Dissertationen zum Thema „Fralin Museum of Art“
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1
Brasier, Karen. „Living with Art: Framing the Everyday“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275659896.
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Foy, Elizabeth. „Spectacle: Framing the Midwestern Art Community“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283356889.
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Holowczenko, Amy L. „Framing the culture wars : a content analysis of news media coverage of the Mapplethorpe and Brooklyn Museum art controversies /“. Online version of thesis, 2007. http://hdl.handle.net/1850/4890.
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Bradford, Shalen. „Children's Art Museum“. VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2175.
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This Thesis explores the question; Is a children’s museum a playground or a museum? Through research and visits to children’s museums I feel that many are playgrounds. They are also visually stimulating to children, but not to the guardians who bring them there. In most cases the exhibits are permanent and there is little change to the atmosphere of the space on a regular basis. An old warehouse located on North Boulevard was chosen to house this project idea of a children’s art museum. The scenario is that The Virginia Museum of Fine Arts and the Children’s Museum of Richmond would have a joint venture in creating a the Children’s Art Museum of Richmond. Thebuildings’ close proximity to these two museums make it an excellent choice for both institutions. There are interactive changing exhibits, a studio that continues the learning experience from the exhibit, and a gallery to display artwork that was created in the studio spaces. Through these three core spaces I hope to create a continuous interactive learning experience in this children’s art museum.
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Bingham, Glenn. „Mobile Museum of Art“. ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/153.
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The following internship report is an investigation of the organizational structure of the Mobile Museum of Art from January 2013 to August 2013. During the internship, I was able to work in several different capacities, from volunteer coordinating, to marketing, to programming. This report analyzes several aspects within these fields, including the organization’s brand, marketing strategies, and educational structure as they shift under new management. Based on my observations, I will offer recommendations for programming, marketing, and volunteer management, and compare the current structure to best practices of other museums and similar organizations. Through this extensive analysis I will also offer thoughts about the future of this local arts environment.
6
Wong, Ngai-leung Aman, und 黃毅樑. „Museum of Guangdong folk art“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B3198552X.
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Secleter, John Robert. „Duke University Museum of Art“. Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/52237.
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Wong, Ngai-leung Aman. „Museum of Guangdong folk art“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594552x.
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Södersten, Tove. „A Museum of Graphic art“. Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-175596.
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This project investigates the relations light and shape in a museum of graphic arts. The nature of daylight determines the meeting between the building and the sky. The shape of the building, therefore, distributes the light thus facilitating the meeting between the visitor and the art. The best light in art museums is neutral and avoids sharp contrasts and shadows that would otherwise detract from the experience in the museum. I studied how different shapes influence light and found a rounded shape to produce the best results, distributing light evenly thus avoiding distracting contrasts. Rounded shapes from a quadratic base with straight walls optimize the distribution of the light, facilitating the interaction between the visitor and the art. The building of the museum is part of a “light-game” with a quadratic base. The conspicuous shapes distribute the light, guiding the visitor in the world of art. In the north, the building has a density next to the car park while it interacts with the shapes producing an intimate small-scale feeling in the south.Projektet undersöker relationen mellan ljus och form i ett museum för grafisk konst. Ljusets natur bestämmer samspelet mellan byggnad och himmel. Byggnadens form fördelar ljuset och underlättar besökarens mötte med konsten. I konsthallar är det kontrastfria, neutrala ljuset det bästa; skuggspel och ljusförändringar stör upplevelsen. I mina studier fann jag att en välvd form fördelade ljuset jämt, störande kontraster undviks. Den välvda formen fördelade ljuset på bästa sätt och uppfyllde kravet som konsten ställer inför mötet med betraktaren. Den välva formen med en kvadratisk bas i botten och raka neutrala väggar.Byggnaden blir ett spel där formerna framstår mot en grid-baserad bas (VAD ÄR GRID-BASERAD?). Det tydliga formspråket är anslående och vägleder besökaren. Byggnaden har en ”täthet” i norr, vid bilparkeringen, och omgivningen utanför samspelar med formerna ner mot södra sidan och skapar tillsammans en småskalighet. Byggnaden går från att ha en hög densitet i norr mot bilparkeringen, till att spela med ute och inne mot dess södra sida för att även passa in i den småskaliga omgivningen.
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Conway, Chelsea. „Participatory Activities and the Art Museum: A Case Study of the Columbus Museum of Art“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493982670620671.
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Lange, Andreas. „The Surreal Museum: An Intervention for the Cincinnati Art Museum“. Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179159972.
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Thesis (Master of Architecture)--University of Cincinnati, 2007.Title from electronic theses title page (viewed July 12, 2007). Includes abstract. Keywords: Cincinnati Art Museum; Addition; Intervention; Surrealism; unheimlich; museum; Architecture Includes bibliographic references.
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Jalkanen, Dayna Marie. „Art Around Town“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285100432.
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Leathem, Kevin Wolhuter. „Locating the border the development of the framing device in Western art“. Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002204.
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A frame can be understood to act as something both complementary and even intrinsic to the work it houses. But the frame also acts as more than just a physical object. It serves as a guiding principle, perhaps even a controlling device, in the sense that it provides a context for the work as well as informing the way in which a work is read. Acting with the image it surrounds, it links the artwork to the surrounding space as well as the viewer. In this study, I explore these various functions and effects by providing an overview of framing devices that have been used by artists in the West as well as referring to guiding principles that some museums in South Africa have used when making choices about the ways in which they frame works in their collections. This examination provides a context for my paintings. Based on photographs of the walls of various small galleries in the Eastern Cape, my works take as their subject the notion of the ‘frame’ as both a physical object and the marker of a historically contextualized viewpoint.
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Ng, Victor, und 伍達文. „Art ropolis: redefining the museum of (new) art, TST“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986717.
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Sledge, David C. (David Christopher) 1968. „The art of ambiguity : (experiencing the Kimbell Art Museum)“. Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/70346.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Page 135 blank.
Includes bibliographical references (p. 131-133).
This thesis examines the Kimbell Art Museum in Fort Worth, Texas, designed and executed between 1966 and 1972 by the architect Louis I. Kahn. This study responds to a series of design related questions raised in the author's mind upon visiting the Kimbell museum on June 22, 2000. The work will evaluate the buildings' major design elements, beginning with the overall site and building organization, and end with the relationship between structure, space and natural light. The building is documented with numerous photographs taken during my visit to illustrate its experiential aspects. This study examines how the Kimbell Art Museum prompts 'readings and re-readings,' associations, symbolisms, and meanings that may initially appear elusive, contradictory or even obscure. My analysis suggests that Louis Kahn designed the Kimbell to generate obscure readings, or to be more precise, he utilized ambiguous design features capable of being understood in two or more possible senses. My analysis also raises questions such as, 'What types of ambiguity are employed in this museum, and why?', and 'How does the Kimbell Art Museum as both building and experience compare to Kahn's stated design goals?' The lens through which this examination takes place is my own experience of the building, tempered by an examination of the building's documentation compared to what Kahn wrote, sketched and built. This project aims to offer plausible insights into the building'S numerous, seemingly ambiguous design features. The process of reading and re-reading the Kimbell reveals elusive aspects of the building that to date, have not been adequately considered and articulated. The object of this study is twofold: first, enhance understanding and appreciation of Louis 1.
David C. Sledge.
S.M.
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Ng, Victor. „Art ropolis : redefining the museum of (new) art, TST /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946080.
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Lam, Chi Hang. „Framing “contemporaneity” in public museums of art and visual culture in the 21st Century : A study of the impact of acquisition policies of the Moderna Museet and M+ through the lens of actor-network theories“. Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194885.
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In the 21st century, public museums who are collecting contemporary art has simultaneously begun to reframe the role of museums in society. Two museums – the Moderna Museet of Stockholm and M+ of Hong Kong that have completely different historic and geographic backgrounds, as well as operating models are now working closely with their acquisitions and collections to draw audience of old and new closer to them. These two museums that are located in the center of two well-defined cultures – geographically representing the west and the east, play vital roles in their respected social and cultural spheres. In view of how these two museums are responding to the present time by deploying art that are seemingly different in terms of theme and discipline, the immediate distinction that this study aims to frame is how the Moderna Museet, established in the 20th century and still prevailing in the present differ from M+ that comes from a younger generation of museums who proclaims itself as a museum of visual culture, and not art. Instead of analyzing their exhibitions, this study focuses on their policies of acquisitions, thus offering a perspective including many varying actors and networks. Hence Bruno Latour’s actor-network theories have been introduced to unfold the highly entangled networks of these two museums. Two important actants, the so-called acquisition policy and the institutional curators are taken into consideration in order to outline what constitute as acquisition policies of these two museums and investigate if the benchmarking of contemporary art, and in addition, if the notion of contemporaneity can be identified from written documents. Furthermore, this study is based on interviews with curators employed at the two museums to find out how the professionals have understood these policies and used them accordingly to justify their practices while fulfilling the museums’ missions. This study has found out there are many crucial relationships between these actants and that they are constantly interacting with each other. The strength and interaction of these relationships fostered the positioning for these two museums today and also determined how the knowledge of art can be shaped and dispensed to the public. Looking from the point of view of the history of museums, practices of donation and acquisition, late- capitalism, cultural differences between the west and east, this study provides a pragmatic explanation of how collections may transform the landscape of a museum, and in turn how a museum may perhaps alter the meaning of art.
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Balcerek, Katherine Emma. „The Whitney Museum of American Art gender, museum display, and modernism /“. NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.
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The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.
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Komarova, Maria. „Interactive technologies on art museum websites“. Kansas State University, 2015. http://hdl.handle.net/2097/18947.
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Master of ScienceDepartment of Communications Studies
Gregory Paul
This report investigates how American art museums have adopted interactive technologies on their websites. The use of such technologies brings to the forefront a tension regarding authority over visitors’ experience of and interpretation of art both in person and online. Interactive tools on 15 art museum websites were coded as enabling one of three types of interaction: human-to-computer, human-to-human and human-to-content. Human-to-computer interactive features were most prevalent on museum websites, followed by human-to-human and human-to-content interactive technologies respectively. The findings demonstrate a tension between the goals of art museums in wanting to engage visitors in co-creation of meaning about art on the one hand and wanting to maintain their traditional authority over that meaning on the other. The report concludes by offering recommendations for how museums can use interactive technologies more effectively in order to maintain their role as centers of social and cultural life.
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Truxillo, Katherine. „The New Orleans Museum of Art“. ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/110.
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The New Orleans Museum of Art is New Orleans' oldest art institute and is the premier art institute of the Gulf South. From September through December 2009, I served as an intern in the Development Department at NOMA and then went on to fill the role of Interim Grants Officer from December through the time this document was written. I also have covered for the Special Events Coordinator during her leave of absence beginning January 4, 2010 through the present. NOMA has strengths and weakness internally, and opportunities and threats to functioning exist as well. Through a thorough examination of this institution, a consultantcy's report was compiled based on examination of NOMA and the best practices of comparable institutions and museum management standards.
21
Pace, Christine R. „Art Museum Education and Well-Being“. Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1469887811.
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Addis-Gutierrez, Christy. „Museum Design: art, wonder & discovery“. VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2156.
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Christy Addis-Gutierrez MUSEUM DESIGN: art, wonder & discovery Some art institutions create such an elitist atmosphere that the average person might feel intimidated. But for the artists to be the most effective in expressing their ideas, their feelings, and their point of view, more people need to experience it. If the audience for art is limited to a relatively small group of art lovers, how does that serve the art process? A broader audience could enrich the art that is produced, allowing artists to engage in more daring work. A contemporary art museum that also incorporates spaces for gathering and communal activities, with an active and innovative educational program, could create this broader audience for art, and strengthen the surrounding community as well. Art brings people together – to discover more about themselves and each other. The challenge is to create a space that accomplishes this: more art; more people; more wonder; more discovery. The “big idea” of this project was “more art”. It was generated by the idea of bringing the wonder of art to more people.
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Eggemeyer, Valerie. „Art Museum Resources and Teacher Use“. Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5285/.
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I proposed that both Bruner's (1963) idea of the spiral curriculum and Yenawine's (1992) theories of teaching for visual literacy in the museum set the stage for significant learning for students when used together. If school teachers lay a foundation of knowledge about a museum object, especially through museum resources, then the student may transform and apply this 'prior knowledge' (explicit memories from the classroom) while on the museum visit tour. When docents utilize Yenawine's (1992) methods toward the goal of visual literacy, the semantic knowledge of the classroom is then fused with museum learning, building stronger memories and facilitating deeper understanding as students learn about museum objects. This research explored the correlation of these two theories in a qualitative manner based on observations of actual museum visit preparation in classrooms in Casper, Wyoming, and how it related to a museum tour at the Nicolaysen Art Museum and Discovery Center. The research revealed that conditions do exist within the community that would facilitate Bruner's (1963) idea of a learning spiral, yet not in the manner envisioned. The observed conditions toward a spiral was accomplished through the participant teachers relating the museum exhibit to their operational curriculum in a variety of curricular areas, such as language arts and science, when docents related the tour to classroom learning, and not through museum resources or Yenawine's (1992) methods toward increasing visual literacy, as was previously considered.
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Tolley, Rebecca. „Review of Art Museum Image Gallery“. Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.
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Liu, Wan-Chen. „An exploratory, descriptive study of art museum educators' attitudes in regard to art museum-elementary school collaboration“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0028/NQ38931.pdf.
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Zwegat, Zoe E. „Diversity, Inclusion, and the Visitor-Centered Art Museum: A Case Study of the Columbus Museum of Art“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562442682063359.
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Thomson, Katherine J. M. „The art museum at the end of art, Arthur C. Danto's Philosophy of art and its implications for the posthistorical museum“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ31259.pdf.
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Wang, Yiyou. „The Loouvre from China a critial study of C. T. Loo and the framing of Chinese art in the United States, 1915-1950 /“. Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1195498748.
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Howard, Courtney L. „Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art“. Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.
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Clinton, Sarah. „Denver Art Museum: Creating Interactive and Educational Experiences in the Museum Setting“. ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/151.
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The following report documents my internship at the Denver Art Museum from June to August 2013 in Denver, Colorado. This report is a result of my work with the multiple divisions in the Education Department. I worked in depth with a variety of programs, which facilitated and encouraged new and exciting methods of education to a wide range of audiences. This report will be an in depth examination of the effectiveness of interactive educational programing by first discussing the goals and purposes of each one. There will then be an explanation of the intern’s responsibilities and observations within the department. This will include the internal strengths and weakness of the education department as well as the external opportunities and threats. The report will conclude with best practices observed, recommendations for improvement and final thoughts regarding the Denver Art Museum’s education department.
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Alhadi, Esameddin. „Transforming school museum partnership the case of the University of Flordia Harn Museum Teacher Institute /“. Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1214496613.
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Matthews, Geoffrey Mark. „Museum, design, organisation : an exploration of spatialities and a project in modelling museum design activity“. Thesis, University of Hull, 1996. http://hydra.hull.ac.uk/resources/hull:4596.
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There were three stages in the process of narrowing and focussing the project. Initially the aim was nothing less than a 'paradigm shift' - to reframe the Praxis of Science as 'Design' using the museum as a microcosmic context in which the complexity of the condition of modernity/postmodernity was amply reflected. This over-ambitious scheme narrowed at first to one of exploring the interdisciplinary problem of the multidimensionality of design. In this, incommensurability and theories of space have to be accommodated in a workable model, and the forms and transformations of the model have then to be 'proved' in a praxiological exposition. Finally, it has become clear that much of the detailed creative work implied in the previous formulation of the project is, to be realistic, of a postdoctoral nature. Therefore, the Ph.D. problem has been focussed even further. The focus is on the development of a multidimensional expression of museum design in the form of a theoretical model and an appraisal of its implications for general theory in organization and design. This involves (1) Background theory - a survey of concepts and theories in modelling, (2) Focal theory - a critique of existing notions of organization and Praxis in museums and in Design, (3) Model theory - the development and presentation of a more adequate scheme, and (4) Contribution - the evaluation of its potential as a generalization. Background Theory: In the first part of the programme it has been necessary to ask a specific question about Philosophy - does any specific paradigm offer an adequate conceptual scheme and 'language' in which to work? And if not, what do so-called post-Philosophical approaches - radical pragmatism, ironism - have to offer in terms of a workable strategy, perhaps one that is recognizably 'designerly' in approach. In addition the definition and clarification of a wide range of incommensurable notions of 'space' has had to be undertaken to be clear that the complexity with which design, in the generic sense, engages has a particular character which is quite distinct from that of disciplines such as Science, History, and Politics which are traditionally inclined towards epochal paradigmatic solidarity and towards contingent epistemological coherence. The designer is, arguably, more of a chameleon than is the scientist or the historian or the politician, more so even than are the novelist and the ethnographer whom Rorty cites as latterly more crucial figures. This 'quixotic' aspect of the designer's position is crucial to any argument about personal integrity and social value: this enigmatic journeyman and traveller follows a lonely path guided by emotional (instinctual) as much as by intellectual and practical imperatives. Focal Theory: The second part of the programme has involved two operations: (1) a critical investigation, in some detail, of the discourses of organization, design and museography/museology; and (2) an opening up of the intervals between them, that is, an exploration their three interfaces - organization-design; design-museum; and museum-organization. Model Theory: By proposing a visible constellation of spatial concepts and exposing the tensions which characterize their performativity, the second part of the programme is drawn towards the final part of the programme. In this the adequacy of the proposed model is evaluated in terms of the specific context of the museum as an organizational type - a creative-administrative nexus - and in terms of its potential value as a generalization. This latter point has involved consideration of the possible 'museal' quality of organization in general and a reappraisal of the values of design above and beyond the institutionalized, professionally delineated and administered discipline of Design practice. Contribution: The conclusions emphasize the difficulty of boundary crossing enterprizes such as this project. A considerable effort has gone into deferring the synthetic instinct that all theory tends, sooner or later, to exemplify. However, not just for the sake of form, I make clear some specific and critical points in relation to the 'new' space established by this investigation of museum-design-organization. The museum design discipline has good reason to expound a communication-led collaborative philosophy and to have the strength to develop its discourse in more sophisticated intellectual circles. In general there is a central message that emerges from the museum-design-organization complex which in one sense bolsters the ironist/new pragmatist stance in engaged theory but also reminds us that to be engaged one must develop skills and capacities that are independent of the logics of language, that are irrational and yet invaluable. And in future the interdisciplinary (as distinct from the multidisciplinary) platform must speak its name and be generous. If one is met with incomprehension, resistance, threat response, or out and out hostility one has failed to understand the nature of design. One does not wait to be invited in, neither does one go straight for the jugular. One makes a home, a communal place, a common ground. One finds the hearth and kindles in it a new flame, a new light. One arranges a meeting of minds prepared to enchant with and to be enchanted by new visions and new stories. And one helps each soul along its journey with no more than a gentle nudge in a promising direction in the certain knowledge that the whole process will need to be repeated tomorrow and that this will remain the case for each tomorrow.
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Einreinhofer, Nancy. „The paradox of the American art museum“. Thesis, University of Leicester, 1994. http://hdl.handle.net/2381/35302.
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Kaufmann, Shayla. „Marginalized students accessing museum art education programs“. Thesis, Boston University, 2014. https://hdl.handle.net/2144/21185.
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Thesis (M.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.For many years as an art educator, this researcher, has observed, the positive impact an art education program can have on a variety of different student populations. All students deserve access to a meaningful art education. It has been shown that developing brain health and looking at art is beneficial for the human mind. Scientists in collaboration with artists have recently shown, through Computed Axial Tomography (CAT scans) something that we already knew (or suspected), from our own experiences; making and looking at art is positive for human cognition. According to Professor Semir Zeki, Chair of the Neurasthenics Department at University College London: (1999, p.187). Inner Vision: An exploration of art and the brain: "What we found is when you look at art – whether it is a landscape, a still life, an abstract or a portrait – there is strong activity in that part of the brain related to pleasure. We put people in a scanner and showed them a series of paintings every ten seconds. We then measured the change in blood flow in one part of the brain. The reaction was immediate. What we found was the increase in blood flow was in proportion to how much the painting was liked. The blood flow increased for a beautiful painting just as it increases when you look at somebody you love. It tells us art induces a feel-good sensation direct to the brain." This thesis will not be examining the positive impact art has on the brain; it is referred to in order to acknowledge the fact many artists and art appreciators already know: Looking at art is a valuable thing, and art education is important for developing minds. This thesis will examine the bridge between art museum programs and marginalized student populations. These are the students who have Individualized Education Programs (IEP’s), or those for whom English is a second language and who may live in low-income urban communities. It will also examine what museum-based art education programs can provide to this population of youth. In the Wall Street Journal, as cited by (Winner, Goldstein, and Vincent-Lancrin, 2013, p.18) the former chairman of the National Endowment for the Arts, Rocco Landesman offers pointed remarks when arts education comes up: "Some students don’t fit the No Child Left Behind regime and other subjects don’t inspire them. Talented but offbeat, they sulk through algebra, act up in the cafeteria, and drop out of school. The arts 'catch' them and pull them back, turning a sinking ego on the margins into a creative citizen with 'a place in society.'" Museums often provide a place for students to go and engage with art in a meaningful way that captures their imagination and engages them in learning. The emphasis of this research falls on the unusual student, the difficult learner, the student who has a learning style difference and who may never have encountered an original work of art. The purpose of this study is to report the ways in which students responded to art in a museum setting. Why art museums enjoy a reciprocal benefit from serving these students will also be examined. Art educators know that art is important for the development of creativity in students, and students’ benefit from engagement in studio art activities. Yet, most crucially, art programs are often marginalized in low-income urban communities. According to the Center on Budget and Policy Priorities, more than 95 percent of schoolaged children are attending schools that have cut art education since the recession. In low-income communities, many students have few studio art classes along their journeys through pre/K-12 public education. Those denied an art education often find themselves without the benefit of an education that includes studies about the value of culture, leaving those affected by poverty with little impetus to reach for higher educational goals. Art education programs at two museums are examined to show how their programs reach out to students from underserved communities. In particular, this study looks at the Cape Ann Museum in Gloucester and Peabody Essex Museum in Salem, both in, Massachusetts, to evaluate how to engage marginalized, urban students and retain these youth as enthusiastic lifetime museumgoers.
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Hollis, Alan D. „Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community“. University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.
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Barr, Mary J. Hobbs Jack A. „Functions of art museums as perceived by art museum educators and directors“. Normal, Ill. Illinois State University, 1988. http://wwwlib.umi.com/cr/ilstu/fullcit?p8818707.
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Thesis (Ed. D.)--Illinois State University, 1988.Title from title page screen, viewed September 2, 2005. Dissertation Committee: Jack Hobbs (chair), Susan Amster, John McCarthy, William Talone. Includes bibliographical references (leaves 99-103) and abstract. Also available in print.
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Elizondo, Kristina Kay. „The Museum is the Object: An Action Research Study in How Critical Theory Curriculum Influences Student Understanding of an Art Museum“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955032/.
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The purpose of this action research study was to determine how a critical theory curriculum implemented in a college-level art appreciation course impacted student understanding of an encyclopedic art museum. A critical theory-based curriculum unit was designed and implemented, and students were given assignments to assess their learning. The most significant assignment centered on a self-guided student visit to the art museum in which students made detailed observations of the museum spaces and responded to articles critiquing museum practices. These documents, together with class discussions and my personal observations, were analyzed and described in this research study. The data revealed that students had a high level of regard for and interest in art museums, were capable of understanding how history and context influences museum practices, detected multiple instances of bias in art museum galleries, and self-reported high levels of cognition and empowerment based on their experiences. The data suggested that, in college students, both art appreciation instructors and museum educators have an ideal audience in which to facilitate sustained, higher-level, critical theory-based museum learning experiences.
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Schroeder, Catherine Marie. „Artventures: a multiple-visit school-museum program“. The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392313198.
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Gray, Pamela Clelland, University of Western Sydney, of Arts Education and Social Sciences College und School of Humanities. „Public learning and the art museum : future directions“. THESIS_CAESS_HUM_Gray_P.xml, 2002. http://handle.uws.edu.au:8081/1959.7/354.
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The question of the art museum's failure to engage wider audiences remains relatively unexamined and has neither widely catalysed nor changed professional practice either in curatorial, educational, or public program domains. In this study, the educational aim of the art museum is discussed. The work of Pierre Bourdieu is examined. Bourdieu argues that museum display principles, interpretive strategies, and educational techniques, propagated within the paradigm of modernism, implicitly assume possession of cultural literacy skills which are the sole privilege of the educated.The author concludes that working within and across the curatorial and educational environments of an art museum, while avoiding the pitfalls of the modernist tradition, is also a significant step toward engaging wider audiences than the cultual 'elite' in the development of visual literacy skills.Master of Arts (Hons.)
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Rothermel, Barbara Ann. „The university art museum and interdisciplinary faculty collaboration“. Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/28026.
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The university art museum can make a significant contribution to the academic and cultural life of the parent institution. While there are many roles of art museums within institutions of higher education, there is a common thread -- the conviction that interdisciplinary exhibitions and programs expand the relevance of the art museum within the academic community. In this study, I examine interdisciplinary collaborations between the university art museum and faculty from diverse academic disciplines at American institutions of higher education. What relationships, if any, exist between academic programs and art museums at universities? What institutional structures are keys and barriers to successful collaboration between the university art museum and academic programs? What factors determine the success of interdisciplinary collaboration between the university art museum and diverse academic programs? In order to fully explore the possibilities of interdisciplinary collaboration, qualitative analysis of current initiatives at university art museums throughout the United States was necessary. The conceptual framework of interdisciplinary exhibitions and programs is thus established. Secondly, case studies examine the organizational culture of the institutions and challenges of interdisciplinary collaboration at the University of Virginia Art Museum, the Joel and Lila Harnett Museum of Art of Art at the University of Richmond, and the Philip and Muriel Berman Museum of Art at Ursinus College. As well, my professional experience, through a retrospective account of projects at the Daura Gallery at Lynchburg College, provides insights into both the potential and process of interdisciplinary collaboration. While I am mindful that this informs my conviction that interdisciplinarity and collaborative practice is essential to the university art museum, the partiality that existed at the onset of the study was recognized and subjected to a rigorous research and methodology that imparts validity and authenticity to this inquiry. While the “publish or perish” convention of the academy supports discipline-specific research and individual publication, I contend that the university art museum must engage in interdisciplinary dialogue through which perceptions are changed and new meanings are unveiled while respecting the integrity of the disciplines involved. This study of institution-wide interdisciplinary collaboration between university art museums and the academic institutions of which they are part reveals what is being done through innovative exhibitions and programming to promote the interconnectedness of ideas and issues. Collaboration with diverse academic disciplines reaffirms the traditional expectations of the museum of investigation, inquiry, and intellectual challenge. Purposive exhibitions grounded in collaboration between academic disciplines can generate debate, critique, and conversation. In doing so, the university art museum is an indispensable component of the university’s mission and asserts its relevance to the institution and its role in the educational experience through collaboration between the university’s academic programs and the university art museum.
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Pate, James Christopher. „Internship report : Laguna Gloria Art Museum : a report“. ScholarWorks@UNO, 1989. http://scholarworks.uno.edu/aa_rpts/70.
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This internship report describes the student's experiences while working for the Development Department of Laguna Gloria Art Museum in Austin, Texas. This museum is a non-collecting, contemporary art museum, dedicated to twentieth century American art. At the time of the student's internship, Laguna Gloria was a Museum in transition; attempting to move from its original location on the outskirts of town into a proposed downtown facility. This proposed facility was envisioned to improve the Museum's image in the community as a major cultural asset. The intern's assignments in the Development Department were not directly associated with this new facility though the proposed new building had a major impact on the Museum's continuing operations.
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Dawkins, Jane Marie. „Ogden Museum of Southern Art: An Internship Report“. ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/149.
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The following internship report is a documentation of my work with the Ogden Museum of Southern Art from January through April 2013. I worked closely with the Museum departments of Education and Development, as well as the Deputy Director. This report is an analysis of the different business and management methods of the organization and their fidelity to best museum practices. I will analyze the strengths, weaknesses, opportunities and threats of the museum. I will also touch on the recent history of the Museum; what I observed currently; and the direction I see the museum heading in its future.
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Lahav, Sylvia. „Interpretation in the art museum : authority and access“. Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/10019985/.
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The thesis investigates the rise of wall texts and display captions positioned alongside paintings in Tate Britain between 1987 and 2007 and considers possible reasons for this increase: the return of philanthropic attitudes of 19th century social reformers; changes in the national curriculum for art and design; partial devolution of financial responsibility from government to museum bodies; income generation, funding and sponsorship; increasing inclusion and access policy and internet use. All of these factors have changed the manner in which museums see themselves and address the needs of their visiting public. However, the principle focus of the thesis is the text itself and asks what it means to write words intended to inform, explain and interpret artworks. Using filmed interviews the research investigates differences in the manner in which people describe a painting in the gallery after they have read accompanying text with descriptions they give from memory i.e. seeing a painting in their mind's eye. Archive research tracks the authoring and institutional positioning of interpretative text from its original home in the publications department, to the curatorial team, as part of education and currently provided by a dedicated team. It asks whether the function and nature of such text is best described as literature, marketing, promotional or a tool of access and asks whether it would help its development if it had a dedicated theory to govern and structure it. Throughout, the issues raised are complex and cross many disciplines. To acknowledge this, I organised an international conference at Tate Britain with speakers who approached the subject from literary, philosophical and sociological perspectives. I conclude that the phenomena of text based interpretation in museums needs to be re-examined, that text should be repositioned away from art works and that visitors should be given more opportunity to bring their own personal, corporeal experience to looking at art.
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Gray, Pamela Clelland. „Public learning and the art museum : future directions“. Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/354.
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The question of the art museum's failure to engage wider audiences remains relatively unexamined and has neither widely catalysed nor changed professional practice either in curatorial, educational, or public program domains. In this study, the educational aim of the art museum is discussed. The work of Pierre Bourdieu is examined. Bourdieu argues that museum display principles, interpretive strategies, and educational techniques, propagated within the paradigm of modernism, implicitly assume possession of cultural literacy skills which are the sole privilege of the educated.The author concludes that working within and across the curatorial and educational environments of an art museum, while avoiding the pitfalls of the modernist tradition, is also a significant step toward engaging wider audiences than the cultual 'elite' in the development of visual literacy skills.
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Gray, Pamela Clelland. „Public learning and the art museum : future directions /“. View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030407.154108/index.html.
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Kitagawa, Carolina Maki, und Carolina Maki Kitagawa. „Presente en el Museo | absent in the museum“. Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621840.
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PRESENTE EN EL MUSEO | absent in the museum was a performance installation exhibited at the 2016 MFA Thesis Exhibition. The project archived studio practice methodologies that question the current stasis of art academia's indifference to alternative art theory originating from other sources of knowledge besides that of the male Eurocentric art canon. I, as the artist, executed an experiment to combat and envision a bridge between multiple realities proving they can coexist creating a joint effort in providing modernization of contemporary art. This thesis paper is an accompaniment to the visual performance art component.
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Genshaft, Carole Miller. „Symphonic poem a case study in museum education /“. Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196175987.
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Swinney, Geoffrey Nigel. „Towards an historical geography of a 'National' Museum : the Industrial Museum of Scotland, the Edinburgh Museum of Science and Art and the Royal Scottish Museum, 1854-1939“. Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8109.
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This thesis adopts a primarily process-based methodology to put a museum in its place as a site of knowledge-making. It examines the practices of space which were productive of a government-funded (‘national’) museum in Edinburgh. Taking a spatial perspective, and recognising that place is both material and metaphorical, the thesis explores how the Museum’s material and intellectual architectures were produced over the period 1854-1939. The thesis is concerned to bring into focus the dynamic processes by which the Museum was in a continual state of becoming; a constellation of tangible and intangible objects constantly being produced and reproduced through mobility of objects, people and ideas. Its concern is to chart the flows through space which produced the Museum. The thesis comprises nine chapters. An introduction and a literature review are followed by chapters concerned, respectively, with the built space of the museum and with the people who worked there. A further three chapters consider the nature of that work and the practices of space which constituted the processes of collecting, displaying, and educating, whilst another focuses on visiting. The final chapter discusses how the analysis has constructed the museum as constituted through a complex diversity of material and metaphorical settings on a variety of geographical scales. This critical scrutiny of the museum has, in turn, brought to the fore the place of the Museum in contributing to civic and national identity. Through a case-study of a particular museum, the concern has been to explore how critical geographies of science may be applied to the examination of a museum. In particular the thesis examines how contextual concepts developed largely in conscribed sites such as laboratories apply to a public site such as a museum. The thesis suggests that the ordering terms ‘space’ and ‘place’, combined with a focus on practice and performance, may have more general application in constructing an historical geography of museums as sites of production and consumption of scientific knowledge.
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Coldiron, Marly E. „Cultivating Creativity: The Columbus Museum of Art and the Influence of Education on Museum Operation“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429176568.
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Suchy, Sherene, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „An international study on the director's role in art museum leadership“. THESIS_CAESS_CAR_Suchy_S.xml, 1998. http://handle.uws.edu.au:8081/1959.7/517.
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By the 20th Century, tax codes made a distinction between for-profit and not-for-profit organisations. The distinction was that not-for- profits were to supply a service to society like hospitals, churches and museums. The distinctions are no longer clear. There is a demand for 'new breed' or hybrid directors in an environment favoring economic capital and searching for people who can be champions for social capital. This international cross-disciplinary research explores the leadership challenge through personal interviews and survey feedback with 72 museum directors or associate directors across Australia, the United States, England and Canada. Organisation psychology and management theory is brought to the field of art history. Art history is the traditional breeding ground for museum directors. In concluding, the thesis argues for a range of propositions to address the current leadership crisis in art museums based on a new understanding of leadership and leadership developmentDoctor of Philosophy (PhD)