Bringing Gregory Bateson’s Sepik collections into the Digital Age. Progress and reflections von Lovelace, Antonia

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Bringing Gregory Bateson‪ ‪’s‪ ‪ Sepik collections into the Digital Age. Progress and reflections von Lovelace, Antonia

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Le Sepik : société et production matérielle von Aikhenvald, Alexandra Y, Ammann, Raymond, Barbe, Dominique, Barlow, Kathleen, Bartole, Tomi, Bolton, Lissant, Bonnemère, Pascale, Coiffier, Christian, Coupaye, Ludovic, Craig, Barry, Garnier, Nicolas, Hauser-Schäublin, Brigitta, Hellmich, Christina, Hermkens, Anna-Karina, Hurdubae, Isabelle, Kaufmann, Christian, Kocher Schmid, Christin, Lagarde, Louis, Lambert-Brétière, Renée, Leblic, Isabelle, Lipset, David, Lovelace, Antonia, Magnan, Alexandre K, McLennan, Amy K, Peltier, Philippe, Schindlbeck, Markus, Silverman, Eric K, Telban, Borut, Vávrová, Daniela, von Poser, Anita

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WAR BOOTY: CHANGING CONTEXTS, CHANGING DISPLAYS: ASANTE 'RELICS' FROM KUMASI, ACQUIRED BY THE PRINCE OF WALES'S OWN REGIMENT OF YORKSHIRE IN 1896 von Lovelace, Antonia

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The Pacific Collections at Glasgow Art Gallery and Museum von Lovelace, Antonia

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THE AFRICAN COLLECTIONS AT GLASGOW ART GALLERY AND MUSEUM von Lovelace, Antonia

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MAKING LOCAL CONNECTIONS: Collecting in the Context of a Multicultural Exhibition von Lovelace, Antonia

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GREGORY BATESON'S COLLECTION FROM NEW BRITAIN AND THE SEPIK RIVER, NEW GUINEA von Lovelace, Antonia

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ST MUNGO'S MUSEUM OF RELIGIOUS LIFE AND ART A NEW DEVELOPMENT IN GLASGOW von Lovelace, Antonia, Carnegie, Elizabeth, Dunlop, Harry

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Skin Deep: A History of Tattooing von LOVELACE, ANTONIA

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Is the London Cycle Hire Scheme becoming more inclusive? An evaluation of the shifting spatial distribution of uptake based on 70 million trips von Lovelace, Robin, Beecham, Roger, Heinen, Eva, Vidal Tortosa, Eugeni, Yang, Yuanxuan, Slade, Chris, Roberts, Antonia

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