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Journal articles on the topic "Artist museums"
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Morelli, Didier. "Stanley Février: Performing the Invisible." Canadian Theatre Review 190 (April 1, 2022): 69–72. http://dx.doi.org/10.3138/ctr.190.016.
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This article examines how the Québécois artist Stanley Février approached the absence of BIPOC artists exhibited and collected at the Montreal Museum of Contemporary Art (MAC) with three performative projects that successfully forced the institution to revisit its collecting and exhibiting practices. In An Invisible Minority (2018), the artist infiltrated the MAC as a security guard after assessing that this was the only culturally diverse body of employees in the museum. Février then showed an installation at ARTEXTE composed of statistics, comparative charts, and other quantitative data points that highlighted the lack of representation in Montreal galleries and museums. It’s Happening Now (2019) was a guerrilla action organized with other collaborators where performers clad in black skinsuits dragged fifty years of annual reports by the MAC tied to their ankles before shredding them in the museum’s main lobby. In conjunction with these project, MAC-I was created as an alternate, unsanctioned portal to the MAC official website to promote the practices of non-white Québécois and Canadian artists. While Février’s figurative sculptural work has garnered attention, with recent acquisitions by the Montreal Museum of Fine Arts and the Musée national des beaux-arts du Québec, his more immaterial, institutionally critical, performative works remain undervalued and framed as ‘activism’ rather than their own aesthetic events.
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Nash, Susan Smith. "Effective Learning Strategies in the Homes of Famous Artists and Writers Converted to Museums." Frontiers in Education Technology 2, no. 1 (January 7, 2019): 1. http://dx.doi.org/10.22158/fet.v2n1p1.
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<p class="Normal1"><em>Homes of writers and artists that have been converted into museums are powerful frameworks for a wide range of both individual and group learning experiences. The museums have a unique ability to engage the learners on a deeper level by piquing their curiosity, and also by encouraging participative creative activities. The foundation is that of experiential learning, with an emphasis on authentic and content-based learning. Each visit to an artist’s home museum is a springboard for more universal learning experiences, particularly if the learner follows up and builds on memories of the visit, or to the museum’s website. Meta-cognitive development of analytical skills and creative techniques can enrich the learner, particularly when accompanied by both individual and collaborative online activities. Each artist or writer’s home provides a unique experience, which provides an opportunity for the museum’s educational and creative staff to be very creative. </em><em>The homes in this article include those of Pablo Neruda, Alexander Pushkin, Ilya Repin, Carson McCullers, Isak Dinesen, and Juan José Arreola.</em><em></em></p>
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Moser, Joann. "Museums and the Living Artist." Curator: The Museum Journal 37, no. 3 (September 1994): 161–71. http://dx.doi.org/10.1111/j.2151-6952.1994.tb01706.x.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Gayed, Andrew. "Cross-Cultural Museum Bias: Undoing Legacies of Whiteness in Art Histories." Asian Diasporic Visual Cultures and the Americas 7, no. 1-2 (December 7, 2022): 77–101. http://dx.doi.org/10.1163/23523085-07010006.
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Abstract When museums are used as sites of knowledge production and research, what are their responsibilities for anti-racist public education? Examining the racial logics that govern, organize, and fund museums, this essay focuses on institutional bias within knowledge production and argues that locating racial logics within museums can be an act of radical pedagogy. Museums are being challenged to become sites of social change, making it vital to study their power structures and the ways in which they organize and study other cultures, illuminating imperial and colonial biases existing at their foundations. The Canadian Museum of Civilization’s exhibition The Lands within Me: Expressions by Canadian Artists of Arab Origin, is a relevant case study as it opened within weeks of September 11, 2001. The moral panic surrounding the show provides a powerful glimpse of the ways in which certain narratives are excluded from Canadian national projects and how these racial projects exist within museums. Works by Camille Zakharia, an artist included in the exhibition, will be analyzed and the fragmented forms of his photo collages will be used as an organizing metaphor to discuss Canadian multiculturalism, racialization, and citizenship.
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Fairchild, Charles. "LET US NOW PRAISE FAMOUS GUITARS: PERSONA AND THE MATERIAL DISPLAYS OF POPULAR MUSIC MUSEUMS." Persona Studies 5, no. 1 (July 11, 2019): 61–74. http://dx.doi.org/10.21153/psj2019vol5no1art841.
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The study of popular music museums has expanded greatly in the past decade or so. The numerous studies produced so far have largely focused on issues to do with tourism, heritage, and curatorship. Most analysis has attempted to gauge the effectiveness and degree of success of the various methods of constructing and displaying collections of sounds, objects, and ideas. One area that can be of interest in moving beyond these analyses of museum practice is to examine how larger ideologies of artistry and artists that pervade the celebrity personas so assiduously built around famous musicians are an important foundation for these museums’ displays. There are two reasons for the value of this approach. First, it should be clear that most exhibits in popular music museums are built to enhance, not contest already-existing images, historical narratives, and genre-defining attributes that surround well-known musicians. Therefore, it is not possible to understand these institutions without some sense of how they work with musician personas that necessarily precede any presentation in museum exhibitions. Second, we can see this dynamic in extraordinarily concise forms when we examine some of the ‘famous objects’ these museums display. We can often see an entire complex of received ideas about an artist encapsulated in just a few well-known objects they once possessed. From this I will suggest that the personas of famous musicians that appear in most popular music museums do so through varied amalgams of symbolic and material forms meant to stabilise or enhance already-existing ideas about canonically-validated ‘great’ artists.
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Hamer, Naomi. "The hybrid exhibits of the story museum: The child as creative artist and the limits to hands-on participation." Museum and Society 17, no. 3 (November 29, 2019): 390–403. http://dx.doi.org/10.29311/mas.v17i3.3256.
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Since the Brooklyn Children’s Museum opened in 1899, the concept of the children’s museum has evolved internationally as a non-profit public institution focused on informal family-centred education and interactive play environments (Acosta 2000; Allen 2004). The majority of these museums highlight science education; however, over the past decade, a new specialized institution has emerged in the form of the children’s story museum that concentrates on children’s literature, storytelling, and picture book illustration. These story museums feature childhood artifacts through the curatorial and display conventions of museums and art galleries, in combination with the active play environments and learning stations of science-oriented children’s museums. These exhibits also reflect the changing place of the museum as an institution in the age of the “participatory museum”: a movement away from collections towards interactive curatorial practices across physical and digital archives (Simon 2010; Janes 2011). Framed by cross-disciplinary theoretical and methodological approaches from critical children’s museology, picture book theory, and children’s culture studies, this analysis draws upon selected examples (2014-2018) of curatorial practices, exhibits, and the spatial/ architectural design from Seven Stories: National Centre for Children’s Books (Newcastle, UK), the Hans Christian Andersen Haus/Tinderbox (Odense, Denmark), and The Eric Carle Museum of Picture Book Art (Amherst, MA, USA). These institutions provide distinctive venues to examine the tensions between discourses of museums as institutions that house collections of material artifacts including children’s literature texts, discourses of the creative child and ‘hands-on’ engagement (Ogata 2013); and discourses of critical engagement and participatory museums. While these exhibits affirm idealized representations of childhood to some extent, participatory engagements across old and new media within these spaces have significant potential for critical and subversive dialogue with ideological constructions and representations of gender, race, socio-economic class, mobility and nationalism rooted in the children’s literature texts.
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Hansen, Yvonne Brenden, Dag Hensten, Gro Benedikte Pedersen, and Magnus Bognerud. "Norwegian Artist Names Authority List of Artists in Norwegian Art Collections." Heritage 2, no. 1 (February 1, 2019): 490–506. http://dx.doi.org/10.3390/heritage2010033.
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How can one best transform a paper-based publication into a living online resource? This is the theme of a project at The National Museum of Art, Architecture and Design in Norway, supported by the Arts Council Norway. The National Museum aims to create, publish and maintain an authority list of Norwegian artists, architects, designers and craftsmen. The objective is to ease the digitisation process for other museums, scholars and the public in general and contribute to better data quality in Norwegian online collections. The list will in part be based on the Norsk Kunstnerleksikon (Encyclopaedia of Norwegian Artists in English), published in 1982–1986 and subsequently digitised in 2013. With the help of other public collections in Norway, the purpose is to make the new resource as complete as possible and available in both human- and machine-readable formats. Although the original paper publication contains biographical texts as well as lists of exhibitions, education, travels, publications and more, the data in the new authority list will be constrained to a set of core biographical data. It will however carry references to online biographical resources such as Norsk Kunstnerleksikon (NKL), Wikidata, Union List of Artist Names (ULAN) and Virtual International Authority File (VIAF). This article discusses the process of defining the scope of and setting constraints for the list, how to enrich and reconcile existing data, as well as strategies to ensure that other institutions contribute both as content publishers and end users. It will also shed light on issues concerning keeping such a resource updated and maintained.
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Gogol, Manfred. "MUSEUMS AS A NETWORK REPOSITORY OF LATE-LIFE CREATIVITY." Innovation in Aging 3, Supplement_1 (November 2019): S362. http://dx.doi.org/10.1093/geroni/igz038.1320.
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Abstract Through collaboration and exchange for exhibitions, art museums represent an under-explored network for displaying late-life creativity and the longevity dividend. Drawing on the collection from many galleries brought together for the Letzte Bilder (Last Pictures) exhibition by the Schirm Gallery Frankfurt, this talk will illustrate the possibility of creating educational programs, Late Life Creativity trails both virtual through podcasts and structural, as well as specific exhibitions of late-life creativity as a catalyst for reimagining and reframing ageing. Further approaches are the focus on the life course of works of artist like Cy Twombly at the Museum Brandhorst Munich or Pablo Picasso at the Museum Barberini Potsdam, as well as studying aging in artists self-portraits. The interaction of creativity with age, diseases, and functional decline in the museum context can promote the changing of role models and our understanding of productivity and creativity by ourselves as well as in the society.
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Fouché, Florian, and Marianne Mesnil. "The Antidote Museum in practice: an artist and an ethnologist's iew on the Romanian Peasant Museum." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 94–117. http://dx.doi.org/10.57225/martor.2018.23.06.
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During an interview from Autumn 2017, in Bucharest, Marianne Mesnil (ethnologist) and Florian Fouché (artist) talk about their experience at the Romanian Peasant Museum in Bucharest. They are discussing about the museum display experienced by Irina Nicolau (1946-2002) and Horia Bernea (1938-2000): the exhibition hall “The Plague”, the curtains from “Village School”, the manifest “The Antidote Museum”, or the concepts of “father-museums” and “mother-museums”, the exhibition hall “Time”. Starting with their reflections on the Peasant Museum, the discussion turns to the exhibition that Florian Fouché had about the museum, entitled “The Antidote Museum” (Centre d’art Passerelle, Brest,2014), but also to the exhibitions that Irina Nicolau had set up in France, Un village dans une malle (Paris, 1991), and another one in Belgium, Roumanie en miroir, mémoires de tiroir (Treignes, 1997). The article is accompanied by photos taken by Florian Fouché of his exhibition.
Dissertations / Theses on the topic "Artist museums"
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Chubb, Shirley Jane. "Intervention, location and cultural positioning : working as a contemporary artist curator in British museums." Thesis, University of Brighton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479071.
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Considine, Marie. "The social, political and economic determinants of a modern portrait artist, Bernard Fleetwood-Walker (1893-1965)." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3639/.
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As the first major study of the portrait artist Bernard Fleetwood-Walker (1893-1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant-garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits. Emerging, and soon dominant, tabloid newspapers shaped content and language to attract readers, influencing the articulation of the reception of the artist’s work. This thesis also makes a contribution to the regional perspective, demonstrating the temporary co-existence of multiple, heterogeneous, modern art worlds. Throughout the thesis the relevance of economic factors is emphasised, reappraising the Marxist theory of modern art and concluding that a more complex economic description is required to provide a sensitive and insightful analysis of art history.
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Mutch, Hollis Hafertepe Kenneth. "Institutional critique artists focus on museological issues /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5285.
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Rocha, Cláudia Regina Alves da. "Da Pinacoteca ao Museu: historicizando processos museológicos." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-13022015-104640/.
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O Museu Nacional de Belas Artes e sua documentação museológica constituem o principal objeto de estudo desta pesquisa, que procura investigar em suas origens, junto à Academia Imperial de Belas Artes/Escola Nacional de Belas Artes, as ações de tratamento documental que essas instituições utilizaram. Partindo da premissa de que a criação do Museu Nacional de Belas Artes deuse no século XIX, a pesquisa tem por objetivo mapear as proximidades e distanciamentos, sob o enfoque documental, entre tais instituições.The National Museum of Fine Arts and its museological documentation are the aim of this research, which investigates its originis by the identification of the documentation processes developped at the Imperial Academy of Fine Arts, renamed National School of Fine Arts. Considering that the creation of the National Museum of Fine Arts emerged from the debates on the foundation of an Art Gallery inside the Imperial Academy of Fine Arts in the 19th century, this research explores the similarities and differences between these institutions from the point-of-view of the documentation of their collections.
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Arrowsmith, Rupert Richard. "A British museum era : modernist artists and authors in London's museums, 1905-1918." Thesis, University of Oxford, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486968.
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This study considers the role of London's museums - especially the British Museum - as conduits for the delivery of extra-European visual art to the city's avant-garde during the years preceding World War One. It makes use of documents from the archives of the British Museum, the British Library, the Tate Gallery, the V&A, and the Royal Institute of British Architects - many of which have never before been quoted from or published - to show that the early modernist sculpture of Jacob Epstein, Henri Gaudier-Brzeska and Eric Gill; the philosophy of T.E. Hulme; and the poetic imagery of Ezra Pound, were all decisively shaped by a conscious adaptation of aesthetic concepts and technical approaches from exhibits at the above institutions. For the first time, Epstein is conclusively shown to have based his 1907-8 figures for the British Medical Association - traditionally regarded as London's earliest examples of modernist sculpture - upon Indian temple carvings displayed at the British Museum. New evidence is presented indicating that the sculptor's subsequent tours of the capital's Assyrian, Egyptian, African and Oceanic collections in the company of Gill, Gaudier and Hulme are what suggested many of the aesthetic characteristics of pre-war modernism in Britain. A reassessment of Pound's friendship with the curator and poet Laurence Binyon reveals a previously unsuspected link between Pound's first identifiably modernist poems and the Japanese lIkfyo-e woodblock prints available via the British Museum's exclusive Print Room. Important new evidence from the Museum's own archives and from those of the British Library is used to overturn previous hypotheses about Pound's early engagement with the visual cultures of eastern Asia in general - an engagement that would continue to affect his poetic imagery even as late as the final cantos.
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Kim, Seong Eun. "Artists' intervention in 'universal' museums as traced through the Victoria and Albert Museum, the British Museum and the Pitt Rivers Museum." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508580.
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Moreira, Antonia Camila Alves. "O museu na escuta - a experiência na formação de educadores." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/5681.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In this reserach, the axis of discussion is the Art Museum Educator Formation. From the shared experience of Museum Studies Group, Museum in listen, and guided by the action-research principles, the research paths intertwine, intermingle and unfold on my journey of educator-researcher, in perspective of the experiences of participants of/in research - between conversations and listenings, and in line with the reflections on the role of education in exhibition spaces and art museums. The main objective of the research was to establish listening process between educators and concerned about Education in Museums, in order to build arguments on the concept of experience at the Art Museum Educator Formation and also on the role of Visual Culture in the process of formation. The Studies Group added Art Course undergraduate students and related areas, the Federal University of Goiás (UFG), and its activities developed in meetings at the Cultural Center of UFG, from period of September to December 2014.
Nesta pesquisa, o eixo de discussão é a Formação de Educadores de Museus de Arte. A partir da experiência compartilhada no Grupo de Estudos Museu na Escuta e orientados pelos princípios da pesquisa-ação, os caminhos de investigação entrelaçam, imbricam e se desdobram sobre o meu percurso de educadora-pesquisadora, em perspectiva das experiências dos participantes da/na investigação – entre conversas e escutas, e em consonância com as reflexões sobre o papel da Educação em espaços expositivos e Museus de Arte. O objetivo central da pesquisa foi instaurar processos de escuta entre Educadores e interessados sobre Educação em Museus, com o propósito de construir argumentos sobre o conceito de experiência na Formação de Educadores de Museus de Arte e também sobre o papel da Cultura Visual nesse processo de Formação. O grupo de estudo agregou estudantes de graduação do curso de Artes e áreas afins, da Universidade Federal de Goiás (UFG), e suas atividades desenvolveram-se em reuniões no Centro Cultural UFG, no período de setembro a dezembro de 2014.
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Parsons, Rachael Nerrada. "Virion : new media and the development of the discursive museum." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/44089/1/Rachael_Parsons_Thesis.pdf.
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The historical rhetoric established with the very first public art museums declared that the purpose of such institutions was to provide a space where art could be accessible to all citizens. However contrary to this aim, studies show that art museums are one of the least accessed cultural institutions in the western world. The prevailing consensus for this can be attributed to the perception that museums are elitist, irrelevant and restricted to a small and privileged group. The focus of this research project is to address the issues that lead to these perceptions, and to identify possible curatorial strategies to encourage greater access to, and participation in the visual arts. This will be done through designing and curating an open submission exhibition that utilises new media technologies to increase access and dialogue between artists and audiences. This is part of a hybrid practice-based methodology that also includes scholarly research to critically investigate a number of historical and contemporary theories concerned with public museums and approaches to curatorial practice. This research will culminate in the development of Virion, an Internet based exhibition that aims to develop a curatorial model that facilitates open and democratic participation in arts practice from a diverse public audience.
Books on the topic "Artist museums"
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Arts Commission of San Francisco., ed. Sources & resources for the visual artist. [San Francisco, Calif: Arts Commission, 1988.
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Desai, Anita. The artist of disappearance: Three novellas. London: Chatto & Windus, 2011.
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Desai, Anita. The artist of disappearance: Three novellas. London: Vintage, 2012.
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Art museums & galleries in Missouri: Annotated, illustrated directory, plus local art clubs, selected artist profiles. 2nd ed. Jefferson City, Mo: Sheba Review Pub., 1994.
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Rez', Lingen, ed. Prints & books: Artist collaborations with printmaker. Walla Walla, WA: Donald H. Sheehan Gallery, Whitman College, 2005.
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Bankmann, Ulf. A Prussian in Mexican California: Ferdinand Deppe, horticulturist, collector for European museums, trader, and artist. Los Angeles: Santa Barbara Mission Archive-Library, 2002.
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From Picasso to Jeff Koons: The artist as jeweler. Milan: Skira, 2011.
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The rescue artist: A true story of art, thieves, and the hunt for a missing masterpiece. New York: Harper Collins Publishers, 2005.
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Villani, John. Art towns California: Communities celebrating creativity : festivals, galleries, museums, dining & lodging. Woodstock, Vermont: Countryman Press, 2009.
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Bruno, Haas, Renger-Patzsch Albert, and Museum Folkwang Essen, eds. Simon Starling: Nachbau : Museum Folkwang, Essen. Essen: Museum Folkwang, 2007.
Find full textBook chapters on the topic "Artist museums"
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Ara, Rachel, and Tula Giannini. "A Conceptual Artist Programming for Social Change." In Museums and Digital Culture, 399–414. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_20.
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Wands, Bruce. "The Education of a Digital Fine Artist." In Museums and Digital Culture, 417–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_21.
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Kiliszek, Joanna. "Living Simulacrum." In Cultural Inquiry, 219–29. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_22.
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The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the ‘International Collection of Modern Art’ by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of ‘re-curating’ the Neoplastic Room in relation to the performative practice of the artists involved (e.g., Daniel Buren, Elżbieta Jabłońska).
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Půček, Milan Jan, František Ochrana, and Michal Plaček. "Characteristics of Museums and Starting Points for Museum Research." In Arts, Research, Innovation and Society, 1–15. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82028-2_1.
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Petersen, Anne Ring. "Mining the museum in an age of migration." In Migration Into Art. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526121905.003.0005.
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Chapter 4 explores how Western museums of art and culture have become important arenas for new forms of bridge-building as well as critical interrogations of the Eurocentric bias inherent in these institutions. It focuses on artists’ interventions in which the artist takes on the role as an interlocutor within the discourse of museum collections. This strategy has been used for more than two decades and gives evidence that one of the most efficient means of institutional critique and of deconstructing Western museums as cultural spaces is to invite a critical artist to make an intervention. Some artists have coupled interventionist strategies with decolonial and postcolonial critique. American artist Fred Wilson’s groundbreaking installation ‘Mining the Museum’ (1992) effectively disclosed the underlying syntax of coloniality and the hegemonic relations of power that shape museums, culturally, socially and economically. Chapter 4 proposes that such institutional interventions are a means to turn museums into sites of contamination capable of including formerly repressed histories and migrating memories. To substantiate this proposition, the chapter turns to Yinka Shonibare’s exhibition Garden of Love at the Quai Branly Museum (Paris, 2007) and Rina Banerjee’s exhibition Chimeras of India and the West at the Musée Guimet (Paris, 2011).
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Çeltek, Evrim. "Digital Art Events and Digital Art Museums." In Advances in Marketing, Customer Relationship Management, and E-Services, 123–38. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4954-4.ch008.
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The development of information communication technologies and the increase in use have made it utilized as a tool for cultural and artistic production. Digital art, where technology and art coexist, has created a free working space for the artist. Digital art is a contemporary type of art that includes many different art methods such as sound art, computer graphics, virtual art, internet art, robotics, video, interactive art, computer animation, and it distinguishes itself from the old visual arts. The cities that have come to the fore with art in the world become the tourist attraction centers. In this context, tourist attraction centers can be created by developing digital art. The development of digital art and the increase in the number of artists interested in this art have led to the emergence of tourist attraction centers. In this chapter, digital art events and digital art museums are determined. And finally, digital art events and museum examples are given where digital art is an attraction.
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Munson, Kim A. "Comics, Community, and the ToonSeum: An Interview with Joe Wos." In Comic Art in Museums, 159–66. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0016.
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This chapter contains a 2018 interview conducted by art historian Kim A. Munson with Joe Wos, Mazetoons cartoonist, Charles Shultz Museum artist in residence, and founder of the ToonSeum in Pittsburgh (2007). This chapter discusses key exhibitions, running a non-profit Museum, community engagement, outreach to children, importance of geek culture, and speculation on the future of art museums. Image: ToonSeum superhero exhibit, Joe Wos with NCS mural at Overlook Bar, NY.
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Gochberg, Reed. "American Claimants." In Useful Objects, 84–119. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197553480.003.0004.
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This chapter examines descriptions of the British Museum in travel narratives and diaries by American travelers to show how it informed broader conversations about the development of American museums. Visiting during the mid-nineteenth century, American tourists encountered a museum that was attempting to organize its collections and define its purpose as a public museum, and their descriptions highlight the anxieties raised by this process. Nathaniel Hawthorne lamented the museum’s vast quantities of objects, linking a fruitless search for meaningful artifacts to questions of genealogy. Other American travelers more explicitly considered the role of visitors in interpreting collections. The artist Orra White Hitchcock reflected on the place of women in the museum’s galleries, while the Black abolitionist William Wells Brown celebrated the opportunity to continue his education and to participate in critical discussions of the museum.
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Mackenna, Tracy, and Edwin Janssen. "Artist-Led Curatorial Practice: Mediating Knowledge, Experience and Opinion." In Museums and Higher Education Working Together, 103–19. Routledge, 2016. http://dx.doi.org/10.4324/9781315596471-10.
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Woods, Naurice Frank, and George Dimock. "American Masters Reclaimed." In Race and Racism in Nineteenth-Century Art, 215–16. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.003.0005.
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Robert Seldon Duncanson, Edward Mitchell Bannister, and Mary Edmonia Lewis were exceptions in an age of oppressive racism. In their pursuit of cultural equality, they refused to become victims of societal restrictions and abandon their dreams of parity with celebrated white artists. They ultimately succeeded based on the quality of their work, which was, on many occasions, extraordinary. Despite their considerable accomplishments as nationally and internationally acclaimed artists, the lasting reputations of these artists suffered greatly when major American art museums excluded them from their collections. Presently, much in the name of political correctness, Duncanson, Bannister, and Lewis enjoy secure places in leading museums, galleries, and private collections—deservedly so. This book has demonstrated that Duncanson, Bannister, and Lewis long ago deserved inclusion among their more illustrious and acclaimed peers—the historical record is extensive enough to verify that. They are, as much as any other distinguished artist of their era, a vital part of our proud collective heritage in the visual arts—true American masters.
Conference papers on the topic "Artist museums"
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Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025
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Canbakal Ataoğlu, Nihan, Habibe Acar, and Aysel Yavuz. "Museum’s Open Space." In 3rd International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2020. http://dx.doi.org/10.38027/n382020iccaua3163635.
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Museums are institutions that carry on the cultural and artistic treasures of societies to future generations. Economic social, cultural and philosophical thoughts in the world have changed the understanding of museology. At the beginning of the 20th century, modern architects brought new expansions to classical museum typology. In the 1970s, museums began to draw attention as the city's landmark and meeting points. Along with the museums, courtyards, squares and gardens, which are open spaces of museums, have also changed. By joining the city life, they became new social attraction centers. Museums and museum open space from Turkey and the world in the study areas, classified under the headings of traditional and contemporary, will be analyzed under the headings of form, style, material, elements of boundry, planting design, activities area, urban furniture, and function. In order to demonstrate the changing today’s museum’s open space; an analysis will be made using spatial experiences, observations, syntactic analysis technique. Study’s contribution to the literature will be determined by the design approaches of contemporary and traditional museum open spaces. As part of the museum identity and character, it will be pointed out that the open spaces of the museum are as important as the design of the museum buildings.
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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.
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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
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Ásványi, Katalin, Zsuzsanna Fehér, and Melinda Jászberényi. "THE CRITERIA FRAMEWORK FOR SUSTAINABLE MUSEUM DEVELOPMENT." In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.3.
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Purpose –The purpose of this study is to identify the criteria for sustainable museums found in reference literature and specified in our research, and to suggest guidelines for museums to follow. Methodology –In our primary research, the criteria for a sustainable museum were interpreted along four pillars, for which in-depth expert interviews were conducted with Hungarian museum professionals. Semi-structured interviews were used to explore the viewpoints, expectations, and perceptions of museum staff. Findings – In terms of environmental sustainability, Hungarian contemporary museums place less emphasis on making the museum building itself more sustainable. However, it is worthwhile for institutions that have long-term plans to become more and more eco-friendly. The issue of economic sustainability is the most problematic for Hungarian museums, which can be greatly improved with an active support community that helps museums either through volunteer work or financially. From a social point of view, one of the most important tasks of museums is to ensure equal opportunities, to reach the widest possible range of people, which is facilitated if the museum can function as a community space that adequately involves museum visitors and if it continuously strengthens its role in education. In terms of cultural sustainability, the responsibilities of museums are collection management, maintaining quality, and artistic vitality. Contribution – We conceptualize and provide a framework for sustainable museums. Through our research, we have contributed to broadening the theoretical background of sustainable museums from the perspective of contemporary art museums.
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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.
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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Kirana, Ayu Dipta, and Fajar Aji Jiwandono. "Indonesian Museum after New Order Regime: The Representation that Never Disappears | Museum Indonesia Selepas Orde Baru: Representasi Rezim yang Tak Pernah Hilang." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-33.
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Indonesia marked a new era, known as the Reformation Era, in 1998 after the downfall of Suharto, the main face of the regime called the New Order (Orde Baru) and ran the government from 1966 to 1998. This long-run government creates certain structures in many sectors, including the museum sector in Indonesia. Suharto leads the government in a totalitarian manner, his power control over many layers, including the use of museums as regime propaganda tools. The propaganda in the museums such as a standardized storyline, the use of historical versions that are approved by the government, and the representation of violence through the military tale with the nation’s great enemy is made for the majority of museums from the west to east Indonesia at that time. Thus, after almost two-decade after the downfall of the New Order regime how Indonesian museum transform into this new era? In the new democratic era, museum management is brought back to the regional government. The museums are encouraged to writing the local history and deconstruct the storyline from the previous regime. Not only just stop there, but there are alsomany new museums open to the public with new concepts or storylines to revive the audience. Even, the new museum was also erected by the late president’s family to rewrite the narration of the hero story of Suharto in Yogyakarta. This article aims to look up the change in the Indonesian museum post-New Order regime. How they adjust curatorial narration to present the storyline, is there any change to re-write the new narrative, or they actually still represent the New-Order idea along with the violence symbolic that never will deconstruct. Indonesia menandai masa baru yang dikenal sebagai masa reformasi pada tahun 1998 dengan tumbangnya Soeharto yang menjadi wajah utama rezim yang dikenal dengan sebutan Orde Baru ini. Pemerintahan Orde Baru telah berlangsung sejak tahun 1966 hingga 1998 yang mengubah banyak tatanan kehidupan, termasuk sektor permuseum di Indonesia. Corak pemerintahan Orde Baru yang condong pada kontrol dan totalitarian mengantarkan museum sebagai kendaraan propaganda rezim Soeharto. Dimulai dari narasi storyline yang seragam di seluruh museum negeri di Indonesia hingga kekerasan simbolik lewat narasi militer dan musuh besar bangsa. Lalu setelah hampir dua dekade era reformasi di Indonesia bagaimana perubahan museum di Indonesia? Pada era demokrasi yang lebih terbuka, pengelolaan museum dikembalikan kepada pemerintah daerah dan diharapkan untuk dapat menulis kembali sejarah lokal yang baru. Tak berhenti disitu, banyak museum-museum baru yang tumbuh berdiri memberikan kesegaran baru namun juga muncul museum yang berbau rezim Orde Baru turut didirikan sebagai upaya menuliskan narasi.
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Leles Gomes, Weidson, VINICIUS DE RESENDE D’ERCOLI, and WALDEMIRO ESTEVES DA FONSECA. "A ATUAÇÃO DO PEDAGOGO NO AMBIENTE MUSEOLÓGICO." In III Congresso Brasileiro Online de Pedagogia. Congresse.me, 2022. http://dx.doi.org/10.54265/dcpx5158.
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O presente Artigo busca descrever as possibilidades de atuação dos pedagogos nos ambientes museais. A situação atual brasileira favorece a presença de profissionais de diversas áreas nos museus, pois, a partir de 2009, com a instituição do Estatuto dos Museus, todo museu deve ter um Plano Museológico. Este plano contém todo o planejamento do museu e um deles é o do setor educativo. Como este plano deve ser revisado constantemente é essencial que os museus tenham pedagogos fixos em seus quadros. Fizemos uma revisão da bibliografia disponível sobre o tema e partimos de um breve histórico do campo em questão, além de buscar alguns conceitos relevantes ao tema. Posteriormente, buscamos informações mais específicas das possibilidades da atuação do pedagogo neste ambiente, numerando algumas teorias que orientam as práticas educativas nos museus. Fizemos entrevistas com duas pedagogas em Belo Horizonte que trabalham neste campo e cruzamos as informações que dispúnhamos, fazendo assim uma série de reflexões. As entrevistadas acreditam que a imagem do pedagogo ainda parece muito restrita para a atuação em um ambiente escolar e que a própria formação tem se inclinado a isto. O pedagogo deve ter condições de atuar nos mais diversos espaços, e, para isso, deve reivindicar o reconhecimento da sua importância e buscar expandir sua formação para os mais diversos campos e áreas. Constatou-se que a maioria dos museus em Belo Horizonte não contavam com pedagogos em seu quadro, argumentandose que por ser um espaço educativo, transdisciplinar, a figura do pedagogo é essencial à instituição. PALAVRAS-CHAVE: Atuacão, Educacao museológica, Museu, Pedagogia, Pedagogo
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Cervinski, Luana, and Richard Perassi. "CONHECIMENTO DIGITAL DE ARTE E DESIGN DE INFORMAÇÃO NA MÍDIA ONLINE." In Congresso Internacional de Conhecimento e Inovação (ciKi). Congresso Internacional de Conhecimento e Inovação (ciKi), 2022. http://dx.doi.org/10.48090/ciki.v1i1.1050.
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Resumo: apresenta-se neste artigo um estudo sobre conhecimento digital de arte e design de informação do website institucional Van Gogh Museum. Assim, cumpre a função de acesso virtual e também suporta a interface gráfica do ambiente de apresentação do acervo do artista Van Gogh. Como parte de um interesse mais amplo sobre museus virtuais de Arte, foi realizada uma pesquisa qualitativo-descritiva, para atender ao objetivo de discutir as características do projeto de design de informação do website. Para tanto, foram teoricamente embasadas e propostas duas categorias de navegação digital: uma estético-intuitiva e outra lógico-cognitiva. E ainda elementos e aspectos sob três abordagens: estética, lúdica e lógica. Como resultado, foi justificado que o projeto de design de informação do website Van Gogh Museum é distinto e coerente com a temática artística, sendo particularmente interessante por seus estéticos e lúdicos.
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Сазонова, В. А. "Cultural and educational activities of museums as a tool for preserving intangible cultural heritage." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.57.36.074.
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в статье рассматриваются основные подходы российских музеев к работе с нематериальным наследием в рамках культурно-образовательных проектов на примере кейсов Российского этнографического музея, Государственного музея искусства народов востока, Государственного музея изобразительных искусств имени А.С. Пушкина, Государственного исторического музея и Музея кружева в Вологде. Анализируется их значение в сохранении и популяризации нематериального культурного наследия, а также перспективы цифровой трансформации этого направления деятельности. the article examines the main approaches of Russian museums to work with intangible heritage in cultural and educational projects, using the case studies of the Russian Museum of Ethnography, the State Museum of Oriental Art, the Pushkin State Museum of Fine Arts, the State Historical Museum and Museum of Lace in Vologda. The article analyzes their importance in the preservation and popularization of intangible cultural heritage and the prospects for digital transformation of this activity.
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Jadán-Guerrero, Janio, Mónica Mendoza, Patricia Acosta-Vargas, and Isabel L. Nunes. "Digital Learning Experiences in virtual Museums." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002174.
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Due to the COVID-19 pandemics, the virtual space became relevant in teaching practice. It has been necessary to find new ideas to teach, being this the perfect setting where the virtual museum is seen as a space for teaching and learning. In today's digital ecosystem, there are many resources, so the educational application of these resources makes them interesting, exciting, and relevant. The research’s objective is to create a virtual museum articulated with the axes and areas of development and learning of the national curriculum of Ecuador for pre-school children and to analyze the effects on the teaching-learning process. With the opening and democratization of the knowledge of these cultural centers, it is possible to create synchronous and asynchronous learning experiences and explore fine arts world by selecting artworks, figures and objects that allow meaningful learning. The methodological design of this study is based on the qualitative-quantitative paradigm, with the participation of teachers and pre-school children, integrating collection, analysis and interpretation of quantitative and qualitative data, as well as experts’ criteria about the subject, which allowed obtaining data concerning the use of virtual museums and the applicability of relevant interactive resources. With the focus group technique, 30 children aged 4 to 5 years old expressed their opinions, feelings, and experiences, generating an enriching debate about users’ experience in the virtual museum. The design of the museum was developed on a platform that allowed the creation of a guided visit circuit similar to that of a physical museum, where the teacher becomes a mediator and interpreter of this new virtual museology focused on the user. The results are encouraging with a pertinent design and according to the national curricular logic. Promoting the use of other non-formal spaces, highlighting the importance of cultural centers use such as physical or virtual museums and routes as well as city or world’s corners to develop learning sessions, and expanding the scope of visits to the physical and virtual museums in a kind of hybrid didactics will be the subjects of this research.
Reports on the topic "Artist museums"
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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.308086.
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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.309177.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.
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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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DMITRIENKO, B. Ch, O. A. KOVALEVA, and E. A. RUBETS. VR TECHNOLOGIES AS A MEANS OF VIRTUAL MUSEUM PEDAGOGY. Science and Innovation Center Publishing House, April 2022. http://dx.doi.org/10.12731/2658-4034-2022-13-1-2-63-70.
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Currently, museum pedagogy is a very promising area, covering all types of interactions between the museum and its audience. Museum pedagogy is an interdisciplinary field of scientific knowledge, “formed at the intersection of pedagogy, psychology, museology and the relevant discipline of the museum and built on its basis specific practical activities focused on the transfer of cultural (artistic) experience in a museum environment”. The rapid development of technology has led to the so-called modification of this scientific field, we mean a new branch of pedagogical knowledge is emerging - virtual museum pedagogy. VR technologies are beginning to occupy leading positions, but it is important to note that today in art pedagogy there is no idea how to build the educational process in such a context. Thus, this area of pedagogy today requires a deep and comprehensive study. This has determined the purpose of this study. The objectives of the study follow from the goal: 1) To reveal the specifics of virtual museum pedagogy 2) To develop basic pedagogical recommendations for conducting virtual excursions using VR technologies Materials and methods. The methods of this study were analysis and synthesis. Results and discussion. The results of the study consist in the VR technologies usage in art pedagogy features identification.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.
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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.
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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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Lynch, Clifford, and Diane Goldenberg-Hart. Beyond the Pandemic: The Future of the Research Enterprise in Academic Year 2021-22 and Beyond. Coalition for Networked Information, August 2021. http://dx.doi.org/10.56561/mwrp9673.
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In early June 2021, representatives from a number of CNI member institutions gathered for the third in a series of Executive Roundtable discussions that began in spring 2020, during the early days of the COVID-19 emergency. The conversations were intended to inform our understanding of how the pandemic had impacted the research enterprise and to share information about how institutions were planning to shape investments and strategies surrounding the research enterprise going forward. Previous Roundtables were held in April and September 2020 and reports from those conversations are available from http://www.cni.org/tag/executive-roundtable-report. As with the earlier Roundtables on this topic, June participants primarily included senior library administrators, directors of research computing and information technology, and chief research officers from a variety of higher education institutions across the US and Canada; most participating member institutions were public universities with high research activity, though some mid-sized and private institutions participated as well. The June Roundtable took place in a single convening, supplemented by an additional conversation with a key institution unable to join the group meeting due to last-minute scheduling conflicts. As before, we urged participants to think about research broadly, encompassing the humanities, social sciences, and fieldwork activities, as well as the work that takes place in campus laboratories or facilities shared by broader research communities; indeed, the discussions occasionally considered adjacent areas such as the performing arts. The discussion was wide-ranging, including, but not limited to: the challenges involving undergraduate, graduate and international students; labs and core instrumentation; access to physical collections (libraries, museums, herbaria, etc.) and digital materials; patterns of impact on various disciplines and mitigation strategies; and institutional approaches to improving research resilience. We sensed a growing understanding and sensitivity to the human toll the pandemic has taken on the research community. There were several consistent themes throughout the Roundtable series, but shifts in assumptions, planning, and preparation have been evident as vaccination rates have increased and as organizations have grown somewhat more confident in their ability to sustain largely in-person operations by fall 2021. Still, uncertainties abound and considerable notes of tentativeness remain, and indeed, events subsequent to the Roundtable, such as the large-scale spread of the Delta variant of COVID-19 in the US, have eroded much of the confidence we heard in June 2021, though probably more around instructional strategies than the continuity of the research enterprise. The events of the past 18 months, combined with a growing series of climate change-driven disruptions, have infused a certain level of humility into institutional planning, and they continue to underscore the importance of approaches that emphasize resilience and flexibility.
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Conxuntura estatística do ámbito cultural. Maio de 2022. Consello da Cultura Galega, May 2022. http://dx.doi.org/10.17075/ceacm.2022.
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Este informe constitúe a quinta conxuntura estatística do ámbito cultural en Galicia que realiza o Consello da Cultura Galega e ten como obxectivo dar continuidade a unha serie de informes publicados a partir do primeiro semestre de 2020 para dar conta da situación pola que atravesaba o sector cultural galego a raíz da crise da COVID-19. Nesta conxuntura de maio de 2022, ademais de actualizar os datos anteriores como os de creación de empresas, emprego cultural, gasto público en cultura, comercio exterior, IPC, confianza dos consumidores, contabilidade trimestral e gasto das familias, tamén se incorporaron datos novos das distintas fontes estatísticas de cultura que se foron actualizando este ano. Descríbense os datos referentes a museos e coleccións museográficas e aos bens de interese cultural. Tamén se dá información sobre artes escénicas e musicais procedente do Instituto Nacional de las Artes Escénicas y de la Música (INAEM) e dos anuarios da Sociedad General de Autores y Editores (SGAE).Por último, incluíronse datos sobre turismo cultural.