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1
Uralman, Hanzade. „The library of Istanbul Museum of Modern Art: a new type of art museum library for Turkey“. Art Libraries Journal 35, Nr. 2 (2010): 30–34. http://dx.doi.org/10.1017/s0307472200016370.
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Libraries can easily be integrated into a museum’s activities, since museums too have functions that require the processing of information, such as preservation, research and communication. However museums in Turkey were not notable for developing efficient art libraries until Istanbul Museum of Modern Art opened. The distinctiveness of this museum’s library results from a change in the museum environment in Turkey, and the introduction of a number of features that are new in art libraries in this country.
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Mihalache, Irina. „Art Museum Dining: The History of Eating Out at the Art Gallery of Ontario“. Museum and Society 15, Nr. 3 (06.01.2018): 287–300. http://dx.doi.org/10.29311/mas.v15i3.2543.
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Using archival materials from the Art Gallery of Ontario (AGO), this article recreates the culinary history of the art museum and advocates for the inclusion of food in the literature on art museum history and practice. The AGO, like many other North American art museums, has a rich culinary history, which started with dining events organized by volunteer women’s committees since the 1940s. These culinary programs generated a culinary culture grounded in gourmet ideologies, which became the grounds for the first official eating spaces in the museum in the mid-1970s. Awareness of the museum’s culinary history offers an opportunity to liberate the museum from prescriptive theoretical models which are not anchored in institutional realities; these hide aspects of gender and class which become visible through food narratives.KeywordsArt museum restaurants, culinary programming, women’s committees, multisensorial museums, Art Gallery of Ontario
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Park, Kyoung-Shin. „A Study on the Legal Character of Museums and Art Museums under the Promotion Law for Museum and Art Museums of Korea: Focusing on Non-for-Profit Character“. Korean Arts Association of Arts Management 65 (28.02.2023): 211–38. http://dx.doi.org/10.52564/jamp.2023.65.211.
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In August 2022, the International Council of Museums (ICOM) held a general meeting and adopted a new museum definition, which emphasized “diversity”, “sustainability”, and “ethics”, while the expression of “non-profit” was changed to “not-for-profit”. Discussions on non-profit or not-for-profit of museums and art museums are not new, but discussions on whether non-profit or not-for-profit is a prerequisite for museums and galleries under the Promotion Law for Museum and Art Museums of Korea are supposed to intensify in line with ICOM’s revision of definition of museums. In particular, considering that many of the materials of museums and art museums of academic, artistic, educational, and historical value, including national treasures, are held in private museums or private art galleries, controversies over for-profit activities of museums and art museums are expected to intensify in the future. Therefore, it is more necessary than ever to reconsider the scope and allowable making-profit activities of museum and art museums under the Promotion Law for Museum and Art Museums of Korea, taking into account the role of museums and art museums and various environmental changes surrounding museums and art museums. In this regard, this paper reviewed the fact that the introduction of non-profit or not-for-profit prerequisite for the registration into the Promotion Law for Museum and Art Museums of Korea could be a problem in terms of legal stability and excessive restrictions on freedom of occupation in current situation, where private or for-profit corporations have been registered and operated as private museums or art museums under the Promotion Law for Museum and Art Museums of Korea. However, terms of non-profit or not-for profit does not mean banning of all profitable activities, and thus detailed standards need to be prepared, considering that the criteria for for-profit activities are unclear and it is not easy to evaluate for-profit activities in the business plan in the course of reviewing museums and art museums to give supports and aids to them. In addition, it is necessary to revise related articles for the overall reorganization of the registration and support system for museums and art museums.
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Aldes, Liora, und Tally Katz-Gerro. „Contextualizing the Artistic Repertoire in Museums“. Museum Worlds 10, Nr. 1 (01.07.2022): 93–111. http://dx.doi.org/10.3167/armw.2022.100108.
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To remain financially sustainable while promoting cultural activity and operating within artistic, symbolic, and cultural norms, museums must consider a multitude of commercial and organizational elements. This article examines the impact of economic, organizational, and structural characteristics of art museums on the repertoire of art they exhibit. Using a mixed-methods approach, we draw on data pertaining to 11 art museums in Israel that are supported by the Ministry of Culture, analyzing administrative data collected yearly from the museums from 2000 to 2014. Next, we analyze 20 interviews with museum directors, curators, and artists to further explore the findings that emerge from the analysis of administrative data. Findings indicate three factors that influence a museum’s artistic repertoire: revenue structure, museum location (center or periphery), and the museum director’s preferences. We discuss these factors and explain the significant role that nonartistic factors play in shaping cultural outcomes.
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Dmitrievna, Evallyo Violetta. „Online Museums as a Complex Work of Art“. Perspectiva Filosófica 50, Nr. 2 (04.10.2023): 150–69. http://dx.doi.org/10.51359/2357-9986.2023.259054.
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Since the 21st century, digitalization has been actively implemented in all spheres of life, and this trend is relevant for Russian museums. The main content of the museum's digital environment is characterized by visual diversity and various communication accents. The same theme or exhibitions can be exploited in various visual forms, which allows you to see different shows. An important component of visual content is its split-screen implementation, which partially restores the lost material architectonics to the abstract digital space, or rather, creates an illusion of such a process. The purpose of this article is to analyze the digital museum as a complex art object. As a result of the study, it is concluded that the key features of the subject are media integration, the variability of communication modes, game manipulation of exhibiting objects, and in some cases overacted conceptuality. Communication with the digital museum’s content includes elements of interactivity, virtual immersion in the environment. All of these are characterized by a mostly private tone. By all its activities in the virtual media environment, the museum demonstrates the desire to correspond to modernity, to be an integral element of today's public culture, to have a memorable image.
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BAKHODIROV, Shakhzod L. „ART SHOP AT MUSEUMS OF UZBEKISTAN“. Art and Design: Social Science 02, Nr. 03 (01.06.2022): 19–22. http://dx.doi.org/10.37547/ssa-v2-i3-06.
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Traditionally, museums perform the functions of collecting, storing and broadcasting cultural values to the public. Today we can talk about a new trend – the transformation of museums into cultural, historical and leisure centers, which makes it necessary to abandon the traditional approach to museum activities in the broad sense of this concept. Museum management should now pay attention not only to the creation of exhibitions and exhibitions, but also to the work of recreational areas, leisure centers, infrastructure development. An important aspect is the work with the visitor, the organization of the process of his stay in the museum: today it is necessary to focus on finding new effective ways of interacting with the visitor to meet a wide range of intellectual and cultural and everyday needs of society.
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Golat, Rafał. „AMENDMENTS TO THE ACT ON MUSEUMS“. Muzealnictwo 59 (16.04.2018): 34–38. http://dx.doi.org/10.5604/01.3001.0011.7614.
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The Act of 21 November 1996 on museums, which has been in force for over 20 years (Journal of Laws of 2017, item 972, as amended), has been amended dozen or more times. Seven of these amendments entered into force in the last two years (2016–2017). They were to a large extent of adjustment character, and concerned inter alia the competence requirements for museum professionals (Journal of Laws of 2017, item 60), removals of museum exhibits from museum inventory (Journal of Laws of 2016, item 1330, and of 2017, item 1086) and the Council of Museums being replaced by the Council of Museums and Memorial Sites (Journal of Laws of 2016, item 749). Amendments concerning the admission charges in museums were of systemic character (Journal of Laws of 2017, item 132) as well as the restitution amendments introduced in Article 57 of the Act of 25 May 2017 on restitution of the national cultural goods, including a new penal provision added to the Act on museums (Art. 34.a in a new chapter 5.a – Journal of Laws of 2017, item 1086). Apart from amendments described in this article, others ought to be mentioned – related to an informative aspect. In this context, the amendments to the Act on museums being in force since 16 June 2016, provided for in Article 29 of the Act of 25 February 2016 on the re-use of public sector information (Journal of Laws of 2016, item 352, as amended) are of great significance. References to this Act can be found in section 4 of Art. 25 and section 4 of Art. 25.a of the Act on museums, added by this amendment, which regulate introducing and charging fees for museum exhibits being prepared and made accessible for different from usual purposes, and for permitting to use their images. Article 31.a of the Act on museums added by this amendment has been repealed by the Art. 34 of the Act of 10 June 2016 on delegating customer services to employees (Journal of Laws of 2017, item 132). The latter Act added Article 30.a of the Act on museums, related in its contents to this regulation. It states that the access to information for safeguarding museum exhibits is limited for the sake of protection from fire, theft and other type of danger which could bring damage or loss of the museum collection.
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Karczewski, Leszek. „Distributed Community. Participatory Actions and Organizational Culture of a Museum Institution“. Nauki o Wychowaniu. Studia Interdyscyplinarne 18, Nr. 1 (30.06.2024): 155–63. http://dx.doi.org/10.18778/2450-4491.18.12.
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The article discusses the consequences of participatory actions in a museum exemplified by the Find Art exhibition presented at the Muzeum Sztuki Lodz in 2017. It focuses on the transformative impact of participatory projects on museum culture and organizational structure. Museums have shifted from collection-driven entities to audience-oriented institutions, blurring lines between entertainment, education, and cultural heritage. The author highlights the changing paradigm of museums from old to new museology, critiquing power structures within museums. Based on the analysis of the Find Art exhibition the author argues that participatory projects reconfigure a museum institution, creating a Protean community of multi-functional collaborations that challenge conventional museum roles. He suggests a post-critical approach, defining a “distributed museum,” where networks of dependencies redefine the museum’s role beyond traditional boundaries. The author acknowledges the diverse contributions within the distributed museum, encompassing both formal and informal entities and addresses potential implications of exploitation within this dynamic community.
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Jacknis, Ira. „Anthropology, Art, and Folklore“. Museum Worlds 7, Nr. 1 (01.07.2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.
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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.
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Kang, Donghyun, Haram Choi und SangHun Nam. „Learning Cultural Spaces: A Collaborative Creation of a Virtual Art Museum Using Roblox“. International Journal of Emerging Technologies in Learning (iJET) 17, Nr. 22 (28.11.2022): 232–45. http://dx.doi.org/10.3991/ijet.v17i22.33023.
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This study proposes education on creating virtual art museums using metaverse technology to broaden the understanding of art museums. It investigates the effect of creating a virtual art museum using Roblox Studio, a metaverse platform, on the acquisition of knowledge about art museums, artists, and artworks and the ability to create metaverse content. This study selected the Moonshin Art Museum (MAM), the art museum to be created in the metaverse space, as its local cultural space. Fifteen students participated in a creation workshop to learn to create virtual spatial content using Roblox Studio and also visited an actual art museum. The students were then assigned to architecture, artwork, avatar, and content teams and collaborated with one another. To evaluate the activities, students filled out pre- and post-questionnaires containing items about the MAM, the sculptor Moonshin, and Moonshin’s artwork, as well as the ability to produce metaverse content. Findings showed that creating a virtual art museum through a metaverse platform facilitates the acquisition of spatial knowledge about art museums as well as information about artists and artworks. In addition, collaboration not only helped in the creation task but also identified and solved technical difficulties and improved creative abilities. These results suggest possibilities for using metaverse technology in delivering education regarding virtual art museums.
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Wang, Zhisheng, Yukari Nagai, Jiahui Liu, Nianyu Zou und Jing Liang. „Artificial Lighting Environment Evaluation of the Japan Museum of Art Based on the Emotional Response of Observers“. Applied Sciences 10, Nr. 3 (07.02.2020): 1121. http://dx.doi.org/10.3390/app10031121.
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This paper mainly studies the effect of artificial lighting environmental factors on the psychological emotions of observers in the large and practical space of the museums. The purpose is to reveal the relationship between the observers’ response and the artificial lighting condition in the actual art museum space. Field research regarding three art museums in Japan was carried out and the optical environment parameters applied in those museums were quantified. The innovation method is to define the artificial lighting environment space in the way of classified lighting design. Thirty one observers were invited to evaluate the three art museum’s lighting environment. In addition, this paper analyzes and discusses the influence of the actual spatial lighting parameters of museum buildings on observers’ psychological emotions (comfort, clarity, preference and warmth), under three modes of illuminance and correlated colour temperature (CCT) combination. Using one-way analysis of variance and correlation analysis, through analysis get the correlation of the four evaluation and three lighting environments indexes are less than 0.05, the observer in an environment with high illuminance and a high CCT had higher psychological evaluation of the art museum.
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Vuković, Vuk. „The Institutionalization of Video Art at the Museum of Modern Art“. Journal of Curatorial Studies 12, Nr. 2 (01.10.2023): 144–73. http://dx.doi.org/10.1386/jcs_00086_1.
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Analysing the history of video art poses challenges due to the complex environments from which video emerged. However, some of its conceptual origins can be traced through art institutions that pioneered the integration of video art into museums. By examining key projects and exhibitions at the Museum of Modern Art, I argue that the museum’s first study grant obtained from the Rockefeller Foundation not only expanded the exhibition and collection of video work, but also laid the foundation for its institutionalization, which in turn exerted decisive effects on the subsequent history of video art.
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Bezrukova, Nataliya B. „THE FIFTH PROLETARIAN MUSEUM. HISTORY OF CREATION AND ACTIVITIES OF THE MOSCOW ART MUSEUM IN THE 1920S“. RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, Nr. 8 (2020): 52–65. http://dx.doi.org/10.28995/2686-7249-2020-8-52-65.
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The article highlights the history of the so-called proletarian museums that opened in Moscow’s working-class suburbs in the 1920s. The study of their activities seems relevant, since it opens up the opportunity for a deeper study of the history of art museums in Moscow in the 1920s. Special attention is given to the Fifth Proletarian museum, which was a part of the State Tretyakov Gallery. More archival documents have survived on this museum than on any other of the proletarian museums. After studying some unpublished documents in Russia’s major archives, the author has discovered some important, previously unknown facts about these museums. This article takes a close look at how the paperwork was handled at the museum, how the items were registered, accounted for and taken care of and how the collections were accumulated and organized. Also thoroughly described in the article is the history of the museum’s closure as the author analyzes why it was eventually shut down. Moscow’s proletarian museums went down in history as an original new form of art institutions targeting “uncultured” visitors. Unfortunately, these museums were short-lived as they fell victim to the lack of funding and shortage of trained staff during the New Economic Policy era (1921–1928).
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Ajayi, Joseph Babatunde. „Importance of Art Museum and its Influence on Behavioral Intention of Visitors“. Advances in Multidisciplinary & Scientific Research Journal Publications 12 (2024): 2–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3x.
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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 2, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3x
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Ajayi, Joseph Babatunde. „Importance of Art Museum and its Influence on Behavioral Intention of Visitors“. Advances in Multidisciplinary and scientific Research Journal Publication 12 (2024): 23–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3.
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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 1, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3
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Xiang, Yuhang. „A Study on the Development of Art Derivatives in Chinese Museums —Take the Beijing Palace Museum as an Example“. Asian Journal of Social Science Studies 7, Nr. 7 (01.08.2022): 17. http://dx.doi.org/10.20849/ajsss.v7i7.1238.
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With their history and culture, museums have become one of the most important choices for the cultural and artistic consumption of the public. The exploitation of art derivatives makes it possible to increase the visibility of museums. While promoting traditional Chinese culture and allowing the audience to experience the artistic atmosphere, art derivatives can also bring museums closer to the social public, better reflect and perform the social functions of museums. Only a very small number of museums in China are currently developing art derivatives, and most have no advantage of research and development. Among them, the Palace Museum in Beijing plays a good role as a model in the development, production and sales of art derivatives relative to other museums. In the course of this article, through the analysis of the research and development experiences of the art derivatives of The Palace Museum in Beijing, it summarizes and describes research and development models that are noteworthy for reference and study. It is hoped that this will inspire further museums in China to develop art derivatives.
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ZHAO, J., und O. YEZHOVA. „IMPACT OF DIGITAL ART ON DESIGN OF ONLINE MUSEUM: USER-CENTERED DESIGN, NARRATIVE DESIGN, AND INTEGRATION OF TECHNOLOGY“. Art and Design, Nr. 3 (11.11.2023): 92–100. http://dx.doi.org/10.30857/2617-0272.2023.3.8.
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This research aims to explore the means by which digital art presented in online museum exhibitions will contribute to an improved visitor experience of the museum exhibition. Theoretical and practical research methods are used, namely, analysis of scientific and professional literature on the impact of digital culture on museum exhibits, analysis of design analogs of online museums. Based on the research analysis, the influence of digital culture on art museums was established, which allowed them to go beyond physical spaces, display digital art and implement virtual reality technologies. The cases of the Museum of Modern Art, TATE, the Victoria and Albert Museum, as well as China's Palace Museum and Shaanxi History Museum have demonstrated the significant benefits of integrating digital culture into the art world. The use of augmented reality (AR), virtual reality (VR) and mixed reality (MR) in digital museum exhibitions was analyzed. It is substantiated that the impact of digital culture on art museums is evidence of the importance of digital technologies in the design of online museums. The scientific novelty lies in the fact that the design principles of digital art exhibitions of online museums have been further developed in the work, which allows them to reach a wider audience of visitors and improve the aesthetic perception of museum expositions by viewers. The results of the study can be used in their introduction into the modern practice of designing museum.
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Mastandrea, Stefano, Gabriella Bartoli und Giuseppe Bove. „Learning through Ancient Art and Experiencing Emotions with Contemporary Art: Comparing Visits in Two Different Museums“. Empirical Studies of the Arts 25, Nr. 2 (Juli 2007): 173–91. http://dx.doi.org/10.2190/r784-4504-37m3-2370.
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The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that drive people to visit museums of ancient versus contemporary art. Results show that people who visit the Guggenheim Museum have higher socio-economic status (education and profession) and visit museums more frequently than those who attend the Borghese Museum. Additionally, educational level relates to the enjoyment of the visit and to the nature of the aesthetic experience; visit conduction by Borghese visitors was driven by the intent of understanding and knowing, while those who attended the Guggenheim took an emotional approach to their experience.
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Nodelman, Perry. „Touching Art: The Art Museum as a Picture Book, and the Picture Book as Art“. Journal of Literary Education, Nr. 1 (08.12.2018): 6. http://dx.doi.org/10.7203/jle.1.12085.
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Based on a keynote address delivered at the 2017 Child and the Book conference in Valencia on interdisciplinary links between children’s literature and the arts, this essay draws on its author’s experience first as a children’s literature scholar focused on picture books and then as a volunteer guide and docent for school tours in art museums. It explores how visits to art museums might be enriched by thinking about the art in them in the ways in which we think about the art in children’s picture books- as images illuminated by a context of nearby images and the verbal language they appear in connection with. After an exploration of common assumptions about how to look at art in museums and a consideration of the ways in which our knowledge of picture books might influence our interactions with that art, the essay also briefly considers how museum art might influence our understanding and appreciation of picture books.Key words: art, picture books, museums, galleries, context
ResumenBasado en la conferencia plenaria pronunciada en 2017 en el congreso en Valencia The Child and the Book sobre vínculos interdisciplinares entre la literatura infantil y las artes, este artículo utiliza la experiencia del autor como guía voluntario y docente para visitas escolares a museos artísticos. Explora cómo las visitas a museos de arte pueden ser enriquecidas pensando acerca del arte que contienen de la manera en la que pensamos sobre el arte en los álbumes para niños y niñas – como imágenes iluminadas por un contexto de imágenes cercanas y por el lenguaje verbal que aparece en conexión con ellas. Tras una exploración de las asunciones habituales sobre cómo mirar el arte en los museos y una consideración sobre las maneras en las que nuestro conocimiento de los álbumes puede influir nuestras interacciones sobre este arte, el ensayo considera también brevemente cómo el arte de los museos puede influir nuestra comprensión y apreciación de los álbumes.Palabras clave: arte, álbumes, museos, galerías, contexto.
ResumBasat en la conferencia plenària pronunciada el 2017 al congrés a València The Child and the Book sobre vincles interdisciplinaris entre la literatura infantil i les arts, aquest article utilitza l’experiència de l’autor com a guia voluntari i com a docent per a visites escolars a museus artístics. Explora com les visites a museus d’art poden ser enriquides tot pensant sobre l’art que hi contenen de la manera en la que pensem sobre l’art en els àlbums per a infants – com a imatges il·luminades per un context d’imatges properes i pel llenguatge verbal que apareix en connexió amb elles. Després d’una exploració de les assumpcions habituals sobre com mirar l’art als museus i una consideració sobre les maneres en les quals el nostre coneixement dels àlbums pot influir les nostres interaccions sobre aquest art, l’assaig considera també breument com l’art dels museus pot influir la nostra comprensió i apreciació dels àlbums.Paraules clau: art, àlbums, museus, galeries, context.
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Stojanović Stošić, Milena М., und Marija М. Nešić. „Mogućnosti i značaj virtuelnih poseta muzejima na časovima likovne kulture“. УЗДАНИЦА XIX, Nr. 1 (Juni 2022): 345–58. http://dx.doi.org/10.46793/uzdanica19.1.345ss.
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Museums, as keepers of tradition and culture, are ideal places for learning and enhancing children’s interest in art. However it is not always easy to take pupils to exhibi- tions, or organise an art class in a museum, which opens the possibility for virtual museum tours. Many renowned museums around the world provide this opportunity. As a result, pupils can see the greatest works of art and have the full museum experience, without having to leave their classrooms. This paper presents an online educational program of the National Museum in Belgrade, titled The National Museum in the Classroom, which comprises two types of activities: Museum in the classroom and Video workshops, thus indicating the significance of creating museum learning programs where students can get familiar with current exhibitions and art collections. The aim of the paper is to emphasize the importance of getting students familiar with museums and exhibitions in Arts Education classes through virtual tours offered by some of the most renowned museums. In order to do so, future teachers of Art Education need a more complex formal education in the field of art.
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Facuse Muñoz, Marisol, und Raíza Ribeiro Cavalcanti. „The Museum as a Laboratory: An Approach to the Experience of Public Museums in Chile“. Social Sciences 13, Nr. 2 (31.01.2024): 90. http://dx.doi.org/10.3390/socsci13020090.
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The present article analyzes the recent debates regarding the redefinition of the museum, exploring resonances in reflective practices and processes in public museums in Chile. While these have caused controversy and discord, they appear to converge in the need to rethink the relationship between museums and society, seeking to make them more inclusive, democratic and diverse. The present discussion is based on the preliminary results of “LAB_Museums: Contemporary Museums and Museologies”, an ongoing interdisciplinary research intervention model promoting processes of co-production of knowledge regarding museums and museography. This paper is the publication of the results of the project. To this end, a collaborative ecosystem of knowledge has been developed between the university, museums and public sector, based on the implementation of laboratories, initially, in five public museums of the Metropolitan Region of Santiago, Chile: the National Museum of Fine Arts, the National Historical Museum, the Museum of Contemporary Art, the Popular Art Museum and the National Center of Contemporary Art. The theoretical/methodological framework used was that of Institutional Analysis (IA), based on which interviews and discussion groups with museum professionals promote dialogues on the present reality and contemporary challenges of museums.
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Kasbayeva, Gulnaz, Assiya Mamyrbekova und Bagila Tairova. „Culture management in cultural and art institutions: A cultural analysis“. Scientific Herald of Uzhhorod University Series Physics, Nr. 55 (05.02.2024): 730–38. http://dx.doi.org/10.54919/physics/55.2024.73kd0.
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Relevance. The object of this research is the managerial culture in the museums of the Republic of Kazakhstan. The study considers a management culture in museums on a large scale, as museums of the Republic of Kazakhstan are a part of the world culture and their development occurs not in self-isolation from the world, but in this world, though in time of experiencing economic and political crises, and in time of a pandemic. Purpose. The paper examines the general history of museum development in Kazakhstan, management culture, and management itself. The management culture is shown from ethical and practical sides. The study demonstrates management as a new strategy of museum management in the modern world. The basic work of museums and their reaction to challenges of the modern world is also briefly shown, i.e., the new role of museums in the modern world is considered. Methodology. The desk research method was used: analysis of modern research of the last three years on the museums of the Republic of Kazakhstan, management culture and management in museums. Results/Conclusions. The article concludes that museums, despite their conservatism, can respond to the challenges of the time and adapt to the needs of society. Moreover, the culture of management in museums is changing in order to dictate to society what is relevant and interesting, rather than passively fulfilling its demands. The management culture dictates to museum workers new approaches to effective museum management, and the museum has become not only a centre of history and culture preservation but also an active centre of public education.
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Kristinsdóttir, AlmaDís, und Sigurjón Baldur Hafsteinsson. „Organizational structures and the museum’s educative function. Empty options at the Reykjavík Art Museum“. Nordisk Museologi 26, Nr. 2 (06.12.2019): 77–94. http://dx.doi.org/10.5617/nm.7478.
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Museum education is a field in flux that faces continuous theoretical and practical challenges. We argue that formal museum organizational structures, the informal, and experiences of museum workers should be intertwined. We also argue that the influence of museum educators on shaping policies is relevant. Formal organizational structures in museums should be acknowledged and systematically embedded in the shaping and governance of sustainable museum education practices if museums are to succeed as learning institutions. We contend that museum organizational structures disempower the development of museum education as a profession, serving other purposes more rigorously. We interviewed twelve museum staff members for this paper. They all worked at the Reykjavík Art Museum’s (RAM) education department as full-time and/or part-time employees from 1991 to 2018. Multiple meetings with the participants occurred from June 2011 until June 2018, resulting in twenty semi-structured interviews.
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Mangione, Gemma. „Making Sense of Things: Constructing Aesthetic Experience in Museum Gardens and Galleries“. Museum and Society 14, Nr. 1 (09.06.2017): 33–51. http://dx.doi.org/10.29311/mas.v14i1.624.
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Studies of museum behaviour in sociology often examine how external environments shape organizational practice. Through an ethnographic study, this article considers programmes for visitors with disabilities at a major metropolitan art museum and botanical garden to ask how ‘sensory conventions’ vary across museums, and with what effects. I trace how museum staff construct the aesthetic experience of art and nature differently to shape how visitors use their senses, and which senses they use, when interacting with museum collections. Examining aesthetic meanings across different kinds of museums reveals these institutions’ differing local cultures and how such cultures affect visitor experience. In particular, aesthetic practices across museums facilitate varying opportunities for perception, and interactions that may privilege particular embodied capacities.Key words: art museums; botanical gardens; aesthetics; senses; disability
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Mironova, Tat'yana Yu. „REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE“. RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, Nr. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.
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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.
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Tzortzi, Kali. „The art museum as a city or a machine for showing art?“ Architectural Research Quarterly 14, Nr. 2 (Juni 2010): 129–38. http://dx.doi.org/10.1017/s1359135510000746.
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This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–b]. Their ground floors are conceived as a space you walk through, as a ‘piazza’; their spatial organisation is modular and flexible; their visual construction, punctuated by powerful views to the city. Moreover, they are guided by similar spatial ideas and share common fundamental morphological properties. Interestingly, their affinities extend to their collections – both begin with the turn of the twentieth century and extend to the twenty-first century; and their curatorial practices – as, for instance, the practice of reprogramming the galleries on a regular basis. But the experience of visiting the two museums is entirely different and each appears to have its own idiosyncratic spatial character, quite distinct from the other (described metaphorically by the museum designers as the museum as a city in the case of the Pompidou and as a machine for showing art in the case of Tate Modern). So, could these obvious similarities hide critical differences between the two museums?
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Lambert, Susan. „The National Art Library repositioned“. Art Libraries Journal 27, Nr. 4 (2002): 5–11. http://dx.doi.org/10.1017/s0307472200012797.
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Archives, libraries and museums have for some time been trying out the advantages, for themselves and for each other, of working together and sharing long-term aims. These independent sorties were given a coercive impetus in April 2000 when the Government-funded Library & Information Commission and the Museums & Galleries Commission were replaced by the single-word Resource, to bring together ‘strategic advocacy, leadership and advice to enable museums, archives and libraries to touch people’s lives and inspire their imagination, learning and creativity’. At the Victoria and Albert Museum, the National Art Library, which already included the Museum’s Archives, has recently merged with Prints, Drawings and Paintings to form the Word & Image Department. The integration of the National Art Library with a department that has traditionally put greater emphasis on its curatorial role has suggested new paths of development for us all and, in particular, an enhanced contribution for the new Department across the full range of material culture as represented in the V&A’s collections. Thus the merger has acted as a catalyst to put into practice aspects of the Government’s agenda within a single institution. This article outlines some of the developments proposed for the Word & Image Department, with particular emphasis on implications for the National Art Library, its staff, collections and users.
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Rutkauskaitė, Milda. „Integration of Handheld Guides in Museums: The Case of Lithuania’s Art Museums“. Art History & Criticism 15, Nr. 1 (01.12.2019): 71–82. http://dx.doi.org/10.2478/mik-2019-0005.
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Summary The most common technological device found in organisations of cultural heritage is a handheld guide. This device can simultaneously perform several functions, and its integration in permanent expositions has significance both for the operation of organisations of cultural heritage and experience of visitors when they visit a museum or a gallery. It should be noted that art museums and galleries encounter a task to present often static and difficult to understand at first sight works of art in an interesting fashion. Therefore, in this study, the main functions of a handheld guide as a technological device as well as its benefits, problems, and application in art museums are analysed. In the first part of the study, various functions of handheld guides, their importance, the meaning produced for the organisation of cultural heritage, and experience of a visitor are analysed based on scientific literature. Problems of integration of handheld guides and strategic steps that should be taken to ensure a successful integration process are reviewed. In the second part, four cases of Lithuanian art museums are presented. All museums that participated in the survey were analysed by collecting observational data, communicating with the managers of the organisations, and analysing the experience of museum visitors using the handheld guide. Scientific literature presented in the article substantiates the importance of handheld guides in museums and possible problems of integration of such devices. The study conducted in Lithuanian art museums reveals the fact that handheld guides are significant devices that help improve the experience of a museum visitor, but it is also observed that handheld guides have not yet become an integral part of a visit to a Lithuanian art museum.
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Jiang, Hao, und Si Jia Jiang. „The Architecture of Daniel Libeskind’s Jewish Museums“. Applied Mechanics and Materials 174-177 (Mai 2012): 1812–19. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1812.
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Memorial architecture faces the special challenge of commemorating the absent; Jewish museums deal with an extra problematic history of high sensitivity. This paper examines and compares Daniel Libeskind’s architectural solutions to the cultural and political challenges in each of the three Jewish museums that he designed in Berlin, San Francisco and Copenhagen. The focus is on how the architecture institutionalizes the web of political relationships attached to the particular museum and delivers the museum’s message. It will be concluded that Libeskind has used space to address visitors bodily and affectively, control their behavior and help them see what the museums want them to see; the museums’ spatial existence can never really be independent of their contents. Light will be shed on the future of museum architecture: the trend is for museums designed for an expressive experience, involving movement, rather than the static enjoyment of single works of art.
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Qafarova, Gunay N. „Azerbaijan National Museum of Art: On the history of foundation“. Issues of Museology 13, Nr. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.
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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.
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Chen, Yuanchiu, Shan Zhang, Zuorong Dong, Fei Shen, Xilin Chen und Yuyan Lin. „Architectural design of an open cultural space for a cultural heritage art museum“. SHS Web of Conferences 192 (2024): 01010. http://dx.doi.org/10.1051/shsconf/202419201010.
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Starting from the interaction between art museums and the public and the way to get along with them, art museums can be closer to the life of the public, and provide the public with spiritual enjoyment, while also playing a certain role in promoting the dissemination and inheritance of local and even national culture. The audience, as the receiver of the exhibition information of the art museum, is also the medium of cultural dissemination of the art museum. This interactive relationship is exactly what we want to explore in the process of art museum design.
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Samolik, Sandra M. „Book Review: Daniel H. Weiss, Why the Museum Matters“. Museum and Society 21, Nr. 2 (24.07.2023): 72–73. http://dx.doi.org/10.29311/mas.v21i2.4407.
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"Why the Museum Matters" by Daniel H. Weiss is a captivating exploration of the challenges and responsibilities faced by museums, with a particular focus on those in the United States. It provides a selective history of art museums, highlighting their cultural significance throughout time. The book delves into the diverse roles of museums today and their evolving mission for future generations. It examines the essence of encyclopedic museums and their inherent limitations, emphasizing education, community-building, idea generation, and art preservation as their primary objectives. Addressing the struggles of nonprofit institutions, the book recognizes museums as dynamic spaces that actively engage with the world, offering valuable insights into society and history. With its unique perspectives on museum history and the present-day relevance of these institutions, "Why the Museum Matters" is an essential read for anyone interested in the profound interplay between art and society.
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Konopka, Emiliana. „Antropologia sztuki rdzennej ludności regionu nordyckiego: reprezentacja Kalaallit Nunaat i Sápmi w muzeach skandynawskich“. Porta Aurea, Nr. 22 (29.12.2023): 154–71. http://dx.doi.org/10.26881/porta.2023.22.08.
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This essay is an attempt to present the most important points of the current discussion about the cultural remains of colonialism in Scandinavia by analyzing the representation of indigenous art in museums. I would like to focus on the reasons why Saami and Inuit art was usually excluded from the traditional art history narrative and placed almost exclusively in collections of ethnographic or historical museums. On the examples of the strategies applied by three museums: the National Museum of Denmark in Copenhagen, Nordic Museum in Stockholm, and the National Museum of Art, Architecture and Design in Oslo, the following issues are considered: what determines the selection of indigenous artists and their works, how they are exhibited, what place indigenous art holds in the national canon of art today, and how these museum strategies perpetuate, or not, stereotypes of Kalaallit Nunaat and Sápmi. For the sake of this paper, based on ethnohistory, historical anthropology and anthropology of art in a Nordic context, the terms ‘art’ and ‘artist’ go beyond the traditional definitions used in art history.
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Szafrański, Wojciech. „‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING“. Muzealnictwo 62 (13.09.2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.
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The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.
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Qin, Wei. „An Analysis of the Development and Marketing Strategy of Art Merchandise in Art Museums“. Highlights in Art and Design 2, Nr. 1 (20.02.2023): 44–48. http://dx.doi.org/10.54097/hiaad.v2i1.5323.
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There have been many limitations and lags in the commercial operation of public art institutions, while art merchandise is an important business for the commercial operation and profitability of art museums. How to make profits in the market while still building an art brand image has been the priority for art museum operators to think and study. This paper examines the new experiences and innovative initiatives of public art museums in the art merchandising business through the case of the National Museum of Modern and Contemporary Art, Korea (MMCA). First, through the experience of operating art merchandise at the MMCA, it is found that a sound archival management of art museums is conducive to boost the quality and diversity of art merchandise and to dominating the market. Secondly, the production of high-quality digital content and its display on the visited web pages are favorable to increase online sales, raise profits and advertise the brand at the same time.
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Yang, Yeon Kyoung. „A Study of Art Museums Convergence Education Guidelines Model for Social Improvement and Talents Development of Mild Autism Spectrum Disability“. Korea Institute of Design Research Society 8, Nr. 1 (30.03.2023): 164–77. http://dx.doi.org/10.46248/kidrs.2023.1.164.
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In order to establish an effective museum convergence education guide and model, this study first sought ways to redefine the local and social role of art museums for the people with autism developmental disabilities. Second, the effectiveness of art enjoyment, mental recovery, and self-exploration were analyzed, and through the participation of family guardians in art museum programs. Third, various attempts and new role implications were derived to expand the social convergence platform of art museum exhibition-linked education. Fourth, an integrated model such as communication, healing, empathy, sharing, and support was established in the guidelines for convergence education at the Museum of Art for the Disabled in the Autism Spectrum. This study verified the effectiveness by analyzing the operation of two curriculums, Dreamcatcher Craft Class and Ribbon Embroidery Family Frame Collaboration Class, in line with the theme of ICOM Museum Week. As a result of the study, this study presented physical and social solutions to increase accessibility to art museums. It also suggested the need for a dual strength that can lead to art museum education. In particular, it emphasized the need for art museum, organizations for the disabled, and public institutions to cooperate with governance. In addition, by studying the necessity of active learning in art museums, the needs to expand guidelines for integrated art museum convergence education was suggested.
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Gerasimova, Natalia V. „The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s“. Observatory of Culture 15, Nr. 6 (28.12.2018): 754–63. http://dx.doi.org/10.25281/2072-3156-2018-15-6-754-763.
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The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural values and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Antiquities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.
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Cui, Dalong. „EXHIBITION ART DESIGN AND PRACTICE OF "XINJIANG CULTURAL RELICS EXHIBITION"“. Advances in Culture and Arts 3, Nr. 1 (17.07.2023): 05–07. http://dx.doi.org/10.26480/aca.01.2023.05.07.
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Exhibition art design is a significant procedure that cannot be ignored when a museum organizes exhibitions. Any movement to weaken exhibition art design is to lower the museum’s exhibition level. Exploring and researching it broadly and deeply has positive practical significance. This essay takes “Xinjiang Cultural Relics Exhibition” as an example, analyzes and summarize its thinking conception and practical methods of exhibition art design, as well as summarizes the internal aesthetic principles of the exhibition, to provide a highly referential approach for the exhibition art design of museums in the future.
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Kaya, Sevkiye M., und Yasemin Afacan. „Effects of daylight design features on visitors’ satisfaction of museums“. Indoor and Built Environment 27, Nr. 10 (12.04.2017): 1341–56. http://dx.doi.org/10.1177/1420326x17704028.
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This study evaluates daylight performance in an art museum in İstanbul, Turkey to analyse the effects of daylight design features on visitors’ satisfaction in art museums. The study is based on users’ data obtained through a survey and daylight simulation achieved by Autodesk 3D’s Max 2014. A three-part questionnaire was conducted with 100 participants in overcast- and clear-sky conditions to rate visitors’ satisfaction with the museum and their importance level of daylight design issues in museums. The museum’s daylight illuminance data were measured on a scaled model by a computer simulation program. The statistical results and simulation renderings show that daylight design is a multi-parameter task. There are statistically significant correlations between visual comfort and visitor satisfaction. The study finds two essential daylight considerations for a practical guide to promote healthy and effective daylight use in museums: (i) that certain design aspects in a museum, such as location, window size and window distance from partitions or displays, are important regardless of weather conditions and that (ii) glare prevention from openings such as windows and skylights is also a crucial aspect in visual comfort.
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Oddie, Graham. „What Do we See in Museums?“ Royal Institute of Philosophy Supplement 79 (Oktober 2016): 217–40. http://dx.doi.org/10.1017/s1358246116000151.
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AbstractI address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seems obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not be particularly aesthetically valuable at all. Second: to what ontological type or category do museum objects belong? What type of item should be featured on an inventory of a museum collection? I distinguish between typical objects and special objects. While these are different types of object, both, I argue, are abstracta, not concreta. The answer to the second question, concerning the ontological category of special objects, throws new light on various philosophical questions about museums and their collections, including the question about the value of museum experiences. But it also throws light on important questions concerning the preservation and restoration of museum objects.
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Andermann, Jens. „Showcasing Dictatorship“. Journal of Educational Media, Memory, and Society 4, Nr. 2 (01.09.2012): 69–93. http://dx.doi.org/10.3167/jemms.2012.040205.
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This article compares two recently inaugurated museums dedicated to the period of dictatorial terror and repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago, Chile (opened in 2009), and the Museum of Memory at Rosario, Argentina (2010). Both museums invoke in their very names the "memorial museum" as a new mode of exhibitionary remembrance of traumatic events from the past. They seek to sidestep the detachment and "objectivity" that has traditionally characterized historical museum displays in favor of soliciting active, performative empathy from visitors. Neither of the two institutions, however, complies entirely with the memorial museum's formal characteristics; rather, they reintroduce modern museographical languages of history and art, thus also challenging the emergent "global canon" of memorial museum aesthetics.
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Pawłowska, Aneta. „African Art: The Journey from Ethnological Collection to the Museum of Art“. Muzeológia a kultúrne dedičstvo 8, Nr. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
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Carobbio, Gabriella, und Alessandra Lombardi. „Kunst kindgerecht erklärt – eine Fallstudie zu museumspädagogischen Erklärvideos“. Linguistik Online 124, Nr. 6 (26.12.2023): 85–111. http://dx.doi.org/10.13092/lo.124.10716.
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As young visitors represent “the museum audience of the future”, museums should be particularly committed to engaging children in museum experiences pursuing a child-oriented approach to art communication and education. The analysis of museum communication from a linguistic perspective seems thus a promising way of exploring the target-group-specificity of museum educational resources explicitly designed for addressing young audiences. Explanatory videos featured on museum websites which present the museum itself or masterpieces of its collections are examples of digital tools employed by museums to introduce children to art and encouraging them to become devoted visitors. The paper presents the findings of a case study of a sample of German and Italian museum explanatory videos for primary school children, aiming at analyzing the linguistic and multimodal strategies used by museums in order to transfer knowledge about art, artists and exhibitions in a child-centered explanatory style. Of particular interest in this context is the question of whether and to what extent these videos encourage a participatory, play-based access to art or enable an experience-oriented approach to art-related contents, as advocated by current trends in museum communication and education.
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Rybak-Karkosz, Olivia. „NFT w muzeum – wyzwania i perspektywy w świetle art. 2 ustawy o muzeach“. Santander Art and Culture Law Review 9, Nr. 1 (27.09.2023): 19–36. http://dx.doi.org/10.4467/2450050xsnr.23.003.18115.
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This paper aims to analyse challenges and perspectives related to NFTs that Polish museums would need to consider regarding their activities, as described in art. 2 of the Act on Museums of 21 November 1996. These activities include collecting, maintaining, securing, and exhibiting artwork as well as conducting educational and research activities. Therefore, one must con-sider whether NFTs are a long-term opportunity for museums to fulfill their goals and activities or a temporary solution providing financial aid during the post-pandemic crisis. In this paper, the author describes the importance of NFTs for the art world and quotes examples of museums that already collect and exhibit NFTs or organise events about them. The paper also includes the results of a survey conducted among Polish museum professionals to obtain their opinions on this matter.
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O'Neill, Desmond, Robert Roush und Robert Roush. „PRESIDENTIAL SYMPOSIUM: MUSEUMS AND AGING: NOVEL NETWORK OPPORTUNITIES TO SUPPORT OPTIMAL AGING“. Innovation in Aging 3, Supplement_1 (November 2019): S361—S362. http://dx.doi.org/10.1093/geroni/igz038.1318.
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Abstract Museums represent an evolving and under-recognized network of opportunity for examining aging while supporting optimal aging across the lifespan. Museums bind communities together in a civic body by “…identifying its highest values, its proudest memories, and its truest truths.”(Duncan, 1991). They represent a secular ritual of the modern state in which the spiritual heritage of the nation is offered as a public reinforcement of political values. Art museums are also sites which enable individuals to achieve liminal experience - to move beyond the psychic constraints of mundane existence, step out of time, and attain new, larger perspectives. The interaction and potential synergies between museums and aging have been insufficiently explored in gerontological scholarship, with the existing emphasis largely focussing on facilitating access to older people and those with age-related health conditions. This symposium reflects and magnifies the networking of GSA with a major art museum through an Educational Site Visit during GSA 2019 to the Blanton Art Museum. It proposes to review museums and ageing in a broader context, exploring the context within which aging is represented in the discourse of heritage and museums, museums networking to provide a repository of late-life creativity, networks of older people as a key resource and client group for museums, life-course and inter-generational engagement with museums. Finally, the insights that the ageing of art works provide for curating the longevity dividend through developing scholarly networks between gerontologists and curators.
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Kurbatova, M. S., E. Y. Dunaevskiy und А. V. Dunaievska. „EVOLUTION AND DEVELOPMENT OF MUSEUM BUILDINGS“. Regional problems of architecture and urban planning, Nr. 17 (17.10.2023): 251–63. http://dx.doi.org/10.31650/2707-403x-2023-17-251-263.
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Museums are not just places where valuable artifacts of historical significance are stored and exhibited. They are true masterpieces of architectural art and places that win the hearts of visitors with their internal organization and aesthetic expression. The article examines the phenomenon of spectacular buildings, focusing on museums that fascinate with their architectural solutions and interior design. The author examines the emergence of the first museums as institutions that store and display artifacts of historical significance. The author reveals how over time museums have become not only places of preservation of valuable things, but also cultural centers that reflect social and intellectual achievements. The further evolution of museums has led to the emergence of incredible architectural creations that have become real spectacles of the museum world. The article explores various concepts used in the creation of modern museums. The functionality of the museum and the basic principles of museum interior design are considered. The importance of the aesthetic components of the museum interior is highlighted, showing how lighting and colors play an important role in creating an atmosphere and mood that support the goals and ideas of the museum. Attention is paid to the establishment of the art of museum exposition in recent years as an independent and valuable genre of creativity. All of these aspects allow museums to remain relevant and engaging for audiences. They fulfill an important mission of preserving cultural heritage and provide an opportunity to enjoy art and history in a unique way. Museums continue to amaze us with their beauty and intellectual richness, revealing to us the greatness and diversity of the world.
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Rodionova, D. D., und E. P. Vykhodtsev. „Information image of the art museum: current state and prospects“. Vestnik of Saint Petersburg State University of Culture, Nr. 4 (45) (Dezember 2020): 93–97. http://dx.doi.org/10.30725/2619-0303-2020-4-93-97.
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The paper provides an overview of the state of activity of art museums in the regions of Siberia in different social networks. Also, the authors monitor the presence of the official website of the museum and its presence in social networks. In addition, an attempt to give a definition «informational image of the museum» is made, and a selected list of art museums in the regions of Siberia is provided. Within the framework of the study, the authors developed recommendations for improving the information image of an art museum such as: group design, museum information, a fixed record, museum collection materials and publications. Moreover, the authors give the best examples of using the site and social networks by the museums to increase users’ activity during a pandemic. So, the authors prove that the official website and work with social networks is an integral part of museum activities aimed at improving a modern museum.
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Evallyo, V. D., und V. P. Krutous. „“Humanization” of Art: Museums on the Internet“. Art & Culture Studies, Nr. 1 (2021): 222–43. http://dx.doi.org/10.51678/2226-0072-2021-1-222-243.
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In this article, the digital museum is examined through the perspective of the “humanization” processes, which is the reorientation of museums to reach the widest audience and to introduce works of art in media discourse. First of all, these problems cover the transformation of the usual communication between museums and their visitors. Thus, new accents are formed and landmarks are shifted from a work of art to its recipient. The purpose of this study is analyzing the visual component of museums’ websites, cultural research of digital content. As a result of the release of museums and their material and cultural archive in the field of mass culture, access to works of art, and its informational, expert support are realized, but also a kind of desacralization of cultural objects is fixed. The article concludes that the range of visual shows presented in digital museums is wide and relies largely on game aesthetics, on the possibility of interactive manipulation of website content.
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Saaze, Vivian Van, Glenn Wharton und Leah Reisman. „Adaptive Institutional Change: Managing Digital Works at the Museum of Modern Art“. Museum and Society 16, Nr. 2 (30.07.2018): 220–39. http://dx.doi.org/10.29311/mas.v16i2.2774.
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From digital video to software-driven installations, digital art is now present in museums around the world. Museum systems designed for object-based collections like paintings and sculpture do not address the collections management and conservation requirements for these new technologies and their associated hardware. In this article the authors investigate processes through which digital art becomes embedded in museums. Based on original research conducted at The Museum of Modern Art in New York, we argue that the introduction of digital art to MoMA did not lead, as recent literature suggests, to disruptive or radical changes of existing institutional practices. Instead, the result has been organizational subunit proliferation and adjustments to established practices and procedures. Through our study of managing digital art at MoMA, we engage Science and Technology Studies and the institutional analysis tradition in the sociology of organizations to advance the understanding of processes of change in art museums.
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Frantz, Sara L. „Preserving Art and the Environment through Sustainable Museum Buildings“. Collections: A Journal for Museum and Archives Professionals 3, Nr. 3 (September 2007): 243–70. http://dx.doi.org/10.1177/155019060700300304.
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This project analyzes the intersection between two highly specialized fields, sustainable building practices and the environmental controls crucial to art conservation maintained in art museum buildings. Art museums often cite these highly specialized light and atmospheric controls as an impediment to sustainable building. My goal is to bring these fields more closely together so that art museums can build sustainable facilities that cause less harm to the environment while simultaneously meeting art conservation needs.