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1
Castro, Laura. „João Allen: Collecting the World: An Exhibition and Case Study of the First Private Museum in Portugal“. Collections: A Journal for Museum and Archives Professionals 16, Nr. 3 (15.07.2020): 279–97. http://dx.doi.org/10.1177/1550190620939975.
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João Allen (1781–1848) was a business man who collected antiques, curiosities, natural history, numismatics, archeological pieces, and fine arts. A trip to Italy in 1826–1827 was fundamental to his collection building, to the opening of the first private museum in Portugal, the Allen Museum in Porto (1837), and to the identity of one of Portugal’s most important museums, the Museu Nacional de Soares dos Reis created in 1833 under a different designation. Allen’s Grand Tour of Italy and his eclecticism were the cornerstone of the exhibition that took place in this museum in 2018. This article addresses the way in which the exhibition reflects the museum itself and recalls the formation of collections which are of great importance for the history of European museums due to what they reveal about the political and cultural circumstances of their times. Finally, we point out some possible developments concerning the permanent exhibition of the museum.
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Matějová, Judita. „Muzejní časopis Mittheilugen des Mährischen Gewerbe-Museums in Brünn (1883–1918) v kontextu časopisů uměleckoprůmyslových muzeí v českých zemích“. Acta Musei Nationalis Pragae – Historia litterarum 67, Nr. 3-4 (2023): 131–37. http://dx.doi.org/10.37520/amnpsc.2022.031.
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The article focuses on the museum journal Mittheilungen des Mährischen Gewerbe-Museums in Brünn, one of the important source materials for research on the arts and crafts of the last third of the 19th century and the early 20th century not only in Moravia but also in the cultural areas of the Austrian monarchy. The journal was published in the Moravian Industrial Museum in Brno in 1883–1918, when the museum was headed by two important directors – August Prokop (1883–1893) and Julius Leisching (1893–1922). Under the influence of the latter, the museum became the press authority of the Association of Austrian Museums of Applied Arts, the Association of Austro-Moravian Local Museums and the German-Moravian Association of Heritage Preservation. The journal contained articles on art history and information on current exhibitions, museum collections and activities as well as on the museum library.
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Sidorova, Irina B. „Heads, assistants and employees of the Museum of Arts and Antiques of Kazan University“. Issues of Museology 13, Nr. 2 (2022): 280–300. http://dx.doi.org/10.21638/spbu27.2022.210.
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The article is devoted to the history of the Museum of Arts and Antiquities of Kazan University. There are different opinions in the literature about who should be considered the founder of the Museum of Arts and Antiquities, who was the first director, who, when and how carried out the reorganization of the museum. The chronological framework of the study — 1870–1922 — also includes the history of the Museum of Ethnography, Antiquities and Fine Arts, which was considered in the literature in terms of collecting local historical, archaeological and ethnographic collections, but in reality laid the foundation for the art collection of Kazan University. The article for the first time describes the circle of persons directly connected with the Museum of Arts and Antiquities of Kazan University, as well as with its predecessor — the Museum of Ethnography, antiquities and fine arts is presented in full. These are professors-heads N.A.Firsov, D.F.Belyaev, D.V.Ainalov, D.I.Naguyevsky, A.M.Mironov; keepers D.A.Korsakov, I.V. Sokolovsky, S.K.Kuznetsov, P.V.Traubenberg, assistants B.P.Denike and K.N.Kravchenko, unofficial assistants of heads, scientific consultants. Through their activities, the continuity of the development of museums, the results of the formation of the library and art collection are traced. The article traces the continuity of the development of museums, the results of the formation of a library and an art collection. The article focuses on the following aspects of the history of the Museum: the status of the museum, financial and logistical support, the number and composition of collections, the role of the museum in scientific, educational and educational work, fate in the Soviet era.
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Meegama, Sujatha Arundathi. „Curating the Christian Arts of Asia“. Archives of Asian Art 70, Nr. 2 (01.10.2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.
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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.
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Grebennikova, Tatiana G. „The History of Museum Specialisation in Russia“. Observatory of Culture, Nr. 6 (28.12.2014): 60–65. http://dx.doi.org/10.25281/2072-3156-2014-0-6-60-65.
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Deals with the Russian museum practices mainly of the 18th and the 19th century. The author analyses a gradual specialisation in private collection building and museums' development, reveals the role of the highly specialised collections and analyses the trend of establishing museums of the complex character exemplified by the Kunstkammer, the Imperial Hermitage Museum, the Fine Arts Academy Museum, the Rumyantsev Museum, and the Russian Museum. In the 19th century, a trend of gradual differentiation and specialisation became obvious which led to establishing dedicated museums and developing a more focused approach to collection building in Russia.
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Bakanova, Irina V. „To the 100th anniversary of Irina Antonova“. Issues of Museology 13, Nr. 1 (2022): 121–39. http://dx.doi.org/10.21638/spbu27.2022.109.
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Pushkin Museum was often ahead of its time, laying the groundwork for major changes. For example, with the opening of the Museum of Private Collections as part of the State Museum of Fine Arts, the rehabilitation of private collecting in the country took place. The December Nights festival created by Irina Antonova in collaboration with the brilliant pianist Svyatoslav Richter in 1981 became a matrix of art festivals that took place in various museums of the country during the following decades. The Pushkin State Museum of Fine Arts was charged with promoting Western art in the USSR, of which it brilliantly took the advantage when started displaying works by Picasso, Matisse, Leonardo da Vinci’s Mona Lisa, masterpieces of drawing from the Albertina Museum in Vienna, Western European and American paintings from American museums and others famous exhibitions. This is the visible part of Irina Antonova’s dynamic activity. She approached academic work no less thoroughly, as well as the organization of study and cataloguing of the collection of the State Museum of Fine Arts. And, of course, much credit must go to Irina Antonova for preparing the program for the development and reconstruction of the Pushkin Museum, which has been repeatedly revised and is being finalized before our very eyes under the direction of Marina Loshak.
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Garduño, Ana. „Biografía de una institución cultural: el INBA de México. Red museal y praxis coleccionística“. Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 10, Nr. 1 (15.01.2013): 9. http://dx.doi.org/10.26564/16926250.348.
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Resumen:A partir de la fundación del Instituto Nacional de Bellas Artes de México, 1946, inició el proceso de formación de un acervo artístico que ha devenido fuente constitutiva de patrimonio cultural. Más aún, la edificación de una red de museos estatales garantiza la conservación, investigación y difusión de la colección heredada. Además, se han instrumentado heterogéneas estrategias de fomento del acervo. La combinación de procedencias explica el carácter híbrido de las colecciones adscritas a los museos del INBA, además de sus diferencias causadas por las circunstancias específicas que dieron origen a cada recinto. Se reflexiona sobre una genealogía específica de red museal.Palabras clave: Red museal, patrimonio artístico, colecciones estatales, exposiciones oficiales, adjudicaciones interinstitucionales, adquisiciones, legados, donaciones********************************************************* Biography of a cultural institution: the NBA of Mexico. Museum netand collectible praxisAbstract:Since the foundation of the National Institute of Arts of Mexico, 1946, it began the formation process of cultural heritage which became source of cultural patrimony. Furthermore, the construction of state museums net guarantees the conservation, research and diffusion of the inherited collection. Also, some diverse practices of heritage encouragement tools have been implemented. The combinations of different origins is explained by the hybrid character of the collections registered to the museums of INBA (National Institute of Arts), as well as de differences caused by specific circumstances present in every area. A reflection about the specific genealogical museum net is done.Key words: Museum net, artistic patrimony, state collection, official exposition, interinstitutional awarding, acquisition, legacy, donations.**********************************************************Biografia de uma instituição cultural: o INBA de México. Rede de museus e práxis de coleçãoResumo: Com a fundação do Instituto Nacional de Bellas Artes de México, em 1946, tem início o processo de formação de um acervo artístico que tem se convertido em fonte constitutiva de patrimônio cultural. Mais ainda, a edificação de uma rede de museus estatais garante a conservação, pesquisa e difusão da coleção herdada. Alem disso, foram estabelecidas heterogêneas estratégias de fomento do acervo. A combinação de procedências explica o caráter híbrido das coleções pertencentes aos museus do INBA, assim como as diferenças causadas pelas circunstâncias específicas que deram origem a cada recinto. Reflete-se sobre uma genealogia específica da rede de museus.Palavras chave: Rede de museus, patrimônio artístico, coleções estatais exposições oficiais, adjudicações interinstitucionais, aquisições, legados, doações
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Jokanović, Milena. „Perspectives on Virtual Museum Tours“. INSAM Journal of Contemporary Music, Art and Technology, Nr. 5 (15.12.2020): 46–57. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.46.
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As a number of world museums have closed their doors for the public due to pandemic of the new Corona virus, curators are thinking of alternative ways of audience outreach: 3D virtual galleries are increasingly created, video guided tours shared, digitized collections put online. The new circumstances unquestionably bring potentials for growth, but carry numerous risks and inconsideration, as well. Many theoreticians argue that the crisis of this scale will undoubtedly fasten the digital transformation in museum and arts sector and consequently, in a much more wide sense influence the identity rethinking. However, the research of audience interest to virtual museum tours show there was a peak of just 3 days visiting these, massively followed by a fast decrease even the social isolation was globally still present and museum buildings still locked. Turning back to the genesis of the virtual museums, in the following paper, we will question why there is no interest to virtual museum content. Do tours answer the needs of the contemporary digital-born audience? Do these represent just a copy of settings from physical galleries or use potentials and logic of the new spaces? Will museums finally transform and enter into so many times nowadays mentioned digital shift answering the need of the new, transmedia perception of audience?
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Armstrong, Eleanor Sophie. „Towards Queer Tours in Science and Technology Museums“. Museum and Society 20, Nr. 2 (01.11.2022): 205–20. http://dx.doi.org/10.29311/mas.v20i2.3941.
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This paper argues that the Queering the Science Museum tour series (2018) provides an example of a conceptual pathway for translating queer tour guiding approaches found in socio-historical and arts museums into STEMM spaces. I use participatory methods and qualitative and quantitative participant data to reflect on my work on the tours in the context of wider practices of tour-guided interventions. I highlight how the Queering the Science Museum tours, at the Science Museum, London, moved beyond existing models of queer engagement in socio-historic and arts museums by introducing an explicitly critically queer approach to science and technology, which has the potential to expand the possibility of queer interventions in museums generally. I close by examining the limitations of tour-as-intervention for change within the museum, while exposing the tensions around how resolving such issues would challenge queer theory’s call for rejecting the making of queer ‘normal’ within displays.
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Redler, Hannah. „From interventions to interactions: Science Museum Arts Projects’ history and the challenges of interpreting art in the Science Museum“. Journal of Science Communication 08, Nr. 02 (19.06.2009): C04. http://dx.doi.org/10.22323/2.08020304.
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Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on peoples’ everyday lives.
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Atania, Christine, Parino Rahardjo und B. Irwan Wipranata. „STRATEGI PENGELOLAAN DAN PROMOSI MUSEUM (OBJEK STUDI : MUSEUM SENI RUPA DAN KERAMIK, KELURAHAN PINANGSIA, KECAMATAN TAMAN SARI, JAKARTA BARAT)“. Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 2, Nr. 2 (01.11.2020): 2507. http://dx.doi.org/10.24912/stupa.v2i2.8872.
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Apart from being a tourist attraction, museums also have a function as a place for us as a society to learn and get to know about history. So that the museum has an important role in society. Lack of museum management has made public interest in the museum lessened. People generally visit museums with the aim of being curious and wanting to get benefits. However, in reality the management of this museum cannot meet the needs of the community, and makes the museum unable to carry out its role as a public and social facility in providing services to the community. The purpose of this writing is to determine the performance of museum management, to determine the weaknesses of the museum, and to make a management strategy proposal for the Museum of Fine Arts and Ceramics to increase public interest. The author examines the existing literature in relation to management, promotion, and museums. The data used consisted of primary data (the existing condition of the museum, interviews, and questionnaires) and secondary data consisting of MSRK documentation, comparative museum documentation, and others. By using five analysis tools and five analysis methods. To find out how the management strategy can be applied, the writer uses analysis (location, physical condition of the museum, management performance, best practices, and perceptions and preferences). The results of the author's research are in the form of strategic proposals for the management and promotion of the Fine Arts and Ceramics Museum. Keywords: Management; Museum of Fine Arts and Ceramics; PromotionAbstrakMuseum selain sebagai objek wisata juga memiliki fungsi sebagai tempat kita sebagai masyarakat belajar dan mengenal tentang sejarah. Sehingga museum memiliki peran penting dalam masyarakat. Kurangnya pengelolaan museum membuat ketertarikan masyarakat pada museum berkurang. Masyarakat pada umumnya berkunjung ke museum memiliki tujuan dari rasa keingintahuan dan ingin mendapatkan manfaat. Namun pada kenyataan pengelolaan museum ini tidak dapat memenuhi kebutuhan masyarakat, serta membuat museum tidak dapat melaksanakan peran sebagai fasilitas umum dan sosial dalam memberi pelayanan kepada masyarakat. Tujuan penulisan tersebut ialah mengetahui kinerja pengelolaan museum, mengetahui faktor kelemahan museum, dan membuat usulan strategi pengelolaan untuk Museum Seni Rupa dan Keramik guna meningkatkan minat masyarakat. Penulis mengkaji literatur yang ada berkolerasi dengan pengelolaan, promosi, dan museum. Data yang digunakan terdiri dari data primer (kondisi eksisting museum, wawancara, dan kuesioner) serta data sekunder yang terdiri dari dokumentasi MSRK, dokumentasi museum pembanding, dan lainnya. Dengan menggunakan lima alat analisis dan lima metode analisis. Untuk mengetahui bagaimana strategi pengelolaan dapat diterapkan penulis menggunakan analisis (lokasi, kondisi fisik museum, kinerja pengelolaan, best practices, serta persepsi dan preferensi). Hasil penelitian penulis yaitu berupa usulan strategi terhadap kegiatan pengelolaan dan promosi Museum Seni Rupa dan Keramik.
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Platonova, Maria. „The Museums of Science and Technology: From a Collection of Technical Innovations to Historico-Technical Collections“. Voprosy istorii estestvoznaniia i tekhniki 44, Nr. 1 (2023): 152. http://dx.doi.org/10.31857/s020596060024500-2.
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The emergence of the museums of science and technology is associated with many factors such as the Industrial Revolution, the interest in collecting, and society’s demand for education and training. As a rule, museums were created based on already assembled collections or by organizing major exhibitions in order to collect relevant objects. The article discusses the history and goals of establishing two largest science and technology museums in Europe, the Kensington Museum (Science Museum) in London and the Conservatoire national des arts et métiers in Paris, and the Polytechnic Museum in Moscow, whose creation was influenced by the aforementioned European museums. The article also analyzes the shifts in the composition of collections in these three museums, depending on their maturity, and shifts in the attitude towards “aging” items. Based on museum catalogs and other published sources, the development of museum collections is traced from the predominance of new technologies to the formation of historico-technical collections.
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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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Серова, М. А. „Kasli and Kusa artistic iron castings in the collection of the Tula Museum of Fine Arts“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 1(32) (30.03.2024): 174–87. http://dx.doi.org/10.46748/arteuras.2024.01.013.
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Статья посвящена обзору произведений каслинского и кусинского художественного литья из коллекции Тульского музея изобразительных искусств. Исследование проведено с целью систематизации сведений о предметах художественного литья из чугуна из коллекции музея, выявления неточностей в названиях произведений, установления авторства. Также привлечены имеющиеся сведения о подобных произведениях в собраниях других музеев, прежде всего Екатеринбургского музея изобразительных искусств, Нижнетагильского музея изобразительных искусств, Челябинского государственного музея изобразительных искусств и Златоустовского городского краеведческого музея. В результате уточнена атрибуция 24 произведений художественного литья, что позволяет внести коррективы в фондовую документацию Тульского музея изобразительных искусств, поправки в Государственный каталог Музейного фонда РФ и использовать более полную и точную информацию о предметах в их каталогизации и экспонировании. The article provides an overview of the Kasli and Kusa artistic iron castings from the collection of the Tula Museum of Fine Arts. The study aims to systematise information on art objects, to identify inaccuracies in the titles of works, and to establish authorship. Artistic features and catalogue data about similar works and in the collections of other museums, primarily the Ekaterinburg Museum of Fine Arts, the Nizhny Tagil Museum of Fine Arts, the Chelyabinsk State Museum of Fine Arts, and the Zlatoust City Museum of Local Lore were also subjected to comparative analysis. As a result, the attribution of 24 works of art casting has been specified. This will allow for corrections to be made in the collection documentation of the Tula Museum of Fine Arts, to the State Catalogue of the Museum Fund of the Russian Federation, and the use of more complete and verified information about the artworks in their cataloguing and exhibiting.
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Torres, Nuno Cintra. „muSEAum – Branding the Sea Museums of Portugal Research findings and perspectives of an innovation journey“. Revista Lusófona de Educação, Nr. 57 (25.03.2023): 69–82. http://dx.doi.org/10.24140/issn.1645-7250.rle57.05.
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The presence of the sea in Portuguese museums, monuments and sites is formidable, a multifaceted heritage providing experiences transposing history, exploration, industry, commerce, lifestyles, technologies, architecture, popular and fine arts. muSEAum focused on management competencies for the competitive exploration of museums’ characteristics, environment, and collection. The co-innovation project with a nationwide sample of sea-themed museological institutions – not just maritime or marine museums -- addressed the definition, management and communication of the museum brand, the benefits of a Sea Museum of Portugal collective brand, visitor experience technologies, national and international reach and awareness, spirit of belonging, new learning partnerships, and local tourism. Research on audiences and management practices provided a solid evaluation basis. Notwithstanding some noteworthy, good practices, most institutions suffer from insufficient funding and administrative autonomy. Promotional efforts are geared towards local constituencies leading to residual national and international visibility, affecting particularly those off tourist circuits. Incipient or inexistant brands, inefficient or non-existent websites, inconspicuous SEO and digital marketing activities, own domain names a rarity keep many museums absconded in the internet maelstrom.
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Irina Anatol’evna, Kuklinova. „The problems of museography in French periodicals of the 1930s“. Vestnik of Saint Petersburg State University of Culture, Nr. 2 (51) (2022): 90–98. http://dx.doi.org/10.30725/2619-0303-2022-2-90-98.
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The 1930s are of special importance for establishing museum theory and practice. The paper emphasizes the understanding of the term museography, thus allowing the author to characterize innovations in the development of many trends in museum activities during this period. Displays and exhibitions in museums of all kinds could boast of considerable achievements. Among other things, they are explained by the development of another trend in museum practice – interaction with visitors, including a completely new public, including the working class. Museography development is analyzed based on French periodical publications, in which prominent figures in the fields of culture, the arts and museums presented their views and ideas. This material is introduced for the first time into scholarly discourse in Russian. The parallel development of European and Soviet museums in the 1930s seems important, evaluations by French museum workers of the museum experience in the USSR matter a lot for the history of Russian museum affairs and studies.
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Gil, Magdelena. „Exhibiting the Nation: Indigenousness in Chile's National Museums“. Museum and Society 14, Nr. 1 (09.06.2017): 82–97. http://dx.doi.org/10.29311/mas.v14i1.627.
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This article describes the history of Chile’s national museums, focusing in particular on their exhibition of indigenous cultures. Three museums are considered: the National Museum of Natural History (originally the National Museum); the National Museum of Fine Arts; and the National Museum of History. Using museum catalogues, visitor’s guides and bulletins as sources, this research traces the role given to indigenousness in the museums’ exhibitions through time. Initially, the ‘Indian’ was presented as either part of the territory conquered by Chileans, or as not part of Chilean culture at all. By the twentieth century, however, a new narrative emerged which recognizes the indigenous people as the ‘pre-historic’ inhabitants of Chile. Most recently, a more complex narrative presents Chile as a blending of races and cultures. Overall, we see that today each museum continues to see nationhood as something that is monolithic, allowing little place for indigenous people beyond mestizaje (blending of ‘races’).Key words: indigenous, exhibitions, Latin America, national identity
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Jensen, Anita. „Mental health recovery and arts engagement“. Journal of Mental Health Training, Education and Practice 13, Nr. 3 (14.05.2018): 157–66. http://dx.doi.org/10.1108/jmhtep-08-2017-0048.
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PurposeArts and cultural activities have been illustrated to be beneficial for mental health service users. The purpose of this paper is to explore the benefits of museum visits and engage in arts activities for mental health service users.Design/methodology/approachSemi-structured interviews were conducted with 17 mental health service users in Denmark. A thematic approach was used to analyse the data and theoretical lens of sociological theories of institutional logics was employed to explore the findings.FindingsThese benefits are perceived to include empowerment and meaning in life, which are two of the core principles of recovery; arts engagement can, therefore, be a useful tool in recovery. The findings also show that the experience of visiting a museum was not always positive and depended upon the interaction with the museum educators.Originality/valueThe service users identified arts engagement as creating meaning in life and empowerment, which are two element in the conceptual framework, CHIME (an acronym for: Connectedness, Hope and optimism, Identity, Meaning in life and Empowerment), that describes the human process of recovery. The findings also highlighted that if museums want to engage positively with people with mental health problems and contribute to their recovery then the training of staff and the improvement of institutional approaches to support working with vulnerable people are essential.
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Akpomuje, Paul Young. „Learning in Museums and Art Galleries in Nigeria: Exploring Arts-Based Adult Learning through Collections“. Collections: A Journal for Museum and Archives Professionals 15, Nr. 1 (März 2019): 42–61. http://dx.doi.org/10.1177/1550190619832379.
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The importance of arts-based adult education in today’s culturally diverse world cannot be overemphasized. Arts-based adult learning provides some of the important cultural contexts for informal learning. Other forms of adult learning—formal and nonformal—have also been immensely enriched by this form of adult education. Museums and art galleries are at the heart of arts-based learning. Whereas learning in the museum has gained attention in western climes, adult education researchers in Nigeria are yet to focus attention on this area of research. The aim of this study was to explore how collections in art galleries and museums provide important opportunities for adult learning in Nigeria. The specific objectives were to explore what adults learn when they interact with collections while visiting museums and art galleries and to highlight how they learn from these collections. Qualitative data were collected from five participants comprising visitors and curators in Natural History Museum, Obafemi Awolowo University, Ile-Ife, Nigeria, and the National Gallery of Arts, Osogbo, Nigeria, through interviews. The data were analyzed using content analysis.
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Wibowo, Agung. „MUSEUM DAN SEKOLAH: SINERGI KEBIJAKAN DEMOKRATISASI KEBUDAYAAN MELALUI PROGRAM PEMBELAJARAN SENI DAN BUDAYA DI KOTA LA ROCHELLE - PRANCIS“. Paradigma: Jurnal Kajian Budaya 14, Nr. 1 (30.04.2024): 122–36. http://dx.doi.org/10.17510/paradigma.v14i1.1411.
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Our article describes the relationship between museums and schools as a policy of democratisation of French culture, a policy that has encouraged the ministry of education and the ministry of culture to work together in designing arts and cultural learning programmes in museums and in schools. The case study of the implementation of the national policy of democratisation of culture by the municipality of La Rochelle is an important consideration that can help us to understand how the locality of public policy implementation in France can contribute specific characteristics to the cultural development and management of museums and schools. Arts and culture learning in museums aims to bring students into direct contact with museum collections. The aim is to give students real-life experiences, encouraging them to easily express or talk about them, both in the classroom and beyond. Learning in museums is designed to build sensitivity to emotions and impressions that arise when dealing directly with museum objects, when looking at the shape, colour or material of museum objects. Students will comment and express their experiences. This is the virtue of the learning process.
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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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Wasielewski, Amanda. „The Museum in Quarantine: Architecture, Experience and the Virtual Museum“. Journal of Curatorial Studies 11, Nr. 1 (01.04.2022): 4–24. http://dx.doi.org/10.1386/jcs_00053_1.
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The effects of the COVID-19 pandemic, beginning in early 2020, were felt across all industries and public institutions, including art museums. Shuttered art museums sought to maintain public interest in their collections and exhibitions by promoting existing online tools, such as the virtual art museum tours hosted by Google Arts & Culture. This article analyses these tours from the perspective of museology and architecture and argues that, rather than a form of virtual reality, these tours are a peculiar kind of image database. As such, they are part of Google’s growing efforts towards mass digitization and data accumulation.
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Mleziva, Jindřich. „Asijské umění a umělecké řemeslo ve sbírce Západočeského muzea v Plzni“. Muzeum Muzejní a vlastivedná práce 57, Nr. 1 (2020): 3–14. http://dx.doi.org/10.37520/mmvp.2019.002.
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The collection of the West Bohemian Museum in Pilsen includes significant examples of artworks and decorative arts from Asia. The history of this collection dates back to the last quarter of the 19th century, when these items were a part of a collection of the West Bohemian Museum of Decorative Arts in Pilsen. The first director of the museum, architect Josef Škorpil (1856–1931), contributed to the creation of the decorative arts collection and the acquisition of objects from the Far and Middle East. Thanks to its acquisition activities throughout Europe, a significant decorative arts collection was established in Pilsen. Its importance goes beyond the Pilsen region. The concept of creating this collection was in accordance with the emergence of decorative arts museums in Europe. The collection, together with the Asian objects, was presented to the public as a part of an exposition opened in 1913. Today, the Asian collection consists of Chinese and Korean objects, mainly ceramics and porcelain, as well as exceptionally well-preserved textiles from the late Qing Dynasty. The Japanese portable Buddhist altar zushi or a set of Japanese woodblock prints of the ukiyo-e style are among the most unique acquisitions. A relatively modest set of items from the Middle East includes typical examples of decorative arts from Iran, Turkey or Syria. The objects are still a popular subject of research and have also become a part of the new decorative arts permanent exhibition of the museum that was opened in 2017.
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Prus, Elena, und Ludmila Braniste. „Spectacle of musealization and literaturization of the world in post/postmodern society“. Arta 30, Nr. 2 (Dezember 2021): 115–21. http://dx.doi.org/10.52603/arta.2021.30-2.17.
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This article discusses current issues in the evolution of museums worldwide, influenced by global phenomena. The globalization of culture, on the one hand, and the musealization of the world, on the other hand, become the plays of a spectacle of the contemporary world. The museum cultural model becomes dominant in today’s society, influencing all spheres and finding representation in the world’s literatures. Among the various approached theories, the concepts of musealization of the modelled world as a cultural spectacle, “the world as a museum”, imaginary museum, the literaturization of the museum and the musealization of literature. From this perspective, the theses of the Nobel laureates in literature Mario Vargas Llosa and Orhan Pamuk are analysed. In Pamuk’s novel The Museum of Innocence, the museum is the structuring narratological axis of the novel, its theme and compositional nucleus.
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Kanari, Charikleia, und Anastasia Zoi Souliotou. „The Role of Museum Education in Raising Undergraduate Pre-service Teachers’ Disability Awareness: the Case of an Exhibition by Disabled Artists in Greece“. Higher Education Studies 11, Nr. 2 (21.03.2021): 99. http://dx.doi.org/10.5539/hes.v11n2p99.
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In the frame of the worldwide policies towards inclusion there is a need of changes, systematic strategies and actions at different levels and settings of the society including education and cultural organizations. Museums, culture and arts have a constantly increasing role towards a more cohesive and inclusive society in terms of educational, social and cultural impact and for diverse social groups that face various barriers in their full participation in social life. Furthermore, museums as nonformal learning environments and art activities can complement different levels of formal education and courses towards a better understanding of diversity. The aforementioned are of particular importance for disabled people as well as for teachers who work with disabled children and for the enrichment of student teachers’ training in issues of disability. The aim of the present study was to investigate issues of cultural representations and the reflections of undergraduate Primary Education teachers regarding disabled artists, arts, museum and education after a visit in a temporary art exhibition of disabled artists. The participants were 33 student teachers of a University Department in Greece who attended a Museum Education course and the data were obtained via questionnaires. The results revealed the value and the need for further learning opportunities in museums and other cultural environments as well as their potential contribution in combating stereotypes, enriching and broadening undergraduate Primary Education teachers’ perceptions regarding disability with implications in the fields of Museum Studies and Museum Education, Arts, Higher Education, Special and Inclusive Education.
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van Buren, Luca. „‘CENTRUM VAN WELDADIGE KRACHT VOOR HET ONDERWIJS’ OF ‘KOOP-MANSZAAK’?“ De Moderne Tijd 2, Nr. 1 (01.01.2018): 2–27. http://dx.doi.org/10.5117/dmt2018.1.001.bure.
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‘CENTRE OF A BENEFICENT FORCE IN EDUCATION’ OR ‘ORDINARY MERCHANT BUSINESS’? THE MUSEUM OF EDUCATION AND ART IN ROTTERDAM, 1880-1886 For a short period of time, the city of Rotterdam housed a rather unique museum, the Museum of Education and Art (Museum voor Onderwijs en Kunst). It existed for six years and only for less than a year in its original form. In 1880 it was unlike other educational or – as they were usually called – school museums. Other than today’s cultural history school museums, these museums were integrated in education and functioned as a means to support mass education by the state. They did so by exhibiting the whole range of school materials to enable headmasters and teachers to make informed choices. School materials were also displayed at educational exhibitions at world fairs. The Museum in Rotterdam was exceptional because it was a private, commercial enterprise, unlike other school museums which were established by schoolboards, local authorities, or by a state. In addition, it was the first and probably the only case with a purpose-built housing, where others generally used existing (school)buildings or were part of an arts and crafts museum.
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Bernier, Hélène, und Mathieu Viau-Courville. „Curating Action: Rethinking Ethnographic Collections and the Role/Place of Performing Arts in the Museum“. Museum and Society 14, Nr. 2 (09.06.2017): 237–52. http://dx.doi.org/10.29311/mas.v14i2.641.
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Dance involves a set of movements that embody social memory. Such forms of intangible heritage have presented emerging challenges for curatorship. This paper draws from the experience of the Musées de la civilisation (Quebec City, Canada) to address ideas of collecting and curating in the performing arts. By presenting the travelling exhibition Rebel Bodies, an international collaborative project that highlights contemporary dance and movement as universal modes of creativity and expression, the paper reflects on the social role of the museum in sustaining creativity within the community as well as on the use of ethnographic material to collectively (through museums and artists) curate the intangible. In treating notions of natural, virtuoso, urban, multi, political, and atypical bodies, this exhibition brings together performers and creative artists as well as industries in the museum setting. Such interplays, it is argued, encourage the sustainable participation of artistic communities/industries and further highlight museums as dynamic loci for the promotion of social change.Keywords: performing arts, intangible cultural heritage, museum, dance, performance, participation, reenactment, artists
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Andersen, Josephine. „The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery“. Art Libraries Journal 20, Nr. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.
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Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SANG) Library collection are made accessible in the widest possible sense and that museum library information programmes should be directed externally, as well as internally to the museum staff.
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Bell, David. „Midnight at the Museum: Museums and Authentic Arts Learning Experiences“. International Journal of the Arts in Society: Annual Review 5, Nr. 6 (2011): 57–70. http://dx.doi.org/10.18848/1833-1866/cgp/v05i06/35693.
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Giral, Angela, und Jeannette Dixon. „The virtual museum comes to campus: two perspectives on the Museum Educational Site Licensing Project“. Art Libraries Journal 21, Nr. 1 (1996): 14–17. http://dx.doi.org/10.1017/s0307472200009706.
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The Getty Art History Information Program has joined with MUSE Educational Media in a project bringing together seven universities and seven art museums for the purpose of making digital images of works of art available for study and teaching via campus networks. Beyond the immediate benefits to its participants, the project is designed to develop methods and guidelines for the academic use of digitized museum-owned materials at colleges and universities. Columbia University and the Houston Museum of Fine Arts are two of the participants in the project, which is remarkable for the level of collaboration which it is achieving between museums and universities.
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Yoon, Byung-hwa, und Yeun-hee Kim. „Activation Plan for the Education of Coffee Museum: Focused on Waltz & Dr. Mahn Coffee Museum and Gangneung Coffee Museum“. Association for International Tea Culture 28 (22.06.2015): 1–24. http://dx.doi.org/10.21483/qwoaud.28..201506.127.
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The coffee is the most popularized food and it is not just for drinking but also tool for conversation and communication among people. Based on this recognition on the coffee, coffee museums are being established as lifelong education institutes and social education institutes with the theme of coffee. Currently, Waltz & Dr. Mahn Coffee Museum of Namyangju-si, Gyeonggi-do and Gangneung Coffee Museum of Gangneung-si, Gangwon-do are settled down as complex culture and arts center through various programs and education program in the regions.
This study, therefore, aims to suggest an activation plan for coffee museum by investigating the current state of these museums. Especially, I investigated a direction to develop the coffee culture in the museological aspect by focusing on the educational function.
In order to strengthen the education of coffee museum, first, the work should be done by hiring educational experts: commentator and teacher. Second, exhibition and education should be strengthened to increase professionalism, and connect the result of coffee culture research to the museum education. Third, coffee museum's programs should be connected with various festivals and coffee exhibition in the community to enlarge openness, and visiting coffee museum should be performed.
As this study was performed on the registered coffee museums only, broad studies that contain nonregistered museums and coffee culture facilities are needed in the future. However, I hope this study can be a little help as a reference for the current coffee museum.
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Mufti, Uxi. „Lok Virsa Folk Arts Museum“. Museum International 40, Nr. 2 (Juni 1988): 81–86. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00732.x.
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Dejanović, Antonija. „The Role of Vladimir Tkalčić in the Establishment of the Museum of Arts and Crafts Record-Keeping System“. Etnološka istraživanja, Nr. 27 (31.12.2022): 289–303. http://dx.doi.org/10.32458/ei.27.16.
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This paper will attempt to provide an insight into the creation and evolution of the foundation system of museum records of the Museum of Arts and Crafts, which was developed during the directorship of Vladimir Tkalčić (1933–1952) and to a certain extent maintained even after the end of said period. A comparative analysis will show what corresponded and what differed in the mentioned system in managing the museum inventory (or with museum documentation) from the foundation of the Museum of Arts and Crafts (1880) until 1933. Also, special emphasis will be placed on the creation of a central or unique inventory book of the Museum of Arts and Crafts, which (albeit in digital form) is still maintained in the Museum of Arts and Crafts today.
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Knobloch, Iva. „Svaz československého díla: muzeum jako platforma modernizace“. Muzeum Muzejní a vlastivedná práce 57, Nr. 1 (2020): 15–24. http://dx.doi.org/10.37520/mmvp.2019.003.
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The text demonstrates the metamorphosis of the new platform of modernization of the industrial society: The European Network of Museums of Decorative Arts in the second half of XIXth century. After the foundation of German Werkbund in 1907, the new wave of a reform movement concerning the quality of manufactured objects of everyday use arose, embracing both artistic and economic aims. Museums played an important role as a mediator of synergy between art and business. The formative task of the museums was the education in the matters of aesthetics and good taste, inspired by Deutscher Werkbund initiative: Gustav Edmund Pazaurek’s Department of Aesthetic Aberrations in Stuttgart and The German Museum of Art in Trade and Industry in Hagen. These strategies had influenced the museums in the Czech lands after the foundation of the Association of the Czechoslovak Werkbund and its cooperation with The Museum of Decorative Arts in Prague. Under Karel Herain, the director of the museum, the activism had been focused on art contests, exhibitions of local contemporary works, the industrial production and the networking with the contemporary producers abroad. The collaboration with the Swedish Werkbund in the 1930’s and the personality of Hugo Steiner-Prag reveal unusual and complex concepts of modernity in the core of the Association of the European Werkbund.
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Crubelatti, Vitor. „Doações da Colección Patricia Phelps de Cisneros: estratégias na internacionalização de obras de arte latino-americanas.“ Revista Extraprensa 15, Especial (31.05.2022): 789–801. http://dx.doi.org/10.11606/extraprensa2022.193462.
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O presente artigo busca sistematizar por meio de consultas a bancos de dados de museus e jornais, além de informações do próprio site da Colección Patricia Phelps de Cisneros (CPPC), uma das principais estratégias de internacionalização de obras de arte latino-americanas utilizadas pela CPPC: doações a museus norte-americanos e europeus. De forma mais específica, este estudo procura entender as dinâmicas e impactos dessas doações tendo como base uma grande doação realizada pela CPPC em 2018 (202 obras latinas de arte contemporânea) para seis museus ao redor do mundo: Museum of Modern Art (MoMA), Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Moderno Buenos Aires, Museo de Arte de Lima (MALI), Bronx Museum of the Arts e Blanton Museum of Art at the University of Texas.
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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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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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Flour, Isabelle. „‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum“. Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.
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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.
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Koebner, Ian, Helen Chatterjee, Daniel J. Tancredi, Claudia M. Witt, Pier Luigi Sacco, Ruchi Rawal und Fred J. Meyers. „4046 Museum and Arts-Space Programming Intended to Improve Health: Interim Survey Results“. Journal of Clinical and Translational Science 4, s1 (Juni 2020): 88. http://dx.doi.org/10.1017/cts.2020.276.
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OBJECTIVES/GOALS: Many museums and art spaces conduct programming intended to improve health outcomes, but arts professionals’ perceptions of these programs are not well known. This study describes arts professionals’ experiences with museum and art-space interventions intended to improve health. METHODS/STUDY POPULATION: A 14-item digital Qualtrics survey was administered to museums and arts organizations selected using snowball sampling. The survey was sent to a range of arts and cultural organizations and professional membership bodies in the US and UK. Survey questions assessed the range of audiences involved in health programs, what types of activities museums and arts organizations are offering to support health outcomes, and how programs are evaluated. RESULTS/ANTICIPATED RESULTS: From 10/30/19-11/19/19, 151 surveys were completed; 66 respondents (44%) have a museum/arts in health program. Common target populations include individuals with mental health concerns (33, 22%) and older adults (26, 17%). Improving wellbeing (56, 37%) and social isolation (50, 33%) were the most common intended outcomes. Respondents reported using a variety of program evaluation methods including formal (23, 15%), informal (31, 21%), and anecdotal (37, 25%). Interviews are planned with a purposive sample of respondents conducting, or interested in conducting, a program for individuals with chronic pain and those formally evaluating their programs. DISCUSSION/SIGNIFICANCE OF IMPACT: Interim survey responses indicate many cultural organizations engage in programming intended to improve health outcomes. Understanding the cultural sector’s current efforts to improve health represents an initial step in translating these efforts into effective intersectoral research partnerships.
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Vaniuha, Liudmyla, Mariya Markovych, Nataliya Hryhoruk, Svitlana Matviishyn und Yaroslava Toporivska. „The history of the creation, formation and development of the Museum of Theater, Music and Cinema Arts of Ukraine“. History of science and technology 13, Nr. 1 (30.06.2023): 78–100. http://dx.doi.org/10.32703/2415-7422-2023-13-1-78-100.
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The authors analyzed the stages of creation, formation, development and modern activity of the Museum of Theater, Music and Cinema Arts of Ukraine, which is the only one in Ukraine in terms of its specialization. This museum has a history famous for its names and events. It is widely known in Ukraine and abroad for its permanent exhibitions and mobile exhibitions, created on unique exhibits from the history of theater, music, and cinema. Collected during its existence – since 1923 – a large and multifaceted collection of monuments from the history of the development of arts, which is constantly replenished with new materials, is the basis for scientific research, scientific advisory, expositional and exhibition work, a rich source for popularizing the achievements of the national theater, music and cinema. The article emphasizes that theater museums, film and music museums are an integral part of the development of world culture. They arose, developed and formed into a separate typological group of art museums. The uniqueness of each theater museum was determined by stationary expositions and temporary exhibitions, which were the main sphere of operation and a form of use and popularization of the processed funds. Reproducing the phenomena and events of the theatrical heritage, expositions and exhibitions visualized the most significant assets of both the past and modern theater and theater science in the language of museum exhibits. Research and analysis of the historical experience of exposition and exhibition activity of theater museums, film and music museums will be important for an objective assessment of the positive and negative consequences of the influence of national and cultural processes on their functioning and development. The challenges faced by theater museums, film museums and music museums in the course of their activities have common features and may vary depending on the specific situation and context. The article analyzes the typical problems and features that theater, film and music museums face in their activities. The article shows that these problems may differ for each specific theater museum depending on its size, financial resources, location and other factors. Their features may vary among theater, music, and film museums, depending on their resources, scale, and specialization. However, solutions to these challenges may include working with conservation professionals, attracting grants and sponsors, developing educational programs, and using new technologies to improve visitor audience engagement.
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Geismar, Haidy. „Cultural Property, Museums, and the Pacific: Reframing the Debates“. International Journal of Cultural Property 15, Nr. 2 (Mai 2008): 109–22. http://dx.doi.org/10.1017/s0940739108080089.
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The following short articles were presented at a special session of the Pacific Arts Association, held at the College Arts Association annual meeting in New York in February 2007. Entitled “Cultural Properties—Reconnecting Pacific Arts,” the panel brought together curators and anthropologists working in the Pacific, and with Pacific collections elsewhere, with the intention of presenting a series of case studies evoking the discourse around cultural property that has emerged within this institutional, social, and material framework. The panel was conceived in direct response to the ways that cultural property, specifically in relation to museum collections, has been discussed recently in major metropolitan art museums such as the British Museum and the Metropolitan Museum of Art (the Met). This prevailing cultural property discourse tends to use antiquities—that most ancient, valuable, and malleable of material culture, defined categorically by the very distancing of time that in turn becomes a primary justification for their circulation on the market or the covetous evocation of national identity—as a baseline for discussion of broader issues around national patrimony and ownership.
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Komarac, Tanja, Durdana Ozretic-Dosen und Vatroslav Skare. „Understanding competition and service offer in museum marketing“. Academia Revista Latinoamericana de Administración 30, Nr. 2 (05.06.2017): 215–30. http://dx.doi.org/10.1108/arla-07-2015-0159.
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Purpose The purpose of this paper is to explore the current role of competition as one of the neglected aspects of museum marketing management. It also aims to discover whether museum professionals consider museums to be market immune and to find out what they think about the role of competition in creating and managing their existing and new services. Design/methodology/approach The theoretical part of the paper is based on a review of the literature from the multidisciplinary field of arts and museum marketing management. The exploratory qualitative research included 17 museum professionals and was carried out in 17 museums in one EU emerging market country. Findings Museum professionals are not aware of the competition, or they tend to ignore its existence. They consider the preservation of objects (exhibits) to be equally or even more important than providing services. However, additional services become important. Although some museum professionals try to engage visitors in the active creation of museum experience, most are still conservative in such terms. Research limitations The primary research limitations are related to intentional, convenience sample and the perspective of one employee (marketing manager or museums’ director). Originality/value Research findings provide valuable insights for both marketing academics and professionals engaged in the museum marketing management field. The contribution of the paper is also contextual as it helps to bridge the gap existing in museum marketing management research in the context of the emerging markets.
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Arriaga, Amaia, und Imanol Aguirre. „Museum-university collaboration to renew mediation in art and historical heritage. The case of the Museo de Navarra“. Arte, Individuo y Sociedad 32, Nr. 4 (23.07.2020): 989–1008. http://dx.doi.org/10.5209/aris.66295.
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We present an action research project in which a university and a regional museum of art and historical heritage collaborate. The objective of this project has been to design and develop a mediation plan and its interpretation resources. First, a description is provided of the historical context of the debate regarding the educational function of the museum and mediation actions for the interpretation of art. Next, we present the theoretical principles on which our approach to mediation in museums is based and explain the two phases of the action research project. Initially, an investigation of the mediation tools offered by the museum is carried out. Next, a description is provided of how the conclusions drawn are materialized in the “All Art is Contemporary” project that renews part of the permanent exhibition and that offers accessible, rigorous, pluralistic and stimulating mediation/interpretation resources (gallery text, museum labels, etc.) that allow visitors to participate in the discourse that the museum proposes, turning it into a site of social interaction, a negotiation of meaning and an encounter between different sensibilities and identities. In short, it is a tool for continuous and critical civic education.
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Whittington, Vanessa. „Decolonising the museum?“ Culture Unbound 13, Nr. 2 (08.02.2022): 245–69. http://dx.doi.org/10.3384/cu.3296.
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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.
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Stanley, Nile, Laurel Stanley und Steffani Fletcher. „Maximizing use of Poetry and Art in Public Spaces for Promoting Language Development“. Babylonia Journal of Language Education 3 (23.12.2022): 78–84. http://dx.doi.org/10.55393/babylonia.v3i.207.
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Over time, graffiti has inspired art and poetry exhibits by marginalized youth, once excluded by elite museums, now is surging in popularity, and being curated in public spaces at airports, subways, parks, street corners, and even construction sites. This paper highlights Hope at Hand, Inc., an established North Florida nonprofit provider that uses therapeutic art and poetry exhibitions in public spaces to help incarcerated youth recognize and overcome circumstances that limit their successful participation in society. Also, the paper reviews similar international art exhibitions that re-envision the ways museums can decolonize and support more community engagement and inclusive language learning. The lessons learned will demonstrate the ways in which exhibiting poetry and visual art can engage youth and create spaces for promoting cultural awareness. This holistic intervention framework integrates poetry, museum best practices and the arts for bridging and empowering lives. It fills a critical void in knowledge and practice between the arts, museum studies, public health, and citizenship, by considering place-based research in creating a more kind and inclusive society with the arts.
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Halpin-Healy, Carolyn. „Report from the Field: Multi-cultural Dialogue and Transformative Learning in Arts & Minds Programs at The Studio Museum in Harlem“. Museum and Society 13, Nr. 2 (01.03.2015): 172–88. http://dx.doi.org/10.29311/mas.v13i2.325.
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This paper presents a report from the field of museum education programs for people with Alzheimer’s disease and related dementias (ADRD) and their caregivers. Research is beginning to document the impact of museums on the cognitive and emotional health of people with dementia (PWD) and those who care for them. At the Studio Museum in Harlem, Arts & Minds programs have created a dynamic learning environment for the very forgetful through dialogic interpretation of art and expressive art making. The stories recounted here reveal the powerful potential of multi-cultural dialogue in the museum space to create transformative learning experiences for participants and educators alike.
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Nicifero, Alessandra. „OCCUPY MoMA: The (Risks and) Potentials of a Musée de la danse!“ Dance Research Journal 46, Nr. 3 (Dezember 2014): 32–44. http://dx.doi.org/10.1017/s0149767714000527.
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By renaming the Choreographic National Center in Rennes and Bretagne as the Musée de la danse in 2009, the French choreographer Boris Charmatz has indirectly raised new questions on both museum and dance ontologies, opening up the possibility of an enriched interdisciplinary discourse on the relationship between movement-based arts and museums/art institutions. This essay explores the changing museum and dance landscape over the past few decades, considers how museums have been theorized, and their relationship to, and engagement with, audiences; and asks what role choreography and dance can play in this new institutional context.
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Jensen, Anita, Theodore Stickley und Alison Edgley. „The perspectives of people who use mental health services engaging with arts and cultural activities“. Mental Health and Social Inclusion 20, Nr. 3 (08.08.2016): 180–86. http://dx.doi.org/10.1108/mhsi-02-2016-0011.
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Purpose – The purpose of this paper is to present a study of arts engagement for mental health service users in Denmark. Design/methodology/approach – The study was completed at Hans Knudsen Instituttet, Denmark. It involved analysis of emerging themes from semi-structured interviews with six participants who had participated in a structured visit to the National Gallery (Statens Museum for Kunst) in Denmark. Findings – Multiple benefits for people who use mental health services engaging in arts activities are reported. Arts activities are described as a central component of everyday life; a way of life and a significant factor in getting through the day. Barriers are identified in the interdisciplinary working between the museum educator and participants. Social implications – This study identifies that the participants benefited from taking part in the arts/cultural activity. Findings also suggest that if museums are offering activities to people who use mental health services they should equip staff with training designed to support appropriate ways of working with this group. This interdisciplinary activity offers a relatively untapped potential arena of support. Originality/value – The paper will be of relevance and value to those working with mental health and arts. The study demonstrates the importance for mental health service users to engage in creative activity and for museum staff to have appropriate skills for inclusion to be successful.
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Chertogova, M. Y. „Album “The Kemerovo Regional Museum of Fine Arts”“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 3(18) (30.09.2020): 209–10. http://dx.doi.org/10.46748/arteuras.2020.03.020.
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In 2019, as part of the events dedicated to the 50th anniversary of the Museum, the album "The Kemerovo Regional Museum of Fine arts" (now the Kuzbass Museum of Fine Arts) was published. This is the first publication about the Kuzbass Museum of Fine Arts — a regional cultural institution of the Kemerovo region, opened in 1969. The album is based on research that reveals the history of the Museum in its fundamental aspects: the origins, the ascetics, the buildings that housed the Museum, and the art collection. В 2019 году в рамках мероприятий, посвященных 50-летию музея, издан альбом «Кемеровский областной музей изобразительных искусств» (ныне Музей изобразительных искусств Кузбасса). Это первое издание о Музее изобразительных искусств Кузбасса (МИИК) — областном учреждении культуры Кемеровской области, открытом в 1969 году. Основой альбома является исследование, раскрывающее историю музея в ее фундаментальных аспектах: истоки, подвижники, здания, в которых размещался и размещается музей, и художественная коллекция.
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Bowen, Amanda. „Harvard’s Fine Arts Library: collections and services over 100 years“. Art Libraries Journal 37, Nr. 1 (2012): 29–34. http://dx.doi.org/10.1017/s0307472200017314.
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The Fine Arts Library at Harvard University has served the needs of teaching faculty, art museum staff, art and architectural students, researchers and historians since the founding of the Fogg Art Museum in 1895. Library collections have been enhanced by gifts from faculty, museum publications received on exchange, and by the transfer of arts-related materials from other Harvard libraries. Although founded in the spirit of a museum library, the Fine Arts Library has increasingly developed its collections and services for a wide community of users in fields across the academic spectrum.