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Journal articles on the topic 'New Bedford Art Museum'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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1

COOPER, BARRY J., and JAMES B. JAGO. "ROBERT BEDFORD (1874–1951), THE KYANCUTTA MUSEUM, AND A UNIQUE CONTRIBUTION TO INTERNATIONAL GEOLOGY." Earth Sciences History 37, no. 2 (January 1, 2018): 416–43. http://dx.doi.org/10.17704/1944-6178-37.2.416.

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Robert Bedford (1874–1951), based in the isolated community of Kyancutta in South Australia, was a unique contributor to world geology, specifically in the field of meteorites and fossil archaeocyatha. Born Robert Arthur Buddicom in Shropshire, UK, he was an Oxford graduate who worked as a scientist in Freiberg, Naples, Birmingham and Shrewsbury as well as with the Natural History Museum, Kensington and the Plymouth Museum in the United Kingdom. He was a Fellow of the Geological Society of London, 1899–1910. In 1915, Buddicom changed his surname to Bedford and relocated to South Australia. During the 1920s, Bedford expanded his geological interests with the establishment of a public museum in Kyancutta in 1929. This included material previously collected and stored in the United Kingdom before being sent to Australia. Bedford was very successful in collecting material from the distant Henbury meteorite craters in Australia's Northern Territory, during three separate trips in 1931–1933. He became an authority on meteorites with much Henbury material being sent to the British Museum in London. However, Bedford's work on, and collecting of, meteorites resulted in a serious rift with the South Australian scientific establishment. Bedford is best known amongst geologists for his five taxonomic papers on the superbly preserved lower Cambrian archaeocyath fossils from the Ajax Mine near Beltana in South Australia's Flinders Ranges with field work commencing in about 1932 and extending until World War II. This research, describing thirty new genera and ninety-nine new species, was published in the Memoirs of the Kyancutta Museum, a journal that Bedford personally established and financed in 1934. These papers are regularly referenced today in international research dealing with archaeocyaths.

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2

Moniz, George A., and Gerald B. Hammond. "Identification of Ambergris from the New Bedford Whaling Museum by Nuclear Magnetic Resonance Spectroscopy." Journal of AOAC INTERNATIONAL 79, no. 2 (March 1, 1996): 423–25. http://dx.doi.org/10.1093/jaoac/79.2.423.

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Abstract A new method for the separation and identification of ambrein in ambergris using adsorption chromatography and 1H and 13C Fourier transform nuclear magnetic resonance spectroscopy (FT-NMR) is presented. We demonstrated the effectiveness of this method by analyzing an approximately 85-year-old sample of suspected ambergris from the New Bedford Whaling Museum (New Bedford, MA). Results prove that ambrein remains a major constituent of ambergris even after 85 years of storage under ordinary conditions.

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3

Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

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Valim, Michel P., Francine M. Lambrecht, and Élvia E. S. Vianna. "New records of chewing lice (Insecta, Phthiraptera) from birds of southern Brazil, with description of a new species." Iheringia. Série Zoologia 99, no. 3 (September 2009): 249–58. http://dx.doi.org/10.1590/s0073-47212009000300004.

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A collection of chewing lice was studied from the Natural History Museum of the Universidade Católica de Pelotas, Rio Grande do Sul, Brazil. Twenty three samples from 16 bird species were examined. Included therein was a new species of the genus Plegadiphilus Bedford, 1939 which is described, illustrated and compared to P. cayennensis Emerson & Price, 1969. An updated list of chewing lice species recorded from birds of that state is presented.

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Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (June 30, 2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.

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6

Sauer‐raussmüller, Christel. "A new art museum at Schaffhausen." Museum International 39, no. 2 (June 1987): 68–73. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00670.x.

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7

Lowe, Nicholas. "Review: The Art of Museum Exhibitions: How Story and Imagination Create Aesthetic Experiences by Leslie Bedford." Public Historian 38, no. 3 (August 1, 2016): 195–96. http://dx.doi.org/10.1525/tph.2016.38.3.195.

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8

Merkel, Jayne. "SANAA's New Museum of Contemporary Art, New York." Architectural Design 78, no. 3 (2008): 98–101. http://dx.doi.org/10.1002/ad.684.

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9

Fillis, Ian, Kim Lehman, and Morgan P. Miles. "The museum of old and new art." Journal of Vacation Marketing 23, no. 1 (August 1, 2016): 85–96. http://dx.doi.org/10.1177/1356766716634153.

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Entrepreneurial marketing is used to understand new venture creation in the vacation tourism sector through a case study of private art museum in Tasmania that has become a tourist destination of major international significance. The Museum of Old and New Art (MONA) has emerged as a major driver of tourism in the region. Interrogation of the arts and cultural tourism literature sets up a key research proposition – in arts and cultural tourism, the unique artistic tastes of the entrepreneur often trump customer needs and preferences by shaping the visitor’s experience through creative artistic innovation. The findings support our proposition, with additional grounding through the impact of the owner/manager and associated entrepreneurial marketing and effectuation impacts.

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10

Hughston, Milan R. "Documenting the art of our time: a new research facility for The Museum of Modern Art, New York." Art Libraries Journal 32, no. 4 (2007): 22–28. http://dx.doi.org/10.1017/s0307472200015054.

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The Museum of Modern Art’s ten-year building project provided new, purpose-built spaces for the library and museum archives, one of the world’s premier research resources documenting modern and contemporary art. This article summarizes the planning and implementation of the new space and reflects on its successes after six months of operations.

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11

Merrill, Elizabeth M. "Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture." Architectural Research Quarterly 23, no. 3 (September 2019): 210–24. http://dx.doi.org/10.1017/s1359135519000204.

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As epitomised in the works of Renzo Piano, Frank Gehry, and Daniel Libeskind, the ‘new museum’ of art claims its own architectural typology. With asymmetrical silhouettes, gallery spaces that eschew the much derided ‘white cube’, and cleverly conceived circulation systems, the new museum has been heralded as revolutionising the display of art. Yet its function extends beyond the display and conservation of art. The new art museum is conceived as a multifaceted cultural centre – a public forum – where art and culture are democratised, and families, scholars, students, tourists, and teachers come together. At the same time, the new museum competes with other entertainment venues on a commercial level. As a cultural factory replete with an ambitious programme of temporary exhibitions, media facilities, restaurants, and shops, the new museum emphasises consumption as much as it does contemplation. In fact, the array of non-artrelated diversions contained in the new museum is often more important to the institution’s success than the art itself.

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12

Lindgren, James M. ""Let Us Idealize Old Types of Manhood": The New Bedford Whaling Museum, 1903-1941." New England Quarterly 72, no. 2 (June 1999): 163. http://dx.doi.org/10.2307/366870.

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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)

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14

Bury, Stephen. "Developing NYARC: the New York Art Resources Consortium." Art Libraries Journal 36, no. 3 (2011): 25–30. http://dx.doi.org/10.1017/s0307472200017028.

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NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.

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15

Nazarov, Yuri V. "Search Paths and Solutions for new Forms of Museum Exhibition Lighting." Light & Engineering, no. 01-2023 (February 2023): 9–17. http://dx.doi.org/10.33383/2022-052.

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The changed design status of exhibition environment electrical lighting has become the driver of innovative transformations and development of museum exhibitions. Light has become a real form-making and space-modelling tool. Formation of specific museum experience of lighting remains an interdisciplinary problem unifying technical aspects measured by quantitative indicators and qualitative criteria including aesthetical, psychological, and physiological aspects, forming the atmosphere of each exhibit. Museum exhibition lighting is designed using the conceptual design method, which includes conventional design tools and innovative digital technology. The conceptual design method expresses itself in interdisciplinary, synthetic and synaesthesia forms. Educational and art projects of the Stroganov Academy have accumulated a significant experience in solving different problems of museum environment light design on associative conceptual basis. A lighting system becomes: – An object of traditional art design; – A light design exhibit; – An interactive light-and-colour environment of a museum; – A synthetic environment of a park museum; – A basis of new art styles like light art and science art, media installations and 3D mapping; – Creator of a new image of a digital museum, etc. As a result, light becomes a link connecting the entire humanitarian system of a museum: its scientific, historical, educational, aesthetical and engineering components. Interdisciplinary forms of light functioning (from conventional light design to digital media and interactive projects) are limitless and will grow providing the museum environment with more new forms of information presentation and perception constantly balancing between easel and applied versions.

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16

Song, Ha-Yub. "New Museum for New Forms of Art - Focused on "Museum without Walls", and the relationship between art and architecture -." Architectural research 13, no. 1 (March 30, 2011): 3–9. http://dx.doi.org/10.5659/aikar.2011.13.1.3.

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17

Petridis, Constantine. "New Acquisitions of African Art at the Cleveland Museum of Art." African Arts 44, no. 1 (March 2011): 52–67. http://dx.doi.org/10.1162/afar.2011.44.1.52.

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18

Jung, Yuha. "The art museum ecosystem: a new alternative model." Museum Management and Curatorship 26, no. 4 (October 2011): 321–38. http://dx.doi.org/10.1080/09647775.2011.603927.

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19

Cole, Mark. "New Spaces in the Cleveland Museum of Art." American Art 24, no. 2 (June 2010): 15–17. http://dx.doi.org/10.1086/656453.

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20

Poinsot, Jean-Marc. "Le Museum of Modern Art de New York." Revue de l'art N° 154, no. 4 (April 1, 2006): 57–70. http://dx.doi.org/10.3917/rda.154.0057.

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21

Phillpot, Clive. "The Library of the Museum of Modern Art New York." Art Libraries Journal 10, no. 1 (1985): 29–36. http://dx.doi.org/10.1017/s0307472200004065.

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In the Summer of 1984 the Library of the Museum of Modern Art, New York, re-opened in a purpose-designed space, following the expansion and renovation of the Museum by Cesar Pelli. This article traces the history of the Library from its origin at the foundation of the Museum in 1929, to date, and describes the scope of the present collection and some of its particular strengths.

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22

Franklin, Adrian, and Nikos Papastergiadis. "Engaging with the anti-museum? Visitors to the Museum of Old and New Art." Journal of Sociology 53, no. 3 (June 6, 2017): 670–86. http://dx.doi.org/10.1177/1440783317712866.

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Hailed as the most important cultural event since the opening of the Sydney Opera House, the Museum of Old and New Art (Mona) in Tasmania seemingly made very substantial changes to visitor experiences of an art gallery, catalysed a significant cultural florescence in Hobart and achieved tourism-led urban and regional regeneration on a par with the Guggenheim Museum Bilbao. Drawing on a large survey of visitors this article illuminates the origins, social aims and impacts of successful attempts to push art museums beyond what Hanquinet and Savage call ‘educative leisure’. It contributes to our knowledge of the processes by which traditional forms of ‘highbrow’ cultural experience associated with the dominance of the classical and historical canon are being eclipsed by newer, performative, emotional and sensual forms of cultural taste.

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23

Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (July 1, 2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.

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24

Horacek, Martin. "MUSEUM OF ART VERSUS THE CITY AS A WORK OF ART: A Case of the New Acropolis Museum in Athens." International Journal of Architectural Research: ArchNet-IJAR 8, no. 2 (July 12, 2014): 47. http://dx.doi.org/10.26687/archnet-ijar.v8i2.428.

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This study is concerned with the New Acropolis Museum, which was opened in June 2009 in Athens. The New Acropolis Museum, out of all of the world’s new museum structures of the past century, has dramatically intensified the issue of the relationship between parts and the whole, between the building and its integration into the setting, between the museum function and the historical city, which is a protected heritage site, one treated as a museum exhibit. With the New Acropolis Museum as an example, the study would like to highlight the complexity and the ambiguity of the present-day relationship between the heritage protection, the museumisation of art and the design of our environment. The particular attention is focused on the vivid debate about the building and the distinguishing the differences between traditionalist and modernist views of architecture manifested in this debate. These differences are deeper rooted than many people have been willing to admit.

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25

Uralman, Hanzade. "The library of Istanbul Museum of Modern Art: a new type of art museum library for Turkey." Art Libraries Journal 35, no. 2 (2010): 30–34. http://dx.doi.org/10.1017/s0307472200016370.

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Libraries can easily be integrated into a museum’s activities, since museums too have functions that require the processing of information, such as preservation, research and communication. However museums in Turkey were not notable for developing efficient art libraries until Istanbul Museum of Modern Art opened. The distinctiveness of this museum’s library results from a change in the museum environment in Turkey, and the introduction of a number of features that are new in art libraries in this country.

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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (July 1, 2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

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27

Liu, Fan. "The Analysis of Management Mechanism Innovation Research of China Art Museum in New Time." Advanced Materials Research 488-489 (March 2012): 1305–9. http://dx.doi.org/10.4028/www.scientific.net/amr.488-489.1305.

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The Art Museum, the city has become indispensable cultural facilities, one of their number and visibility has become a national measure of a city or even an important indicator of the level of cultural development, and represents a city or even a national historical heritage. In recent years, public arts and culture is thriving, local art galleries have expansion and reform. Art is a visual art works rely on a certain occasion displayed, to the role in people's thoughts, feelings and tastes, influence people's spiritual qualities. Art Museum of China and internationally active creative arts prosperous trends and patterns of view, there is a gap. And the Museum of Modern Art in today's world given the social attributes and functions of the embodiment of public cultural services than there is a gap. New time of global economic integration process and the development of knowledge economy, and the popularization of network technology. Museum management should be on how to change to adapt to this situation, the future will be how to develop innovation to meet environmental requirements are the contents of this study.

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28

Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach, and Olga Zulabueva. "Exhibitions." Museum Worlds 6, no. 1 (July 1, 2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm

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29

Bartman, Elizabeth. "The New Galleries of Ancient Art at the Walters Art Museum, Baltimore." American Journal of Archaeology 108, no. 1 (January 2004): 79–86. http://dx.doi.org/10.3764/aja.108.1.79.

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30

Mersmann, Birgit. "Performing the City’s Urban Imaginary – the New Taipei City Museum of Art." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 30 (December 30, 2017): 53–66. http://dx.doi.org/10.18778/0208-6107.30.04.

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Aspiring global cities, such as Taipei City in Taiwan, seek to accumulate cultural capital. For future-oriented local and global self-representation, they design cutting-edge contemporary museums. This paper analyzes the “urban imaginary” as constructed by new urban museumscapes. Choosing a case-study approach, it explores the embedding of a vanguard art museum project in Taiwan – the New Taipei City Museum of Art in Taipei – into long-term urban planning strategies. In order to understand the purpose and process of how the new museum of contemporary art. is devised as a public space of cultural self-representation and urban identity building, the study monitors the complete design process from the city government’s urban and institutional planning strategy to the architectural design. Evidence shows that the pathways of urban place-making for art and through art and design in Taipei are strongly determined by the historical role and current geopolitical repositioning of the city.

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31

Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.

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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.

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Niloei, Ehsan Shafagh. "MUSEUM AND NEW ART REPRESENTATION IN THE MODERN AGE." TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION 6, AGSE (August 10, 2016): 1797–802. http://dx.doi.org/10.7456/1060agse/062.

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Nioloee, Ehsan Shafagh. "MUSEUM AND NEW ART REPRESENTATION IN THE MODERN AGE." TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION 6, JLYSPCL (July 1, 2016): 964–70. http://dx.doi.org/10.7456/1060jse/062.

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34

Woodhouse, Nicola. "The Hector Library, Museum of New Zealand Te Papa Tongarewa." Art Libraries Journal 24, no. 4 (1999): 31–38. http://dx.doi.org/10.1017/s0307472200019799.

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The Hector Library started life in 1867 as a science library with a strong geological bent. The establishment of Te Papa, New Zealand’s new national museum, in 1992 led to a merger with the erstwhile National Art Gallery Research Library, renowned for its resources on contemporary art. The enlarged Hector, with dual specialities in art and natural history, is part of the re-designed information package servicing Te Papa visitors (both in person and distant) at the Museum’s new waterfront site which opened to the public in February 1998. This paper outlines the package, focusing on the Hector’s collections and services, and also posits the relevance of its resources in the context of global art documentation.

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Yang, Yeon Kyoung. "A Study of Art Museums Convergence Education Guidelines Model for Social Improvement and Talents Development of Mild Autism Spectrum Disability." Korea Institute of Design Research Society 8, no. 1 (March 30, 2023): 164–77. http://dx.doi.org/10.46248/kidrs.2023.1.164.

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In order to establish an effective museum convergence education guide and model, this study first sought ways to redefine the local and social role of art museums for the people with autism developmental disabilities. Second, the effectiveness of art enjoyment, mental recovery, and self-exploration were analyzed, and through the participation of family guardians in art museum programs. Third, various attempts and new role implications were derived to expand the social convergence platform of art museum exhibition-linked education. Fourth, an integrated model such as communication, healing, empathy, sharing, and support was established in the guidelines for convergence education at the Museum of Art for the Disabled in the Autism Spectrum. This study verified the effectiveness by analyzing the operation of two curriculums, Dreamcatcher Craft Class and Ribbon Embroidery Family Frame Collaboration Class, in line with the theme of ICOM Museum Week. As a result of the study, this study presented physical and social solutions to increase accessibility to art museums. It also suggested the need for a dual strength that can lead to art museum education. In particular, it emphasized the need for art museum, organizations for the disabled, and public institutions to cooperate with governance. In addition, by studying the necessity of active learning in art museums, the needs to expand guidelines for integrated art museum convergence education was suggested.

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BAKHODIROV, Shakhzod L. "ART SHOP AT MUSEUMS OF UZBEKISTAN." Art and Design: Social Science 02, no. 03 (June 1, 2022): 19–22. http://dx.doi.org/10.37547/ssa-v2-i3-06.

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Traditionally, museums perform the functions of collecting, storing and broadcasting cultural values to the public. Today we can talk about a new trend – the transformation of museums into cultural, historical and leisure centers, which makes it necessary to abandon the traditional approach to museum activities in the broad sense of this concept. Museum management should now pay attention not only to the creation of exhibitions and exhibitions, but also to the work of recreational areas, leisure centers, infrastructure development. An important aspect is the work with the visitor, the organization of the process of his stay in the museum: today it is necessary to focus on finding new effective ways of interacting with the visitor to meet a wide range of intellectual and cultural and everyday needs of society.

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Vlieghere, Dieter De. "Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936‐1943)." Journal of Curatorial Studies 10, no. 1 (April 1, 2021): 2–25. http://dx.doi.org/10.1386/jcs_00029_1.

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Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

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Umralieva, L. M., and A. K. Sabyrova. "Application of the Virtual Museum Method in the Process of Analyzing Applied Art and Creative Works." Iasaýı ýnıversıtetіnіń habarshysy 127, no. 1 (March 30, 2023): 35–363. http://dx.doi.org/10.47526/2023-1/2664-0686.29.

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The article presents the results of the research and the art history, educational possibilities of the virtual museum method. The exhibits of art in the museum are classified depending on consumer, technical, form, machine-tool features. For residents and students living away from the centers of the Museum of Art, the art history opportunities and needs of the virtual museum are open. The features of the art exhibits in the museum, criteria and methods of their analysis, content, program, methods of presentation of works of art to future teachers are presented. The virtual museum is recognized as an art criticism method, an innovative phenomenon in modern research. The advantage of the virtual museum method, as opposed to traditional methods, is revealed for students. The theoretical and practical significance of using the museum method in universities is described. The study substantiates the process of ensuring the introduction of a virtual museum to national cultural values as an art criticism opportunity, consistency, art criticism and methodology. Artistic analysis and art history demonstration by the virtual museum method includes the direction of: analysis of the idea of the work, composition, color, volume of space, technique of execution. During the analysis of the artistic features of applied art products, students are provided with information about the product such as: consumer goods, shaping, material processing, technology, ergonomics, decorative design of the product, year of manufacture, region and master. In the course of the study of the effectiveness of the application of this method in practice, the proposed content, model, program, methods of preparing a future teacher to use the virtual museum method is determined by the expertise of prepared esperts, based on the results of experimental verification. Conclusions are presented on indicators, signs with the content of the formation of a new quality in the training of future teachers by the virtual museum method.

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TALLACK, DOUGLAS. "Seeing out the Century." Journal of American Studies 35, no. 1 (April 2001): 127–31. http://dx.doi.org/10.1017/s0021875801006491.

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Barbara Haskell, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 408. ISBN 0 393 04723 7, 0 87427 122 3.Lisa Phillips, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 398. ISBN 0 393 04815 2, 0 87427 123 1.

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Vivatenko, Sergey V., and Tatyana E. Sivolap. "Museum restitution problems: The cases of the Grosz and Flechtheim families against the New York Museum of Modern Art." Issues of Museology 13, no. 1 (2022): 157–63. http://dx.doi.org/10.21638/spbu27.2022.112.

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The relevance of the topic raised in this article is justified by the importance of the issue of restitution of cultural property after the Second World War and the interest it arouses in society at the current stage of development. During the time that has passed since the defeat of Nazi Germany, many former owners of works of art, from whom the Nazis requisitioned their collections, have regained their artifacts. The process of restitution continues up to the present. The idea of restitution arose from the idea of protecting cultural property from encroachment. And if shortly after the war, the families of former owners of works of art tried to return their art property from private collectors, now lawsuits are usually directed against museums. One of the well-known restitution cases in recent years is the lawsuit against the New York Museum of Modern Art, which is an attempt to return family values by the descendants of the German artist Georg Grosz and collector Alfred Flechtheim. Dispute resolution has not yet been brought to its logical conclusion. The purpose of the article is to establish the problems of returning the lost cultural property that was illegally acquired by the Nazis during the Second World War and sold to museums, as well as to private collectors. Today, many of these works of art are owned by American collectors or museums. The descendants of repressed cultural figures who suffered from the Nazi regime demand the restoration of their rights, through the restitution of art artefacts or compensation for lost works of art.

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Zalman, Sandra. ""The Fur-Lined Museum" : Surrealism and the Museum of Modern Art in New York." Histoire de l'art 67, no. 1 (2010): 155–64. http://dx.doi.org/10.3406/hista.2010.3344.

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McLean, Kathleen. "THE MUSEUM AS MUSE: ARTISTS REFLECT: At the Museum of Modern Art, New York." Curator: The Museum Journal 42, no. 3 (July 1999): 253–55. http://dx.doi.org/10.1111/j.2151-6952.1999.tb01145.x.

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Chisolm, Margaret S., Margot Kelly-Hedrick, Mark B. Stephens, and Flora Smyth Zahra. "Transformative Learning in the Art Museum: A Methods Review." Family Medicine 52, no. 10 (November 5, 2020): 736–40. http://dx.doi.org/10.22454/fammed.2020.622085.

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Abstract: Clinical educators are continually seeking innovative methods and settings for teaching. As such, they have increasingly begun to use art museums as a new educational space in which to build clinically-relevant skills and promote learners’ professional identity formation. Art museum-based pedagogy can be understood through the framework of transformative learning theory, which provides an account of how adults learn through experience. In this article, the authors apply this theory to art museum-based teaching and offer a practical overview of art museum-based activities, highlighting three exemplars: visual thinking strategies, personal responses tour, and group poems. This toolbox of art museum-based teaching methods provides a launching pad for educators and learners to explore this innovative educational strategy.

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Jasińska, Anna, and Artur Jasiński. "NEW BUILDING OF THE WHITNEY MUSEUM OF AMERICAN ART IN NEW YORK." Muzealnictwo 59 (March 30, 2018): 19–27. http://dx.doi.org/10.5604/01.3001.0011.7190.

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On the 1st of. May 2015, in Meatpacking District of West Manhattan, the new building of the Whitney Museum of American Art was opened. It is the fourth location of this well-known New York museum, which was established in 1930, by Gertrude Vanderbilt Whitney. The Whitney possesses the world’s largest collection of American art and focuses on exhibiting living artists. Spectacular, industrial in character architecture signed by Renzo Piano has met with mixed reactions. The building is functional and well connected with the post-industrial site, however, not appreciated by everyone. Similar situation happened forty years ago, when Centre of Georges Pompidou, designed by Renzo Piano and Richard Rogers, pioneers of high-tech architecture, was widely criticised. Only popularity, high attendance and commercial success of famous Paris facility changed that negative opinion. Is the New Whitney following the same path – time will tell.

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Ajayi, Joseph Babatunde. "Importance of Art Museum and its Influence on Behavioral Intention of Visitors." Advances in Multidisciplinary & Scientific Research Journal Publications 12 (2024): 2–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3x.

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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 2, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3x

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Ajayi, Joseph Babatunde. "Importance of Art Museum and its Influence on Behavioral Intention of Visitors." Advances in Multidisciplinary and scientific Research Journal Publication 12 (2024): 23–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3.

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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 1, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3

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Wang, Michelle Chaotzu, and James Quo-Ping Lin. "The Future Museumshapes the museum future." Arts and the Market 8, no. 2 (October 1, 2018): 168–81. http://dx.doi.org/10.1108/aam-12-2017-0030.

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PurposeThe purpose of this paper is to introduce a progressive strategy of the National Palace Museum (NPM) using new media art exhibitions as a creative marketing tool to interpret its collection, generate cultural value and navigate the greater global context.Design/methodology/approachA review of museum marketing literature and the challenges presented by Taiwan’s sociopolitical situation contextualize discussions on marketing activities and the emergence of museum-commissioned new media art at the NPM within the past two decades.FindingsDemocratic potency inherent in the digital medium has enabled the NPM to transcend the conflicting cultural perceptions surrounding its collection and fulfill the function of market expansion and cultural transmission.Originality/valueSpecialized heritage museums, such as the NPM, do not traditionally create or collect contemporary artworks that engage in ongoing cultural dialogues. This paper brings into view the novelty of using the digital medium to generate cultural value as exemplified in the new media art commissioned by the NPM.

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Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (November 2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University Art Museum. In January 2012 it was announced that some fragments from the Bothmer collection would be returned to Italy, because they fitted vases that had already been repatriated from North American collections. The Euaion painter fragments are considered against the phenomenon of collecting and donating fractured pots.

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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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Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.

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

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