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Bristol Museum & Art Gallery is a large museum and art gallery in Bristol, England. The museum is situated in Clifton , about 0.5 miles (0.8 km) from the city centre. As part of Bristol Culture it is run by the Bristol City Council with no entrance fee.
The villa forms part of the collection of Bristol City Museum and Art Gallery. M Shed: Bristol: Bristol: Multiple: website Opened in 2011, M Shed is situated on the site of the old Bristol Industrial Museum. Run by the city council, it has no entrance fee. The modern museum covers local history, transportation and industry in their 3 main ...
The period house museum includes a drawing room, eating room, study, kitchen, laundry and housekeeper's room. There is also a small display on slavery and sugar plantations. The Georgian House has been a branch of Bristol City Council since it was presented to the city as a museum in 1937.
Arnolfini receives funding from Arts Council England, [28] and Bristol City Council. [29] According to returns lodged with the Charity Commission for the year ending in March 2016, Arnolfini had 500,000 visitors in 2013/2014. [1] Income was £2.1 million and expenditure was £2.7 million [30] and the gallery employed 44 people. [31]
The museum's name is derived from the way that the port identified each of its sheds. M Shed is home to displays of 3,000 artefacts and stories, showing Bristol's role in the slave trade and items on transport, people, and the arts. Admission is free. The museum opened in June 2011, with exhibits exploring life and work in the city. [1]
Bristol City Council is the local authority for the city of Bristol, in South West England. Bristol has had a council from medieval times, which has been reformed on numerous occasions. Since 1996 the council has been a unitary authority, being a district council which also performs the functions of a county council.
In 2006, Bristol City Council, Arts Council England and Bristol Museum and Art Gallery partnered with Plan 9 for a one-off modern sculpture exhibition at the Red Lodge. Responding to the building, the selected artists take on board sensitivities of politics past, ongoing preservation, and today's nervy ambiguities.
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