Thematische Bibliographien / Humanities -> art -> museum studies

Auswahl der wissenschaftlichen Literatur zum Thema „Humanities -> art -> museum studies“

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Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Humanities -> art -> museum studies"

Federici, Angelica, und Joseph Chandler Williams. „Digital Humanities for Academic and Curatorial Practice“. Studies in Digital Heritage 3, Nr. 2 (12.06.2020): 117–21. http://dx.doi.org/10.14434/sdh.v3i2.27718.

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The Digital Humanities have challenged all disciplines of Art History to engage with new interdisciplinary methodologies, learn new tools, and reevaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital Humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites that cease to exist or are inaccessible (celebrated examples including the lost Great Arch of Palmyra reconstructed with a 3D printer). Curatorial practices are now trending towards a sensorial and experiential approach. Is the role of Digital Humanities, in academic as well in museum settings, to “reveal” the object itself, through an empirical display of existing material, or to “reconstruct” something of the original experience of the object to engage spectators? Can we propose a reconciliation between these two “poles”? The Sixth International Day of Doctoral Studies promoted by RAHN aims to investigate the role of Digital Humanities by fostering a dialogue between the protection of cultural heritage sites, museology, the history of art, and the digitalization of Big Data.

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Putcha, Rumya S. „Yoga and White Public Space“. Religions 11, Nr. 12 (14.12.2020): 669. http://dx.doi.org/10.3390/rel11120669.

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This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.

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Blakesley, Rosalind P. „Art, Nationhood, and Display: Zinaida Volkonskaia and Russia's Quest for a National Museum of Art“. Slavic Review 67, Nr. 4 (2008): 912–33. http://dx.doi.org/10.2307/27653031.

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In 1831, the journal Teleskop published Princess Zinaida Volkonskaia's proposal for a national art museum in Moscow. Volkonskaia's project was progressive to a degree (Russia had no such museum at the time), yet the model she proposed was highly traditional. She excluded Russian art entirely, despite her support of modern Russian artists. Instead, Volkonskaia privileged classical and more recent western European art, underlining the deference to western practice that influenced cultural politics even as Russia moved toward a stronger national sense of self. Volkonskaia's project marks an important juncture in Russia's cultural history: the intersection of aristocratic female patronage and the institutionalization of academic procedure. It also provides a platform from which to consider Russia's self-image vis-à-vis Europe in the aftermath of the Napoleonic campaigns. By tracing an intricate dialogue in which national pride developed alongside continuing admiration for neoclassical ideals, Rosalind P. Blakesley addresses the paradoxes of Volkonskaia's project, and the difficulties of conceptualizing a “national” space of artistic display. Volkonskaia's project poses significant interpretive problems and her exclusion of Russian art prefigures the segregation of Russian and western art in Russian museums today, which has marginalized Russian art even within Russia itself. Volkonskaia's project thus has wide resonance, for the question of whether and how museums encapsulate national cultural identities remains an issue of great intellectual concern.

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Kisin, Eugenia, und Fred R. Myers. „The Anthropology of Art, After the End of Art: Contesting the Art-Culture System“. Annual Review of Anthropology 48, Nr. 1 (21.10.2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.

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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

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Tamimi Arab, Pooyan. „Islamic heritage versus orthodoxy: Figural painting, musical instruments and wine bowls at the Dutch National Museum of World Cultures“. Journal of Material Culture 26, Nr. 2 (05.03.2021): 178–200. http://dx.doi.org/10.1177/1359183521997503.

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Shahab Ahmed’s What Is Islam? The Importance of Being Islamic (2016) challenges anthropologists, Islamic Studies scholars, art historians and museum practitioners to question the theological assumptions underlying conceptions of Islamic art and material culture. This article analyses three object types key to Ahmed’s analysis – Islamic figural painting, musical instruments and wine bowls – from the vantage point of the collection of the Dutch National Museum of World Cultures. Based on the author’s experience as Assistant Curator for West Asia and North Africa in 2015–2016 and on exhibition developments up until 2019, Ahmed’s framework is demonstrated as a guide for critical interpretations of exhibitions of Islamic art and material culture. This perspective lays bare a tension that contemporary museums struggle with in response to nationalist pressures to integrate Muslim citizens in Western Europe: between a diverse Islamic heritage, on the one hand, and orthodox desires to materially purify the very idea of Islam, on the other.

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Pandi, Tina, Marina Markellou, Esther Solomon und Thomas Valianatos. „From public debates to institutional establishment: Exploring the mission of the National Museum of Contemporary Art in Greece“. Journal of Greek Media & Culture 9, Nr. 1 (01.06.2023): 3–20. http://dx.doi.org/10.1386/jgmc_00065_1.

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In December 1997, the National Museum of Contemporary Art (Ethniko Mouseio Synchronis Technis – EMST) was established by law in Athens under the auspices of the Hellenic Ministry of Culture, compensating for the long-term absence of a state museum of contemporary art in Greece. Following the restitution of democracy in 1974, the question ‘what kind of museum do we need for contemporary art in Greece?’ was raised by artists and other professionals (critics, curators, gallerists, researchers) and explored through a series of public debates and events. However, only in the 1990s was this demand supported by politicians, eventually leading to the establishment of the EMST in 1997. This article examines the public debates developed by art professionals from 1976 to 1997 regarding the mission of the museum as an open, experimental institution in relation to the broader cultural and sociopolitical context. It also analyses the legislation related to its establishment and questions whether the above priorities and expectations were reflected in the relevant legal provisions.

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González Fraile, Eduardo Miguel. „WHITNEY MUSEUM OF AMERICAN ART (MET BREUER)“. Proyecto, Progreso, Arquitectura 23 (19.11.2020): 28–45. http://dx.doi.org/10.12795/ppa.2020.i23.02.

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El museo de arte Whitney de Breuer se ubica en la isla de Manhattan, en Nueva York, próximo a varios museos muy importantes: al Museo Americano de Historia Natural, al Museo Metropolitano de Arte y al Museo Guggenheim, la obra más conocida de Franz Lloyd Wright. En la génesis del proyecto influirán las características del lugar, la geometría de la parcelación, las metáforas concomitantes con la fachada del anterior Museo Whitney, la emulación de la aérea volatilidad del Museo Guggenheim y la bien engrasada disposición del programa funcional, condensadas en una sección principal que se hunde bajo la línea de tierra y busca allí las raíces del diseño. El plano del terreno original separa arquitecturas distintas respecto al programa, la estructura y la morfología: transparencia de la parte inferior de la fachada frente a la opacidad y masividad de los volúmenes que avanzan hacia el exterior. El patio mediterráneo subyace en el esquema de la disposición de la planta y el complejo patio inglés aporta la sección generadora y da forma literal a las fachadas, contenidas por una envolvente abstracta y poseedoras de un contenido encriptado.

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Baker, Sarah, Lauren Istvandity und Raphaël Nowak. „Curatorial practice in popular music museums: An emerging typology of structuring concepts“. European Journal of Cultural Studies 23, Nr. 3 (29.03.2018): 434–53. http://dx.doi.org/10.1177/1367549418761796.

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Museums have been central to the institutionalisation of popular music as heritage; yet, there has been little scholarly focus on the curatorial strategies behind the exhibition of popular music’s past. This article outlines an emerging typological framework of structuring concepts in curatorial practice in popular music museums. The typology brings into conversation concepts previously identified by a number of popular music museum scholars. These concepts are critically assessed and built upon substantively by drawing on the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographical locations. Eight concepts are discussed: dominant (and hidden) histories, projected visitor numbers, place, art and material culture, narrative, curator subjectivity, nostalgia and sound. We argue that such a framework acts as a useful tool for comparing institutional practices internationally and to more fully understand the ways in which popular music history is presented to museum visitors.

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Starodubtseva, Marina V. „Alexander Sedov: “We Tell People about Their Culture”“. Oriental Courier, Nr. 3-4 (2021): 21. http://dx.doi.org/10.18254/s268684310017997-4.

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An interview with Alexander V. Sedov, the Director-General of The State Museum of Oriental Art devoted to the launch of the new master’s program of the Faculty of Oriental Studies of the State Academic University for the Humanities (GAUGN) and the Department of Oriental History of the Institute of Oriental Studies Russian Academy of Sciences “Socio-Cultural Development of East Asian Countries”, which is headed by Alexander Sedov as an academic curator (Dinara V. Dubrovskaya, the head of the Department of Oriental History of the Institute of Oriental Studies RAS, is the supervisor of the program). The interview focused on the attractiveness of the Eastern art and culture and their broadcasting to a wider audience through the exhibitions of the Oriental museum, reaching the level of discussion of the problems of preserving cultural heritage, questions of the feasibility and relevance of museumification of archaeological sites such as Palmyra in Syria, monuments in Oman and Yemen.

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G., E., Barbara Lipton und Nima Dorjee Ragnubs. „Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art“. Journal of the American Oriental Society 120, Nr. 3 (Juli 2000): 497. http://dx.doi.org/10.2307/606056.

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Dissertationen zum Thema "Humanities -> art -> museum studies"

Bryan, Amanda. „New Museum Theory in Practice: A Case Study of the American Visionary Art Museum and the Representation of Disability“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1627.

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Since the inception of new museum theory, and the emphasis it places on the social purpose of museums within society, museum professionals and museum studies theorists have struggled to define what role museums must take in combating prejudices and fostering better understating of difference. Richard Sandell is one such theorist who writes about the importance of, and need for, greater inclusion of disabled artists and works of art containing themes of disability into exhibitions and display. This thesis examines Sandell’s scholarship, noting its foundation in new museum theory and disability studies, and then, employing a case study of the American Visionary Art Museum, illustrates the issues illuminated in Sandell’s writing. Finally, utilizing the case study, this thesis will offer aims for further research within museum studies not yet considered by Sandell, especially within educational goals and activities of the museum.

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Larsen, Devon P. „Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996“. [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001540.

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Marchi, Tavares de Melo Isabela. „Threading Art: the dynamics of costume design and costume studies“. VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3380.

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The main objective of this research is to demonstrate the strong relationship between design and history in the process of studying and creating costumes for theatre. Costumes are considered an important area in the study of material culture, which has been given more visibility within academia. Over the past few decades, the number of museums and universities with collections dedicated exclusively to costumes and textiles has noticeably increased, recognizing them as works of art worthy of being preserved. Considering costumes’ ability to document time and space, and to visually tell stories, many theatre departments have implemented methods to organize their costume collections in order to make them available as a design resource for students and professionals. As Theatre VCU strives for the quality of their educational practices, and with the increase recognition given to design students and faculty, I have proposed a system to archive costumes, renderings and other material, reflecting the excellence of students’ work, and comprehends a design resource for future reference and research.

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Chawaga, Mary. „The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1066.

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Museums are culturally constructed as places dedicated to tastemaking, preservation, historical record, and curation. Yet the contemporary isn’t yet absorbed by history, so as museums incorporate contemporary art these commonly accepted functions are disrupted. Through case studies, this thesis examines the successes and failures of three New York museums (MoMA, Dia:Beacon and New Museum) as they grapple with the challenging, perhaps irresolvable, tension between the contemporary and the very idea of the museum.

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Parker, Angela. „The History and Educational Legacy of the Manchester Art Museum, 1886-1898“. VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/623.

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This thesis examines the history of the Manchester Art Museum (Manchester, England), which was founded by Thomas Coglan Horsfall (1841-1932) in 1886. It considers the museum’s permanent collections and its programming from 1886 to 1898 with brief notes on the later years of the institution. While, like previous work on the Manchester Art Museum, the thesis contextualizes the museum within Victorian arts and community institutions, it breaks new ground by highlighting the ways in which it diverged from these institutions. The analysis of the museum’s collections and programming emphasizes the contributions that Horsfall and the Art Museum Committee made to museum education through the museum’s circulating loan collections and school tours.

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Reilly-Brown, Elizabeth. „Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.

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This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.

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Couser, Kristie. „Exhibiting Berthe Morisot after the Advent of Feminist Art History“. VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.

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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.

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

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

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Cochran, Sharayah. „An Impossible Alternative: Orientalism and Margaret Bourke-White's "A Moneylender's House" (1947)“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3760.

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Between 1946 and 1948, American photographer Margaret Bourke-White traveled to India while on assignments for Life magazine. Since the late 1940s, a photograph from these assignments that depicts three men sitting in an ornately decorated room has appeared in several publications and exhibitions under variations of the title A Moneylender’s House (1947). Though Bourke-White is traditionally categorized as a documentary photojournalist, her photograph exhibits motifs similar to those seen in European Orientalist paintings from the nineteenth century. Considering recent scholarship that has expanded the temporal and geographical parameters of the Orientalist photography genre, this thesis analyzes the “documentary” photograph, A Moneylender’s House, in its varied exhibition and publication contexts to determine whether they present the photographic subjects from a “nonrepressive and nonmanipulative perspective” (one that Edward Said suggests might provide an “alternative” to Orientalism), or reinforce the “Self/Other” binary at the core of Orientalism.

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Hamalainen, Bonnie. „Stories in Stone: Interpreting history in the context of a museum exhibition“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/10.

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This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine.

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Bücher zum Thema "Humanities -> art -> museum studies"

Hubard, Olga M. Art museum education: Facilitating gallery experiences. New York: Palgrave Macmillan, 2015.

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Andrew, McClellan, Hrsg. Art and its publics: Museum studies at the millennium. Malden, MA: Blackwell Pub. Co., 2003.

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Pangmulgwan hyŏnsanghak: Museum studies : pangmulgwan chŏngch'aek, munhwa yusan, kwallamgaek. Kyŏnggi-do Sŏngnam-si: Pukk'oria, 2012.

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1859-1891, Seurat Georges, und Art Institute of Chicago, Hrsg. The Grande Jatte at 100: Special issue The Art Institute of Chicago museum studies. Chicago: The Art Institute of Chicago, 1989.

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Morfogen, Zachary. Ya gotta have art! New York, NY: Ruder Finn Press, 2007.

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Selwood, Sara. An enquiry into young people & art galleries. London: Art & Society, 1995.

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New York. Appearance and reality: Recent studies in conservation. New York, N.Y: Metropolitan Museum of Art, 1998.

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L, Lehman Arnold, Richardson Brenda, Lidtke Vernon L und Baltimore Museum of Art, Hrsg. Oskar Schlemmer: The Baltimore Museum of Art. Baltimore, Md: The Museum, 1986.

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Lilyquist, Christine. Studies in early Egyptian glass. New York: Metropolitan Museum of Art, 1993.

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1956-, Berger Maurice, Rosenbaum Joan, Mann Vivian B und Kleeblatt Norman L, Hrsg. Masterworks of the Jewish Museum. New York: Jewish Museum, 2004.

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Buchteile zum Thema "Humanities -> art -> museum studies"

Stobiecka, Monika, und Paul Vickers. „The Preposterous Art of Archaeology“. In Theorizing Archaeological Museum Studies, 116–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003327851-11.

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Deliss, Clémentine. „The Practice of Academic Iconoclasm in the Metabolic Museum-University“. In Museum und Ausstellung als gesellschaftlicher Raum, 191–204. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839466681-019.

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In this article, curator Clémentine Deliss ask you to imagine an educational dispositive that changes the status of the public from consumer to student. Such a museum-university could provide research and professional opportunities for students in the arts and humanities, in particular for those who have studied hybrid post-colonial subjects all over the world from South Africa to Oslo, from Singapore to London. Moreover, no one requires an exam to study in the museum. Given today's complex demographics and the economics of university education, museums can become spaces for democratic inquiry and learning. It is within this context that the Metabolic Museum-University (MM-U) has been setting up student and faculty-led situations, which (like rehearsals and exercises) aim to encourage the public to engage with exhibits differently.If the museum-university advocates a methodology of academic iconoclasm, then it aims to consciously fracture the archive and refute disciplinary divisions inherited from 19th-century European scholasticism. Transgressive adjacency places artefacts, methods, cultural formations, languages, and roles next alongside one another in order to confront the validity of contexts that are defined by specialisms and which create a transversal approach.

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Nuccio, Massimiliano, und Davide Ponzini. „Cities and Urban Studies: Four Perspectives on Art Museums“. In Visiting the Art Museum, 27–46. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12089-3_3.

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Mersmann, Birgit. „6.1. Embracing World Art Art History’s Universal History and the Making of Image Studies“. In The Making of the Humanities, herausgegeben von Rens Bod, Thijs Weststeijn und Jaap Maat, 329–44. Amsterdam: Amsterdam University Press, 2014. http://dx.doi.org/10.1515/9789048518449-022.

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Benjamin, Walter. „The work of art in the age of mechanical reproduction“. In A Museum Studies Approach to Heritage, 226–43. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Leicester readers in museum studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315668505-19.

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McClain, Eli E. „Implicit Heritage Values in Online Collection Databases: Assessing the Presentation of Egyptian Artefacts in Art Museum Contexts“. In Digital Culture and Humanities, 105–29. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-9209-4_6.

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Gerbich, Christine. „Exploring the Futurabilities of Museums. Making differences with the Museum Divan at the Museum for Islamic Art in Berlin“. In Cultural Heritage Studies, 229–46. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839464090-013.

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Ball, Jennifer L. „A Sixteenth-Century Batrashil in the Metropolitan Museum of Art“. In Hugoye: Journal of Syriac Studies (volume 9), herausgegeben von George Kiraz, 3–36. Piscataway, NJ, USA: Gorgias Press, 2009. http://dx.doi.org/10.31826/9781463214159-001.

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He, Yun, und Hongjun Liu. „Research on Functional Composite and Interactive Experience Design in Museum Public Space - Take the Shenzhen Art Museum (New Venue) as a Case Study“. In Advances in Social Science, Education and Humanities Research, 307–16. Paris: Atlantis Press SARL, 2024. http://dx.doi.org/10.2991/978-2-38476-222-4_37.

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Nikonanou, Niki, Panagiotis A. Kanellopoulos, Elena Viseri und Elina Moraitopoulou. „Educational Commons in Art Museums“. In Educational Commons, 151–72. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51837-9_9.

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AbstractThis chapter reports on four case studies that took place at four museums of the Metropolitan Organisation of Museums of Visual Arts (MOMus) in Thessaloniki, Greece, the Museum of Contemporary Art, the Experimental Center for the Arts, the Museum of Photography and the Museum of Modern Art-Costakis Collection. Different groups of young people participated in case studies that sought to bring together educational commons and collaborative artistic experimentation, leading to the co-creation of artistic projects. The chapter focuses on how commoning processes might contribute to the transformation of the museum towards an open-source institution through the cultivation of commoning practices in museum education. We also highlight the value of delving into forms of creative artistic engagement that induce unlearning traditional roles and questioning hierarchical power distribution.

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Konferenzberichte zum Thema "Humanities -> art -> museum studies"

Drossinou-Korea, Maria. „Targeted, individually structured special education and training intervention programs and pedagogical applications in museum“. In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.

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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.

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Stella, Stella, Eddy Supriyatna Marizar und Maria Florencia. „Interactive Design Concept on Art: 1 New Museum and Art Space“. In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.092.

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Xing, Yongkang, und Qianhong Cheng. „Interactive Future of Museum Encouraging Youth Group to Engage with Museum“. In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.164.

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Pei, Shuyan, und Jin Zhu. „Art Education in Museum Adolescent Education Activities Taking Shaanxi History Museum as an Example“. In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.156.

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Hsu, I. Hsiang, und Chang Hwa Wang. „Mobile Learning in Art Museum - The Immersive Teaching on Arts and Humanities“. In 2013 IEEE 13th International Conference on Advanced Learning Technologies (ICALT). IEEE, 2013. http://dx.doi.org/10.1109/icalt.2013.155.

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Tillon, Anne Bationo, Eric Marchand, Jean Laneurit, Fabien Servant, Isabelle Marchal und Pascal Houlier. „A day at the museum: An augmented fine-art exhibit“. In 2010 IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities (ISMAR-AMH). IEEE, 2010. http://dx.doi.org/10.1109/ismar-amh.2010.5643290.

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Lobjakas, Kai. „Building design history. Estonian Museum of Applied Art and Design“. In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0043.

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Balsa, Raquel, Francisco Providência und Fátima Pombo. „Machine Art Exhibition, MoMA 1934 Artifacts of use displayed in the museum“. In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0014.

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Liu, Fan. „A Study on the Audience of Art Museum Based on Service Design Theory“. In Proceedings of the 2nd International Conference on Humanities Education and Social Sciences (ICHESS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ichess-19.2019.43.

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Hu, Yuanyuan. „Analysis of the Visual Aesthetic Mode of Zhu Ming's Art Museum from Its Spatial Layout“. In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.40.

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Berichte der Organisationen zum Thema "Humanities -> art -> museum studies"

Brison, Jeffrey, Sarah Smith, Elyse Bell, Antoine Devroede, Simge Erdogan, Christina Fabiani, Kyle Hammer et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.

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HEFNER, Robert. IHSAN ETHICS AND POLITICAL REVITALIZATION Appreciating Muqtedar Khan’s Islam and Good Governance. IIIT, Oktober 2020. http://dx.doi.org/10.47816/01.001.20.

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Ours is an age of pervasive political turbulence, and the scale of the challenge requires new thinking on politics as well as public ethics for our world. In Western countries, the specter of Islamophobia, alt-right populism, along with racialized violence has shaken public confidence in long-secure assumptions rooted in democracy, diversity, and citizenship. The tragic denouement of so many of the Arab uprisings together with the ascendance of apocalyptic extremists like Daesh and Boko Haram have caused an even greater sense of alarm in large parts of the Muslim-majority world. It is against this backdrop that M.A. Muqtedar Khan has written a book of breathtaking range and ethical beauty. The author explores the history and sociology of the Muslim world, both classic and contemporary. He does so, however, not merely to chronicle the phases of its development, but to explore just why the message of compassion, mercy, and ethical beauty so prominent in the Quran and Sunna of the Prophet came over time to be displaced by a narrow legalism that emphasized jurisprudence, punishment, and social control. In the modern era, Western Orientalists and Islamists alike have pushed the juridification and interpretive reification of Islamic ethical traditions even further. Each group has asserted that the essence of Islam lies in jurisprudence (fiqh), and both have tended to imagine this legal heritage on the model of Western positive law, according to which law is authorized, codified, and enforced by a leviathan state. “Reification of Shariah and equating of Islam and Shariah has a rather emaciating effect on Islam,” Khan rightly argues. It leads its proponents to overlook “the depth and heights of Islamic faith, mysticism, philosophy or even emotions such as divine love (Muhabba)” (13). As the sociologist of Islamic law, Sami Zubaida, has similarly observed, in all these developments one sees evidence, not of a traditionalist reassertion of Muslim values, but a “triumph of Western models” of religion and state (Zubaida 2003:135). To counteract these impoverishing trends, Khan presents a far-reaching analysis that “seeks to move away from the now failed vision of Islamic states without demanding radical secularization” (2). He does so by positioning himself squarely within the ethical and mystical legacy of the Qur’an and traditions of the Prophet. As the book’s title makes clear, the key to this effort of religious recovery is “the cosmology of Ihsan and the worldview of Al-Tasawwuf, the science of Islamic mysticism” (1-2). For Islamist activists whose models of Islam have more to do with contemporary identity politics than a deep reading of Islamic traditions, Khan’s foregrounding of Ihsan may seem unfamiliar or baffling. But one of the many achievements of this book is the skill with which it plumbs the depth of scripture, classical commentaries, and tasawwuf practices to recover and confirm the ethic that lies at their heart. “The Quran promises that God is with those who do beautiful things,” the author reminds us (Khan 2019:1). The concept of Ihsan appears 191 times in 175 verses in the Quran (110). The concept is given its richest elaboration, Khan explains, in the famous hadith of the Angel Gabriel. This tradition recounts that when Gabriel appeared before the Prophet he asked, “What is Ihsan?” Both Gabriel’s question and the Prophet’s response make clear that Ihsan is an ideal at the center of the Qur’an and Sunna of the Prophet, and that it enjoins “perfection, goodness, to better, to do beautiful things and to do righteous deeds” (3). It is this cosmological ethic that Khan argues must be restored and implemented “to develop a political philosophy … that emphasizes love over law” (2). In its expansive exploration of Islamic ethics and civilization, Khan’s Islam and Good Governance will remind some readers of the late Shahab Ahmed’s remarkable book, What is Islam? The Importance of Being Islamic (Ahmed 2016). Both are works of impressive range and spiritual depth. But whereas Ahmed stood in the humanities wing of Islamic studies, Khan is an intellectual polymath who moves easily across the Islamic sciences, social theory, and comparative politics. He brings the full weight of his effort to conclusion with policy recommendations for how “to combine Sufism with political theory” (6), and to do so in a way that recommends specific “Islamic principles that encourage good governance, and politics in pursuit of goodness” (8).

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