Dissertations / Theses: 'Museum and archive studies'

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Mendelson, Zoë. "Psychologies and spaces of accumulation : the hoard as collagist methodology (and other stories)." Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/11730/.

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Taking hoarding as a model for amassing materials within art practice, this research questions the borders of a productive or rational relationship to collation and the development of pathology. In practice, I focus on how materials can be manipulated to reflect or imply attachments and value systems within disorder, collection and their interpretations/ analyses. Using historical examples, I question how disorder is formed, spatially, aesthetically and through clinical record-keeping, making specific reference to written/visual case-studies from Charcot and Freud. I question whether disorder can ever be seen as a culturally produced phenomenon in parallel to its clinical counterpart and suggest its uses to knowledge production within the fields of Fine Art and critical theory. I suggest hoarding – and the cultural construction of disorder - as collagist and create works, which reflect on the borders of psychopathological attachments to ‘stuff’; psychologies inherent to accumulation; and conscious and unconscious spaces occupied by both object and analysis. Creating new collagist and fictive methodologies out of the construction of case histories, and through the cooption of diagnostic tools and narratology used in psychoanalysis, I write about the work and within the work. This research questions how psychological disorder is re-narrated through fictive and visual forms within culture and via collective understandings of psychoanalytic subjectivities. I suggest how these fictions connect, accumulate and reflect back on themselves, affecting research and crossovers within psychoanalytic, spatial and cultural fields. I make links between the modern city and psychological disorder, drawing on the psychical affects of changes in urban space. Examining collation, the construction of psychological spaces and temporality in art practice (from Kurt Schwitters’ Merzbau to Michael Landy’s Break Down and Tomoko Takahashi’s collation of objects) alongside new clinical research into Hoarding Disorder, I relate compulsion and space to a rationalisation of clutter in contemporary practice.

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Geyer, Andrea. "A TRIBAL SPECIAL LIBRARY AND ARCHIVES PROJECT: ESTABLISHING THE MALKI MUSEUM SPECIAL LIBRARY AND ARCHIVES." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/752.

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The Malki Museum Tribal Special Library and Archives project is an on-site repository created in order to provide access to information regarding tribal culture and heritage to local tribal members and researchers. The project filled the need for a space dedicated to material related to the history of local Southern California Native American tribes and information regarding the topics of Archaeology, Anthropology and History. The collection includes: books, manuscripts, documents, audio/visual media, and photographs. Bringing together multimedia sources, the Special Tribal Library allows for the preservation and accessibility of these items through cataloging and digitizing the collection. This method allows for the collection to be available to the public while being able to preserve its integrity through limited handling. In order to facilitate the establishment of the Special Library and Archive, the Malki Museum Special Tribal Library and Archives project teamed up with the Malki Museum’s Director, as well as the Malki Museum’s Tribal Board of Directors. Several weeks of organization, assessment, and collaboration helped prepare the Special Library first for user-friendliness. The final product is the Malki Museum Tribal Special Library which provides tribal members and scholars alike a locality where research can be undertaken and acquired. The Malki Museum Tribal Special Library project helps bring important data within reach to its local community.

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Soltys, Hannah, and Hannah Soltys. "Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626142.

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In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephemeral artworks.

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Castro, Amanda E. "MENTAL HEALTH MEMORIES: A WEB-BASED ARCHIVE FOR MENTAL HEALTH STORIES." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/517.

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The Mental Health Memories project is an online archive created in order to display and preserve the personal histories of those with mental health experiences. The project aims to fill a void in available material culture related to the history of mental health and its preservation. Participants’ contributions include: oral histories, personal items, documents, and audio. Bringing together multimedia sources, the MHMemories website allows for the preservation of these items and stories through the digitization of contributions. This method allows for participants’ items to stay in their possession while also becoming part of the archive. In order to recruit participants, the Mental Health Memories project teamed up with the Psychiatric Stories Archive, based at California State University San Bernardino, and the San Bernardino County Behavioral Health Clubhouse. Three collection days facilitated the gathering of materials. The final product is the MHMemories.org/.com website which showcases the contributions of participants. The Mental Health Memories project helps to illustrate the diversity of mental health experiences.

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Rosen, Kristina. "Bernhard Schmidts kvarlåtenskap och det globala kulturarvet." Thesis, Uppsala universitet, Institutionen för ABM, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354013.

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This master thesis is about the Estonian-Swedish astro-optician Bernhard Schmidt (1879-1935) and his legacy. He was born on the island of Nargö outside Tallinn in Estonia. In 1930 he invented a special optical system for telescopes called the Schmidt telescope or Schmidt camera. At that time Bernhard Schmidt was working as a freelance at the Bergedorf observatory outside Hamburg in Germany. His invention contributed to astronomical research which changed our view of the sky and of the universe. The time he was living in was politically turbulent and science was flourishing. The written sources about Bernhard Schmidt and his telescope are mainly published in German, Russian, Estonian and English. Almost nothing is published in Swedish. The sources to his personal history and the archive material concerning him are partly scattered and it is difficult to assemble a complete picture. The purpose is to find and to map out what kind of archive material is preserved about him. The aim is also to find out who is in charge of it and how accessible it is. Is there global access to the material? Observatories, museums and archives in Sweden, Germany and Estonia were visited to map his legacy. The theories of James Cuno (2008) and the triad or three principles of management: preservation, knowledge and access were used in the analysis of the findings. Most material is kept and preserved at the Hamburg Bergedorf observatory, University of Hamburg. This is also the place where Bernhard Schmidt spent the last years of his life and it is here we can find his burial site. At the Hamburg Bergedorf observatory today there is a Bernhard Schmidt archive, a Schmidt museum with the first prototype of his telescope and an archive of photographic plates with photographic pictures of the stars and other astronomical objects. The two archives are in a digitalizing process and when completed they will be globally accessible and a part of our global heritage.

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Wetovick, Kalie Nicole. "Geodæsia: Land and Memory." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1303780078.

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Geise, Susanne Seybold. "From Ambiguity to Perspicuity: Applying Burke's Pentad as a Means of Preserving and Expanding the Discourse Community of Blacksmithing History in Hancock County." University of Findlay / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1525801452672734.

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İhraç, Jasmin. "Open to the public: strategies for a museum archive." Hochschule für Musik und Theater 'Felix Mendelssohn Bartholdy' Leipzig, 2015. https://slub.qucosa.de/id/qucosa%3A7498.

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How could a contemporary archive in an art institution be organized, what can or should its parameters be? In recent years archiving has become an important subject for museums and galleries as they consider and organize the documentation and accessibility of their past activities and exhibitions. The article deals with the Fundació Antoní Tàpies in Barcelona and its special programmes to engage visitors in working with archive material in the museum space. The institutional framework developed at the Fundació includes the activation of different visitor groups, the establishing of online tools and the creation of new exhibitions based on archive material. These aspects aim at an open access to the archive for the public.

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McDonald, Mary Catherine. "National Museum of Film and Photography." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/33106.

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Between the National Gallery of Art and the National Museum of Natural History in Washington, D.C., the National Museum of Film and Photography design thesis explores issues of architecture at a scale of cultural significance. This thesis is the architectural manifestation of a museum as a research institution, separate from, yet contributing to an educational mission. It is inspired by the thin line between the two worlds, the public museum and the unseen, though often larger, private archive. In this thesis, a home for a treasury of artifacts was designed, so that they might be experienced, and for their intrinsic value. This design thesis explores the role of context, scale, and geometry in a building for the National Mall, as well as the critical requirements and specialized program of a museum. The orthogonal and radial geometry of the city are echoed in the plan. The building program, as well as the physical opportunities of the site, led to the form of the building. The simultaneous cycles of the artifact, the visitor, and the worker, and how they related to the role and amount of natural light also contributed to the form. The thesis is also developed based on the relationship between an object or a film, and a viewer.
Master of Architecture

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Nemec, Belinda. "The Grainger Museum in its museological and historical contexts /." Connect to thesis, 2006. http://eprints.unimelb.edu.au/archive/00002313.

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Coxall, Helen. "Studies in museum language." Thesis, Oxford Brookes University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294222.

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Gore, James Michael. "Representations of history and nation in museums in Australia and Aotearoa New Zealand : the National Museum of Australia and the Museum of New Zealand, Te Papa Tongarewa /." [Australia] : J. Gore, 2002. http://eprints.unimelb.edu.au/archive/00000320.

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Bowen, Rachel Elaine. "The Pamunkey Indian Museum: Collaboration, Display, and the Creation of a Tribal Museum." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539626755.

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He, Jingyu. "User assisted archive document analysis for the UK National History Museum." Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437146.

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Hontos, Vasiliki. "Conservation survey of the Benaki Museum Photographic Archive in Athens, Greece /." Online version of thesis, 1991. http://hdl.handle.net/1850/11621.

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Corkill, Claire. "Knockaloe First World War internment camp : a virtual museum and archive." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/7986/.

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During the First World War Knockaloe Farm on the west coast of the Isle of Man became an internment camp home to almost 25,000 ‘enemy aliens’. These men, interned for the duration of the war turned their place of incarceration into a unique and productive community with facilities for work, sports and entertainment. The material culture of Knockaloe is wealthy in both quantity and style. Sources include postcards, camp newspapers, journals and photographs along with large collections in public and private ownership of craftwork produced for sale throughout Europe by the internees. This research aims to draw together the material culture of Knockaloe providing interpretation and accessibility through the creation of a virtual museum and archive. By drawing the material together and considering objects, documents and images collectively it is hoped to reconnect with the internees and their experiences within the camp. Through studying aspects of camp life such as the use of space, activities and broader issues such as identity and control and the consideration of other sites of designed and controlled settlement it will be possible to show if Knockaloe was a stereotypical representation of incarceration or if its constraints were relaxed allowing the internees to manipulate their environment.

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江婉芬 and Yuen-fan Bonnie Kong. "Museum Street, street Museum-[Museum] of Sheung Wan Heritage Trail." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986511.

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Baker, Kim. "Adapting the model for information literacy and cultural heritage in Cape Town: investigating user attitudes and preceptions in libraries, museums and archives." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13646.

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Adapting the Model for Information Literacy and Cultural Heritage in Cape Town: investigating user attitudes and perceptions in libraries, museums and archives, by Kim Baker, investigates the attitudes and perceptions of general public adult users of the City of Cape Town public libraries, Iziko Museums of South Africa, and the Western Cape Archives and Records Service in Cape Town towards cultural heritage, information literacy and learning in order to adapt the Model for Information Literacy and Cultural Heritage for Lifelong Learning to the Cape Town context. A generic Model for international use was developed for the book. In formation Literacy and Cultural Heritage: Developing a model for lifelong learning . (Baker, 2013). The adapt at ion of the generic model is a necessary preliminary step before designing courses to teach information literacy and cultural heritage to the general public in a given local context and in an integrated manner, with public libraries, museums and archives collaborating and co - operating to provide the training together. The investigation was conducted by means of survey questionnaires, which applied within-method triangulation of quantitative and qualitative questions, and a combination of Yes/No answers, Likert scale questions and multiple-choice questions. The survey questionnaires included the demographic categories of race, gender, age group, home language, level of education, religion and employment status in order to gain an understanding of the demographic profiles of users necessary to the application of training in cultural heritage to different cultural groups. Questions were grouped into sections, with Section A asking questions pertaining to understandings of cultural heritage, Section B investigating whether users had access to the Internet at home, and if so, how much bandwidth was available to them; Section C explored information seeking and evaluation (information literacy) patterns, and Section D explored learning behaviours and preferences. Section E explored whether users of the public libraries also used museums and archives, why or why not; whether users of the museums used public libraries and archives, and why or why not, and whether users of the Archives used public libraries, and why or why not. At the public libraries, 480 respondents across the branches of Central Library; Athlone; Milnerton; Moses Mahbida; Grassy Park; Bellville; Harare; Somerset West; Brackenfell and Town Centre, Mitchell’s Plain, completed the questionnaires. At Iziko Museums, 220 respondents across the sites of the South African Museum, and the Slave Lodge completed questionnaires. At the Archives , which has only one site, 25 respondents completed the questionnaires. The surveying was conducted using the convenience sampling method. The data was analyzed using Microsoft Excel 2010, by means of non-parametric, descriptive statistics and presented in graphic format. Following the interpretation of the results, and as a result of this study, recommendations were made for the adapt at ion of the Model of Information Literacy and Cultural Heritage for Lifelong Learning to apply to the context of Cape Town.

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Bennett, Hunter Alane. "Help, Museum Needed| Building a Digital Museum for Lincoln County, Arkansas." Thesis, University of Arkansas at Little Rock, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10812452.

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Lincoln County, Arkansas, is a small county in the southeastern sector of Arkansas that lacks a museum dedicated to its history. With Lincoln County lacking the funds to purchase/build a physical space that is on-par with current museum standards, a museum building is an impossibility at this point. Yet, the older generations that are full of knowledge about the history of the county are fading away. To preserve past and future history, a new spin on a museum had to be accomplished. The spin was creating a digital museum. This study goes in-depth on the creation of a digital database and museum for Lincoln County using Omeka.net and WordPress.com according to Dublin Core and museum standards. The websites showcase a broad and general history of Lincoln County that will hopefully become a foundation for the creation of a physical museum.

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Lally, Janice. "The Australian aboriginal collection in the Museum für Völkerkunde, Berlin and the making of cultural identity /." Connect to thesis, 2002. http://eprints.unimelb.edu.au/archive/00000309.

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Plitt, Joel Ivan. "History museum and archive of the lesbian and gay community of New York City." Thesis, Virginia Polytechnic Institute and State University, 1994. http://hdl.handle.net/10919/53383.

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This thesis is an exercise in responsibility regarding my actions as an architect. It is based upon the belief that architecture is a product conveying culture. While architecture can convey culture, it also has the potential to shape and facilitate change q in culture. Therefore, one can view the architect as more than a technician, making architecture stand and work properly, or an artist, concerned with the aesthetic/architectonic qualities of architecture, but rather as an active entity who can both convey and change cultural values through the built environment. The struggle in this thesis regarding responsibility has been to make my role more than an active entity in culture, but a consciously active entity in culture. Since I have long viewed culture as a political product and one's existence in culture as a political act, then one’s responsibility as an architect could be to make architecture as the conscious embodiment of a political ideology. For me, feminism is the political ideology, and Liberative Architecture is the conscious embodiment.
Master of Architecture

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Matheson, Fiona Combe. "Museum policy and marketing strategies." Thesis, Northumbria University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333143.

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Banks, Annabel. "Poetry and the archive." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/13328/.

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In 2006 selected Cornish mining areas were validated as UNESCO World Heritage Sites. Here are found numerous remnants of the mining industry that justified Cornwall’s prominence from the Industrial Revolution up to the close of the last major mine in the 1990s. An essential part of that history is the trade of The Boulton and Watt Mining Company, formed when Midlands businessman Matthew Boulton (1728-1809) joined forces with Scotsman James Watt (1736-1819). This partnership influenced the history of Cornish mining and the whole Industrial Revolution. Traces of their endeavours remain on the Cornish landscape and in Cornish identity. Correspondence between the two men and Cornish mine manager Thomas Wilson (1748-1820) is held at the Cornish Records Office and is available online. Creative work began with these letters, seeking moments, words and gestures to resonate with narratives of the Cornish post-industrial landscape. These narratives were gathered through interviews with locals, tourists, students, mining enthusiasts and those who knew nothing of the Cornish industrial past, and were supported by experience and observation of the Cornish landscape. Poetry written from these sources strives to reflect upon contemporary landscape use and promote cultural ownership and understanding. To this aim, readings of the two collections were given in 2013 and the collections subsequently self-published. Responses to the work show that this project not only promoted Cornish industrial heritage but also prompted recognition of how stories of the contemporary Cornish landscape are intertwined with its history. This project’s partner was the King Edward Mine Museum, Troon, near Camborne, and its aims were supported by the Cornwall Record Office, Truro.

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Garz, Jessica Beth. "The museum as agent of participatory planning : the Queens Museum of Art engages an immigrant neighborhood." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/79200.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2013.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 57-61).
In neighborhoods facing demographic shifts, like changes in ethnicity, class and language, resident participation in state-sponsored planning processes can be difficult due to unfamiliarity, mistrust or cultural misalignment between residents and existing planning agents. This is particularly true in neighborhoods with large populations of new immigrants, where residents do not only face language barriers, long working hours and a general unfamiliarity with local planning processes, but are also prone to face cultures of discrimination or self-induce exclusion for fear of legal action to shaky residency status. In this thesis I ask how can a cultural institution include new immigrants in participatory artist-led, neighborhood-based processes that ultimately connect to state-sponsored planning efforts? Specifically, how can a museum tie together independent participatory artist-led projects in a meaningful and impactful manner? Through a primarily case study of the Queens Museum of Art (QMA) located in New York City, I illustrate how with the specific goals of incorporating the voices of new immigrants in the New York City Department of Transportation (DOT) renovation project in Corona Plaza, the museum was able to facilitate a collaborative participatory process that engaged multiple actors in an open and dynamic manner. I situate the case within the literatures of participation, from planning and art, in order to present various perspectives on the meaning, value and limitations of participation. Drawing from the literature, 1 highlight how without a clear declaration of long-term goals, QMA may face difficulty maintaining the commitment and participation of residents and may face questions of legitimacy in their community-based work in Corona. Following a general discussion of the advantages and disadvantages of a civil society institution involving itself in the political realm, I conclude that with a clear set of goals and with an acknowledgement of their own capacity limitations, museums can facilitate collaborative and dynamic participatory processes that overcome limitations of formulaic government-led processes and promote the planning of inclusive and equitable neighborhoods.
by Jessica Beth Garz.
M.C.P.

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Long, Shannon Rene. "PRESERVING, INTERPRETING, AND DISPLAYING MENTAL HEALTH HISTORY: ESTABLISHING THE PATTON STATE HOSPITAL MUSEUM AND ARCHIVE." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/209.

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There are few museums in the western half of the United States that provide an opportunity to educate the public about the history of mental health care. Recently, a mental health museum and archive of artifacts, photographs, and documents was established on the grounds of Patton State Hospital in Highland, California. The purpose of this paper is to reflect on the establishment of this museum and archive and to provide an account of the 125 year history of Patton State Hospital. Understanding the history of Patton provides an opportunity to understand the history of mental health care in the United States from the late 19th century to the present. The establishment of this museum and archive became a joint initiative between Patton and California State University, San Bernardino’s History Department in January 2014. The museum and archive are meant to provide an educational venue that will increase awareness of the plight of the mentally ill, decrease stigmatization of those afflicted with mental illness, and further efforts to improve the care of patients through preservation and display of the artifacts, photographs, and documents related to Patton’s history. The goal of this paper is to assist future public historians with the design and establishment of a museum and/or archive, be it related to mental health history or to projects with other themes, and to provide information to other mental health facilities that wish to establish their own museums.

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Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.

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Weiss, Katherine. "Archive Fever, Archive Failure: Exploring the ‘it’ in Beckett’s Theatre." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2303.

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Using Jacques Derrida's 1995 study, Archive Fever, Weiss examines how Samuel Beckett's Come and Go and Footfalls stage the failed acts of archiving. In both plays, memories are either unknown or not named. Either way, without being named they cannot be collected, catalogued or made public. Despite this, the women haunting his plays seem struck by archive fever. Ultimately, Beckett stages the tension between the desire to remain silent with the desire to archive.

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Hill, Keith David. "Studies of balance in older people." Thesis, Connect to thesis, 1997. http://eprints.unimelb.edu.au/archive/00000953.

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Walker, Dominic. "Towards the collaborative museum? : social media, participation, disciplinary experts and the public in the contemporary museum." Thesis, University of Cambridge, 2016. https://www.repository.cam.ac.uk/handle/1810/253771.

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This thesis examines the use of social media by museums aiming to establish collaborative relationships with the public. Social media platforms have been widely espoused as transformative in allowing diverse, new or previously excluded audiences to enter into egalitarian, participatory relationships with museums. This thesis deconstructs the concepts of participation and collaboration and identifies the various factors that constrain the extent to which social media enables participatory relationships between previously unequal actors. These factors include the historical disciplinary aims and cultural authority of museums, persistent social inequalities, and the motivations of social media followers. It elucidates crucial questions such as, are various publics enabled to participate on an equal level with each other and with museums? Who benefits from collaborative projects in general and which parties benefit from the use of social media in particular? What are the factors that limit the establishment of collaborative practice? And, conversely, what are the factors that define truly collaborative practice? This research examines museums' use of and discourses surrounding social media as well as social media followers' motivations for engaging with museums online. A large body of quantitative and qualitative data gained through in-depth web-based surveys is analysed, primarily using critical discourse analysis, and informed by other critical orientations including media archaeology and the sociology of expertise. The analysis indicates that museums consider social media to be a transformative, democratising technology. However, museums' acceptance of technologically determinist arguments significantly inhibits positive societal change and the extent to which collaborative relationships can be established with various publics. This research contributes significantly to the existing archaeological and museum studies literature by providing a theoretically and empirically informed critical analysis of the prevailing positive discourses surrounding social media and participation. It has important practical implications for museums in arguing that targeted, critically informed and ethically aware projects are necessary to achieve situations resembling 'collaboration'. It provides a significant body of data that will inform the formulation and continuation of collaborative projects in museums. Furthermore, it informs broader archaeological debates on involving various publics in archaeological practice. This thesis also demonstrates the importance and effectiveness of critical discourse analysis and related critical approaches for analysing large bodies of qualitative data.

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Glasscock, Ann Marie. "THE SIXTY-NINTH STREET BRANCH OF THE PHILADELPHIA MUSEUM OF ART: A RESPONSE TO MUSEUM THEORY AND DESIGN." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197756.

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Art History
M.A.
By the 1920s, ideas about the function and appearance of the American art museum were shifting such that they no longer were perceived to be merely storehouses of art. Rather, they were meant to fill a present democratic need of reaching out to the public and actively helping to cultivate the tastes and knowledge of a desired culturally literate citizen. As a result of debates about the museum's mission, audience, and design, in 1931 the Philadelphia Museum of Art opened the first branch museum in the nation on 69th Street in the suburb of Upper Darby in an effort to improve the relationship between the museum and the community. With sponsorship by its parent institution and financing by the Carnegie Corporation of New York City, the two organizations hoped to determine, over a five-year period, whether branch museums, like branch libraries, would be equally successful and valuable in reaching out to the public, both physically and intellectually. The new Sixty-ninth Street Branch Museum was to serve as a valuable mechanism for civic education by encouraging citizens to think constructively about art and for the development of aesthetic satisfaction, but more importantly it was to be a catalyst for social change by integrating the visual arts into the daily life of the community. In this thesis I will demonstrate that, although the first branch museum was only open for a year and a half, it nonetheless succeeded in shaping the way people thought about art and how museums were meant to function as democratic institutions in American society.
Temple University--Theses

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Gohman, Stacy Chieko Lonjers. "A mixed methods study describing the link between reflective practice and work engagement among museum exhibit developers." Thesis, Capella University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3730571.

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This study examined reflective practices and work engagement among museum exhibit developers in the United States. The primary goal of this sequential explanatory study was to determine if there is a link between reflective practice and work engagement, and to understand the nature of any link. Secondarily, the study sought to identify the extent of reflective practice use among exhibit developers, the extent to which exhibit developers are engaged in their work, exhibit developers’ perceptions of reflective practice, and exhibit developers’ perceptions about the benefits and challenges of engaging in reflective practice. Using Spearman’s coefficient, this study found that reflective practice and work engagement are significantly correlated (p = .002). This study also found that exhibit developers are highly reflective concerning their work and are very highly engaged in their work. According to this study, exhibit developers have higher than average vigor, dedication, and absorption. Participants in this study suggested that reflective practice influences vigor and dedication in exhibit developers. Reflective practice helps exhibit developers persist through challenges in their work and helps them feel they made the correct career choice. Engaging in reflective practice also helps exhibit developers feel like they are engaged in significant work, feel more inspired, and feel challenged by their work. Exhibit developers have many different perceptions of reflective practice, including the following: thinking of reflective practice as mindfulness; engaging in reflective practice by looking at past experiences; using reflective practice to ensure the pieces fit together as a cohesive whole; using prototyping and evaluation as part of reflective practice; using reflection as critique; reflecting while looking at other people’s exhibits; and having reflective discussions. Benefits of engaging in reflective practice included focus on audience needs, incorporation of diverse perspectives, ongoing engagement with projects, meeting personal needs, gaining assistance and confidence in making decisions, and promoting adaptability. Challenges to engaging in reflective practice included time, money, the attitudes of museum or team leadership, other colleagues, the institutional culture, and the field in general.

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Hawkins, Callie Pettit. "An Interpretive Plan for the Newry, South Carolina Cotton Mill Museum." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626643.

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Scott-Cumming, Patricia. "Socialising the archive : art and archival encounters." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13462/.

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Within fine art practice the archive is referred to and drawn on by artists in many different ways, including referencing processes of collection and accumulation to create new work and engaging with documents to create narratives that contest mainstream histories. This practice based research sheds light on the backstage of archival engagement and knowledge production processes. Following the trajectory of a single artist’s encounter with a particular institutional archive, The Baring Archive, and the onward encounters this precipitates, this thesis explores how knowledge is negotiated and archival authority sustained, at the intersection of multiple forces; by human actors coming into contact with documents under particular conditions, localities, habits, protocols, exchanges, loyalties, emotions, personalities and more. Rooted in embedded art practice, the research articulates a series of performative experiments undertaken in The Baring Archive to reveal the conventions underpinning knowledge production in this instance, focusing on the relationship between the artist (as archive user) and the archivist. The research evolves iteratively to test whether these normative roles and agencies can be reformulated to shift patterns of narrative control concerning The Baring Archive away from the archivist as a gatekeeper or privileged interpreter to other interpreters, with the aim of democratising processes of knowledge production. Through testing out different devices for keeping archival interpretation open, the research arrives at a formulation for distributed authorship, and an understanding of how positionality affects the knowledge production process. The research finally identifies how findings relating to archival dynamics can be applied to effect a redistribution of power in artistic practice more generally, in situations where artists are working with participants or audiences to create narratives at the intersection of events and documents.

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Thompson, Matthew. "Fragments from a future archive." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/23891/.

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This PhD introduces new ways to configure the archive as a source of knowledge. This is because it is based in an art practice whose field of interest is institutional critique which determines that knowledge is both contingent and uncertain as different social and political factors come into play. The project pursues a line of inquiry which absorbs the artist, where the artist is seen to affect and be affected by the materials of an existing archive. The inquiry produces new connections and layers of meaning in relation to the archive whilst exposing and recording the precise methods and motivations of the artist whose project is to re-imagine what an archive might be. This PhD project is triggered by a small act of transgression, where the artist manifests early intent by purloining a slide transparency from the archives of The Martin Luther King Memorial Library in Washington DC. This action determines the future trajectory of the project: a project which has its origins in the political and social upheavals in Washington during 1968; specifically in relation to Martin Luther King's Poor People's Campaign, the civil disturbances which followed King's assassination and the subsequent construction of the MLK Memorial Library which opened in 1972. The method of the inquiry is based upon the condition that the materials of the archive be extricated from institutional constraint and are re-deployed within an artistic practice, a practice which is situated in the present and is directly influenced by the effects and characteristics of the everyday. Consequently, archival materials are explored through a process of displacement and distraction, where a close examination of the oblique, mundane, arbitrary, overlooked and peripheral is brought into play. A future archive is imagined which expands upon previous models proposed by a number of artists emerging during the late 1960s such as Marcel Broodthaers, Mel Bochner, Robert Barry, Robert Smithson, Douglas Huebler and Allan Ruppersberg. The relevance of these artists' practices in relation to the field of knowledge that this project contributes to, is demonstrated in the manner in which specific histories are reassembled through a layering of past and present, fact and fiction, artist and subject. Equally significant is the way in which each artist employs documentation as a primary method and outcome within their practices. The project takes the form of an exhibition and several interconnected texts. The primary text 'Oriented Strand Board' (Section 2) employs a diary-like, first person narrative which unfolds over a single day. This text should be read first. Two accompanying satellite texts: 'Classified' (Section 3) - an expanded transcription from The Washington Post Classified; and 'Resurrection City' (Section 4) - a diary account by the late architect John Wiebenson - are meant to be considered during or after reading 'Oriented Strand Board'. In this way, official documents of the time are set next to a single day exposing the researcher's methods of placing disparate materials together to signal a resistance to certain or accretive knowledge. The 'OSB Manifesto' (Section 5) takes all the raw data from this Abstract (Section 1); i.e. the text itself, and reconfigures each word and punctuation mark in order to produce an alternative field of communication. A further text 'Viva Voce' (Section 6) accompanies the material described above. This additional text is a transcription from an audio recording of the Viva which took place om 25 January 2012 at Kingston University. The production and inclusion of this text serves to support and expand upon the transcribed material existing throughout the research. This PhD makes an original contribution to knowledge in the area of research into specific archives as it foregrounds the role of the artist researcher as protagonist within the research itself. The movements and preoccupations of the researcher embed themselves within an enquiry that conflates the historical with the imagination, where the bond between the author and research is exposed as one directly affected by the unfolding events of the present.

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Stroh, Stephanie. "Embodiment and theatricality in post-museum practice." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/39273/.

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A recent shift to a more performative and relational understanding of the museum and its practices can be witnessed in the field of museum studies. This shift reimagines the museum as experience, process or performance, and is reflected in what has been termed the 'post-museum'. The post-museum challenges the representational practices of the museum, and introduces a potential 'liqud imaginary' which dissolves the traditional boundaries of what constitutes a museum. While these ideas point to relevant changes in the way museums are perceived and practiced, the field has so far failed to explore the implications of this shift for the practice of museum research. This study examines the potential of the post-museum for developing new approaches to research practices. It contributes to the field of museum studies by exploring creative research methods that qualify as site-responsive, experimental means of critically engaing with the museum. These creative methods of research are developed on-site at the National Maritime Museum Greenwich, London. Under-represented in the museological literature, maritime museums provide potent opportunity as sites for experimentation into creative, more-than-representational approaches to museum research. The study examines creative research methodologies through the embodied mode of inhabitation, which it conceptualises through the notions of dwelling and travelling. Drawing on the concept of the 'mariner's craft' from maritime literary criticism and so-called wet or liquid ontologies from human geography, the research explores the potential of post-museum thinking from a cross-disciplinary perspective. Inhabiting the Museum through creative-experimental doings, the thesis-in-motion maps out an uncertain voyage into the uncharted territories of creative maritime museum research, a voyage of exploration, intervention, and creativity.

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Mosher, Melissa Beth. "Elizabeth Perkins and Jefferds Tavern: A n Example of the Influence of the Colonial Revival Upon Museums." W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539625434.

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Talbot, Melinda Grace. "Producing the Past: Museums, Reproductions, Consumers, and Authenticity." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626153.

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Gonzalez, Desi (Desiree Marie). "Museum making : creating with new technologies in art museums." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97995.

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Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 151-155).
Hackathons, maker spaces, R&D labs: these terms are common to the world of technology, but have only recently seeped into museums. The last few years have witnessed a wave of art museum initiatives that invite audiences-from casual visitors to professional artists and technologists-to take the reins of creative production using emerging technologies. The goals of this thesis are threefold. First, I situate this trend, which I call "museum making," within two historical narratives: the legacy of museums as sites for art making and the birth of hacker and maker cultures. These two lineages-histories of art-based and technology-based creative production-are part of a larger participatory ethos prevalent today. A second goal of this thesis is to document museum making initiatives as they emerge, with an eye to how staff members at museums are able to develop such programs despite limited financial, technological, or institutional support or knowledge. Finally, I critically examine how museum making may or may not challenge traditional structures of power in museums. Museum making embodies a tension between the desire to make the museum a more open and equitable space-both by inviting creators into the museum, and by welcoming newer forms of creative production that might not align with today's art world-and the need to maintain institutions' authority as arbiters of culture. My analysis draws on a wide range of fields, including sociology, educational theory, media studies, museum studies, and art theory. This thesis is informed by extensive fieldwork conducted at three sites: the Los Angeles County Museum of Art's Art + Technology Lab, a program that awards artist grants and mentorship from individuals and technology companies such as Google and SpaceX; the Metropolitan Museum of Art's Media Lab, an innovation lab that invites members of New York's creative technology community to develop prototypes for and based on the museum experience; and the Peabody Essex Museum's Maker Lounge, an in-gallery space in which visitors are invited to tinker with high and low technologies.
by Desi Gonzalez.
S.M.

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Coldiron, Marly E. "Cultivating Creativity: The Columbus Museum of Art and the Influence of Education on Museum Operation." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429176568.

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Dyehouse, Jeremiah. "Science Fiction : Rhetoric, Authenticity, Textuality and the Museum of Jurassic Technology." Oberlin College Honors Theses / OhioLINK, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1509374752516486.

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DiBenigno, Mariaelena. "Ghosts In The Museum: The Haunting Of Virginia’s Public History." W&M ScholarWorks, 2020. https://scholarworks.wm.edu/etd/1616444536.

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Ghosts haunt historic sites in metaphorical and literal ways. Visitors, regional communities, museum staff, historic preservationists, interpreters, anthropologists, archeologists, folklorists, tourism bureaus, and schoolchildren tell the stories. Some scholars attribute these specters to the nation’s repressed histories as they disrupt linear narratives of American progress. Ghost stories tend to depict histories missing from archives constructed by universities, historical societies, and other research institutions. Public history’s ghost stories also highlight the field’s long practice of delineating race through the creation of a specific American history. This project illustrates how ghost stories operate in museum discourse and how they reach out through a myriad of interpretive efforts: in exhibit panels, on guided tours, via tourist publications and online articles, with first-person actor interpretation, through program development and architectural reconstruction. These “new histories” require museums and public history sites to acknowledge openly who and what haunts their institutional narratives and the larger public discourse. Public history’s ghosts gesture towards the layered histories at locations obsessed with mythic white nationalism. Using Virginia’s sites of public history, this dissertation explores how ghostly discourse preserves lesser-known histories only recently shared at museums. Despite their problematic elements, ghost stories document how the public understands historic sites and who is missing from museum interpretations. The sites examined are varied, from physical locations to literary fictions, and transdisicplinary. Ultimately, “Ghosts in the Museum” argues that an acknowledgement of ghosts benefits the project(s) of public history. It re-places narratives of enslavement, genocide, dispossession, and violence on commemorative landscapes initially designed to privilege whiteness.

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Betancourt, Verónica E. "Brillan por su ausencia: Latinos as the missing outsiders of mainstream art museums." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339516509.

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Conway, Chelsea. "Participatory Activities and the Art Museum: A Case Study of the Columbus Museum of Art." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493982670620671.

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Smith, Samuel Albert. "Space, Place, and Story| Museum Geographies and Narratives of the American West." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10826278.

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This dissertation examines how the complex geography and contested history of the American West are presented through stories told in the region’s history museums. I examine how iconic regional-scale place images are juxtaposed with more critical perspectives on dissonant historical episodes in museum exhibits, and how the spaces of museum exhibits and galleries represent places, structure narratives, and suggest new thematic and geographical connections interpreting the region. Using a series of case studies of museums in Colorado and adjacent states, I develop new methods to analyze museum exhibits as “three-dimensional narratives,” in which spatial arrangements of objects, texts, and media structure narratives that interpret and contest the past.

This research builds on cultural geographic research on how contested memory is expressed and presented, both in symbolic landscapes, and through media. I extend this work in three main ways. First, I extend research on monuments and memorials to consider how museum spaces present and contest the past. Second, I follow recent engagements between geography and narrative theory, examining storytelling as a distinct form of discourse, with its own spatial dimensions. Third, I situate this investigation amid increasing scholarly attention to heritage tourism, particularly in terms of how the “Legacy of Conquest” of the American West is made marketable to visitors.

I explore this narrative geography through three case studies: First, a detailed examination of the History Colorado Center in downtown Denver highlights how spatial narratives organize and structure museum presentations, emphasizing some thematic and geographical connections while downplaying others. Second, a comparison of six Colorado museums highlighting race, ethnicity, and labor conflict examines the “genre conventions” through which these “counter-narratives” are linked to more conventional presentations of the regional past. Finally, a comparison of the state history museums of Colorado, New Mexico, and Wyoming explores how state geographies are presented as foundations of civic identities.

This research contributes to the cultural geographic understanding of museums as significant venues in which cultural meaning is presented and contested, and develops new methods for understanding museum narratives geographically. Such methods can be productively applied in other heritage tourism settings.

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Decker, Jillian. "The Restitution of World War II-Era Looted Art: Case Studies in Transitional Justice for American Museum Professionals." Walsh University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors155561854704584.

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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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Agostino, Cristiano. "Contemporary digital museum in theory and practice." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9483.

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This dissertation investigates the interplay between a selected set of museum practices, such as online strategies, digitisation of artwork reproductions, and crowdsourcing, through a theoretically grounded perspective. Existing discourse and debate on the museum's movement from an exclusively physical, to a digital or hybrid presence display an excessive interest in advocacy, usually focusing on small examples of successful practices which are then argued as somehow empowering or resolutive, usually from a 'social justice' point of view. Conversely, in those same discourses little attention is paid to the macro-context within which these cases take place: current debates lack an articulation of how museum practices reflect ongoing trends and paradigms on a culture-wide level, and also eschew non-advocative, neutral discussion of the politics, discourses and power relations that such practice entail. I suggest that the contemporary constructivist, digital museum can be better contextualised if we frame emergent digital museum praxis within a framework that resorts to well-established, and well-described theoretical paradigms that can be observed in other cultural and social contexts as well. The advantage of such an approach is that museum practice, and the museum as an institution, can then be seen in continuity with current macro-trends, rather than as isolates whose usefulness and sustainability begins and ends within the museum's precinct. This dissertation begins this proposed shift in point of view by addressing emergent museum practices such as the drafting of digital strategies; the creation of digital reproductions of artworks for online display; and crowdsourcing in the context of theoretical frameworks such as the utopian imagination; ontology of digital-beings; and contemporary labour practices. While not comprehensive, and exploratory in nature, this dissertation contributes to the discipline by providing a new, more in-depth point of view on 'hot' practices, encouraging a contextualisation of the museum that goes beyond the museum itself, into a theoretical and interdisciplinary field that takes advantage of ideas developed within digital humanities, labour critique, informatics and cultural studies.

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Fay, Mark Roger. "Comparative life cycle energy studies of typical Australian suburban dwellings /." Connect to thesis, 1999. http://eprints.unimelb.edu.au/archive/00000382.

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Brown, Steven J. "Immunological studies of a glycosylation based mouse model of colitis /." Connect to thesis, 2004. http://eprints.unimelb.edu.au/archive/00000788.

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Thesis (Ph.D.)--University of Melbourne, Dept. of Gastroenterology and the Immunology Research Centre St. Vincents Hospital & Dept of Medicine, 2004.
Typescript (photocopy). Includes bibliographical references (leaves 309-343).

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Schenck, William. "Emerald City| Environmental Advocacy through Experiential Design." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590882.

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This thesis documents the research and development behind a proposed exhibition advocating for the principles of sustainable urbanism to young adults. Emerald City interprets Philadelphia as an evolving system of infrastructure and traces its relationship to the natural environment from the Industrial Age to the present, followed by an exploration of the city’s possible future through the lens of current proposals of sustainable development.

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Dissertations / Theses on the topic 'Museum and archive studies'

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