in 2013.


Garros Galería or Garros Gallery is located in Colonia Roma in Mexico City. It is the only art gallery and museum dedicated to cats in Mexico.


The enterprise was begun by siblings Joel and María del Carmen Nava Polina, along with Rodrigo Moreno González, who realized that there were cat museums in the United States, Canada and the Bahamas but not in Mexico. Both come from a family of cat lovers with fifteen cats between them currently. They had also built a large collection of cat-related items over the years. The gallery began in 2006 by gathering various artists and friends to donate and put works for the gallery on consignment. Since then, the gallery has had success because it caters to a niche market which had not been served previously. Sales have included those to Europe through the Internet.
Since it opened, the gallery has been featured on various television shows including TV Azteca and Once TV.


It is located in Colonia Roma, which is known for having a large number of galleries, boutiques and specialty stores.  Most of the gallery is dedicated to art and handcrafts with cat themes with the aim of supporting artists and artisans both from Mexico and abroad as well as promoting cats aesthetically.  It works with over one hundred designers, artists and artisans to create its line of products. The catalog includes over 5,000 pieces which includes handcrafts, pillows, paintings, T-shirts, jewelry, cups, toys, photographs, watches and books. Prices range from twenty pesos for a lollipop and 45 pesos for earrings to over 8,000 for an oil painting. The merchandise focuses on original art and handcrafts, ensuring that customers are buying items available nowhere else and not buying knock offs or illegal copies of commercial products. Customers include cat aficionados or friends/family of such, curious people who pass by the site and tourists. Some of the creators who work with the gallery include Daniel Soler, Serioshka Hellmund, Roxana Elvridge-Thomas, Ricardo Ham, Karina Falcón, Iris México, Miguel Ángel Tenorio, Guillermo León, James Tomon and Ana Karen Allende.
The logo for the gallery is “El gato Dedrita” (Dedrita the cat) designed by Joel Nava Polina which represents the playful nature of cats and of their admirers.
The gallery also sponsors exhibitions and other events not related to cats but with the aim of promoting local artists. It has shown works by artists such as Jesús Topete, Fumiko Nakashima and Kodai Kita.


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Atlanta Contemporary is a non-profit, non-collecting institution located in the West Midtown district of Atlanta. It is dedicated to the creation, presentation, and advancement of contemporary art by emerging and established artists.
Atlanta Contemporary presents multiple exhibitions per year featuring local and international artists, including commissioning new works. It pays particular attention to artists of note who have not had a significant exhibition in the Southeast. It organizes educational programs, as well as provides on-site, subsidized studio space to local artists through its Studio Artist Program.


The Musée Dobrée is a museum in Nantes, in the quartier Graslin in the immediate outskirts of the city centre and very close to the city's Natural History Museum. It was given to the city by Thomas Dobrée (13 August 1810 – 1895) and now belongs to the Conseil général de la Loire-Atlantique. In January 2010, the Conseil général began a project to restructure and modernise the museum, which is planned for completion in 2015.


From an old Huguenot family which had originated in Normandy before moving to Guernsey in the 16th century, whose other members became businessmen and arms-bearers in Nantes, Thomas Dobrée found himself with a large fortune at a young age. He then abandoned business aged 28 to collect artworks for 64 years of his life. From 1862, he devoted himself to building his 'palais', to house the over 10,000 objets d'art which he had spent his life collecting. His collections were particularly rich in precious books such as incunables and old Breton printed books, along with miniature paintings on manuscripts, autographs, coins, medals and the other graphic arts (notably German and Dutch engravings). His collection also included important holdings of sculpture, paintings and decorative art objects from the Middle Ages to the end of the 19th century.
Built in the immediate outskirts of the 15th century manor of John V, Duke of Brittany, the palais Dobrée was in the Romanesque Revival style dear to Viollet-le-Duc, although it was a joint work by the architects Simon, Boismen, Chenantais and Le Diberder, who were constantly troubled by their patron regarding it. Its form was inspired by the designs on the Saint Calminius Reliquary, which was part of the collection. In total Dobrée spent 100,000 francs (254,000 Euros) a year over 34 years, though he never lived there and it was only completed after his death.
By a deed witnessed by a notary on 8 August 1894, Thomas Dobrée left the palais and his collections to the Département de Loire-Inférieure - the bequest planned that the Départemenat would be able to transfer its archaeological museum into the manoir de la Touche, but stipulated that Dobrée's collections had to be kept separate from the archaeological collections, as is still the case. The conseil général accepted the bequest and decided to name the museum the Musée Thomas Dobrée. In 1896 the archaeological collections were moved in and in 1899 the museum opened its doors to the public. In 1974 an extension was built and a modern building constructed in a corner of the palais' garden - it was there that the old archaeological museum's collections (notably the Egyptian antiquities) were displayed, with the palais itself given over entirely to Dobrée's collection.


The Neue Staatsgalerie in Stuttgart, Germany, was designed by the British firm James Stirling, Michael Wilford and Associates, although largely accredited solely to partner James Stirling.  It was constructed between 1979 and 1984. The building has been claimed as the epitome of Post-modernism.


Carrick Hill is a publicly accessible historic property at the foot of the Adelaide Hills, in the suburb of Springfield, in South Australia. It was the Adelaide home of Sir Edward "Bill" Hayward and his wife Ursula (née Barr-Smith), and contains a large collection of drawings, sculptures, antiques and paintings. Completed in 1939 and built in the style of an English manor, it is one of the few period homes in Australia to have survived with its grounds undiminished and most of its original contents intact.
After being bequeathed to the state of South Australia upon Sir Edward's death in 1983, since 1985 it has been managed by the board of the Carrick Hill Trust, a statutory corporation which as of 2019 reports to the  Department of the Premier and Cabinet.


The house and grounds are open to the public for most of the year, closing in July for maintenance. An admission charge applies to the house, but not the gardens. Carrick Hill regularly houses themed art exhibitions.
On 13 November 2005, it hosted a reunion picnic for former staff of John Martin's, which was for many years owned by the Hayward family. The event coincided with the opening of a social history exhibition entitled "Johnnies Spirit of a State" and was held on the weekend of the Adelaide Christmas Pageant, which was founded by Sir Edward.
Carrick Hill has hosted exhibitions of works by notable Australian artists, built around the Hayward collection. Previous exhibitions have featured the work of William Dobell, Jeffrey Smart, Robert Hannaford and Adrian Feint.
In 2018, Carrick Hill hosted an exhibition of May Gibbs' illustrations and other artists working with Australian botanical subjects.


The complex was designed by Michael Wilford with structural engineer Buro Happold and constructed by Bovis Construction. Groundbreaking took place on 19 June 1997. The Lowry is built on a triangular site at the end of Pier 8 and has a triangular plan. A promenade encircling the building provides views of the Manchester Ship Canal, MediaCityUK and the Salford Quays developments.
The foyer faces the public plaza, where there is a large aerofoil canopy at the entrance clad with perforated steel and illuminated from inside at night. Much of the building is clad in stainless steel and glass.
The Lowry was described as "not quite 'Salford's Guggenheim' ... It is ultimately too small and too well behaved ... although there are obvious shared aims", a reference to the Guggenheim Museum in Bilbao, which was built for similar reasons.
The Lowry footbridge spanning the ship canal was designed and project managed by Parkman, with design support from Carlos Fernandez Casado. It is a lift bridge with a clear span of 100 metres (330 ft), which lifts vertically to provide a 26-metre (85 ft) clearance for shipping using the canal. The bridge span is a tied arch and the towers are constructed in tubular steelwork to provide an open aspect to view the lifting counterweight and sheaves.
In November 2015, the Lowry opened a new bar and restaurant, called Pier 8, after a 12-week closure on the original bar and restaurant. The new space cost £3m to develop and is part of an ongoing £5m investment programme to improve facilities and reduce the environmental footprint of the complex.
The new features include a zinc topped curving bar with room to seat 150 people for casual dining. The bar also has a feature tree with leaves made from cotton, to commemorate Salford Quays’ history at the centre of the cotton shipping industry. The new restaurant contains seven private booths, a newly designed open kitchen, and a second large room at the rear which can be opened up to accommodate more diners or private functions. Major structural changes have taken place in the building for the design, including the removal of a large staircase and the addition of an external entrance to the bar and restaurant, as well as added areas made to look like shipping containers.


The Lowry is a theatre and gallery complex at Salford Quays, Salford, Greater Manchester, England. It is named after the early 20th-century painter L. S. Lowry, known for his paintings of industrial scenes in North West England. The complex opened on 28 April 2000 and was officially opened on 12 October 2000 by Queen Elizabeth II.


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The Amon Carter Museum of American Art (ACMAA) is located in Fort Worth, Texas, in the city's cultural district. The museum's permanent collection features paintings, photography, sculpture, and works on paper by leading artists working in the United States and its North American territories in the nineteenth and twentieth centuries.  The greatest concentration of works falls into the period from the 1820s through the 1940s. Photographs, prints, and other works on paper produced up to the present day are also an area of strength in the museum's holdings.
The collection is particularly focused on portrayals of the Old West by Frederic Remington and Charles M. Russell, artworks depicting nineteenth-century exploration and settlement of the North American continent, and masterworks that are emblematic of major turning points in American art history. The "full spectrum" of American photography is documented by 45,000 exhibition-quality prints, dating from the earliest years of the medium to the present. A rotating selection of works from the permanent collection is on view year-round during regular museum hours, and several thousand of these works can be studied online using the Collection tab on the ACMAA's official website. Museum admission for all exhibits, including special exhibits, is free.
The Amon Carter Museum of American Art opened in 1961 as the Amon Carter Museum of Western Art. The museum's original collection of more than 300 works of art by Frederic Remington and Charles M. Russell was assembled by Fort Worth newspaper publisher and philanthropist Amon G. Carter, Sr. (1879–1955). Carter spent the last ten years of his life laying the legal, financial, and philosophical groundwork for the museum's creation.


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An admission-free museum of western art was conceived by Amon G. Carter, Sr. (1879–1955), publisher of the Fort Worth Star-Telegram, a large-circulation, daily newspaper in Fort Worth, Texas. Carter and his wife, Nenetta Burton Carter, took a key step toward the museum’s creation in 1945 when the Amon G. Carter Foundation, a Texas non-profit foundation, was formed, and the Carters transferred much of their wealth into it for the purpose of providing seed money to support an array of civic causes. At the time the foundation was incorporated, Amon Carter had been actively collecting art by Frederic Remington and Charles M. Russell for a decade.
On October 3, 1950, Carter informed the City of Fort Worth of his intention to "erect and equip" a museum and present it to the city. In 1951, the Amon G. Carter Foundation purchased a portion of the museum’s future site to protect the land from commercial encroachment. Following Amon Carter’s death in June 1955, his last will and testament empowered the foundation to provide for a museum to house his art collection and "be operated as a nonprofit artistic enterprise for the benefit of the public and to aid in the promotion of the cultural spirit in the city of Fort Worth and vicinity, to stimulate the artistic imagination among young people residing there."
A chance meeting between Amon Carter’s daughter and New Yorker Philip C. Johnson (1906–2005) at a Houston dinner party led to the commissioning of Johnson as the future museum’s lead architect. Ruth Carter Stevenson (who was Ruth Carter Johnson at the time and no relation to the architect) had assumed the role of project manager for the new museum and was in a position to offer Philip Johnson the job. In February 1959, the City of Fort Worth and the Amon G. Carter Foundation entered into a contract for the creation of a museum of western art, with the city providing the remainder of the land needed to build the museum. Construction began in 1960, and the Amon Carter Museum of Western Art opened to the public on January 21, 1961 (see building history below).
Raymond T. Entenmann, director of the Fort Worth Art Center, served as the Amon Carter’s acting administrator during the museum’s early months. Mitchell A. Wilder (1913–1979), a seasoned museum director working in Los Angeles, arrived in August 1961 to begin work as the museum’s director.
The museum’s articles of incorporation and bylaws were adopted in the fall of 1961, and a Board of Trustees was appointed. In their early discussions, Wilder and the board decided that the museum’s programs and permanent collection should reflect many aspects of American culture, both historic and contemporary. This decision paved the way for an expansion of the permanent collection that first focused on acquiring American art from the nineteenth-century and, later, the twentieth. Under Wilder’s guidance, the museum collected heavily in the areas of nineteenth-century American art and photography. Wilder also established an academic publishing presence and built a record of organizing groundbreaking exhibitions. The museum published Paper Talk: The Illustrated Letters of Charles M. Russell in 1962, the first of many books on the art of the American West to originate from the Amon Carter. In 1966, Wilder reintroduced the paintings of Georgia O'Keeffe (1887–1986) to the nation by organizing a ninety-five piece retrospective of her work.
The following year, 1967, American Art–20th Century: Image to Abstraction brought more than one hundred paintings by America’s leading early modernists to Fort Worth from New York. Blips and Ifs (1963–64), the final painting by Stuart Davis (1892–1964), was acquired for the museum from this exhibition, signaling a fundamental redefinition of the museum’s collecting scope. Mitchell Wilder’s embrace of the museum’s collecting mandate led to two building expansions during his tenure, including a major addition in 1977 that doubled the size of the museum (see building history below).
Mitchell Wilder died in 1979 after a brief illness. Four other directors have headed the museum in the years since. They are Jan Keene Muhlert (1980–95), Dr. Rick Stewart (1995–2005), Dr. Ron Tyler (2006–11), and Dr. Andrew J. Walker (2011–present). Each worked closely with Amon Carter’s daughter, Ruth Carter Stevenson (1923–2013), in determining the museum’s course. Stevenson had spent the final years of her father's life in conversation with him about his concepts for a museum and the role it should play in Fort Worth civic life. It was this familiarity with his vision, and her extraordinarily high standards, that would bring Stevenson into a leading role in the museum’s development.
Jan Keene Muhlert oversaw an aggressive acquisitions program that brought works by William Merritt Chase (1849–1916), Thomas Cole (1801–1848), Arthur Dove (1880–1946), Childe Hassam (1859–1935), and David Johnson (1827–1908) into the collection, crowned by the acquisition in 1990 of Swimming by Thomas Eakins (1844–1916). The purchase of the Eakins masterpiece required a capital campaign to raise ten million dollars and drew on every resource available to Muhlert. Dr. Rick Stewart, Muhlert’s successor, is a nationally recognized scholar on the work of Frederic Remington and Charles M. Russell. During his tenure as director, Dr. Stewart added major works to the museum’s collection by Stuart Davis (1892–1964), Marsden Hartley (1877–1943), and John Singer Sargent (1856–1925). Stewart oversaw the challenging, two-year closure during which two previous expansions and the museum’s physical plant were demolished. In their place a much larger facility was erected, culminating in a grand reopening in 2001. When Dr. Stewart stepped down as director, he was named the museum’s senior curator of western painting and sculpture.
Dr. Ron Tyler returned to the Amon Carter in 2006 as director. (Dr. Tyler began his museum career at the museum from 1969 to 1986.) During his tenure as director, the museum presented major exhibitions of the work of Alfred Jacob Miller (1810–1874) and William Ranney (1813–1857), and an important exhibition of African-American art from the private collection of Harmon and Harriet Kelley. Paintings by George de Forest Brush (1855–1941) and Charles Sheeler (1883–1965), as well as a complete, 20-volume set of Edward Sheriff Curtis’ The North American Indian (1907–1930), were added to the museum’s permanent collection during Dr. Tyler’s administration. Dr. Andrew J. Walker has led the Amon Carter since 2011. Under Dr. Walker's leadership, the ACMAA has hosted major exhibitions of work by George Caleb Bingham (1811–1879), Will Barnet (1911–2012), and the circle of New York modernists led by artist John Graham (1886–1961). He has overseen additions to the permanent collection of works by Robert Seldon Duncanson (1821–1872), Raphaelle Peale (in memory of Ruth Carter Stevenson), and John Singer Sargent (1856–1925), and he initiated major upgrades to the museum’s digital presence, including the Connecting to Exhibitions digitization project, a two-year initiative that will allow online access to many of the museum’s previous art exhibitions.
In 1977, on the occasion of the opening of the Philip Johnson-designed expansion, the Amon Carter Museum of Western Art became the Amon Carter Museum. In 2011, on the occasion of the museum’s 50th anniversary, the museum was renamed the Amon Carter Museum of American Art.


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Architect Philip C. Johnson (1906–2005) maintained a forty-year association with the Amon Carter Museum of American Art as the designer of the institution's original building and two major expansions. The Amon G. Carter Foundation first commissioned Johnson in 1958 to devise a museum building that would showcase a core collection of western art and also serve as a memorial to the museum's founder. At the time Johnson won this commission he was also overseeing construction of the new Munson-Williams-Proctor Arts Institute Museum of Art in Utica, New York.  Johnson found the Carter museum project particularly inspiring because of the spectacular view from the proposed museum's building site on a gently sloping hillside overlooking downtown Fort Worth. Amon G. Carter, Sr. had personally chosen the site in 1951. Johnson placed the museum building as far up the hillside as possible in order to maximize this panoramic view to the east.
Johnson designed a two-story portico with five arches that faced east toward the city's skyline. The arches and their tapered support columns were clad in creamy Texas shellstone. The remaining three sides of the 20,000-square-foot building were also covered with shellstone cladding. Sheltered by the arched portico, the museum's front wall consisted of a two-story curtain of glass windows with bronze mullions.  Johnson identified Florence's Loggia dei Lanzi and Munich's Felderrnhalle as precedents for the "boxes with fronts" style portico. The main entrance lead directly into a two-story hall adorned with the same type of shellstone used on the exterior, teak wall coverings, and a floor of pink and gray granite. Beyond the main hall were five small galleries of equal size for the display of art. On the mezzanine level were five similar galleries, each with a balcony that overlooked the main hall. These mezzanine galleries served as library and office spaces. To take advantage of the expanse between the two-story portico and the site's eastern boundary, Johnson designed a series of broad steps and terraces extending away from the building, with an expansive sunken, grassy plaza as the centerpiece, pointing toward the city's center.
The museum and grounds opened to the public on January 21, 1961, as the Amon Carter Museum of Western Art. Reaction by critics to Philip Johnson's design was generally favorable. In a March 1961 article, "Portico on a Plaza," the Architectural Forum called it "an exceedingly handsome building -- beautifully situated and beautifully illuminated." Russell Lynes, writing in the May 1961 Harper's, summed up his reaction by calling it "Mr. Johnson's jewel box."
Although the museum was conceived as a small memorial institution, it almost immediately became a collecting museum, and the space afforded by the existing facility quickly became inadequate. In 1964, three years after the museum first opened, a 14,250-square-foot addition was completed on the west side of the original building to provide room for offices, a bookstore, a research library, and an art-storage vault. Joseph R. Pelich (1894–1968) of Fort Worth, an associate architect of the original building, carried out the work after Philip Johnson expressed little interest in taking on the project.
The museum opened a second major addition, this one designed by Philip Johnson and his partner, John Burgee, in 1977. The 1977 addition, which left the 1961 building and 1964 addition intact, expanded the museum's area by 36,600 square feet, more than doubling its original size. The expansion, which included a three-story section, enclosed the triangular space at the far western end of the building site, thus bringing the physical plant to its westernmost limit. Johnson's 1977 addition created an administrative wing, a 105-seat auditorium, a two-story storage vault, a spacious library, and two interior grassed courts that insulated occupants of the library and administrative offices from heavy traffic passing nearby.
On November 17, 1998, museum trustees announced plans to expand the museum yet again. Museum personnel had been in discussion with Philip Johnson for some time regarding the need to alter Johnson's 1977 addition. Johnson's solution was to demolish both the 1964 and 1977 additions and create a new, much larger structure behind the 1961 building. Philip Johnson spearheaded the new design in collaboration with his partner Alan Ritchie. It would be one of the last projects on which Johnson worked. In August 1999 the museum was closed to the public for an extended period while the 1961 building was refurbished, the 1964 and 1977 additions were removed, and the new addition constructed.
The current museum building reopened to the public on October 21, 2001. The 2001 expansion, which increased the museum's available space by 50,000 square feet, rests on the same footprint as the earlier additions. It is clad in dark Arabian granite so as to recede visually from the light-colored shellstone of the 1961 building. The expansion's most arresting feature is a centrally located atrium, rising fifty-five feet above the floor and topped by a curved roof with side windows, referred to as the Lantern. The atrium's interior walls are clad in the signature shellstone. A double stairway gives access from the atrium to a complex of second-floor galleries where selections from the museum's permanent collection, along with special exhibitions, are on display. In this new alignment, most of the galleries in the 1961 building, including the mezzanine area where the library and offices were once located, are used for rotating exhibitions of paintings and sculpture by Remington and Russell from Amon G. Carter's original collection.
Other features of Philip Johnson's 2001 expansion include a 160-seat auditorium, complete with distance-learning technology; climate-controlled vaults for both cool and cold photography storage; laboratory space for the conservation of photographs and works on paper; a research library and archives storage facility; and a museum bookstore.
In the summer of 2019, the museum building was closed for a renovation of the building and the galleries. The Boston-based architecture firm Schwartz/Silver Architects oversaw the renovations; unlike the 1977 and 2001 closures, there was little alteration to the museum building's structure. Instead, the museum redesigned parts of the interior arranging its collection display thematically rather than chronologically. The renovation expanded the display area by the installation of movable, modular walls. The gallery spaces, which had previously been carpeted, were replaced with American white oak hardwood floors. Following Johnson's original vision for expansive natural lighting, new LED and skylights were installed in the galleries. The installation of an automatic shading system enabled the display of artworks in the lobby.  The Texas sculptor James Surls's Seven and Seven Flower and Justin Favela's Puente Nuevo were among the first large scale artworks displayed in the downstairs hallway connecting the 1961 building with the 2001 expansion as part of the redesign.
The 2019 renovations received positive feedback from the local press. James Russell praised the redesigned galleries in the Fort Worth Weekly, noting that they created "an atmosphere for exploration." Dallas Morning News architecture critic, Mark Lamster lamented that the redesign upended the original design's " juxtaposition of the grand formal entry with . . . those more intimate galleries," but overall considered the renovated galleries "a big improvement."
In addition to the redesigned galleries, the photography cold storage vaults were renovated to accommodate the growing and collection and to provide updated preservation technologies. Fort Worth philanthropist Ed Bass helped to fund a Gentling Study Center located in the Museum Library dedicated to the artwork of Fort Worth brothers, Stuart W. and Scott G. Gentling. The creation of the Gentling Study Center complements the Amon Carter Museum's planned exhibitions and publications on the Gentling brothers. The Study Center's interior design mirrors the teak wall coverings and mid-century furniture that characterize Johnson's original design.  Architecture critic, Mark Lamster singled out the Gentling Library for its "pleasingly midcentury gestalt."


Museum Küppersmühle (MKM) is a Centre for Modern and Contemporary Art based Duisburg's Inner Harbour. It houses the Ströher Collection. It is part of the Duisburg: Town and Harbour section of the Ruhr Industrial Heritage Trail.


Built in 1860 by leading local industrialist Wilhelm Vedder, the original building was erected in 1860 with extensive redevelopment between 1908–1916. Steel silos were added in the 1930s. In 1969 the merger of Werner & Nicola Germania Mühlenwerke with the Küppers Mühlenwerken in Homberg gave rise to the name "Küppersmühle". The facility closed down in 1972.
In 1999, a grant of DM35 million ($19 million) from the local authority in Duisburg was used to establish the Grothe Museum to display some of real estate developer Hans Grothe's art collection. The museum officially opened in April 1999.


The Museo Nacional de San Carlos (English: National Museum of San Carlos) is a Mexican national art museum devoted to European art, located in the Cuauhtémoc borough in Mexico City. The museum is housed in the Palace of the Count of Buenavista, a neoclassical building at Puente de Alvarado No. 50, Colonia Tabacalera, Mexico City. It contains works by Lucas Cranach the Elder, Parmigianino, Frans Hals, Anthony van Dyck, Jean-Auguste-Dominique Ingres, Auguste Rodin and other well-known European painters and sculptors.


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Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) is a public non-profit museum in Cape Town, South Africa. Zeitz MOCAA opened on September 22, 2017 as the largest museum of contemporary art from Africa and its diaspora. The museum is located in the Silo District at the Victoria & Alfred Waterfront in Cape Town. A retail and hospitality property, the Waterfront receives around 24 million local and international visitors per year.
The museum’s galleries feature temporary exhibitions and a permanent collection. The institution also includes the Centre for Art Education, a Fellowship program, Atelier artist residency, a retail shop, rooftop restaurant and a coffee shop.


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The museum building was constructed from the conversion of the 57m tall historic Grain Silo, originally built between 1921 - 1924 by indentured laborers.
The architects, Heatherwick Studio, aimed to conserve and celebrate the original structure's industrial heritage, while simultaneously excavating large open spaces from the 42 densely-packed concrete cylinders from which it was comprised. Using a variety of concrete-cutting techniques, the interior of the building was carved out to create a number of galleries and a large central atrium.The remaining concrete shafts were capped with strengthened glass in order to allow natural light to enter and create a "cathedral-like" interior. From the exterior, the most noticeable change to the original structure was the addition of pillowed glass panels in the building's upper floors.
Overall the 9,500sqm museum consists of nine floors with 6,000sqm of dedicated exhibition space. as well as a sculpture garden on the lower roof, restaurant, retail shop and coffee shop. The higher part of the building operates as The Silo Hotel, which opened its doors in March 2017.
The building made it onto the Royal Institute of British Architects (RIBA) International List 2018.


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Cape Town is a city where access to places such as Zeitz MOCAA is defined by disparity and often by audience demographic. The reasons are many and often complex: historical, economic, social, and educational with the global pandemic adding another layer of complexity. To address this, the Centre for Arts Education (CFAE) developed an education program called MOCAA On The Move taking art educators to schools and centres to teach art classes. As an extension of this, Zeitz MOCAA is currently developing a Mobile Museum to be a classroom on wheels. The Mobile Museum will be designed by Kenya-born South African architect and social activist Kevin Kimwelle highlighted by Metropolis Magazine in 2020 as a Gamer Changer. Kimwelle's first step has been to conduct research and workshops with community members and organizations. The Mobile Museum will focus on being sustainable and also on teaching sustainable practices. The Mobile Museum will launch in the Western Cape in 2023 with the goal of expanding to greater South Africa, and then through other countries on the African continent. “When you drive through Africa, you see that people make do with what they have. There is ingenuity there,” Kimwelle says.


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September 22, 2017 - June 30, 2019
This inaugural exhibition displayed works from the Zeitz MOCAA permanent collection in galleries across the first three floors of the museum. Taking its title from a text work by African-American artist Hank Willis Thomas the exhibition offered answers to the question “How will I be represented in the museum?” by presenting a wide range of painting, sculpture, photography, installation, video, and drawing meant to speak to a plurality of African and Diasporic identities. Works by 41 artists were exhibited, including El Anatsui, Njideka Akunyili Crosby, Nicholas Hlobo, Rashid Johnson, Isaac Julien, William Kentridge, Glenn Ligon, Misheck Masamvu, Zanele Muholi, Wangechi Mutu, Chris Ofili, Athi-Patra Ruga, Mary Sibande, and Kehinde Wiley. All Things Being Equal... was curated by the museum's former Executive Director and Chief Curator Mark Coetzee and 12 Curatorial Assistants.


The Musée Rodin in Paris, France, is a museum that was opened in 1919, primarily dedicated to the works of the French sculptor Auguste Rodin.  It has two sites: the Hôtel Biron and surrounding grounds in central Paris, as well as just outside Paris at Rodin's old home, the Villa des Brillants at Meudon, Hauts-de-Seine. The collection includes 6,600 sculptures, 8,000 drawings, 8,000 old photographs and 7,000 objets d’art. The museum receives 700,000 visitors annually.
While living in the Villa des Brillants, Rodin used the Hôtel Biron as his workshop from 1908, and subsequently donated his entire collection of sculptures – along with paintings by Vincent van Gogh, Claude Monet and Pierre-Auguste Renoir that he had acquired – to the French State on the condition that they turn the buildings into a museum dedicated to his works. The Musée Rodin contains most of Rodin's significant creations, including The Thinker, The Kiss and The Gates of Hell. Many of his sculptures are displayed in the museum's extensive garden. The museum includes a room dedicated to the works of Camille Claudel and one of the two castings of The Mature Age.
The gardens around the museum building contain many of the famous sculptures in natural settings. Behind the museum building are a small lake and casual restaurant. Additionally, the nearby Métro stop, Varenne, features some of Rodin's sculptures on the platform. The building is served by Métro (Line 13), RER (Line C: Invalides) and bus (69, 82, 87, 92).


First opened to the public on 4 August 1919, the Musée Rodin was housed in a mansion, formerly called the Hôtel Peyrenc de Moras, designed with the lines of classical architecture and ornamented with rocaille decoration. It was built in the Rue de Varenne, between 1727 and 1732. From 1788, the Hôtel was occupied by a series of owners and tenants. In 1820, the Duchess of Charost sold the entire property to three nuns belonging to a religious congregation, the Society of the Sacred Heart of Jesus. A boarding school for girls was opened and the decorations were progressively sold. Between 1820 and 1904, several buildings were constructed on the estate, the Chapel in particular, designed by the architect Jean Juste Gustave Lisch and achieved in 1876.
The Society was dissolved in 1904 due to the 'religious orders' law involving the separation of church and state which prohibited religious orders from teaching. The sisters were evicted and the estate was put up for sale. Awaiting a buyer, tenants were allowed to occupy the building; among them were Jean Cocteau, Henri Matisse, Isadora Duncan and Rainer Maria Rilke, whose future wife Clara Westhoff was living in the Hôtel and was the first to tell Rodin about the estate. In 1908, the sculptor rented four ground-floor rooms to use as his studios. From 1911 onwards, he occupied the whole building. In 1911, as the French state had committed itself to purchasing the Hôtel Biron, Rodin started to negotiate with it. The artist announced officially his intention to donate all his works to the French state, as well as his drawings and his collection of antiquities in the condition that the State keeps all these collections at the Hôtel Biron, which will become the Musée Rodin in exchange of the right to reside there all his life.
In 1916, the French Assembly passed a law permitting the State to accept the donations and allocated the mansion and its garden to a museum. Léonce Bénédite was appointed executor of the sculptor's will: his tasks were to manage Rodin's artistic heritage and to supervise the organisation of the future museum.
Listed as a historical monument in 1926, the Hôtel Biron and its grounds have since undergone major renovation and restoration work, to better assert their role as a museum. The most recent scheme was the restoration which began in 2012 and was completed by 12 November 2015, Rodin's 175th birthday. The renovations cost 16 million euro ($17.4 million), and were hailed as a "moral duty" by France's Culture Minister Fleur Pellerin.


Recently, contemporary art exhibitions are also organized, as it was done as early as 1949 when the first Salon de la jeune sculpture took place at the Musée Rodin.
Artists such as Anthony Caro, Eugène Dodeigne, Étienne Bossut exhibited at the museum.
Bill Viola, Adel Abdessemed and Mircea Cantor have been invited to screen videos in the park  for the « Nuit des musées ».
In 2010, artworks by Belgian artist Wim Delvoye were exhibited, as well as a program of video-performances by artists such as Vito Acconci, Sanja Iveković, Marina Abramović and Mona Hatoum. A Henry Moore exhibition, dedicated to his studio and small sculptures, ran there from October 2010 to February 2011.


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The Oscar Niemeyer International Cultural Centre, or Centro Niemeyer (Spanish: Centro Cultural Internacional Oscar Niemeyer, popularly known as el Niemeyer), is a cultural centre complex designed by the Brazilian architect Oscar Niemeyer and an international project. The centre is located on the estuary of Avilés, Asturias, in northwest Spain. It was inaugurated on 26 March 2011.
Its imposing size and its white, red and yellow exterior make it a highly visible landmark on the town's landscape.


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Oscar Niemeyer, from Rio de Janeiro, Brazil, one of the most influential modernist architects in the world, was awarded the Prince of Asturias Award for Art in 1989. This was the beginning of the relationship between Niemeyer and the Principality region of Asturias. Years later, as a present for the 25th anniversary of the Awards, Niemeyer donated a project to the principality. His design has become a project meant to be an international reference in the cultural field. It is dedicated to education, culture and, peace. The centre is the first work by Niemeyer in Spain, and he had said he believes it is his most important in Europe, which is the reason for its name - Centro Niemeyer.


The National Museum of Cambodia (Khmer: សារមន្ទីរជាតិ) is Cambodia's largest museum of cultural history and is the country's leading historical and archaeological museum. It is located in Chey Chumneas, Phnom Penh.


The museum houses one of the world's largest collections of Khmer art, including sculptural, Khmer ceramics, bronzes, and ethnographic objects. Its collection includes over 14,000 items, from prehistoric times to periods before, during and after the Khmer Empire, which at its height stretched from Thailand, across present-day Cambodia, to southern Vietnam.
The National Museum of Cambodia is located on Street 13 in central Phnom Penh, to the north of the Royal Palace and on the west side of Veal Preah Man square. The visitors' entrance to the compound is at the corner of Streets 13 and 178. The Royal University of Fine Arts is located on the west side of the museum. The museum is under the authority of the Cambodian Ministry of Culture and Fine Arts. The museum buildings, inspired by Khmer temple architecture, were constructed between 1917 and 1924, the museum was officially inaugurated in 1920, and it was renovated in 1968. The museum promotes awareness, understanding and appreciation of Cambodia’s culture and heritage, aiming to educate and inspire its visitors.


George Groslier (1887–1945), historian, curator and author was the motivating force behind much of the revival of interest in traditional Cambodian arts and crafts, and it was he who designed this  building that is today ‘traditional Khmer’ architecture. It is perhaps better described as a building enlarged from Cambodian temple prototypes seen on ancient bas-reliefs and reinterpreted through colonial eyes to meet the museum-size requirements.
The foundation stone for the new museum was laid on 15 August 1917. Some two-and-a-half years later, the completed museum was inaugurated during Khmer New Year on 13 April 1920 in the presence of H.M King Sisowath, François-Marius Baudouin, Résident-supérieur, and M. Groslier, director of Cambodian Arts, and Conservator of the museum.
The original design of the building was slightly altered in 1924 with extensions that added wings at either end of the eastern façade that made the building even more imposing.
Control of the National Museum and Arts Administration was ceded by the French to the Cambodians on 9 August 1951 and following Independence in 1953, the then Musée National de Phnom Penh was the subject of bilateral accords. In 1966 Chea Thay Seng was the first Cambodian Director of the Museum and Dean of the newly created Department of Archaeology at the Royal University of Fine Arts. This university that form its foundation as the Ecole des Arts Cambodgiens in 1920 was intimately linked with students, artisans and teachers who worked to preserve Cambodian cultural traditions, can still be found to the rear of the museum.
During the Khmer Rouge regime (from 1975 to 1979), all aspects of Cambodian life including the cultural realm were devastated. The Museum, along with the rest of Phnom Penh, was evacuated and abandoned. The Museum, closed between 1975 and 1979, and was found in disrepair, its roof rotten and home to a vast colony of bats, the garden overgrown, and the collection in disarray, many objects damaged or stolen. The Museum was quickly tidied up and reopened to the public on 13 April 1979. However, many of the Museum's employees had lost their lives during the Khmer Rouge regime.


The Crow Museum of Asian Art is a museum in downtown Dallas, Texas, dedicated to celebrating the arts and cultures of Asia including China, Japan, India, Korea, Nepal, Vietnam, Cambodia, Thailand, Indonesia, Myanmar and the Philippines, from ancient to the contemporary. The Crow Museum opened to the public on December 5, 1998, as a gift to the people and visitors of Dallas from Mr. and Mrs. Trammell Crow. The museum is a member of the Dallas Arts District. The interior was designed by Booziotis and Company Architects of Dallas.


The KunstHausWien is a museum in Vienna, designed by the artist Friedensreich Hundertwasser. This museum in the Landstraße district houses the world's only permanent exhibition of Hundertwasser's works, and also hosts regular temporary exhibitions of other artists. The KunstHausWien operates as a private business and does not receive any government aid. In 2009 the KunstHausWien received 174,000 visitors.


The museum was created through the renovation of the 1892 building which housed the Thonet furniture factory (creator of the iconic bistro chair), in a style commensurate with Hundertwasser's art. It stands less than half a mile from the Hundertwasserhaus, a municipally owned apartment block also designed by Hundertwasser and completed in 1986. The renovation was planned by Hundertwasser himself and carried out from 1989-91 with sponsorship from BAWAG P.S.K.  The museum was opened in April 1991. The KunstHausWien has a total exhibition area of 4,000 square meters. The two lower floors house the permanent exhibits. Temporary international exhibitions are held on the third and fourth floors.
The entire building is designed in typical Hundertwasser style, with wavy, undulating floors and a notable lack of straight lines.  Bright, glaring colours are used throughout, and foliage abounds.  There is a fountain in the foyer, and a restaurant with abundant plant life reminiscent of a winter garden.  An unevenly winding staircase leads to the main part of the exhibition on the upper floors.  To keep the rooms flooded with daylight, Hundertwasser, who was said to be fond of sunlight and therefore windows too, had a glass frontage built in front of the facade.
The museum was built in a traditional manner, but decorated with enamelled, checkerboard mosaics on the facade and adjacent sections.  In contrast to Antonio Gaudí, Hundertwasser used symmetrical mosaic stones, carefully arranged.  The size of each stone is likewise not accidental, which is rare for building-mounted mosaics that are not industrially manufactured.  The mosaics cover only certain (non-load-bearing) parts of the surface, and contribute to the trademark features of the building: the incorporation of nearly every part of the facade into an overall picture, and the very deliberate concealment of the boundaries between floors.
In 2003 Hunderwasser's colleague and co-author professor Joseph Krawina initiated a lawsuit against the museum board, claiming violation of his rights to jointly created art. The national Supreme Civil Court (OGH) issued an injunction in favor of Krawina and, according to 2003 publications, both parties were advised to resolve the dispute out of court.


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The Art Gallery of South Australia (AGSA), established as the National Gallery of South Australia in 1881, is located in Adelaide. It is the most significant visual arts museum in the Australian state of South Australia. It has a collection of almost 45,000 works of art, making it the second largest state art collection in Australia (after the National Gallery of Victoria). As part of North Terrace cultural precinct, the gallery is flanked by the South Australian Museum to the west and the University of Adelaide to the east.
As well as its permanent collection, which is especially renowned for its collection of Australian art, AGSA hosts the annual Festival of Contemporary Aboriginal and Torres Strait Islander Art known as Tarnanthi, displays a number of visiting exhibitions each year and also contributes travelling exhibitions to regional galleries. European (including British), Asian and North American art are also well represented in its collections.
As of February 2022 the Director of AGSA is Rhana Devenport ONZM.


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In response to the Elder Bequest, the Government commissioned a specially designed building (now the Elder Wing) and pushed ahead with all due speed, to provide employment for skilled tradesmen in a time of economic recession.
The building was designed by C. E. Owen Smyth in Classical Revival style, built by Trudgen Brothers, and opened by the Governor, Lord Tennyson on 7 April 1900.
Originally built with an enclosed portico, a 1936 refurbishment and enlargement included a new facade with an open Doric portico.
Major extensions in 1962 (including a three-storey air-conditioned addition on the northern side), 1979 (general refurbishment, in time for its centenary in 1981) and 1996 (large expansion) increased the gallery's display, administrative and ancillary facilities further.
The building is listed in the South Australian Heritage Register.
As of 2019, the building houses 64kWh worth of battery storage as part of the Government of South Australia Storage Demonstration project, powered by three 7.5 kW Selectronic inverters. This reduces the consumption of power from the state grid.


The Walker Art Center is a multidisciplinary contemporary art center in the Lowry Hill neighborhood of Minneapolis, Minnesota, United States.  The Walker is one of the most-visited modern and contemporary art museums in the United States and, together with the adjacent Minneapolis Sculpture Garden and the Cowles Conservatory, it has an annual attendance of around 700,000 visitors. The museum's permanent collection includes over 13,000 modern and contemporary art pieces including books, costumes, drawings, media works, paintings, photography, prints, and sculpture.
The Walker Art Center began 1879 as an art gallery in the home of lumber baron Thomas Barlow Walker. Walker formally established his collection as the Walker Art Gallery in 1927. With the support of the Federal Art Project of the Works Progress Administration, the Walker Art Gallery became the Walker Art Center in January 1940. The Walker celebrated its 75th anniversary as a public art center in 2015.
The Walker's new building, designed by Edward Larrabee Barnes and opened in May 1971, saw a major expansion in 2005. Swiss architects Herzog & de Meuron's addition included an additional gallery space, a theater, restaurant, shop, and special events space.


The Walker Art Center's film and video programs feature both contemporary and historical works. In the 1940s, the Walker identified moving images (mostly movies, but also experimental films) as integral to contemporary life. Artists of that time were experimenting with film's formal properties, such as light, motion, and sound, while also separating film art from conventional narrative cinema.
In 1973, the Film/Video Department was officially formed and the Edmond R. Ruben Film and Video Study Collection was established, along with an endowment to fund the development of the archive. Ruben, a leading figure in film exhibition in the Upper Midwest, and his wife Evelyn believed in collecting films as a way of preserving the art form. Today, with more than eight hundred fifty titles, the Ruben Collection brings together classic and contemporary cinema as well as documentaries, avant-garde films, and video works by artists. It holds works by visual artists that range from Salvador Dalí, Marcel Duchamp, and Fernand Léger to extensive contemporary work by William Klein, Derek Jarman, Bruce Conner, Marcel Broodthaers, Matthew Barney, Nam June Paik, Wolf Vostell, and experimental artists such as Paul Sharits and Stan Brakhage.


The New Art Gallery Walsall is a modern and contemporary art gallery sited in the centre of the West Midlands town of Walsall, England. It was built with £21 million of public funding, including £15.75 million from the UK National Lottery and additional money from the European Regional Development Fund and City Challenge.
The Gallery is funded by Walsall Council and Arts Council England; this funding is further supplemented by its own income generation. Admission is free. Its first Director was Peter Jenkinson. In May 2005, former BALTIC director Stephen Snoddy was appointed as Director.


Designed by the architects Caruso St John after winning an international design competition, it opened in January 2000, replacing the town's old gallery and an arts centre that had been closed by the Council almost a decade earlier. It was officially opened by Queen Elizabeth II on 5 May 2000, during her visit to the West Midlands. The New Art Gallery's stark building won several architectural awards and attracted over 237,000 visitors in its opening year. In 2000, the gallery was shortlisted for the prestigious Sterling Architecture Prize.
The five-story building is clad in pale terracotta and has a floor area of 5,000 square metres (53,820 sq ft). The interior of the Gallery features a heavy use of concrete and 75mm thick douglas fir wooden cladding. The public square surrounding the building was designed by Richard Wentworth and Catherine Yass.
The Gallery has been seen as an attempt to encourage regeneration in the local area. The architecture has been both praised and criticised, described as "almost flawless" by the RIBA and "extraordinarily good" by Hugh Pearman but also castigated by John Stewart-Young as an "architectural indulgence", an impressive building that lacks consideration of how the wider public will use it. The essayist Theodore Dalrymple described the interior as resembling both "a fascist foreign ministry" and "a sauna of gigantic proportions".
There have been a number of minor alterations to the building since its opening, including changing of the ground floor retail area into a cafe, and addition of more windows around its entrance. In 2006, Floor 4 of the gallery was transformed from a restaurant area into a new gallery space. The gallery space with 8m high ceiling has enabled the Gallery to present a further programme of exhibitions, in addition to its main temporary exhibition galleries. This has included exhibitions by regional and international artists including David Batchelor, Richard Billingham and Leo Fitzmaurice.
In 2012, artist Sarah Staton was commissioned to design a new sculpture terrace for the Gallery, opening to the public later that same year the space converted a previously underused area of patio on floor 4.


The Gallery houses the fixed Garman Ryan Collection of sculptures and paintings by modern masters including a large selection of work by Jacob Epstein and many significant works by European artists including Vincent van Gogh, Claude Monet, Turner, Corot, Renoir and Constable represented in prints, sketches, drawings, paintings and sculptures.  The collection was donated to the people of Walsall in 1973 by Epstein's late wife Kathleen Garman (Lady Epstein) and her friend Sally Ryan.
In 2006, the gallery acquired the Epstein Archive, a collection of photographs, manuscripts, sketches and correspondence between Jacob Epstein and his family and friends, patrons, buyers and galleries. In 2009 Bob and Roberta Smith was commissioned to work alongside Archive Curator Neil Lebeter to reveal the previously undocumented and unseen Epstein Archive to audiences. The initiative forms part of New Ways of Curating, a project initiated by Arts Council England.
The permanent collection of artworks at the Gallery incorporates the municipal holdings built up from 1892, from the formal foundation of Walsall's art collection. It ranges from Victorian paintings by Frank Holl and Briton Rivière, including some of local interest through to works by contemporary artists, such as Catherine Yass, Robert Priseman and Fiona Banner. Through the Contemporary Art Society Special Collection scheme, the New Art Gallery Walsall was able to add to its collections works by Gavin Turk, Hew Locke, Mike Nelson, Yoshihiro Suda, Dorothy Cross, Laura Ford, Darren Lago, Estelle Thompson, Richard Woods, Yinka Shonibare and Rose Finn-Kelcey. The works that comprise this collection transfer ownership to Walsall Council from the Contemporary Art Society in 2014.
In 2007, the New Art Gallery was awarded £1million through the Art Fund International to collect international contemporary art on the theme of the metropolis. This has included the acquisition of works by Jochem Hendricks, Grazia Toderi, Dynita Singh, Zhang Enli, Christiane Baumgartner, Barry McGee and Nicolas Provost.


The Ferens Art Gallery is an art gallery in the English city of Kingston upon Hull. The site and money for the gallery were donated to the city by Thomas Ferens, after whom it is named. The architects were S. N. Cooke and E. C. Davies. Opened in 1927,
it was restored and extended in 1991. The gallery features an extensive array of both permanent collections and roving exhibitions. Among the exhibits is a portrait of an unknown woman by Frans Hals. The building also houses a children's gallery and a popular cafe. The building is now a Grade II listed building.
In 2009, an exhibition and live performance took place at the venue, to help celebrate the 25th anniversary of the opening of The New Adelphi Club, a live music venue less than 2 miles (3 km) north.
In 2013, the gallery acquired a fourteenth-century painting by Pietro Lorenzetti, depicting Christ Between Saints Paul and Peter. The acquisition was jointly funded by the Ferens Endowment Fund, the Heritage Lottery Fund and Art Fund.
In May 2015, it was announced that the gallery would get a £4.5 million makeover to enable it to host the Turner Prize in 2017 as part of the UK City of Culture programme. The gallery reopened on 13 January 2017. On 8 February 2017, Charles, Prince of Wales and Camilla, Duchess of Cornwall visited the gallery to view the completed refurbishment.
In January 2018, Hull City Council announced that a record 519,000 visits were made to the gallery during 2017.


The Musée Bourdelle is an art museum located  at 18, rue Antoine Bourdelle, in the 15th arrondissement of Paris, France, located in the old studio of French sculptor Antoine Bourdelle (1861–1929). The museum is open daily, except Mondays. Admission to the permanent collections is free. The nearest metro stations are Falguière and Montparnasse-Bienvenüe.
The museum preserves the studio of sculptor Antoine Bourdelle and provides an example of Parisian ateliers from the late 19th and early 20th centuries. It was Bourdelle's active studio from 1885–1929. In 1922, Bourdelle began plans to turn his studio into a museum. In the early 1930s Gabriel Cognacq provided funds to purchase the studio and thus avoid dispersing the artist's remaining works. The museum was inaugurated in 1949, expanded in 1961 by architect Henri Gautruche, and again in 1992 by Christian de Portzamparc. A second Bourdelle garden-museum, in Égreville, was established by his heirs in the late 1960s. It hosts another 56 of his sculptures.

Today the museum contains more than 500 works including marble, plaster, and bronze statues, paintings, pastels, fresco sketches, and Bourdelle's personal collection of works by artists including Eugène Carrière, Eugène Delacroix, Jean Auguste Dominique Ingres, Adolphe Joseph Thomas Monticelli, Pierre Puvis de Chavannes, and Auguste Rodin. It contains the original plaster casts of some of his finest works including 21 studies of Ludwig van Beethoven, as well as document archives and his copies of Greek and medieval works.
 Since June 2012, the museum's visitors follow a different path through the permanent collections: educational, chronological and attuned to the work, highlighting Bourdelle's artistic evolution.
Bourdelle Museum is one of the fourteen Museums of the City of Paris that have been incorporated since 1 January 2013 in the French public institution Paris Musées.


The Kobe City Museum (神戸市立博物館, Kōbe-shiritsu Hakubutsukan) opened in Kobe, Japan in 1982. It is one of Japan's many museums which are supported by a municipality.
The museum resulted from the merger of the Municipal Archaeological Art Museum and Municipal Namban Art Museum. The museum is housed in a neoclassical building built in 1935: the former Kobe branch of the Yokohama Specie Bank. The collection of nearly thirty-nine thousand items comprises archaeological artifacts, works of art, old maps, and historical documents and artifacts relating to Kobe. It includes an important collection of Namban art (the former Hajime Ikenaga Collection), as well as a set of dōtaku and other items of the Yayoi period from excavations at Sakuragaoka that have been designated a National Treasure.


The Queensland Art Gallery (QAG) is an art museum located in South Bank, Brisbane, Queensland, Australia. The gallery is part of QAGOMA. It complements the Gallery of Modern Art (GOMA) building, situated only 150 metres (490 ft) away.
The Queensland Art Gallery is owned and operated by the Government of Queensland, which created the institution in 1895 as the Queensland National Art Gallery.


The gallery was established in 1895 as the Queensland National Art Gallery. Throughout its early history the gallery was housed in a series of temporary premises. In the 1960s it shared premises with the Queensland Museum. Sir Leon Trout, a businessman and art collector, initiated a plan to include an art gallery in a proposed Queensland Cultural Centre in South Brisbane. The first stage of the monumental Robin Gibson-designed Queensland Cultural Centre opened on Brisbane's South Bank in 1982. The Gallery of Modern Art (GOMA) was established in 2006 which lead to the creation of a two-campus institution. In 2014, over 10 million people had visited both the sites since the establishment of GOMA. The Queensland Art Gallery was listed as a State Heritage Place in 2015.
The first painting acquired by the gallery in 1896 was Evicted, by the British painter Blandford Fletcher. Although it was the gallery's most popular picture, it was controversially retired from public display in 1949 by the newly-appointed director, Robert Campbell, who declared that it was only popular "because it had a sentimental touch".


WikiWeb_West Norway Museum of Decorative Art_0

The West Norway Museum of Decorative Art (Norwegian: Permanenten Vestlandske kunstindustrimuseum), also referred to as KODE 4, is located in Bergen, Norway. It was established in 1887 at the initiative of Johan Bøgh. In 1896 the museum moved into a permanent exhibition building, a Renaissance Revival structure designed by Henry Bucher (1864–1944). The building caught fire during the 1916 Bergen fire but was saved.
The collections include older local works in silver, furniture, glass, porcelain, and textiles. Upon its opening, the museum received substantial donations from the merchant Christian Sundt.
During the first years, the Bergen Art Gallery occupied the top floor. The collection was then moved from there to the former power plant building (Norwegian: Lysverksbygget) after it became available. The Fisheries Museum also occupied the ground floor.
After merging with Bergen Art Museum, the museum has been a venue for more temporary exhibitions. Its emphasis remains on crafts from the past 500 years, and also its Chinese Collection, a unique assembly of Chinese art. This is mostly a bequest from Johan Wilhelm Normann Munthe (1864–1935), who lived in China from age 22 until his death in 1935.
The museum was also responsible for the Alvøen site and Damsgård Manor, but this has now been taken over by the new Bergen City Museum.


The Musée des Beaux-Arts de Nice in Nice, France at 33 av. des Baumettes was built in the former private mansion built in 1878 by the Russian Princess, Elizaveta Vasilievna Kochubey. Named for the artist Jules Chéret who lived and worked in Nice during his final years, the museum opened as the "Palais des Arts Jules Chéret" on 7 January 1928.


The museum houses a collection of art spanning the past four centuries. There are paintings by Chéret and other artists who lived and worked on the French Riviera, such as Alexis Mossa, and his son Gustav-Adolf Mossa, who for many years were curators of the museum. The small museum has sculptures by Jean-Baptiste Carpeaux, François Rude, Michel de Tarnowsky and Auguste Rodin, plus ceramic pieces by Pablo Picasso. Some of the paintings are from:
Marie Bashkirtseff
Pierre Bonnard
Jan Brueghel the Elder
Bronzino
Benjamin Constant
Kees van Dongen
Raoul Dufy
Jean-Honoré Fragonard
Marie Laurencin
Luc-Olivier Merson
Édouard Vuillard


WikiWeb_Martello Gallery-Key West Art and Historical Museum_0

The Martello Gallery-Key West Art and Historical Museum (also known as the East Martello Tower), is a historic site located at 3501 South Roosevelt Boulevard, Key West, Florida, United States.  On June 19, 1972, it was added to the U.S. National Register of Historic Places.  It is the best-preserved example of the Martello style of military architecture in the country.


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The site is now known as the Fort East Martello Museum & Gardens, and features exhibits of local history and art.  Displays include early settlement, sponging and fishing, Cuban influence, military involvement, writers and other characters.  The museum notably houses Robert the Doll, a supposedly haunted doll belonging to the late artist Robert Eugene Otto.  The museum also features works by folk artist Mario Sanchez, and art created from junk by Stanley Papio.
The Key West Art & Historical Society operates the museum.


Petworth House in the parish of Petworth, West Sussex, England, is a late 17th-century Grade I listed country house, rebuilt in 1688 by Charles Seymour, 6th Duke of Somerset, and altered in the 1870s to the design of the architect Anthony Salvin. It contains intricate wood-carvings by Grinling Gibbons (d.1721). It is the manor house of the manor of Petworth. For centuries it was the southern home for the Percy family, Earls of Northumberland.
Petworth is famous for its extensive art collection made by the Northumberland and Seymour/Somerset families and George Wyndham, 3rd Earl of Egremont (1751-1837), containing many works by his friend J. M. W. Turner. It also has an expansive deer park, landscaped by Capability Brown, which contains a large herd of fallow deer.


The house and deer park were handed over to the nation in 1947 by Edward Wyndham, 5th Baron Leconfield (1883-1967) and are now managed by the National Trust under the name Petworth House & Park. The Leconfield Estates would continue to own much of Petworth and the surrounding area and the family would be able to continue living in part of Petworth House. It was John Wyndham, 6th Baron Leconfield and since 1963 also 1st Baron Egremont, who negotiated the gift of the contents of the house, in particular the paintings and sculptures, into the property of the National Trust in lieu of accumulated death duties. The current Lord and Lady Egremont continue a tradition of unbroken occupancy at Petworth House today with Max Wyndham, 2nd Baron Egremont and his family living in the south wing, allowing much of the remainder of the House to be open to the public. Lady Egremont has restored the gardens. In its 2018/2019 Annual Report, the Trust reported that Petworth House received 178,760 visitors.
Today's building houses an important collection of paintings and sculptures, including 19 oil paintings by J. M. W. Turner (some owned by the family, some by Tate Britain), who was a regular visitor to Petworth, paintings by Van Dyck, carvings by Grinling Gibbons and Ben Harms, classical and neoclassical sculptures (including ones by John Flaxman and John Edward Carew), and wall and ceiling paintings by Louis Laguerre. There is also a terrestrial globe by Emery Molyneux, believed to be the only one in the world in its original 1592 state.


WikiWeb_Modern Art Museum of Fort Worth_0

The Modern Art Museum of Fort Worth (widely referred to as The Modern) is an art museum of post-World War II art in Fort Worth, Texas with a collection of international modern and contemporary art. Founded in 1892, The Modern is located in the city's cultural district in a building designed by architect Tadao Ando which opened to the public in 2002. The museum is accredited by the American Alliance of Museums and holds a permanent collection with more than 3,000 works of art.


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The museum's current building was designed by Japanese architect Tadao Ando and opened to the public on Saturday, December 14, 2002. Michael Auping, (chief curator at the museum from 1993 - 2017), worked closely with Ando during the five-year design process to ensure that the interior spaces would also meet the display needs of the curators and artists.  The building features three long pavilions set into a reflecting pond and provides 53,000 square feet (4,900 m²) of gallery space for exhibitions.  In 2019, the building was selected as the Best Designed Building in Texas by Architectural Digest.  Ando's structure is located within the city's Cultural District, home to the adjacent Kimbell Art Museum and the Amon Carter Museum.


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The Modern Art Museum of Fort Worth maintains one of the foremost collections of international modern and contemporary art in the central United States. The majority of works in the collection are dated in between 1945 and present. Various movements, themes, and styles are represented, including abstract expressionism, color field painting, pop art, and minimalism, as well as aspects of new image painting from the 1970s and beyond, recent developments in abstraction and figurative sculpture, and contemporary movements in photography, video, and digital imagery.
The Permanent Collection includes more than 3,000 works with pieces by Pablo Picasso, Philip Guston, Anselm Kiefer, Robert Motherwell, Susan Rothenberg, Jackson Pollock, Martin Puryear, Gerhard Richter, Richard Serra, Mark Rothko, Agnes Martin, Cindy Sherman, Francis Bacon, and Andy Warhol.
The Modern has grown their collection with acquisitions of major works from key contemporary American and international artists including Kaws, Kehinde Wiley, Martine Gutierrez, Lorna Simpson, Mark Bradford, Japanese artist Takashi Murakami, Nigerian-born artist Njideka Akunyili Crosby, Mexican conceptual artist Mario García Torres, Iranian-born artist Kamrooz Aram, German sculptor and photographer Thomas Demand and Kenyan-American visual artist Wangechi Mutu.


The Changhua Arts Hall (traditional Chinese: 彰化藝術館; simplified Chinese: 彰化艺术馆; pinyin: Zhānghuà Yìshùguǎn) is an art gallery in Changhua City, Changhua County, Taiwan.


WikiWeb_Pinacoteca Nazionale in Ferrara_0

The Pinacotecta Nazionale (transl. national picture gallery) is an art gallery in Ferrara, Emilia-Romagna, Italy. It is located on the piano nobile (or first floor) of the Palazzo dei Diamanti, a work of Renaissance architecture by Biagio Rossetti, commissioned by Leonello d’Este in 1447. Not to be confused with the Civic Museum on the lower floor, which has hosted temporary exhibitions of contemporary art since 1992, the Pinacoteca houses a collection of paintings by the Ferrarese School dating from the thirteenth to the eighteenth centuries. It was founded in 1836 by the Municipality of Ferrara after Napoleon's widespread dissolution of churches threatened the protection of important public artworks. The gallery is formed as much around notable northern Italian painters as it is around the exquisite interior decoration of the palace itself, together with remnants of frescoes from local churches and later acquisitions from the Sacrati Strozzi collection.
Since 2015 the Pinacoteca Nazionale has formed a part of the Gallerie Estensi, a network of museums sharing Ferrara's cultural heritage with that of Modena and Sassuolo.


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The Pinacoteca tells the history of the House of Este from that family's promotion as dukes of Ferrara in 1296 to its forced relocation to Modena in 1598. The gallery contains an impressive range of Italian works spanning the reigns of the dukes Leonello, Borso, Ercole I, Alfonso I and Alfonso II d'Este. Arranged chronologically, the exhibition begins with a room dedicated to late Gothic sculpture, fresco and panel painting, progressing through to the early Renaissance, the sixteenth century, Mannerism and lastly to the early seventeenth century, before Cesare I lost Ferrara to the Papal States. Highlights of the tour include the Hall of Honour, the sixteenth-century apartments of Virginia de' Medici (the roundels for these, early products of the Carracci workshop, can be seen in Modena's Galleria Estense) and a room dedicated to the step-by-step process of creating a fresco, panel or oil painting, complementing Cennino Cennini’s Il Libro dell’arte.


WikiWeb_Caracas Museum of Contemporary Art_0

Caracas Museum of Contemporary Art (Spanish: Museo de Arte Contemporáneo de Caracas or MACC) is a museum of modern art located in the Parque Central Complex in Caracas, Venezuela. It was founded on 30 August 1973 by the journalist and art patron Sofía Ímber, also its director from 1973 to her dismissal in the Chavist cultural revolution of 2001. It opened in 1974 and was the first museum in Venezuela to offer a specialist art library, a formal children's and adults' learning area, a special education department for the blind, and a multimedia arts centre.
Its collection has 5,000 pieces, including works by Pablo Picasso, Claude Monet, Vasili Kandinsky, Fernand Léger, Piet Mondrian, Andy Warhol and Francis Bacon. Its director's dismissal, the 2002 theft of Henri Matisse's Odalisque in Red Pantaloons and the Venezuelan Crisis have involved the museum in corruption and neglect as well as leading to criticisms of poor security, rapid changes of directors and the cancellations of catalogues and exhibitions. Entry is free for the permanent collections and temporary exhibitions.


The New Orleans Museum of Art (or NOMA) is the oldest fine arts museum in the city of New Orleans. It is situated within City Park, a short distance from the intersection of Carrollton Avenue and Esplanade Avenue, and near the terminus of the "Canal Street - City Park" streetcar line. It was established in 1911 as the Delgado Museum of Art.


The New Orleans Museum of Art (NOMA) was initially funded through a charitable grant by local philanthropist and art collector Isaac Delgado. The museum building itself was partly designed by the former chief engineer of New Orleans Benjamin Morgan Harrod.
At the age of 71 Isaac Delgado, a wealthy sugar broker, wrote to the City Park Board about his intention to build an art museum in New Orleans. "I have been led to believe that you would willingly donate in the park the site for a building I propose erecting to be known as the 'Isaac Delgado Museum of Art'. My desire is to give to the citizens of New Orleans a fire proof building where works of art may be collected through gifts or loans and where exhibits can be held from time to time by the Art Association of New Orleans".  The board approved his request and designated the circle, at the end of what would become Lelong Avenue, for the museum. On December 11, 1911, the Isaac Delgado Museum of Art opened its doors. Isaac Delgado did not attend the opening due to medical issues; he died soon after on January 4, 1912. This legacy lives on in City Park today and into the future.
In 1970/1971, the Edward Wisner Foundation funded the Wisner Education Wing, which is a three level addition to NOMA's left side. 1993 brought the opening of the $23 million expansion and renovation project to NOMA. The scale of the expansion and renovation, combined with amplified art acquisitions, positioned NOMA into the top 25 percent of the nation's largest and most important fine art museums. Today, the art museum is rated among the best art institutions in the country, having presented many unique and rare exhibits.
NOMA includes the Sydney and Walda Besthoff Sculpture Garden, an 11.5-acre (47,000 m²) landscaped area behind the main building. The gated garden features over 90 modern and contemporary sculptures set among live oaks, pines, magnolias, camellias, lagoons, several bridges, and a walking trail.
The museum also includes the NOMA Museum Shop, a auditorium for film screenings, artist talks, panels and presentations, and Café NOMA, a restaurant by Ralph Brennan.
Although City Park suffered extensive damage from Hurricane Katrina, the museum is elevated and located on relatively high ground.  As such, flooding was restricted to the basement, and most of the museum's permanent collection was not affected by the storm.


The permanent collection at the museum features more than 40,000 objects spanning 5,000 years of art, including the Italian Renaissance to the modern era.
NOMA's furniture collection includes important examples of 18th and 19th century American furniture and a small group of exquisite 18th century French pieces. Highlights include The Rosemonde E. and Emile Kuntz Rooms, exhibiting choice examples of America's fine and decorative arts heritage in New Orleans. The rooms were first conceived by Felix H. Kuntz [1890-1971], the Dean of Americana fine & decorative arts, books, and ephemera. His brother Emile N. Kuntz was charged with constructing and furnishing the rooms as a memorial to their parents. The rooms were completed by Mr. Emile Kuntz's widow, Julia Hardin Kuntz, and daughters, Rosemonde K. Capomazza di Campolattaro and Karolyn K. Westervelt. The Louisiana Federal Bedchamber, shows how a room of this type might have looked in a fine New Orleans townhouse or great south Louisiana plantation house during the first quarter of the 19th Century.
The museum is noted for its collection of European and American works, including works by Degas, Monet, Renoir, Picasso, Pissarro, Rodin, Braque, Dufy, Miró, Jackson Pollock, Mary Cassatt, and Georgia O'Keeffe. The museum features a comprehensive survey of French art, including several important works painted by the French Impressionist Edgar Degas during his time living with his mother's family in New Orleans between 1871 and 1872.
Among the permanent exhibition is a survey of local Louisiana artists, as well as other American artists.  The museum also features a significant collection of art photography with over 12,000 works from the beginnings of photography to the present., Other holdings include collections of glass, ceramics, portrait miniatures, Native American Art, Central American art from pre-Columbian and Spanish eras, Chinese ceramics, Japanese painting, Indian sculpture and folk arts from Africa, Indonesia, and the South Pacific.


Bihar Museum is a museum located in Patna. It was partially opened in August 2015.  'The children's museum', the main entrance area, and an  orientation theatre were the only parts opened to the public in August 2015. Later, in October 2017 remaining galleries were also opened. More than 100 artifacts were transferred here from Patna Museum.
It was planned as a history museum for the state of Bihar, and began construction in Bailey Road, Patna in October 2013 with an estimated budget of ₹498 crore (US$65 million).


Taxila Museum (Urdu: ٹیکسلا عجائب گھر) is located at Taxila, Punjab, Pakistan. The museum is home to a significant and comprehensive collection of Gandharan art dating from the 1st to the 7th centuries CE. Most objects in the collection were excavated from the ruins of ancient Taxila.
There are many historical sites nearby the museum. The ancient stupas and others ruins are nearby it.


Taxila Museum has one of the most significant and comprehensive collections of stone Buddhist sculpture from the first to the seventh centuries in Pakistan (known as Gandharan art. The core of the collection comes from excavated sites in the Taxila Valley, particularly the excavations of Sir John Marshall. Other objects come from excavated sites elsewhere in Gandhanra, from donations such as the Ram Das Collection, or from material confiscated by the police and custom authorities. The whole collection contains more than 1400 objects, and 409 have been published


The Beyeler Foundation or Fondation Beyeler with its museum in Riehen, near Basel (Switzerland), owns and oversees the art collection of Hildy and Ernst Beyeler, which features modern and traditional art. The Beyeler Foundation museum includes a space for special exhibitions staged to complement the permanent collection. In 2006, approximately 340,000 persons visited the museum. The number of visitors in 2016 was 332,000.The Beyeler Foundation is the most visited museum of art in all of Switzerland. The museum is properly funded, and it receives annual grants from the cantons of Basel City and Basel County and the commune of Riehen. Major partners of the Foundation are Bayer AG, Novartis and Swiss bank UBS.


Art dealers Ernst Beyeler (16 July 1921 – 25 February 2010) and Hilda Kunz (1922 - 18 July 2008), known as Hildy, created the Beyeler Foundation in 1982 and commissioned Renzo Piano to design a museum to house their private collection. The collection was first publicly exhibited in its entirety at the Centro de Arte Reina Sofía in Madrid in 1989, and was subsequently shown at Neue Nationalgalerie in Berlin in 1993 and the Art Gallery of New South Wales in Sydney in 1997. In September 1994 the groundbreaking of the museum took place. The inauguration was scheduled for 1996, but postponed until 1997 due to delay in the constructions. In October 1997, the Beyeler Foundation made its collection accessible to the public.


The Beyeler Foundation opened its doors on 18 October 1997, presenting 140 works of modern classics, including 23 Picassos. The overall collection of 200 works of classic modernism reflect the views of Hildy and Ernst Beyeler on 20th-century art and highlight features typical of the period from Claude Monet, Paul Cézanne and Vincent van Gogh to Pablo Picasso, Andy Warhol, Roy Lichtenstein and Francis Bacon (artist). The paintings appear alongside some 25 objects of tribal art from Africa, Oceania and Alaska. A third of the exhibition space is reserved for special exhibitions staged to complement the permanent collection.
The culmination of Beyeler's career came in 2007 when all the works that passed through his hands were reunited at the museum for a grand exhibition that included van Gogh's 1889 Portrait of Postman Roulin, Lichtenstein's Plus and Minus III and a huge expressive drip painting by Jackson Pollock. The collection is expanding, particularly in terms of works made after 1950 (recent acquisitions include pieces by Louise Bourgeois and Wolfgang Tillmans). In 2013, French art collector Micheline Renard donated several artworks to the museum, including by Jean Dubuffet, Jean-Michel Basquiat, Sam Francis, and Sigmar Polke; the trove was first exhibited at the museum in 2014.
The garden surrounding the museum also periodically serves as a venue for special exhibitions. In a work called "Wrapped Trees", Christo and Jeanne-Claude veiled 178 trees in the park around the Beyeler Foundation and in the adjacent Berower Park between 13 November and 14 December 1998.


The New Museum of Contemporary Art, founded in 1977 by Marcia Tucker, is a museum in New York City at 235 Bowery, on Manhattan's Lower East Side.


On December 1, 2007, the New Museum opened the doors to its new $50 million location at 235 Bowery, between Stanton and Rivington Streets.  The seven-story 58,700-square-foot facility, designed by the Tokyo-based firm Sejima + Nishizawa/SANAA and the New York-based firm Gensler, has greatly expanded the Museum’s exhibitions and space.
SANAA’s design is chosen because it is in accord with the museum’s mission—the flexibility of the building, its changeable atmosphere corresponds to the ever-changing nature of contemporary art. Its bold decision to put a stack of white boxes in the Bowery neighborhood and its success to achieve a harmonious symbiotic relationship between the two manifest the coexistence of different dynamic energy of contemporary culture.
In April 2008, the museum's new building was named one of the architectural New Seven Wonders of the World by Conde Nast Traveler. The New Museum has been and will continue to be a crucial landmark of the Bowery district. “Bowery embraces idiosyncrasy in an unprejudiced manner and we were determined to make the museum building feel like that”, as one of the directors of the museum puts it. The neighborhood appears to be a fearless confrontation with the convention image of downtown Manhattan—an adventurous spirit that the New Museum always sees itself searching for.
The Bowery location has gallery and events space, plus a Resource Center with books and computers for access to their main web site and digital archive. The New Museum Digital Archive is an online resource that provides accessibility to primary sources from exhibitions, publications, and programs. The archive holds 7,500 written and visual materials for artists and researchers to access. The New Museum Digital Archive's database is searchable through 4,000 artists, curators, and organizations connected to New Museum exhibitions, performances, and publications.


The Royal West of England Academy (RWA) is Bristol's oldest art gallery, located in Clifton, Bristol, near the junction of Queens Road and Whiteladies Road. Situated in a Grade 2* listed building, it hosts five galleries and an exhibition programme that celebrates the best of historic and contemporary British art.
Elected Royal West of England Academicians use the post-nominal RWA.


The building is a grade II* listed building constructed in 1857 as the city's first public art gallery, also encompassing an art school. It opened in 1858. The interiors are by Charles Underwood and facade by JR Hirst, altered in 1912 by SS Reay and H Dare Bryan. The first floor is in 3 sections, the outer ones articulated by paired Corinthian pilasters flanking large shell head niches with statues of Flaxman and Reynolds. A large carving of 3 female figures - the three graces - crowns the parapet. The interior includes coloured marble and a replica of the Parthenon Frieze.


Among the paintings in the permanent collection are works by artists from the Newlyn, St Ives and Bloomsbury Schools and paintings by Elizabeth Blackadder, Bernard Dunstan, Mary Fedden, Matthew Hale, David Inshaw, Derek Balmer, Anne Redpath, George Swaish and Carel Weight.


The Christchurch Art Gallery Te Puna o Waiwhetū, commonly known as the Christchurch Art Gallery, is the public art gallery of the city of Christchurch, New Zealand. It has its own substantial art collection and also presents a programme of New Zealand and international exhibitions. It is funded by Christchurch City Council. The gallery opened on 10 May 2003, replacing the city's previous public art gallery, the Robert McDougall Art Gallery, which had opened in 1932.
The Māori elements of the name are explained as follows: Te Puna honours waipuna, the artesian spring beneath the gallery and Waiwhetu refers to one of the tributaries in the immediate vicinity, which flows into the River Avon. Waiwhetu may also be translated as ‘water in which stars are reflected’.