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Thematische Bibliographien / Art museums / Dissertationen

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Dissertationen zum Thema „Art museums“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 30. Juli 2024

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1

Barr, Mary J. Hobbs Jack A. „Functions of art museums as perceived by art museum educators and directors“. Normal, Ill. Illinois State University, 1988. http://wwwlib.umi.com/cr/ilstu/fullcit?p8818707.

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Thesis (Ed. D.)--Illinois State University, 1988.
Title from title page screen, viewed September 2, 2005. Dissertation Committee: Jack Hobbs (chair), Susan Amster, John McCarthy, William Talone. Includes bibliographical references (leaves 99-103) and abstract. Also available in print.

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2

Smith, Martha Kellogg. „Art information use and needs of non-specialists : evidence in art museum visitor studies /“. Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/7182.

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3

McFelter, Gypsy. „Is the price right? : Admission fees and free admission in American art museums /“. [Pleasant Hill, Calif. : John F. Kennedy University Library], 2006. http://library2.jfku.edu/Museum_Studies/Is_the_Price_Right.pdf.

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4

Gonzalez, Desi (Desiree Marie). „Museum making : creating with new technologies in art museums“. Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97995.

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Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 151-155).
Hackathons, maker spaces, R&D labs: these terms are common to the world of technology, but have only recently seeped into museums. The last few years have witnessed a wave of art museum initiatives that invite audiences-from casual visitors to professional artists and technologists-to take the reins of creative production using emerging technologies. The goals of this thesis are threefold. First, I situate this trend, which I call "museum making," within two historical narratives: the legacy of museums as sites for art making and the birth of hacker and maker cultures. These two lineages-histories of art-based and technology-based creative production-are part of a larger participatory ethos prevalent today. A second goal of this thesis is to document museum making initiatives as they emerge, with an eye to how staff members at museums are able to develop such programs despite limited financial, technological, or institutional support or knowledge. Finally, I critically examine how museum making may or may not challenge traditional structures of power in museums. Museum making embodies a tension between the desire to make the museum a more open and equitable space-both by inviting creators into the museum, and by welcoming newer forms of creative production that might not align with today's art world-and the need to maintain institutions' authority as arbiters of culture. My analysis draws on a wide range of fields, including sociology, educational theory, media studies, museum studies, and art theory. This thesis is informed by extensive fieldwork conducted at three sites: the Los Angeles County Museum of Art's Art + Technology Lab, a program that awards artist grants and mentorship from individuals and technology companies such as Google and SpaceX; the Metropolitan Museum of Art's Media Lab, an innovation lab that invites members of New York's creative technology community to develop prototypes for and based on the museum experience; and the Peabody Essex Museum's Maker Lounge, an in-gallery space in which visitors are invited to tinker with high and low technologies.
by Desi Gonzalez.
S.M.

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5

Ng, Victor. „Art ropolis : redefining the museum of (new) art, TST /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946080.

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6

Din, Herminia Weihsin. „A history of children's museums in the United States, 1899-1997: implications for art education and museum education in art museums“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1247850292.

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7

Din, Herminia. „A history of children's museums in the United States, 1899-1997 : implications for art education and museum education in art museums /“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204279663.

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8

Goldwhite, Phil. „Frames ate the art, frames are the art, the camera is the art, the text is the art, the thing is the art, art is the art /“. Online version of thesis, 1995. http://hdl.handle.net/1850/12203.

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9

Kellogg, Smith Martha. „Viewer tagging in art museums: Comparisons to concepts and vocabularies of art museum visitors“. dLIST, 2006. http://hdl.handle.net/10150/105154.

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As one important experiment in the social or user-generated classification of online cultural heritage resources collections, art museums are leading the effort to elicit keyword descriptions of artwork images from online museum visitors. The motivations for having online viewers - presumably largely non-art-specialists - describe art images are (a) to generate keywords for image and object records in museum information retrieval systems in a cost-effective way and (b) to engage online visitors with the artworks and with each other by inviting visitors to express themselves and share their descriptions of artworks. This paper explores the question of how effective non-specialist art keyworders can be in capturing ("tagging") potentially useful concepts and terms for use in art information retrieval systems. To do this, the paper compares evidence from art museum visitor studies which describe how non-specialist art viewers react to and describe artworks and use museum-supplied information in their initial encounters with artworks. A theoretical model of artwork interpretation derived from art museum visitor research provides a framework with which to examine both the activity and the products of artwork tagging for image and information retrieval.

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10

Gray, Pamela Clelland. „Public learning and the art museum : future directions /“. View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030407.154108/index.html.

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11

Crawford, Jessie A. „Art for One or Art for All? Exploring the Role and Impact of Private Collection Museums in the United States“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460929598.

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12

Howard, Courtney L. „Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art“. Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.

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13

Phillips, Jessica. „The art of perception“. This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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14

Eggemeyer, Valerie. „Art Museum Resources and Teacher Use“. Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5285/.

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I proposed that both Bruner's (1963) idea of the spiral curriculum and Yenawine's (1992) theories of teaching for visual literacy in the museum set the stage for significant learning for students when used together. If school teachers lay a foundation of knowledge about a museum object, especially through museum resources, then the student may transform and apply this 'prior knowledge' (explicit memories from the classroom) while on the museum visit tour. When docents utilize Yenawine's (1992) methods toward the goal of visual literacy, the semantic knowledge of the classroom is then fused with museum learning, building stronger memories and facilitating deeper understanding as students learn about museum objects. This research explored the correlation of these two theories in a qualitative manner based on observations of actual museum visit preparation in classrooms in Casper, Wyoming, and how it related to a museum tour at the Nicolaysen Art Museum and Discovery Center. The research revealed that conditions do exist within the community that would facilitate Bruner's (1963) idea of a learning spiral, yet not in the manner envisioned. The observed conditions toward a spiral was accomplished through the participant teachers relating the museum exhibit to their operational curriculum in a variety of curricular areas, such as language arts and science, when docents related the tour to classroom learning, and not through museum resources or Yenawine's (1992) methods toward increasing visual literacy, as was previously considered.

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15

Pitman, Krista Chandler. „Understanding space the conceptualization and evaluation of display in Dia:Beacon /“. Birmingham, Ala. : University of Alabama at Birmingham, 2007. https://www.mhsl.uab.edu/dt/2007m/pitman.pdf.

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16

SRITONGSUK, PONGCHAI. „A STUDY OF CONTEMPORARY ART MUSEUMS“. The University of Arizona, 1997. http://hdl.handle.net/10150/555225.

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17

Glasser, Susan. „Playing with Aesthetics in Art Museums“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/196.

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"Playing with Aesthetics in Art Museums" presents a strategy for using design thinking to mediate engrossing art experiences for adult museum visitors. Built upon a substantiated family resemblance between art and play experiences, the study synthesizes a typology of aesthetic theories, ten germane tenets of game design, and a psychographic portrait of the "archetypal" museum visitor to create a practical framework for delivering engrossing art experiences to adult visitors who typically enter museums with limited art historical knowledge. The interdisciplinary approach used is intended to replace the singular methodologies (whether art historical, pedagogical or aesthetic) that have informed museum practice in the United States since the late nineteenth century.

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18

Prokůpek, Marek. „Performance Measurement of Public Art Museums“. Doctoral thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-264709.

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The issue of the economics of cultural institutions, their economic impact, and measurement of their performance has been paid systematic attention basically only in the past few years. PhD thesis analyses the methods of performance measurement in public art museums and creates economic models. Aim of my thesis is also to create a model for museum managers to measure the performance. Nowadays it is almost necessary to integrate performance measurement system in organization´s strategy decision making. The museum managers feel the pressure to prove that their organization is performing well by various stakeholders and we perceive the idea that multidimensional performance measures could fill the informational gap concerning performance, quality, and the artistic value of cultural programs. The mixed research method was employed in this research. Qualitative data was obtained from the questionnaire and interviews. Quantitative data was obtained from the questionnaire, annual reports and reports of The National Information and Consulting Centre for Culture (NIPOS). The aim of this study is to propose a comprehensive multidimensional model to assess art museum activities. This model takes into account the scope and character of museum´s mission. This model consists of implementation of Data Envelopment Analysis into Balanced Scorecard.

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19

Suchy, Sherene. „An international study on the director's role in art museum leadership /“. View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051222.103625/index.html.

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20

Lau, Ho-yin. „Tea vale : a tea appreciation resort /“. Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25952596.

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21

Lange, Candy. „Marketing the visual arts in New Zealand a critical analysis of promotional material by Christchurch's art galleries : a thesis submitted to the Auckland University of Technology (School of Communication Studies) in particular fulfilment of the requirements for the degree of Master of Arts (Communication Studies), October 2007“. Click here to access this resource, 2007. http://hdl.handle.net/10292/308.

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Thesis (MA--Communication Studies) -- AUT University, 2007.
Includes bibliographical references. Also held in print (xi, 242 leaves : col. ill. ; 30 cm.) in the Archive at the City Campus (T 708.99383 LAN)

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Suchy, Sherene. „An international study on the director's role in art museum leadership“. Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/517.

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By the 20th Century, tax codes made a distinction between for-profit and not-for-profit organisations. The distinction was that not-for- profits were to supply a service to society like hospitals, churches and museums. The distinctions are no longer clear. There is a demand for 'new breed' or hybrid directors in an environment favoring economic capital and searching for people who can be champions for social capital. This international cross-disciplinary research explores the leadership challenge through personal interviews and survey feedback with 72 museum directors or associate directors across Australia, the United States, England and Canada. Organisation psychology and management theory is brought to the field of art history. Art history is the traditional breeding ground for museum directors. In concluding, the thesis argues for a range of propositions to address the current leadership crisis in art museums based on a new understanding of leadership and leadership development

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23

Yount, Katherine. „A Collaborative Affair: The Building of Museum and School Partnerships“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30532/.

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This study examined two art museum and school partnerships in order to learn how partnerships enable an integration of goals, participants' beliefs and values, and learning objectives. This study examined the partnerships through a social constructivist lens and used narrative analysis as way to interpret participants' stories about collaboration. The research found three major themes among participants' stories. Participants: a) valued good communication to establish relationships between partners, b) believed partnership offered students experiences that educated the whole person, and c) felt that students making meaning by interacting in the museum environment was an indicator of success. The study closes with discussion of the researchers' own constructions as they developed throughout the study.

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24

Mutch, Hollis Hafertepe Kenneth. „Institutional critique artists focus on museological issues /“. Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5285.

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25

Morishita, Masaaki. „Empty museums : transculturation and the development of public art museums in Japan“. Thesis, Open University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272957.

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26

Mallory, Trista Elizabeth. „Parsing the practice critique of the institution, or institution as critique? /“. Diss., Online access via UMI:, 2009.

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27

Conway, Chelsea. „Participatory Activities and the Art Museum: A Case Study of the Columbus Museum of Art“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493982670620671.

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28

Jun, Jinhee. „Perceived constraints to art museums/galleries participation“. Texas A&M University, 2003. http://hdl.handle.net/1969.1/1173.

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Research on constraints to leisure and recreation participation has focused on various types of activities in which people would like to participate, are currently participating, or have stopped participating. However, little attention has been made to identify constraints associated with art activities participation. The objectives of this study were to 1) identify factors which limit people's attendance to art museums/galleries; 2) address the issue of the internal heterogeneity between two constrained leisure behaviors; 3) reveal the role of previous participation, interest in future participation, gender and lifecycle in the perception of constraints to art activities; and 4) show the validity of segmentation criteria which are previous participation, interest in future participation, gender and lifecycle. Data from the Survey of Public Participation in the Arts (SPPA 1997) was used in this study. Total sample was divided into four categories by previous participation and interest in future participation. Further, the categories 'participants with interest' and 'non-participants with interest' were sub-divided based on gender and lifecycle. The results revealed that time, cost, access and availability were considered as the most significant constraints to art activity participation across all segments. However, the array and intensity of constraints differed depending on the types of constrained leisure. In addition, different types of constraints were experienced with different intensity by segments defined by previous participation, interest in future participation, gender and lifecycle. The analyses demonstrated that previous participation, interest in future participation, gender and lifecycle were important segmentation criteria in constructing homogeneous groups with respect to perceived leisure constraints.

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29

Jalkanen, Dayna Marie. „Art Around Town“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285100432.

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30

Alhadi, Esameddin. „Transforming school museum partnership the case of the University of Flordia Harn Museum Teacher Institute /“. Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1214496613.

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31

Neurohr, Theresa. „The seismic vulnerability of art objects /“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99782.

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Throughout history, objects of art have been damaged and sometimes destroyed in earthquakes. Even though the importance of providing seismically adequate design for nonstructural components has received attention over the past decade, art objects in museums, either on display or in storage, require further research. The research reported in this study was undertaken to investigate the seismic vulnerability of art objects. Data for this research was gathered from three museums in Montreal.
The seismic behaviour of three unrestrained display cases, storage shelves, and a 6m long dinosaur skeleton model structure was investigated according to the seismic hazard for Montreal and representative museum floor motions were simulated for that purpose. Particular attention was paid to the support conditions, the effects of modified floor surface conditions, the sliding and rocking response of unrestrained display cases, the location (floor elevation) of the display case and/or storage shelves, art object mass, and the dynamic properties of the display cases/storage shelves. The seismic vulnerability of art objects was evaluated based on the seismic response of the display cases/storage shelves at the level of art object display. The display cases were investigated experimentally using shake table testing. Computer analyses were used to simulate the seismic behaviour of storage shelves, and the seismic sensitivity of the dinosaur structure was determined via free vibration acceleration measurements. The floor contact conditions and floor elevation had a crucial effect on the unrestrained display cases, causing them to slide or rock vigorously. The distribution of content mass had a large impact on the response of the shelving system. As a result of experimental and analytical analyses, recommendations and/or simple mitigation techniques are provided to reduce the seismic vulnerability of objects of art.

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Tseng, Suliang. „The art market, collectors and art museums in Taiwan since 1949“. Thesis, University of Leicester, 2001. http://hdl.handle.net/2381/31164.

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Radical changes in society have significantly influenced Taiwan since 1949. These changes have created a diversity of social forces, derived from politics, the economy and culture, which have widespread impacts. After 1980, these increasing forces contributed to a prospering art market, art collecting and museum expansion. Political changes intensified the ethnical conflict between the Benshengren and Waishengren, Economic prosperity provoked the art market, encouraged art collectors and diversified collecting interests. Cultural awareness, which was influenced by political ideology and growing Nativism, caused people to re-evaluate local culture. Collecting local cultural objects became very popular and rivalled the collecting of traditional Chinese objects. These social forces, which interweaved and interacted with each other, contributed to cultural development in Taiwan and consequently provoked a diversity of phenomena such as collecting fever, artistic fashion, faking, smuggling, theft and an explosion of museums, auction houses and dealerships. These phenomena emerged rapidly, grew and strongly influenced the art market. The prosperous art market thus can be seen as a place reflecting the social impact and the cultural evolution of Taiwan. Based on observation, historical review of contemporary sources and interviews, this thesis examines the complex relationships between these phenomena. Sociologically and historically, this research not only shows the complexity of these relationships but also provides a model for the operation of the art market as it enters Mainland China.

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33

Lam, Suet-hung Anne. „A study of the educational role of public art museums“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/HKUTO/record/B38628740.

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34

Mosako, Daniel Rankadi. „A study to identify and evaluate the roles and challenges of modern art museums - with special reference to the incorporation of digital technology in art museums in the Gauteng province of South Africa“. Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/61392.

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This research briefly introduces the roles of art museums and presents selected digital technology implementation challenges and benefits in art museums in the Gauteng Province. An art museum is a building or space for the exhibition of work of art, usually visual art. Art museums collect objects of art and other historic artefacts that are documented and exhibited for different purposes, such as aesthetic value, social, historic cultural and educational, significance and research values that are traceable to a specific society or group of individuals. In South Africa, particularly in the Gauteng Province, art museums are failing to keep pace with international trends about the use of digital technology. It is, therefore, important for art museums as information dissemination centres to incorporate digital technology in their daily museum business as it may offer the opportunity for these museums to become more effective and competitive in the global information society. A literature review is done to understand the trends of different digital technologies in other first world international cities. The examined literature revealed that the Internet and other technological applications of the new millennium prompted a re-evaluation of cutting edge museum research, education roles, and documentation capabilities. Consequently, digital technology became an integral component of the digital policies of many art museums, allowing them to satisfy the demand for online information sharing abilities. A qualitative research approach together with a constructivism educational theory is used to fully understand South Africa’s position regarding the use of digital technology. In South Africa, digital technology usage in art museums is predominantly limited to email exchange, electronic invitations to exhibitions, data capturing of collections and viewing of basic websites. In other words, digital technologies are not optimally used in the South African art museum environment. The study explores the benefits of digital technology interfaces at art museums against fixed traditional art museum information dissemination practices. The objectives of the study are to create an awareness of best practice in the implementation of digital technology interfaces at art museums in Gauteng. The findings in this study indicate that digital technologies have proved to be useful in several spheres of public life resulting in the popular utilization of e-learning, e-mail, e-health, e-government and e-commerce. It is, therefore, proposed that art museums in South Africa embrace digital technologies to enhance the transformation of these museums. In essence, the implementation of digital technologies such as ‘virtual tours’ and other popular social media platforms and applications may raise the profile of art museums and market their contents to wider audiences, and may also help to popularise their heritage collections for leisure and scholarly purposes.
Mini Dissertation (MCHS)--University of Pretoria, 2017.
Department of Arts & Culture
University of Pretoria
Visual Arts
MHCS
Unrestricted

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35

Van, Der Stad Sarah Gratia. „Museums and civic engagement in the Pacific Northwest /“. Connect to title online (Scholars' Bank), 2007. http://hdl.handle.net/1794/5354.

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36

Ng, Victor, und 伍達文. „Art ropolis: redefining the museum of (new) art, TST“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986717.

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37

Manasseh, Cyrus. „The problematic of video art in the museum (1968-1990)“. University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.

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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.

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Komarova, Maria. „Interactive technologies on art museum websites“. Kansas State University, 2015. http://hdl.handle.net/2097/18947.

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Master of Science
Department of Communications Studies
Gregory Paul
This report investigates how American art museums have adopted interactive technologies on their websites. The use of such technologies brings to the forefront a tension regarding authority over visitors’ experience of and interpretation of art both in person and online. Interactive tools on 15 art museum websites were coded as enabling one of three types of interaction: human-to-computer, human-to-human and human-to-content. Human-to-computer interactive features were most prevalent on museum websites, followed by human-to-human and human-to-content interactive technologies respectively. The findings demonstrate a tension between the goals of art museums in wanting to engage visitors in co-creation of meaning about art on the one hand and wanting to maintain their traditional authority over that meaning on the other. The report concludes by offering recommendations for how museums can use interactive technologies more effectively in order to maintain their role as centers of social and cultural life.

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39

Cregg, Shannon Thacker. „Collaboration and Connection: An Action Research Study on Inclusive Art Museum Programming“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587412917785129.

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40

Scott, Helen E. „Confronting nightmares : responding to iconoclasm in Western museums and art galleries“. Thesis, St Andrews, 2009. http://hdl.handle.net/10023/788.

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41

Tällgård, Nelly. „Museums användning av digitala verktyg : En komparativ undersökning av tre museum“. Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169425.

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Genom en deltagande observation undersöks hur tre museum använder digitala verktyg i sitt publika arbete i museet genom appar och på deras hemsida. En kombination av Duncan F. Camerons och Shannon och Weavers modeller för kommunikation används för att undersöka de olika stegen i processen. Kommunikationen undersöks med fokus på hur museet vill nå fram till besökaren.

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Tan, Ceyda Basak. „Educational Function Of Art Museums: Two Case Studies From Turkey“. Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608742/index.pdf.

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This thesis analyzes the educational function of art museums, how education in art museums evolved and how an art museum can conduct an educational mission. The concept of the material collections as the educative origin of art museums will be discussed alongside the history of collections in Europe. In addition to the concept of collection, the importance of educational programmes of art museums will be highlighted. Having derived a general notion of the educational function of art museums, the thesis will seek to answer questions such as how museology evolved in Turkey and whether the turkish museology has an educational concern. In accordance with these questions two turkish contemporary art museums will be investigated as case studies.

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Wong, Ngai-leung Aman. „Museum of Guangdong folk art“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594552x.

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Liu, Wan-Chen. „An exploratory, descriptive study of art museum educators' attitudes in regard to art museum-elementary school collaboration“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0028/NQ38931.pdf.

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Andersen, Evan. „An analysis of the art image interchange cycle within fine art museums /“. Online version of thesis, 2010. http://hdl.handle.net/1850/11981.

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Petty, Nancy. „African Art in Western Museums: Issues and Perspectives“. Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/992.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Art History

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Barbosa, Maria Belém Conceição Ferreira. „Open Day Events Developing Audiences In Art Museums“. Master's thesis, Faculdade de Economia da Universidade do Porto, 2007. http://hdl.handle.net/10216/7398.

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Barbosa, Maria Belém Conceição Ferreira. „Open Day Events Developing Audiences In Art Museums“. Dissertação, Faculdade de Economia da Universidade do Porto, 2007. http://hdl.handle.net/10216/7398.

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Nauert, Sandra <1978&gt. „Translation Policies and Practices in European Art Museums“. Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9980/2/TesiDottorato_NauertSandra_2021.pdf.

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One aspect of globalisation has been a significant increase in international visitors to many museums around the world, challenging museums to cater for an increasingly diverse audience in more than one language. As observed by a number of scholars (Liao 2018, Cranmer 2016, Neather 2012), more research is needed on the role of translation practices in the museum context. Adopting an action research approach and drawing on qualitative interviews with translation-related staff from a range of European art museums as well as with translation service providers, this study sets out to investigate translation practices and policies in art museums. By adopting the perspective of museums, and their methods in commissioning, managing, and checking translations, the focus of this study is put on organisational and managerial aspects of translation, and the ways in which these contribute to the overall quality of their translations. How are translation projects handled? How are quality requirements communicated? How are multilingual communication strategies agreed upon? How is translator feedback handled? And which tools are employed to efficiently undertake these tasks? The objective of the research is twofold. On the one hand, it seeks to provide a descriptive analysis of existing translation practices in art museums. On the other hand, the study aims to propose potential enhancements in three key areas: project management, quality assurance and translation technology, within a quality model. The purpose of the model is to improve existing practices which lack systematicity and efficient collaboration. Translation practices in museums are addressed within a customer-based perspective of translation quality, referring to quality standards for translation ISO 17000 and ISO/TS 11669, thus implying a functionalist approach. In response to the needs and experiences of the interviewed museum staff, a set of guidelines is proposed as a useful instrument for museum professionals involved in translation-related tasks.

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Mallos, Melina. „Young children's interactions in art museums: Exploring engagement“. Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/36686/1/36686_Digitised%20Thesis.pdf.

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How do young children engage with works of art in a museum environment? This study documents the experiences and behaviour of children aged 6-9 years in three Queensland art museums. In each case, three interactive components were investigated for their value in promoting young children's engagement with art: child-centred programs, novel exhibition designs and responsive social interaction. Recently art museums have invested heavily in the design of innovative interactive exhibition programs to enhance young children's experiences of art. While child-centred programming and novel exhibition designs contribute to children's enjoyment on their art museum visits, this study reveals that it is responsive social interaction, specifically children's interactions with adults, that determines the quality of their aesthetic encounters. Through photographic evidence, the study documents children's emotional reactions to art. The personal nature of these experiences is highlighted in children's interviews and drawings about their museum interactions. Such findings raise questions about the current views of aesthetic development which underestimate young children's capabilities for engaging with works of art. Photographic evidence used in this study clearly documents young children's emotional reactions to works of art. The social dimension is the most salient factor in young children's ability to interpret the museum environment and its exhibits in personally meaningful ways. This has implications for the design, installation and programming of exhibition programs for young children in art museums. The research reveals that greater collaboration between early childhood professionals and museum staff (educators and designers) significantly enhances young children's encounters with art. Information about children's responses to interactives enables designers and education staff to design effective innovations to empower young children to understand, appreciate and engage with art.

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